Robert John "Mutt" Lange Podcast 2

Robert "Mutt" Lange - Jedi Producer

Throughout the past month, we have been discussing, researching and posting enlightening information on the creative minds behind the music industry. Many artists and producers have influenced me throughout my life and finding one outstanding person or group is near impossible. However, I did settle on one of the main producers that created the most amazing productions, in my opinion, and his innovations influence me still.

Robert “Mutt” Lange, born November 11, 1948 in Zambia, South Africa, has been one of the most important producers in my experiences with the industry.  Since my first introduction to music, I was not interested in who produced the music; I just liked the music. Now that I am working in the industry, I am more interested in how George Martin, Brian Wilson and other producers discovered the means to create the sound that affected the world and the industry. At an early age, Robert “Mutt” Lange grew up enjoying country music and eventually would start his own band, Hocus, in 1970.

The ability to produce an album does not normally come easy and requires dedication and determination. “Mutt” is one of those producers who ooze with these traits. His ability to endure long sessions, visualize the outcome of his work and give the listeners what they desire. My experience with sound design, and my research on the subject, includes the pioneers of sound. Producers like George Martin and the ability to utilize the studio, as a tool is, in my opinion, one of the stepping-stones towards the productions of today. “Mutt” uses similar techniques to create the powerful and charged music that we hear today.

Robert Lange’s first creative project was in 1978. He wrote and produced “Ipswich Town's FA Cup final single Ipswich Ipswich Get That Goal, his connection with the club being due to their South African born player Colin Viljoen”.  In 1978, “Mutt” contributed to his first major hit while producing the #1 UK hit Rat Trap by the Boomtown Rats. Later on, in 1979, he worked directly on AC/DC’s Highway to Hell album.

My inspiration derives from Robert Lange’s ability to create so much power in music, from the very first Recordings of City Boy and Graham Parker’s Heat Treatment album’s in 1976, to the AC/DC days, straight through the ages with Def Leppard’s amazing album Hysteria.

I once watched a documentary entitled Hysteria: The Def Leppard Story, based on the development of Def Leppard in the 80’s. During the 80’s, Def Leppard was my favorite band. I even contributed my career choice in music solely on the fact that they were so young (17-20) when they first became a sensation. It was in this documentary that we get to know “Mutt” Lange as a producer and how he was able to introduce such advanced techniques for creating tracks. We saw how he utilized his studio as a tool, as well, and used such innovative technology, at that time, to make vocals more predominant and even reach ranges that artists had difficulty reaching.

Throughout his career, Lange amassed a huge portfolio of productions. His reputation as a dedicated and proficient producer increased the demand for his talent. From 1976 to 2010, Lange has been responsible for at least three tracks included on 45 albums! Those numbers are impressive on their own, however, if you were to combine his work on those albums, as well as the singles he has worked, and the albums he has co-written, the numbers are closer to 200 albums that he has worked on!!! That much dedication and experience has made him what he is today.

“In 1991, he produced Bryan Adams' Waking Up the Neighbours, including co-writing "(Everything I Do) I Do It for You", a hugely-successful single written for the Kevin Costner film Robin Hood: Prince of Thieves that currently holds the record for the longest consecutive number 1 UK chart single with 16 consecutive weeks at number one. (July 7-October 26 1991)”. (Wikipedia article 2011-2012)

With so many achievements accumulated within his career, it is no wonder why Lange is in as much demand today, as he has been in the past. His ability to project the ideas he has into the production

In the decades that prevailed before Lange entered the studio realm, the Beatles and the Beach Boys were the innovators who created the epic sounds that soon found their way onto their albums. In an article by an unknown author, entitled “Mutt Lange – Hi -Tech Songwriting “ …”he is to music what George Lucas is to movies: a purveyor of accessible popular entertainment. In fact, his vision for the Def Leppard record was to bring Star Wars’ to popular music using the latest technology available”. (2007 Unknown)

What impression has Robert Lange left on me as an industry professional? I had a vision back in the early 80’s that I was going to be a rock star. Let’s be honest. Anyone who grew up with great music thought, at one point, that they would be a rock or pop star or else we wouldn’t be as interested in music as adults if we didn’t. I watched the videos, listed to each and every song I could find that sounded similar to other songs and had no idea why they intrigued me; until now. Every song that Lange has worked on, whether accepted or rejected, has always gone through a process that I call the “Lange approach”.

His borderline OCD behavior is similar to mine and the attention to detail is obvious. I spend as much time in the studio, with headphones on, tapping out each note bar by bar; looking for the one “off” note so I can correct it. I want to produce powerful music that all will Google some day and write blogs about me based on my procedures and achievements.

In five years, I am sure that there will be even more advancements in the music industry that will change the sound forever. It won’t surprise me nor will it stop my advancements in the industry. Like with all technological advancements, changes occur that will have to be approached in order to accept and adapt to them. The techniques that Lange utilized in the studio like layering vocals, dropping high ends completely out and boosting compressors, and adding his own voice on most of the chorus sections, is one of the ways that a producer can be a part of the production. I produce music in a very similar manner. I also have such a dedicated focus on perfection and have always utilized my own voice to bring out other artists’ vocals. Lange has been labeled, at times, as this OCD driven perfectionist that obsesses with every note. I am honored to fit in the same category as a great man like Robert Lange. I see good things in my future, if I can master the complex techniques that are still making great music today.

See you at the Grammys!!!

David Bowie- Oddity To Station

David Robert Jones, or David Bowie, as most people have come to recognize him, is an English born singer, songwriter, actor, producer and arranger who have seen his share of influences in the electronic era. In 1969, Bowie’s song Space Oddity was his first song to become recognized by reaching the top 5 in the UK Singles Charts. By 1972, after a 3-year experimental phase, Bowie had re-emerged into the music scene as his alter ego, Ziggy Stardust. Biographer David Buckley wrote that Bowie’s impact "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture." (Buckley,D 2005)

The years between 1969 and 1973 shared many changes in the music that Bowie was introducing to the world. Early influences range from Elvis Presley style rock, to psychedelic funk. His ability to write on so many levels gave him the edge over his career. Not accepted by everyone, his image in 1972 was his alter ego, Ziggy Stardust. Although odd, David Bowie introduced glamour to rock by wearing such bizarre outfits and wearing makeup. This look, although bizarre at the time, created trends for years to come. The music and stage presence launched what many call the “Glam-rock” image.

After his career as Ziggy Stardust faded into the wind, he continued many new experimental processes of creativity in the studio and on stage.

In 1974, he begun producing large live productions on stage for film and followed up with one of his most significant works, Station To Station in 1976. During the time prior to Station To Station’s release, Bowie had been experimenting with many new forms of music, and drugs. His ideals were deeply impacted by the drug use, and he can barely recall the production process. His influence in German electronic music, or Krautrock, was a transition from his early funk and soul music to a new visionary path. His Berlin Trilogy, recorded with Brian Eno in West Berlin during the 70’s, was greatly impacted by the works of Kraftwerk.

I have always had the works of David Bowie playing in my house when I was growing up. My two oldest brothers introduced me to so many artists when I was young. I never looked at images or album art to determine what I liked, I listened to the music and loved it. David Bowie, as a performer, artist and songwriter, always caught my attention. Even his earliest material was captivating. I remember in the early 80’s hearing his new music on the radio. Let’s Dance was one of my favorite tracks in 83’ that I remember well. The pop-song sound was so common then and this song wasn’t any different. I also remember that with all the new releases, even after 1983, the old songs from the 70’s were still as popular. They would always play Fame, Changes, Suffragette City and Rebel, Rebel on the radio. Those songs were familiar because of the rock style music, infused with funk and the electronic element. They remained immortal.

As an industry professional, I would have been at a stalemate when it came to dealing with the multiple changes and ideals that Bowie introduced to his music, his performances, a well as his experimentation with drugs. I don’t know if I could have been patient with the process, trying to deal with the controversy that surrounded David Bowie during those years, but as a professional I would have to think about the music first. So many types of music and ideas directly influenced his creations and yet he was able to find a path and follow it. His most impressive art was Station To Station, in my opinion, simply because his ability to capture and develop his ideas was driven by a series of events that took place in his career. The songwriting and production of Station To Station was important to me because the influences and assistance that Bowie received for the album came from so many individuals in the industry that were part of the pioneer path when it came to electronic music.

To be able to create such powerful music with so much emotion is primarily my goal in the industry. 

Kraftwerk 1974-1981

When you think of the word “pioneer”, you can’t help but think of covered wagons and those brave people who blazed the trails over great distances to settle in the West. When you think about it, the innovators known as Kraftwerk were just that. In this Blog, I will be discussing the trail that Kraftwerk paved for the music industry and music in general.

Imagine sitting in an enormous field, surrounded by sounds of nature. Now imagine looping every sound precisely to create a distinct tone. Now apply those creations into music form. I get that image when I describe the masterful techniques of Kraftwerk. In the early 1970’s, Kraftwerk’s originators “Ralf Hütter and Florian Schneider envisioned a sound that escaped the common “flower power” music of the 1960’s. With the rise of the Beatles and the Beach Boys invading the Globe, it was their intention to introduce the World to something new. Something new is exactly what they introduced.

The dawn of the 70’s brought forth many new styles of music in the U.S. alone, but nothing prepared the World for the sounds that arrived from Germany. While trying to maintain a classic style, Kraftwerk utilized their classical education and ventured into the world of electronic creation. Their “shop-made” equipment was revolutionary to the creation of their sound, but the sound was so new to listeners that it didn’t catch on right away. 

The first few albums that Kraftwerk released from 1970-1973, Kraftwerk (1970), Kraftwerk 2 (1972), and Ralf and Florian (1973) did not flourish well. “Kraftwerk, released in 1970, and Kraftwerk 2, released in 1972, were mostly exploratory jam music, played on a variety of traditional instruments including guitar, bass, drums, electric organ, flute and violin.” (Wikipedia 2012) The sound was new and limited to the audience(s) in their own domain. In 1974, their fourth release, Autobahn, featured their first real culmination of music and electronic sound. They delved into long, relatable and symbolic music that emulated travel and life. The album was more disciplined than the previous albums and featured the sounds of their newly invested equipment that gave them the edge they needed. The following albums, Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978) and Computer World (1981) were considered the most advanced of their works. Although Radio-Activity was not as successful as they had hoped in the U.S. and U.K. market, it did open up the European market in France, earning them a gold disc in France.

Many things that they accomplished gave Kraftwerk the right to be referred to as the “pioneers” of electronic music. Influenced by many of the great U.S. and U.K. groups that emerged during the 60’s, it was the influence of the Beach Boys, mainly, which started the trend known as Kraftwerk. Although founders Ralf Hütter and Florian Schneider were insistent on creating something very original, they did create music influenced by pop songs. They had the notion that Western influenced music, such as the Beach Boys, imitates the country of origin. So, they insisted on creating music that is symbolic of Germany. 

"Kraftwerk is not a band," Florian Schneider once told Rolling Stone reporter Ray Townley. "It's a concept. We call it 'Die Menschmaschine,' which means 'the human machine. In the early productions, you can hear the originality of the arrangements. Each note was created utilizing the equipment and creative construction they were experienced with. In the later years that followed, you can hear the difference in the sound and creative control that came from working with newly developed synthesizers and machines that were similar to the devices Kraftwerk created in their own Factory. Producer “Conny” Plank was behind the Kraftwerk sound and his engineering ideas soon became known worldwide.

The artwork and images that represented their music were also new age and accented the music and ideas well.

Working with the synthesizer plug-ins within Logic Pro and ProTools has been a learning experience. When I listen to the early and most current songs that Kraftwerk released, I understand how complex their creations were. I know how difficult it can be to create one simple sound using the ESP plug-in, or the Sculpture synth plug-in found in Logic Pro. Just realizing how many pieces of the puzzle have fit together in order to sound right can be so much to take in. Imagining that, and seeing that each plug-in we use in Logic Pro is only a small sample of what Kraftwerk pioneered in the early 70’s is amazing.

Thinking back to the 80’s, I can hear the influence that Kraftwerk had on many of the electronic bands. David Bowie, Yes, Pink Floyd, Electric Light Orchestra, and Emerson, Lake & Palmer were among some of the great bands that can be named as followers of Kraftwerk’s ideals. As a listener, I can sit back and travel through the ideas of each note. As a industry professional, I can accept that my knowledge is minimal when it comes to expressing my simplest ideas. My experience with synthesizer construction and sound design is basically the tip of the iceberg compared to the amount of time and energy expelled on Kraftwerk’s determination and ingenuity.

The Velvet Underground & Nico Podcast 1

Marrvin Gaye - What's Going On?

In the early stages of Marvin Gaye’s career, he was a session drummer and singer for the Motown label in the early 1960’s for artists like Smokey Robinson & the Miracles. His marriage to Anna Gordy, sister of Berry Gordy, helped mold the chances of his career actually launching. Gaye had faced many adversities in his life, but his hardest one to face was finding the voice he needed to make an impact. Working with Gordy on projects and trying to release that “One great song” was difficult. The demand was high for commercial music and Gaye was not sure he could do it. Marvin was known to be a doo-wop singer in his early years, and the demand for something greater was upon him.

The 1960’s were an era of social tension, racial tension, war and hate. The ideals of What’s Going On explored the inner demons that Gaye faced and witnessed daily. The masterpiece he self-produced “explored issues ranging from poverty and discrimination to the environment, drug abuse, and political corruption; chief among the record's concerns was the conflict in Vietnam, as Gaye structured the songs around the point of view of his brother Frankie, himself a soldier recently returned from combat.” ( Ankeny, J 2012)

During the time that Marvin Gaye started creating What’s Going On, other personal problems in his life was affecting him. His marriage to Anna was crumbling, which hit him hard. His desire to have more free-reign over his work left him under so much pressure to create greatness. Since 1964, Gaye was revered as a crooner, based on the many duets he had performed with various artists. This style was not going to be what he wanted on What’s Going On. The introduction to a more percussion based band element, emotionally and politically motivated vocal creation and lyric content faced the issues that he felt were spiritually connected and driven. Drug abuse, political corruption, poverty and environmental discrimination were among the inspiration for the album, but it faced so much controversy and resistance. “The ambitions and complexity of What's Going On baffled Berry Gordy, who initially refused to release the LP; he finally relented, although he maintained that he never understood the record's full scope.” 

( Ankeny, J 2012)

The production of What’s Going On was the main element that was different from anything that Motown did before. For the most part, the music that Marvin Gaye sang in his early career established him as a “sex symbol” and his voice would melt hearts. This new music was harsh and soulful, utilizing more Jazz-style instrumentation, mixed with heavier, and more exotic, percussion sounds. The lyric content was sad and soulful, but a message was relayed that others did not feel was appropriate for the commercial market.

The other aspect that was ideal was the production quality. The earlier production quality was magnificent, even for the time. Gaye utilized his knowledge of the early recordings he had done and put that to work for him to make an even more rich sound that filled the minds, and not just the ears.

As an industry professional, singer and listener, I can appreciate every element of the What’s Going On album. Times were hard everywhere and the thought of losing family and loved one’s during the time of war was on everyone’s minds. Gaye expressed how sorrowful the events at that time were. This opened eyes and minds to try to ask the questions that nobody was brave enough to do. Remembering the lyrics and hanging on every word was common for most artists, but Gaye captivated countries with his songs. 

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The Velvet Underground & Nico

Since the early years of the 1960's, dramatic changes in music style, design and performances occurred that truly changed the direction that music was going. In this Blog, I will be covering the many elements that carved passageways throughout the music community.


With the release of cultural diverse music such as the Beatles' Revolver album (1966) and the Beach Boys Pet Sounds album (1966), the design of music had changed the way that music was not only heard, but also created.


The attraction to The Velvet Underground, in my opinion, stems from the culmination of art; music and movies rolled into one, giant, gumball of culture.




Several images come to mind when I think of the Velvet Underground & Nico. Dimly lit rooms filled with people smoking cigarettes, among other things, intense artwork and colors, oddly arrange music thundering through amplifiers are the main image that comes to mind when I think of the ideals that made the Velvet Underground flourish. The elements that drove the band were similar, but the music is what built them. They were an extremely laid back and artistic group, however their music was vastly different. The Eastern European influence, combined with the artistic arrangement was ideal for great things.  


John Cale earned his classical music degree in 1960 at Goldsmith’s College in London and had already been considered a prodigy of music at 11 years old. An educated and determined Cale would get the attention of American composer Aaron Copeland who would contribute to his education in modern composition by arranging a Bernstein scholarship for Cale in Massachusetts. After leaving Massachusetts due to creative differences with Aaron Copeland, Cale began working with “well-regarded minimalist composer La Monte Young in his Theater of Eternal Music.” (Howard, D) Cale had a very distinct musical background but it was newly adopted electric viola that was his instrument of choice. His “heavily amplified modal blues compositions were jet-engine loud and heavily steeped in Indian-derived drones.” (Howard, D)

At the same time composer, guitarist and songwriter Lou Reed was attending Syracuse University, in New York, and had recently joined forces with guitarist (and dorm neighbor) Sterling Morrison and caught the attention of those around him. His style and revved-up guitar playing, combined with the popular style of poetic songs he wrote, caught the attention of many people. 

One very influential person that contributed to The Velvet Underground's success was Andy Warhol, "artist and all-around pop-art icon, who caught the band at a club around the end of 1965. Warhol quickly assumed management of the group, incorporating them into his mixed-media/performance art ensemble, the Exploding Plastic Inevitable. By spring 1966, Warhol was producing their debut album." (Untergerger, R 2012) With the powers at his disposal, and the proper combination of music, art and movies, The Velvet Underground soon became a new addition the Warhol's Factory.

With the overall success of their appearances at the Factory, the Velvets added a new element to the band. 

"Warhol was also responsible for embellishing the quartet with Nico, a mysterious European model/chanteuse with a deep voice whom the band accepted rather reluctantly, viewing her spectral presence as rather ornamental."  (Untergerger, R 2012)

Unlike the psychedelic LSD inspired songs of Revolver and Pet Sounds, that incorporated strange new techniques and instrumentation, the Velvets sound was clearly designed according emotional and experience based lyrics and music. Singer, songwriter and musician Lou Reed contributed the majority of the lyrics. The content was what set it aside from the other "pop-style" music. Strong lyrics, morally inappropriate content, hard-driving music, sex and drug references laced each track with such lather that it oozed from track to track. The ideal being the visions set aside by Warhol that incorporated pop art, music and video. By combining his vision into the music and art, the power of each vocal was understood and related to. With the release of their debut album The Velvet Underground & Nico (1966), the pop scene was humming.

According to Richie Unterberger, columnist for AllMusic.com, "The album's release was not without complications, though. First, it wasn't issued until nearly a year after it was finished, due to record-company politics and other factors." 

The hardcore lyrics and music, as well as the combination of sex related environment and images, created waves in the small pond that the Velvets were wading in. The overall impact of this was more beneficial than expected, however. Brian Eno once stated " that even though hardly anyone bought the Velvets records at the time they appeared, almost everyone who did formed their own bands."

As an industry professional, musician and artist I can honestly say that the era was way out of my league. Although I can relate to a majority of the incidents that contributed to the Velvets success, or lack there of, I can only remember certain references that currently have intrigued me. I grew up knowing Lou Reed. "Take A Walk On The Wild Side" was my favorite song as a kid, but I was not introduced to the cultural impact that Reed contributed to the sensation known as the Velvets, until now. The association of Warhol and the Velvets creates a whole new image in my mind for the style of music that I recently just listened to, and I realize now that I was listening to this music pretty much all my life already. I remember the songs now, the images in my head, the strange sounding instruments that resembled Eastern European style, with strange heavy droning instruments, deep, sensual vocals of Nico, echoing constantly, and the unmistakable lyrics of Lou Reed were a reminder of the cultural impact that Warhol and The Velvets gave us.