Episode 4 - What do you mean you're no longer there??

The final part of this story sees Nick return to Wales and continue working in Rockfield Studios whilst search for alternative options and how Jon begins working for him. Stories include how Jon and Max from the Kooks helped setup a mix room at Rockfield, Spike recording his Frankie Miller and Jon working with Pretty Vicious

Transcript

Transcipts have been generated automatically and not checked for errors

[00:00:00] Brino: I, I remember I was doing an album with spike from the Quireboys there and he loved it there cuz it was next door to a pub, so,

[00:00:23] Jon Con: right. So Leaders Farm. In the process of closing, you, finishing up with the darkness, Dan said that you don't want to, he doesn't want it to go to someone else. Yeah. How do you come to the decision to come back to, to Wales or come back

[00:00:35] Brino: to Rockfield? Well, I'd been talking to Rockfield and they'd been going for a really hard time as we were kind of.

[00:00:42] Brino: Really busy and kind of doing really well and I developed master classes at before that as well. I developed a whole kind of training and kind of team building thing, which involved into Masterclass, which had got a young entrepreneur award for as well Hasting to John put that national record of achievement.

[00:01:03] Brino: Yeah. Yes. Sitting there at the top and you know, just, just above Bruce Springsteen and and yes, I developed these master. and they were really successful bringing us in good, good income. And so I'd been talking to Rockford saying, you know, you should do these masterclass. This is something I've developed.

[00:01:21] Brino: It's really good money. I've got a format. It really works. And, and seeing that, I was like, no, I really want to come back. And like I'd built up a whole new client base and I had loads of albums lined up for that year. And now nowhere to record them cuz Leader's Farm was closed down pretty quickly. Like Luke Morley from Thunder was doing the union at that point and I had this album lined up with him.

[00:01:41] Brino: We'd already done one at Leaders' farm with them guys. And he was like, we gotta do the next one. We go to Leaders' Farm. And I was like, can't, it's just finished. And the Maker album and band's like the toy and bands like river 60 Eights and stuff like that, all these albums. And they, and they all booked in to do it that year, but we had nowhere to do it.

[00:01:59] Brino: And I was like, yeah, I need to go back. It needs to, I need to breed life into the coach house again. It can't have it like this. And you know, the business is gonna pick up and develop the master classes, talk to. , which they now do which they now do there from those initial meetings and from me implementing that really early on yeah.

[00:02:18] Brino: As a way, and they, they already had it in their head. They were gonna do holiday, lets, and they'd started doing them and I'd been doing them at leaders Farm as well. Times like Christmas and things like that. Or when we were having a break and we were on holiday, we'd. You know do holiday. Let's, there those, these multiple incomes.

[00:02:34] Brino: So I introduced those masterclass ideas to them. And with the holiday, lets then picked up and the masterclass starting. And then I had a run of like, I know I was even at one point was even gonna take over the studio and just rent the whole thing because I had, I was then in there for like a year.

[00:02:50] Brino: And then during this time, the business picked up again and they were doing really well. A couple of big albums came their way and business was really good for them, which it has been ever since now. And they're busier than ever now. Yeah. So yeah, that was the decision. And also we'd had my daughter at that point, honey, and it seemed silly if I was gonna be busy working.

[00:03:10] Brino: We were already on the other side of the country when we had a like five, five hour drive away. It was like, well, we should be near family, near friends, we. A daughter now. So the support of the Family network and all that, the help with it. If I'm away, it'd be great. So the decision was made that we'd move back to Wales and I'd carry on Working at Rockfield immediately missed my, having my own place immediately.

[00:03:32] Brino: But Rockfield was second home to me. I'd still been working there throughout my whole time at Leaders when I couldn't get into leaders when there was a band, you know, band of skulls or whatever were in, and I had another album, so they were in for quite a while. , I'd go to Rockfield and do my albums of Rockfield.

[00:03:46] Brino: So I was still using it regularly anyway, still, you know, part of the furniture, part of the family,

[00:03:51] Jon Con: because I've had that. I remember that that feeling that when the studio, when the studio closes, all of a sudden you're still getting inquiries and obviously the emails are still working. Mm-hmm. . So it's like, I remember that whole thing is like, right.

[00:04:01] Jon Con: People wanna come record an albums like, shit, where do I go? Yeah. Did you have a backup from like Rockfield? Is there anywhere else you could thought about? Did you look at other studios? Well,

[00:04:09] Brino: that was the thing I was like, right, I've, cuz I've had, obviously we'd built up a massive reputation in five years with Lit's Farm and all the producer managers and the labels were still emailing me wanting to go to lit's farm.

[00:04:21] Brino: And she had this constant stream on the email from inquiries and even all the knowledge bands were like, well, what do you mean you're not here anymore? There's nowhere else to record around here. We wanna record with you. So I had all this work with the Norfolk bands as well, and the other sessions and producer managers, and I was like, right, I need somewhere to work.

[00:04:40] Brino: But obviously Rockfield was starting to pick up, so I couldn't always get in there. So I was like, right, I need another residential studio that. I can go to that has that same vibe and I loved, and I was looking around and I stumbled across Red Kite Studios owned by the legendary Martin Lavan. And I went there, met him and we hit it off.

[00:05:03] Brino: I mean, what amazing guy, the guy is. . So talented. He's done so much in his life, amazing to talk to. I love his color. No knots and no nonsense attitude. And he's kind of hidden away, up in the mountains, in the Breck and Beacons there in this amazing location. Yeah. With this amazing studio that he wants to hire out to people to come so we can have some quality time with some other people, but really he doesn't want to because he's like, I don't want, I don't want people coming here and spoiling my peace and quiet.

[00:05:30] Brino: But it's an amazing place and. Him and his wife are amazing human beings and made me feel so welcome there. Yeah. And I just loved it. And I ended up doing album after album, and it's where we first met John. It was, well, it was,

[00:05:45] Jon Con: I remember like I'd the job had gone out in. , is it UK music jobs or music jobs, yeah.

[00:05:51] Jon Con: For an assistant. And at that time I was running a studio in South Wales. Like it was like basically I think the job said like residential studios in South Wales. Mm-hmm. and my studio was a residential studio. Nowhere near to like, you know, that level of leaders, farms, like the experience and stuff. We had like a dorm room which slapped eight people.

[00:06:07] Jon Con: Yeah. And I kind of realized very early on that's like if anyone wants to sleep, that's not a good. Yeah, it's a bit like in giant wafer, I guess. You've got that massive bedroom at the top. Yeah. And I just remember seeing the ad thought well, I'm one of 'em. And then the other ones are like Rockfield, red Kite Giant.

[00:06:23] Jon Con: I knew all the studios like Mono. Yeah. I thought, well, I remember my experience was like I wanted, I kind of felt like I'd gone as far as I could in that student. I wanted to learn off other people. Mm-hmm. , because I just literally come up and fudged my way through recording. It was like I was quite good at computers.

[00:06:37] Jon Con: I did

[00:06:37] Brino: demos. Yeah. I think that's a lot of the downfall of people is producers and engineers I work with is when they come straight out of university and then they're just working in their own studio. Yeah, they've never had that experience of how the workflow of producers and engineers who've maybe doing, been doing it for 20, 30 years in a traditional way, the workflow, how things are supposed to be labeled, how things are supposed to be laid out, the workflow, the methods, the working with the band.

[00:07:05] Brino: They've just kind of learned how to, to kind of do it in a kind. semi that way in a, in a university studio, but they're not really worked with. And I think it's great for, you know, people who've kind of been through that education system to go and work with other producers and engineers and find out how it's done and then obviously implement your own ways and your own methods cuz they might be better and more suited to you, whatever.

[00:07:28] Brino: But I think it's a great way to, to really learn.

[00:07:31] Jon Con: Yeah. So I remember like, yeah, that was one of the things I remember thinking is that I'm swear I struggle where it was like, I think. Gone as far as I could with it. And I was saying, well, what can I do next? And it's like, right. I was just applying for real world.

[00:07:44] Jon Con: I applied to solid state logic, job came up. But I had no, like, other than running my own place, I had no real like qualifications or skills as far as I thought. And so Right position came with you? I think Neve helped me with my cover letter. Yeah. my name gave me an advantage, cuz obviously John Constantine stands out straight away.

[00:08:03] Jon Con: Yeah. That's the best name in the world ever. And then he said, oh, come down to I'm, I'm doing pre-production with a band in Red Kite. I said, right, I'll be down tomorrow. Got lost. You did

[00:08:14] Brino: actually. Yeah. So did a lot of people. Yeah, I

[00:08:16] Jon Con: got lost my dog. It's really confusing, like, because obviously like Martin's place is obviously it's Standard Country Road, it's not sign posted cuz Martin doesn't want you to know it's.

[00:08:26] Jon Con: and I think I drove to the two the holiday lets, that he has, and I kind of went back and forth. Yeah. We have a visit

[00:08:34] Brino: that,

[00:08:36] Jon Con: oh,

[00:08:37] Brino: who's Ronnie? Ronnie, little Ron

[00:08:43] Brino: Yeah, he's not quite Ken. He's not spar. He Ken, but he's all right. No, he's all right. He's not as, he doesn't look like as much of a bastard as what, as I do remind every, I do remind him all the time that he's not as good as Ken, but well, he hasn't, he hasn't, he hasn't learned the skills of how to, like, kill chickens

[00:08:58] Brino: with stairs.

[00:08:58] Brino: Carry of his mind. Yeah. I'm gonna let him out, John, and then we'll carry on. Right. He wants to Oh, know he is, he's Come on in. You keep starting John. Yeah, I think, I

[00:09:07] Jon Con: think Josh and Joe were in one of

[00:09:09] Brino: the accommodations with our back, back in the day when I couldn't get enough assistance. I needed three

[00:09:15] Brino: Yeah, .

[00:09:17] Jon Con: Yeah. That was trademark session, wasn't it? And yeah, I turned up called you Neil. Yeah, I did. Hi Neil. I just got completely festered. Yeah, you gave me tour. Martin student was like, fucking hell. This

[00:09:25] is

[00:09:25] Brino: amazing. Yeah. It's like, yeah. It's such a great studio. And it's a sim, a similar thing in the fact that there's lots.

[00:09:32] Brino: Lots of natural light countryside, that kind of thing. So yeah, it suited me, it suited me loads of accommodation. Yeah. , the countryside, the peace and quiet, great equipment. I mean, as a control room, it's so well designed. The sound, the monitoring is Yeah. Amazing. So to work with somewhere with that good, like good monitoring for, for the mixing and for tracking.

[00:09:56] Brino: Yeah. It was a God and I just loved it there. I loved that. Those, those few years working there a lot. As, as you know, a backup to Rockfield, it was great. So yeah, that was, I just needed. That other place, you know, I just needed that kind of a bit more of that leader's farm vibe in there for me as well.

[00:10:12] Brino: So I needed it. Yeah,

[00:10:14] Jon Con: I remember the one thing was because it was in the middle of a valley, wasn't it? Yeah. There was like one spot where the phone signal managed to go, which is kind of looking straight down a valley. Everyone had to go and take their phone calls

[00:10:24] Brino: in specific place. Yeah. It's much better nowadays, but yeah, you had to walk to that little bit.

[00:10:28] Brino: Stand there. Yeah. So you

[00:10:30] Jon Con: are working out these studios you were mixing elsewhere.

[00:10:32] Brino: So at that, at that point I had a kind of home studio. Then I had the Studio Indigo as kind of in the back room of a community center and Right. I think that, I'm trying to think if that was first or the, and then I had one in like a business center in Monmouth.

[00:10:45] Brino: Did you ever come to that? Yeah, brownfield was after that. So what then the Monmouth one was after. You didn't come to the, the community center one, did you? It was cool cuz it was hardly ever used disused really? So I could use the big, the big hall and it had a kitchen and toilets and everything. So a little lounge and then we had the big hall and then I was in the back.

[00:11:04] Brino: But I did most of my mix in and a few overdubs in there. I had two rooms of a recording area and a live room. , which I cobbled together. Yeah. But when there was, the big room wasn't in use. I think it was only used like three nights a week between like seven and nine. So apart from that, I could use the big hall for recording, had a garden, everything.

[00:11:20] Brino: It was out the way so it didn't disturb anyone. Yeah. And it moved from there down to rented, basically like office space. In a business park. And built a studio in there, which I couldn't monitor too loudly during the day because there was all these businesses in there and I was kind of like in the center of it, which was like I'd become a storeroom, but it was a giant office that had like 20 offices and I was in there.

[00:11:43] Brino: But come four o'clock when everyone left, I could stay in there then and mix as loud as I want. I had this whole business park to myself and would just stay there and mix. So I would kind of start work a bit later and maybe go. at four in the afternoon and kind of worked till about 10 o'clock or something.

[00:11:59] Brino: Yeah. Instead do my mix in there. Did Max come to the One Up Indigo? I'm not sure if he went to the One Indigo. I think he did maybe once. I remember I did, I, I remember I was doing an album with spike from the Choir Boys there and he loved it there cuz it was next door to a pub. So he could go to the pub most of the day, which was right next door.

[00:12:18] Brino: And we did an album, a Frankie Milli Miller album there, which had full of legends like Luke Morley and. Simon Kirk and Andy Fraser. Ronnie Scottish rugby team. Ronnie Wood, the Scottish Rugby team, Bonnie Tyler. So all these people. Yeah, a great album to work on with Spike. He's an interesting character.

[00:12:38] Brino: Lovely man. And yeah, from, and then think Max came towards the end, max Raffi from the Cooks cuz we'd been working with him. He'd come to LE's Farm and then we'd carried on working together after that. We still work together now and. . Yeah. And then he used to come to the Monmouth one, I remember. And then I think it was you and Max who then Yeah, me and Max have, from there to Rockfield.

[00:13:02] Brino: To Rockfield a room came up in Rockfield. Yeah. And you and Max did all the prep. The painted, moved all the stuff out. Cause I remember it was in the old, for those who don't know, I'm extremely, extremely allergic to horses and I can't go anywhere near anything. Which is why I steer real clear of Amanda Ward all the time.

[00:13:19] Brino: Severely allergic to Amanda Ward. You walked in the first so I couldn't, it was in the old tack room, wasn't it? So I couldn't go in and clear it out cuz it was so dusty and full of horse hair. It. It

[00:13:31] Jon Con: was, yeah, it was net old store room. It was just full of boxes and we had to move every, all the boxes in that room out into the tack room next door.

[00:13:39] Jon Con: Yeah. And you were finding the box room. But then we took one step into the tack room. My always exploded. I couldn't breathe. I

[00:13:45] Brino: can't go. He's like, so, yeah. So you did it and then ho it all out, swept it, cleaned it all up. We installed it and we installed a nice little studio, didn't we? Yeah. Well we,

[00:13:53] Jon Con: we also had to move.

[00:13:55] Jon Con: What did we have to do? We had to take some stuff out of the tack room. And then I found, I remember like me and Max, we were like, we had to go move some stuff into where they kept all the old tapes from the sixties. Yeah. And that was like a massive shot because he tapes in sixties were like Dave Edmonds.

[00:14:07] Jon Con: I think there might have been budgie or something in there. Yeah. Yeah. And. this, this store room was basically, it's as you go into Rockfield, it's next to a, where the horses are capped. There's like a window or something you've gotta climb over. You go through the horses' stables and they go through a corridor.

[00:14:22] Jon Con: It's just this open exposed room. Yeah. And all these damped tapes, they just like think, oh my. Yeah. It's like, I don't even think baking these tapes, like put 'em in the warming them up there, . And then I remember saying to kings, like kings, if they're no good, why you check 'em out? He, oh, we can't, we

[00:14:39] Brino: can't check them out.

[00:14:40] Brino: Yeah. They belong to labels because, well, what if

[00:14:41] Jon Con: someone needs 'em? Yeah. And it's like I, yeah. Cuz obviously they're saying it was like they're so enough tapes for the labels. Yeah, so they didn't have the,

[00:14:48] Brino: the ownership of the rights. You wouldn't have been able to rescue the Ebola, the majority of them anyway.

[00:14:52] Brino: Maybe one or two. I mean, someone did, someone occasionally comes and digs in there and takes tapes away, you know? Yeah, I remember cause I saw it, I went through it. I saw that there were tapes for man. Yeah. And I'd known George cuz so Mickey, Mickey Jones's son George, I'd recorded up in

[00:15:09] Jon Con: Yeah. And as soon as I saw those tapes, I just went. Cuz he, obviously the estate passed to him. He said, George, you know, those tapes are man, So then he, I think he got in touch with Lisa and said like, I want to get them cuz it's for my dad's. And it's like, these are my dad's rights and stuff. Yeah. So I think he popped down and picked 'em up.

[00:15:24] Jon Con: But, and yeah, I remember seeing like Bud tapes and stuff

[00:15:26] Brino: there. Yeah, just go in. It's like, fuck. Yeah. Brilliant. So that was our little mix room, wasn't it? For a while there then people from Rockville used to pop in and have chats with you. Yes. . So I'd have a chair in the corner and one by one throughout the day.

[00:15:38] Brino: They'd come in, man would come in, hear how a day had been going. Lisa would pop in. Kings. You pop in. Yeah. Yeah. So. Because I, yeah. Enjoyed it though. I was chatting with, I was little break from the music, but kind of six hours working on music and six hours kind of chatting to those guys. I think I've been

[00:15:56] Jon Con: working with you at this point for about a year.

[00:15:59] Jon Con: Yeah. I got to grip to Rockfield within that year, and then I think it was really handy because we just about moved that space. Put you in that space, and I was just starting to work in. and cuz you were around like Nick, I got a problem. Yeah. I could

[00:16:12] Brino: just, what I, I could come and sort it. Yeah. I could leave you on a session and not worry about it because, you know, I was there.

[00:16:18] Brino: Kingsley knew I was there. Kingsley loved having me on site because at 10 o'clock at night, on a Sunday when they got a problem in the quadrangle and there's no assistant on the session, then I could go over and sort it out for them in the car. And I was in, you know what, I'm like, I'm there every day.

[00:16:31] Brino: Working day and night. Yeah. So I was always. Yeah, so it was great for the studio to have me on board, but then we didn't need that anymore, John. Cuz another opportunity came along.

[00:16:41] Jon Con: No, it's fine. So there was a studio in Vale when I, it was actually the first session I worked with you. So I came to you doing pre-production trademarks, which we mentioned on episode one.

[00:16:51] Jon Con: Yeah. And then it was I was coming to Rockfield for a day. Yeah. Do a trial. , I think I bought like one pair of clothes or two pairs of clothes or something. And he said, oh, do you wanna stay? I was like, okay, yeah, yeah, yeah. Okay, I'll stay. Yeah. And then next day he was like, oh, do you wanna come stay on?

[00:17:07] Jon Con: Yeah, I'll not do anything. I, I carry on and on the third day, I think I, I've gotta go at because my studio closed. I think I was in the process of closing now my studio and I needed to find another place. Yeah. And I remember like on Instagram I think, or Facebook or something, I think Ramash had posted up a post about a studio in a.

[00:17:24] Jon Con: that he'd just gone saw. Looks amazing. Be, look, we'd looking to do some training video, like training courses. Mm-hmm. Or something up there. So I just got in touch with the Ave Institute and just said, oh, can I just come have a look around and arranged it all? And I said, oh Nick, I can't do that. I'm gonna see another studio.

[00:17:38] Jon Con: Mm-hmm. And then there was no one there. When I arrived, I'd arranged to meet someone. That person thought it was the next day. So then I think it was Sam actually showed me around the studio and it was like, you just walk in and it's like this place, really, really well. Kitted out. It's amazing. But smells very much a damp.

[00:17:55] Jon Con: Don't think it's been opened or used in a while. Yeah. And it looks like a classroom and I think, I think about a year later they approached, I think, was it Steve from Novocain?

[00:18:04] Brino: Yes. Who we mentioned before. Band. I used to record damage for in the early days. He knew, I think he knew you were in the area.

[00:18:12] Brino: Yeah. So he knew that I'd moved to up into the valleys. . And so he'd put my name forward and said they should get in touch with me because the, the studio was sat there empty, wasn't it? There was no one, yeah, there was a couple of people coming in now and again, but they didn't have anyone to run it.

[00:18:28] Brino: They had no one who knew how to use it or knew how to run it or anyone with clients. And the problem with the studio in that area is there's no clients in that area. So you need someone who's got client. Yeah.

[00:18:38] Jon Con: And so they approached you and we kind of went and had a look at it and I think. We, yeah, it was, it was a month or so.

[00:18:44] Jon Con: Just going back and forth. Do I, I'd just pop up and go Right. What we got. What's the inventory? Yeah. How does everything work? Yeah. How

[00:18:50] Brino: can we get our stuff in? Yeah. Unfortunately, a lot of it didn't work. John . We soon found

[00:18:55] Jon Con: out, no, there was a lot of. . Yeah, the speakers. Oh yeah, the main speakers, right?

[00:18:59] Jon Con: Like the way the, they, they got EAC connectors, like specific connectors that are really good because like they don't really fall apart and you have 16 on 'em. And I think they'd managed to wire the main speakers out of face. Yeah. So everything's like, you kind of press planes like

[00:19:12] Brino: with it, and it was a shame.

[00:19:12] Brino: A lot of the outboard wasn't really pro pro quality, so it was not really usable. And then the stuff that was pro quality wasn't really working. So it was, yeah, the desk needed a lot of love, a lot of work, a lot of maintenance. So yeah, we sat about it. , but it was a great space in a great building. Yeah. Proper studio.

[00:19:30] Brino: And of course the expense of the design, the soundproofing, the acoustics. The electrics, the air conditioning, all those massive expenses had all been grant funded and, and were done. So we had a kind of blank canvas, didn't we? To create a creative space. Yeah. Cuz it looked like a, a, a really bad classroom kind of.

[00:19:48] Brino: It was, it was so, well, you know, it was kind of so well done in in terms of the install of the floors and the air call and the kind of electrics and the, and the layout and stuff. And the acoustics were great, but the actual design was like, Atrocious. And actually the functionality of the studio and the workflow of the studio was pretty bad.

[00:20:09] Jon Con: Yeah, it was just, it's that idea. It was like, I think it would be designed by someone who had another studio and he did a mirror image of his

[00:20:15] Brino: place. Yeah. It just doesn't, it just didn't work as, you know, as it was. So we've made the most of it and yeah, turned it into a really vibey great space and we've had the opportunity to.

[00:20:25] Brino: some big records in there as well. You know, big clients as well as like local bands and small bands and unsigned bands. And we've had other producers coming in and we, and again, we set about and we, it took off pretty quick. Producers like Gil Norton coming in and I was working

[00:20:40] Jon Con: with him in Rockfield.

[00:20:41] Jon Con: Mm-hmm. And I just like, it was at the time where I think their air conditioning, or did they have

[00:20:45] Brino: air conditioning? It went off for a little bit. Went off at one point. Yeah. Yeah. The air conditioning impact

[00:20:50] Jon Con: in at one point, and I think I was back and forth in the studio, so we got another place up the road and then we trying to get him to show it and it was like he was waiting for a session to get confirmed and then like, I think it fell through.

[00:21:00] Jon Con: And then there was another band, like didn't have the budget to go to big place. So Gil just sort, I'd love to come try this place. Yeah. So we had like a band

[00:21:07] Brino: called Psycho Comedy coming. That's right. Yeah. We had nice accom, nice accommodation, everything. The accom know five bed townhouse was really nice.

[00:21:13] Brino: And Yeah. Yeah. I mean, what the producers came in at that point, we had quite a few different producers coming in, didn't we? Hanham

[00:21:20] Jon Con: Pearson. Yeah. Geen Pearson. Yeah. We had Richard Jackson. Jackson. Yeah. So Richard Jackson did a lot of the pretty vicious stuff. Yeah. We were literally at a point of finishing the album when the band got new management.

[00:21:32] Jon Con: They looked at the deal that they had cause they'd been given it an advance. There was like a massive bidding war. They did really well, obviously. Like there was a massive buzz about on the first record, I think Cave song was done in the studio before we arrived, and then, , the label had gone around and gone, right.

[00:21:45] Jon Con: Oh, we want you to sound like this. And so they'd go and work for a certain producer and they sound exactly like they were cause they were really good musicians. Yeah. And then said, I, no, we want it to sound a bit more like mellow. So they go to, they go with another producer. And so what we really want is we want to we want be like a bit like nineties Brit poppy.

[00:22:01] Jon Con: So we'll put you invo with Morris. And obviously like, I think

[00:22:06] Brino: feedback, talking to the back. .

[00:22:10] Jon Con: I think the feedback from the band was like, the budget. I think Owen might still be working on nineties budgets. I don't really know. But they were going to, like, they, I think they'd gone to ICP studios in Belgium.

[00:22:22] Jon Con: Mm-hmm. . And I think Brenna, just like one of the, the band's dads was looking like basically spent, it was likeactually exhausted because he had to kind of keep owing on straight and narrow to get stuff. cuz obviously they're trying on time and I think they, I think the label, they got a couple of songs out.

[00:22:38] Jon Con: I think some of them, some of them sound amazing. I think. One of the songs came out and the label just turned around to him and said, ah, to be honest with you guys we're a bit disappointed. We thought we'd have more stuff by now. And he said, well, it's not us. We can go into this, the original studio and just smash out a couple of tracks.

[00:22:51] Jon Con: Yeah. So like, I got called in with Rich as the engineer and we did I think five songs in a week, or four songs in a week. And there was basically, there was gonna be four sessions. Like split like that, almost like broken up. So we do, we dead Dundon first two and there was that last one, the last session due to complete the album.

[00:23:09] Jon Con: And new manager comes in and just goes, well look, we've blown through six figures here in advance. Whatever happens to this record, the likelihood is we're gonna get dropped to this gets release, so we need to get out now. Yeah. So they pulled the plug and it was like, I think it was the right decision to

[00:23:24] Brino: do.

[00:23:25] Brino: Really? Yeah. Because obviously, yeah. But yeah, they spent a lot of time there in the studio didn. . Yeah. Yeah, yeah.

[00:23:30] Jon Con: And the like, after that, like I think management new, new management, like me kind of had people that he wanted to go and kind of approach to mm-hmm. and like, they, they spoke to Big Machine and they said like, what we'd like to hear is like, we'd like to hear some demos that haven't, we'd like to hear demos or songs that you haven't recorded, that haven't been recorded.

[00:23:49] Jon Con: Anything at the label of touch. So we wanna hear some songs you haven't done. They came in and I think the first song we recorded was, what, what could have been? It's called something else. And he was. They've still got songs. They're still really good. Yeah, yeah. Yeah. And so it was just bitching me and them in the studio.

[00:24:03] Jon Con: The demos went off and then they got signed to a big machine for the album to get released. And then I think who did the album in the end? Dan Austin. Then it was produced by Dan Austin. I think they went to Mono to do it. Yeah, they mono, they, they were in and

[00:24:18] Brino: out all time. Yeah. Yeah. And we've had no, you know, no end to clients.

[00:24:23] Brino: And it's a great mix room, isn't it? You know, the, the monitoring in leaders veil is really good. Yeah,

[00:24:28] Jon Con: acoustic

[00:24:29] Brino: been recording as well, like, just made some great records there. And yeah, and we're still going strong in there, John. And yeah. So here we are and we're now gonna start a new chapter, Dr.

[00:24:40] Brino: John, after Leeders Vale. Yeah. So, and that was, yeah, you can hear all about that in In our next, in our next episode.