Producer, John Leckie (Radiohead, The Stone Roses) Gives Advice To Aspiring Producers & More.
Born in Paddington, John Leckie is a record producer and recording engineer starting his career in the 1970s. His production credits include Dukes of Stratosphear's 25 O'Clock, The Stone Roses' The Stone Roses, Radiohead's The Bends and Muse's Origin of Symmetry . Leckie first began his career after bagging himself a job in the notorious Abbey Road studios as a tape operator.
“…from day one, I sat at the back and never left the room for 12-15 hours and ran the tape as needed. Nowadays it would be 12-15 hours in front of computer…not as much fun and bad for the eyes and head!”
Leckie then eventually built his confidence at the mixing desk and developed trust with the people he was working with.
“Slowly bands asked me to take full responsibility and produce albums for them.”
With a Brit Award, Music Week Award and Q Award under his belt, along with an incredible discography and years of invaluable industry experience, here at Musosoup we talk to The Bends producer about his career, advice for upcoming producers and his most challenging record to work on to date:
What has been your favourite record to work on to date?
John: Big decision…but it’s got to be 25 O’Clock by The Dukes of Stratosphear (it’s really XTC). Check it out!
What has been the most challenging record to work on to date?
John: All records are a bit ‘challenging’. The most challenging was The Bends by Radiohead because we had to start off recording 4 ‘hit’ singles, 6 B-sides, then finish the rest of the album and make every track special. What’s a single? What’s a B-side? (don’t have them no more. All tracks [are the] same value now).
But we did it!
Is there a set approach you have to producing a record or is each experience different?
John: Each record is different because it’s a different set of songs and different musicians and different record company and all with different expectations.
I like to rehearse the songs with the band, maybe record demos (if they haven’t been done) and then go into a proper studio 80% prepared so [we] leave a bit of room for magic to happen. But then again, every record's different. Sometimes [we] make it up in studio (the band gotta be good to do that….) and sometimes polish up already recorded demos that we all like.
What advice would you give anyone who wanted to get into producing music?
John: Get in there! Listen and try to understand all types of music and musicians and recording techniques. Be prepared to spend the next 5-10 years in the studio. (10,000 hours) Give up all personal life except studio, rehearsal room and gigs. Live the music and the vibe!
Ask yourself…do you want to produce? Or do you want to write songs/be a musician/be a record company/A&R/Manager? You can’t be great at them all. Maybe you want to be a musician/songwriter that produces your own songs. Different thing, but you’re going [to], at some time, want to work with a proper producer.
What top three skills does one need to become a music producer?
1. People psychology…learn how to deal with a group of eccentric people that often have bigger egos than you and be a servant to them. It’s their record not yours.
2. Love music (and musicians) and be open to any eventuality. Be prepared to go two steps forward and three steps back at all times. Do your best to service the art and the artist.
3. Tunes your ears and temperament to what’s going on. …and its always changing. (Oh... and a little bit of technical skill like knowing how to plug a mic in and record.)
What is the best way for an artist to contact you about your production availability?
John: I used to have a manager that dealt with that but really, I’m not that available to produce your music at this time... unless you're really good and special! I can be contacted at electricbluesradioshow@gmail.com which is the name of my monthly radio show on Boogalooradio.com
Are there any producers you look up to/take inspiration from?
John: Phil Spector/George Martin/Willie Dixon
Producer Sir George Martin with The Beatles (1963)
Photo: Keystone Press/Zuma
What genre of music is your favourite to produce?
John: Genre? I don’t know. I do all types. Rock/Folk/Jazz/Spoken Word/Electronic/World Music/…a bit of Indie if its good. My favourite would be a hot Electric Blues band!
How would you approach the delicate task of discussing changes to an artist/band’s music?
John: That’s what a producer does and it’s a major part of the job knowing when it’s necessary. I tend to choose the jobs where I don’t have to make too many changes as it’s hard work and effort to do if faced with resistance. Sometimes you or the record company wish to change something, and the band doesn’t have the musical ability to execute it. Also, its good to convince them the changes are their idea!
Are there any albums past or present you feel are let down by their production?
John: Many.
Is there one particular album that you love because of its production?
John: Live at King King by The Red Devils, Mule Variations by Tom Waits, Lust For Life by Iggy Pop, Kira Kira by The Irresistible Force
Do you have any albums you like that you know had cheap production behind it? i.e The Streets -Original Pirate Material -seminal but mainly bedroom made.
John: What [do] you mean by ‘cheap’? Cheap can mean getting in studio and doing it quick or just going in a cheap studio to record. Depends how ‘valuable’ you think your music is and what you can afford. I’d say first album by Suicide. Cheap magic. The first Streets album doesn’t sound that ‘cheap’ to me.
You have produced, arguably, some of the world’s greatest albums - how does it feel to have your name on them?
John: Loverly! But I never got my name on Public Image's first single which I did and wish I had got credit on ‘cos it’s one of best records ever made!
In a studio, what’s the furthest you’ve ever gone to achieve a certain sound?
John: We always go as far as we can (given time constraints and patience) to achieve sounds.
You can listen to John’s Electric Blues Radio show on Boogaloo Radio every Sunday 8-10pm.
Words by Jasmine Hodge