Buzz Me In Inside The Record Plant Studios – Martin Porter (1)

It was a masterpiece. But Malcolm felt that the fourth verse desperately needed an angry edge. Malcolm tried to coax more emotion out of Stevie’s voice but nothing he tried worked. In the past, he would have “nursed” the artist along. But that day he tried a different technique: in the middle of one of Stevie’s takes he had the operator abruptly stop the tape, something he knew would drive Stevie nuts. After the third interruption, Stevie was visibly pissed.

On the next take, Malcolm let the tape run. Malcolm finally got the vocal he was looking for. But at a cost. Cecil told WaxPoetics magazine, “I was seeking too much perfection, and I overstepped the bounds as Stevie saw them. Up until then, we had been producing everything as a team. I started to get pushy, much like one of his old Motown producers had done to him. I realized after the fact that it wasn’t smart, because that’s what Stevie was getting away from.”

Bob and Malcolm made another false move. Right in the middle of finishing Innervisions, they cut a deal with CBS Records’ president, Clive Davis, to produce the Isley Brothers’ first Epic Records release, 3+3. The album was recorded at the same time as Innervisions, right down the hall at Record Plant in Studio A, and it was scheduled to hit the street a few days after Innervisions. Worst of all, it contained the Isleys’ biggest hit—“That Lady.”

There was only so much airtime for an R&B single, so working with the Isleys at the same time as they were working on Stevie Wonder’s new record didn’t endear Bob and Malcolm to the Motown management team. The Motown brass knew that the Isleys were always looking for the hot new sound, and Motown didn’t appreciate CBS stealing Stevie Wonder’s.

And 3+3 had Stevie’s sonic stamp all over it. During the Isley sessions that summer, Bob and Malcolm schooled the band on the use of electronic instruments for the first time. They introduced their keyboardist, Chris Jasper, to the ARP 2600 synthesizer that Stevie was then using. They even let him sit in on a Stevie session while he was recording “Don’t You Worry ’bout a Thing” to see how it was played.

Ironically, that same ARP synthesizer helped distance Stevie from his associate producers.

Martin Porter is an author, journalist and publisher who began his career as a technology writer/reporter in the mid-1970s for Rolling Stone, GQ and Premiere magazines. As editor and publisher of Pro Sound News, EQ, Guitar Player and Surround Pro magazines, he has been one of the leading chroniclers of this golden period in music and audio technology. He has served as a strategic advisor to the Audio Engineering Society (AES) and is a founder of the Sports Video Group.

David Goggin, aka Mr. Bonzai, is an award-winning photographer, author and music journalist. His published books include Studio Life, Hal Blaine and The Wrecking Crew, The Sound of Money, Faces of Music, Music Smarts and John Lennon’s Tooth. His articles and photos have appeared in Rolling Stone, The New York Times, Los Angeles Times, Billboard and Hollywood Reporter, among others.

Goggin is also a press agent in the music industry. Goggin was Chris Stone’s confidant and publicist for over 25 years. The authors manage the popular Record Plant Diaries Facebook page: www.facebook.com/recordplantdiaries For audio playlists and other bonus content visit: www.recordplantdiaries.com. 1kitap1.com/en Other titles of interest published by Thames & Hudson include: Through the Prism Untold rock stories from the Hipgnosis archive Aubrey Powell With 253 illustrations Mind Games John Lennon & Yoko Ono With 750 illustrations Pink Floyd: The Dark Side of the Moon The Official 50th Anniversary Photobook Pink Floyd With the participation of Jill Furmanovsky and Aubrey Powell Totally Wired The Rise and Fall of the Music Press Paul Gorman With 54 illustrations Be the first to know about our new releases, exclusive content and author events by visiting www.thamesandhudson.com www.thamesandhudsonusa.com www.thamesandhudson.com.au 1kitap1.com/en CONTENTS Prologue 1 LIVING ROOM STUDIO 1966—1970 2 MASTER CONTROL 1970—1971 3 SECOND HOME 1971—1974 4 VIP CLUBHOUSE 1974—1975 5 HOTEL CALIFORNIA 1975—1977 6 SANCTUARY OF SOUND 1977—1980 Epilogue TEXT SOURCES ILLUSTRATION CREDITS INDEX ACKNOWLEDGMENTS 1kitap1.com/en Prologue Once upon a time, rock and roll was the primal scream of adolescence.

Rock grew so big, so fast, that the businessmen who controlled it couldn’t keep up with it. But then it grew so big that the people who made the music, the rock stars, the producers, the audience, couldn’t keep up with it, either. So, they got stoned. Or died. Or went straight. Rebellion made rock music go, but the final rebellion was against your own body. Lucian K.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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