Was listening to Roy Hamiltons "Panic is on" yesterday and got to thinking about the big productions on some of these tunes,I can understand why Roy would have big productions that kind of singer I know he worked with Neil Hefti who had his own orchestra and

the Basie connection.I know motown built up its own production outfit,Chicago is world famous for orchestras Sol Bobrov's orchestra is

on loads of album credits but its the lesser lights.How did they get these big productions e.g.George Smith"I've had it" George Freeman

"Down and out world" and one of my faves I know the lyrics a bit dippy Roosevelt Grier "Pizza pie man" they threw the kitchen sink at this.Orchestras and studios cost money, the bigger the production the more money I presume was it good fortune just hanging about

someone does'nt show ok George or Roosevelt in you go.I heard recently some of these tunes had to be done in one take because of

costs amazing, I suspect the truth lies some where between luck and connections what do y'all think.

I love the MASSIVE sound created by the likes of Teddy Randazzo etc. Of course success breeds success and as hits were made, the money for production flowed a little easier I suppose. There were certainly great arrangers/producers who 'specialised" in this sound to great effect.

Two of the best productions I've heard are on

The Enchanters - I Paid for The Party - Loma

I think the technique used by Jerry Ragavoy in employing the vocals and harmonies as an instrument if you will was fantastic. He did the same with Erma Franklin and Lorraine Ellison too. I don't think there are massive orchestras involved but rather it's the echo set up, the constant use of the background Ooooohs and the "chink" of a rhythm guitar that sets his 'beat ballads' apart for me. I think his modus operandi of sometimes "Less = More Sound" was fantastic.

Randazzo was THE master. Percussion, strings and a quality vocalist are all he needed to create fantastic songs. His catalogue surely stands up with anyones.

Here's a clip of his early days and then another with his finest hour as a songwriter imo. Timpani galore! Swirling strings, Soaring voices, an impassioned lead, change of tempos, a build up to a wonderful creschendo. FANTASTICO!

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Hi Dave some good points there especialy the success factor,as somebody paved the way.Teddy's "you don't need a heart" is a blast,I know there

where producers using techniques like layering the sound,Igot intrigued by how some of these monster sounds came about on some of the small labels

and unheard of artists.

The BIG production, is something i crave. It is a shame that these BIG production items seem to be being disregarded as POPCORN or RnB, nowadays too. they're missing from the main halls i feel.

The BIG production, is something i crave. It is a shame that these BIG production items seem to be being disregarded as POPCORN or RnB, nowadays too. they're missing from the main halls i feel.

Theres plenty of people dancing to them in the rnb rooms up and down the country

and come to think of it thats where an awfull lot of the stafford era tunes have ended up.

The whole stafford,100 club 80s era really pushed the boundaries of what was exceptable on the scene

Thats when i first got in to it.

So a big thanks to Guy,Keb,Ian Clarke,Ady,Butch and all the other 6ts newies djs you rocked it fellas.

I cant put stuff up on here but check out Roy Hamilton And i love her RCA TUNE.

Al H

Dave Moore is once again spot on with his reply re Teddy Ren"

For me the last days of "big production" 45s was the Gamle/Huff Philly sound

A bygone age I reckon and one I was glad to live thru

Cheers Paul