Used by stars such as Michael Jackson and Alanis Morissette, this facility in Los Angeles was founded by a pioneer in the art of studio design. Steve Sutherland has the story
My first encounter with the Madman was in the Coen Brothers' brilliant 1991 movie about writer's block, Barton Fink. The Madman was a sweaty travelling salesman with a sideline in brutal murders and an unpleasant ear infection. He was played, terrifically, by John Goodman and he was known as Madman Mundt ('Jesus, people can be cruel. If it's not my bulk, it's my personality'.)
This debut record didn't launch the band to stardom, but remains much-loved by fans and the musicians it influenced. Steve Sutherland hears the 180g reissue
A funny thing happens when you get to a certain age and you've had a bit of a past life; people start writing about you. You crop up in their memoirs or they mention your name in interviews and reminiscences. As a rule these things are best avoided, especially if you're thin-skinned about personal criticism, although I can mostly handle the contrary opinions and character assassinations, writing them off as differences of perspective or sour grapes.
From The Righteous Brothers and Ramones to Phil Spector's Wall of Sound, the music made in this LA studio still resonates around the globe. Steve Sutherland has the story
You could say that he was obsessed. Ever since he'd heard that record on his car radio and been so overwhelmed he'd had to pull over to the side of the road, his life had never been the same.
This fifth album by the glam rock/hair metal pioneers from Finland (and Leamington Spa) should have been the start of something beautiful, says Steve Sutherland
Let's say you are walking along Shaftesbury Avenue in London in the general direction of Cambridge Circus. It is the mid 1980s. Maybe you've been to the Shaftesbury Theatre just over the road to see a show. Or maybe you've just been for a dip in the Oasis swimming pool next door. Whatever, you've worked up a bit of a thirst so you duck through the door of the Oporto public house, just on the corner opposite St Mungo's home for the homeless, and take the couple of steps to the bar.
The anger-filled debut from the English punk/reggae group sparked fans far and wide, and a near 30-year search for the original cover art, says Steve Sutherland
Occasionally I get asked who was the most unpleasant rock star I encountered during my decades writing for the music press. That's a toughie, although Robert Palmer and Phil Lynott hover near the top of the pile. Far easier to say who was the scariest. Answer, without doubt: Henry Rollins.
Opened in 1978, this studio is where Kate Bush, The Cranberries and U2 created songs that sold worldwide. Steve Sutherland goes to the heart of the Irish recording industry
It may seem counter-intuitive, perverse even, to begin this account of Windmill Lane Studios by dwelling on one of its early shortcomings, but hey, what the heck? When U2 rocked up in the late summer of 1980 to record their debut LP, Boy, producer Steve Lillywhite was far from impressed with the facilities on offer. The band's recent single, 'A Day Without Me', which Lillywhite had produced, had failed to chart and he'd been beating himself up over the way it sounded, particularly the drums.
Under new management, the mod quartet got creative on an album of three-minute pop gems, but struggled when it came to the title. Steve Sutherland listens...
Considering we currently find him being dangled by his ankles off a balcony four floors above the pavement, you could say, without too much exaggeration, that Robert Stigwood is having a bit of a bad day. The bloke dangling him – with the aid of four fierce-looking heavies – is Don Arden, a gentleman who, shall we say, has a bone or two to pick with our Stig.
Founded in New York, this facility would expand to three studios in the US, catering to stars like Stevie Wonder, Metallica and The Stones. Steve Sutherland has the lowdown
Chances are you won't be familiar with Marshall Chapman, but she's an American singer/songwriter and one of the unsung heroes of our story. On the 10th of January 1978, she was working on Jaded Virgin, her second LP, when a fire broke out in the studio next door. Chapman downed tools and helped other musicians and engineers who were in the vicinity to carry priceless master recordings to safety outside the building.
Adding Neil Young to CSN brought supergroup status and a multi-selling album, but the band were not happy, says Steve Sutherland, as he hears the 180g reissue
This is Graham Nash talking about David Crosby just over a year ago: 'Who are you? Are you a decent person? Or are you an a**hole? It would be very easy for me to get into why I don't want to do any more Crosby, Stills and Nash or Crosby, Stills, Nash & Young work. There are too many reasons. It's too complicated. It's too painful. I'm just telling you, it's over. It's an incredible shame because when we're good, we make very good music that touches people's hearts and changes their minds. But he tore the heart out of CSN and CSN&Y because he's not a really great person'.
This facility in San Francisco has been home to bands as diverse as The Grateful Dead, Green Day and Santana. But first Steve Sutherland salutes the man behind the brand
During my late teens in the mid 1970s, whenever I browsed through the stock in a record shop, if I came upon an album produced at Wally Heider Studios, no matter who it was by, I was more than likely to buy it. Such was the quality guaranteed by the Wally Heider brand that the studio became a kind of shrine to me, a far-off holy grail that shone in my imagination as did that holiest of live venues, the Fillmore West.
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