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Full Version: Haley Reinhart Album #4....
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Maybe jumping the gun, but since there should be an album number 4, here's the first post of the year (her instagram story) of Haley in a studio w/ Rob Kleiner and Anders Grahne

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Avelene's capture for a few seconds of audio....

https://twitter.com/IHARTHALEYDAILY/stat...3795811328
Very cool news! Smile

Hoping that if there is indeed an album 4 this year that she ends up working with some different writers... Nothing against Rob (They've written so many gems together!) of course, but a little variety is cool too.

Any predictions on what album #4's theme could be?
To me this sounds funk influenced. Like talkin about. Haley will probably go the retro funk pop she route she did on better/listem up.. I prefer she changed it up a bit and does more contemporary pop/alternative rock. Listen was a good example of a current song she can tackle. I hope she switches it up with producers too. Its good to have different hands in the mix. Maybe a hit single will come out of it.
If she does an Album 4 this year, I would hope she considers looking to Amy Winehouse, upbeat Adele, Norah Jones, and some KT Tunstall. Songs and styles that are all in her wheelhouse--that she can knock out of the park. A few covers are OK too---
I'm not sure Better was afforded it's due, we were so flush w/ even getting a new album after years of waiting since Listen Up! Then suddenly in less than a year, we have WTS to listen to.... But on it's own, minus any connections, Better is a really great album.

I've said before, I want more 'Rocker' Haley....we got a little taste of that in Better, even more so when she brought the songs from that album to a live performance, there's a sharper edge than what we had previously heard on Listen Up! (A master piece debut on it's own)... There was so much originality in the songs, each w/ it's own personality. Even more so than Listen Up! I think Better will grow finer w/ time, it bares repeating, Better, is the most 'Haley' thing that Haley has done, encapsulates her talent and personality.

My logical mind thinks Haley + Concord + HQ production = something classical, Jazz, blues, high brow kind of stuff.

But if I had a say, I'd tell Haley, more of that "Better" stuff.... give us the Haley spice, mixture of classic, rock, jazz, fusion, funk, even a sprinkle of disco... That is and has always been Haley, that's what I get from listen to Better....Yeah, Haley, more of that original music, Grade A, Haley 'Better' Stuff Cool
https://www.instagram.com/p/BeEe3-6lKQ6/

Quote:grahna
Working with two of the best in the world today. @haleyreinhart & @printzboard - you make my life richer. #forrealtho
#songwriter #newmusic #haleyreinhart #printzboard #la #sonofsteve #devg
(01-12-2018 06:43 PM)Tusk Wrote: [ -> ]I'm not sure Better was afforded it's due, we were so flush w/ even getting a new album after years of waiting since Listen Up! Then suddenly in less than a year, we have WTS to listen to.... But on it's own, minus any connections, Better is a really great album.

I've said before, I want more 'Rocker' Haley....we got a little taste of that in Better, even more so when she brought the songs from that album to a live performance, there's a sharper edge than what we had previously heard on Listen Up! (A master piece debut on it's own)... There was so much originality in the songs, each w/ it's own personality. Even more so than Listen Up! I think Better will grow finer w/ time, it bares repeating, Better, is the most 'Haley' thing that Haley has done, encapsulates her talent and personality.

My logical mind thinks Haley + Concord + HQ production = something classical, Jazz, blues, high brow kind of stuff.

But if I had a say, I'd tell Haley, more of that "Better" stuff.... give us the Haley spice, mixture of classic, rock, jazz, fusion, funk, even a sprinkle of disco... That is and has always been Haley, that's what I get from listen to Better....Yeah, Haley, more of that original music, Grade A, Haley 'Better' Stuff Cool


I feel a lot of what you're 'talkin about' here : )

What was odd for me was that when Better was first released I didn't entirely have my mind open to it ... so much so that I had only listened to it a couple times before I saw Haley on the Better tour.

I think it was only just a matter of personal distraction away from music at the time but , not sure.

I do think that the Better songs were really incredible with both the with Luttrell Band, and the with the Dylan and company band with William Rae in the linchpin drum role on both. Guess I should name all the musicians because I can't know who was bringing what .. great bass playing etc.

It's not that anything was missing on the Better studio album,
... and I'm kind of a "Jam band" guy so I've got a bias toward live stuff over studio stuff,

... still, I wonder if that groove a live group gets working together and their musicians knack for Haley's sensibilities inspires a bit more edge in Haley than other but different good things that happen in the studio with pros?

It's all speculation from me - not expertise and others know better.. most especially the star herself ! - so many routes to follow that all can go great places... just think if it is a rocker direction that making new music with people who've been traveling with you live might have it's own edgy flavor ?
Haley's in studio today, unsure if it's for the next album, but she says it'll be revealed (wait for it...) "soon" Tongue

I captured her Instagram story... https://twitter.com/HaleysTusk/status/98...6921929728

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I believe that's where "Pink Floyd recorded The Wall. Steely Dan cut the basic tracks to Aja. Fleetwood Mac mixed Rumors."

http://boulevardrecording.com/studio-tour/

This is the studio where Bill Schnee worked on Steely Dan's "Aja" album.

GearSlutz forum thread from 2012-2014 here discussing the studio. https://www.gearslutz.com/board/high-end...tudio.html Apparently it was known for pulling all the transformers out of the equipment to get a more direct signal. Sounds like most of that old equipment might have been removed at one point.





Some history from a 2016 article:
Quote:Boulevard Recording, located on Sunset Boulevard near studios like Capitol and United Recording, is perhaps the only classic Hollywood recording studio of this type that is still open today. The studio was created as Continental Recorders around 1966, and was initially frequented mostly by psychedelic rock bands such as Quicksilver Messenger Service and Moby Grape, but also by pop acts like the Lettermen. Around the turn of the decade it was bought by Seymour Heller, manager of pianist, singer and actor Liberace, and subsequently used mostly for in-house productions for AVI Records, a company Heller ran in partnership with Ray Harris and Ed Cobb, writer of classic songs like ‘Tainted Love’.

Renamed Producer’s Workshop, the studio went on to create musical history in the ’70s. Ringo Starr produced his first two solo records here, featuring guest artists like Elton John, Harry Nilsson and all other former Beatles. Other clients of this era include Carly Simon, Billy Preston, Art Garfunkel, Alice Cooper, Fleetwood Mac — who mixed Rumours here — and Ray Charles. However, the heritage of the rooms was largely defined by two other groups: Steely Dan did most of the basic tracking for Aja and Gaucho at Producer’s Workshop, and in 1979, Bob Ezrin brought in British psychedelic rock giants Pink Floyd, who completed and mixed The Wall here. Ezrin is still enthusiastic about the facility, which to him is “acoustically perfect“ and “one of the greatest recording rooms ever built“.

The Producer’s Workshop era lasted until the mid ’80s, and after a short phase where the studio was privately owned and used, it was bought by Brett Gurewitz, Bad Religion guitarist and Epitaph Records label owner. The studio was renamed Westbeach, and during this phase, which lasted until Westbeach’s closure around 2008, a large number of seminal pop punk records were produced on the premises, mostly by groups from the Epitaph roster: Bad Religion of course, but also Rancid, Offspring, Blink 182, NOFX and many others worked at the studio. Mazzy Star’s ‘Fade Into You’ was also recorded here. For many years the building also hosted Doug Sax’s Mastering Lab, but today, this part of the complex is occupied by the Museum Of Death.

Back To Its Best

In 2010, producer/engineer Clay Blair, originally from Asheville, North Carolina, took over the place, and renamed it Boulevard Recording. After nine months of remodelling, it opened to the public again in 2011. Blair, who majored in recording at the Middle Tennessee State University, learned the recording ropes at Altamont Recording in Asheville. Here he teamed up with singer-songwriter Gary Jules, who suggested that Blair move to Los Angeles to further pursue his career — and he found the studio through a rather vague small ad.

”I was looking for a mix room and I found this studio on Craigslist,” recalls Blair. “The real-estate agent showed it to me with all the lights off because the power was off. But I knew immediately it was a classic studio, even though I didn’t realise what it was. But it was in a really bad shape. It was a mess.“

During the punk rock years, the walls had been carpeted, and Blair restored the original wooden panels, as the rooms were too dead in the mid range for his taste. At first his setup was centred around a Trident 80C, but in 2015 this was replaced by a 1975 custom 40-channel API console.

The outboard collection includes vintage dynamics like an original Gates Sta-Level, Teletronix LA-2A and three pairs of UREI LA-3As, and dbx 160VU and 165VU compressors. For tracking in the 70-square-metre live area, Boulevard offers many classic microphones like a Telefunken-branded Neumann U48 and two pairs of Neumann M296c and RCA BX44s.

In addition, a huge selection of instruments and backline is available, including 1962 Epiphone Casino and 1963 Fender Jazzmaster guitars, a Yamaha U3 upright piano, a Hammond B3 with Leslie 122, Fender Rhodes MkI and Wurlitzer Model 200 pianos and some analogue synthesizers including a Moog Voyager and a Roland Juno 60, as well as vintage Lowrey Heritage HSO and Gibson G101 organs. There is a 1959 Ludwig Black Oyster drum kit and a large assortment of vintage Ludwig, Gretsch and Slingerland drums and Paiste and Zildjian cymbals.

As Clay Blair puts it, he likes “recording rock & roll bands, through the API and to [Studer 24-track] tape. I also do a lot of singer-songwriters and solo artists, but working with bands you don’t know what to expect during the sessions, and I love that feeling!”

His client list reflects these preferences, featuring artists such as War On Drugs, the Cult, Richard Thompson, Keith Urban, Good Charlotte and 30 Seconds To Mars, to name just a few.

https://www.soundonsound.com/music-busin...os-angeles
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https://www.instagram.com/p/BiDnoQfgIV0/

Quote:haleyreinhart
Good as new! #studioflow Heart

She can't mean the studio or equipment.....mayhaps a clue about the project? Tongue
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