Sometimes traveling artists come to SugarHill Studios, and sometimes SugarHill comes to them. In July 2007, members of the Australian Rock and Roll Hall of Fame group Radio Birdman toured the United States, and we recorded both of their Texas gigs for broadcast on the SugarHill Sessions series on Houston’s KPFT-FM radio. Some of those tracks may eventually appear on a special-edition CD called Live in Texas.
On the local front, the band called Spain Colored Orange—which mixes elements of indie rock, jazz, psychedelia, and pop—emerged around 2005, winning numerous “Best of” categories in the 2006 Houston Press Music Awards. Later that year the group came to SugarHill to record their fi rst CD, Hopelessly Incapable of Standing in the Way, for release on Lucid Records. They made the 2008 follow-up album, Sneaky Like a Villain, there too.
The versatile, nontraditional Celtic group called the Rogues have continued to use SugarHill Studios to record their high-energy music. In 2001 they s t i l l t r a c k i n g i n t h e t w e n t y - f i r s t c e n t u ry 2 5 1
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cut all the tracks there for the album 5.0. Then in 2003 SugarHill made on-site multitrack digital recordings of a Rogues concert at the Houston venue called McGonigel’s Mucky Duck, preserved on the double CD called Made in Texas. The group returned to SugarHill in 2005 to make the album Rogue Trip, as well as in 2008 to record tracks for the CD American Highlander.
Thus, SugarHill continues to function as the professional recording base of choice for various local groups engaged in creating and dispensing new tracks. Other representative examples include the Texas jam band called Moses Guest, which fi rst recorded there in 1999, and returned in 2002 to make an eponymous double album. In 2003 the ever-popular early rock and R&B connoisseurs called El Orbits did more sessions there. “Enough material was recorded for two CDs of Orbit music. The fi rst, Flyin’ High with The El Orbits, was released in early fall of that year on Freedom Records [#1026],” says band founder David Beebe, adding, “The Christmas album was called The El Orbits Holiday Album. ” In recent years SugarHill has also staged sessions for albums by indie rock singer-songwriters such as Chet Daniels, Sarah Sharp, and Ray Younkin, as well as Latin rock ensemble Jesse Flores and Vudu Café and the psychedelic rockers Southern Backtones.
Yet despite the prevalence of diff erent off shoots of rock at SugarHill Studios in the new century, the site has continued to draw rappers and contemporary R&B performers too. Among those, one high-profi le fi gure is the Grammy-nominated singer and multi-instrumentalist Brian McKnight (b.
1969), who came to SugarHill to collaborate with rap mogul Jermaine Dupri (b. 1973). Christensen also engineered those sessions and shares these recollections:
They were cutting a new song for Brian McKnight, and Jermaine Dupri was producing. Brian was on tour and had a day off in Houston. The control room was a wall of keyboards. Between the keyboards and the speakers, it looked like we had built a bunker. They came in with nothing prepared and a few ideas. They started playing and programming and soon had built up a great track. Meanwhile Brian was writing lyrics and working on melodies. As soon as they fi nished the music, he went into the studio and laid down all the vocals.
Around the same time, Christensen also recalls working at SugarHill with the Chicago rapper known mainly as Twista (b. Carl Terrell Mitchell, 1973). “He rapped so fast that doing punch-ins to his tracks was brutal,” he says. “The song he did with us was called ‘Rubber Band Man’”—probably the remix version that premiered in 2004 featuring, in addition to Twista, the rappers called T.I., Trick Daddy, and Mack 10.
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Among other hip-hop artists to cut tracks at SugarHill recently is the New Orleans gangsta rapper known as C-Murder (b. Corey Miller, 1971), who recorded “The Truest Shit I Ever Said” for 2005 release on Koch Records.
Houston-based Latino rapper Rob G used the facility to record his debut CD
for Latium Entertainment (distributed by Universal Records). The Caucasian rapper called Origino recorded his 2007 album Leave the Ground Behind (L&O
Records) at the studios, including his remix of the hit single “What Do You Get?” (featuring guest appearances by fellow rappers Paul Wall and G-reg).
Finally, studio personnel such as Workman and James Garlington have recently collaborated on tracks for two albums by the Houston rapper, now a convicted felon, known as South Park Mexican, alias SPM (b. Carlos Coy, 1970). The fi rst is the 2008 CD titled The Last Chair Violinist, for which the vocals were recorded via telephone while Coy awaited trial. The other is called The Country Boys, scheduled for release in 2009. Both are on the infamous rapper’s own Dopehouse label.
departing strikingly from the gritty realities of the rap world, SugarHill also staged sessions for a country-and-western-fl avored gospel album by the Swedish-born singer and actress Ann-Margret (b. 1941). In October 2001 she was in Houston for an extended run of the touring musical The Best Little Whorehouse in Texas. During that time she also recorded the vocal tracks for her album God Is Love: The Gospel Sessions, which ultimately included the vocal group the Jordanaires, the western swing legends the Light Crust Doughboys, and country singer James Blackwood. Christensen explains the format for these SugarHill recordings:
Art Greenhaw from the Light Crust Doughboys was the producer . . . with Ann-Margret as featured vocalist. . . . She and Art would go out in the studio and jam through the songs. He played piano, and she sang, and it was all done live with her in the room with the piano. Some of the songs were one-takers. . . . Once they had fi nished, Art took the tapes to Nashville and built
[the rest of the album] on top of those piano and vocal tracks.
A marked departure in her forty-plus-year career, Ann-Margret’s God Is Love album ultimately received a Grammy nomination for Best Contemporary Gospel album and a GMA Dove Award nomination for Best Country Album.
Finally, while the work has not occurred on site at 5626 Brock Street, for most of the twenty-fi rst century SugarHill Studios has overseen recordings during the annual classical music extravaganza produced by the International Festival-Institute at Round Top, Texas. Over one hundred top students gather there each summer for six weeks of intense musical study—the results s t i l l t r a c k i n g i n t h e t w e n t y - f i r s t c e n t u ry 2 5 3
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of which are featured in weekend performances by a symphony orchestra, a chamber orchestra, and numerous smaller ensembles. The Institute was founded in 1971 by James Dick, an internationally renowned concert pianist and teacher. He explains,
It started as a ten-day festival. We got some press, some notoriety, and we were successful. . . . We were able to fi nd our fi rst 6 acres here in Round Top, which has now grown to 210 acres. We are a nonprofi t educational organization . . . and off er full scholarships to the students that come here from all over the United States and parts of the world.
Situated in a gorgeous Hill Country setting, the Institute showcases the musicians in an acoustically stellar concert hall that includes a state-of-the-art sound-recording booth. Utilizing the in-house equipment and supplemen-tal gear from SugarHill, we prepare all the concert recordings for duplica-tion and radio broadcast on Houston’s KUHF-FM classical station, Austin’s KMFA-FM, and National Public Radio’s Performance Today series—as well as for an internationally distributed series entitled Live from Festival Hill.
since the early 1940s, the houston-based studio company founded by Bill Quinn has been making recordings. As this book has endeavored to show, in terms of longevity, the volume of business, the diversity of musical styles, and the number of infl uential hits and classic tracks it has produced, this continuously operated enterprise is phenomenal. Like the no-zoning metropolis that it calls home, the Gold Star/SugarHill recording facility has played a uniq
ue role in Texas history and American music.
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appendix a
Catalogue of Interviews
Except where otherwise indicated, all interviews were conducted in person and tape-recorded by Andy Bradley in Houston, Texas.
Archer, Warren. August 13, 2004.
Barber, Glenn. Via telephone. January 6, 2005.
Barkdull, Wiley. November 16, 2004.
Bartlett, John David. Via telephone. May 24, 2004.
Becker, Carl. Via telephone. November 12, 2005.
Beebe, David. February 9, 2004.
Benson, Ray. Written notes. Austin, Texas, November 13, 2003.
Bernard, Rod. Via telephone. September 11, 2004.
Bolden, James. September 21, 2007.
Brady, Pat. September 21, 2003.
Brewer, Clyde. January 23, 2003.
Bush, Johnny. November 3, 2006, and February 12, 2008.
Calvert, Craig. September 24, 2004.
Champagne, Don. November 15, 2004.
Chance, Jeff . Via telephone. September 19, 2007.
Christensen, Steve. August 16, 2007.
Clagett, Paul. Via telephone. January 14, 2004.
Clark, Guy. Via telephone. February 24, 2004.
Clement, Jack. Via telephone. May 15, 2004.
Cordray, Kenny. October 3, 2002.
Davis, Frank. Via telephone. August 17, 2004.
Dick, James. Round Top, Texas, January 15, 2005.
Dillard, Bill. Telephone interview by Andrew Brown. Tape recording. 2006.
Used by permission.
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Douglas, Mel. October 11, 2005.
Drachenberg, Don. Via telephone. July 24, 2007.
Duff , Jim. December 11, 2003.
Fliegel, Rafael. August 9, 2003.
Frazier, Skipper Lee. August 27, 2004.
Gilley, Mickey. Via telephone. June 12, 2004.
Gregory, Rex. September 30, 2005.
Harris, Roger. Via telephone. May 24, 2004.
Head, Roy. Written notes. September 23, 2002.
Jackson, Melvin. Via telephone. June 25, 2006.
Jamail, Randall. March 9, 2006.
James, Mark. Via telephone. October 12, 2004.
Jones, Doyle. September 11, 2002, and October 14, 2002.
———. Via telephone. January 11, 2003.
Jones, Jon. Via telephone. June 4, 2006.
Juricek, Frank. Brenham, Texas, January 5, 2005.
Kurtz, Gene. September 23, 2002.
LaBeef, Sleepy. April 9, 2004.
———. Via telephone. March 4, 2004.
LaCroix, Jerry. June 13, 2004.
Lam, Hank. September 22, 2004.
Landes, Rob. December 13, 2002.
Latimer, Gaylan. Via telephone. June 14, 2003.
Linhof, Kurt. Via telephone. November 23, 2003.
Mayes, Pete. June 11, 2006.
McCracklin, Jimmy. Via telephone. October 16, 2007.
McLain, Tommy. Via telephone. November 13, 2004.
Miller, Frankie. Via telephone. May 5, 2004.
Mims, Connie. September 12, 2004.
Moody, Mickey. April 22, 2008.
Needham, Dean. March 9, 2004.
Norris, Slick. November 16, 2004.
O’Gwynn, James. Via telephone. November 13, 2004.
Oldrieve, Bob. December 14, 2004.
Olivier, Jim. Via e-mail correspondence. September 30, 2006.
O’Neil, Leo. April 16, 2004.
Ornelas, Willie. Via telephone. February 9, 2004.
Owens, Calvin. June 19, 2004, and November 22, 2004.
Parrish, Robbie. March 11, 2005.
Payne, Gordon. Written notes. August 18, 2007.
Poole, Hank. Via telephone. May 19, 2004.
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Poole, Trent. April 23, 2003.
Potter, Todd. Via telephone. October 12, 2003.
Preston (Courville), Johnny. Via telephone. November 17, 2003.
Remington, Herb. June 19, 2003.
Romano, Rock. July 16, 2004.
Rush, Ray. December 12, 2003.
Russell, David. Via e-mail correspondence. June 24, 2004.
Singleton, Shelby. Via e-mail correspondence. September 11, 2003.
Smith, Bobby Earl. Via telephone. August 12, 2004.
Snead, Doak. Via telephone. July 22, 2004.
Storm, Warren. Via telephone. November 21, 2004.
Strachwitz, Chris. Via telephone. June 19, 2003.
Taylor, Mike. Via telephone. November 11, 2005.
Taylor, Susan. Via telephone. October 22, 2005.
Tek, Deniz. Via telephone. October 11, 2003.
Thomas, Bubbha. November 13, 2003.
Thomas, Danny. Via telephone. September 24, 2004.
Thompson, Mayo. Via telephone. April 2, 2003.
Tucker, Aubrey. November 12, 2004.
Versay, Flery. Via telephone. March 11, 2004.
von Steiger, Marilyn. Via telephone. October 16, 2004.
Webb, Cassell. Via telephone. October 22, 2005.
Webb, Joyce. Via telephone. January 11, 2007.
Wills, Bert. August 13, 2004.
Workman, Dan. July 15, 2004.
Wothke, Randy. Written notes. March 12, 2005.
Young, Don Michael. Via telephone. June 11, 2005.
c at a l o g u e o f i n t e rv i e w s
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appendix b
Chart Records
from the House of Hits
The fi rst section documents many, but not necessarily all, of the recordings known to have ranked on the national charts. Following the corresponding date, the highest chart position for each recording is indicated, preceded by the # symbol. Except when otherwise noted, each entry in this section refers to the Billboard singles chart in the primary genre category for the designated artist(s). In cases where a recording charted in two diff erent genre categories, we indicate both parenthetically. Unfortunately, we have insuffi cient historical chart data regarding gospel hits (particularly for the Peacock label) recorded at the facility—and thus are unable to include them here.
The second section lists songs recorded or mixed at Gold Star/SugarHill Studios that had signifi cant regional popularity, grouped by decades.
I. Gold Star/SugarHill recordings known
to have ranked on the national charts
chart
date
artist and song/lp
label
position
1/4/47
#4
Harry Choates and His Fiddle, “Jole Blon”
Gold Star 1314
11/8/48
#8
Lightnin’ Hopkins, “T-Model Blues”
Gold Star 662
11/16/48
#7
Lil’ Son Jackson, “Freedom Train Blues”
Gold Star 638
2/12/49
#13
Lightnin’ Hopkins, “Tim Moore’s Farm”
Modern 20-673
[released from Gold Star 640]
1/9/54
#5
Jimmy Heap & The Melody Masters
Capitol 2518
with Perk Williams, “Release Me”
10/29/55
#4
George Jones, “Why Baby Why”
Starday 202
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chart
date
artist and song/lp
label
position
1/28/56
#7
George Jones
, “What Am I Worth”
Starday 216
3/10/56
#93
Jimmy Heap & The Melody Masters
Capitol 3333
with Perk Williams, “Butternut”
7/14/56
#7
George Jones, “You Gotta Be My Baby”
Starday 247
8/4/56
#2
Benny Barnes, “Poor Man’s Riches”
Starday 262
10/20/56
#3
George Jones, “Just One More”
Starday 264
1/26/57
#10
George Jones & Jeanette Hicks, “Yearning”
Starday 279
3/9/57
#10
George Jones, “Don’t Stop The Music”
Mercury 71029
6/10/57
#13
George Jones, “Too Much Water”
Mercury 71096
8/4/58
#3 R&B
The Big Bopper,
D 1008/
#6 Pop
“Chantilly Lace”
Mercury 71343
10/20/58
#16
James O’Gwynn,
D 1006
“Talk to Me Lonesome Heart”
12/1/58
#72
The Big Bopper, “Little Red Riding Hood”
Mercury 71375
12/8/58
#38
The Big Bopper, “Big Bopper’s Wedding”
Mercury 71375
12/15/58
#14
Eddie Noack, “Have Blues Will Travel”
D 1019
12/29/58
#28
James O’Gwynn, “Blue Memories”
D 1022
4/13/59
#5
Frankie Miller, “Blackland Farmer”
Starday 424
10/5/59
#7
Frankie Miller, “Family Man”
Starday 457
10/12/59
#1 Pop
Johnny Preston,
Mercury 71474
#3 R&B
“Running Bear”
12/18/59
#7
Claude Gray, “Family Bible”
House of Hits: The Story of Houston's Gold Star/SugarHill Recording Studios (Brad and Michele Moore Roots Music) Page 36