In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances -- in the Albert Hall or elsewhere -- but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a...
In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wa...
