Looking back at influential producers in Pop music history over the past 40 years, there is one name that cannot be overlooked ,Stuart Epps. Starting out as an errand boy at Dick James Music, he worked his way into becoming one of the most important producers in the music industry. The Beatles, Led Zeppelin, Elton John and Oasis are only a few of the names on Epps list of credits.
1967
The “Flower Power” era – and a 15-year-old music fanatic living right in the midst of it. Just out of school, Stuart Epps landed a job which was to influence the rest of his life. He took his first step into the music business as an errand boy for Dick James, the man who discovered the Beatles. Stuart says about the beginnings of his career: “Even though I was only the errand boy, I had stepped into an exciting world”. With a lot of ambition he worked his way up through being a disc cutter / tape copier and assistant engineer to the position of producer in only two years. During that time he became friends with the still relatively unknown Elton John and his manager Steve Brown and decided to become part of his career. At 18 years of age, he accompanied Elton John as his personal assistant on his US tour and experienced Elton’s sky rocketing career at first hand. Stuart was also A&R Manager for Rocket Records where he also co-managed Kiki Dee. In 1974, producer Gus Dudgeon asked him if he would like to work in his studio – the now legendary Mill Studios – which he was just in the process of building. “Construction took two years and resulted in the most noble, and most modern studio of its time”, says Stuart. There he rediscovered his true passion for recording and producing. “To experience an album or a song taking shape from the demo version to the final master is a great feeling”, Stuart said. He worked on many projects with artists including Elton John and Chris Rea. Later, Jimmy Page bought the studio in the early 80’s and Stuart became the Studio Manager and began to work with Heavy Rock artists like Led Zeppelin.
After gathering enough experience, he took over Alvin Lee’s private studio “Wheeler End” in 1994 and turned it into a residential commercial studio. Among his customers were John Leckie (Beatles, Stone Roses, Muse) and Craig Leon (The Ramones, Blondie). He also worked on his projects with Oasis, Robbie Williams and Paul Weller. Up to this day, Stuart Epps is actively involved in the music business and also instructs students at the SAE in Oxford He says: ”I have always felt privileged to have a career that I am passionate about”.
QUESTION
You are a role model for many people. Who were or are your role models and what makes them so special?
ANSWER
My very good friend and great producer Gus Dudgeon is the very first to come to mind. He was a unique arranger who, after hearing a song, could mould it into an unbelievable record. He was sensitive to the artists’ needs and was able to get the very best out of them with al lot of humour. Gus was very thorough in everything he did. The quality of a production was always of utmost importance to him, regardless of how much time or money it took to do it. To be able to work with such a great producer and to have him as a friend as well, was one of the best things in my life and my musical career. Unfortunately, he and his wife died in an auto accident. But I always think about him as I work in the studio and try to incorporate his knowledge into my productions
QUESTION
What does a typical workday in the life of Stuart Epps look like?
ANSWER
That depends on the current project. The best thing about my work is that every day is different. Every artist I work with is different and that is reflected in my working methods. A normal workday may mean working in my studio at home, recording a 100-piece orchestra in a concert hall or producing a heavy metal band in Brazil. Even though I have been recording and producing for 40 years, I still continuously discover new ways to achieve the best results.
QUESTION
Today, costs need to be cut in every area, even production. As they say, time is money. Time and money are often no longer so abundantly available and that results in tighter competition in the market. How does that affect your productions?
ANSWER
It is true that recording budgets have been cut drastically. I do a lot of work in my studio at home. Of course, I still prefer to record in large studios, especially when dealing with a band project. In such cases, I use studios that offer reasonable prices. It is a shame to have to see so many good studios being forced to shut down because of shrinking budgets in every sector of the business, especially for studio musicians. Regardless of how good you are, it is very difficult to make a living as a musician these days.
QUESTION
The founding of SAE, has made it easier for people to study audio technology. Of course, even after graduation, one is still „wet behind the ears“. What tips would you give our students who are entering into the business? For example, what is the best way to deal with musicians to get the best possible result?
ANSWER
I have been a great fan of SAE from the very beginning. At one point, my assistant quit on me out of the blue and with no warning. I was up to my neck in work. I had heard about SAE and I thought I would try to get one of the students to help me out. His technical skills were really good and one would have thought he had worked in studios for years. He immediately got a job offer from Elton’s company. After that I worked with another SAE graduate who was even better. He still helps me out on occasions. I wasn’t really able to teach my assistant much during the sessions. In addition, today’s equipment is so technically more challenging that it is Vital for students to get the sort of training that SAE has to offer in its many great studios. Having been given that invaluable studio experience and with those sounds in your head, I believe that wherever you are recording in the future, you will be able to make the most of the equipment available.
How to deal with musicians is a touchy question. In my opinion, a big part of the producer’s job is to create a comfortable working atmosphere and to find the balance between giving necessary instructions and catering to the wishes of the artist. Developing that “feeling” doesn’t come overnight or with the first session, but workshops are available to help, such as the one I offer, where helpful experiences can be shared.
QUESTION
In your opinion, how does the future of the music industry look over the next 10 years?
ANSWER
Every one is saying that the music industry is on the brink of ruin and will never again be what it once was. I don’t agree. I think that the future looks better than ever for young, upcoming musicians, producers and audio technicians. The changes in the industry need to be accepted. Today it is literally possible to record your song in your bedroom, publish it worldwide on the Internet and sell it at the same time. It was always difficult, if not impossible to get large record stores to buy albums from new artists and put them on their shelves. Believe me I have tried! These stores are relics of the past and have been replaced by online downloads, so instead of sending demos to major record companies, where they go under in a sea of thousands, today one can take the whole thing into one’s own hands. Samples can be sent to online radio stations all over the world – and there are masses of them. In addition, live music is more popular than ever – another possibility to promote one’s music. The future outlook for students in the music industry is anything but bleak. The important thing to succeed is to stay focused and to do your work with passion. There is a lot more competition than ever before, so it is very important, in my opinion, to have professional training before jumping into this business Still, I consider this to be the most exciting, challenging, and fulfilling industry there is!
QUESTION
What does your future look like?
ANSWER
Right now, I am working on several projects at once and I am amazed at how much fun I still have working on new songs. I used to think that I would grow out of recording and producing at some point when I got older and that it wouldn’t interest me so much. It’s just the contrary! You will be hearing quite a bit more from me! Just recently, I gave a lecture at the SAE in Oxford and was surprised at the curiosity of the young students – all those questions about analogue technology. They wanted to know the smallest details about how recordings used to be made and produced. Unfortunately, I wasn’t able to let them look over my shoulder during the productions of Jimmy Page, Oasis or Robbie Williams, but now, with the equipment in the SAE Studios, it is possible to create similar recording situations, so that students can actually watch (and listen!).
I hope to be able to do things like that more often in the future !!!