History Main / RecordProducer

* Bert Berns, who had a busy career as a New York-based producer and songwriter up until his death from a lifelong heart ailment at age 38 in 1967, probably best-known for co-writing "Twist and Shout" and producing the hit version by Music/TheIsleyBrothers, and launching Music/VanMorrison's solo career (including producing "Brown-Eyed Girl"), also tried his hand at performing. He released an obscure 1960 single under his own name ("The Battle of the Alamo"), then did a few more under the StageName Russell Byrd, one of which, 1961's "You'd Better Come Home", got to #50 on the ''Billboard'' Hot 100.

* Music/QuincyJones produced all of Music/MichaelJackson's material as a solo artist from his contributions to ''Film/TheWiz'' in 1978 to ''Music/{{Bad}}'' in 1987, resulting in three massively successful (both critically and commercially) albums that made Jackson the biggest artist of the 1980s and one of, if not ''the'' biggest musical artist of all time. After ''Bad'', Jackson ended his working relationship with Jones and gained full creative control with his subsequent work, which was still commercially successful, but earned increasingly mixed responses.

* Music/QuincyJones produced all of Music/MichaelJackson's material as a solo artist from his contributions to ''Film/TheWiz'' in 1978 to ''Music/{{Bad}}'' in 1987, resulting in three massivley successful (both critically and commercially) albums that made Jackson the biggest artist of the 1980s and one of, if not ''the'' biggest musical artist of all time. After ''Bad'', Jackson ended his working relationship with Jones and gained full creative control with his subsequent work, which was still commercially successful, but earned increasingly mixed responses.

* Music/QuincyJones produced all of Music/MichaelJackson's material as a solo artist from his contributions to ''Film/TheWiz'' in 1978 to ''Music/{{Bad}}'' in 1987, resulting in three critically and commercially successful albums that made Jackson the biggest artist of the 1980s. After ''Bad'', Jackson ended his working relationship with Jones and gained full creative control with his subsequent work, which was still commercially successful, but earned increasingly mixed responses.

* Lenny Waronker was one of these throughout the '70s for Creator/GordonLightfoot and Creator/RandyNewman.

The '''George Martin''' is the LongRunner of production, faithfully sticking with the same band for an incredible amount of time and albums. Of course, this exposes the band to the danger of getting stale, but it's not like they wouldn't get there anyway. Or alternatively, the band loses their way when they ditch the producer.

* Music/{{Rush}} have this sort of relationship with Nick Raskulinecz, the producer of ''Snakes and Arrows'' and ''Music/ClockworkAngels''. The band was initially taken aback by how readily and enthusiastically he would tell Neil Peart to change a drum part, but he won their respect by not letting the band coast through the recording process.

* Later Music/{{Rush}} albums give the band, or at least guitarist Alex Lifeson, a producer co-credit.

* Music/{{Garbage}}. All of the members apart from singer Shirley Manson were experienced producers and remixers before forming the band. Most notably, drummer Butch Vig produced {{Music/Nirvana}}'s ''{{Music/Nevermind}}''.

* Nigel Godrich - ethereal space-rock (Music/{{Radiohead}}, Music/{{Pavement}}, Music/{{REM}}, Music/{{Beck}} etc.).

* Dann Huff — Slick, often bombastic mainstream country-pop with loads of electric guitar, making him a particularly effective producer for the rock-styled guitar work of Music/KeithUrban. (Not surprisingly, Huff is also a session guitarist, and often plays on whatever he produces.)

* Gil Norton - spacey, aggressive AlternativeRock (Music/ThePixies, James, Music/{{Belly}}, Music/CatherineWheel, Music/FooFighters) or whiny PostGrunge indie rock (Music/DashboardConfessional, Music/JimmyEatWorld).

* Music/JohnZorn's independent label ''Tzadik'' distributes his own music, but also produces countless experimental musicians, among which ''Boredoms'' are the most famous.

* Music/QuincyJones had worked with Music/MichaelJackson for nearly a full decade, from the soundtrack of ''Film/TheWiz'' (1978) to ''Music/{{Bad}}'' (1987). When Jones and Jackson mutually ended their relationship after ''Bad'' Jackson hired Teddy Riley, who worked with him from ''Music/{{Dangerous}}'' (1991) to ''Music/{{Invincible}}'' (2001), and also remixed some tracks on Jackson's first posthumous release, ''Music/{{Michael}}''.

* Music/{{Squeeze}} were initially excited to be working with Music/JohnCale of Music/TheVelvetUnderground as producer for their first album (having actually named themselves after VU's [[InNameOnly de jure]] [[Music/Squeeze1973 last album]]), but their enthusiasm rather quickly evaporated when Cale forced them to throw out all the songs they had already written, made them write songs on the spot in the studio, outright terrorized the band during sessions and pursued his pet theme of having the album be named ''A Bunch of Gay Guys'' (thus explaining the album's cover). And after that was all done, the record company then made them put "Bang Bang" and "Take Me I'm Yours" on the album -- both of which the band produced themselves, with no involvement from Cale -- so they could have singles to sell. The result (except for the two self-produced singles) has since been received comparatively negatively.

* Norman Smith engineered all Music/TheBeatles recording sessions through ''Music/RubberSoul'', then produced three of Music/PinkFloyd's first four albums. Then in the early 1970s, he adopted the stage name Hurricane Smith and managed to have Top 10 hits in the UK and US.

* The TropeNamer and TropeMaker, George Martin, who produced every [[Music/TheBeatles Beatles]] album except ''Music/LetItBe'', which was produced by Phil Spector, and which the band (mostly Music/JohnLennon) initially wanted to record without ''any'' producer.

* Bob Ezrin - alternately grandiose and arty, often with brass and string arrangements (Music/PinkFloyd's ''Music/TheWall'', Music/LouReed's ''Music/{{Berlin}}'', Music/PeterGabriel's ''Music/{{Car}}'') or simple and direct (Music/{{Aerosmith}}'s ''Get Your Wings'', Music/{{KISS}}' ''Music/{{Destroyer}}''), but always pretty slammin' rock.

* Music/PhilSpector, the inventor of the Wall of Sound and the man behind the board of some of the best-known singles and albums of the '60s and '70s. Ignoring his personal life (showing [[Music/RonnieSpector his wife]] a coffin and threatening to kill her if she left) and [[BreadEggsMilkSquick that little murder conviction,]] he is famous for being a [[BunnyEarsLawyer genius of a producer]], but this was coupled [[OvershadowedByControversy (and often negated)]] by his temperamental personality and [[DramaticGunCock gunplay]] in the studio. He threatened Music/LeonardCohen with a loaded gun, stole tapes for the Music/JohnLennon album ''Rock 'n' Roll'' at gunpoint, and put Music/TheRamones through hell when he produced ''Music/EndOfTheCentury''. He was last employed in 2003 by the alternative band Starsailor to produce their second album, but they fired him after two tracks.