Newsgroup: it.arti.musica.rock
Titolo: sundazed benedetta!

http://sundazed.com/main/new_releases.html
Ristampati i tre dischi degli Harpers Bizarre e il disco dei Montage
:-)
martin venator
http://digilander.iol.it/martvenator/
http://www.anarca-bolo.ch/a-rivista/antiglob/a_antiglob.htm
http://mysite.ciaoweb.it/flohgisto
 (old)
http://www.musicboom.net
http://www.rootz.it
L'arte è un investimento di capitali
la cultura un alibi
[E. Flaiano]

 
Non conosco. cosa fanno?
Neanche i Montage li conosco, ma ho presente un recente thread in cui se 
parlava.
--
Fil

parlava.
Se non m'avessero falciato il sito di Flo... :-( c'erano 3 mp3.
Cmq, quale migliore occasione della stampa del cd? :-)


 
Il nome di Ted Templeman mi suona in effetti famigliare, ha prodotto il 
primo dei Little Feat e Rickie Lee Jones, mi sa; e dalle nebbie del mio 
cervello impigrito fanno capolino altri nomi storici di producers e A&R 
men, come Waronker, e in effetti Parks ha iniziato in quell'ambiente nel 
giro della Warner, no?
grazie delle dritte
--
Fil



tutto quello che avresti voluto sapere su Templeman e non hai mai
osato (perché in fondo non te ne fregava più di tanto) chiedere :-)
Ted Templeman (b. 10/24/44)
Warner Brothers executive and staff producer Ted Templeman has had a
long-running relationship with The Doobie Brothers and Van Halen, and
has produced some of the most highly regarded albums by Van Morrison,
Little Feat, and Nicollete Larson. 
Templeman began his career as one of the five vocalists with the San
Francisco-based, hippy-era Harper's Bizarre, best known for their 1967
hit of Paul Simon's "The 59thStreet Bridge Song (Feelin' Groovy)." The
song, produced by Lenny Waronker (Templeman's future boss at Warners)
captured all of the flower power innocence of the day with its airy
harmonies and light, summer of love acoustic guitars. When the group
disbanded, Waronker convinced Templeman to get into production.
Templeman learned about production by attending Frank Sinatra
recording sessions and absorbing all that he could. Waronker hired him
to write an arrangement for Nancy Sinatra's next album, and Ted
started to play drums and sing on recording sessions to learn more
about the studio process. 
In 1971, Templeman heard a demo tape of the then unsigned Doobie
Brothers and convinced Warner Brothers to sign them. He credits the
next two albums he made with giving him his true education as a
producer; in 1971 he co-produced the Doobie Brothers debut with
Warnoker, and then co-produced Van Morrison's "Tupelo Honey" with the
artist. From Morrison, Templeman learned the importance of spontaneity
in the studio, and of getting the first take - a technique he has used
with great success for many of the artists he works with. 
"My concept of a good producer," Templeman said in a 1980 interview
with Samuel Graham [Record World, April 12, 1980] "is if you listen to
Van Halen or Montrose or The Doobies or Little Feat, you can't really
tell who produced them. I think that's the mark of a good producer.
It's just an album, and you recognize the artist, you don't hear the
producer - you don't say, 'That's a Ted Templeman sound' or something.
I try to make sure my trip isn't on their record." 
Indeed, Templeman's forte is the invisibility of any kind of personal
signature. The artists he works with - the aforementioned as well as
Nicollete Larson, Aerosmith, Cheap Trick and Eric Clapton - all have a
strong, distinctive sound of their own and they know that Templeman
won't try to overshadow that. 
Templeman's relationship with the Doobies spans the most important
parts of their career, from signing them to the label, producing their
first album, on through 1978's "Minute by Minute" which won the group
4 Grammies, including Record of the Year for "What A Fool Believes"
(on which the producer also played drums). All of the records under
Templeman's stewardship were gold, most were platinum, and "Minute by
Minute" stayed at #1 on the Billboard album charts for 5 consecutive
weeks, and on the Top 200 for a year and a half. The Doobies endured
the kinds of personnel changes that break up most other bands, and it
is Templeman deserves some of the credit for helping to ease the many
transitions in the recording studio. In their first incarnation, they
were a biker band playing to Hell's Angels in the Santa Cruz
mountains, known for their extended jam sessions, and songs by Tom
Johnston and Patrick Simmons. When Steely Dan [see separate entries
under Walter Becker & Donald Fagen, and Gary Katz] evolved into a
studio band, ace guitarist and fuzztone philosopher Jeff "Skunk"
Baxter hit the job market and found a place in the Doobies line-up.
When Johnston left the group for health reasons, another Steely Dan
player, Mike McDonald entered the group, initiating their second
incarnation and transformation to a pop/jazz/funk outfit. McDonald's
ssmooth, foggy tenor was one of the most distinctive sounds to come
out of the 1970s and propelled to band to their greatest successes.
McDonald subsequently had a successful solo career with albums also
produced by Templeman. 
In fact, Templeman is famous for his ability to maintain good working
relationsihps in the face of difficult personnel changes. After David
Lee Roth split from Van Halen, Templeman managed to produce albums for
both artists simultaneously apparently without ticking off either one 
Whereas the Doobie Brothers were one of the most successful bands of
the 1970s, Templeman's collaboration with Van Halen was responsible
for a significant historical shift in rock music, ushering in what is
thought of as the modern era of heavy metal/hard rock music. Prior to
1978, Led Zeppelin was universally acknowledged as the hardest rock
band in the world, with their blues-based approach to electric music
and Robert Plant's overtly sexual vocal delivery. "Led Zeppelin was
actually bad for rock and roll," explains Reprise Records President
and rock historian Howie Klein, "because everybody wanted to sound
like them. For years, every band tried to copy Led Zepp and it stunted
the growth of new music. It got to the point that every new band had
to reference Led Zeppelin." 
But with 1978's debut, Van Halen established a sound that was
completely different, an aural assault that was harder, rawer and at
the same time technically more astute than anything that came before.
The opening notes of "Runnin' With The Devil" and the astonishing
guitar-o-technics of "Eruption" brought the age of electric guitar
reason to an end. Becuase playing with such primimtive force and
speech was by no account reasonable. Edward had reportedly locked
himself in a room for several years to learn to play the guitar faster
than anyone before him, emerging with an encyclopedic knowledge of
Eric Clapton and Jeff Beck riffs (all practiced at triple speed). Van
Halen also introduced his famous trademark guitar sound, the deep,
resonant, almost orchestral "thunka thunka" sound of muted bass
strings through a wall of 100 watt Marshall amplifiers and cabinets
(recorded with perfection on the band's cover of "Pretty Woman"). 
The new band had some elements in common with Zeppelin: the crucial
interplay between guitar and drums, the riff-based songs, and the
blunt hormoniacal vocalisms. But in the hands of Templeman and Van
Halen, these elements were combined in a way to produce fresh musical
ideas with a unique energy and sound. Their influential covers of The
Kinks' "You Really Got Me" and Linda Ronstadt's "You're No Good"
showed that they had a collective appreciation for pop, but that they
intended to rebuild it on their own terms, to make it heavier, and
more metallic than anyone had previously attempted. Although in 1998
we tend to think of Van Halen as the old guard, it is important to
realize that they opened the heavy metal door for speed metal and
successors such as Metallica, Queensrÿche, Dökken, Quiet Riot, Alice
in Chains, and other bands who would have otherwise been tethered to
the Led Zeppelin legacy. 
Templeman, like any producer, has had some misses, such as 1985's
"Behind The Sun" in which a disoriented-sounding Eric Clapton wanders
through an album of poorly recorded, vibeless tracks. One of Cheap
Trick's many "comeback" albums, 1994's "Woke Up With A Monster," seems
to just miss the mark with mediocre songs, albeit excellent recording
and performances. 
Templeman continues his work as an A&R executive with Warner Brothers
and producing Van Halen and other artists.
