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Studio Diary

Sex, decadent Rock Stars and Mediterranean Batik — it's all here for your delectation


Frankie — demoing in the sun

What shall it profit a man (person) if he (that person) readeth a whole Studio Diary and yet still doth knowest not what's really going on in the recording studios around the globeth? This page has always stood as a monument to the extraordinarily aberrated state of the Deevoy/Walmsley psyches, and I have no intention of denying that heritage of irrelevant, irreverent humour and stunningly insignificant banter: it is written, 'practise the principle and the form will follow as surely as Day follows Robin'.

Firstly, though, a word about maintaining hipness on the continent: if you have't heard of Rita Mitsouko you risk being seen as profoundly unhip by thousands of young French people who apparently consider her particularly magnifique. She's been recording her latest album for Virgin France at Good Earth Studio with Sid Wells engineering and Good Earth owner, that well known preux chavalier Tony Visconti, producing. As well as Rita's charms Français Good Earth have also been enjoying a little cinematic culture, recording tunes for the film soundtracks of Biggles, with Bert Bevans engineering and John Deacon of Queen fame producing, and also for the equally deep and serious Karate Kid II (you've seen the movie, now grow up) with Sid Wells engineering and Mr Visconti producing — yes. Tone again; it is his gaff after all. So anyway, the real news is that, due to an unfortunate misunderstanding, etc, etc, Good Earth nearly got busted for knocking out hard core porn movies. Apparently a dustbin liner (sordid eh?) full of lewd and gratuitously sexual videos was found hidden in a boarded over hole behind the studio, where the porn shop next door had been secretly stashing them. The studio was completely cleared of any responsibility but sadly they weren't allowed to keep the videos — still, you can't have everything; although contents of the videos might suggest otherwise.

Gloria Gaynor has been recording a new double album at Red Bus, and by the time you read this she should hopefully have benefitted from the use of their newly equipped, SSL 6000 Studio 2 for mixdown. House engineer, Gordon 'The Pooh' Milne, was at the controls under the creative directive of producer Steve Roland. Loose Ends have also been doing a few tracks in search of a new single, again with the operational assistance of Mr Pooh, whilst handling production themselves.

Meanwhile, just down the road, Malcolm Atkins at Air London had had a baby; I understand that his wife had something to do with it, but anyway while he was away witnessing the miracle of life the legendary Trevor Horn was helping the almost mythical Yes to give birth to a new album, with the almost well known John Jacobs engineering. Staying with the family theme, in another part of the fabulous London complex Nicky Squire, ex wife of Yes bassist Chris Squire, was in for six weeks with her band Esquire who were producing their own album — title as yet unknown. In yet another part of the great Air vastness Ian Stanley, temporarily free of Tears For Fears, was doing it to picture for a Virgin Films cinematic production with engineer Owen at the controls. Meanwhile the place was swarming with photographers and arty lighting people all busy producing a new, dead classy, extremely glossy brochure for the place which will, no doubt, include details of their very recently re-equipped remix room — I mean room: New Neve with Necam 96, massive JBLs, superb acoustics and cosmetics etc., etc.

Changing the subject for a minute, what's the longest you've ever waited to get a phone connected? Mediterranean Studios in Ibiza had to wait four long and lonely years to get on the blower, but did that worry them? I doubt it. They were probably too busy careering care freely about their sun-drenched six acre site, water skiing, playing golf and studying the local batik handywork. For a mere £7k a week you and nine of your mates could make use of their fabulous 48-track residential facilities — just like Frankie Goes To Hollywood did, in fact. They were there, sans Big Trev, recording ideas for their next LP — ideas, mind you; demoing with a dash of Smirnoff. Soon after that The Jezebells were enjoying the same delights recording album tracks for Beggars Banquet... Beggars Banquet, ironic eh?


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Akai S900 Sampler

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The Producers


International Musician & Recording World - Copyright: Cover Publications Ltd, Northern & Shell Ltd.

 

International Musician - Jul 1986

Recording World

Feature by James Betteridge

Previous article in this issue:

> Akai S900 Sampler

Next article in this issue:

> The Producers


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