Shinybass journal entry 10/31

To ‘produce’

The new phone book is out! I’m somebody now!

On Wednesday, November 1st a new record comes out by an artist named Dan Orlando. Dan is much more of a musician than I will ever be. He is an extremely talented piano player and can pull musical passages out of the air like catching fireflies in summer. He is one of those guys that can totally destroy you with his musical knowledge, but choses to uplift rather than tear down. 

Dan needed some direction, and his project found his way to Nashville. I recommended Ben Jackson’s studio space, and Ben and I decided to work together as co-producers/musicians on his EP. Ben has been producing great records for some time, and his studio space is a favorite of mine. Ben is also a talented musician who plays drums and a plethora of other instruments, and knows how to get great sounds in his room. 

So Ben and I are now ‘Producers’. What does that even mean? Truthfully, it means a lot of hurt feelings. Kidding, but not kidding. Lemme explain. No, there is no time. Let me sum up. 

The quick read on a producer is that he or she doesn’t wear just one hat. There is a rotating rack hovering above the producer’s head on any given day. Producers are arrangers, performers, studio engineers, counselors, parents, negotiators, and sometimes fight referees. Music, right? 

Why? Why, oh, why if you are making MUSIC is there conflict? Two reasons: Passion and ego. Your passion wrote the songs, and your ego won’t let them be changed. Simple. Great songs have simply disappeared because artists won’t let go to an idea or arrangement. The producer is the seasoned set of ears that says ‘You can do this and have a hit, or you can do this and maybe it will get 10 spins.’

The discussion of art vs. commerce is as old as recorded music. We all need and enjoy having a little money. Artists also enjoy being broke for the sake of art. You can write great songs that aren’t cringe-worthy bubble gum. OR you can write a bad song to bankroll your artsy ones. Remember Jamey Johnson co-wrote ‘Honky Tonk Badonkadonk’ (I can’t believe i just typed that) then went on to write ‘In Color’. Middle ground can be had. 

Now, the process. A song is brought to the producer. Or maybe 30 songs (which is actually better), and the producers and artists listen down to decide what can be done with the 10 most agreeable for this project. There may be 4 country ballads in that batch and we are making a pop record. Stay on task. 

Maybe one of those songs written as a country song would sound better as a pop song. That is where the producer steps in. A good song is a good song, regardless of genre. The conversation starts “What if we…” and that’s where decades of musical experience comes in to play. At that moment, a producer may have an idea that sends the whole project into a new astral plane. 

The rub happens when maybe that song was meant for someone or is special to the artist, and he or she doesn’t want to change it, even for the sake of success. OK, no problem. What if 3 of the 4 band members think the song needs to be either ditched or completely reworked to be on the record? There’s where the camp counselor/referee hats come in. It’s all very delicate. 

Dan Orlando is a piano player. When he plays live, he is the melody, the harmony, the percussion all in one. The first (and maybe harshest) thing I said to Dan when we started was that I was going to tie his left hand behind his back. Play piano up top, but you have a bass player and drummer behind you now. Leave that space and let us carry that load. When you play live, go back to the way you want, but here we need that air. 

I think I spooked him a little. Making artists feel uncomfortable is my forte. When I am struggling a little, instinct kicks in, and the ideas can be special. I want an artist to be a little out of that papasan chair, just to give the recording spirit and lift. Show me what you got when you sweat a little. It’s probably going to be inspiring. 

Even big name artists need roping in by a producer. There are those who get more leeway, but you have hired a producer for a reason. Let them produce. The producer’s name is on the record and they want to keep working as well, and they certainly won’t derail you on purpose. Let the tabloids do that. 

I am proud of the work that was put into Dan Orlando’s new record. Ben did most of the heavy lifting. I played bass and tried to keep the songs like ones I’d want to play live. The album probably has something you will like on it, as it runs through a few different vibes. Thanks to Dan and Ben for letting me ‘co-produce’, and for allowing some of my silly ideas to make the record. It’s always fun when the crew is easy. 

Keep making music out there, and keep satisfying your soul. 

If you have a project, I have a spot and I know a guy who will make you work for it. You’ve been warned. 

See you in the studio!