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Old 3rd June 2007
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Check out the discography's / CV's of this month's guests!

HAYDN BENDALL

Represented by REBECCA DUNCAN
E-mail: rebecca AT duncanmanagement.com

In spite of being somewhat loathe to organise a curriculum vitæ I have bowed to subtle and consistent pressure to write something. I suppose one may call it a sketch of not only about work but also my attitudes and some of the circumstances that I suspect had something to do with shaping them.

Although always passionately interested in music, I had not an inkling that I would one day be fortunate enough to earn my living from this practically all consuming hobby. As a student I had my sights on medicine or teaching. I was working towards these ends after a two years spell at Orange, a state of the art Ampex 4 track studio in New Compton Street – now demolished! I studied for a degree in sociology whilst I was working for the piano manufacturer Steinway & Sons as a piano tuner/technician. Psychology proved to be, at the time, fascinating – particularly research into asylums and institutionalisation. Thus recording studios.

Ken Townsend and Mike Gray from Abbey Road agreed to employ me part time for a while until a full time vacancy appeared. After a year of working most evenings, nights and weekends, Ken, to my amazement, offered me full time employment. The idea was that I would be taken on for a three-month probationary period. I was tremendously excited although as the first day for me to report for work, as an employee, was April Fool’s Day there was a little voice saying to me “is this real?” As it turns out I was never told whether or not I got the job. I still get the little voice!

I was employed for over 17 years at Abbey Road, the last ten of them as senior engineer leaving in 1991, I think, to pursue an independent career.

As a result of working at Abbey Road for such a length of time I was introduced to quite possibly the widest selection of music and productions that any studio in the world could offer. This huge palette develops attitudes and tastes that tend to become more and more catholic as time progresses. More often than not I’ve found, much to my pleasure, that my preconceived ideas about a particular style of music have been turned upside down, or at least sideways.

I spent some considerable time working with Eric Woolfson, helping to develop three of his musicals, Gaudi, Gambler and Poe. This involved not only extensive programming, arranging, recording and mixing but also co-ordinating and consulting with sound designers, light designers, directors and various technicians within the theatre as well as of course the artists and ensembles for stage and cast CDs.

Inevitably people are going to say, “Who has he worked with then?” I personally don’t think these lists are particularly illuminating, rather like the league tables published for schools and universities that do not necessarily measure their suitability for certain students. I know that all of the tremendously talented artists I have worked with over the years would make fantastic records with or without my intervention. I know that, you know that, every other musician, producer and engineer knows that but few will publicly shout about it.

What is one to do? Give in, I suppose.

So, the following is an incomplete list of people that I have had the pleasure of working with.






A House Adele Bertei
Aha Alan Parsons
Al Stewart Angelo Badalamenti
Arif Mardin Andy Latimer
Andrew Powell Anne Dudley
Adam Faith Abus d’Anges Heureux
Alexis Strom Alan Tarney
Alison Moyet

Be Bop Deluxe Beautiful South
Bond Bill Nelson
Bruce Welch Bill Myers
BA Robertson Bonnie Tyler
Balanescu Quartet (The) Bobby Colomby
Bill Ross Brian Gascoigne
Barbara Dickson Billy Childs

Camel Captain Sensible
Chris Hughes Cliff Richard
Colin Campsie Climie Fisher
Colm Wilkinson Carole King
Colin Vearncombe Czech Philharmonic Orchestra
Chris Rainbow Clare Teal
Chris Botti Claude Francois
Claudio Baglioni

Dave Gilmour David Bedford
David Essex Distant Cousins
Damon Albarn Damian Draghici

Elaine Page Elton John
Everything But The Girl Eddie and the Hot Rods
Eric Woolfson Erann David Drori
Erica Wexler Eliana Tomkin

Fleetwood Mac Flair
Flesh for Lulu Fiachre Trench

George Martin Gary Moore
George Fenton Greg Lake
Greenpeace Gavin Greenaway
George Benson Gary Kemp
Guy Barker George Macfarlane
Gil Goldstein Gigi d’Alessio
Georges de la Rue

Hans Zimmer Herbie Flowers
Helen Terry

Ian Stanley Inti Illimani
Il Divo

Jason Halliday Jeremy Lubbock
Jon Kelly John Leckie
John Miles John Williams
Jonathan Tunick Judy Collins
Justin Haywood Joey Tempest
John Parricelli Jamie Cullum
Jennifer Crestol John Lubbock
Jacques Revaux John Paul White

Kate Bush Kiri te Kanawa
Katie Melua

Limahl Labi Siffre
Lara St. John Let’s Active
Laurence Cottle

Magazine Marc Almond
Magnus Fiennes Michel Van Dyck
Michael Kamen Mike Howlett
Mike Batt Mike Oldfield
Mike Hedges Mrs. Mills
Maya Fiennes Mitch Easter
Mick Hucknall Michele Zarrillo
Michel Sardou Martin Doepke
Molly Beanland Michael Bouble

Neneh Cherry Naked Eyes
Nick Ingman Norman Newell
Niki Nicolai Nightwish

Paco Pena Pat Metheny
Patrick Mimran Paul Mcartney
Pet Shop Boys Propaganda
Paul Carrack Peter Wafa-Abela
Peter King Peter Skellern
Paul Buchanan Pip Williams
Paul Simon

Red Noise Richard Hewson
Richard Niles Robert Fripp
Robin Gibb Rush
Roy Harper Robin Millar
Roger McGough Ron Wood
Ryuichi Sakamoto Reflex
Ralph Salmins Robert Meadmore
Roberto Alagna Rob Bowden

Sharon Benson Sarah Brightman
Shelleyan Orphan Siouxsie and the Banshees
Sky Steve Booker
Steve Harley Steve Gray
Sonny Okosun Sting
Sammy Hagar Steve Mack
Stefano di Battista

Trevor Horn Tina Turner
Tony Mansfield Tony Visconti
Tori Amos Toyah
The Adverts The LA’s
The Hollies Terry Britten
The Shadows The Creatures
The Undertones Thomas Hampson

Willard White

XTC Yusef Islam









Travel has always been a truly enjoyable aspect of my professional life and I’ve worked extensively in Europe, North America and Australasia. I was a consultant to Whitfield Street Studios and I find the lecturing I do at various universities in Britain particularly stimulating. I’m also involved in writing a fair amount for various professional magazines. I’ve been invited to design a course and lecture at the Gateway Professional Development Training College for the Sound and Music Industries. Some rather desperate colleagues co-opted me on to the Music Producers Guild Board of Directors in September 2005 and I’m pleased to say that I’m now in the fortunate position of being represented by Rebecca Duncan, who I’m sure can provide a more pertinent overview than I, about most things!

Many thanks for ploughing through all this. - Haydn