David Bowie’s musical executor

Record producer is another of those diminished jobs in the digital age. Of course, producers continue to emerge for the music of the moment, although with restricted functions within large teams, which include creators of beatslyricists, chorus experts, hunters of samples etc… What is in short supply now is the demand for the type of adventurous producer, who dedicated months to each project, who traveled to remote studios with artists who were perhaps insecure or overconfident, willing to navigate the Sargasso Sea of ​​the egos that can paralyze the evolution of a band.

So panoramic compilations are appreciated, which summarize – for example – the career of Tony Visconti, with his 60 years of activity. Produced by Tony Visconti (Edsel Records) contains 4 CDs or, in the reduced vinyl version, 6 LPs: summary of an amazing performance marked by eclecticism and good taste. Parenthetically, I do not understand that recordings by Joe Cocker, Procol Harum or The Move are attributed to him, corresponding to his early days, when he was an assistant to the official producer, Denny Cordell (who died in 1995, Cordell cannot protest).

In collections like this, which require negotiating with multiple rights holders, we do not know if the absences are due to the compiler’s decisions or the greedy closure of record labels and managers: this may explain the omission of Morrissey or the Stranglers. It is also shocking that Carmen, a Californian group that electrified flamenco airs, appears, but Osibisa, pioneers in their case of presenting West African rhythms to rock audiences, is avoided.

The revelation of Produced by Tony Visconti It consists of the amendment of his image, as a stubborn boy from Brooklyn who taught the British to make strong and accessible rock. She had a tender streak, evidenced by her fondness for certain folky music: she produced Ralph McTell, Tom Paxton, the Strawbs and Mary Hopkin (she and Tony were married for 10 years). He also reveals his sympathy for the friendlier side of progressive rock: Gentle Giant, the Moody Blues, Renaissance, Rick Wakeman.

However, Visconti’s main merit for posterity lies in his close collaboration with Marc Bolan and David Bowie, two friends/enemies who emerged from mod London. He guided Bolan from his early years underground, with Tyrannosaurus Rex, to his astonishing conversion into the idol of crowds, at the head of T-Rex. The overwhelming harvest of success was soured, Visconti thinks, by Bolan’s metamorphosis into a capricious, manipulative and, oh, stingy, creature. Besides, he refused to evolve musically and thematically.

That stagnation was not a problem for Bowie, who changed his sound, image and concept practically with each album. After an initial skid — he refused to produce Space Oddity, considering it an opportunistic song—, Visconti became David’s favorite accomplice. Together they made about 14 albums, with a break of almost 20 years when Visconti caught a balloon: he was preparing to work on what would become Let’s Dance and Bowie did not warn him that he was already dealing with Nile Rodgers.

Now, Visconti unofficially occupies the role of executor of David’s recording legacy, preparing reissues and rescues. Of course, no revelations about the missing person: he has signed a strict confidentiality contract.

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