104-418: John Clifford Farrar ( / ˈ f ɑː r ər / FAR -ər ; born 8 November 1946) is an Australian music producer , songwriter, arranger, singer, and guitarist. As a musician, Farrar is a former member of several rock and roll groups including The Mustangs (1963–64), The Strangers (1964–70), Marvin, Welch & Farrar (1970–73), and The Shadows (1973–76). In 1980, he released a solo eponymous album. As
208-481: A Grammy nomination, the Recording Academy defines a producer: The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both
312-607: A bit of nudging from Norrie Paramor, they set about finding a permanent name, which arrived out of the blue one summer's day in July 1959 (maybe the 19th). When Hank Marvin and Jet Harris took off on their scooters up to the Six Bells pub at Ruislip, Jet hit upon a name straight away. 'What about the Shadows?' The lad was a genius! So we became the Shadows for the first time on Cliff's sixth single " Travellin' Light ". The Shadows were also becoming
416-423: A broad project, the creation of a popular music recording may be split across three specialists: the executive producer , who oversees business partnerships and financing; the vocal producer or vocal arranger, who aids vocal performance via expert critique and coaching of vocal technique, and the record producer or music producer, who, often called simply the producer, directs the overall creative process of recording
520-459: A country music guitar, which he began playing at the age of twelve. In 1961, he started playing in a band, The Jaguars, with his older brother Reg. When he was fifteen, the family relocated to nearby Niddrie . In 1963, he joined The Mustangs, alongside Johnny Cooper on vocals, Peter Ramis on bass guitar and Billy on drums. In late January 1964, he joined The Strangers , replacing the founding guitarist Laurie Arthur, adding another lead vocalist to
624-524: A cover album in the same vein as early Polydor releases with singles " Moonlight Shadow " and Bruce Springsteen 's, " Dancing in the Dark " both failing to make a dent in the singles chart. Due to Alan Jones's involvement with the Dave Clark 's musical Time , the bassist was not available to contribute to the album, and Paul Westwood temporarily sat in. Moonlight Shadows was released on LP and CD simultaneously as
728-471: A cylinder. By the 1930s, a gramophone etched it laterally across a disc. Constrained in tonal range, whether bass or treble, and in dynamic range , records made a grand, concert piano sound like a small, upright piano, and maximal duration was four and a half minutes. Selections and performance were often altered accordingly, and playing this disc—the wax master—destroyed it. The finality often caused anxiety that restrained performance to prevent error. In
832-446: A few vocal numbers. Their rhythmic style is primarily on the beat , with little syncopation . They said in 1992 that "Apache" set the tone with its surf guitar sound. The Shadows and their management did not exploit commercial opportunities such as self-promotion via artwork. They allowed Vox to produce metallic badges in a script typeface, with the group name on the front bottom right corner of all three Vox cabinets sometime during
936-400: A follow-up album with 13 old tracks (including a Marvin solo track) and one unreleased track from the 'String of Hits' sessions. These tracks came from albums released earlier in the group's career of cover versions of hit singles; this was eventually released as Another String of Hot Hits in 1980. After 20 successful years together, the Shadows parted ways with their record company EMI and
1040-520: A gig at the infamous Raymond Revuebar club in Soho . After returning to Australia from a tour, Carroll could no longer work in the UK because her work visa had expired, while Newton-John, who was a British citizen, returned to work in the UK. Farrar dated and married Carroll and, following their wedding in 1970, Carroll stopped pursuing headliner status. She occasionally reprised the duo with Newton-John, and worked as
1144-407: A leading A&R man of the 1950s. During the decade, A&R executives increasingly directed songs' sonic signatures, although many still simply teamed singers with musicians, while yet others exercised virtually no creative influence. The term record producer in its current meaning—the creative director of song production—appearing in a 1953 issue of Billboard magazine, became widespread in
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#17328560761861248-556: A music producer at Decca Records . He was replaced by Brian Bennett . In April 1962, Jet Harris was replaced by Brian "Licorice" Locking . Bennett and Locking were friends from the 2I's who had been in Marty Wilde 's backing group, the Wildcats, who recorded instrumentals as the Krew Kats. This Shadows line-up released seven hit singles, two of which, " Dance On! " and " Foot Tapper ", topped
1352-516: A musical element while playing a previously recorded record, Les Paul developed a recording technique called "sound on sound". By this, the final recording could be built piece by piece and tailored, effecting an editing process. In one case, Paul produced a song via 500 recorded discs. But, besides the tedium of this process, it serially degraded the sound quality of previously recorded elements, rerecorded as ambient sound. Yet in 1948, Paul adopted tape recording, enabling true multitrack recording by
1456-403: A musical project can vary in depth and scope. Sometimes in popular genres the producer may create the recording's entire sound and structure. However, in classical music recording, for example, the producer serves as more of a liaison between the conductor and the engineering team. The role is often likened to that of a film director though there are important differences. It is distinct from
1560-587: A new band name was urgently needed. The name "The Shadows" was thought up by bass guitarist Jet Harris (unaware of Bobby Vee 's backing group) while he and Marvin were at the Six Bells pub in Ruislip in July 1959. From The Story of the Shadows : With a combination of the American situation, Cliff Richard's first number 1 hit, the runaway success "Living Doll" had by now sold over a million copies in Britain alone and after
1664-542: A new technique, " overdubbing ". To enable overdubbing, Paul revised the tape recorder itself by adding a second playback head, and terming it the preview head . Joining the preexisting recording head, erase head, and playback head, the preview head allows the artist to hear the extant recording over headphones playing it in synchrony, "in sync", with the present performance being recorded alone on an isolated track. This isolation of multiple tracks enables countless mixing possibilities. Producers began recording initially only
1768-414: A new version of "Apache", without bass and percussion, for use in the documentary. On 17 December 2022, BBC2 showed Cliff at Christmas , with Welch and Bennett appearing as guests performing "Move It". The Shadows are difficult to categorise because of their stylistic range, which includes pop , rock , surf rock and ballads with a jazz influence. Most of their tunes are instrumental rock , with
1872-444: A number one album, prompted the group to re-form once more for a 'Twenty Golden Dates' tour around the UK, featuring Francis Monkman (formerly of Curved Air and soon to be in Sky ) on keyboards and Alan Jones on bass guitar. Monkman left after that tour, and the line-up settled as Marvin, Welch and Bennett, supplemented on records and gigs by Cliff Hall (keyboards) and Alan Jones (bass). It
1976-527: A popular backing and session band. In August 1964, The Strangers were hired as the house band for the ATV O pop music program, The Go!! Show . Both Farrar's future wife, Pat Carroll , and their close friend, Olivia Newton-John , appeared on The Go!! Show as singers backed by The Strangers. Carroll and Newton-John formed a vocal duo, "Pat and Olivia", and in 1967, they first toured the United Kingdom, including
2080-411: A popular band in their own right and in 1960, " Apache ", an instrumental by Jerry Lordan , topped the UK charts for five weeks. Further hits followed, including the number ones " Kon Tiki " and " Wonderful Land ", another Lordan composition with orchestral backing and even for eight weeks at number 1. The Shadows played on further hits as Richard's band. In October 1961, drummer Tony Meehan left to be
2184-446: A popular choice to represent the UK and the viewers' postal vote was the lowest in 'Song For Europe' history. EMI however released a compilation album in 1976, spanning 1962 to 1970: Rarities with sleeve notes by John Friesen. The first half of the album was from Marvin's solo career, and the second was by the Shadows. Following the rare vocal single "It'll Be Me, Babe", written and sung by Marvin & Farrar, John Farrar amicably left
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#17328560761862288-427: A proper band logo, four silhouettes of the original line-up, in ascending order of height, were used as a pseudo-logo on concert programme covers and artwork projects such as sheet music, EP and album covers. From left to right after the drum-kit were Meehan, Harris, Marvin, and Bruce Welch. The original artwork group silhouette was modified each time a member changed: the last version featured Brian Bennett and Rostill in
2392-490: A reconstituted Shadows were chosen by BBC Head of Light Entertainment Bill Cotton to perform the Song for Europe in the 1975 Eurovision Song Contest . The Shadows recorded six songs, seen each week on a weekly television show It's Lulu , on BBC1 and hosted by Lulu , a former Eurovision winner. The group taped all six performances in the TV studio before the series itself began, with
2496-735: A session singer on Farrar's or Newton-John's work. During 1968, The Strangers supported the Australian leg of a tour by the British instrumental group, The Shadows . In June 1970, The Strangers released their most successful hit, "Melanie Makes Me Smile", which peaked at No. 14 on the Go-Set National Top ;60 in August. Farrar left the Strangers in July 1970. In July 1970, Farrar left The Strangers, and he and Carroll moved to Britain, where he
2600-525: A set of recordings in Los Angeles. Later, folklorist Archie Green called this perhaps the earliest printed use of A&R man . Actually, it says neither "A&R man" nor even "A&R", an initialism perhaps coined by Billboard magazine in 1946, and entering wide use in the late 1940s. In the 1920s and 1930s, A&R executives, like Ben Selvin at Columbia Records , Nathaniel Shilkret at Victor Records, and Bob Haring at Brunswick Records became
2704-449: A single at the tail end of 1978. The record eventually reached number 5 in the singles chart thereby giving the group their first top ten single since the 1960s. In 1979, their version of " Cavatina " also became a top ten hit, and they recorded ten more tracks with bassist Jones and keyboardists Dave Lawson and Alan Hawkshaw for the album String of Hits on EMI which topped the British album charts. The success of this led to EMI issuing
2808-469: A solo number for Newton-John, so Farrar wrote and submitted two originals, " Hopelessly Devoted To You " and "You're the One That I Want". Both were accepted, despite strong reservations from director Randal Kleiser , who believed that the songs didn't fit the style, and became two of the soundtrack's most successful singles, being international number-one hits during 1978. In June 2004, Farrar recalled writing
2912-521: A songwriter and producer, he worked with Olivia Newton-John from 1971 to 1989. He wrote her U.S. number-one hit singles: " Have You Never Been Mellow " (1975), " You're the One That I Want " (1978 duet with John Travolta ), " Hopelessly Devoted to You " (1978), and " Magic " (1980). He also produced the majority of her recorded material during that time, including her number-one albums, If You Love Me, Let Me Know (1974), Have You Never Been Mellow (1975), and Olivia's Greatest Hits Vol. 2 (1982). He
3016-413: A trio, vocal harmony group. They were favourably compared to USA folk close harmony group Crosby, Stills, Nash and Young (a.k.a. CSNY) and The Hollies . Their second album, Second Opinion (1971), produced by Peter Vince, was voted one of the best ever sounding albums recorded at Abbey Road studios by EMI Records' sound engineers in a private poll during the 1970s. The band lasted until 1973. In 1975,
3120-415: A vocal A-side with an instrumental A-side. The vocal songs "Mary Anne", "Don't Make My Baby Blue", and "I Met A Girl" all made the UK top 30, and "The Dreams I Dream" peaked at #42. Instrumental numbers also continued to chart, including "Genie With The Light Brown Lamp", "Stingray", "The War Lord", "A Place In The Sun" and "Maroc 7", all top 30 hits. During the 1960s, the group appeared with Cliff Richard in
3224-448: A woman the reins of an immense, creative project like making a record." Ultimately, the reasons are multiple and not fully clear, although prominently proposed factors include types of sexism and scarcity of female role models in the profession. Women producers known for producing records not their own include Sonia Pottinger, Sylvia Robinson and Carla Olson. In January 2018, a research team led by Stacy L. Smith, founder and director of
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3328-402: Is a music creating project's overall supervisor whose responsibilities can involve a range of creative and technical leadership roles. Typically the job involves hands-on oversight of recording sessions; ensuring artists deliver acceptable and quality performances, supervising the technical engineering of the recording, and coordinating the production team and process. The producer's involvement in
3432-660: Is more forgiving of overmodulation , whereby dynamic peaks exceed the maximal recordable signal level: tape's limitation, a physical property, is magnetic capacity, which tapers off, smoothing the overmodulated waveform even at a signal nearly 15 decibels too "hot", whereas a digital recording is ruined by harsh distortion of " clipping " at any overshoot. In digital recording, however, a recent advancement, 32-bit float , enables DAWs to undo clipping. Still, some criticize digital instruments and workflows for excess automation, allegedly impairing creative or sonic control. In any case, as production technology has drastically changed, so have
3536-981: Is now available in the DVD The Final Reunion . A new studio based album, Reunited , featuring mostly rerecorded versions of their own hits, reached number four in the UK Albums Chart in 2009. "Singing the Blues", the first "Cliff Richard and the Shadows" single for 40 years, reached number 40 in the UK Singles Chart , and is Richard's most recent top 40 hit. The Final Tour was put on Blu-ray format by Eagle Records in 2010. Welch, Bennett, Mark Griffiths and Warren Bennett performed two Shadows hits ("Apache" and "Wonderful Land") at Albert Lee 's 70th birthday concerts at Cadogan Hall, London, on 1 and 2 March 2014, Lee playing with them on lead guitar. The Shadows recorded an interpretation of John Barry's " The Appointment " for
3640-597: Is the first step in a broader effort to improve those numbers and increase diversity and inclusion for all in the music industry." The Shadows The Shadows (originally known as the Drifters between 1958 and 1959) were an English instrumental rock group, who dominated the British popular music charts in the pre- Beatles era from the late 1950s to the early 1960s. They served as the backing band for Cliff Richard from 1958 to 1968, and have joined him for several reunion tours. The Shadows had 69 UK chart singles from
3744-787: The Annenberg Inclusion Initiative, based in the USC Annenberg School for Communication and Journalism , issued a report, estimating that in the prior several years, about 2% of popular songs' producers were female. Also that month, Billboard magazine queried, "Where are all the female music producers?" Upon the Annenberg Inclusion Initiative's second annual report, released in February 2019, its department at USC reported, "2018 saw an outcry from artists, executives and other music industry professionals over
3848-476: The same title , released in November 1971. Farrar also worked as a backing guitarist and vocalist with Cliff Richard . Marvin, Welch & Farrar put out two albums, an eponymous one in 1971, and Second Opinion (in both quadraphonic and stereo formats) in 1972. In 1973, a third album featured just Marvin and Farrar. The Shadows reformed soon after, and Farrar joined as second lead guitarist and vocalist. In 1975,
3952-707: The "bed tracks"—the rhythm section , including the bassline , drums, and rhythm guitar—whereas vocals and instrument solos could be added later. A horn section , for example, could record a week later, and a string section another week later. A singer could perform her own backup vocals, or a guitarist could play 15 layers. Across the 1960s, popular music increasingly switched from acoustic instruments, like piano, upright bass , acoustic guitar , and brass instruments , to electronic instruments, like electric guitars , keyboards , and synthesizers , employing instrument amplifiers and speakers. These could mimic acoustic instruments or create utterly new sounds. Soon, by combining
4056-432: The 1940s advent of tape recording —which Les Paul promptly innovated further to develop multitrack recording —and the 1950s rise of electronic instruments, turned record production into a specialty. In popular music, then, producers like George Martin , Phil Spector and Brian Eno led its evolution into its present use of elaborate techniques and unrealistic sounds, creating songs impossible to originate live. After
4160-457: The 1940s, during World War II, the Germans refined audio recording onto magnetic tape—uncapping recording duration and allowing immediate playback, rerecording, and editing—a technology that premised emergence of record producers in their current roles. Early in the recording industry, a record was attained by simply having all of the artists perform together live in one take. In 1945, by recording
4264-597: The 1950s to the 2000s, 35 as the Shadows and 34 as Cliff Richard and the Shadows , ranging from pop , rock , surf rock and ballads with a jazz influence. The group, who were in the forefront of the UK beat-group boom, were the first backing band to emerge as stars. As pioneers of the four-member instrumental format, the band consisted of lead guitar, rhythm guitar, bass guitar and drums. The Shadows built their signature sound on Fender guitars and Vox amplifiers, but around 1964, they replaced their Fenders with Burns guitars, with Bruce Welch citing tuning issues as
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4368-462: The 1960s. Still, a formal distinction was elusive for some time more. A&R managers might still be creative directors, like William "Mickey" Stevenson , hired by Berry Gordy , at the Motown record label. In 1947, the American market gained audio recording onto magnetic tape. At the record industry's 1880s dawn, rather, recording was done by phonograph , etching the sonic waveform vertically into
4472-501: The 1980s, production's move from analog to digital further expanded possibilities. By now, DAWs, or digital audio workstations , like Logic Pro , Pro Tools and Studio One , turn an ordinary computer into a production console, whereby a solitary novice can become a skilled producer in a thrifty home studio. In the 2010s, efforts began to increase the prevalence of producers and engineers who are women, heavily outnumbered by men and prominently accoladed only in classical music. As
4576-488: The 2015 Brian Bennett album Shadowing John Barry . Rumours circled in late 2016 about a reunion and a tour with Richard, but this did not occur. On 1 May 2020, BBC4 showed The Shadows at Sixty , a documentary looking back at their success as they celebrated the 60th anniversary of their first No 1 hit, " Apache ". Marvin, Welch and Bennett all gave interviews and the programme included some previously unseen footage from their early days. Marvin, Welch, and Bennett performed
4680-497: The CD album, The Shadows at Abbey Road , containing mostly unreleased material. A vocal version of "No, No, Nina" appeared on the Specs Appeal album as a Eurovision contender track, but it was voted sixth out of six initial entries. Aside from instrumentation and vocals, Farrar worked as an arranger on The Shadows' albums: Rockin' with Curly Leads , Specs Appeal , Tasty and Live at
4784-628: The Journey song of the same name), and " Magic " (1980). Farrar produced one side of the Xanadu soundtrack for the 1980 film of the same name . The other side featured tracks by Electric Light Orchestra and was produced by their guitarist-vocalist, Jeff Lynne . In March 1981, Farrar was nominated for a Golden Raspberry Award for Worst Original Song for the song "Suspended in Time" from Xanadu . In 1995, Farrar collaborated with Newton-John and lyricist Tim Rice on
4888-637: The Kinks produced some of their own songs, although many such songs are officially credited to specialist producers. Yet especially influential was the Beach Boys, whose band leader Brian Wilson took over from his father Murry within a couple of years after the band's commercial breakthrough. By 1964, Wilson had taken Spector's techniques to unseen sophistication. Wilson alone produced all Beach Boys recordings between 1963 and 1967. Using multiple studios and multiple attempts of instrumental and vocal tracks, Wilson selected
4992-518: The Paris Olympia . Farrar's work with Newton-John embraced a wide range of styles, from " You're the One That I Want " (duet with John Travolta ) to " Physical ". Farrar's biggest success with Newton-John as a writer-producer came with the film version of the musical, Grease . In 1977, during filming, its producers were replacing some of Jim Jacobs and Warren Casey 's pieces from the original score and wanted some more commercial songs, including
5096-514: The Pops performances, notably Mud , the Rubettes , Showaddywaddy and Yellow Dog . 'The walk' is three steps within a 60–60–60-degree triangle, with a reverse right-heel back-kick, with optional can-can finale. This was varied throughout a gig during certain numbers, for example "FBI". During the 1980s, rather than play in a static posture during an instrumental number, or using the walk, their live act
5200-522: The Shadows as Wishee, Washee, Noshee and Poshee; Cinderella at the Palladium in 1966 featured Richard as Buttons and the Shadows as the Broker's Men. Their film and stage roles allowed the group to develop as songwriters. They wrote only a few songs for the earliest film, 1961's The Young Ones , but, by Finders Keepers in 1966, almost the entire soundtrack was credited to Marvin-Welch-Bennett-Rostill. In 1967,
5304-477: The Shadows each have had four No. 1–selling EPs. The Shadows formed as a backing band for Cliff Richard under the name The Drifters . The original members were founder Ken Pavey (born 1932), Terry Smart on drums (1942), Norman Mitham on guitar (1941), Ian Samwell on guitar and Harry Webb (before he became Cliff Richard ) on guitar and vocals. They had no bass player. Samwell wrote their debut single, " Move It ", often mistakenly attributed to "Cliff Richard and
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#17328560761865408-620: The Shadows performed at the Royal Variety Performance , at the same time announcing their forthcoming 50th anniversary tour. The tour began in September 2009 with 36 shows throughout the UK and continental Europe, extending in 2010 to Australia , New Zealand and South Africa . A 'final reunion' of Cliff and the Shadows was performed in the O2 Arena in London in November 2009. This performance
5512-499: The Shadows released a double album on the Tellydisc label, titled Shadows Silver Album , which contained previously released recent material, along with new, recently recorded tracks. In July 1984, the Shadows reunited with Cliff Richard for a series of celebratory concerts at Wembley Arena and Birmingham NEC . In 1986, the Shadows had a top ten hit on the LP chart with Moonlight Shadows ,
5616-654: The Shadows used Olivia Newton-John on the track " The Day I Met Marie " on their album From Hank Bruce Brian and John . In October 1968, Marvin and Welch decided to disband the group following a concert at the London Palladium . In the event, only Welch left, but the Shadows had disbanded by the end of the year. The group began 1970 by appearing on the BBC 's review of the '60s music scene, Pop Go The Sixties , performing "Apache" and backing Richard on " Bachelor Boy ", broadcast across Europe and BBC1 , on 31 December 1969. This
5720-461: The Shadows" and not the Drifters. At the insistence of the group's producer and manager Norrie Paramor , in order to ensure a strong sound, two session players, guitarist Ernie Shear and bassist Frank Clark, played on the "Move It/Schoolboy Crush" single. Initially Paramor wanted to record using only studio musicians, but after persuasion he allowed Smart and Samwell to play as well. In his memoirs, Welch regrets that he and Marvin were not able to be at
5824-550: The United States. They are the parents of Sam Farrar , bassist of Phantom Planet and Maroon 5 , and Max Farrar, a composer and producer whose work includes songs with Lewis Capaldi and The Script . John Clifford Farrar was born on 8 November 1946, and grew up in Moonee Ponds , a suburb of Melbourne . He has an older brother, Reginald, and the family lived in a large household with aunts and uncles. Farrar's mother bought him
5928-409: The artist's and label's goals in the creation of musical content. Other duties include, but are not limited to: keeping budgets and schedules; adhering to deadlines; hiring musicians, singers, studios, and engineers; overseeing other staffing needs; and editing (Classical projects). The producer often selects and collaborates with a mixing engineer, who focuses on the especially technological aspects of
6032-479: The back, and we were really impressed at the way the saxophone players moved in unison, taken, I suppose, from the Glenn Miller days. It looked fantastic and we thought, "We must do something like that because it looks so interesting from the front." The Shadows developed sequences using their bodies and guitars in tempo with the music, such as 'the walk'. It has been copied by other groups as part of their Top of
6136-512: The band in 1976, moving to the US to become the music producer for Olivia Newton-John . (Among her hits, Farrar wrote " You're the One That I Want " from the film Grease which was covered by the Shadows in 1979, and " Suddenly ", from the film Xanadu , which was a popular duet between Newton-John and Cliff Richard). The packaging of hits in Twenty Golden Greats by EMI in 1977, which led to
6240-469: The best combinations of performance and audio quality, and used tape editing to assemble a composite performance. The 1980s advent of digital processes and formats rapidly replaced analog processes and formats, namely, tape and vinyl. Although recording onto quality tape, at least half an inch wide and traveling 15 inches per second, had limited "tape hiss" to silent sections, digital's higher signal-to-noise ratio , SNR, abolished it. Digital also imparted to
6344-505: The capabilities of tape, multitrack recording, and electronic instruments, producers like Phil Spector , George Martin , and Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion , Teo Macero , producing Miles Davis 's 1970 album Bitches Brew , spliced sections of extensive improvisation sessions. In the 1960s, rock acts like the Beatles , the Rolling Stones , and
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#17328560761866448-547: The charts. In October 1963, Locking left to spend more time as a Jehovah's Witness . Meanwhile, Harris and Meehan teamed up at Decca as an eponymous duo to record another Lordan instrumental, " Diamonds ". It rose to UK no. 1 in January 1963. Two further hits, " Scarlett O'Hara " (also by Lordan) and "Applejack", followed in the same year. On the Lordan tunes, Harris played lead using a six-stringed Fender Bass VI . During 1963, ironically
6552-429: The early 1960s. This badge became the "default" band logo but was never commercially exploited by the group. The Shadows never used the logo on the front of the bass drum, preferring to allow Meehan and Bennett to use their names instead. Belatedly, the logo was used once on the front artwork of the 1975 original studio album Specs Appeal . As of 2009, the logo still remains untrademarked and uncopyrighted. In lieu of
6656-476: The ex-Shadows were competing in the charts with their former bandmates. It is perhaps also worth noting that Jet Harris also acquired himself a Burns guitar, only this time it was a Barracuda Bass. Jet Harris The Shadows, meanwhile, had issued a run of 13 consecutive top 10 UK hits from 1960 through 1963. The Shadows had met John Rostill on tour with other bands and had been impressed by his playing, so they invited him to join. This final and longest-lasting line-up
6760-419: The fans, Cliff invited onto the stage former and classic-era members of the group Jet Harris and Tony Meehan to perform " Move It " with him and his band. On 30 June 1990, Cliff and the Shadows performed to an estimated 120,000 people at Knebworth Park as part of an all-star concert line-up that also included Paul McCartney , Phil Collins , Elton John and Tears for Fears . The concert in aid of charity
6864-578: The fellow Australians Kevin Peek and Terry Britten , who had both worked with Richard, and some other musicians. They worked under co-producers Farrar and Welch until midway through Newton-John's second album, Olivia . Thereafter, Farrar was her main producer. He produced her number-one albums, If You Love Me, Let Me Know (1974), Have You Never Been Mellow (1975), and Olivia's Greatest Hits Vol. 2 (1982). Farrar also produced Newton-John's first American number-one hit single, " I Honestly Love You ", which
6968-507: The films The Young Ones , Summer Holiday , Wonderful Life , and Finders Keepers . They also appeared as marionettes in the Gerry Anderson film Thunderbirds Are GO , and starred in a short B-film called Rhythm 'n Greens which became the basis of a music book and an EP. They appeared in pantomime : Aladdin and his Wonderful Lamp in 1964 at the London Palladium with Arthur Askey as Widow Twankey , Richard as Aladdin, and
7072-456: The group also recorded occasional vocal numbers, and hit the UK top ten with the group-sung " Don't Make My Baby Blue " in 1965. Four other vocal songs by the Shadows also made the UK charts. They disbanded in 1968, but reunited in the 1970s for further commercial success. The Shadows are the fifth-most successful act on the UK Singles Chart , behind Elvis Presley , the Beatles , Cliff Richard and Madonna . The Shadows and Cliff Richard &
7176-721: The group came second to the Dutch entry, Teach-In 's " Ding-A-Dong ". Having long stepped out of Richard's shadow, this was a rare excursion into vocals for a band known for instrumentals (although they had cut vocal tracks on most albums, plus some singles 'B' sides, and had four charting vocal singles in the '60s). Welch sang lead and let the world know when, forgetting a couple of words, he turned to colleagues and said "I knew it" in range of his microphone. Author and historian John Kennedy O'Connor notes in The Eurovision Song Contest ;– The Official History that they were not
7280-750: The group represented the UK in the Eurovision Song Contest with " Let Me Be the One ". In 1973, Farrar had appeared in the same contest as a backing guitarist and vocalist for Richard's entry, " Power to All Our Friends ". The following year he backed and produced Newton-John on her effort, " Long Live Love ". From 1971 to 1976, various members of The Shadows were employed as session musicians for Newton-John's early albums, recorded at London's Abbey Road Studios. Aside from Farrar and Welch, they included Brian Bennett , Alan Hawkshaw , Alan Tarney , Dave Richmond , and Trevor Spencer . Some other session musicians were
7384-478: The group signed a 10-year contract to Polydor Records . The first album released under the Polydor banner was the aptly titled Change of Address in September 1980. With the influential arrival of keyboardist Cliff Hall, the musical style shifted from the traditional sound, becoming more electronic-based, with prominent keyboards and synthesizers burying Welch's contributions. For the group's 25th anniversary in 1983,
7488-419: The group's third CD release. This top ten album consisted entirely of cover songs. The album spent 16 weeks on chart peaking at number 6. In June 1989, the Shadows once more reunited with Cliff to celebrate 30 years in show business, where the singer filled London's Wembley Stadium for two nights, with a spectacular titled "The Event", in front of a combined audience of 144,000 people. As a special surprise for
7592-513: The group. Other members were Peter Robinson on bass guitar and lead vocals, Graeme Thompson on drums, and Fred Weiland on guitar and backing vocals. They had formed as an instrumental band in Glenroy in 1961, working in the Melbourne dance scene. In June 1964, the band issued its first vocal single, "If You Gotta Make a Fool of Someone", which reached the top 30 on the Melbourne charts in July. They became
7696-460: The industry are Logic Pro and Pro Tools. Physical devices involved include the main mixer, MIDI controllers to communicate among equipment, the recording device itself, and perhaps effects gear that is outboard. Yet literal recording is sometimes still analog, onto tape, whereupon the raw recording is converted to a digital signal for processing and editing, as some producers still find audio advantages to recording onto tape. Conventionally, tape
7800-669: The knowledge demands, although DAWs enables novices, even teenagers at home, to learn production independently. Some have attained professional competence before ever working with an artist. Among female record producers, Sylvia Moy was the first at Motown , Gail Davies the first on Nashville's Music Row , and Ethel Gabriel , with RCA , the first at a major record label . Lillian McMurry , owning Trumpet Records , produced influential blues records. Meanwhile, Wilma Cozart Fine produced hundreds of records for Mercury Records ' classical division. For classical production, three women have won Grammy awards, and Judith Sherman 's 2015 win
7904-507: The lack of women in music" and "the plight of women in music", where women were allegedly being "stereotyped, sexualized, and shut out". Also in February 2019, the Recording Academy 's Task Force on Diversity and Inclusion announced an initiative whereby over 200 artists and producers—ranging from Cardi B and Taylor Swift to Maroon 5 and Quincy Jones —agreed to consider at least two women for each producer or engineer position. The academy's website, Grammy.com , announced, "This initiative
8008-489: The late 1960s. During the 1970s, EMI dropped the silhouettes, preferring to use two guitar necks or colour photos of the Shadows. During the later 1980s, Polydor used a red Fender Stratocaster (with white scratch plate) as a symbol. In 1958, Bruce Welch went to a concert as part of the 1958 Jerry Lee Lewis tour of the UK of which he said: On the show was this black American band called the Treniers . Hank Marvin and I were at
8112-442: The main reason. The core members from 1958 to the present are guitarists Hank Marvin and Bruce Welch and drummer Brian Bennett (who has been with the group since 1961) with various bassists and occasionally keyboardists through the years. The Shadows' number-one hits include " Apache ", " Kon-Tiki ", " Wonderful Land ", " Foot Tapper " and " Dance On! ". Although these and most of their best-remembered hits were instrumentals,
8216-571: The manufacturing of record discs. After World War II , pioneering A&R managers who transitioned influentially to record production as now understood, while sometimes owning independent labels, include J. Mayo Williams and John Hammond . Upon moving from Columbia Records to Mercury Records , Hammond appointed Mitch Miller to lead Mercury's popular recordings in New York. Miller then produced country-pop crossover hits by Patti Page and by Frankie Laine , moved from Mercury to Columbia, and became
8320-770: The music a perceived "pristine" sound quality, if also a loss of analog recordings' perceived "warm" quality and better-rounded bass. Yet whereas editing tape media requires physically locating the target audio on the ribbon, cutting there, and splicing pieces, editing digital media offers inarguable advantages in ease, efficiency, and possibilities. In the 1990s, digital production reached affordable home computers via production software. By now, recording and mixing are often centralized in DAWs, digital audio workstations —for example, Pro Tools , Logic Pro , Ableton , Cubase , Reason , and FL Studio —for which plugins , by third parties, effect virtual studio technology . DAWs fairly standard in
8424-438: The precursors of record producers, supervising recording and often leading session orchestras. During the 1940s, major record labels increasingly opened official A&R departments, whose roles included supervision of recording. Meanwhile, independent recording studios opened, helping originate record producer as a specialty. But despite a tradition of some A&R men writing music, record production still referred to just
8528-463: The recording process, namely, operating the electronic equipment and blending the raw, recorded tracks of the chosen performances, whether vocal or instrumental, into a mix , either stereo or surround sound. Then a mastering engineer further adjusts this recording for distribution on the chosen media. A producer may work on only one or two songs or on an artist's entire album, helping develop the album's overall vision. The record producers may also take on
8632-462: The role of an executive producer , who is mostly involved in the recording project on an administrative level, and from the audio engineer who operates the recording technology. Varying by project, the producer may or may not choose all of the artists. If employing only synthesized or sampled instrumentation, the producer may be the sole artist. Conversely, some artists do their own production. Some producers are their own engineers, operating
8736-438: The role of executive producer, managing the budget, schedules, contracts, and negotiations. (Artists and Repertoires) In the 1880s, the record industry began by simply having the artist perform at a phonograph . In 1924, the trade journal Talking Machine World , covering the phonography and record industry, reported that Eddie King, Victor Records ' manager of the "New York artist and repertoire department", had planned
8840-1113: The score of Cliff Richard's musical, Heathcliff based on the Emily Brontë novel Wuthering Heights . Farrar also co-wrote songs for a musical based on the 1959 film, Gidget , which, as of April 2012, had been indefinitely postponed. Farrar runs the Moonee Ponds Studio at Sweetwater Road in Malibu. Farrar and Carroll are the parents of Phantom Planet bass guitarist Sam Farrar (born 29 June 1978), and Max Farrar, composer and music producer. As of April 2012, Farrar and Carroll reside in Malibu, California . According to AllMusic John Farrar has been credited with: vocals (lead, backing), guitars (lead, rhythm, bass guitar, acoustic, slide guitar, acoustic slide, electric slide), piano (electric), keyboards, mellotron, synthesizer, vocoder, synclavier, mandolin, and horn. Record producer A record producer or music producer
8944-431: The song in its final mix. The producer's roles can include gathering ideas, composing music, choosing session musicians , proposing changes to song arrangements, coaching the performers, controlling sessions, supervising the audio mixing , and, in some cases, supervising the audio mastering . A producer may give creative control to the artists themselves, taking a supervisory or advisory role instead. As to qualifying for
9048-402: The start of making history with "Move It". The Drifters signed for Jack Good's Oh Boy! television series. Paramor of EMI signed Richard, and asked Johnny Foster to recruit a better guitarist. Foster went to Soho 's 2i's coffee bar , known for musical talent performing there, particularly in skiffle , in search of guitarist Tony Sheridan . Sheridan was not there but Foster's attention
9152-440: The technology across the project: preproduction, recording, mixing , and mastering . Record producers' precursors were "A&R men", who likewise could blend entrepreneurial, creative, and technical roles, but often exercised scant creative influence, as record production still focused, into the 1950s, on simply improving the record's sonic match to the artists' own live performance. Advances in recording technology, especially
9256-556: The two songs: "'You're the One That I Want': The weird thing was it was the fastest song I ever wrote. It came so fast, the actual melody and the feel of it. 'Hopelessly Devoted To You': I spent the longest period writing the lyrics of any song I've ever written. Every thesaurus and every rhyming dictionary I had, just trying to really make it work properly". Other number-one hits for Newton-John that were written and produced by Farrar are " Have You Never Been Mellow " (1975), " Don't Stop Believin' " (an easy-listening chart-topper from 1976, not
9360-481: The vast majority have been men. Early in the 2010s, asked for insights that she herself had gleaned as a woman who has specialized successfully in the industry, Wendy Page remarked, "The difficulties are usually very short-lived. Once people realize that you can do your job, sexism tends to lower its ugly head." Still, when tasked to explain her profession's sex disparity, Page partly reasoned that record labels, dominated by men, have been, she said, "mistrustful of giving
9464-533: The video cut into the weekly show. For the presentation of the songs on week seven and the announcement of the result on week eight, the pre-recorded performances were run again. Two of the songs ("No, No Nina" and "This House Runs on Sunshine") were co-written by members of the group. The public voted for " Let Me Be the One ", composed by Paul Curtis , to go to the Eurovision final in Stockholm , Sweden in 1975. There,
9568-553: Was a co-producer of the soundtrack for the film Grease (1978). Farrar also produced Newton-John's first American number-one hit single, " I Honestly Love You ", which was awarded the Grammy Award for Record of the Year in 1975. In 1969, Farrar married the Australian singer, Pat Carroll , who had been Newton-John's singing partner. In July 1970, Farrar and Carroll relocated to the United Kingdom and, since late 1975, they have resided in
9672-653: Was an early female record producer, having produced both of her Ivor Novello award-winning songs. Across the decades, many female artists have produced their own music. For instance, artists Kate Bush , Madonna , Mariah Carey , Janet Jackson , Beyoncé (even that of Destiny's Child and the Carters ), Lana Del Rey , Taylor Swift , and Lorde have produced or coproduced and Ariana Grande who produces and arranges her vocals as well as being an audio engineer. Still among specialists, despite some prominent women, including Missy Elliott in hip hop and Sylvia Massy in rock,
9776-466: Was awarded the Grammy Award for Record of the Year in 1975. His last production for Newton-John was her album, Warm and Tender in 1989. In 1974, Farrar used the talk box "SFX unit" on an instrumental track, "No, No, Nina", well before Peter Frampton 's 1975 single, " Show Me the Way ", which featured the same device. However, Farrar's track was held back from release by EMI until 1997, when it appeared on
9880-512: Was caught by Hank Marvin, who played guitar well and wore Buddy Holly -style glasses. In spring of 1959, the owner of the United States vocal group The Drifters threatened legal action over naming rights after the release and immediate withdrawal of "Feelin Fine" in the US. The second single, "Jet Black", was released in the States under the name of The Four Jets to avoid further legal aggravation, but
9984-544: Was followed by Marvin and a reconstituted Shadows becoming resident guests on Richard's debut TV series for the BBC, It's Cliff Richard! In July 1970, Australian musician John Farrar moved to Britain and was invited to become a member of Marvin, Welch & Farrar . By that time, Olivia Newton-John and Welch had become engaged, and Farrar and Welch became two of her songwriters and producers. While The Shadows were famous for their instrumental work, Marvin, Welch & Farrar were
10088-404: Was her fifth. Yet in nonclassical, no woman has won Producer of the Year , awarded since 1975 and only one even nominated for a record not her own, Linda Perry. After Lauren Christy 's 2004 nomination, Linda Perry 's 2019 nomination was the next for a woman. On why no woman had ever won it, Perry commented, "I just don't think there are that many women interested." In the U.K., Lynsey de Paul
10192-406: Was invited to become a member of Marvin, Welch & Farrar , a vocal harmony group featuring two former members of The Shadows, Hank Marvin and Bruce Welch . By that time, Newton-John and Welch were engaged, and Farrar and Welch became two of her songwriters and producers. Welch and Farrar co-produced and performed on Newton-John's cover of Bob Dylan 's track, " If Not for You ", and the album of
10296-445: Was refined to include another movement. This featured Marvin, Welch and the bassist moving their guitars in time, or in sequence, with note or chord changes. Occasionally, during other instrumentals, this guitar presentation is re-engineered with Marvin and Welch acting out of sequence or alternating. When the group performed the popular live number "Shadoogie" (originally a track on their first LP), Hank and Bruce would walk forward whilst
10400-636: Was released in September. In December 2004, each of the then-current members of the Shadows was offered an appointment as an Officer of the Order of the British Empire (OBE), but Marvin declined. The group reformed in 2004 for a farewell tour, and recorded "Life Story" (written by Lordan) to accompany a hits package of the same name which featured 1980s re-recordings of all their 1960s and 1970s hits. This opportunity to see Marvin, Welch and Bennett, joined on keyboards by Cliff Hall and on bass by Mark Griffiths ,
10504-550: Was successful enough that they extended the tour to continental Europe in 2005. The line-up was almost the same, except that Warren Bennett , son of Brian played the keyboards instead of Hall. Marvin, Welch and Bennett appeared together as special guests at Marty Wilde 's 50th anniversary concert at the London Palladium on 27 May 2007, performing "Move It" with Wilde on vocals. The concert also featured former Shadows Jet Harris and Brian Locking. On 11 December 2008, Richard and
10608-479: Was televised around the world and helped to raise $ 10.5 million for disabled children and young musicians. Brian Bennett resigned from the group just before the group were to embark on what would be their final tour for 14 years, with Marvin, Welch and Bennett going their separate ways on 1 December following the final concert in Southampton. The last studio album the Shadows recorded before they disbanded, Reflection ,
10712-399: Was the most innovative as they tried different guitars and developed a wider range of styles and higher musicianship. They produced albums but the chart positions of singles began to ease. The line-up still had ten hits, the first and most successful of which was " The Rise and Fall of Flingel Bunt ". Beginning in 1965, the group also started issuing vocal numbers as singles, usually alternating
10816-509: Was this line-up that reunited with Cliff Richard for two concerts at the London Palladium in March 1978. Highlights of the concert, including four solo Shadows tracks, were released the following year on the top ten charting album Thank You Very Much . On the back of this, The Shadows recorded an instrumental version of " Don't cry for me Argentina " from the West End production " Evita ", released as
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