|June - August 1989
One of my first gig's was mixing Carnival Art in A&M Studio C. Michael Petak worked up in Quality Control at the time, and enlisted me at the bargain rate of $25 an hour. I did the whole record in about 3 days and they weren't totally happy, but I got it close.
I worked with Herb (and Lani) in Studio H and D for a few months. Ed Goodreau later took over the gig .
August - November 1989
David Tickle was one of the guy's who hired me after I quit A&M. We didn't get along the greatest, but he respected what I could do. After all the time with Niko, I was good at making things sound like they all happened at the same time. My trouble was he was rich as hell and 5 years younger than me.
He bought this giant house in Calabasas after he got the check from Rattle and Hum, and I worked with his Argentinean girlfriend, Valentino. She was a good looking AMW, who had done a couple of B movies and was in on a free ride. We did machine songs with Gary Barlow, and she couldn't sing very well. There was a lot of "pinch me in there" going on.
Later in '89 he tracked "The Shaking Family" at Bearsville (API) and had some great sounding work. They had gotten signed out of Nashville by Kurt Denny (Barbara later married him), and were babies with integrity. He mixed in the Mix Room with Don Smith, and I finished up the vocals and solos for a month. Studio C had a great API at that time, and Dave marveled at the clarity of my ruff's. I just said "Hey, real echo and an API!"
September - December 1989
I became the "Live" B-side mixer for Melissa's CD singles, and did an acoustic version of "I Will Never Be the Same" for the film "Welcome Home, Roxy Carmichael" in A&M's Studio C. It later resurfaced on "Yes I Am". I thought they were grooming me for Missy's 3rd record, but Kevin got his bud Gabe Veltri instead.
Kevin McCormick was working in another room, and one night we got a hair up our ass to go up on the roof of the Capitol Tower to have a look around. Well we didn't make the roof, but found the "Capitol Board Room" and sat in there for about a half hour drinking their coffee and shooting the shit. Kevin said the classic, "In '62, this is where they passed on The Beatles". The guard finally roused us back downstairs.
When the mixes were done we cruised Hollywood in Davitt's rented Lincoln and smoked Cuban cigars, listening to the master really loud. Proud Papa's.
Dave Tickle and Don Smith were doing Wire Train's 1990 record out at Rumbo in the Valley (it was by Don's house). It was a "live" in the studio deal with monitors and everything. I entered near the end of tracking and did vocal and guitar o/d's for about a month. Don worked out this deal where Rumbo would pay me out of the studio budget, which was a little funny. Hey, at least I got paid!
They had a party song, "Oh Me, Oh My", on which I got to play some drunk man piano. I thought it sucked, so I said "don't put my name on there", but Tickle loved it.
Again "Trigger Bob"
May 1990 (and earlier)
I did "One Woman Man" (A&M Studio C) and mixed it at Ocean Way in the big room up the street (United Western).
The "Yamaha Battle of the Bands" from the Roxy with Willie Leopold. We used the Record Plant remote truck (API) and mixed at Ocean Way. They made me sign a disclaimer agreeing I wouldn't show favoritism to any of the bands. Christina Applegate was one of the MC's and the crowd was pretty brutal on her.
November - January 1990-91
Plan B at Ocean Way and A&M.
January - April 1992
Niko turned me on to Todd Rigione from Liquid Jesus. He built a piece of shit studio in a N. Hollywood warehouse and still had a publishing deal with MCA. Liquid Jesus had been one of those "Hollywood Buzz " bands that had the "club scene" lined up around the block in '88/89 to see their gig's, and they did one record and flopped.
Ol' Todd had a habit of not coming through with the cash, but he sure could afford that weed. After a while I gave up.