― biznotic, Wednesday, 2 February 2005 03:46 (twenty years ago)
I have his Streets, Bloc Party, and Futureheads mixes. Haven't heard the Annie or New Order ones yet.
― Xii (Xii), Wednesday, 2 February 2005 04:10 (twenty years ago)
― James Mitchell (James Mitchell), Wednesday, 2 February 2005 05:28 (twenty years ago)
― Rock Chimp, Wednesday, 2 February 2005 14:28 (twenty years ago)
― Xii (Xii), Thursday, 3 February 2005 08:41 (twenty years ago)
Listening to that right now (courtesy of the poster above). Very VERY good.
― Ned Raggett (Ned), Monday, 7 March 2005 05:50 (twenty years ago)
― Matt DC (Matt DC), Monday, 7 March 2005 10:53 (twenty years ago)
― JoB (JoB), Monday, 7 March 2005 12:11 (twenty years ago)
― johnny and luther (johnny and luther), Monday, 22 August 2005 16:32 (nineteen years ago)
― mike h. (mike h.), Monday, 22 August 2005 17:42 (nineteen years ago)
― Legroom at the Vista (Bent Over at the Arclight), Monday, 22 August 2005 20:21 (nineteen years ago)
http://www.nytimes.com/2012/02/10/arts/music/paul-epworth-on-producing-adele.html?ref=arts
He has shaped the sound of artists like Florence and the Machine, Bloc Party, Plan B and Kate Nash. More recently he has become the go-to British producer and song doctor for American pop stars. He helped produce hit records for Cee Lo Green and Foster the People that are also nominated this year for Grammys.
Tell us a little about how “Rolling in the Deep” came about.
A. I had all these chords I thought would be perfect for her. You know, little musical riffs or themes. I tried all these out on her for about two hours. She literally sat there with a pen in her hand staring blankly, and she just went, “I’m not feeling anything.” And then she went, “I’ve got this riff, this idea, that’s going round and round my head,” and I went, “Go on then, what is it?” And she went, [sings] “There’s a fire.”
I said wow, and I just grabbed a guitar and quickly tried to figure out what the key was. She had all the verses, that thematic melody that she uses all through the song. I put all the verses down as one long recording, and then we put spaces in the track to start work on a prechorus and a chorus. We wrote the core of the song — her verses and the chords — in under 15 minutes. And the rest of it was structured over two hours.
― curmudgeon, Friday, 10 February 2012 13:58 (thirteen years ago)
He's a very rich man now I guess
― curmudgeon, Friday, 10 February 2012 15:43 (thirteen years ago)
it's interesting to see guys like him, or Greg Kurstin or even Butch Walker, kind of become genuinely powerful major label industry figures
― some dude, Friday, 10 February 2012 15:49 (thirteen years ago)
What does genuinely powerful major label industry figures mean in 2012? Not being snarky, just do not know. Epworth seems to be a go-to guy for many, and he is now making his first trip to the grammies, but what does it mean beyond that?
― curmudgeon, Saturday, 11 February 2012 14:16 (thirteen years ago)
Means he actually gets employed and paid?
― Ned Raggett, Monday, 13 February 2012 05:54 (thirteen years ago)
Ha
― curmudgeon, Monday, 13 February 2012 15:52 (thirteen years ago)
Producer of the year Grammy (was it just for Rolling in the Deep or was it a general award?)
― curmudgeon, Monday, 13 February 2012 15:54 (thirteen years ago)
producer of the year is a general award for a producer's whole body of work that year (he also produced Foster The People and Cee-Lo Green)
'powerful industry figure' was a poor choice of words, i just mean those guys are in high demand for some really huge projects
― some dude, Monday, 13 February 2012 16:13 (thirteen years ago)
paul epworth blackballed the game
― J0rdan S., Monday, 13 February 2012 16:14 (thirteen years ago)