With two studios running around the clock it seemed as if this was where the pop scene began and ended ! - The Rolling Stones, The Eagles, Jimmy Hendrix, Procul Harum, The Small Faces, Manfred Mann and then as if out of nowhere a group of Canadians breezed into town to record a pool of Beer spots for Canadian radio. One of the in-house production team at Lansdowne was Monty Babson and with partner Barry Morgan they approached me to help them put together a new studio to be named Morgan Studios.Īs plans went ahead for the construction of Morgan I moved once again to the New Olympic studios which was a considerably more upscale affair on the south side of the Thames in Barnes. Shortly there-after I recorded the ‘Homburg’ single for Procul Harum and then ‘Mellow Yellow’ for Donovan with Micky Most and worked on the Bonzo’s first record with Gerry Bron. The trend continued until it was time to move on to a new studio and continue the learning curve, this time I would be under the watchful eye of Adrian Kerridge at Lansdowne Studios down in Holland Park.Īt Lansdowne, although engineering sessions from the beginning, one of the first memories I have was of leadering up Dave Clark’s new album - twelve songs, none of which could have been longer than two minutes and thirty seconds! - many of the tracks were, of course, huge radio singles. This was a big step for me and it was not long before I was tackling some rock projects, one of the first being the recording and mixing of The Who’s ‘Substitute’ under the direction of Mr. I was the only one available so amidst internal panic got the session off and running and successfully captured the sound of a big band, rhythm section and horns, until Keith could be there to confirm that things were as they should be. The next step for me was to begin engineering, this came sooner than I had imagined possible due to a mechanical breakdown of Keith’s car en route to the studio. I spent the first few months learning studio etiquette and making an awful lot of tea and coffee, which was part of the British way to learn the studio business, but at the same time learned the art of studio set-up, microphone placement and running a tape machine that had no RTZ or clock to let you know where in heaven’s name you were! During this apprenticeship I got to shuffle the tape for some very successful young artistes and was a part of the team that recorded hits for The Troggs, The Moody Blues, Marianne Faithful, Spencer Davis Group, Donovan, Barbra Streisand and many more. On the morning I started my new adventure The Animals’ ‘House of the Rising Sun’ was being prepped for the mastering room and the first Rolling Stones record had recently been completed so things were seriously happening for Olympic. Rumour had it that Wellington stabled his team in that very spot. At that time Olympic was located just off Baker Street in London’s West End down a little mews lined with small apartments which in fact were converted garages or originally horse stables. I started my career at Olympic Studios under the direction of Keith Grant, who proved to be a great teacher. It's just as vital to us to represent and create long-term relationships with the next generation of fresh talent as it is to serve our renowned clients who have been returning to 24k Studios for the past years.In London during the sixties independent studios were a rare breed, a handful at best.
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