Magnolia soundtrack songs
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And, interestingly, Clearmountain, when asked in 1999 by Sound on Sound which work he considered his finest up to that moment in his career, pointed at his work with Aimee Mann and with Neil Finn’s Crowded House. They do their work with total efficiency, but they can be brash and overbearing, like many of the artists in whose service they were employed. Making his name with his work on records by Kool & the Gang, Chic, Roxy Music, Springsteen and the Rolling Stones (who sought him out to mix Miss You and have kept him on board more or less ever since), Clearmountain was soon all over the radio, mixing records by many of the biggest names of the era: David Bowie ( Let’s Dance), Huey Lewis & the News ( Picture This, Sports, Fore), Meat Loaf ( Dead Ringer), Hall & Oates ( Big Bam Boom, Ooh Yeah) and Bryan Adams ( Cuts Like a Knife, Reckless), as well as continuing his association with the Boss (the apogee of which was, of course, Born in the USA).īut Clearmountain’s years of big bam booming mixes aren’t what I want to talk about here today.
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Many others – the Lord-Alge brothers, Andy Wallace, Michael Brauer, Ron Saint Germain, Rich Costey, Tom Elmhirst, Mark Stent, Andy Sneap – have, for better or worse, followed. It’s not much of an overstatement to say that mixing engineer and tracking engineer become different job titles begins with Clearmountain. Clearmountain is a line in the sand, the guy who was hired just as much for the rep he had as a hitmaker as for his mixing skills. Before Bob Clearmountain, the only guy I can think of to be known as a prominent mixer but not a tracking engineer was Tom Moulton, the pioneer of the 12-inch disco mix. The idea of “mix engineer” and “tracking engineer” never used to be different job titles.