Comments on: The Producers: Tom Werman, Chapter Five http://popdose.com/the-producers-tom-werman-chapter-five/ your daily dose of pop culture Sun, 12 Feb 2012 00:45:00 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Rusterr1http://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-80949 Rusterr1 Sun, 10 Apr 2011 22:31:00 +0000 http://popdose.com/?p=17022#comment-80949 Anthrax has done a version. It's a B-Side/bonus track. "The sound of white noise"-bonus edition or the "Black Lodge" single Anthrax has done a version. It’s a B-Side/bonus track. “The sound of white noise”-bonus edition or the “Black Lodge” single

]]> By: Tom Stewarthttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-50055 Tom Stewart Sun, 03 May 2009 20:32:09 +0000 http://popdose.com/?p=17022#comment-50055 Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983...maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3. <br> Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them....bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their "classic" sound in my opinion. <br> Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either. <br> What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it...very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited. <br> I also love the work you did with The Producers...especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes...they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something. <br> Sorry for such a long post....I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this...it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood... Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983…maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3.
Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them….bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their “classic” sound in my opinion.
Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either.
What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it…very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited.
I also love the work you did with The Producers…especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes…they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something.
Sorry for such a long post….I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this…it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood…

]]> By: Tom Stewarthttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-40611 Tom Stewart Sun, 03 May 2009 16:32:09 +0000 http://popdose.com/?p=17022#comment-40611 Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983...maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3. <br> Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them....bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their "classic" sound in my opinion. <br> Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either. <br> What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it...very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited. <br> I also love the work you did with The Producers...especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes...they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something. <br> Sorry for such a long post....I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this...it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood... Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983…maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3.
Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them….bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their “classic” sound in my opinion.
Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either.
What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it…very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited.
I also love the work you did with The Producers…especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes…they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something.
Sorry for such a long post….I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this…it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood…

]]> By: Tom Stewarthttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28654 Tom Stewart Sun, 03 May 2009 15:32:09 +0000 http://popdose.com/?p=17022#comment-28654 Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983...maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3. <br> Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them....bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their "classic" sound in my opinion. <br> Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either. <br> What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it...very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited. <br> I also love the work you did with The Producers...especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes...they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something. <br> Sorry for such a long post....I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this...it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood... Wow, when I saw a link posted online about a multi part column being written by you Mr. Werman, I couldn't get here fast enough LOL You, along with a handful of others(Roy Thomas Baker, Jack Douglas, Bob Ezrin, Mike Chapman, etc) are responsible for helping to make some of the greatest recordings of all time in my book. I always wondered why someone hasn't decided to make a huge book on just interviews with record producers from what I consider the golden era of classic rock/new wave (1969 to about 1983…maybe 1985 if you want to include some metal/hair band stuff too). To me, the ins and outs of what it took to make these classic albums, from a non-band member perspective, is priceless. I could read a 300 page book just on the making of Dream Police LOL Not that it would ever get published, but you get the jist. I could ask a hundred questions, but I will TRY to be somewhat brief in my questions/comments/ramblings. Let me just say regarding Cheap Trick, my 2nd favorite band behind the original 70s version of KISS, the 3 studio albums you did for them are absolutely the jewels in the catalog, with the exception of the Jack Douglas produced debut, which is also right there along the other 3.
Was it your idea to bring in the strings/synth parts into the band's sound? That's an element that I thought really worked with them….bringing out an ELO/Who element to the songs that, since ELO and The Who are also in my top 10, really hits home with me. Songs like Way Of The World just come alive with those string sections, without wimping it out. It's part of their “classic” sound in my opinion.
Why is the drum sound on In Color so dry and muted, vs the crisp, punchy drum sound on say Dream Police and Heaven Tonight? Was it a studio issue, a mix decision, or just what sounded right at the time? This is not a knock, but as a drummer, I always loved the drum sound on the D Police album, and thought In Color has the killer songs, but lacked the crisp punchiness in the mix. But it doesn't hurt it's classic status either.
What did you think of George Martin's work on All Shook Up? What would you have done different? I love that album, because it's a throwback to the 1st album in that it's very heavy and weird, sort of ramshackle sounding, but I thought it was strange that having The Beatles producer in the chair, they went in the OPPOSITE direction you would think they would. I always hated the drum sound on it…very trash can/thin sounding, and thought if it had the mix/production values of D Police, the album would have benefited.
I also love the work you did with The Producers…especially You Make The Heat, which to me was a crisper, more in your face sounding record than the debut, which is also a power pop classic and the sound on that record is perfect for those songs. I remember seeing What's He Got on MTV when I was 11 and just being like WOW! Where did these guys come from? Energy, charisma, tunes…they should have at least been as big as say The Romantics or any of those other bands that weren't quite stadium acts, but had something.
Sorry for such a long post….I get carried away with this stuff LOL Are you actually working on a book? Thanks for doing this…it's a really cool thing to see. And thanks for helping to shape the soundtrack of my childhood…

]]> By: Stevehttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28514 Steve Thu, 30 Apr 2009 17:30:28 +0000 http://popdose.com/?p=17022#comment-28514 Anthrax did a stomping version of "Auf Wiedersehen" --- I think it was the b-side to a single in the early 90's, can't recall.<br><br>Tom, love reading all this...as a HUGE Cheap Trick fan, along with Beck and Nugent, I've long admired the sounds you got from those artists.<br><br>It always pained me that Bun E. in particular loves to slag the sound of those records...but c'est la vie I guess. Anthrax did a stomping version of “Auf Wiedersehen” — I think it was the b-side to a single in the early 90's, can't recall.

Tom, love reading all this…as a HUGE Cheap Trick fan, along with Beck and Nugent, I've long admired the sounds you got from those artists.

It always pained me that Bun E. in particular loves to slag the sound of those records…but c'est la vie I guess.

]]> By: DavidMedskerhttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28459 DavidMedsker Wed, 29 Apr 2009 19:12:40 +0000 http://popdose.com/?p=17022#comment-28459 This column is catnip to me. Love reading the behind-the-scenes stories, and I'm just gobsmacked at the number of big-name bands that literally fell into your lap. And while I am equally eager to read about the Crue years, I am also just as curious (albeit morbidly) to read about the experience of producing Poison, Stryper and Kix. This column is catnip to me. Love reading the behind-the-scenes stories, and I'm just gobsmacked at the number of big-name bands that literally fell into your lap. And while I am equally eager to read about the Crue years, I am also just as curious (albeit morbidly) to read about the experience of producing Poison, Stryper and Kix.

]]> By: motovatinhttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28358 motovatin Mon, 27 Apr 2009 21:26:51 +0000 http://popdose.com/?p=17022#comment-28358 I have always been surprised that nobody that I know of has covered "Auf Wiedersehen", one of my favorite CT songs. Somehow, I can see Metallica covering it! <br><br>Tom, on "On the Radio", the outro with the D.J. sounds almost, (almost!) hip-hopish! Were you and CT ahead of your time? I have always been surprised that nobody that I know of has covered “Auf Wiedersehen”, one of my favorite CT songs. Somehow, I can see Metallica covering it!

Tom, on “On the Radio”, the outro with the D.J. sounds almost, (almost!) hip-hopish! Were you and CT ahead of your time?

]]> By: side3http://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28289 side3 Sat, 25 Apr 2009 18:47:04 +0000 http://popdose.com/?p=17022#comment-28289 Mr. Werman,<br><br>I am loving your posts here at Popdose. They are some of the best reads I have come across in a long time...very very interesting. Thanks for taking the time to write about your career. Thanks for taking the time to comment too...that is very cool.<br><br>As for Cheap Trick and their supposed reassessment of the sound of the albums you produced...I have to say, I love Cheap Trick....when I was in high school they were 'my band'. I am a pre-Budokan fan...I already had all three albums before Budokan came out....I still love Trick 30 plus years later...but they never sounded as good as they did on "In Color", "Heaven Tonight" and "Dream Police"....especially "In Color", which is in my Top 10 of all time. I really have thought over the years "I love to tell Tom Werman how great those CT albums sounded...and now I have! You did a great job...so my thanks to you for that.<br><br>I was pretty shocked to find out Jay Graydon played guitar on "I Want You To Want Me"...were there any other tracks where an outside guitarist (or bassist) was used?<br><br>Oh...and I agree with you on Aerosmith's "Rocks". I still love that album too...my fav track is Joe Perry's "Combination".<br><br>RB Mr. Werman,

I am loving your posts here at Popdose. They are some of the best reads I have come across in a long time…very very interesting. Thanks for taking the time to write about your career. Thanks for taking the time to comment too…that is very cool.

As for Cheap Trick and their supposed reassessment of the sound of the albums you produced…I have to say, I love Cheap Trick….when I was in high school they were 'my band'. I am a pre-Budokan fan…I already had all three albums before Budokan came out….I still love Trick 30 plus years later…but they never sounded as good as they did on “In Color”, “Heaven Tonight” and “Dream Police”….especially “In Color”, which is in my Top 10 of all time. I really have thought over the years “I love to tell Tom Werman how great those CT albums sounded…and now I have! You did a great job…so my thanks to you for that.

I was pretty shocked to find out Jay Graydon played guitar on “I Want You To Want Me”…were there any other tracks where an outside guitarist (or bassist) was used?

Oh…and I agree with you on Aerosmith's “Rocks”. I still love that album too…my fav track is Joe Perry's “Combination”.

RB

]]> By: Tom Wermanhttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28286 Tom Werman Sat, 25 Apr 2009 18:13:56 +0000 http://popdose.com/?p=17022#comment-28286 I've always thought "Surrender" or "Top of the World" was close to the perfect power pop song. I also really loved "Auf Wiedersehen". I've always thought “Surrender” or “Top of the World” was close to the perfect power pop song. I also really loved “Auf Wiedersehen”.

]]> By: Tom Wermanhttp://popdose.com/the-producers-tom-werman-chapter-five/comment-page-1/#comment-28285 Tom Werman Sat, 25 Apr 2009 18:10:54 +0000 http://popdose.com/?p=17022#comment-28285 Twisted Sister also re-recorded the Stay Hungry LP and I was told by JJ that they initially sold about 25,000. This is compared to the 4 million sales on the original, which is about the only measure we have. Things change over time. If I were to do Cheap Trick now, I think the mix would sound far more like the Foo Fighters' mixes than what we did back then. But I have no problem with bands' re-recording music that I produced. They want people to hear a representation of what they want listeners to think they intended originally. Problem is, they didn't. One of Popdose's readers asked an important question: If these bands were so unhappy with their records, why did they use me for 2 more LP's, and why are my productions their biggest records? Twisted Sister also re-recorded the Stay Hungry LP and I was told by JJ that they initially sold about 25,000. This is compared to the 4 million sales on the original, which is about the only measure we have. Things change over time. If I were to do Cheap Trick now, I think the mix would sound far more like the Foo Fighters' mixes than what we did back then. But I have no problem with bands' re-recording music that I produced. They want people to hear a representation of what they want listeners to think they intended originally. Problem is, they didn't. One of Popdose's readers asked an important question: If these bands were so unhappy with their records, why did they use me for 2 more LP's, and why are my productions their biggest records?

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