GEORGE CLINTON KNOWS HIS STUFF: WHAT MAKES A GREAT MUSIC PRODUCER
- chriswindmusic
- Nov 21, 2014
- 2 min read
The Dogfather of Funk, George Clinton, sat with XXL Magazine recently to talk about who are the best producers in the game, citing longevity and ability to connect with younger generations of artists as factors.
Of course, he couldn't name himself on that list, but G is one of the greatest producers of all time. Wind Clan and I have been blessed to work alongside this musical genius, so we know firsthand. He'll tell you himself that he doesn't play any instruments, nor does he think himself to be that great a singer--all of which further distinguishes the difference between "beatmakers" and "producers". You can make beats and not be a producer. Likewise, you can be a producer and not make beats.
You could program a computer to synthesize what is considered a "good beat", but only a real flesh and blood producer can get to know the artist and make considerations that take a project from being good to being great.
I engineered and recorded in George's A, B, and C studio at his spot in Tallahasee around the time things were starting to look up again for the Funk pioneer. It was around this time that G was starting to be surrounded by some loving and caring individuals that were genuinely poised to aid him in returning to the top. As George was approaching 70, I saw that he didn't miss a beat. He had (and still has) ears as sharp as Japanese steel, and could organize chaos into chemistry.
Being a great producer goes above and beyond putting the "right" instrument in the "right" place--it also involves putting the right people on the job. It involves creating the type of environment that allows for prodictivity and creativity. It involves knowing when to give input and when to just kick back and let magic happen.
All of the producers named by George in the XXL interview know how to do exactly that, which is why they've produced CLASSICS.
