Our 1st time in the Studio: Filippone Sound Studios June 25-27, 1980

 

Here are four original songs from Parousia’s first professional recording session at Filippone Sound Studios in Buffalo, NY.

We started recording basic tracks on June 25th and 27th 1980 for four (4) original songs: ‘Oh My Love‘, ‘Malmedy, ‘MissOgyny‘ and ‘Revelation‘. We made the best use of an eight-track reel-to-reel recorder.  On July 21st 1980, we finished overdubs and started to mix-down.  Then, we submitted the finished tapes to WPHD’s album contest and the 97 Rock album contest.  To our surprise, we landed a song (‘MissOgyny’) on the first 97 Rock album titled, “Buffalo Rocks” in February,1981.  Later, ‘Oh My Love’  became ‘pick of the month’ on WUWU FM in November,1983.

Lyric Sheet for Parousia's 1980 Session at Filippone Sound Studio

Lyric Sheet for Parousia’s 1980 Session at Filippone Sound Studio

Kim, Pat & Garth

Kim Watts, Patt Connolly & Garth Huels 1980

Patt at Randy's Studio on Garner Filippone Sound Studios June 25th- July 21st 1980

Patt Connolly hangin’ out at Randy’s Studio on Garner, Filippone Sound, June 25th- July 21st 1980

Robert at Randy's Studio on Garner - Filippone Sound Studios June 25th- July 21st 1980

Robert Lowden hangin’ out at Randy’s Studio on Garner – Filippone Sound, June 25th- July 21st 1980

 

Filippone Sound Studios

Filippone Sound Studios business card

Inspiration

A Musician’s Inspiration in the late ’70s / 1980

4 comments for “Our 1st time in the Studio: Filippone Sound Studios June 25-27, 1980

  1. Kevin K
    February 19, 2014 at 6:14 pm

    How come you didnt post this session in the songs? would like to hear the early version of Miss Ogyny and others

  2. Patt
    June 28, 2016 at 10:55 am

    This was the guy’s house. We played in the living room – dining room area, and actually did record the vocals in the bathroom for the natural reverb effect. Randy, at the time, was a strong advocate of the Dimension D for the vocals, a phlanging device which was an early chorus effect. I know we didn’t like it at the time, and tried to limit its use as much as possible. Listen to the recordings and you will be able to pick out this effect, which gave the recordings a distinctive sound.
    The eight track had its limitations. Some of the instruments had to be premixed down to one track in order to have room for the vocals. That’s why we had to rerecord Miss Ogyny for the 97 Rock album. They wanted more control over the tracks in order to create a coherent album.
    Although I wrote a majority of Revelation, Malmedy was really my baby. A three part progressive mini opera, it featured both the flute and my vocal range at the time. I was influenced (stole) from Jethro Tull, Yes and Supertramp. Writing for the band was extremely difficult, since by the band rules all seven of us must be playing and/or singing at all times so no one would feel slighted. Thus you have Kim’s mini xylophone part in Revelation, added to preserve the peace and my own personal well being. The beginning of Revelation is from a nursery rhyme I remembered from childhood, with some of the lyrics changed of course. It really exists. You can google it.
    All in all, the most important part was that Randy charged us a fixed project rate (time was not a consideration), since we had very little money and could never at that time afford an hourly studio.

    • gerry cannizzaro
      July 1, 2016 at 10:45 pm

      Yup, recording this eight-track project was challenging to say the least. All seven of us were responsible for laying down the basic tracks. Drums, bass, two guitars, piano, organ, percussion all going for it at the same time without the vocal line to guide us through the music. We had to know each song from beginning to end inside out. if one of us made a mistake, there was no punching in, it was back to the beginning to try again. When it came to recording ‘Malmedy’, laying down the basic tracks felt like running a marathon,,, listen to all those time changes and dynamics! I think it was Eric who was playing piano on this song. Kim Watts had to assist on the Synth while transitioning from the “Jethro-Tull-like” section to the “Supertramp-like” section. It was impossible to play the real-time fade between the two sections using only two hands! We had to bounce tracks quite a bit to squeeze in all of the overdubs. Synthesizer, flute, vocal tracks and lead guitar, etc…

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