Yep... that's exactly it, I really needed the studio booking money to invest in equipment. I wanted the best studio kit I could afford and I pretty much lived on beans in the early days so that I could invest every possible penny into Sound Entity Studio.oldskoolforever wrote:One thing that i'm always curious about... clearly when you have the talent that you do, at that point in '92/'93 with all the type of leaches you encountered - you must have felt like just doing stuff solo all the time & not bother putting up with all the jokers ? But, as you pointed out that they were "clients", I assume that the money was needed to keep things ticking along, or to finance more gear ?RonWellsJS wrote: Sometimes you think you're doing a genuine collaboration (the other guy does writes a bit of it), only to find later that the deluded/selfish fool thinks he wrote the whole thing.
Sometimes the guy does nothing other than bring a couple of records to sample and thinks he wrote everything.
Sometimes the assistance you give is recognised and credited.
Sometimes the guy knows what he's doing and only needs a bit of help with mixing and production.
If you exposed the 'talent leaches' at time of release you would have an ever decreasing client list, so you live with it, hoping you've been appreciated.
There aren't many gentlemen to agree with I'm afraid.
There is a well known phrase "where there's a hit, there's a writ"... you don't need hits to have disputes, they are commonplace.
The best way to put talent leaches in their place is to ask them to post a video on youtube of them recreating the whole track on their own in real-time... that tends to quieten them down somewhat.
Aside, there were of course plenty of really good studio sessions with guys that didn't need any compositional help. I've said before that in particular Mayhem and Kev Bird were well capable and they were certainly not the only ones who were.
Phantasy became great customer, he used to book 1 or 2 days every week at one point and we used to have such a laugh... they were golden days and good sessions.
IMO, most of my best stuff has been done with Paul Clarke as either Fast Floor, or Earl Grey.