Enjoyed the episode, as usual. I have many questions!|
This was an interesting episode in that the subject played a role that I was not aware of. I know that to produce an album, you need musicians, a producer, engineers, photographers, stylists, and so on. I would not have know that you would need (or could have) someone in the position of G. Marq Roswell.
Did he have a title, or a name for his role? I know he was the music supervisor on the Commitments, but what would his title be in relation to the Corrs? Seems like he was a mentor, and the band were kind of like apprentices under his guidance.
Is it typically for musicians to have a mentor like Roswell? Or is that not a standard thing that everyone goes through?
I've heard the terms "development deal" and "publishing deal"; are these synonymous? I was under the impression that a publishing deal meant that a publisher agreed to sell or rent your sheet music (which I believe is a substantial source of income for classical composers), but maybe that's wrong.
I didn't quite understand whether Roswell worked for a record company, or worked for a different company, or was an independent contractor. It sounded like he was trying to help sell the demos to a record company, which made it sound like he didn't work for such a company himself. On the other hand, he also mentioned (I think) that Polygram paid for the recording studio and the demos, which made it sound like he worked for them.
At around 21:10, he says, "I thought that the material could have been better on a lot of the albums." Is he referring to the material on the Corrs' subsequent albums? Or is he referring to other artists?
Finally, I loved hearing the demos, particularly how they differed from the final versions. I was especially impressed by the bass parts (presumably programmed synth bass). If Jim did this, this is quite good for someone who is not a bass player.
Thanks as always for all your work on the podcast. This has all been very informative.
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