April 10, 2008

Wally Heider saved me from a life of electronic drudgery and obscurity when in 1973 Ken Hopkins and Grey O’Dell hired me to work at the SF studio. I had spent a little time at the 245 Hyde St. address during my school days, assisting an independent mixer and my good friend Neil Schwartz. Neil brought me in for a James Brown date and later we worked with Ty Porter on demos with groups like “CRACKIN”, “COAL TRAIN”.

Upon graduating from Heald College, just as I was about to accept my sentence, er, I mean “position” with a digital safe company in San Jose (bend over sucker), my phone rang with a call that changed my life for good. Ken Hopkins, the Studio manager, asked me if I were interested in joining the Wally Heider Staff. (Duh!) It was at this point I met Wally for the first time and was completely overwhelmed by the force of his personality. What a guy! What a boss!

Unfortunately the week I started at Heiders SF, the publishing giant Filmways took control of the WHR studios and promptly fired Wally Heider, proving that art and corporate conscience and are mutually exclusive. (Ah, the geniuses)

While working there I was taught by the best studio folks on the planet. Harry Sitam, Grey O’Dell, Ken Hopkins, Dave Coffin, Steve Malcolm, Steve Mantioni, Stephen Jarvis (the 3 Stephens), Ginger Mews, Jimmy Gains and so many others who showed me proper studio etiquette and procedure in the world’s finest recording studio. Who could ask for more, it felt as if I had gotten some one else’s place in line. While there, I was blessed to work with the Starship, the Pointer Sisters, Herbie Hancock, Santana, Hot Tuna, John Hendricks, Stan Getz (“Who plays sax in the band?” asks my rather incoherent wife), Pat “Maurice” Ireacci, Harry Maslin and a musical stew of others gifted notables and eccentrics. (Never could beat Pat at Ping Pong)

Although Heiders had hired me as an electronic tech in the maintenance department I was also given the opportunity to develop skills as a mixer, a profession I still practice. In 1977, I transferred to Wally Heider’s LA studios and worked there till 1982. To my sheer delight, Wally returned to the studio as President shortly after my LA transplant, and again Wally gained control. That answer to my prayers placed me firmly back in 7th Heaven.

My favorite moment with Wally happened during my first big orchestra date with Nelson Riddle in 1978. I was nervous as can be recording this famous man and his band, and was completely ensconced in a thorough butchering of the job when the door to Studio B opened and Wally walked in. When he listened to what I was doing he turned completely crimson, affected apoplectic and stormed off, much to my complete horror and dismay.

A few moments later the door reopened and in rushed Sherman Keene, (aka. Ohm Lad, sent by WH no doubt) a great mixer and maintenance man in his own right. He sat down next to me and with a cursory analysis of the mess I had created, gave me a few suggestions and corrections and Bada Bing, I was on the rails and running. (“Just take the aluminum off the snare, Tim”, SK.)

Wally could have axed me from that disaster in making, but instead he helped me to overcome my own deficiencies and facilitated the way I could become what I am now, a decent and competent mixer. Moments after the Nelson Riddle date was righted and we were flowing along smoothly, Wally reappeared in the control room, listened for a moment, broadly smiled and gave me the high sign of his approval! (An Italian kiss of the touching finger tips popping open like Chef Boy-R-Dee)

Things went well after that and I worked with so many great folks a Heiders South. Billy Youdelman, Ray Thompson, Don Gootch (Alaeh Hashalom), Robin Rhodes (where are You?), Stacy Nakesone, the Carver Brothers, Sean Fullen (hi Sean!), Michael Carnivelli, Tchad Blake, Peter Doell, Charley Pakkaari, Dennis Mays, Biff Dawes, Abdul Rahman, the janitor, Terry Stark (God Rest his tormented soul) Sandy Perkins, Harold Hill, Peter Butt, Don Petty and so many others that will always be with me. A drink at Sal Martoni’s anyone?

The stories about characters like The Dead, Les Brown, Bob Hope, Arif Mardin, Tom Dowd, Tom Waits, Bones Howe (my ohm Dad), the Stones, Peter Frampton, Keith and Woody, Bill Conti, Danny Wallin, Chris Kimsey, Rod Stewart, Grace Slick, Jack Shelton, Teddy Edwards, the Turtles (yo Mark!), the Association, Tommy Tedesco, Shelly Mann, Hal Blaine and so many, many others that I was lucky enough to work with or propitiously avoid, are sufficently replete as to bore the population indefinitely. (I met and recorded Jimmy Stewart there, for Gods sakes) But suffice it to say, Wally gave me a career that has gone on for 35 years now, and every day when I drive to work, I say “damn I love this gig”; thanks Wally!

Oh, I must mention that Al Schmidt and I have discussed more than once how great it would be if somehow we could honor Wally with a lifetime achievement Grammy. I can still see him removing the U87s from their stands at Monterey Pop before the Who could destroy them in that maelstrom of mayhem. He certainly has earned one, just listen to the Terry Gibbs Dream Band recordings, and if anyone is interested, blog on and maybe we might get NARAS interested too. Neil Portnow, are you listening?