{"id":206604,"date":"2024-07-18T17:09:42","date_gmt":"2024-07-18T16:09:42","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=206604"},"modified":"2024-09-09T18:34:39","modified_gmt":"2024-09-09T17:34:39","slug":"arctic-monkeys-producer-james-ford-on-working-with-blur-the-last-dinner-party-and-more1","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/arctic-monkeys-producer-james-ford-on-working-with-blur-the-last-dinner-party-and-more1\/","title":{"rendered":"&#8216;I try and stay out of business conversations. I go on my instinct and my musical taste.&#8217;"},"content":{"rendered":"<p>MBW\u2019s World\u2019s Greatest Producers series sees us interview \u2013 and celebrate \u2013 some of the outstanding talents working in studios across the decades. Here, we speak with British super-producer James Ford about his role as a key creative collaborator with Arctic Monkeys, a crucial link in Blur\u2019s reunion, and much more. World\u2019s Greatest Producers is supported by\u00a0<a class=\"link-external\" href=\"https:\/\/www.hipgnosissongs.com\/\" rel=\"noopener\">Hipgnosis Song Management<\/a>.<\/p>\n<hr \/>\n<figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2020\/04\/WGP_Hipgnosis_300x250-1.gif\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2020\/04\/WGP_Hipgnosis_300x250-1.gif\" data-lightbox=\"image-set\" data-title=\"Music Business Worldwide World&#039;s Greatest Producers with Hipgnosis Songs Fund\"><img  alt=\"Music Business Worldwide World&#039;s Greatest Producers with Hipgnosis Songs Fund\" title=\"Music Business Worldwide World&#039;s Greatest Producers with Hipgnosis Songs Fund\" class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2020\/04\/WGP_Hipgnosis_300x250-1.gif\" data-src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2020\/04\/WGP_Hipgnosis_300x250-1.gif\" ><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure><p>James Ford is well-known for producing Arctic Monkeys. But he could just have easily become notorious for not producing Arctic Monkeys.<\/p>\n<p>In 2005, Ford was just breaking out as a producer. He\u2019d grown up in Leek, Staffordshire as a music obsessive. His dad played in local bands and, after flute and piano lessons at school and encouragement from a music teacher that would let him bunk off rugby to play the drums, he too joined the local pub circuit.<\/p>\n<p>After years of \u201ccider, magic mushrooms and playing in weird funk bands\u201d, he went to Manchester for university and formed Simian, who caused quite a buzz on the Noughties indie scene.<\/p>\n<p>They moved to London but, according to Ford, \u201cfell into the classic thing of trying to keep the label happy on our second record\u2026 We ended up cracking under the pressure and splitting up.\u201d<\/p>\n<p>Simian went on to have a huge posthumous hit with a Justice remix, <em>We Are Your Friends<\/em>, but, at the time, the rest of the band got \u201cproper jobs\u201d, while Ford and keyboard player Jas Shaw formed DJ\/dance music spin-off Simian Mobile Disco. Ford also started producing \u201canyone and everyone who would have me\u201d.<\/p>\n<hr \/>\n<p class=\"p1\"><div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/6zo1-XlazvY?si=n90540L8W6ULtHfj\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/p>\n<hr \/>\n<p>The names he was producing slowly got bigger until he met Laurence Bell at Domino, who introduced him to Arctic Monkeys.<\/p>\n<p>He and Mike Crossey decamped with the band to Liverpool\u2019s Motor Museum studio to work on some \u201cpretty gnarly, punky, quite aggy\u201d versions of songs that would feature on the band\u2019s iconic debut album, <em>Whatever People Say I Am, That\u2019s What I\u2019m Not.<\/em> Ford, however, did not feature on the finished record, having been replaced by Jim Abbiss.<\/p>\n<p>\u201cI was absolutely gutted,\u201d Ford says today, speaking to MBW in his home studio in Clapton, East London. \u201cI could see what was about to happen to them: their star was in the ascendant and the hype around them\u2026 It was a pretty heady time. But we got word that the Americans didn\u2019t like the recordings. It was the biggest opportunity I\u2019d ever had, and it didn\u2019t go the way I intended.<\/p>\n<p>\u201cBut I still felt like I was in the right place,\u201d he adds. \u201cI was gutted, but I wasn\u2019t like, \u2018Back to the drawing board\u2019. I was just going to have to pick myself up and carry on, I felt something else would come along.\u201d<\/p>\n<blockquote><p>\u201cIT WAS THE BIGGEST OPPORTUNITY I\u2019D EVER HAD AND IT DIDN\u2019T GO THE WAY I INTENDED.\u201d<\/p><\/blockquote>\n<p>He was right not to worry. Since then, Ford has become the UK music industry\u2019s go-to producer for\u2026 well, pretty much anything, really.<\/p>\n<p>His deliberate avoidance of a \u2018trademark sound\u2019 means he can add edge to pop stars (Kylie Minogue, Jessie Ware), reinvigorate legendary bands (Blur, Depeche Mode), or give new artists the sonic armour-plating they need to weather today\u2019s hostile environment for breakthrough acts.<\/p>\n<p>And, as it turns out, he can produce Arctic Monkeys after all. After a \u2018no hard feelings\u2019 chat at an awards ceremony soon after the debut album came out, he\u2019s worked on every AM album since, forging one of British rock\u2019s longest-running, most productive relationships. He even plays in Alex Turner\u2019s spin-off band, The Last Shadow Puppets.<\/p>\n<p>And beyond the Arctics, Ford is currently on the sort of roll most producers can only dream of. In the last year or so, he\u2019s helmed Depeche Mode\u2019s Memento Mori, Jessie Ware\u2019s That! Feels Good!, Blur\u2019s The Ballad Of Darren, Pet Shop Boys\u2019 Nonetheless and The Last Dinner Party\u2019s Prelude To Ecstasy, amongst others.<\/p>\n<p>But, while his phone is running as hot as that streak of smashes, he\u2019s decided to make 2024 \u201ca fallow year\u201d. He\u2019ll be playing in Portishead singer Beth Gibbons\u2019 touring band (having produced her recent album, Lives Outgrown), looking to work on the follow-up to his critically acclaimed debut solo album, 2023\u2019s <em>The Hum<\/em>, and enjoying \u201ca little \u2018saying no to things\u2019 phase\u201d.<\/p>\n<p>Before he can put his feet up, however, there\u2019s the small matter of talking MBW through studio bust-ups, industry plants and why he doesn\u2019t even think about TikTok\u2026<\/p>\n<hr \/>\n<h6><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-80x71.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-80x71.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-160x142.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-320x283.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-418x370.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-648x574.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-13.59.53-836x740.jpg 836w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure>WHY DOES YOUR RELATIONSHIP WITH ARCTIC MONKEYS WORK SO WELL?<\/h6>\n<p>We share a musical language now, we\u2019ve grown up together. I have so much respect for them and for Alex\u2019s writing. I just try and help them develop in the best way possible and be honest with them.<\/p>\n<p>I don\u2019t know why it\u2019s lasted so long \u2013 it\u2019s like a friendship or a marriage at this point, where it\u2019s hard to see [a way] out of it! It\u2019s more than just a producer-artist relationship.<\/p>\n<hr \/>\n<p class=\"p1\"><div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/mXuUAtAtMtM?si=CypQ_MlkLLh4bP4O\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/p>\n<hr \/>\n<p>It probably would be good for them to work with other producers with a more objective view of it. But, when you\u2019re working with Alex and then go and work with another band you\u2019ve never worked with before, you notice how much explanation there is. We don\u2019t need to talk about references or snare sounds anymore. It means you can push on to the next phase without having to go over loads of old ground.<\/p>\n<p>I love working with new artists and having that fresh energy \u2013 and there\u2019s a respect you can command with new artists that you can\u2019t with someone you\u2019ve known for knocking on 20 years! You don\u2019t have that same power or whatever [with Arctic Monkeys], but you also have this very different, deep knowledge and love for what they do that informs it in a different way.<\/p>\n<hr \/>\n<h6>YOU SEEM TO HAVE A GOOD RADAR FOR NEW BANDS THAT ARE GOING TO MAKE IT. WHY IS IT SO HARD FOR NEW ARTISTS TO BREAK THROUGH AT THE MOMENT?<\/h6>\n<p>I try and stay out of the business conversation. I go on my instinct and my musical taste; if I hear a demo that\u2019s interesting and doesn\u2019t feel like something I\u2019ve heard before, and I can imagine that going over well, that\u2019s about as far as my analysis goes.<\/p>\n<p>You can tell when people have got momentum behind them, even in terms of their attitude or the people that are around them, and sometimes that can influence it. But it\u2019s really hard to second guess what is and isn\u2019t going to work. I just go with what\u2019s exciting and what I would want to listen to.<\/p>\n<hr \/>\n<h6><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-80x79.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-80x79.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-160x158.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-320x315.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-418x412.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-648x638.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.00-836x823.jpg 836w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><figcaption class=\"imagecredit\">Photo credit: Cal McIntyre<\/figcaption><\/figure>HOW AWARE WERE YOU OF THE NOISE AROUND THE LAST DINNER PARTY BEFORE YOU PRODUCED THEM?<\/h6>\n<p>The industry plant thing? When I heard their demos, there was no [record] industry around it. That being said, the way I heard about them was through [Tara Richardson], a manager who I worked with on a Foals record. She\u2019s working with Q Prime, one of the biggest heavy-hitter management companies in the world.<\/p>\n<p>They\u2019re quite a formidable bunch of people so that obviously factored in my head: these songs are great, it\u2019s creative, the girls can play the shit out of their instruments and they can write, this is interesting. And they\u2019ve got Q Prime behind them, that\u2019s even more interesting, because people are going to hear it.<\/p>\n<hr \/>\n<p class=\"p1\"><div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/pETz4IMmeDU?si=ALbgzdaM5PLvd-yL\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/p>\n<hr \/>\n<p>Because they are heavy-hitters, they got me involved, they got a big label involved, they got them on lots of bills early on, probably before they were really ready\u2026 So, from an outside point of view, it maybe looks like this industry conspiracy, but it\u2019s not.<\/p>\n<p>It\u2019s an old school big management push, the same as I saw with loads of bands. But those bands were all guys and now it\u2019s a bunch of girls, people are very quick to jump on this, \u2018They can\u2019t have done it all themselves, it must be this industry plant thing\u2019.<\/p>\n<p>There\u2019s a hint of misogyny in that. Their styling and ostentatious approach was their idea from the beginning. They had the crazy ideas for music videos on our first meeting in the coffee shop round the corner. It\u2019s very much all from them, but people for some reason can\u2019t believe that, partly because they\u2019re girls.<\/p>\n<hr \/>\n<h6>DO YOU HAVE TO BECOME A DIFFERENT TYPE OF PRODUCER FOR A NEW BAND VERSUS AN ESTABLISHED ONE?<\/h6>\n<p>One of the things I really like about being a producer is it\u2019s a totally different process every time. I\u2019m lucky that I\u2019ve got lots of strings to my bow; I can play and write, do the technical stuff, I mix \u2013 I can take the process from the beginning to the end if needs be.<\/p>\n<blockquote><p>\u201cONE OF THE THINGS I LIKE ABOUT BEING A PRODUCER IS IT\u2019S A TOTALLY DIFFERENT PROCESS EVERY TIME.\u201d<\/p><\/blockquote>\n<p>But, sometimes, it\u2019s going into a room and not doing any of that stuff \u2013 it\u2019s just about managing the situation and trying to get people in a state of mind where they feel comfortable enough to come up with ideas in front of each other.<\/p>\n<p>I used to get pretty freaked out if there was tension, like, it\u2019s all going to fall apart. But now, I find that really interesting. I love the dynamics between different people and trying to navigate that. If you go in open, honest and not trying to be too Machiavellian about it, trying to help people get the best out of themselves, you can\u2019t go too far wrong.<\/p>\n<hr \/>\n<h6>YOU\u2019VE HAD A COUPLE OF INTERESTING EXPERIENCES IN THAT AREA IN RECENT YEARS\u2026<\/h6>\n<p>Yeah, Depeche Mode\u2019s Spirit was a real baptism of fire. It was at a point where their interpersonal relationships were pretty strained, to say the least.<\/p>\n<p>There was just this tension with Martin [Gore] and Dave [Gahan] that you could cut with a knife and poor Fletch [Andy Fletcher], bless him, got caught in the middle.<\/p>\n<p>It got to a point where Martin was going to leave the band. I got a phone call at 3am from the management, \u2018Can you cancel the session tomorrow, we\u2019ve got a problem\u2019. We ended up in this big empty studio, everyone had been sent home and it was like a marriage guidance counselling session with me, the managers and Martin and Dave talking to each other. Eventually, they patched it up and we got through the record, but it was stressful.<\/p>\n<hr \/>\n<h6>AND YET YOU WENT BACK FOR MORE?<\/h6>\n<p>We left on quite weird terms, there were a few arguments and stuff, so I was quite surprised when they asked me back to do another record [2023\u2019s Memento Mori]. I agreed to go around one more time, but I was slightly apprehensive.<\/p>\n<p>Then, really unfortunately, a few weeks before we were due to start, poor Andy passed away. It turned out they wanted to carry on and, weirdly, because of that, the whole thing totally flipped on its head.<\/p>\n<p>A brush with mortality meant that Martin and Dave were actually speaking to each other directly for the first time in years and reconnecting. It was a really lovely, easy record to make, and it came out great because of that. It was a very odd, touching experience.<\/p>\n<hr \/>\n<h6><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-80x56.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-80x56.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-160x112.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-320x223.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-418x292.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-648x452.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-836x584.jpg 836w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/07\/Screenshot-2024-07-18-at-14.01.46-1296x905.jpg 1296w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><figcaption class=\"imagecredit\">Photo credit:  Reuben Bastienne-Lewis<\/figcaption><\/figure>AND THEN YOU DID BLUR\u2019S REUNION ALBUM?<\/h6>\n<p>I was always Blur over Oasis. I always respected their writing and liked their melodic choices. I\u2019d worked with Graham and Damon individually and got on with them both, but I know the history: Graham left the band and the last few records have been a bit fraught, so I was like, \u2018We could be in for a bumpy ride\u2019. But you can\u2019t turn down the opportunity to be in that situation.<\/p>\n<blockquote><p>\u201cI WAS ALWAYS BLUR OVER OASIS. I RESPECTED THEIR WRITING AND LOVED THEIR MELODIC CHOICES.\u201d<\/p><\/blockquote>\n<p>We had some meetings before we started and they were really tense, you could see a lot of the old bad blood between them; they hadn\u2019t really been in a room together for 10 years. It had the potential to spiral and the first few days were pretty intense, but I took the strategy of trying to plough forward as quickly as possible.<\/p>\n<p>It only took a day or two for it all to start clicking into place. The energy was suddenly really high; it was just about getting through that first bit, and after that, it went really smoothly. By the second week they were all laughing and joking, taking the piss out of each other and reminiscing over weird old stories. I was loving it, I was like a fly on the wall.<\/p>\n<hr \/>\n<h6>DO YOU, LIKE MANY OTHER PRODUCERS, BEAR TIKTOK IN MIND WHEN YOU\u2019RE PRODUCING?<\/h6>\n<p>I\u2019ve never thought about it, no. I don\u2019t even know if the 20-second TikTok [clip] feeds into people listening to the music properly.<\/p>\n<p>I definitely don\u2019t cater for the TikTok world, sometimes things get on there that I\u2019ve worked on, but it\u2019s not by any design of mine. It seems like bending to the will of the consumer too much, there\u2019s something a bit icky about it that I find disingenuous. I just don\u2019t think it makes for good art.<\/p>\n<hr \/>\n<h6>SO HOW DO YOU FEEL ABOUT THE POTENTIAL THREAT FROM AI?<\/h6>\n<p>Music is going to be so easily generated in the future. The only thing that\u2019s going to hold its value will be the top tier of great art, people making great stuff that is human. I can\u2019t believe you\u2019re going to have an AI Leonard Cohen. Maybe that\u2019s me being an old guy, maybe a new generation won\u2019t care, but that human-to-human connection is what drives most people to consume any art or music.<\/p>\n<p>My way of production is very hands-on, physical, about real things. There are so many micro-decisions for better and for worse in the making of music and music production. You might get a facsimile of something someone\u2019s already done, but I defy it to do the same as I would do in the moment.<\/p>\n<hr \/>\n<h6>HOW DO YOU FEEL ABOUT THE TREND FOR HAVING MULTIPLE CO-WRITERS AND CO-PRODUCERS ON A TRACK?<\/h6>\n<p>I\u2019ve been through those situations and, even just doing one or two tracks on a record, if it\u2019s going to be like that, I\u2019m not that interested. I want the whole record to hold together and, if you\u2019ve got different people pulling in different directions, I try and stay away.<\/p>\n<p>All the best records, and the best songs even, are one person\u2019s vision \u2013 ideally the person singing the song \u2013 and you\u2019ve got a collaborator or some facilitators who help that one, guiding vision go forward. When you\u2019ve got loads of people pulling in different directions, you get this weird, grey, middle bland thing, just by the nature of it.<\/p>\n<p>A lot of those writing rooms are just people trying to get their chords into the middle-eight. It\u2019s about who\u2019s the best salesman in that moment and who\u2019s got the loudest voice. The whole thing just seems a bit marketing [oriented] and that comes across in the music. Those committee writing camps lead nowhere good.<\/p>\n<hr \/>\n<h6>IF YOU COULD CHANGE ONE THING ABOUT THE MUSIC INDUSTRY, RIGHT HERE AND NOW, WHAT WOULD IT BE AND WHY?<\/h6>\n<p>I\u2019d find a way of getting artists paid more. I\u2019m aware streaming might work if it was going directly to the artist, but it\u2019s this old school music industry model where most of it\u2019s still going to the labels.<\/p>\n<p>We are going to reach a point, if we\u2019re not careful \u2013 and we\u2019re probably already there \u2013 where the quality of music goes down, because new artists can\u2019t survive. It\u2019s almost impossibly expensive to be in a band at this point in history and where\u2019s that going to leave us in 10 years? We need to find a better system to get artists, especially young artists, paid.<\/p>\n<hr \/>\n<h6>DOES THAT APPLY TO PRODUCERS AS WELL?<\/h6>\n<p>It applies to everybody. I\u2019m not complaining, but I\u2019m in a very fortunate position. There are a lot of people struggling to make ends meet.<\/p>\n<p>It also forces people to make music based on commercial decisions. People hark back to the glory days, but there was much more room for manoeuvre when there was more artist-facing money in the music industry. Now, some tech billionaires are making billions and the people actually making the music aren\u2019t getting paid. We\u2019re creating a weird two-tier system.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>MBW&#8217;s World\u2019s Greatest Producers series interviews super-producer James Ford about working with Arctic Monkeys, Blur and more<\/p>\n","protected":false},"author":29,"featured_media":206577,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[477,132550,119500],"class_list":["post-206604","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-arctic-monkeys","tag-blur","tag-worlds-greatest-producers"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/206604","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=206604"}],"version-history":[{"count":0,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/206604\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/206577"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=206604"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=206604"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=206604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}