The Card

The Solo Gigs

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.


After "Brave and Crazy" came out, there was a show at The Roxy that Westwood One broadcast live to about 100 radio stations. Niko mixed it in the Record Plant truck and I played advance guy, with the guitar changes and stuff. I was really nervous, 100 fuckin' stations' LIVE . Everyone kept telling me to loosen up.
I like that "stop" button.
The scene of many crimes.
Set list from Westwood One gig.

February 1990

Put the needle in the groove. Niko got the gig mixing "Meet John Doe" with Davitt Sigerson at Capitol.

It was a small room (B) and we had all the gear plus the Altec "Big Red's" setup as midfield monitors.
It was loud with a capital L.
Leslie Ann Jones was the 2nd. I don't think she'd been subjected to this kind of abuse before.

I did get to mix one song, "It's Only Love" while they went to dinner one night. Niko had all the Fairchild's on 11 for the whole deal, and I backed'em off for the ballad and got yelled at. Back to 11 they went and Niko ran it through on my marks.

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.

April 1990

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"

June 1990

I tracked 4 songs for Jon Lucien at Aire LA in Glendale. He was the "Caribbean Crooner" of the late '70's, and Jorge del Barrio (Eddie's brother) had done the arrangements. The session started off when the 2nd arrived 15 minutes before the gig and I had a boatload of rented gear to hook up and a room full of expensive musicians. Not so good. I managed after a few hours to get sounds, and after the first playback Alex Acuna came in to listen and gave me the nod.  It was gonna be OK.
It hit #1 on the Jazz Charts - with some heavy promotion.
The Caribbean Crooner

May 1990 (and earlier)

During Zevon's "Sentimental Hygiene", they tracked a bunch of blues songs on the last day which later became the"Hindu Love Gods". Niko mixed it at least 3 times over a couple years, and it was what it was - 4 guys jamming in the studio. Warren had switched labels from Virgin to Giant and Andy swore there was a missing 2". I looked all over town in a bunch of tape vaults to no avail. It didn't exist or Virgin destroyed it. Zeke and the boys from Athens. Slater went to UGA.

I did "One Woman Man" (A&M Studio C) and mixed it at Ocean Way in the big room up the street (United Western).

Take it EasyAfter I got paid from the Hindu Love Gods, I took a 2 week bike trip through the desert's of Arizona which was one of the best times ever. I carried everything in a milk crate hose clamped to the back. The only problem, it was August and hotter than hell, and I got a real bad sunburn on my nose!
Lake Alamo, AZ - Downtown middle of fuckin nowhere.

October 1990

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 1991

missy_julie.jpg (9361 bytes)
During "Brave and Crazy", Lou Diamond Phillips and his wife Julie hung around the sessions a lot. Niko and I just figured Louie liked to watch. After all, it was Hollywood. By the time the record was done, Julie was Melissa's girlfriend. It took her a week to totally dyke out. Well Louie did what any self respecting man would do whose wife just left him for a lesbian.
He joined a blues band!
I recorded "The Pipefitter's" demo's and some stuff for movies out at Mad Dog in Burbank. He certainly couldn't sing.


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.

On May 17, 1992, I left LA heading towards Music City, USA like a lot of music biz shmoe's after the riots.

I watched the final "Johnny Carson" show in some fleabag motel near Richfield, Utah, drunk, and cried when Bette sent Johnny off to play tennis for the rest of his life.


The Master



  Bob Vogt - Recording Engineer
LA Freelance
The High Bias Years  1986 - 1996

Bob Vogt 1998 - All Rights Reserved

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