| TODD SUCHERMAN May 2010 Page 2 |
What is it like working with Brian? He was a cutting
edge producer years ago, has he kept up with the times
as far as technique and trends? What would you like
people to know about him as a producer and musician
in general?
Brian is a sweetheart. I don't think he's followed trends
or anything, he just uses his ears as his barometer. He
can hear eight people singing live and call someone out
on being flat or sharp. I've seen him do it. I've seen him
dole out harmonies on new material four bars at a time
from the bass parts up. It's pretty astounding. People
think he's "checked out" but he hasn't. Its as if he lives
on a higher plane. He also turned me on to the Cajon
spiced Rib-eye at Morton's. (Medium rare of course.)
I'll forever be grateful for that!
Does Brian's approach to the drums ever differ with
what you are feeling? Is he receptive to ideas, or does
he have it pretty nailed down in his mind as to how
things are going to be? Do you ever find yourself in awe
of his abilities or his influence on a project?
Yes, it is amazing to see him do his thing. There is a
DVD of the "That Lucky Old Sun" record that has a great
documentary on the project with lots of clips from the
sessions. Those really show what a session with him is
like. It's probably the closest thing that exists to
capturing the feel of it and I'm proud to have been on
that session. But as I said, he'll come up with things that
go against the grain of what I'll be thinking. He'll hear
where I'm coming from and then have me adjust things
here and there down to some pretty specific details.
edge producer years ago, has he kept up with the times
as far as technique and trends? What would you like
people to know about him as a producer and musician
in general?
Brian is a sweetheart. I don't think he's followed trends
or anything, he just uses his ears as his barometer. He
can hear eight people singing live and call someone out
on being flat or sharp. I've seen him do it. I've seen him
dole out harmonies on new material four bars at a time
from the bass parts up. It's pretty astounding. People
think he's "checked out" but he hasn't. Its as if he lives
on a higher plane. He also turned me on to the Cajon
spiced Rib-eye at Morton's. (Medium rare of course.)
I'll forever be grateful for that!
Does Brian's approach to the drums ever differ with
what you are feeling? Is he receptive to ideas, or does
he have it pretty nailed down in his mind as to how
things are going to be? Do you ever find yourself in awe
of his abilities or his influence on a project?
Yes, it is amazing to see him do his thing. There is a
DVD of the "That Lucky Old Sun" record that has a great
documentary on the project with lots of clips from the
sessions. Those really show what a session with him is
like. It's probably the closest thing that exists to
capturing the feel of it and I'm proud to have been on
that session. But as I said, he'll come up with things that
go against the grain of what I'll be thinking. He'll hear
where I'm coming from and then have me adjust things
here and there down to some pretty specific details.
I know that you produced 2 records for your wife, Taylor Mills. Has your
experience with Brian been an influence on how you produce a project?
What do you feel would be different about yourself as a producer if you
had not worked with Brian?
Hmm, I'm not sure Brian was an influence regarding the two Taylor Mills
CDs. There was a very clear concept and vision with both. We did
have Brian sing on two songs from the "Lullagoodbye" record (as well
as Tommy Shaw) but Scott Bennett, my co producer and multi
instrumentalist had a pretty clear idea of how we wanted things to feel.
Taylor is a great singer and she's all about emotion and getting the
song across. She has chops but uses them sparingly---there's no
American Idol vocal gymnastics. That really what I love about her voice.
She also excels in her lower sultry range where a lot of female singers
tend to shine as they get into scream and shriek territory. There was a
common goal with both records and they are both different yet they both
work so well in their respective collection of songs. There's nothing that
dates them and there's no cutesy girlie stuff. Serious lyrical content,
and if I may be so bold, I think they are timeless.
experience with Brian been an influence on how you produce a project?
What do you feel would be different about yourself as a producer if you
had not worked with Brian?
Hmm, I'm not sure Brian was an influence regarding the two Taylor Mills
CDs. There was a very clear concept and vision with both. We did
have Brian sing on two songs from the "Lullagoodbye" record (as well
as Tommy Shaw) but Scott Bennett, my co producer and multi
instrumentalist had a pretty clear idea of how we wanted things to feel.
Taylor is a great singer and she's all about emotion and getting the
song across. She has chops but uses them sparingly---there's no
American Idol vocal gymnastics. That really what I love about her voice.
She also excels in her lower sultry range where a lot of female singers
tend to shine as they get into scream and shriek territory. There was a
common goal with both records and they are both different yet they both
work so well in their respective collection of songs. There's nothing that
dates them and there's no cutesy girlie stuff. Serious lyrical content,
and if I may be so bold, I think they are timeless.
What led you to decide to produce Taylor's records? In what ways has
the work been influenced by the fact she is your wife? Do you feel that the
communication is enhanced because of your relationship, or can there
be an added tension, sometimes? Did your vision for these records
change any during production, or did you have it mapped out pretty
solidly ahead of time? How is Taylor's music different than the many
other female artists of this generation?
I think it began as a creative outlet. Pure and simple. It was time. We'd
both been touring so much and it was something that needed to be done.
We moved from LA to Austin during the recording of the first one,
"Lullagoodbye" which didn't expedite things. We did a majority of the
second one here in my studio in Austin which made things so much
easier. Working with your wife in this context can be tricky indeed. I can
be blunt which is a shortcoming, and that's not a great attribute while your
good lady wife is trying her best and I'm looking for a minute inflection or
whatever. So I would have to taper my excitement, which flows out of me
when we're nailing it or on the verge of nailing it, and keep calm and
always positive. So there are a few unique landmines to dodge when
working with your wife. Again, the vision was pretty clear from the onset
so it was a matter of realizing that vision. I think the music differs for
reasons stated previously, really. My favorite records are the ones that
intrigue me from the first listen but I'm not "in" yet. But after four or five
plays, I slowly fall in love. Those are the records that stay with me as
opposed to the shallow "catchy" ones that I'm done and bored with
quickly. I like the music and lyrics to reveal things slowly, like an
impressionist painting that is at first blurry but slowly comes into focus. It
makes you work for it a bit, and then there's a payoff. What I'm most
proud of is that I feel we achieved that on both of her records.
the work been influenced by the fact she is your wife? Do you feel that the
communication is enhanced because of your relationship, or can there
be an added tension, sometimes? Did your vision for these records
change any during production, or did you have it mapped out pretty
solidly ahead of time? How is Taylor's music different than the many
other female artists of this generation?
I think it began as a creative outlet. Pure and simple. It was time. We'd
both been touring so much and it was something that needed to be done.
We moved from LA to Austin during the recording of the first one,
"Lullagoodbye" which didn't expedite things. We did a majority of the
second one here in my studio in Austin which made things so much
easier. Working with your wife in this context can be tricky indeed. I can
be blunt which is a shortcoming, and that's not a great attribute while your
good lady wife is trying her best and I'm looking for a minute inflection or
whatever. So I would have to taper my excitement, which flows out of me
when we're nailing it or on the verge of nailing it, and keep calm and
always positive. So there are a few unique landmines to dodge when
working with your wife. Again, the vision was pretty clear from the onset
so it was a matter of realizing that vision. I think the music differs for
reasons stated previously, really. My favorite records are the ones that
intrigue me from the first listen but I'm not "in" yet. But after four or five
plays, I slowly fall in love. Those are the records that stay with me as
opposed to the shallow "catchy" ones that I'm done and bored with
quickly. I like the music and lyrics to reveal things slowly, like an
impressionist painting that is at first blurry but slowly comes into focus. It
makes you work for it a bit, and then there's a payoff. What I'm most
proud of is that I feel we achieved that on both of her records.
