Two Platinum Producers Connect: Charlie Midnight Interviews Barb Morrison

Photo credit: Clayre Saxon

Barb Morrison is a NYC based music producer and film score composer who has worked with Rufus Wainwright, Franz Ferdinand, LP, Blondie, and many more incredible artists. Barb has accomplished a lot over the years and her latest accolade is her first Platinum record, which she recently received for her song contribution (In The Flesh remix) to Blondie's "Sound and Vision" album. In speaking about her experience working with Barb, Blondie's lead singer Debbie Harry said, "Working with Barb Morrison was easily creative and in an entirely positive atmosphere. We wrote songs together collaborating like we had been doing it for years and years and I think some of my best songs came from these sessions."

One of the individuals in the music industry with whom Barb has had an enduring relationship with over the years is legendary music producer and songwriter Charlie Midnight. Charlie's resume speaks for itself, as he has written and produced songs for over 30 films including Rocky IV, The Bodyguard, Bull Durham, and Lizzie McGuire, as well as for artists such as Cher, Billy Joel, Joni Mitchell, Seal, Barbra Streisand, Andreas Bocelli, Britney Spears, Christina Aguilera, James Brown, Chaka Khan, Joe Cocker, The Doobie Brothers, "Weird Al" Yankovic, Jamey Johnson, George Thorogood, John Waite, Hilary Duff, Dan Hartman and Paul Young. According to Barb, "Our relationship started because he produced a band I was in back in 1990. I kinda hid in the shadows and watched him do his stuff and when it was time for me to become a producer, I used a lotta stuff I learned from him". 

For this exclusive interview, Charlie Midnight sat down with Barb Morrison to inquire about her gift for music production, whether she would allow differing political ideologies to deter a potential music collaboration, her thoughts about what makes a strong vocalist and much more. After reading this Q&A, be sure to follow both Barb and Charlie on social media and check out the song (In The Flesh remix) that led to Barb's Platinum record. 

We worked together on Gutterboy and I had no idea that you wanted to be a music producer. Was I missing something? If not then when did you discover that you had this desire and ultimately a gift for music production?

I started multi tracking my own music when I was a teenager with a DJ mixer and two cassette decks. I graduated to a 4 track by the time I had met you in the 1990s. Mostly punk songs, industrial and avant garde experimental stuff. By the time a few years had passed I realized I'd been recording most of the cool bands in the East Village but we were still in a living room! So I just took it to the next level, quit my bartending job, quit the band I was in and settled into the life of a studio rat. 

Would you refuse to work with someone whose political and world views deeply offended you even if you admired their music. Is it possible to separate the artist as a person from the art they create? If a person commits heinous acts can you separate those acts from their art and view the art dispassionately. 

Recording and producing is basically just assembling vibrations so VIBE is actually everything. If the vibe is tense or combative you’ll never get anything done in the studio in my opinion. I don’t think I could work with someone I deeply disagreed with on a political level. When I’m sitting down with an artist I’m trying to help them tell their story. It's crucial that I have compassion and empathy for whatever message they’re attempting to convey. Ultimately it's always the artist telling the story but I’m steering the ship and I totally need to believe in the journey.

Photo credit: Clayre Saxon

Photo credit: Clayre Saxon

You’ve worked with some wonderful artists like Debbie Harry whose voice is distinctive, easily recognizable and a strong instrument of interpretation. What do you think defines a great vocalist? 

The voice is the same as any other instrument. Again, its about telling the story. So really being in your pain, your joy and letting the listener hear your raw truth. Debbie is great at that because she has a wide range of color in her vocals. She can soar like a bird in the higher register and really hit you in the gut with the lower part of her range. I think people were really ready when Adele came out because she was so raw. As a listener I want a singer make feel like “Oh yeah THAT'S what i was feeling".

When I produced your band, Gutterboy, we recorded the band live to tape which created a great cross-pollination of ideas and a creative tension in the studio. It is the method of recording that I find most satisfying. Do you have a preferred method of recording that you find most satisfying?

I was really holding on to thinking things sounded better in analog but technology has come so far that anything I’ve done in Pro Tools and Logic in the past few years has sounded phenomenal. The last record I did on tape was nice. It was warm but there were some hurdles along the way that working in digital has made a lot easier now. I know there are purists out there who will throw tomatoes at me about that and yeah sure if I have the time and the budget to work with tape then why not? But if you’re moving fast then I’m fine with the future.

As a songwriter what are your thoughts when you see, as is not uncommon today, 8, 9, 10 writers listed on a song? 

Well to me it makes sense. It's a sign of the times. 1-2 people working on a beat, then that gets passed along to 1-2 actual songwriters who bang out chords and arrangement, then you have 1-2 people working on a top line for hooks and melody and you might even have an extra 2 people for lyrics. Right there we’ve counted 8 people. If the producer writes a little something then we have 9. So yeah its easy to be cutting up a pie of publishing. I’m ok with that. I’m also ok with sitting on the floor and banging the whole song out lyrics and chords on an acoustic guitar. whatever gets it done. A great song is a great song no matter how many people worked on it.

The digital age has made it easier for a music artist to record and release their music? Is easier better?

I think its amazing! When I was in bands we had to totally be at the mercy of an A&R guy coming to hear us. Then if we were lucky enough to get a deal, you had to deal with so many cooks in the kitchen. Now artists can set up their social media, make a killer record and videos and talk directly to their fans right there. I get really pumped when I watch someone grow their fanbase right before my eyes just by doing the footwork and reaching out to their audience. I think its exciting.

Human beings need music. Every culture, in all parts of the world, down through the ages have made music: beautiful music without being part of the music business. If the music business ceased to exist would you keep creating music as passionately as you do now? What would you do to earn a living?

I live and breathe music. I don’t even realize I’m doing it all throughout my waking hours and in my sleep sometimes. My wife will tell you there's a new song about our cats every other day! But on the flip side I do enjoy silence. If I had to pick a day job I’d probably be a behavioral anthropologist. Oh wait, maybe I’m already that. Ok I’d sell breakfast burritos on the beach in Vieques.

Connect with Barb Morrison: Website   Twitter    

Connect with Charlie Midnight: Website   

Review: Barb Morrison's “Sugar” Film Score

Photo credit: Clayre Saxon

"Sugar", the PBS indie film that aired this past March sees the collaboration between director/producer Rose Troche and composer Barb Morrison. After tackling projects such as Concussion, The Safety of Objects, and Sidewalk Traffic, Morrison takes her style and approach to the dramatic story of Sugar, an ex-con, who is released from prison and attempts to find a stable place to live, all the while attempting to connect to her young estranged daughter, and avoid the temptation to blend back into her old criminal ways. If you know Barb Morrison, you’ll know what to expect. There’s nothing overly flashy in the approach, and that’s a good thing.

Morrison’s talents in building suspense and accompanying the story of Sugar are put on display here as she weaves a great undercurrent of tension while emphasizing the emotions of the story in the all the right ways. The music, a blend of Hip-Hop and cinematic ambience, is not overly thematic or egotistical by any means. It opens by establishing the characters and giving us a glimpse that these are real people with troubles and heartache. The film’s tracks are not long by any means, yet you get the feeling the score has no problem working its magic. It’s a unique dynamic because each track almost feels like we’re being led up a spiral staircase working our way to the climax. But also, each track feels like it’s own journey as well. So we kind of get this interesting stepladder progression in intensity until we work our way to the conclusion of Sugar’s story. In all of this, the dark and moody soundscape of beats and ethereal melodies never begs for attention. You may not notice the score as you are becoming engulfed in the world of Sugar, and this is precisely what Barb Morrison wants to happen.

The music takes the viewer on an emotional journey without them ever realizing it. It’s a score that contributes to the story instead of attempting to elevate itself above it. Sure, the film is a work of fiction, but it so perfectly engages and entertains while shining a light on the human spirit that shines through in times of greatest trouble. All in all, a great film and terrific effort from Morrison, who adds her signature sound to give some surreal moments to a very moving story.

Connect with Barb Morrison: Website   Twitter   Facebook  

Barb Morrison Discusses Her Work On The PBS Film “Sugar” And What Inspires Her To Push The Envelope With Her Music

Photo credit: Kris Kaczor

Barb Morrison is a Brooklyn based recording artist, Top 5 Billboard dance chart songwriter, and Gold record producer. She is best known as the producer for numerous artists such as Blondie, Rufus Wainwright, Franz Ferdinand (band), LP, as an ASCAP-featured film score composer and formerly, as one half of the production duo Super Buddha. Barb recently did the score for a mini series called “Sugar” on PBS, for which we have reviewed and will be posting very soon. For this exclusive interview, we asked Barb about this mini series and how she became involved in it, as well as what inspires her as a writer and who she'd like to collaborate with. 

You have a modern hip-hop/dark cinematic sound to your music, you use different tones and even different thematic directions, really taking the listener on a journey with your music. What would you say your sound was born out of? 

I was raised by my older brothers. It was the 1970s so there was a rock vs disco war going on. One of my brothers was rock and one was disco. I was their lab rat. Out of those genres, two other revolutions were born - Punk and Hip Hop. So I soaked every note of that stuff in. I memorized “rappers delight” when I was 12. You look back on it now and it seems funny but at the time it was really cutting edge. By the time the 1990s rolled around I was in a band that was signed to mercury records. We were billed as a punk band but our A&R person had only signed R&B acts like Vanessa Williams and Brian McKnight and some other Hip Hop artists. Because of her we did shows with Black Sheep, Tribe Called Quest and NWA. At the same time we were opening for The Ramones as well so I couldn’t help but mix it all up. When I was little kid I wanted to be an alto jazz saxophone player so throw that into the recipe and you were getting some dark, complicated stuff. When I got my first film scoring job, a friend of mine said “this is the perfect job for you because now you can combine every weird thing you listen to and it’ll work!"

Can you tell us about the PBS short film “Sugar”, and how did you become involved in that? I would assume something about that story resonated with you.

Sugar was the fourth movie I’ve scored for director / producer Rose Troche. I think she chose me because she truly wanted a fuse of dark, modern Hip Hop and a moody, heavy film score. It was interesting to work on Sugar because it was created in the "exquisite corpse" concept. So there’s a pensive feel in general to the whole thing. I was able to get inside the main characters story line because I’m 26 years clean and sober so I know the challenge of being in a bad place and trying to make a better life for yourself. I tried to make sure I took that specific journey with the lead character, as far as emotion and feel. You can read more about the process and the studio creations for “Sugar” here: http://www.superbuddhamusic.com/2016/03/25/sugar-debuts-on-pbs/

You have a few film credits under your belt. How do you decide what sound should accompany a certain film? Do you make intentional decisions to progress with your music or do you find this comes naturally? 

I begin with big blocks and broad colors. I’ll watch the way the director uses lighting, cinematography, camera angles and the way the actors use dialogue and tone. Usually I assign a theme to a main character but not always. When I scored the movie “Concussion” the director Stacie Passon actually sang a 4 note riff to me over the phone. I ended up building the entire score around that. Most people don’t even notice film score and sometimes that’s good because it means you’ve taken the viewer on an emotional trip without them even realizing it! I’ll be watching a random movie with friends and i’ll say “wow this is a great score! Do you guys notice the score?” and they’ll go “um NO” because a good score contributes to the movie, it doesn’t step all over it. Most of the time your average everyday civilian is just sitting there being fed a mood and they didn’t even know it was happening. There’s definitely a lot of responsibility on the composer because of this fact.

Photo credit: Rick Campanella

What inspires you to write?

I’m a big fan of collaboration. Bouncing ideas off each other is what really gets me feeling creative. When I produce records or score movies, I like to sit down with the artist / director before I even agree to the project and find out exactly what story they’re trying to tell. Everyone has a story. I think it’s our responsibility to tell it and tell it well. Once I have the emotion and back story (and if it’s something I believe in) then there’s no problem finding the inspiration. It’s just tapping into the map of where the vibrations need to take you.

You have worked with artist such as Rufus Wainwright, Blondie, and Franz Ferdinand. Can you name a few other artists that you would love to collaborate with someday?

Because they’ve always broke boundaries: Rickie Lee Jones, Kendrick Lamar, Questlove, Joni Mitchell, Dean & Robert Deleo, Herbie Hancock, Annie Lennox, Mykki Blanco, and Chris Cornell.
Because I just wanna hear more from them all the time: Eve, Cindy Wilson, Jill Scott, Paramore, Musiq Soul Child, and Sharon Jones.

Directors who I would love to score for: Charlie Kaufman, P.T Anderson, David Cronenberg, Jill Soloway, and Alan Ball. All of them have a way of truly getting inside the characters and giving them heart, sadness and color.

New artists that have caught my ear: The Big Moon, Estrons, Thornes, Billie Marten, and Young M.A.

What do you hope to accomplish with your music?

Mostly I just try to take my ego out of it and help the artist tell their story. I don’t need anyone to say “that sounds like a Barb Morrison record (or score)”. I want the artist to sound like the artist but BETTER.

Are there any causes/other hobbies that you are involved with outside of the music industry?

During NFL season I mostly have a one track mind. But other than that I’m really into the culinary arts, cigars, high quality coffee and when possible going to the gym. As far as causes - I’m always up for a good protest for justice.

What does the future hold for you? Should we be on the lookout for any new music?

Lots of cool projects coming up! There’s a remix of “Take My Shoulder” that I produced with Jonathan Jetter getting ready to drop. I recorded the original tracks in a cathedral in Minnesota. The lead vocals are by Venus Demars and Laura Jane Grace. I’m also starting a new EP next week for Gina Volpe from the legendary punk band “The Lunachicks”. I’m super psyched for that one because she’s really branching out with her sound. She’s going to be pushing some boundaries for sure. There’s another EP about to pop off by a brand new artist named Danielle Barbers. She can do everything, sing, rap, write and raise hell all at the same time so look out for that one. It’s got dance, R&B, and Hip Hop, something for everyone on that record. I’m always keeping it well rounded so I make sure there are plenty of different styles going on within the month in the studio. If you’re not having fun you’re doing it wrong!

Connect with Barb Morrison: Soundcloud   Twitter   Website