Classic Track: “Tomorrow People” Ziggy Marley & the Melody Makers

Jul 1, 2013 9:00 AM, Mix, By Blair Jackson


Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

Tomorrow People cover

In the wake of Bob Marley’s death from cancer at age 36 in May 1981, there was no obvious charismatic and uniting figure in the reggae world to build on Marley’s momentum, no acts that crossed over onto U.S. rock radio the way he had on occasion. That is, until Ziggy Marley came along.

Talk about big shoes to fill. David “Ziggy” Marley was the second of nine children Bob fathered with seven different women; the middle of three with his wife Rita. Ziggy was only 12 when Bob died, but he’d been around music since birth, so it was no surprise when he showed an interest in following his father’s lead. In 1979, he recorded a song with his dad, two older sisters—Cedella and Sharon—and younger brother Stephen (along with some of Bob’s musicians), and the four siblings were soon known as the Melody Makers. Ziggy and Stephen played at Bob Marley’s state funeral, and then formally launched their sibling group, the Melody Makers, releasing a couple of singles.

Even as a young teenager, Ziggy bore a strong resemblance to his father, and their vocal similarities became more pronounced as he matured. In the mid-’80s, the group, backed by top Jamaican players, released a couple of albums that were distributed by EMI: The first was a disappointingly lightweight reggae/pop affair, Play the Game Right; the second (and first by “Ziggy Marley & the Melody Makers”), Hey World, was much better and showed that Ziggy and Stephen were both growing as writers and singers. Neither album did much commercially, but Nancy Jeffries, A&R rep for fledgling Virgin Records, saw something special in the young group and signed them to their first major deal in 1987.

Alex Sadkin, who had engineered a couple of Bob Marley’s later albums and was a fixture at Compass Point Studios in the Bahamas (founded in 1977 by Island Records’ Chris Blackwell, Marley’s producer), was slated to produce the first ZM/MM album at Compass Point, but he was killed in an automobile accident in July ’87, and it was Jeffries who suggested that the husband and wife team of Chris Frantz and Tina Weymouth—of Talking Heads and Tom Tom Club fame—take the production reins. They were part-time Compass Point residents, as well, had worked with Sadkin on a couple of Talking Heads projects, and clearly knew a thing or two about reggae and “world music” in general.

“We had never produced a record outside of the Talking Heads/Tom Tom Club axis,” Weymouth told Musician magazine in 1988, “so it was quite a gamble for us and for Ziggy.

“When we first met Ziggy in New York,” she added, “I grilled him a little bit. I wanted to know whether he was the spoiled brat of a famous musician, or whether he had something to say for himself.” For his part, Ziggy, then 18, only knew his prospective producers through one song—Talking Heads’ “Burning Down the House.”

Even though Weymouth and Franz had the strong Compass Point connection, they decided to bring Ziggy and the group to New York to record their first album for Virgin, Conscious Party, at Sigma Sound, which had been Talking Heads’ studio-of-choice for a while. In Musician, Weymouth noted, “Chris [Frantz] pointed out that most reggae albums are recorded in these really deadened Jamaican studio rooms… We had gone down to see them at [Reggae] Sunsplash [Festival], and they were so exciting live, we said, ‘Why don’t we use the ambient rock ’n’ roll recording technique, which [engineer] Glenn Rosenstein is so superb at?”

Rosenstein, whose career up to that point had included engineering and mixing work with the likes of U2, Madonna, Talking Heads, Ramones and Full Force, says, “There was this great collective of musicians, engineers and assistants that revolved around that studio. And Talking Heads kept Sigma booked—they might have two or three rooms going at once with different projects. I worked on some of the Talking Heads records and individually with both Tom Tom Club and David Byrne. I also worked with Jerry Harrison on his recordings, though not quite as much. But there was this amazingly talented group of people who came in and out of that studio scene, contributing to those recordings in different ways, and I was privileged to be among them.”

Sigma’s NYC operation—owner Joe Tarsia’s original Sigma Sound was still operating in Philadelphia—opened in 1977 on the tenth floor of the building that still houses The Ed Sullivan Theater (current home The Late Show with David Letterman), and a little later put in a mix room on the floor below. Rosenstein recorded the bulk of Conscious Party live in Sigma NY’s Studio 5 on an SSL 4000 E Series board and 3M 79 multitrack, then mixed it downstairs in Studio 8 on an SSL 6000 E, to stereo half-inch on an Ampex ATR-100.

“It was in an older building, standard New York City office architecture,” Rosenstein says. “Nothing was done structurally to the space, other than acoustic treatment and studio walls. We were stuck with the regulation New York City office space ceiling height. Initially that would have been thought of as an issue for any record, but we found ways to work around it.

“This was a full band with a lot of musicians and leakage was something we could not even remotely address,” he continues. “We didn’t have much in the way of isolation, but rather than fight it, that actually became an asset for us. We were trying to get some room sound out of the kit, and Sigma had these large stand-alone RPG Diffusor boxes that we floated on the floor. I took those and placed them about 20 to 25 feet away from the drums and faced a pair of Shure 81s toward the diffusors, to get a little room sound, and it actually worked.

“There was baffling for the guitar amps, and the bass amp—an Ampeg B-15—was baffled, too. Unfortunately, the bassist [Zeleke Gessesse] was using a Steinberg, which was notorious for having the least amount of low end—no resonance whatsoever—so in order to get what I thought was some semblance of low end, I had to strap together two Pultec EQP-1As; one was not enough.”

Acceptable Use Policy
blog comments powered by Disqus

Mix Books

Modern Recording and Mixing

This 2-DVD set will show you how the best in the music industry set up a studio to make world-class records. Regardless of what gear you are using, the information you'll find here will allow you to take advantage of decades of expert knowledge. Order now $39.95

Mastering Cubase 4

Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95



Delivered straight to your inbox every other week, MixLine takes you straight into the studio, with new product announcements, industry news, upcoming events, recent recording/post projects and much more. Click here to read the latest edition; sign up here.

MixLine Live

Delivered straight to your inbox every other week, MixLine Live takes you on the road with today's hottest tours, new sound reinforcement professional products, recent installs, industry news and much more. Click here to read the latest edition; sign up here.

[an error occurred while processing this directive]

The Wire, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the The Wire for the latest press postings.