Alongside the Dub Pistols, he produced records under the ‘Ceasefire’ moniker on the legendary Wall of Sound label before joining forces with Barry Ashworth to form the group. He worked on a number of critically acclaimed releases with the band, going on to remix the likes of Moby, Limp Bizkit, Ian Brown and more. His music has also soundtracked numerous films, advertising campaigns and computer games while he's also written for and produced the likes of Busta Rhymes, The Specials, Massive Attack, and Gregory Isaacs.
We asked Jason to put together a selection of inspirational musical cuts for all aspiring music producers to take heed of and here it is. So tuck into a great aural selection running from the loopy dub of Lee Scratch Perry to the iconic pop of David Bowie ... read what he had to say about his selections and listen below ...
Bryan Eno - 'The True Wheel' (1974)
Taken from 1974’s ‘Taking Tiger Mountain’, an album created using Eno and Peter Schmidt’s Oblique Strategies. Eno hints at his work to come with Bowie, a futuristic masterpiece not only for the lyric ‘We are the 801, we are the central shaft’.
Jimmy Hughes - 'Steal Away' (1964)
Produced by Rick Hall, the recording gave birth to the Muscle Shoals sound and Hughes delivered the exquisite vocal in one take. Be prepared to be transported to the Deep South of the US.
George Martin - 'Theme One' (1971)
George Martin’s fanfare for the launch of Radio One. An often overlooked masterpiece that highlights Martin's ability to perfectly fuse the worlds of classical and pop.
Lee Scratch Perry - 'Disco Devil' (1979)
A founder of dub music, Perry revisits works by Max Romeo and Prince Jazzbo to create this revolutionary hybrid and push his Soundcraft mixing board to its limits. A production swamped in spring reverb and tape echo.
The Ronettes - 'Be My Baby' (1964)
Recorded at Goldstar in 1964, Phil Spector creates a perfectly formed ‘symphony for the kids’, assisted by engineer Larry Levine and David Gold’s echo chambers. The legendary Wall of Sound is born right here.
Yes - 'Owner of a Lonely Heart' (1983)
Armed with unlimited budgets and copious amounts of herbal enhancements Trever Horn transforms this long forgotten Yes recording into a US number one. This is Trevor at the height of his powers.
Beach Boys - 'Til I Die' (1971)
In the sixties Brian Wilson gave birth to the concept of the studio itself as an instrument. ‘Til I Die’ is a lesser known example of Wilson’s ground breaking studio techniques, multi-track experimentation and flirtations with echoes and reverb.
10CC - 'I'm Not in Love' (1975)
Notable for its innovative and distinctive backing track, composed mostly of the band's Godley & Crème’s vocal wizardry. They said: “The only way that song is gonna work is if we do it like nobody has ever recorded a thing before. Let's not use instruments. Let's try to do it all with voices”.
David Bowie - 'Let’s Dance' (1983)
Nile Rogers produces Bowie and rescues both their careers, realized through the vision of Bob Clearmountain’s impeccable mix. An example of eighties excess and the pinnacle of record production.
A Tribe Called Quest - 'The Jam' (1996)
Golden age hip-hop in its heyday, taken from the album 'Beats, Rhymes & Life' . Here producer Q-Tip epitomizes sixties cool utilizing bossa nova samples courtesy of the The Howard Roberts Quartet. Hammond organs are perfectly interlaced with sublime tongue in cheek lyrics "I hit ya with good loving plus fillet mignon".
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