Podcasts about battery studios

From The Simpsons to Futurama, Mad Magazine to Bongo Comics, Detroit artist Bill Morrison has created art loved by generations. Hear from Bill Morrison, acclaimed illustrator, cartoonist, writer, and art director at Atomic Battery Studios, as he reflects on his remarkable career trajectory. Born and raised in Lincoln Park, Michigan, Morrison spent years in Hollywood working alongside The Simpsons creator, Matt Groening. Now back in Michigan, Bill shares his creative journey and gives back by teaching at the College for Creative Studies, where he once studied himself. On this episode he opens up about his career highlights, including work with Futurama, Mad Magazine, and his recent Beatles project, and inspires the next generation of Michigan artists following his path.

In this episode: Listen to a conversation between your host Vivienne Aerts and legendary mastering engineer Maria Triana as they talk about the craft of mastering and her experience of mastering the album 'Typuhthâng' About Maria Maria Triana started out as a classically trained violist in her native Colombia. Until 2019 she worked at Sony Music Entertainment in New York – out of their Battery Studios facility – as a Mastering Engineer. There, she had the honour and opportunity to contribute her skills and expertise on many award winning recordings, from legendary artists such as Aretha Franklin, Wayne Shorter and Bob Dylan as well as current releases by Donald Fagen, Sting and Britney Spears While at Sony, she contributed towards the testing of Sony's new immersive 360RA technology and creating content by mixing and remixing released and unreleased material. Furthermore she developed an extensive knowledge of legacy formats such as analogue tape and metal discs. Being equally versatile in both the analog and digital domains, Maria has worked as a restoration and archival engineer for music collections of the Metropolitan Opera of NY, Jazz at Lincoln Center and Legacy. Now based in the Netherlands, Maria is available for mastering and re-mastering projects, both independent and major label. Since 2020 she is also a part-time lecturer for the Abbey Road Institute – Amsterdam campus.⁠ Instagram⁠ About ViviTalks - Interviews with the Women Behind Typuhthâng. Introducing ViviTalks, a podcast hosted by Dutch New York-based musician Vivienne Aerts. Join us as we celebrate 100 talented female musicians from Vivienne's latest album "Typuhthâng," with a mission to empower female cacao farmers in the Virunga State Park of Congo and contribute to rainforest restoration. We delve into the musical journeys, creative processes, and unique perspectives of these talented women, seeking to bring greater balance to the music industry. It's a safe space for honest and authentic conversations with artists and trailblazers. Let's amplify the voices of remarkable women in music and stay tuned for inspiring stories and meaningful dialogues on ViviTalks. ⁠⁠Stream⁠⁠ the Album or ⁠⁠Buy it on Bandcamp⁠⁠ and get the chocolate! ⁠⁠More about Vivienne here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vivienne-aerts/message

“The Wreckless Eric 1980 Sessions” - A Radio Owlsnest Special. I've been wanting to record this show for a very long time, and after re-mastering some precious vintage cassette demos, I feel the time is right to tell the story of working with iconic punk legend “Wreckless Eric” in 1980. Along with my songwriting partner of that period, Brian Fairweather, the three of us wrote and demoed 6 brand new cracking songs for a potential Wreckless Eric album to be released on the infamous Stiff records. The demos were recorded in my little London bedsit flat on a rudimentary analog 4 track tape machine set-up - as raw and primitive as you could imagine … but I believe these tracks have a very special undeniable power about them that reflect the zeitgeist of that era. And Wreckless (Eric Goulden) was in fine form lyrically and vocally on these (up to this point, never heard or released) extremely rare demos. We wrote and recorded these songs over a frantic period of three weeks in my minuscule bedsit featuring Brian on multiple guitars and effects and backing vocals, me on bass guitar and sparse keyboards and backing vocals, and Eric on rhythm guitar and lead vocals. And we used a first generation Roland CompuRythmn 68 drum machine for our drums. Dave Robinson, the head of Stiff records, was very excited and encouraged by our homemade efforts and set dates in a professional studio to record the songs (with Brian and I in the band) for the prospective new “Wreckless” album. But alas, tragically, it was not to be … Although full band rehearsals took place, and a producer (Bob Andrews of Graham Parker and the Rumour fame) was selected, and we even found ourselves set up in Battery Studios, London, waiting to record the album master tracks, Eric didn't turn up for the final sessions! After all these years, I still hear the potential of these raw songs. And I believe they portray the unique artistry of one of England's greatest eccentric punk artists and poets, at the very height of his creative ability. It's a story I've wanted to tell for a very long time. Martin Wreckless Eric Demos - All songs written by Eric Goulden/Fairweather/Page; Recorded by Martin Page (1980). ℗ 2023 Martin Page. All rights reserved. Photo: courtesy of William White.

Charlie Haden & Gonzalo Rubalcaba – Tokyo Adagio Impulse! | Junio 6, 2015 1 En La Orilla Del Mundo 9:05 2 My Love And I 11:55 3 When Will The Blues Leave 8:30 4 Sandino 5:47 5 Solamente Una Vez 9:13 6 Transparence 7:19 Bass – Charlie Haden Piano – Gonzalo Rubalcaba Executive-Producer, Art Direction – Farida Bachir Liner Notes – Ned Sublette, Ruth Cameron-Haden Liner Notes – Gonzalo Rubalcaba Mastered By – Mark Wilder Mixed By – Jay Newland Grabado en – The Blue Note Tokyo Masterizado en – Battery Studios, New York Producer – Charlie Haden, Jean-Philippe Allard, Ruth Cameron-Haden Includes 12-page booklet of liner notes. Recorded live at Blue Note Tokyo, Japan on March 16th to March 19th, 2005 ℗ 2015 Blue Note Japan, Inc., under exclusive license to Impulse! © 2015 Impulse! /////////////////////////////////////// CORTINA FINAL En La Orilla Del Mundo Nocturne Charlie Haden Verve Records / Enero 1, 2001 //////////////////////////////

We've wanted to interview Catherine Marks since we started the pod and so we were delighted to finally get a chance to sit down and talk to her at the beginning of the year. An Australian by birth, producer and mixer Catherine is now based in London England. She begun her career after a chance meeting with super producer flood at a Nick Cave concert in the early 2000s. Abandoning a career in architecture she moved to London full time to assist at his legendary Assault and Battery Studios in Willesden. Engineering work on albums by artists such as PJ Harvey, Foals, and Interpol followed. Despite initially following a career in mixing her work on Wolf Alice's Creature Songs E.P led her to take the producer's chair on albums by some of the 21st century's most exciting rock and alternative acts including the amazons, The Big Moon, The Mysterines, Manchester Orchestra and The Wombats. She also recently worked on ALanis Morrisette's 2020 come back album Such Pretty Forks in the Road. In 2018 she was voted the Music producers guild Producer of the year . She recently moved to her own new studio space in Kensal Town and this is where she dialed in to talk to us. The Process of Production is presented by Lawrence Diamond and Bob Matthews. Lawrence cut his teeth playing and writing in Indie bands before finding international success and touring the world with his band CITIZENS! During that time he worked with a host of revered producers including Liam Howe, Mark Ralph and Alex Kapranos. Since the band ended in 2016 he's been using that experience to help other artists develop their careers as a writer and producer while continuing to release his own music under various different guises. Bob learned his trade as the producer and multi-instrumentalist in Electronic Pop duo Alpines, whose career spans 3 albums, releases on major and indie record labels, shows with Florence + The Machine, The xx, Emeli Sandé, and a top 20 hit 'Tidal Wave' in collaboration with Sub Focus. In recent years he has turned his focus to producing other acts and has a studio in Chiswick in West London. If you have any feedback or questions, please email us: processofproductionpodcast@gmail.com Follow The Process of Production on Instagram @processofproduction If you like the podcast, please consider giving us a review on your podcast provider of choice! Thank you

This week the Vinyl Boyz drop the needle on the 90s classic hip-hop record from A Tribe Called Quest titled Midnight Marauders. Released on November 9, 1993, by Jive Records. John “Q-Tip” Davis a.k.a. Kamaal Fareed, Malik “Phife Dawg” Taylor, and Ali Shaheed Muhammed had already earned the adoration of dedicated hip-hop heads and fans of other genres with their previous projects. But with Midnight Marauders, they cemented their legend. Tribe were in a difficult position when working to put together Midnight Marauders: how do you follow up literally one of the best hip-hop albums of all time? Following their debut People's Instinctive Travels and the Paths Of Rhythm (1990), their sophomore LP The Low End Theory (1991) showcased the group's vastly improved production chops and rhyming abilities. With their second album, they created perfect music to chill and vibe out to. It was a masterful artistic achievement. This album we reviewed this week is ranked in the top 5 of all time when discussing the greatest hip-hop albums of all time. Commercially, Midnight Marauders is the A Tribe Called Quest's highest selling album. The album sold over 1,000,000 copies within it's first year, making it a platinum hit. It also peaked #70 on the UK album charts, #8 on the Billboard 200, and took the top spot Top R&B/Hip Hop chart. A lot of the album's success is due to its timeless classic of a single “Award Tour” which peaked at #47 on the Billboard Hot 100. It's influence has spanned decades with the track being referenced by the likes of Wale, Kanye West, Common, Azealia Banks, and Justin Timberlake. Recording sessions for the album occurred at Battery Studios, Platinum Island Studios and Scorcerer Sound in New York City. Its production was mainly handled by Q-Tip, with contributions from Skeff Anselm, Large Professor and the group's DJ, Ali Shaheed Muhammad. A culmination of the group's two previous albums, it features an eclectic, gritty sound based on jazz, funk, soul and R&B samples, in addition to socially conscious, positively-minded, and humorous lyrics. Thanks for listening. Next week we will be reviewing Metallica's Black Album from 1991. Please subscribe and tell your friends about us! Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 20 - EXTERNAL Version for Non-Spotify Listeners! Bryan Adams is bothering the neighbours by Waking Them Up with this album! Waking Up the Neighbours is the sixth studio album by Canadian singer-songwriter Bryan Adams, released on September 24, 1991. The album was recorded at Battery Studios in London and The Warehouse Studio in Vancouver, mixed at Mayfair Studios in London, and mastered by Bob Ludwig at Masterdisk in New York City. The album reached the number one position on the album charts in at least eight countries, becoming Adams' second best-selling album worldwide Two songs for you today - Can't Stop This Thing We've Started and Vanishing! Podcast created by TrueMediaSolutions.ca

Great talk this week with rapper Chip Fu of Fu-Schnickens. The Fu were a groundbreaking act in many regards, and we talk through their history, their unique rap style, and yes, the Shaq connection. Chip is a great storyteller, taking us back to the golden era, inside Battery Studios, when some of the greatest music ever was being produced by him, his peers, and his label mates. We also talk about the recent Verzuz battle and propose a few intriguing matchups. brought to you by Stony Island Audio the true Fu-Schnick of podcast networks. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Even though it was the middle of summer, it was cold and wet,” Rob Baker remembers, “and after a full day in the studio, there was nothing to do but go back to where we were staying and watch the Olympics that were happening in Barcelona…and they were still talking about Canada and what happened with Ben Johnson four years earlier.” The Tragically Hip were in the UK, recording what would be their third full studio album at Battery Studios, a facility protected from the rest of the surrounding grimy north west London neighborhood of Willesden Green by a big metal gate…after recording the last two albums away from home—Up To Here was done in Memphis and Road Apples required to move to New Orleans—a trip to London had seemed like a good idea, a chance to get away from all the distractions back home in Kingston, Ontario. It may have been dreary on the outside, but the building itself was full of history…Pink Floyd, Paul McCartney, Black Sabbath, Rod Stewart, The Cure, The Who and dozens more had all made classic albums here.  And when The Hip wrapped up the sessions for the album that would be called “Fully Completely,” they had an idea that they had created something extraordinary.  But what they didn't know is they were about to enter the imperial phase of their career, a time when almost everything went right…. The album would eventually sell a million copies in Canada alone…and here's how it happened. See omnystudio.com/listener for privacy information.

Episode 5: Stone Roses. McCartney In Goal is the podcast that debates and dissects the great albums of pop music, using a competitive knock-out format.The Stone Roses is the debut studio album by English rock band the Stone Roses. It was recorded mostly at Battery Studios in London with producer John Leckie from June 1988 to February 1989 and released in May of that year by Silvertone Records.We discuss:the differing production of the vocals across this album; the relationship between the 'Stone Roses' and the 'Second Coming'; track choices for the album; Support the show (http://mccartneyingoal.com)

This week Josh picked our album. The Low End Theory is the second studio album by American hip hop group A Tribe Called Quest, released on September 24, 1991, by Jive Records. Recording sessions for the album were held mostly at Battery Studios in New York City, from 1990 to 1991. How did Dave feel about it? Did he end up liking it? Does it need more to impress Dave?Everything Listening Innhttp://forgetbeingcool.com/lip/Everything Joshhttp://forgetbeingcool.com/joshEverything Davehttp://forgetbeingcool.com/david

In Episode 33, Tom chats with Sarah, James, and Laurie of the London based trio, Fassine! The band is coming off an eventful 2017, as they recently appeared in the highly anticipated XTC documentary, "This Is Pop," and released a critically acclaimed new record entitled "Gourami." Listen in to hear about their latest record, their plans for 2018 (they're in the process of writing a complete different sounding record), and four live tracks recorded at Battery Studios. Like what you hear? You can get your hands on these live tracks FOR FREE by signing up for Fassine's mailing list at http://www.fassine.com. Get that VIP treatment!We also touched on a variety of XTC related topics, including Fassine's stellar contribution to the documentary, XTC's influence on the band's ethos and sound, and the band's legacy in the states and the U.K. Although we spoke via Skype, an episode of Look At My Records would not be complete without some picks! So, each of us picked our personal favorite XTC song for you to enjoy. I threw in a Colin Moulding jam for good measure - it can't all be about Andy!

“Even though it was the middle of summer, it was cold and wet,” Rob Baker remembers, “and after a full day in the studio, there was nothing to do but go back to where we were staying and watch the Olympics that were happening in Barcelona…and they were still talking about Canada and what happened with Ben Johnson four years earlier.” The Tragically Hip were in the UK, recording what would be their third full studio album at Battery Studios, a facility protected from the rest of the surrounding grimy north west London neighborhood of Willesden Green by a big metal gate…after recording the last two albums away from home—Up To Here was done in Memphis and Road Apples required to move to New Orleans—a trip to London had seemed like a good idea, a chance to get away from all the distractions back home in Kingston, Ontario. It may have been dreary on the outside, but the building itself was full of history…Pink Floyd, Paul McCartney, Black Sabbath, Rod Stewart, The Cure, The Who and dozens more had all made classic albums here.  And when The Hip wrapped up the sessions for the album that would be called “Fully Completely,” they had an idea that they had created something extraordinary.  But what they didn’t know is they were about to enter the imperial phase of their career, a time when almost everything went right…. The album would eventually sell a million copies in Canada alone…and here’s how it happened.