#rip gal costa

[onryou-onryou]

Gal Costa & Zeca Baleiro - Vapor Barato by Zeca Baleiro

[clemencie]

Gal Costa

[weneverlearn]

From The Distillery to Eternity: A Tale of Lost Recording Tapes, Found on eBay

Red Aunts / Two Tears guitarist/singer Kerry Smith was just putzing around eBay when she saw a tape she made 20+ years ago which was being sold by some rando -- along with lots of tapes by other regional L.A. trash rock acts. A facebook post about it, copious comments, and a surprise good samaritan followed.

KERRY SMITH rockin' with the Red Aunts at a club near The Distillery studio, sometime in 1993.

---------------------------------------------

As we all regularly ponder what the hell social media is good for, a major piece of proof for the answer of “Nothing” are the comments sections on Facebook. The vitriol and vague “arguments” that can ensue (should you actually still use Facebook) get stupid and depressing very quickly.

But for every 100 like that, there are posts that actually conjure up a stable discussion, interesting connections, and maybe even some useful info.

Case in point, a recent post from Kerry Smith – Red Aunts and Two Tears guitarist/singer and all-around hilarious, life-affirming gal.

Essentially, she came across an eBay listing that was selling off a studio reel tape of an original master recording she made in 2000. After Kerry’s FB post, a number of people clicked on the link and a few realized their own tapes or someone they knew were also listed for sale.

I contacted Kerry about the situation:

“I recorded a bunch of songs there hoping to put them out as the first Two Tears record," said Kerry. "Lesley (Ishino, Red Aunts) and Danny Hole (Necessary Evils) played some drums, and I played everything else. I forgot about this all until this post was brought to my attention, and I feel sad, angry, violated, ripped off. I demo’d them all on my 4-track and worked hard in that studio. I paid for it all myself, no label help. Lots of people offered to buy them for me, and someone thought they were doing a good deed and bought it, though I had the post taken down. I don’t know why it bothers me so much, until Gar wrote from SD saying it’s an intimate and personal experience, and he said do you feel like you’ve been audio art raped? And I do."

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One of the commenters on Kerry’s post was Larry Hardy – head of In The Red Records, the legendary garage rock indie label from L.A. He added a few shocked comments, which led to a comment thread discussion of legality, ownership, old stories, etc.

Given how many bands Hardy has worked with and albums he's released, I thought he’d be one to dig into this strange, ephemeral side of life as a recording musician…

Here's a Two Tears song from that era, though not recorded at The Distillery:

So how did you first hear about this? I assume you saw Kerry's post…

LH: Yes, that’s when I first heard about this. I recognized the writing on the PQ sheets and could tell the tape originated from a recording studio called The Distillery in Costa Mesa, which is where a lot of In The Red records were recorded. I checked the eBay seller’s other auctions and discovered a number of my reels were being sold too. 

When you first saw Kerry's post, what was your first kind of emotional response?

LH: My first response was I knew exactly where the tapes came from. A few years ago another person posted a photo of some master tapes he had saying he was trying to find the bands. One of the bands was the Strange Boys, and they contacted me and said the guy had a bunch of ITR masters. I got a hold of the guy and told him my connection to the tapes, and he said he’d gotten the them from Mike McHugh and had been holding them for him, but Mike had gone AWOL. I never did get the tapes back from this guy.

Can you tell me about Mike McHugh and The Distillery, and how tapes from there might’ve ended up in this eBay seller’s possession?

LH: Yeah, [the studio] was owned and operated by Mike McHugh. He was a brilliant engineer with really good gear – the mixing board came from Muscle Shoals! And he was really down to do weird, unconventional things in the studio. He also actually liked the music. He was my go-to guy for many years. Unfortunately a combination of mental illness and substance abuse got the best of him, and he went downhill really fast and REALLY bad. One of the last sessions I had there was for the band Cheap Time, and he flipped out in the middle of the session and pulled a gun on them!

Anyway, he wound up losing his studio, and we had all the tapes still in there. Lots of other bands kept their tapes there too. I know a number of people tried to help him and tried to save all his gear but, sadly, he was beyond help. I guess a bunch of the stuff from the studio wound up in a storage locker and the bill didn’t get paid – so it all went up for auction. That’s how the guy who is selling them on eBay came into possession of them.

Are the things he's posting for sale original sessions or mastered reels?

LH: The reels being sold are the two-inch master reels. The bands would track on two-inch tape and then mix down to half-inch tape and the record would be mastered from that. Many times we would only take the mixed tape with us as that was what we’d master the record from. The studio had a room where they stored tapes, so we figured we’d leave the two-inch reels there for safe keeping.

In a way, the fact that these are original master tapes, pre-mixed/mastered tapes is even worse. These are unmixed tracks, right? 

LH: Correct. These tapes being sold are the basic tracks on two-inch tape. You could take these to a studio and remix the record with them. We would mix down to half-inch tape so the versions on those are what you hear on the record. Mastering is a separate step done in a mastering lab. This is why once the mixing was done you kind of felt like the two-inch tapes were done too. They already served their purpose.

Yeah, we all sort of leave things in the rearview mirror once the album comes out, as far as where recordings and master tapes end up.

LH: Yeah, some bands are really good about keeping track of their tapes, and some don’t really care. I know the Cramps kept all of their master tapes, but I don’t think most bands do that. I do still have a bunch of master tapes here at my house. I imagine a lot of people took their tapes with them when their session was done. They’re expensive. I did sometimes, but I was at this studio so often I just figured they were fine where they were… until they weren’t. I didn’t have any place to store them at my house anyway. Two-inch tapes take up a lot of room.

Beyond that particular story, when bands record in studios there is a kind of “gentleman's agreement” – especially amongst indie labels and smaller studios – to at least let the bands or labels know they've got their tapes before just selling them off or tossing them, right? My understanding is, if you paid the studio their fee and paid for the actual tapes, they are your's. Though I suppose if they've been sitting in a studio’s closet for 20 years, maybe there's an argument for ownership on the studio's end?

LH: We did have a general understanding when we left the tapes behind that they’d be looked after by Mike. There was also a window of time when I could’ve gone down there and gotten them all; and I didn’t want to deal with him so I just kind of let it go. The only use they would be is if you wanted to remix the record, which I guess is something that could come up.

After leaving them behind that long ago it makes sense they could end up almost anywhere. Now you have a guy selling them on eBay who doesn’t even know who the bands are.

Under Kerry's post, a person commented: "No judgement! But you own the IP [intellectual property] on these tapes as they are independent recordings. You should reach out to the seller!" Is he right?

LH: That’s true. The eBay seller rightfully owns those tapes, but neither he or anyone else who buys them can do anything with the music without the artist’s permission…. Unfortunately this guy did buy them fair and square. I’m sure Kerry paid for that tape and the recording session, but the tapes were left behind all those years ago, and they’ve been passed around a bunch since. These tapes weren’t stolen, they were left behind. It should’ve been on us to get them back if they were important to us. Of course no one could’ve predicted Mike was going to go off the rails as badly as he did. The eBay seller did nothing wrong or illegal.

Lisa Pallow, Haunted George’s wife, contacted him explaining that two of the tapes were her deceased husband’s music, and that she would like to buy them. And the way he responded to her tells me the guy is an asshole. Really the person at fault for all of this is Mike McHugh.

I'm assuming if Rocket from the Crypt tapes are involved here – there were some for sale in that listing – someone's going to take some shit for this, because they were on a major at one point, though I've no idea which RFTC recordings are on those tapes in that eBay post.

LH: Yeah, that was the one tape I saw in there that I thought would probably go for the most money and also could turn into a hassle for the seller if he hears from [RFTC leader] John Reis or an attorney. I don’t think there would be any legal recourse against this guy though.

John Sellers from ‘90s trash-punk band, the Countdowns, commented on Kerry's post, concerning The Distillery: "It was the original board from Muscle Shoals.....Mike told me that [the Rolling Stones’] Sticky Fingers was recorded through it... it had these red and green square buttons to push... totally sixties mod... he LOVED that board!!! Chris... maybe? And I forget his last name but, he had a studio in the same complex as The Distillery and would tour with JSBX selling merch back in the '90's... he told me the whole story about Mike buying that board... how he flew out and it was sent by train upon purchase and how he accompanied it from start to finish... and how Chris would walk in and Mike would be passed out... not by drugs but by obsessive inspiration and no sleep.... with a clove cigarette in his mouth... under that board... working to make it work.

I THINK that The Countdowns were one of the first to record through that board at The Distillery but... well... memories and remembering shit these days... I always referred to Mike as 'The Mad Scientist. He was an absolute thrill of an experience to work with AND... did you ever hear him play drums? FUCK ME!!!”

-----------------------------------------------

LH: We did have some great times in that studio and before it all went bad. We hailed Mike McHugh as a genius. He was! It’s all very sad to me now. I have some great memories of that place. Andre Williams recorded with the Blues Explosion and Steve Mackay of the Stooges there! Good times.

Any other recording sessions at The Distillery that you remember?

LH: The wildest sessions I remember at that studio involved Andre Williams. He would get pretty drunk over the course of the session, so you had to get him on tape before he was too drunk. He had amazing stories and he was hilarious. He was also brilliant when he was lucid. He had produced records for Motown, and now he’s in Orange County with miscreants like us! 

I watched the Hunches vacuum up nails and screws off the floor while Mike recorded it so the obnoxious noise could be included on the band’s cover of the electric eels’ “Accident.” Not many engineers encourage this sort of thing. 

I went down to the Distillery for the final night of mixing the Black Lips’ Let It Bloom. The band had booked a show that night at a club directly across the street from the studio. The band left for their show, but I stayed behind with��Mike while he continued mixing. I finally went over to the show and went up front. Cole Alexander had urinated into his own mouth, as he was wont to do back then, and spat the mouthful at the audience. I walked in late and went up just in time to get a face full of urine. I was now in business with the Black Lips.

My fondest memory of that studio is probably when the Necessary Evils recorded their second album. I know we were in there on New Year’s Eve. Those guys were all good friends of mine, as was Mike McHugh. The band didn’t have enough material to fill a full length album and were scrambling to cobble stuff together on the spot. It was a wonder to behold. Every one of those guys was hilarious. R.I.P. Steve Pallow.

I have tons of great memories from this studio. It’s really painful for me to think of Mike ending up like he did. Truly heartbreaking. 

---------------------------------------

Like any Facebook thread, the mass of names and rushed, emotionally punched-out comments can make for an intriguing read. Hell, a good pal of mine and Kerry’s posted that he put in a bid and would give the tape to her if he won it. He did get a couple of the tapes in the listing, but as Kerry stated earlier here, her tape was taken down after she reported it; and my friend got a cancellation message from eBay.

For Kerry though all this is definitely not legal chit-chat, but a loss of something dear, intense, and loved. It’s the kind of mini-nightmare anyone who’s recorded in a studio and then left it for “safe keeping” always has lurking in the back of their mind.

“I feel like crying all day today because of this,” said Kerry. “I don’t know why. Mike is so talented and I really want these tapes back. I used to hang out there a lot with Ronnie when I lived in Long Beach still. So many happy memories there – grateful for the scene ! Le sigh.”

-----------------------------------------------

After having wrapped up this piece, I heard from Kerry again with a possible happy ending to this story:

“I reported it as stolen, and it was pulled, and some punker dude in Costa Mesa went to get it for me," she explained, "but I didn’t ask him to. I don’t want the [eBay] guy to get the money. So the Good Samaritan kinda fucked it all up, and is supposed to mail it to me. And he paid $150 for it, so now I feel obligated to pay him back. Lots of people offered to buy it for me. And he bought RFTC and Haunted George."

Kerry asked said Samaritan (who shall remain annonymous) how he was able to get the tapes. He responded:

"Hi, thanks for getting back to me. I purchased the tapes directly from the guy... who bids on storage units. I bought a bunch of friends bands tapes and got them back to them. I knew going in that I'd lose money and I'm ok with that. Please let me gift you your tape back. Years ago I lost all of my... master reels in a storage unit that went unpaid while I was in rehab. I hate seeing strangers getting these tapes. Mike McHugh is the one to blame here. Although it’s hard to blame him with all of his mental health and addiction problems. I got my Distillery reels back from him several years ago after he lost the studio.... Anyway... I can get the tape to you or whoever you’d like me to. Larry Hardy maybe. No charge for the tape. Big Red Aunts fan by the way."

[puppy95]

u like jazzy brazilian music.. do u already know vou recomecar by gal costa and se no cinema by ana frango eletrico

Oh i added that second one so fast..also rip gal costa

[se-hace-camino]

the film & the photo

blessed to have artsy friends who think of me

and now I have this artsy n00d

homenaje a gal costa, rip

[jeremiasdorap]

João Gilberto (RIP), Gal Costa (RIP) e Caetano Veloso. Esses três cantores brasileiros estão na lista da revista Rolling Stone dos 200 Melhores Cantores de Todos os Tempos.

João Gilberto (RIP), Gal Costa (RIP) and Caetano Veloso. These three brazilian singers are on Rolling Stone magazine's list of the 200 Greatest Singers of All Time.

[csadag]

Sorra hunynak el nagy és nagyhatású zenészek. Badalamenti és Manuel Göttsching a napokban, Gal Costa egy hónapja, de közben sajnos meghalt Erasmo Carlos is pár hete, akiről talán még Göttschingnél is kevesebb cikk született, pedig igazi gigász volt Brazíliában. Azt nem tudom, hogy mondjuk Velosohoz vagy épp Marcos Vallehez viszonyítva milyen krédója volt manapság, de az első évtizedéből vaskos Best of lemez is összeállítható lenne. A korabeli amerikai pop-rockot meghonosító Jovem Guarda brigádjában indult, Roberto Carlos mellett annak másik nagy férfi sztárja volt. Fiatal rajongó lányok, reflektorfény, lázadás, egyre dögösebb és dögösebb számok. A 67-es lemezén már ilyen állat garázsrockos dal is van.

A Jovem Guarda aztán bedőlt, szélsebesen változott a brazil poprock zene, megjelent a Tropicalia, és az addig élesen meglévő műfaji frontvonalak se tűntek már annyira áthatolhatatlannak. Carlos ezt a kezdetekben nehezen viselte, pályája lejtőre került, de a hetvenes évek legelején aztán egészen fantasztikus albumtriásszal tért vissza. A 70-es lemezen még jobban érezni a rock and rollt, és az Elvis pózt, de ez már nem szimpla Jovem Guarda album. Megbújik ott a funk, a soul, és a samba-rock is, és egy bátran hangszerelt, csodálatos Veloso interpretáció is.

Rá egy évre aztán jött a Carlos, Erasmo tele hibátlan, mai napig döbbenetesen erős dalokkal. Már az első hangok (egy újabb Veloso átírat, ez is sokatmondó) mutatják az utat, hogy aztán tovább lubickuljunk a brazil hippi kavalkádban. Samba, funk, folk, rock, pszichedélia, soul, ellenállhatatlan dallamok, gyönyörű harmóniák, máig friss hangszerelés és megszólalás (csak két név ehhez a kreditekből: Arthur Verocai és Rogério Duprat). De mindezek felett ott magaslik Carlos szexi, erőtől duzzadó énekhangja, ami összetartja az egészet. Igazából a teljes lemezt elejétől a végéig linkelhetném, tényleg nagy mű. De legyen itt mondjuk a fenti dal, most ez a kedvencem épp.

A 72-es lemez borítóján ott is vannak a példaképek. Elvis, Lennon, Jagger, Hendrix, Dylan. Nem rossz névsor, és érezhető is Carlos ekkoriban felvett albumain egy kicsit mindegyik. Az említett albumon van még Creedence Clearwater Revival utánérzés is, de az is rendjén van. Ekkorra már talán kompaktabb az egész, visszafogottabb a tempó, de a funk és soul ihletés ugyanúgy jelen van.

Nem nagyon tudom miket csinált Carlos ezek után, a későbbi lemezeiből csak elvétve hallgattam meg egy-egy dalt, de nem ragadott magával. Ettől még az egyik kedvenc brazil lemezem az ő öröksége, miatta (is) lettem annyira nagy rajongója ennek az egész MPB-nek, amekkora. RIP Erasmo!

[loveiseverywheremp3]

albums that are currently ripping me apart and building me back better

gal costa - gal costa

adrianne lenker - abysskiss

joni mitchell - mingus

neu! - neu!

pram - sargasso sea

[bimbinis]

i guess what are your recs for brazillian music 🧐

Albums

[Armorial music] Rosa Armorial - Fragmentos de Guerra

[Trap] yung lixo - validation

[MPB (popular brazilian music)] Tribalistas - (the first) self titled album

[MPB] Maria Rita - self titled album

[MPB] Caetano Veloso - self titled album

[Soul] Fat Family - Fat Festa

[Indie rock] Leo Fressato - Canções para o Inverno Passar Depressa

[Rock] Secos & Molhados - A volta dos Secos & Molhados

Individual songs

[indie rock] A Banda Mais Bonita da Cidade - Trovoa, Canção Pra Não Voltar (I like their version better to some extent), Pedras que Cantam, Na Hora do Almoço

[Trance/Electronic] Pigmalião - À Dois

[MPB] Gal Costa (RIP :() - Azul

[MPB] Rosy Greca - O Conto da Ilha Desconhecida

[MPB] Kid Abelha - Na rua, na chuva, na fazenda

[MPB/Bossa Nova] Chico Buarque - Cálice, Construção, O Que Será

[MPB/Bossa Nova] Elis Regina - Como Nossos Pais, Águas de Março

I know this one is like super basic bc most of these are known by like everyone but a lot of what I know and still like of brazilian music is shit my parents listened to when I was a child so a lot of it is just like. old people music lol

[shedrownsirl]

rip gal costa

[onryou-onryou]

Gal Costa - "Relance" (Stryx do Brasil - RAI TV 1978)

[odlanorodlanor]

Eu postei 3.008 vezes em 2022

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#5

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RIP

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#4

Assista a "Bach - Cello Suite no. 1 in G major BWV 1007 - Swarts | Netherlands Bach Society" no YouTube

Magnificent.

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#3

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[jornale]

#galcosta #ripgalcosta #mpb #musica #voz #music #brasil #news #noticias #jornale

[supersticiosa]

Una reina incomparable.

[lysergicfunk]

  R.I.P.   Gal Costa (born Maria da Graça Costa Penna Burgos, 26 September 1945 – 9 November 2022)