MICK GLOSSOP

Mick Glossop has been producing and engineering for many well known artists for over 30 years. A quick look at his discography will prompt you to ask yourself, "who hasn't he worked for?". The list is quite long: Frank Zappa, Van Morrison, The Skids, Camel, Krokus, Ashra, Bad Company, Tangerine Dream, Mike Oldfield, Sinead O'Connor, UFO, Suede, Bob Geldof..... it seems like name-dropping, but this is only the tip of the iceberg. One name stands out alone among these artists, and that is Van Morrison, as he and Mick worked together for over 25 years.

Mick started his career in music as a bass player. His technical career in music started however during a workshop at Wessex Studios in North London. One night the assistant engineer who was working on King Crimson's "Lizard" album got sick, and Mick found himself in the session. In 1972 he transfered to Nova Studios in Marble Arch. While working as an assistant there, he quickly moved up to the position of "recording engineer". This gave him the opportunity to work on more albums as well as jingles and movie soundtracks. During the 70's Mick also lived in Canada for a short while after he was offered a position in Studio Son Quebec. In 1975 he became the chief recording engineer at Virgin Records residential recording studio in Oxfordshire, known as "The Manor". This was an opportunity that brought Mick into contact with a slew of musicians including Mike Oldfield, Frank Zappa and Van Morrison. In the early 80's Mick decided to go free lance and had the chance to work with the likes of Ian Gillan, Bob Geldof and UFO.

Since the early 80's he has also been involved with MIDI programming, digital samplers and computer based mixing systems. As an innovator in his field, in 1994 he started using Pro Tools hard disk recording and editing system. This was updated first to Mix Plus and then to HD Accel3. He follows the developments in the digital technology as he uses them today in his own production studio. Mick was also involved in many sound design and movie post-production projects. One of his most recent projects being "The 51st State" starring Samuel L. Jackson and Robert Carlyle.

Mick recently produced an album for an organization called Sellaband for singer-songwriter Mandyleigh Storm. He says: "In attitude, it refers to a lot of albums from the late 60's/early 70's, and was recorded very quickly and spontaneously with a team of very experienced session players in an old studio in the West End called Dean Street Studios". You can download three tracks for free at:

http://www.sellaband.com/search/?name=mandyleigh=recorded

We were also very interested to know what Mick has in his stereo these days. We asked him to name the 3 CD's he is currently listening to. He said: "I'm currently listening to "Raising Sand" by Robert Plant Alison Krauss, Mark Ronson's "Version", "Just A Little Lovin'" by Shelby Lynne the soundtrack album to "The Assassination Of Jesse James" by Nick Cave Warren Ellis. I know that's 4 albums, but what the hell... "

As we do every month with our proGuests, we sent Mick three tracks from three different bands/artists for him to listen and give us his thoughts. We thank him very much for taking the time to review them. It is also a first for TheProgFiles as these reviews are coming from a great behind the scenes person.

Also, don't forget to check Mick's website and his MYSPACE page for more information about him, including his long list of discography.

This is an interesting, and quite original song, delivered in quite an original fashion. There seems to be some confusion regarding the tonality, e.g. in places it seemed like the arrangement is attempting to be major and minor at the same time. The arrangement lacks dynamics - most of the instruments, apart from the whistle and the drums (which come in towards the end) are playing all the time. The mix is not too good either - I can't make out most of the lyrics (which I suspect are quite interesting) due to the vocal being too obscured. I would recommend dropping the droning, 80's sounding keyboard pad, and tightening up the arrangement.

Although this song has potential, the arrangement and performances hold it back. It should swing, but the drummer seems to have no sense of groove. The bass player seems to be playing with no consideration of the other instruments. The singer has a unique character but is out of tune in several places. The lead clarinet needs to extend its range - playing so low gives it a dreary character. It could be a cool track, but the lacklustre performance lets it down.

Good song - but it needs a chorus. Nice, programmed groove and atmospheric keyboards. It would benefit from more attention to the dynamics of the drum parts (particularly the snare). It needs to have more space in the verses. The vocal was mixed so low I couldn't understand any of the lyrics - shame.

To visit the bands' websites please click on the links below:

www.chrissohre.com

www.unexplodedmusic.com

www.narrowpass.net.com