In spite of being somewhat loathe to organise a curriculum vitæ I have bowed to subtle and consistent pressure to write something. I suppose one may call it a sketch of not only about work but also my attitudes and some of the circumstances that I suspect had something to do with shaping them.

Although always passionately interested in music, I had not an inkling that I would one day be fortunate enough to earn my living from this practically all consuming hobby. As a student I had my sights on medicine or teaching. I was working towards these ends after a two years spell at Orange, a state of the art Ampex 4 track studio in New Compton Street – now demolished! I studied for a degree in sociology whilst I was working for the piano manufacturer Steinway & Sons as a piano tuner/technician. Psychology proved to be, at the time, fascinating – particularly research into asylums and institutionalisation. Thus recording studios.

Ken Townsend and Mike Gray from Abbey Road agreed to employ me part time for a while until a full time vacancy appeared. After a year of working most evenings, nights and weekends, Ken, to my amazement, offered me full time employment. The idea was that I would be taken on for a three-month probationary period. I was tremendously excited although as the first day for me to report for work, as an employee, was April Fool’s Day there was a little voice saying to me “is this real?” As it turns out I was never told whether or not I got the job. I still get the little voice!

I was employed for over 17 years at Abbey Road, the last ten of them as senior engineer leaving in 1991, I think, to pursue an independent career.

As a result of working at Abbey Road for such a length of time I was introduced to quite possibly the widest selection of music and productions that any studio in the world could offer. This huge palette develops attitudes and tastes that tend to become more and more catholic as time progresses. More often than not I’ve found, much to my pleasure, that my preconceived ideas about a particular style of music have been turned upside down, or at least sideways.

I spent some considerable time working with my dear friend Eric Woolfson, composer/main singer for The Alan Parsons Project, helping to develop three of his musicals, Gaudi, Gambler and Poe. This involved not only extensive programming, arranging, recording and mixing but also co-ordinating and consulting with sound designers, light designers, directors and various technicians within the theatre as well as of course the artists and ensembles for stage and cast CDs.

Inevitably people are going to say, “Who has he worked with then?” I personally don’t think these lists are particularly illuminating, rather like the league tables published for schools and universities that do not necessarily measure their suitability for certain students. I know that all of the tremendously talented artists I have worked with over the years would make fantastic records with or without my intervention. I know that, you know that, every other musician, producer and engineer knows that but few will publicly shout about it.

What is one to do? Give in, I suppose.

So, the following is an incomplete list of people that I have had the pleasure of working with.

A House, Adele Bertei

Aha, Alan Parsons

Al Stewart, Angelo Badalamenti

Arif Mardin, Andy Latimer

Andrew Powell, Anne Dudley

Adam Faith, Abus d’Anges Heureux

Alexis Strom, Alan Tarney

Alison Moyet

Be Bop Deluxe, Beautiful South

Bond, Bill Nelson

Bruce Welch, Bill Myers

BA Robertson, Bonnie Tyler

Balanescu Quartet (The), Bobby Colomby

Bill Ross, Brian Gascoigne

Barbara Dickson, Billy Childs

Camel, Captain Sensible

Chris Hughes, Cliff Richard

Colin Campsie, Climie Fisher

Colm Wilkinson, Carole King

Colin Vearncombe, Czech Philharmonic Orchestra

Chris Rainbow, Clare Teal

Chris Botti, Claude Francois

Claudio Baglioni, Clémence

Dave Gilmour, David Bedford

David Essex, Distant Cousins

Damon Albarn, Damian Draghici

David Foster

Elaine Page, Elton John

Everything But The Girl, Eddie and the Hot Rods

Eric Woolfson, Erann David Drori

Erica Wexler, Eliana Tomkin

Fleetwood Mac, Flair

Flesh for Lulu, Fiachre Trench

George Martin, Gary Moore

George Fenton, Greg Lake

Greenpeace, Gavin Greenaway

George Benson, Gary Kemp

Guy Barker, George Macfarlane

Gil Goldstein, Gigi d’Alessio

Georges de la Rue

Hans Zimmer, Herbie Flowers

Helen Terry

Ian Stanley, Inti Illimani

Il Divo

Jason Halliday, Jeremy Lubbock

Jon Kelly, John Leckie

John Miles, John Williams

Jonathan Tunick, Judy Collins

Justin Haywood, Joey Tempest

John Parricelli, Jamie Cullum

Jennifer Crestol, John Lubbock

Jacques Revaux, John Paul White

Josh Groban

Kate Bush, Kiri te Kanawa

Katie Melua

Limahl, Labi Siffre

Lara St. John, Let’s Active

Laurence Cottle, Leona Lewis

Luke White

Magazine, Marc Almond

Magnus Fiennes, Michel Van Dyck

Michael Kamen, Mike Howlett

Mike Batt, Mike Oldfield

Mike Hedges, Mrs. Mills

Maya Fiennes, Mitch Easter

Mick Hucknall, Michele Zarrillo

Michel Sardou, Martin Doepke

Molly Beanland, Michael Bouble

Neneh Cherry, Naked Eyes

Nick Ingman, Norman Newell

Niki Nicolai, Nightwish

Ozzie Osbourn

Paco Pena, Pat Metheny

Patrick Mimran, Paul Mcartney

Pet Shop Boys, Propaganda

Paul Carrack, Peter Wafa-Abela

Peter King, Peter Skellern

Paul Buchanan, Pip Williams

Paul Simon

Red Noise, Richard Hewson

Richard Niles, Robert Fripp

Robin Gibb, Rush

Roy Harper, Robin Millar

Roger McGough, Ron Wood

Ryuichi Sakamoto, Reflex

Ralph Salmins, Robert Meadmore

Roberto Alagna, Rob Bowden

Sharon Benson, Sarah Brightman

Shelleyan Orphan, Siouxsie and the Banshees

Sky, Steve Booker

Steve Harley, Steve Gray

Sonny Okosun, Sting

Sammy Hagar, Steve Mac

Stefano di Battista

Trevor Horn, Tina Turner

Tony Mansfield, Tony Visconti

Tori Amos, Toyah

The Adverts, The LA’s

The Hollies, Terry Britten

The Shadows, The Creatures

The Undertones, Thomas Hampson

Willard White, Westlife

XTC, Yusef Islam

Travel has always been a truly enjoyable aspect of my professional life and I’ve worked extensively in Europe, North America and Australasia. I find the lecturing I give at various universities in Britain an enjoyable experience (I hope the students do too) for the most part and I’m also involved in writing occasionally for professional magazines. Some rather desperate colleagues co-opted me on to the Music Producers Guild Board of Directors in September 2005. I’m pleased to say that I’m now in the fortunate position of being represented by Rebecca Duncan, who I’m sure can provide a more pertinent overview than I, about most things!

Many thanks for ploughing through all this.