Why so many producers on one album? | The Popjustice Forum

Why so many producers on one album?

Discussion in 'Pop & Justice' started by outsync, Jul 20, 2010.

  1. I found an interesting article that discusses this phenomenon.

    So what do you think? Anyone who has heard 'Circus' knows it's a fucking mess and proves that this kind of method is a bit shit. Plus look at Britney's earlier albums. All the Max Martin/Cheiron stuff is quality while the rest is embarrasing.
  2. vasilios

    vasilios Guest

    During her first/2nd album era, Toni Braxton-Babyface songs didn’t sound like anything else on the radio? Really?

    Boyz II Men, Jade, Janet, R Kelly, Karyn White, Madonna (Take A Bow), TLC, Jody Watley releases around then sounded like Metallica, yes.
  3. Interesting article. I do think that the number of producers submitting tracks for artists is becoming a problem in that the end product often doesn't reflect the artist's idea of what they wanted their album to sound like and there can be too much variety. It's all about money now - simple as that.
  4. It's an interesting article, and one I find myself agreeing with. When an artist works with a single producer for the majority of the album, you tend to find cohesiveness naturally follows. I've always been a major proponent for the album as art, and this age of iTunes bullshit has done nothing but make me sick. It's alright to have an album without a cohesive sound; it's not OK to have a hodgepodge mess created just to see what would stick/sell.
  5. I agree with this article, I like an album that flows and retains a feel. Many current pop albums don't do this which is a shame.
  6. Honestly, I think Kylie's new album is the perfect example of how to achieve what the writer of that article wants while still compromising what the industry wants.
  7. I tend to agree.  Just like all things creative, it can be brilliant or go tits up, or anywhere in between.  While a singular producer/collaboration can lead to a unified sound, it can also strip an artist of a unique identity, whereas when an artist solicits material from all around he or she can choose the sound that most defines them while being spoilt for options.  It can go either way; the artist can have an overarching "feel" or they can sound erratic and all over the place.  Basically the article is like something I would write in a niche artist thread on this site while trying to convince someone my opinion is actually fact.

    It's a good attempt at persuasion though.
  8. Personally, I like hearing a bunch of collaborations with producers. I like hearing a lot of different sounds and productions. But then again... I like 'X' and can't wait for 'Straight To The Heart.'

    *runs and hides*
  9. I suppose it comes down to how large the personality of the pop star in question is on record. For example, and it's an obvious one so I apologize, but it's never bothered me that Britney works with everyone under the sun on her albums because I think she's a dominant enough force to make things work as a whole album. Her voice, even when filtered through a dozen computers, is still instantly recognizable and brings an element of continuity to her work.

    But not a lot of people have that skill, and I think when placed in the modern context of producers jockeying to be on an album at all costs, it leads to less cohesiveness and artist-producer relationships. Also, I don't think there are as many talented writers who double as pop stars anymore, but that's entirely up for debate.
  10. No, I think you summed it up nicely. If a popstar lacks a musical center, their picks will be as erratic and lacking in cohesion as they are. If they have a backbone, their albums will reflect that. It's just taste level. It's the same as someone buying new furniture for their living room or matching jewelry to a dress; some people have the taste to do so, and some people are hopeless.

    And it should be noted a lot of singer/songwriters out there exist who do a completely shit job of managing cohesion, so yes, the spectrum exists on all possible scenarios for both failure and success at keeping it all thematic.
  11. Interesting article.
  12. Very interesting article - I agree with just about every point it makes. But it is possible to make a cohesive album with different producers as long as the A & R is done properly.

    I think it shows when an artist and producer have a rapport and a chemistry in the studio. A couple of recent examples are Lady Gaga and Red One, and Stuart Price with Kylie.
  13. I miss Girls Aloud.
  14. I don't.

    Xeno are past their peak (but still capable of the odd gem) and Mrs Cole has gotten too big for her lollipop coloured boots.
  15. Charley

    Charley Staff Member

    This might be off topic, but reading how producers aren't getting paid for tracks that aren't released, it actually makes more sense as to why cancelled albums get cancelled and not just chucked onto iTunes for the few interested fans.
  16. The article's a whole load of fluff.

    Using Toni Braxton as an example doesn't quite work, considering her biggest album, Secrets, had contributions from David Foster, R.Kelly, Soulshock & Karlin, Diane Warren, Toni Rich and Keith Crouch alongside Babyface.

    Yes, sometimes a one producer approach can bring fantastic results, and yes, sometimes multiple producers can ruin a project (hello, Little Boots). But there are plenty of great pop albums (Britney's 'Blackout' and Kylie's 'Fever' spring to mind) that have multiple producers on them....
  17. Seriously? Even though she wrote what, 4% of the lyrics on that album?
  18. The thing I personally don't like about one-producer-albums is that everything starts to sound the same after about the 6th song usually. With an album of 12 songs all by different producers, everything is unique and it never gets boring. I don't really think it equals a scattered mess of album (though it can), that's really a fault of the artist and their A&R not picking cohesive songs to the albums theme/flow/whatever.
  19. If you spend your whole career working with the same producer then eventually all your material is going to get samey. I think its good to develop a creative process but equally important to experiment with new sounds, especially as music right now is so based on trends, a particular producers 'sound' will be passe after a couple of albums.
  20. I think albums with only one producer are just not as in style anymore. It's the popular thing to have several, but each of them arrange the songs in a way that fits your personal style. (at least with bigger names such as Gaga and Britney. I'll admit that some smaller acts who use the same producers as the formers end up sounding like contrived garbage)
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