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THE INVISIBLE ARTIST Arrangers in Popular Music (1950 - 2000) Their Contribution and Techniques

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THE INVISIBLE ARTIST Arrangers in Popular Music (1950 - 2000) Their Contribution and Techniques THE INVISIBLE ARTIST Arrangers in popular music (1950 - 2000) Their contribution and techniques A thesis submitted for the degree of Doctor of Philosophy by Richard Niles School of Arts Brunei University 2007 TABLE OF CONTENTS Page Foreword 1 Chapter 1 8 Jesse Stone (1901 - 1950) Analysis of Money Honey (1953) 11 Chapter 2 16 Dave Bartholomew (1920 - 1970) Analysis of Blueberry Hill (1956) 19 Chapter 3 25 Maxwell Davis (1916 - 1970) Analysis of Good Rockin ' Daddy (1955) 27 Chapter 4 33 Jack Nitzsche (1937 - 2000) Analysis of River Deep Mountain High (1966) 36 Chapter 5 44 H.B. Barnum (b. 1936) Analysis of Help Me Make It Through The Night (1972) 45 Chapter 6 50 Jerry Wexler (b. 1913) - the art of Collective Arranging Interviews with Wexler, Wayne Jackson Analysis of I Never Loved A Man (1967) 55 Chapter 7 58 Harold Battiste (b. 1931) Analysis of I Got You Babe (1965) 60 Chapter 8 68 Arif Mardin (1932 - 2006) Analysis of Natural Woman (1972) 72 Chapter 9 79 Burt Bacharach (b. 1928) Analysis of The Look Of Love (1965) 83 Analysis of Anyone Who Had a Heart (1963) 84 Chapter 10 91 Brian Wilson (1932 - 2000) Analysis of Good Vibrations (1972) 93 ii Chapter 11 .......... 102 The Motown Sound Berry Gordy, The Funk Brothers ........... 103 Interview with Harry Weinger, Paul Riser .......... 105 Analysis of My Girl (1964) .......... 107 Interview with Allan Slutsky .......... 109 Chapter 12 .......... 115 David Van dePitte (b. 1942) Analysis of What's Goin ' On? (1971) .......... 119 Chapter 13 .......... 123 George Martin (b. 1926) Analysis of Penny Lane (1967) .......... 126 Analysis of Yesterday (1965) .......... 128 Analysis of Eleanor Rigby (1966) .......... 129 Chapter 14 .......... 135 Richard Carpenter (b. 1946) Analysis of Ticket To Ride (1970) .......... 144 Chapter 15 .......... 152 Nile Rodgers (b. 1952) Analysis of I Want Your Love (1982) .......... 156 Chapter 16 .......... 164 Jimmie Haskell (b. 1938) Analysis of Old Friends (1968) .......... 161 Chapter 17 .......... 171 James Brown (1932 - 2006) and his arrangers Nat Jones, Sammy Lowe, Pee Wee Ellis, Fred Wesley Analysis of Out Of Sight (1964) .......... 173 Analysis of Papa's Got A Brand New Bag (1965) .......... 174 Analysis of It's A Man's Man's Man's World (1966) .......... 177 Chapter 18 .......... 180 Pee Wee Ellis (b. 1941) Analysis of Cold Sweat (1967) .......... 180 Analysis of Lickin ' Stick (1968) .......... 183 III Chapter 19 186 Fred Wesley (b. 1944) Analysis of Get On the Good Foot (1971) 187 Chapter 20 186 Barry Manilow (b. 1943) Analysis of Tryin' To Get The Feeling Again (1976) . 191 Chapter 21 . 198 Charlie Calello (b. 1938) Analysis of Eli's Coming (1969) 199 Chapter 22 206 The Philadelphia Sound Gamble and Huff Interview with Bobby Eli 207 Chapter 23 209 Bobby Martin (b. 1941) Analysis of Cowboys To Girls (1968) 210 Analysis of T.S.O.P (1974) 212 Analysis of Love Is The Message (1973) 213 Interview with Bobby Martin 216 Analysis of Me and Mrs. Jones (1973) 219 Chapter 24 221 Thom Bell (b. 1941) Analysis of Didn't I Blow Your Mind This Time? (1971) . 222 Chapter 25 . 227 Michael Gibbs (b. 1937) Analysis of Paprika Plains (1977) 233 Chapter 26 239 Rupert Holmes (b. 1947) Analysis of Everything (1976) 240 Chapter 27 246 Anne Dudley (b. 1956) Work with Trevor Hom, The Art of Noise Chapter 28 254 John Altman (b. 1949) Work with Monty Python, The Rutles iv Chapter 29 262 Jeremy Lubbock (b. 1935) Analysis of Shame (1991) 262 Chapter 30 275 Nick Ingman (b. 1949) Work with Prtishead, Radiohead, Oasis, S Club 7 Chapter 31 2280 Remixing - Steve Anderson (b. 1969) Work with Trevor Horn, The Art of Noise Chapter 32 287 Richard Niles (b. 1951) Analysis of I Lost My Heart To a Starship Trooper (1976) . 287 Analysis of Slave To The Rhythm (1985) . 291 Analysis of Left To My Own Devices (1987) . 303 Analysis of Go West (1993) .. 307 Analysis of Overture To Performance (1991) .. 309 Analysis of Somewhere (1997) . 313 Work with Paul McCartney . 316 Analysis of Breakout (1986) . 318 Analysis of Sowing The Seeds Of Love (1989) . 307 Work with Steve Mac - Boy-bands - 'The Ballad Formula' & 'Mythic Structure' 321 Conclusion 325 I Foreword This thesis is based on the research conducted by the author for the series, Richard Niles' History of Pop Arranging, seven thirty-minute documentary programmes for BBC Radio 2, researched, written and presented by the author and broadcast in 2003. It also draws on interviews conducted by the author (and other research) between 2002 and 2007 both for the radio series and for this thesis and on the author's experience as a professional arranger in popular music working with many of the genre's significant recording artists including Paul McCartney, Ray Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve Lipson, Steve Mac and Steve Anderson. It will be argued that the role of the arranger in popular music has often been undervalued and that during a critical period of popular music history (1950-2000) arrangers played a significant part in the evolution of musical content. This thesis is, to the best of the author's knowledge, the first time (apart from the above mentioned documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on record liner notes or in books or articles concerning popular music. A considerable amount of research has been necessary to determine who wrote many of the arrangements considered herein. Motown's Berry Gordy purposely kept the names of musicians and arrangers off the records because he feared others might 'poach' the trademark 'Motown Sound'. Other record labels considered the job of the arranger to be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and spontanaeity they wished to promote. Some producers and recording artists disliked sharing credit for their work. Motown arranger David Van dePitte told the author that arranging was "thankless and anonymous - a very service-oriented profession where others often take credit for what you've done." Arranging has therefore remained an intrinsically unseen art created by 'invisible' artists. By analyzing many recordings, revealing the techniques and concepts they have used in their work to create popular records, arrangers and their art will be made more 'visible'. 2 Theoretical and technical musical analysis will consist of the author's transcriptions of recorded music rather than original scores. In score-based classical and contemporary concert music, the composition and the performance of that composition are of primary importance in evaluating the music as a work of art. But in popular music, as Paul McCartney has explained, "The record was the thing. That was what we bought, that was what we dealt with. That was the currency of music: records.,,1 Similarly the Director of Film and Media Studies at the University of Florida, Robert B. Ray writes, "What distinguishes rock 'n' roll from all the music that precedes it. .. is its elevation of the record to primary status,,,2 and Theodore Gracyk, Professor of Philosophy at Minnesota State University, has commented, "Insofar as there can be a rock aesthetic, a general theory about rock music as an object of critical attention, I propose that it must focus on recorded music ... [and] specific recordings."? Thus in popular music, art is artefact. The process of making the artefact (the pop record) depends on many elements apart from the songwriter's composition and the artist's performance. These include the contributions of the producer, engineer and mixer (and the technology they employ), the studio itself, the musicians and singers who perform on the record and the musical arrangers who create a generic and sonic environment for the song. A record becomes a 'hit' because the record-buying public purchase large quantities of commercially reproduced copies of it. This study will propose that an arrangement can aid the listener in their comprehension of the lyrical meaning and musical structure of the song by enhancing it in a variety of ways; this in tum may inspire those listeners to purchase the recording. For example, Richard Carpenter's arrangement of Burt Bacharach's song Close To You for The Carpenters has become an enduring hit while Bacharach's own previously released version for Dionne Warwick failed to achieve success. Carpenter commented, "So it's a hit song, a hit singer and a hit arranger ... but Burt missed ... It's a NICE arrangement but it's just not the right arrangement.t'" Because the element 1 Andre Millard, America On Record, A History of Recorded Sound, Cambridge University Press, 1995 2 Robert B. Ray, Tracking, South Atlantic Quarterly 90, winter 1991. 3 Theodore Gracyk, Rhythm And Noise - An Aesthetics of Rock, I.B. Tauris, 1996. 4 Author's interview with Carpenter, 2003. 3 here that makes one specific recording different from another is the arrangement, arranging must be considered central to the ontology of a successful record. As lecturer Timothy Warner commented on my arrangements for the Grace Jones album Slave To The Rhythm (1985), "The effect of... the orchestral and choral colours is to broaden the scope of the music, offering not only a rich palette of sounds, but also opportunities to manipulate musical significance. While these sounds are often used to add timbral contrast and diversity, they are also used as icons of musical style.:" This study will therefore consider a number
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