When you were young, did you play music?
I started off in eighth grade with a rock 'n' roll band. Then I built this "trip room" out in my parents' garage. This was 1967, you know, poppin' psychedelics and shit. These people broke in and stole my guitar. I got some insurance money, and I said, "Screw this. I'm gonna buy a Harley-Davidson." My wife, Tina, saved my ass, because these other idiots I was hanging around with, they turned into the Richmond Beach Bombers [motorcycle club]. So, then it was like '72, and I was working for Boeing. I was a stainless steel welder on their hydrofoil program. I spent my money on microphones.
You had a steady job?
Yeah. I loved working for Boeing back then. I heard this Recording Institute of America program open house being held at Kaye-Smith Studios [in Seattle]. I was driving down I-5, and here comes Bachman-Turner Overdrive's song, "Takin' Care of Business." I pulled up to Kaye-Smith and the song stopped. I walked in, and here's Jim Gaines, the manager for Kaye-Smith. "Just go down the hallway, past all the gold records, and take a right into the last door before you see the bathroom." I walk in, opened the door. Guess what song was playing? "Takin' Care of Business." [It was recorded at Kaye-Smith.] They're soloing out the kick drum and soloing out Randy Bachman's vocal. I'm stunned. I had all this energy running up and down my spine. Maybe it was the LSD? [laughter] Kind of joking, but not. So, I did the Recording Institute of America program. I decided to go the Kaye-Smith route because it was an opportunity for me to learn that. In '79 or '80, I was working with Bell and James; LeRoy Bell and Casey James at Kaye-Smith Studios. They had that huge, platinum record out, the disco song, "Living It Up (Friday Night)." Leroy Bell's uncle was [Philadelphia songwriter/producer] Thom Bell. Thom brought all these big projects into Kaye-Smith. I was in there with those guys, Leroy Bell and Casey James, when they were writing the lyrics to "Mama Can't Buy You Love." Next thing you know, Elton John did that song.
This studio started as a garage built under a home above?
I had this crazy little studio. It was a double garage in here. The home was up top. It was just a 20 by 22 beach cabin. In '74, Jim Gardiner, a composer, arranger from Franklin High School, brought a 28 piece jazz ensemble in here. Kenny Gorelick's [Kenny G] father would pull up in his old car. Kenny would get out and he'd pull out his sax. We did sections at a time. We did the drums, keyboard, bass, and then the next day electric guitars, and after that the horns. It was a process. I had an Otari 4-track machine. Greg Mackie was working with me and several other people to make his Catalina board into a semi-professional recording console. It had eight subgroups out. It was a cool little console.
Besides a young Kenny G, what other early sessions did you have?
One that I was really proud of was working with Albert Collins out of Texas. The blues. He was something else. I did that, and got Albert signed to Alligator Records. I had seen Albert's band play a couple of times. He was a cool guy.
When did you start digging into the hill here?
