Alan Galbraith (born c. 1947) was one of New Zealand's most successful record producers of the 1970s. [ citation needed ]
Galbraith was born in Luton, moving to Richmond in New Zealand's South Island as a child. In his teenage years and early 20s he was a member of several bands, notably Sounds Unlimited, with whom he travelled briefly to the United Kingdom in 1967. [1]
In 1968, he was hospitalised for several months with a kidney infection, and while convalescing decided that he was more suited to work behind the scenes as a record producer. He worked his way through several minor jobs at HMV New Zealand before being offered an assistant producer's role in 1970, working alongside New Zealand's then top producer, Peter Dawkins. Galbraith soon found the working conditions at HMV to be stifling, and in 1972 he left for Britain, where he was soon hired by EMI. [1] He returned to New Zealand in 1973, where he became a producer for EMI (NZ). [2]
Galbraith's big breakthrough came in 1974, when he signed Space Waltz to EMI. Their debut single, "Out on the Street", produced by Galbraith, became a big domestic hit, and an album, also produced by Galbraith, soon followed. From this beginning, Galbraith started to change the approach of EMI's New Zealand recording set-up. Inspired by the Motown sound, Galbraith encouraged a collegiate approach from a variety of artists, each working as backing musicians on each other's recordings. Artists who worked in this way included The Yandall Sisters, Mark Williams, and Lew Pryme, alongside Space Waltz's Alastair Riddell. [2]
Mark Williams, in particular, was to become a household name in New Zealand with the help of Galbraith, who was by now working as both music producer and manager. Galbraith produced a trio of albums for him, all of which performed well. Galbraith also signed the band Rockinghorse and Nelson singer Sharon O'Neill, the latter of whom also went on to considerable success. [2]
In 1977, Galbraith was invited by Dawkins to join him at CBS in Australia, where he worked for some time before moving back to New Zealand. He joined the staff at WEA in 1980, and was responsible for the company signing Herbs in 1988. Shortly afterwards, he retired from the business. [2]
Throughout Galbraith's career, he continued recording his own music on a part-time basis, and has also done so since retirement. He lives with his wife, Sue. He knows of two adult children and has two grandchildren. During his latter years he has also become a luthier, making his own guitars. He now lives in Greytown.
Galbraith was named Producer of the Year at both the 1975 [3] and 1976 RATA Music Awards. [4]
His Master's Voice (HMV) was the name of a major British record label created in 1901 by The Gramophone Co. Ltd. The phrase was coined in the late 1890s from the title of a painting by English artist Francis Barraud, which depicted a Jack Russell Terrier dog named Nipper listening to a wind-up disc gramophone and tilting his head. In the original, unmodified 1898 painting, the dog was listening to a cylinder phonograph. The painting was also famously used as the trademark and logo of the Victor Talking Machine Company, later known as RCA Victor. The painting was originally offered to James Hough, manager of Edison - Bell in London but he declined, saying " dogs don't listen to phonographs ". Barraud subsequently went to The Gramophone Co. of Maiden Lane in London where the manager Barry Owen asked if the painting was for sale and if the painting could be revised to show one of their own latest Gramophone models. This was done and The Gramophone Co. in due course made a formal offer to buy the painting from Barraud for £100.
Frederick William Gaisberg was an American musician, recording engineer and one of the earliest classical music producers for the gramophone. He himself did not use the term 'producer', and was not an impresario like his protégé Walter Legge of EMI or an innovator like John Culshaw of Decca. Gaisberg concentrated on talent-scouting and persuading performers to make recordings for the newly invented Gramophone.
Harry Walter Legge was an English classical music record producer, most especially associated with EMI. His recordings include many sets later regarded as classics and reissued by EMI as "Great Recordings of the Century". He worked in the recording industry from 1927, combining this with the post of junior music critic of The Manchester Guardian. He was assistant to Sir Thomas Beecham at the Royal Opera House, Covent Garden, and in World War II played a role in bringing music to the armed forces and civilians.
Schnell Fenster were a New Zealand rock band formed in Melbourne, Australia in 1986 by Noel Crombie on drums and percussion, Nigel Griggs on bass guitar and backing vocals, Phil Judd on lead vocals and guitar, and Eddie Rayner on keyboards and piano – who were all former members of New Zealand-formed rock group, Split Enz. Fellow founder, Michael den Elzen on lead guitar had worked with Tim Finn Band, another band formed by a Split Enz alumnus. Judd's band were briefly named The Wanx: but Rayner soon left and they changed their name to faux-German for "quick window", because it "appealed to [their] perversity". The group formed the core members of Noel's Cowards, a short-term ensemble, whose sole output was six tracks for the soundtrack of a feature film, Rikky and Pete, in 1988. Schnell Fenster released two studio albums, The Sound of Trees (1988) and Ok Alright a Huh Oh Yeah (1990), before disbanding in 1992. At the ARIA Music Awards of 1989 they were nominated for Breakthrough Artist – Album for The Sound of Trees, Breakthrough Artist – Single for "Whisper" and Best Cover Art for Judd's graphic art.
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Peter William Dawkins was a New Zealand record producer and musician, best known for his late-1960s to mid-1970s New Zealand hits and his 1970s productions for Australian-based pop artists, including Dragon, Australian Crawl and Air Supply. He won multiple production awards, including the Countdown Producer of the Year. In the late 1980s, he developed Parkinson's disease.
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