Music Lesson Formatting

Introduction to the Record Experience

We get a call one day out of this record.

We really get high up into BMG consideration for distributing the record. So we're making a lot of money because, obviously, you know, let's give it a shot. They called us and, okay. They didn't know they found themselves with a big record in which they were giving away a lot of points.

Understanding the Industry Dynamics

Big conglomerates don't like that; they're greedy. You know, they were going like, "Fuck, we're losing money." They didn't think about the money they were earning. They were losing money because they gave 10 points more to these two little whippersnappers here.

Then Stephen calls us and he goes like, "Look, the chairman of A&R, whatever that is, Mike McCormack, and Nick Raymond want to see you at RCA."

At the time, I was still convinced that the worst thing you can do as a producer and songwriter, or as an artist, is to hang out with record company people because you become too close and they know they can have you.

The Importance of Perception

I was saying, "You know, Steve, let's apply that marketing concept that if they can't have us, they will want us." So, obviously, I said, "I'm not going to see them," very arrogantly.

Steve said, "Come on, guys, do me a favor. They're calling every day; they want to see you."

Career Advice: Choose Your Connections Wisely

There were just a few people we knew. If I can give you some advice, can I digress for a second, please?

• Career Advice: Choose who you hang out with in record companies.
• Choose a couple of guys you like, you know, that you have some empathy with.
• If you're an artist or whatever the rest of it, get your bloody manager to deal with them.

These executives? Just stay very out. Choose a couple of guys that you think, "I can hang out with this guy; actually, he's cool; he's one of us." Because it is us and them. You know, and it's highly important there because they gotta hear about you, not from you, but from someone else. Then they'll want you. So the manager's role is extremely important.

The Delicate Role of a Manager

The manager's role is extremely important, and not just that, it's very delicate.

I've been working as, you know, a manager. It's about how I can push it and how can I hustle without being hustled. The sales process is highly difficult.

The Meeting Experience

So in this unusual world, we did go into this meeting.

It's 11:00 in the morning now. At that time, going at 11:00 in the morning was just basically asking for trouble. Because, you know, we were at the Ministry. The Minister just opened at that time. We used to do a bit of DJing together with this massive sound system; you know, that they had. It was probably the best club I'd ever been to.

It was very difficult to get in; you had to be part of a certain set to go in. It was absolutely barking mad. I think we went to bed at 10 o'clock in the morning, and Marco and I took my bike. At the time, I was fully dressed as a biker, and we arrived at this RCA office with one hour of sleep.

The Arrival at RCA

At the time, I had long hair and a beard that looked more like, I don't know what sort of Rick Rubin would look like today. You know, that sort of look, with all my biker gear on. Marco had his hair styled in a way that made him look like a mad professor or something.

So we're in there, and the best thing that can happen is Marco is falling asleep basically on the sofa. I said, "You deal with this; you know I don't like him."

The Discussion Begins

We go in very happy and say, "Can we do something together?" "Sure! What's not working? What's not working?"

In other words, you're asking RCA, "What have you got that's not working for you?"

• What's the worst thing you've got?
• Because there's no worse or best.

They did a good job; they were touring the schools. But it's a boy band, you know? In other words, what needs an injection? What needs a boost?

"93, you know, boy band? What are you talking about?"

And he goes like, "Well, play me what you got. Play me that ex-single."

The Review of the Single

And he plays this single, which was a high-energy version, no offense to the original producer, of a very obvious Italo disco high-energy version of... that's terrible.

What was the track?

• Could it be Magic?

Barry Manilow's couldn't say anything and Marco woke up at that point; it was a piece of garbage and went back to sleep.

So there's this very surreal meeting, with these two looking at us. We had already done the mix for them on Take That, which was a gay club version.

I said, "What do you think of the single?" I said, "That's fucking terrible, sorry mate."

He was like, "Oh, can you do better than this?"

"Oh yeah, yeah, yeah. I mean, a daze, you know, I slept one hour and a half."

The Aftermath of the Meeting

Mike is laughing and Nick Ravel goes like, "Okay. These two are completely deranged."

Then they wrap up the meeting. I get a call from Bud when we go back to our studio. Obviously, not to work, but to sleep.

Bud says, "Okay, you gotta do a demo of it."

They thought it was outrageous beyond any limit or decency but if you can do better, then, yeah. Send the vocal.

Preparing for the Demo

And we had the Robbie vocal:

"Spirits move me every time I meet you,
Whirling like a cyclone in my mind.
You're my lifeline, angel of my lifetime.
Listen to all answers I can find.
Baby, I want you.
Come, come, come into my arms.
Let me feel the wonder of all of you.
Could it be magic now?"