Drumming News :
Legendary drummer, producer, and session icon Simon Phillips—known for his work with Toto, Jeff Beck, Mike Oldfield, Judas Priest, and countless others—has never shied away from speaking honestly about the state of modern music production. In a recent conversation with Music Radar, Phillips reflected on the lessons he learned across decades in the studio and explained why so much of today’s popular music falls flat for him.
Learning From the Greats
Phillips began by recalling his experience working with his “producing idol” Phil Ramone on Billy Joel’s classic 1977 album The Stranger. According to Phillips, Ramone embodied what a producer should be:
“It was wonderful working with Phil on that album, and that’s the production style I love. As a producer, your job is to set up a great atmosphere for the artist and the musicians. Choose the right studio, choose the right musicians, plan it all, then basically just sit and listen.”
Ramone’s unobtrusive, yet deeply attentive approach left a lasting impression:
“We’d just get on with it and make a record, and then if he needed to say something, he’d say something. And I love that approach.”
Producers Should Check Their Ego at the Door
For Phillips, the role of a producer is being increasingly misunderstood in the modern industry. He argues that too many producers are trying to make their own artistic statements—on someone else’s dime.
“To me, as a producer, you’re not making your solo album with someone else’s budget, which is what a lot of producers think. The idea is for you to let artists realise their dreams.”
He emphasizes that each artist requires a different level of support, citing singer-songwriter Nik Kershaw as an example:
“He’s got it all there, it’s amazing. But he needs a very good engineer. And he needs a good listener. And I think that’s what a producer really should be.”
The ‘Volume Wars’ and the Decline of Pop
Phillips also criticized modern production trends—particularly the obsession with loudness that has plagued the industry for decades.
“From the technical side, I’ve never liked the ‘volume wars’. It’s absolute rubbish. Sounds awful.”
And when it comes to contemporary pop music, he doesn’t mince words:
“Most of the pop music is just rubbish now. There’s no composition – and about nine people just to think up a few words.”
For Phillips, a return to dynamic, thoughtfully crafted records is not only possible but necessary:
“We can get back to the way that records were made back in the day, which have dynamics, and are pleasurable listens.”
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