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Best Produced Songs

F

Ferreri

Guest
What records (I still call them that) are the best produced of all time?
In my book, Spector's "You've Lost That Lovin' Feelin" and Led Zep's "Stairway to Heaven" are perfect production pieces. Of course, there are too many George Martin Beatle cuts to even mention. The Doobie Brothers made digital sounding records on analog equipment. 50 year old Buddy Holly recordings have stood the test of time and remind us of his brilliance. With all the great advances in technology, it is amazing that (at least to this ear) Spector, Martin, Page, Holly, and even Les Paul mastered incredible production techniques that surpass modern day recordings.
 
I am partial to the Cars' debut album, particularly 'moving in stereo.' as the story goes, ric ocasek produced most of the album on car speakers......
 
There is a popular story (maybe a myth) that Barry Gordy would play Motown tracks back on 3 inch speakers to be sure they sound good on a car radio.
 
The single best pure pop brilliance remains Sir George's work on The Beatles' "Penny Lane" masterpiece (all variants).

Tony Visconti's work on Bowie's "Low" sessions, too.

Lots of great Old School producers, too many to mention, so many no longer with us.
 
Jeff Lynne (Electric Light Orchestra) from "On The Third Day" through "Out Of The Blue" (which, thanks to United Artists flooding the market with crap vinyl, was never fully appreciated from a production standpoint until Sony remastered it)...Lynne's producing was amongst the finest work of the 1970s
 
Lynne's style was unique and deserving of high praise, I still think he overproduced "The Traveling Wilbury's" Just a bit too much ELO type orchestration for me. Those guys didn't need it. ELO did.
 
Good comments. Also, speaking of Barry Gordy. Listen to the first ten seconds of any Motown hit. Gordy said the first ten seconds will make it or break it.
 
zoneguy said:
Lynne's style was unique and deserving of high praise, I still think he overproduced "The Traveling Wilbury's" Just a bit too much ELO type orchestration for me. Those guys didn't need it. ELO did.
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While Lynnes signature is clearly evident, he was kept in check somewhat by Mssrs.Harrison and Petty. Keep in mind that sound had scored both George and Tom what would be their last big hits. Ill grant you some of the 4/4 beat (provided nicely by legendary session man Jim Keltner) and some sonic background vocals and synths (meshing nicely with Roy Orbisons vocals) might be much for a Dylan fan, its a tightly produced, loosely played session of musical fun.

Lastly, I think Lynne missed the boat in the mid 90s, when the 70s revival kicked in. Had he bit the bullet and returned to writing the sweeping melodies of the UA/Jet days, the sound might have made a somewhat brief but enjoyable revival.
 
I think it was the soaring strings/synths that set me back on the Wilbury's. It was fun, but boy with that lineup I would have loved to hear it rock out just a bit more and pop out just a bit less.
 
You know who else put out great sounding records.....KC and The Sunshine Band. Perfect mixes and quality. Whether you like the genre or not, KC did a great studio job.
 
Believe it or not when Bruce Springsteen was asked who put out the best American music of the 70's, he actually answered KC and the Sunshine Band.

Considering he did Born To Run in 1975 and Darkness on the Edge of the Town in 1978, that's pretty high praise for him to heap upon Harry Wayne Casey. But K.C. records were unmistakably bright, and the quality of the musicians involved was never compromised by the heavy beat. They were very well produced. Saw him at Taste of Pinellas last spring and the show is still a lot of fun for kids and old timers alike.
 
Ferreri said:
Also, speaking of Barry Gordy. Listen to the first ten seconds of any Motown hit. Gordy said the first ten seconds will make it or break it.
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Frank, I agree. That goes back to the "good ole days" when a song had to "hook you" immediately, to be a hit. Seem to remember that goes back to music directors auditioning dozens of records at a time and if it didn't sound good from the start, he'd probably just go on to the next record. Also, how many music directors back then would listen to all the album cuts, hoping to be the first to break the "next big hit." Music today is too controlled, too predictable (now I'm showing my age).
 
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