Archive of the former Yahoo!Groups mailing list: Mellotronists

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.