Original Mellotron Recordings
2006-03-25 by tron@blackcat.demon.co.uk
I recently asked 1960s Mellotron demonstrator Geoff Unwin about the recording of the original Tron sounds, and he had this to say: Mike We recorded all of the Mellotron sounds at our own studios - I.B.C. studios - at Langham Place opposite the B.B.C. Originally 'International Broadcasting Company' the home of 'Radio Luxemburg' where all the radio programmes were recorded then shipped out to the continent from where they were broadcast. This was in the days before Radio Caroline and other 'pirate' broadcasters. The recording of analogue samples in the early sixties was undertaken in a kind of partial secrecy and most of the musicians never really fully understood just what they were doing - it was just another session. I don't remember the names of every session musician and of those who survive most wouldn't care to remember either. You must remember that this was almost half a century ago when British jazz musicians were forbidden to play in the states and vice versa for American performers. Eventually there was a kind of 'exchange' system whereby the import and export of musical talent had to be finely balanced. We ignored such stifling control and secretly recorded big band sound tracks to numerous American TV series which were shipped over to the states and presented as home grown over there. The reason was simple - our sessions were much cheaper to produce. This was all very naughty and against MU rules - the players were never told and they never asked anyway - it was just another session. Consequently the Mellotron and all it stood for in those days just had to find its way to I.B.C. studios. Eric Robinson and George Clouston were the principal shareholders and the financial backing was provided largely by millionaireArthur Hurlstone, chairman of the 'Lentherique' cosmetic empire. 'Hurley' as he was known was smitten by show-biz and pumped cash into the 'Eric Robinson' empire for years. His son Robin, who was just an Eton schoolboy at the time, eventually grew up to be the live-in partner of Joan Collins for ten years before she tired of him. Don Rendell (tenor sax) Duncan Campbell (trumpet) Ronnie Verral (drums) all played at I.B.C. but I cannot be absolutely sure theymade contributions to the final takes. There were other ex 'Ted Heath' orchestra players I do recall using myself for instance. Ex- Ted Heath pianist Frank Horrox played on various titles of mine - most notably my film score for 'On the Buses' -and I do recall Frank recording the 'sweet' piano fills for the Mellotron MK11 in the early sixties. The Latin rhythms were rendered by the boys from the Edmundo Ross orchestra and the violin solo voice was scraped into shape byDavid McCallum who had a Stradivarious. His son, also of the same name, became well known ona TV series as a blonde detective by the name of Naloleon Solo I believe. Th fiddel sounds were recorded singley and then as a duo and then overlaid as if there were three violins playing in unison. The Hammond organ voice was produced from a Lowrey actually. The string fills were arranged by Arthur Wilkinson whe went on to do his famous orchestral arrangements of Beatles hits later in the decade. Bill Franson as you may know provided the 'Yeah' on the rag-time tape. Throughout the sixties I thickened out puny brass and string arrangements on numerous tracks (annonymously) with the Mellotron and this was usually done as an overlay when the other guys had gone home - I was cheaper than a complete string sectionor brass section. It was a simple as that. And this was almost a punishable offence in those days. I remember when a message came through from George Martin who was recording Sargent Pepper at the time - he was looking for pointers as to the possibilities of using the Mellotron just then. I was eventually asked to go to John Lennon's house in Weybridge to check his instrument over and give hime a little guidance etc. In 1967/8 Stevie Wonder came to my office (28-30 Market Place, W1) for coaching. He visited me quite a few times but I never found out if he utilised the Mellotron on his recordings.