Malcolm Springer

"I recorded my first record for Atlantic at the age of twenty-one. I thought that I was unstoppable after that. And now that I look back... I was." -Malcolm

Producer/Engineer (Portageville, MO)

Interview by Randy Mallett

September 2009

BP: Thanks for the interview brutha! How are you?

MS: I couldn't be doing any better. This year has been nothing but the road so far.

My wife is awesome and my sons are doing amazing.

BP: So, for those who might not know you, give us a brief bio of your career.

MS: Well, that's a big one! Career has been extremely amazing with all sorts of

music and creative moments and accomplishments. I started recording records

at a very young age. Matter of fact it's all I've ever done. I really started working at

a Black Gospel studio in Nashville. I recorded everyone from Yalonda Adams to

O'landa Draper. What set the pace for my career was so many things happening

so fast. I think I was so ignorant to the fact that the people I was dealing with

were the same people who "RAN" the music business. I just couldn't grasp that

a lot of the things that was happening to me was "real". It seemed that everything

I touched in the studio became a huge selling record or it became an "industry"

legendary record. It really did seem as though I was unstoppable. I forget some-

times where I've been and what I've seen. It's pretty nuts actually. Like the time I

engineered for producer Berry Beckett. He's a legendary producer, that recorded

so many hit records it's unreal, that if I would have known who he was at the time

I would have been trembling in my shoes. I have way too many session stories....

believe me ....just ask any of my artists I've worked with. I feel my brother Mackie

inspired me the most about becoming a producer when I was only thirteen years old,

he told me that producers are the reason and why records sound so good or bad.

I recorded my first record for Atlantic at the age of twenty one. I thought that I was unstoppable after that and now that I look back...I was. The name of that artist was The Screaming Cheetah Wheelies. The record was self-titled. If you ever get a chance

to check it out, you'll love it! Anyways, I know that not many people get to record a major label record at all especially at the age of twenty one. I had moved to Memphis and was working at place called Beale Street Studios. It wasn't long before I became the man to do the indie bands around Memphis. I made some pretty bad bands sound good. I knew if I could make bad bands sound good then I could make a good band sound great. Also, in that same time frame I started engineering for the legendary producer Jim Dickinson and other producers such as Paul Ebersold, Jim Gaines, and of all people, the biggest legendary producer of all time Tom Dowd. I was very blessed with great mentors and learned so much from those guys that it made me what I am, a "real" producer. It's incredible how many people throw that title around. I have to always say to folks, "No, I am a real producer! I earned my title and didn't call myself a producer until it was time.

BP: Initially though, why were you interested in producing bands?

MS: Well, my brother was the only one who had any knowledge of what a producer was at the time. I don't think he knew exactly what a producer was but he showed me names such as Peter Collins and Mutt Lange, which was on every record back in the day, and that sparked the entire investigation of what a "record producer" was. I guess I knew that a producer was the cornerstone to a record. I knew that all producers had a style and I could point out who produced a record immediately. I knew I was "called" to produce records when helping people get their dreams felt so rewarding. I figured "why not me?" I could write and I was natural at arrangements .I say I learned from someone but that isn't true at all. I just jumped in a rehearsal hall with Full Devil Jacket and started re-arranging and writing their songs. That's really the truth. I worked for Peter Collins for years and I learned the ropes of production from him.

"The man that's famous but gets to keep his life"....that's what I use to say. Isn't that funny?

BP: What have been some of the labels you have worked for, or are currently working for?

MS: Well, a couple of years ago I found a young man named Mike Woods. I recorded five songs on him and we landed a deal with Gottee Records out of Nashville just last fall. The label is owned by Toby Mac. The label is normally a Christan label but Mike became their first artist on their "secular" label. Mike called his band Mike's Pawn Shop and he is getting uplifted to a major label already. I really can't say the label but it's a very good deal and he's very happy with what has happened. I have always worked with major label artists and have always developed artists for major labels. There's interest in a young band from St. Louis called Soul Descenders. Matter of fact, I had just got off the phone with the VP of A&R for Atlantic Records when you stopped by the other night. I don't know if that will be the label the boys go with or not. It's way to early to know. The music industry is going through some hard times right now. Not as many bands are getting signed these days. I think that more and more are doing like Mike Woods and signing to indies first, then upgrading to a major. To answer your question, I've worked for all the majors. I haven't for many indie labels at all. I'm hoping that my production company gets more involved with that in the next year.

BP: You've also worked with a lot of bands over your career, most notably perhaps Collective Soul and Matchbox 20. Any good stories on those guys?

MS: The best thing about the Collective Soul records is that we played a lot of football and had a lot of "foot races" .....hahahaha!

What's funny is that, it's all true. Ed really didn't do much of that stuff but the rest of the guys loved it. I do remember the guys from Collective Soul coming in off tour and Ed playing "The World I Know" on acoustic guitar in the big room at The House of Blues Studio in Memphis, TN while we all stared in amazement. Now that was a moment to remember! How bout the times I bought Rob Thomas a cheeseburger from Burger King because he didn't have any money left from his advance from Lava Records. Now that's an eye opener!

BP: Haha! Who was your favorite artist(s) to work with, and why?

MS: My favorite artist was, no doubt, Collective Soul. Even though I didn't produce them, we had fun everyday. It was very rare to have a bad day or a day that we didn't have fun, and at the same time you knew you were "big time". My favorite artist to work with as a producer is the band MILE. I don't know if anyone has even heard of that band but it was one great record. It was what I wanted it to be but at the same it was what the artist wanted it to be. The band was signed to Columbia and was one of my first major label productions. Gotta put one out there for Noel Hartough....you're the man!

BP: Which artist(s) that you worked with impressed you the most over your/their career?

MS: The late Isaac Hayes would be that artist. I learned more about music during those sessions than I will ever learn again. My youngest son is even named after him. That's how much he inspired my life as a producer.

BP: What album that you produced are you most proud of?

MS: I'm very proud of the Full Devil Jacket album. Not because it was my first big one as a producer but because it was a really hard and long record. Yes, as a producer it was my first debut, but it was such a planned-out record that is a great piece of art. I can say I gave it all I had and I enjoyed the record myself. That's nearly impossible.

BP: Which local album (from Southeast Missouri) are you most proud of?

MS: That would be Mika Evans Project by far! I really believe it's one of my best ones of all time. It's a shame that record didn't go to the majors. It was really bad timing on our part. Every record label person in the world had their head on the chopping block. Not making excuses but there were 20,000 layoffs and people let go at major labels that year. I think it's the best unsigned record I've ever done.

BP: That was a great record.... Tell us about AngelCrush Records. Is that still a pet project of yours? If so, what are your future intentions for the label?

MS: We are starting off really small and working our way up. AngelCrush is more of a production company right now. It's a lot like 10inch Records was at the beginning. I've only signed one band to paper and that band is yet to be revealed. I've been concentrating more on the studio and having a headquarters to operate out of more than anything. I got a new manager and I'm back working with Jim Zummwalt, my "career" attorney. To be real honest, an up-and-running label is the last thing I need right now. I think now it will develop into what it should become in the next couple of years. I've gotta find a staff that will live in this part of the world!

BP: Well, several years ago you decided to work closer to your home, in Portageville, MO. I believe a big factor in making that decision was being closer to your family right?

MS: Yes, for sure. I have a Grandmother that is ninety one years old this year. She needed me here and I've been happy to spend time with her while she's here. I originally moved home to get over some things that happened to me when I was younger. I thought taking time to get over things was very much needed in my life and was more for my children than anything. Then I met this wonderful woman from Portageville who I fell in love with and is now my wife. I hate cities! I've lived in New York and L.A., and of course Nashville and Memphis. I'm not a city fellow at all! Home is home! I'm proud of where I came from. This is my home...

BP: So what the hell happened to your studio in Portageville? Didn't it burn? Like.....twice?

MS: I was out of there by the second fire. I had that place since I was sixteen years old. My band and I practiced up there when I was in High school. I also made some really big records up in that old place. I did the Scream 3 soundtrack, the Spiderman soundtrack and many, many more records up there. It had a vibe, that's for sure.

BP: Tell us about the new studio. You say it's gonna be first class eh?

MS: It's done and it's really, really cool....and first class! Every mic-pre in it is Class A. I have an outrageous microphone selection that's been collected over the years and vintage gear to top it all off. I am very proud of the new studio. It's designed like a room in New York that I have done a lot of records in. I'm not opening the new studio to the public until the Fall. I have a new assistant that is helping me get ready for the studio's next step. We are all really excited to see how this part of the world reacts to a "real" studio. Should be interesting. I'm hoping that the studio helps the music scene and gives hope to the area's music community.

BP: Are you gonna track the drums in Nashville or there in Portageville?

MS: I'm gonna track drums right here in Southeast Missouri! It's been working great so far with Soul Descenders. I have had the best results recording right after I arrange a song with the band. This gives the tracks a more exciting "new" vibe instead of the usual "we've rehearsed it way too much and we're nervous as hell vibe." I really like it, and with this band it works great. Every band is different and most aren't as equipped with a good drummer like Soul Descenders has. The band is staffed with all eighteen year olds, besides one and he's seventeen years old. I believe they are the best, youngest band I've ever seen. The band has been together for four years and have already been on major tours and have played with the biggest artists in the world. This band's songs are easy to arrange and record because of their musicianship and hardcore work ethic. In other words, I've been having a lot of fun and the songs are coming along awesome. Nothing is as good as tracking at home the "right" way!

BP: Do you intend to put Portageville "on the map" with this studio, or simply provide the resources you need to work, close to home?

MS: I'm hoping both. I have plans for a studio "B" already and I figure by November or so we'll need a "B" room. And yes, I wanna make Portageville and this area known for it's recording studio and artists. I think if Muscle Shoals, Alabama can do it...why can't we? We've already got history here and we've already had huge stars that came from this area. I've had everyone you can think of come here to visit or stop in while they were on tour and hang. Everyone says the same thing when they come here. Why are they staring at me? Hahahaha! Or someone always says to them "you must be with Malcolm!" I'm hoping that one day, the studio I've built will keep going once I'm gone. A man's legacy is all he can really hope for. I think it's going to depend on the records that's recorded here over the next two to three years. I think the time is now for excellence. I also think that this studio and what's happened in my life represents that dreams are real and whatever you can imagine is possible and is not too far out for even a country boy from JY, Missouri to reach.

BP: Give us an example of bands you're looking to work with, since some reading this interview are likely in bands, or are musicians.

MS: I'm looking for "great," not "good" bands. I also am looking for bands that are willing to listen and be open to the fact that it is 2009. If we did a record now it would not be released until 2010 and wouldn't hit until a year and a half from now. I'm looking for artists that want to combine all the technology of today and put it together with our past to create our future. Also, just a great singer that's a great songwriter would be nice....

BP: Any final words?

MS: I'm hoping to see a lot of the area's artists come through the studio. They should at least come and see the place. I'm being honest when I say that I couldn't and wouldn't have a better mic-pre and microphone selection anywhere else besides two places that I've ever worked and that's a lot of studios. I'm trying not to sound like "Mr. Big Time" in this article. Name dropping can always seem boastful or bragging. I don't expect a lot of people that's from this area to even believe what I say. That's why I was reluctant to do this interview with you Randy. I don't know how people take me or if they understand me at all. I'm just a man who has worked hard and is proud of what he has done and what he's gonna do. If people can't understand that then I don't know what to tell them.

I sound horrible in this article but I've tried to make it where it doesn't sound like I'm full of myself and a smug person. You know how

I am....I'm just me Randy. I don't know what to say but that.... I am just me.

BP: Alright thanks my friend! Thanks so much for the interview, best wishes with the new studio, and I'll be seeing you soon....