Living in NY (86)
With
Charlie Rapino
What's in the course
16 lessons (2h 16m) · 1 free
Lesson transcript
Music and New York in the 80s
I wanted to go to New York in '86. I really wanted to have a unique experience. I had a little bit of money, so I thought, "Let's go to New York for a while."
I was fascinated by New York and started hanging out there. I got a job as a janitor in a big recording studio called the Record Plant. Additionally, I worked as a bartender, which was really my favorite job at the end of the day.
The Shakedown Studio Experience
I spent time at Shakedown Studio, where the world-famous Arthur Baker was producing music. At that time, Shakedown was much more like a bar. The recording studio served as the hub for musicians and people connected to music.
- Cyan hours: Record companies used to hang out in studios, socialize, and have a drink, something that is missing in today's industry.
- The Hub: This place has a bar as the hub. You meet people there and think, "Why don't we go and make some music?" It was a vibrant atmosphere.
Today, it has become a lot more sterile. Music has shifted into a job rather than a passion.
Artists and the Club Scene
What kind of artists were coming through the studio during this time?
- It was mainly DJs from the days of Danceteria and other great clubs in New York.
- New York was at the peak of its decline around this time because many clubs went bankrupt.
In the mid-'80s, New York was a really dirty and dangerous place, but it was fantastic. It was one of the best cities I've ever been to, it was like a "fun dump." I lived in Union Square, which at the time wasn't a great idea. It was a loft in Union Square, very cheap, and a great place for artists and creative people to hang out.
Recognizing Talent
I don't consider myself a creative person or particularly talented. My talent lies in recognizing the talent in others and helping them achieve success.
- On Creativity: I believe everyone is creative. There are creative people who know how to execute ideas, while many do not.
- For instance, the guy who works at the gas station could have a better idea than you or me combined, but we know how to execute those ideas.
A Breeding Ground for Understanding
New York provided a breeding ground to understand how things were happening, especially in the clubs. It was inexpensive to live there, and you could enjoy great clubs like Jackie's and the Roxy Garage, where DJs like David Morales were pushing the boundaries with their turntable antics.
A Strong Interest in Music
I've had a strong interest in music, appreciating it across genders and genres. I never confined myself to one style.
- I enjoyed everything from the Sex Pistols to ABBA to Donna Summer.
The idea of compartmentalizing music into genres is something I find terrible. To me, pop music encompasses everything, from Sinatra to the Sex Pistols, Pink Floyd, Marvin Gaye, and even One Direction.
- On Genre Perception: I find the notion of "cool" pop music or genre distinctions to be borderline fascist. It creates divisions: black, white, red, if you don't fit into one category, you're relegated to another.
I remember spending my money on records and sometimes having to buy ABBA and hide it because it wasn't cool enough. It was a struggle not to be judged for my musical taste.
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Meet your guru
Meet your guru
Charlie started in the music industry as a freshly minted lawyer, promoting gigs by bringing the likes of Iggy Pop and Patti Smith to a radical Italian university crowd.
After working at the notorious Record Plant NYC and soaking up the house scene, he formed the Rapino Brothers with Marco Sabiu, moved to London in 1990 and never looked back. There they took the decade by storm, producing and recording records. After their first hit with Kym Mazelle's Love Me The Right Way, they masterminded Take That's first hit and produced, mixed and fixed many major pop acts during the 1990s, from Kylie to Primal Scream.
In 1997, Charlie was the "on air" producer for BBC's "Get Your Act Together", followed by "Full Frontal" on Channel 4. From 1999 to 2004 he was A&R Director for Sony Music International.
His energy never lets up. Over the years he has divided his time between management consultancy for Ennio Morricone, consultancy for Rolling Stone magazine, soundtrack work and production consultancy for movies and games (including fixing Iggy Pop to do the voice-overs on the Driver 3 video game), and signing and managing acts through his joint venture label with Sony, Stud Records.
In Get signed!, Charlie pulls back the curtain on decades of production and A&R experience to show you exactly what labels listen for, how to shape and present your act, and what it really takes to get noticed and land a deal.
