SIXTIES

I'm not sure what I meant, but assume it had something to do with the scheduling problems created when I closed the studio down again to allow Milan to finish things to his exacting standards.

But finally it was official. Studio B was open for business. And it appeared that business was ready for Studio B.

They all came. Harry Balk, Ollie McLaughlin, Ed Wingate, Clay McMurray, Theo-Coff, Don Juan Mancha, Popcorn Wylie, John Rhys Eddins, Mike Terry, Jack Ashford, George McGregor, Holland/ Dozier/Holland, Mike Valvano, Armen Boladian, Bob Babbit, Columbia Records, Elektra Records, Stax Records, Capitol Records and many I can't think of.

It was crazy. All this and we were still officially building the place.

Offices needed completing. I see by my notes that the drum room wasn't built until early March, which confirmed my suspicions that the room was an additional afterthought. Neica Lee's front office was yet to be built. She was operating out of the upstairs lobby area by the offices. This became very inconvenient monitoring who was coming in the front door.

The main studio doors would be locked and whoever came in the front door would have to identify themselves on an intercom to get buzzed in. What a nightmare! I finally hired a receptionist to sit in front and handle the walk-ins. Her name was Beverly. I don't remember her last name. I only had her there for about two months. I knew I had to get Neica Lee in front, so building her office became top priority.

Once Neica's office was completed things settled down to a nice day to day hum. There were times we would be totally slammed with sessions and other times it was entirely capable of becoming extremely slow. After all...this was the record business. But things were steadily growing and Studio B was an obvious winner.

Continued