The Story Of Don Fury Studio Chapter 19 199697

hey guys this is the story of Don Fury studio hope you like it [Music] [Applause] [Music] by 1996 dr. your studio at 18 Spring Street was at the top of its game I had a major management deal with Sandy Robertson of World's End and we had worked together with other major management companies and major studios and major labels all over New York City we did some very cool indie records that year I got to travel to Greece and do a record for gulag in the city of Thessaloniki and that was a really fun record to work on and the singer alekos was nice enough to give me a tour on my last day there we did that for lazy dog records the Japanese band Coco bat came in and did the return of the grasshopper LP for toys factory record and that was a great record also illustrated by pus-head and we did a really cool record for psychotic ax kind of the house band at Don Hills at the time for a subsidiary of Rick Rubin's label American Records called venture ooh and fun record the biggest story of 1996 though is the beginning of my own producer driven label and in order to tell you about the label I have to tell you about still sued the band because the two things go together so I have to back up just a little bit in 1995 Pablos you need us the owner of records records along with amber green stopped by the studio with two tapes of two bands one of the tapes was pretty well recorded and sounded nice and the other band was not recorded so well and Pablos asked me what I thought of the two bands I like the one that wasn't recorded so well and I thought the other one was okay but not really that interesting and I told him so the band that wasn't recorded so well was called standoff Pablo's decided he wasn't interested in standoff I decided I was going to get in touch with the band and have them come over so they came over and we met and I said listen why don't we do a producers agreement and I'll produce an EP for you along with an LP deal and we'll try to find you a label of course the guys liked that idea and they were very young at the time there teenagers and we ended up doing a nice little arrangement so the band came in and we recorded the six song green Spock years EP which is one of the most amazing post-hardcore records that ever came out of the studio I can say that I just listened to the record today it's like a Mack truck coming down the street right at your face full speed I mean this is just a barrel of energy that's all I can tell you and as soon as Pablo sand wreckage records heard the record they decided to sign the band I also look back at clippings of all overviews of green spike years and they're all amazing there's like 30 or 40 reviews just raving about this record so wreckage got a nice deal out of it they got the EP and they got the LP that I signed the band for and I was signed to produce the LP and around that time still sue how to change their name because there was another standoff and it got confusing about which stand-up people were talking about it took him a while to come up with a name still sued but that's the name they picked and that's the name that's stuck and it was a unique name so it was a pretty cool move on the band's part around that same time my manager sandy Robertson began talking about a producer driven label for me there wasn't a huge you know environment of post hardcore hardcore bands residing at major label levels that I could just lock into and and work with most of the bands I had worked with with Sandy were bands I had worked with already or I was already producing the first interest came as a surprise from Mercury UK I'd only produced one band from London the bank won't understand and but Mercury UK seemed interested so we actually the three of us sandy myself and Mercury UK the guy from Mercury knew Kay how to sit down lunch and talked about the deal in Soho one afternoon and I listened politely you know but the idea leaving for London and leaving my studio behind or having the operation focused at London wasn't that attractive to me I mean I was a New York guy my studio was New York my family was in New York all the bands I knew were in New York I didn't see how that was going to work all that well and we didn't get that far with it the next opportunity came up with TVT records and that was sort of interesting they were headquartered only about four or five blocks away from my studio over in NoHo and they had done some pretty cool stuff they were doing hip hop they were doing dancehall they did Nine Inch Nails they had some rock bands not too many and I thought maybe that that might be a good match we'll see TVG was not a hardcore or post hardcore label and they had never had any experience with that but I decided to check out the label and check out the owner Steve Gottlieb I talked to a lot of people I trusted and all the information I got back on Steve Gottlieb was negative so I was pretty dubious about the proposition but after some conversations Steve said he was interested and we went ahead and went to contract it was a hundred percent understood by my management by TVT and by Steve that once our contract was signed the first band up was still suit the only problem was still suit was signed to wreckage records for the LP so we literally had to buy out the still suit LP off of wreckage records in order to get started with the label and TVT was dragging its heels so after some threatening and cajoling and you know insinuations or whatever you know I finally got them to cough up and wreckage did nicely they got a good chunk of money and still suit landed on building records the name of the new label still suit wasn't a hundred percent ready to make the record but we went for it anyway it was summer in Manhattan it was unbelievably hot and we just took up residence in the studio for at least a month maybe more worked really really hard on at the speed of light getting for young guys to stay focused on a record that you're recording for a month or more is definitely a challenge but as far as the record and the music is concerned and the result at the speed of light is a phenomenal record and I don't think the guys could have done any better than they did and I gotta say to this day I'm very proud of those two records that I did was still suit with Jimmy mani Orlando and Julian 1997 was another fun year for the studio we recorded irony of Lightfoot for wreckage records ethnic for framework records the blank 77 tanked in pogo LP for radical records and blank 77 contributed no fun to an Iggy Pop tribute comp for royalty records bouncing Souls and sick of it all came in to do compilation cuts for the violent world misfits tribute on Caroline records and les ohms key where s band Rios came in from Germany to do a record for blue noise on which Sammy Sigler played percussion of all things and in 1997 we signed day-in-the-life to building records that was George Reynolds band after mind-over-matter along with Chris Fleischman John Camus see Josh DeMarco and blunt day-in-the-life was a real workhorse of a band I think they played almost 235 shows and the first year that they were out and probably they were the only band that broke even on building records the first couple years of building records were like a Cinderella story we were signing very young bands - very good deals and they were getting things like back lines and tour support and some radio and free lunches so it was a nice story in those first couple of years we didn't see what was coming our way in 1998 we were all going to get dragged down I did I [Music] so we're still soon [Music] you

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