#095: Roundtable – Everybody Have Fun Tonight!

Apple announces the new improved iPhone (optimized for video). YouTube adds video editing.  Thom York of Radiohead claims the music industry is dying.  Kevin recaps his show opening for the British new wave group, Wang Chung. The Podcasters discuss last weeks semi-explicit interview with Martin Atkins.  Plus, calls and emails from our totally rock’n audience.

Don’t forget to call or Email with your questions for Tom Jackson (Interviewed in Episode 43)

Leave a message: 206-426-5683 Or email us: info@cdbabypodcast.com

  • Wow, 5 days and none have commented… Sad.
    As for Tom Jackson, who the heck cares. Look at his client base, what he has to say is meaningless. Taylor cannot sing live, nor can any of his previous clients. What does that tell you? Touting Mr. Jackson is like calling Timbuland a singer which he isn’t, mr autotune himself couldn’t carry a note in a hermetically sealed bucket. While Mr T might be a decent producer, as an artist he’s a suck fest.

    Your interview with Martin was much too short, I’m sure he had much more to say that would have made the podcast ever more interresting and the explicitness was such a welcome thing. That’s how musicians and those in the biz actually speak, get used to it, it’s reality.

    While I agree performance coaches can be useful, Paula Abdul is one, so are Madonna, Bionce and many others (who by the way actually know what the frick they are talking about)… I find Mr. jackson’s feeble efforts laughable at best. I’m looking forward to hearing this second interview but don’t expect anything of value to be said on his part, after all, he’s a know nothing who thinks he knows something. Ask the audiences of the shows he coaches…

    Better to interview Robert ‘Mutt’ Lang regarding coaxing performances out of an artist than listen to this schill. I’d sooner listen to George Martin than this loser. And Mr. Martin was at best, a bad producer. Listen to the de-Martinized version of Let It Be. It’s a much better album without his influence.

    Some producers or coaches, harm the artists. Others, enhance them. Those who enhance are the ones to seek out. Chris Tsangerides for example, enhances…

  • “I’d sooner listen to George Martin than this loser. And Mr. Martin was at best, a bad producer. Listen to the de-Martinized version of Let It Be. It’s a much better album without his influence.”

    Actually, you are referring to Phil Spector, but who’s counting.

  • Dave,

    What does Phil ‘Wall Of Sound’ Spector have to do with the Beatles? Answer, nothing. Learn history before calling me out. I still have the original vinyl of Let It Be, it SUCKED and Phil is not credited anywhere on that album but George Martin is! Sad fact about that album. 1 in 3 copies were so badly warped that playback was unbearable. Once it hit cassette it was a bit better but still bad.

    It was, not only the Beatles final album but also their worst as a recording. Nothing wrong with the songs but the production was horrible which seems in retrospect, appropriate considering the band was falling apart when that album was recorded.

  • I hate to break into the middle of two Kings, but Robert I’m surprised this time around. Here you go – http://en.wikipedia.org/wiki/Let_It_Be

  • http://www.jasonrobertbrown.com/weblog/2010/06/fighting_with_teenagers_a_copy.php#more

    GREAT discussion about copyright and “sharing.” A little off-topic here, but still maybe a good topic for discussion on a future show. Maybe interview Jason Robert Brown!

  • Kevin,

    Glyn Johns – audio engineering, mixing
    George Martin – producer
    Alan Parsons – assistant engineer
    Phil Spector – “re-producer” (final overdubs), final mixing

    What the wiki entry doesn’t say is, Spector was NOT envolved in any of the recordings
    was not envolved in any production and was NOT envolved in any arrangements for the tracks
    that ended up on HIS version of the already recorded and mixed 1969 version of the album.

    “Get Back” later renamed “Let It Be” was in fact, the Beatles last album. It was also the only
    Beatles album where no more than two Beatles were present at any given session during the recording stage. The band was already broken up during the 1968/69 sessions all over a disagreement over who should handle their financial affairs. John wanted to stick with their then current management, Paul wanted his future father in law to take control.

    The sad truth of the Beatles is, the women they selected ruled their decisions. In John’s case it was Cynthia, then Yoko, In Paul’s it was ultimately Linda though his first wife Dot Rhone (though not actually married), influenced him more.

  • phew Robert

    you got so many of the right facts wrong that’s hard to know where to start, so I won’t.

    Maybe lewisholn’s book on the recording sessions might help.

  • Thought I’d drop a comment to let you guys know I’m still listening. Glad I did now, there’s a good little argument brewing here 😀

    Robert, I’m afraid I’m with Dave, Matt and Kevin – by this point in the Beatles career George Martin had sort of been pushed to the sidelines and was treated quite badly by the band. It’s only with Abbey Road that he was able to work more closely with them again and just look at the results. A fine album and much better than Let It Be, even the stripped down version.

  • Darren,

    Abbey Road was recorded BEFORE ‘Get Back’ / ‘Let It Be’, not after. Read Geoff Emmerick’s book. Read the very detailed ‘Recording The Beatles’ tome. Forget the worthless Wikipedia. You want facts, definitely forget wikipedia.

  • Chris at CD Baby

    “Abbey Road is the eleventh studio album by English rock band The Beatles. Though Let It Be was the last album released before the Beatles’ dissolution in 1970, work on Abbey Road began in April 1969, making it the final album recorded by the band.”

    Yes. This quote is from Wikipedia, but confirms everything I’ve ever read and heard about the chronological order of recording and releasing Get Back/Let It Be and Abbey Road. However, some of the confusion might be coming from the fact that there were additional recording sessions for Let It Be in early 1970, but they were basically, by and large, to perform a more acceptable version of “I Me Mine.” The overwhelming bulk of that album was completed BEFORE the sessions for Abbey Road began (not counting Phil Spector’s sonic treatments, splicing, etc.)

  • Just an “after the fact” comment about the podcast – just got around to listening to it.

    Regarding the opinions of the guys when discussing solo guys using backing tracks, two points:

    1. I agree that if you’re doing an original show for people there to hear original music from you, leave the iPod at home. BUT if you’re doing background music/covers at a restaurant/coffee shop, I think it can help reduce the monotony of the sound of a vocal and a guitar. Remember that these gigs can go 3 hours.

    2. The opinions of other musicians don’t MATTER. If there are 30 people listening and one is a musician who is turned off by backing tracks and the rest don’t care, then who cares what the musician thinks.

    Good podcast all around.