Bernard Grobman

Throughout the years Grobman has been an integral and influential man behind the music. At one time, he was the staff producer with the famed hip-hop troupe Ruff Ryders (Jin, Ruff Ryders / Billboard #4). He’s worked with a diverse collection of artists ranging from production on Melissa Etheridge’s album “This is M.E” (Billboard #5, Top Rock Albums Chart) to soul singer and breakout streaming heavyweight Arlissa, on her songs “What’s it Gonna Be,” and “Gonna Make Me Love.” And even on Lyrik Victoria’s “Better Now” and “More Problems” Grobman’s influence and production is identifiable. His versatility propelled the teen pop singer Robin and Grobman to Winners of the “Song of the Year” in 2012 at the Finnish Emma Gaala for “Frontside Ollie” which spent 4 weeks at #1 on the Finnish pop charts. The platinum single and its corresponding album “The Code” spent a stunning 30 weeks at #1 on the Finnish “Pop Album Chart” and was certified 7x Platinum. Robin would go on to become winner of the MTV EMA (Finland).

Grobman has since finished recording sessions with superstars such as Rita Ora, Sevyn Streeter, Sean Garrett, Lion Babe, Kanye West and Mary J Blige. Judging by his history and recent studio sessions, Grobman isn’t slowing down anytime soon.

Follow Bernard on Twitter at @nycproducer and Facebook at https://www.facebook.com/bernardgrobmanmusic

Exclusive Interview: Bernard Grobman

What are you working on now?

I’m currently finishing writing and producing an upcoming album by The Spinners, the legendary Motown - Phillie group. I’m producing the entire album which entails writing and performing all the instruments on the tracks, getting the top lines written, tracking the vocals and mixing. I also am working on cuts for Kelly Clarkson and new Atlantic artists Ayanis and Raiche.

Can you tell us what it's like to produce The Spinners?

What can I say. It’s been an incredible honor to work with a group whose history goes back to Hitsville USA in Detroit, recording with the likes of Stevie Wonder, and then they went on to have a huge 2nd run in Philadelphia with giant hits like “Could it be I’m Falling in Love” and “Rubber Band Man”. They tour constantly to this day.

In addition they are consummate professionals and incredibly talented singers and all around great guys. Some of the best vibes I’ve ever experienced in the studio.

What is your musical background and influences?

Ready for a long answer? I started playing the violin when I was 9 and later switched to the guitar. Growing up with a musician in the house gave me an early education in music harmony and reading music. I am initially self-taught on the guitar, and with study out of music books, and the help of an early mentor, Elliott Randall, I started playing Broadway shows, toured with Jesus Christ Superstar, the Alvin Ailey Dance Co. and the Joffrey Ballet, and doing a bunch of studio work. I later toured with Jane Olivor, Big River, Maynard Ferguson, Dr John and Sarah Brightman. In the 1990s I went back into the studio and played on a number of Grammy nominated Gold and Platinum albums including those by En Vogue, SWV, Salt n Pepa, Kenny Latimore, Eric Benet, Curt Smith (of Tears for Fears), and 98 Degrees. That’s also when I started picking up co-writing credits and started to produce records for Motown, Sony, Universal, Dreamworks etc. I was a staff producer for Ruff Ryders in the 2000s where I would replay samples and then in the 2010's worked on records and co-wrote with Melissa Etheridge and Miguel among others. So my background is varied. In one day I subbed at a Broadway show and then played guitar on a Busta Rhymes album. My influences are just as varied. From Jimi Hendrix, to Joe Pass, to John Scofield to just about everyone.

What do you think is the role of education in music?

Well you’re talking to a guy who is basically self-taught, although I did go to school eventually and have studied with great teachers. I think this business is tough enough without going to an expensive school and coming out in debt and trying to make it. On the other hand, you can’t put a price on the contacts that you make while in school. So it’s a balancing act. I was lucky to have grown up in NYC so I made a lot of contacts simply hanging out at Manny’s Music on 48th Street.

How do you feel about the current ‘state of the music industry’?

I think the business is similar to how it’s always been. Top 1% make all the money and the bottom 99% are fighting over the scraps. A lot of the skills that made me money have been devalued due to technology, but I’m also able to produce more music because of the technology. It’s still about who you know, making friends, don’t make enemies and smile a lot. Mike Stern told me “no one wants to be on stage with Bela Lugosi”. Younger readers may have to google that one. LOL

Why do you play Pickboy picks and ChickenPicks?

A friend at Sam Ash handed me a bunch of picks, they were jazz pick size and regular size but they all had either holes through them or raised circles. They were easy to hold and sounded great. Didn’t know the name. A friend introduced me to the guys at Osiamo and as I was going through their product line I saw Pickboy Picks and those were the picks I’d been hunting for. They are easy to grasp and have a great sound. My favorites are the Extra Heavy Black Pos A Grip picks, the extra heavy Jazz Pick Polyacetal White 1.2mm (they really are nice and stay in your fingers as well) and I also love the ChickenPicks. Every one of those that I’ve tried are great. I sometimes have a problem with picks just flying out of my hands, and these all stay put and as I said sound beautiful.