American Dreams – Pro Techniques Article

By Randy Alberts

Count how many times during the past year you’ve heard OutKast’s “Hey Ya!” on the radio, listened to the Speakerboxxx/The Love Below and Stankonia CDs, or seen Andre 3000 and Big Boi approach an awards podium. Next, add up the times you’ve dug the mix and production values poured into various songs by George Clinton, P-Funk, En Vogue, Nappy Roots, Bilal, Lionel Richie, and Toni Braxton. Finally, throw in the dozen times you’ll hear Tahiti 80 this year when their new CD reaches American shores. Add them all together, and you’ll get an idea of how many times you’ve listened to a trademark Neal Pogue production and mix.

“Mixing is a form of production, too,” says Pogue. “It’s a love of mine to produce, so I’m getting more into the production side of things now. Mos Def just asked me to produce an album, and I just finished some work with the band 311 as well, but I’ll always keep the mixing and engineering side alive.”

Neal Pogue, one of the nicest folks in the industry, is grateful for every session he launches, regardless of his role. His audio stylings have been indelibly etched into the OutKast sound ever since the super-duo’s Southernplayalisticadillacmuzik, ATLiens, Aquemini, and Stankonia releases, and we can expect the same bond with the new bands Pogue is now producing. This self-described “child of the ’70s, ’80s, and ’90s” brought every Sly, Hendrix, Page, and Van Halen solo in his veins to the table for 311’s new rock-hop club sound, and the kids soaked it up.

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