{"id":51209,"date":"2021-06-28T10:29:57","date_gmt":"2021-06-28T15:29:57","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=51209"},"modified":"2021-06-28T10:29:57","modified_gmt":"2021-06-28T15:29:57","slug":"shel-tally-interview","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/shel-tally-interview\/","title":{"rendered":"Shel Talmy Interview: One Of The Most Important Producers Of The 1960&#8217;s"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-3856312513\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-6841951373722-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-6841951373722-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-6841951373722-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-6841951373722-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-6841951373722-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]\n<div class=\"page\" title=\"Page 1\"><\/div>\n<p>For his work on the early\u00a0Kinks\u00a0and\u00a0Who\u00a0records alone, producer\u00a0Shel Talmy\u00a0was an important figure in the British Invasion, cutting sessions that had a harder and more distorted guitar sound than anything else that had been heard before the mid-&#8217;60s.\u00a0Talmy&#8217;s other credits with &#8217;60s acts are extensive, ranging from cult band\u00a0the Creation\u00a0and early singles by\u00a0David Bowie\u00a0to folk-rock with\u00a0the Pentangle\u00a0and pop with\u00a0the Bachelors\u00a0and\u00a0Chad &amp; Jeremy. After the 1960s he was only sporadically active in the studio, although he was still doing projects here and there into the &#8217;90s.<\/p>\n<p>Born in Chicago,\u00a0Talmy\u00a0cut his teeth in the record business as an engineer in L.A. in the early &#8217;60s. In 1962, he turned a European vacation into a job in Britain when he played acetates of\u00a0Beach Boys\u00a0and\u00a0Lou Rawls\u00a0songs to\u00a0Dick Rowe\u00a0of Decca Records, claiming them as his own productions (although they weren&#8217;t).\u00a0Rowe\u00a0hired him for Decca and double-checked\u00a0Talmy&#8217;s credentials with friends of his who were in high places and only too happy to confirm that\u00a0Talmy\u00a0had done everything he&#8217;d claimed he had. By the time it became apparent\u00a0Talmy was bluffing, he had already started to have hits for Decca, who were content to keep him on.<\/p>\n<p>Talmy started out working with pop singers in the U.K., including\u00a0the Bachelors. Very soon after he arrived in Britain, however, the British Invasion started to take off.\u00a0Talmy\u00a0was soon working primarily as an independent producer rather than as a label employee, and was keen to get in on the &#8220;Beat Boom,&#8221; as it was called in Britain, with guitar-oriented groups. Perhaps because of his American background,\u00a0Talmy was more inclined to keep a raw edge on the performances and record distorted guitars at high volumes than more established producers of the time would have.<\/p>\n<p>Talmy\u00a0has recalled that he unsuccessfully tried to interest Decca in\u00a0Manfred Mann\u00a0and\u00a0Georgie Fame, but got his first notable success with R&amp;B-influenced rock with\u00a0the Kinks.\u00a0Talmy\u00a0produced most of their records between 1964 and 1967, including the discs that did so much to popularize the slashing power chords and fuzzy textures that soon become a big part of guitar rock, &#8220;You Really Got Me&#8221; and &#8220;All Day and All of the Night&#8221; especially. It should be noted that\u00a0Talmy\u00a0was also there for the sessions that saw\u00a0Kinks\u00a0songwriter\u00a0Ray Davies&#8217; more sophisticated and music hall-influenced side flower, like &#8220;Sunday Afternoon&#8221; and &#8220;Dedicated Follower of Fashion.&#8221;<\/p>\n<p>Talmy&#8217;s other big success story in the mid-&#8217;60s was\u00a0The Who. He produced their first three singles, &#8220;I Can&#8217;t Explain,&#8221; &#8220;Anyway, Anyhow, Anywhere,&#8221; and &#8220;My Generation,&#8221; as well as their debut The Who Sing My Generation album &#8212; everything, in short, that they did in 1965. These were records that brought an unprecedented fury to rock on disc, particularly in\u00a0Pete Townshend&#8217;s feedback-ridden guitar flights and\u00a0Keith Moon&#8217;s hurricane-force drumming. It&#8217;s even been reported that Decca Records&#8217; American branch initially declined to press &#8220;Anyway, Anyhow, Anywhere,&#8221; believing that the feedback on the guitar solo was the result of a mastering defect.\u00a0Talmy\u00a0did not produce any\u00a0Who records after 1965, in spite of his fairly spectacular initial track record with the band, owing to a dispute between him and the group&#8217;s managers that was eventually settled with an agreement that gave him a percentage of\u00a0the Who&#8217;s record royalties for years to come.<\/p>\n<p>As he was doing\u00a0the Who&#8217;s 1965 sessions as an independent producer,\u00a0Talmy\u00a0retained control of the master tapes. This is a reason why The Who Sing My Generation, as well as songs that appeared on their 1965 singles, have yet to appear on compact discs that have been remastered from the best possible original source tapes.<\/p>\n<p>Talmy\u00a0also recorded other notable guitar-heavy discs with groups of lesser renown in the 1960s. Certainly with\u00a0the Creation, the cult group featuring guitarist\u00a0Eddie Phillips, he explored the kind of the inventive guitar textures he had mapped out with\u00a0the Kinks\u00a0and\u00a0the Who, particularly feedback and the distorted sounds produced by playing the strings with a violin bow. To this day\u00a0Talmy\u00a0extols the talents of\u00a0the Creation, believing that they would have been a phenomenally successful group had they had better luck and been able to stay together longer.<\/p>\n<p>Although his tenure with Australian stars\u00a0the Easybeats\u00a0was brief in 1966-1967, it did include their biggest international hit, &#8220;Friday on My Mind.&#8221; He was at the helm of some flop singles with\u00a0David Bowie\u00a0(then known as David Jones) in 1964-1965, which sometimes employed a backing reminiscent of the early Who. He also made some fine, raucous singles with obscure groups like\u00a0the First Gear, the Untamed, the Rockin&#8217; Vicars, and\u00a0the Zephyrs, which would not reach an international audience (and then a very small, specialized one) until these sides were included on various collector-oriented reissues of obscure British Invasion music in the &#8217;80s and &#8217;90s.<\/p>\n<p>Talmy briefly founded his own label, Planet, whose most notable artists were\u00a0the Creation, but the company folded after a deal with Phonogram for distribution did not work out according to his wishes.<\/p>\n<p>Talmy\u00a0did not just do hard guitar rock in the &#8217;60s. He also produced, at various points in their careers,\u00a0Chad &amp; Jeremy,\u00a0the Nashville Teens,\u00a0the Fortunes,\u00a0Amen Corner\u00a0(Andy Fairweather-Low&#8217;s first group), obscure American psychedelic band\u00a0the Mandrake Memorial, and the post-Paul Jones\u00a0Manfred Mann.<\/p>\n<p>It is not well-known that\u00a0Talmy\u00a0was also an extremely capable folk producer who enjoyed working with acoustic guitars as well as electric ones. His most notable achievement in this regard is his production of early\u00a0Pentangle\u00a0albums, as well as material by\u00a0Roy Harper\u00a0and\u00a0Pentangle\u00a0guitarist\u00a0Bert Jansch.<\/p>\n<p>It&#8217;s undeniable that\u00a0Talmy\u00a0produced some of the best and most innovative work of\u00a0the Who,\u00a0the Kinks,\u00a0the Easybeats, and others, results which are unlikely to have been achieved by sheer chance.\u00a0Talmy\u00a0became less active in the studio in the 1970s, although he produced albums by little-known acts such as Fumble and Rumpelstiltskin. At the end of the &#8217;70s he returned to the United States, and has occasionally dabbled in production for low-profile acts since, such as\u00a0Jon &amp; the Nightriders, the Sorrows (not the mid-&#8217;60s British Invasion group of that name), and\u00a0Nancy Boy.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\"><br \/>\n<\/span><strong>Watch the video below to hear my interview with Shel Talmy!<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGOGVtZERPbWUxU1ElMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text] For his work on the early\u00a0Kinks\u00a0and\u00a0Who\u00a0records alone, producer\u00a0Shel Talmy\u00a0was an important figure in the British Invasion, cutting sessions that had a harder and more distorted guitar sound than anything else that had been heard before the mid-&#8217;60s.\u00a0Talmy&#8217;s other credits with &#8217;60s acts are extensive, ranging from cult band\u00a0the Creation\u00a0and early singles by\u00a0David Bowie\u00a0to folk-rock&hellip;<\/p>\n","protected":false},"author":25,"featured_media":51210,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-51209","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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