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Bill’s Blog
I'm Bill Meyers and here's an insight into my world of producing, arranging, composing and recording.
Projects - Gatchaman Soundtrack (Main Theme)
Back in 1994, Maurice White asked me to join him composing, recording, and producing the soundtrack music for a venerated Japanese animation series titled “Gatachaman.”
This series can be traced all the way back to 1972- done with Japanese Anime. It featured 5 heros fighting to save the world from outside forces. The series had gone through multiple renderings, but this project was to be presented in 3 episodes. Maurice and I asked the film producers if they wanted us to stay close to the original musical concept, but they told us to take the soundtrack in a new direction.
The project was a joy to work on. The song concepts and arrangements came out quickly, and with energy. We went to work on this material using mostly synthesizers, and a small group of live musicians and vocalists. Paul Klingberg (who has been a huge part of EWF records since the ’90s) did a great job recording and mixing.
One of these was the “Gatchaman” Soundtrack. For years after we recorded “Gatchaman Man,”. “I was amazed at the number of people who approached me about it. Some had not been able to find it, but wanted to buy it. Others came up & praised us… This series has a large number of fans worldwide.”
On the main title we used Billy Kilson on a Roland electric drum kit, Steve Ferris on guitar, and the EWF horn section- Ray Brown-trumpet, Gary Bias-saxophone, And Reggie Young on trombone. I played all keyboards and arranged the music with help from Maurice.
"True Blue" by Madonna
“True Blue,” the third album by Madonna, was released on June 30,1986, by Sire Records. Powering the album to world-wide success was the record “Papa Don’t Preach,” co-written by Madonna and Stephen Bray. The album and the single reached number one on the charts.
I was tasked with arranging the strings for “Papa Don’t Preach,” which turned out to be my first number one single as an arranger. “A large live string section was used on “Papa Don’t Preach” along with synth string parts written in the score. The parts had effects added to them- both chorus & digital delay.”
The album was important in the musical growth of Madonna in my opinion because the album reflected an enhanced quality in the production of her music with creative arrangements, multiple genres of music, and complementary instruments to create the sound.
My Demo of "Can't Let Go"
How my demo of “Can’t Let Go” made its way to Maurice White, and he decided to record the song for Earth, Wind & Fire’s album “I Am.”
My path to Maurice White came about from two separate events that formed my first working relationship with Maurice.
Back in 1978, I was touring with Lou Rawls, in part because Gino Vannelli had been stopped from touring large stadiums because of the lack of a hit single from his recent release of “A Pauper in Paradise.”
We rehearsed for the upcoming tour at SIR rehearsal studios, & one night after we finished we went across the street to see the ending of EWF’s live show in rehearsal. Afterwards, there was a receiving line we stood in to meet the band, and when Maurice came by our bass player told Maurice they had met earlier through his teacher Cleveland Eaton. Reese looked at him & replied “I don’t remember that” & move on. I laughed. Of course, I had no idea that evening that Reese would soon hear my demo tape.
A few years before, I met Jerry Wolf (who I’ll always be grateful to). He was an accountant in Chicago that was interested in getting into the record business. He had seen me playing for Gino & heard an early demo of mine. He financed a new demo for me with 5 songs that had a lot more production value to them, and he backed that up by chasing people I wanted to work with, including Maurice White who was at the top of that list.
One night while playing in Vegas, I received a phone call in my room. It was Maurice… I was amazed when he told me he loved my demo, and wanted to possibly use a couple of them, and write with me! I jumped at this opportunity..
I was flown to LA, and was brought to Hollywood Sound Studios. Maurice came out just as I was about to enter the studio. When I was introduced he said to me, “wait; I’ve seen your face before” and I replied “I’ve seen yours also”. He laughed, and we got off to a good start..
Often songs come to artists as demos on tape, and it is then decided if the artist will use the material. In the case of “Can’t Let Go,” Maurice and I sat down, and basically- jammed. I brought a chordal scheme I devised earlier for an intro, verse, B section, and chorus to Maurice with a vocal idea on the verse.
He loved my intro and verse, but when I started to play a turnaround section for my B section, Maurice stopped me and said” hold up”! You have the hook right there.” He made me repeat the 2 bars while he started to sing “I can’t let go” with the future melody… I picked it up & played it for 7 measures, then put the brakes on it on the last bar- which lead back to verse again.
We added a bridge idea on 7, and threw it down on tape. After that, Alee Willis was called in snd added some great lyrics to what we started. It turned out to be the first song that EWF recorded that I co-wrote.
My time Vinnie Coloiuta & Neil Stubenhaus
These two gents have played on all of my albums (both solo & group). Here's a cut from my "All Things in Time " CD titled "High Tide". It featured them- along with Larry Carlton (guitar) & Lenny Castro (percussion). They all played brilliantly... Listen to "High Tide" here: https://www.youtube.com/watch?v=LBHaWLwQ5hw&feature=youtu.be
My Time with Brian McKnight
April 2022
Bill Meyers is a longtime music industry producer, arranger, composer, conductor, and recording artist whose work has been credited on the recordings of many leading artist in music for over 40 years. To learn more about Bill, follow this link to his website –https://www.billmeyersmusic.com/
There are so many memorable songs I have had the privilege to contribute to in my recording industry career, but there is one song in particular that I am extremely proud of, Brian McKnights “When the Chariots Come” from his 1997 album “Anytime.”
I love working with Brian, and this song gave me the opportunity to get inside the lyrics and concept of the piece for the orchestral arrangement. I remember telling him when I first heard it that it reminded me of a New Orleans funeral. He had heard only strings on it, but said “I’ll give you the extra brass & woodwinds, but I need the strings to shine halfway through the song when I mention going to heaven”.
We agreed, and I got to play off many of his lyrics (ie. “When Gabriel blows.”) I sent the strings soaring in a spiral pattern…). For the line “When the Chariots come.” It gave me a vision of them entering in the sky above everything else, so I wrote a high repeating string line on the vamp out of the song.”
“So many great memories being associated with this timeless recording.”
All Things In Time
April 2022
Donny Hathaway was a member of Maurice’s group in the Chicago area called the Salty Peppers, when the group had a regional hit called “La La La” on Capitol Records.
Maurice relocated to Los Angeles in 1970, and began shopping a demo tape of his newly formed group Earth, Wind & Fire to various record labels. Featured on those demo tapes was none other than Donny Hathaway. Earth, Wind Fire was eventually signed by Warner Bros Records.
Donny was an American treasure. He had all the requisite gifts that made him a unique talent. For instance this jam “Valdez in the Country” which he composed and recorded in 1973. This great song has been covered and re-recorded by some of our most outstanding artist in music since then, including George Benson, Santana, Lee Ritenour, and Bill Meyers.
It was an honor for me to record this classic recording for my 1996 album “All Things In Time.”
My Experience as a Music Arranger
May 2022
I recently was asked to discuss my role as a music arranger during the process of recording music for a recording artist, or developing music for my personal projects.
For the purpose of this overview, I’ll stick primarily to horns and strings for the role of an arranger in a pop recording.
An arranger (of rhythm, synths, vocals, brass, or strings) has a key role in the production of a successful song. A successful song doesn’t have to be defined by whether it is a hit single or not. More important is, if the material can lift & inspire the listener.
In the many years of learning my craft, I find that I need to go back to school periodically- listening to new material with changes in production, writing approach, & new sound sources.
It starts with the rhythm – the core source is usually guitar, piano, & supported by some sort of bass & percussion … this sets the foundation. These elements (& everything that follows) have to support the lead vocal.
One of the most important things I learned early (oddly enough) came from a drummer. Not just a drummer, but for me the best pop drummer I’ve known, Jeff Porcaro.
While helping me on my band’s demo in 1981 Jeff asked me for the lyrics to the material. I’d already written him a rhythm chart, so I asked why he needed it. He told me that he liked to adjust the mood & intensity to enhance what the song had to say. From that day on, when I was arranging I asked the artist for the lyrics to see if my parts (ie. Strings) could help bring the lyrics to life.
Horn arrangements generally bring punch & extra power to a pop song. I usually try to find a line or two to fit in around the lead vocal on a chorus that can possibly provide a secondary “hook “ (something someone may sing or whistle later). I have two wonderful sons, & I remember playing EWF for my oldest son Cole in the car on the way to his pre school years ago … I can’t describe what a wonderful feeling I had the first time he started humming the brass lines to “Lets Groove” in the back seat of our car. Brass can both support a vocal or take the lead in a intro, bridge, or ending of a song.
Strings have the ability to fill all sorts of roles. In some cases they can be the core source of accompaniment to a lead vocal- like a piano or guitar. Mostly, they fill out & enrich the rhythm & vocals. They can do this either rhythmically (ie. 8th notes) or held as pads that compliment the other instruments. The song will dictate how many strings are used. A quartet can convey a intimate approach, while a large ensemble up to as many as 40 strings can provide strong high soaring lines on a pop ballad.
A perfect example is the orchestral arrangements I did for the song “When the Chariots Come” by Brian McKnight. I love working with Brian, and this song gave me the opportunity to get inside the lyrics & concept of the piece.
I remember telling Brian when I first heard it that it reminded me of a New Orleans funeral. He had heard only strings on it, but said “I’ll give you the extra brass & woodwinds, but I need the strings to shine halfway through the song when he mentioned going to heaven”. We agreed & I got to play off many of his lyrics (ie. “When Gabriel blows” I sent the strings soaring in a spiral pattern…). The line “When the Chariots come” gave me a vision of them entering in the sky above everything else, so I wrote a high repeating string line on the vamp out of the song.
I try when writing material for myself to keep a similar approach to arranging for others- unless they want something else specifically. One constant is: the arranger has to be careful, and not overwrite parts that will diminish the lead vocal. This goes for any type of arranging. I can usually pick out young arrangers by the way they tend to overwrite on songs. It’s because they have the skills but are forgetting that it has to be subservient to the song message of the lead vocal.
I hope this gives everyone a little insight into what we do as arrangers….
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