Posted tagged ‘David Cassidy’

TCM MUSIC GROUP NEWS: TED CARFRAE MEETS THE LEGENDARY BRUCE JOHNSTON

September 30, 2011

TCM Music Group News – Ted Carfrae Meets The Legendary Bruce Johnston, 22nd September 2011

TCM’s Ted Carfrae recounts how he recently met up with Bruce Johnston of The Beach Boys…..


The Beach Boys – L to R Bruce Johnston, Al Jardine, Mike Love, Brian Wilson & David Marks In 2006.

In 2010 I was given the ‘go ahead’ and the very real honour of producing the latest Doris Day album ‘My Heart’. In fact I was one of three producers on this project, which turned out to be a little out of the ordinary.

Bruce Johnston And Terry Melcher 1966.

Seven of the album tracks were originally produced by Doris Day’s son, Terry Melcher back in 1985/86 and three of those songs were written, co-written and produced by Bruce Johnston. Bruce and Terry were long time best friends. The original songs were recorded primarily to be included in Doris Day’s ‘Best Friends’ television series at the time and since then, those recordings have remained unreleased.

Because these songs are the final part of Doris Day’s recording legacy, I was asked all these years later to re-visit the songs and update them for an official 2011 release. For me personally, this was the opportunity of a life time, to work with a true Hollywood legend but more importantly, to work with one of the finest female voices in music history. And I have to say, Doris Day is an artist that I have admired all my life.

Doris Day’s ‘My Heart’ Album Was Released September 5th 2011 By Sony UK.

The ‘My Heart’ album was finally released on September 5th 2011, by Sony UK. We all (myself and the team at Sony) expected the album would do well probably over time, but nobody expected it to fly straight into the top ten at number nine and then break some records along the way. It took us by complete surprise, because all of a sudden the public embraced Doris and the album, and we had a massive hit on our hands.

Doris personally took part in a lot of radio and press promotion prior to and just after the release. But to sustain sales, Sony had to think about further promotional opportunities, so they contacted Bruce Johnston at his home in Los Angeles and flew him over to England for a few days of television and radio promotion.

I had no idea at all that Bruce was in town until I received a phone call on the way to a meeting last Wednesday saying that Bruce Johnston had just appeared on the BBC News Programme, talking about the Doris Day album and that he had mentioned my name and that he would like to meet me.

I have a lot of music heroes, but Bruce Johnston and The Beach Boys are right up there at the top. So I called a friend involved with the album project and asked him to try to find out where Bruce was staying, and I then carried on with my scheduled meeting.

During the meeting my phone rang several times but I couldn’t at that point answer it. At the end of the meeting I picked up the messages which contained Bruce’s hotel number. My missed calls register told me that the hotel had also called so I assumed that, that must have been Bruce himself.

I called the hotel immediately, they put me straight through to Bruce and after introductions were made, we had a good chat recalling mutual acquaintances and the fact that both of us have produced two albums for David Cassidy. It was like we had known each other for years. The conversation was so easy and effortless. I told him that I was free on Thursday (the next day) and that we should meet up while he was in London, he said he would see what he could arrange and call me back.

Roger Day BBC Radio Kent…No Relation To Doris.

Later that day, Faye Donaldson, the label manager at Sony, sent an e-mail to invite me to the recording of Bruce’s interview ‘Down The Line’ with Roger Day at BBC Radio Kent the following day.

I caught an early train and arrived at BBC Radio’s Western House in Gt. Portland Street at midday and met Faye from Sony and project PR Joe. When Bruce arrived we hugged like old friends, and went up to studio G3 which was a hive of activity with lots of different artists and representatives also recording their interviews racing around. Bruce and I were whisked into a small studio and all of a sudden there was complete silence, just Bruce and I, two desktop microphones and a couple of sets of headphones, the red light went on and off we went.

Doris Day And Her Son Terry Melcher.

The interview was fantastic. Bruce told lots of Doris Day anecdotes and was very generous by including me in the conversation and passing certain questions over to me to answer. I had a ball working with Bruce, who is a true gentleman and has a very warm personality.

Coincidentally, I had recently done a full hour interview with Roger Day about my career on his live radio show.

L to R: Ted Carfrae, Janis Ian & Bruce Johnston.

After the interview concluded, Bruce and I left the room. Outside was another living legend and heroine of mine, the great Janis Ian. I’ve loved Janis since hearing her first massive hit ‘At Seventeen’, without doubt an example of the perfect pop song. To finally meet her in person was such an honour. Imagine, meeting  two all time heroes in one day, it really doesn’t get better than that.

L to R: Bruce Johnston, Steve Hackett & Ted Carfrae.

Then, we ran into British rock legend, Steve Hackett. I worked on many of Steve’s albums back in my early days at CTS studios when I was an assistant engineer so it was wonderful to meet him again after all these years. The whole experience was great but I didn’t realise, there was more to come.

Bruce had a second interview scheduled for BBC Radio 4 at Broadcasting House, just around the corner and he asked me to join him. What I didn’t realise was that he also wanted me to be a part of this interview as well.

When we arrived at the studio, Bruce announced to the interviewer that he wanted me to also take part in the interview. The reaction of horror and almost panic on the interviewer’s face was really interesting to witness. I was definitely picking up some unwelcome vibes. Bruce however, insisted a second time then looked at me and winked and before I knew it I was sitting next to him again in the studio.

Bruce Johnston On The Right, In The Middle – With The Beach Boys.

After some minor adjustment of chairs the interview began and as expected, Bruce was in fine form recalling lots of amazing anecdotes about growing up and attending Doris Day recording sessions and of course talking about The Beach Boys.  Again, very graciously, Bruce made sure I was included in the conversation. The interview itself was very well researched and Bruce enjoyed it immensely and said so afterwards. It was fun for me as well but between you and me, I’ll be interested to hear the final edited interview to see if I’m still in it.

It was a great day…..meeting Janis Ian and Steve Hackett. And I would like to take this opportunity to offer my sincerest gratitude to Faye and Joe and especially to you Bruce for making yesterday’s visit a highlight in my life and career. Thanks!

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NEWS FLASH: TCM MUSIC GROUP’S TED CARFRAE INTERVIEWED WITH THE LEGENDARY BRUCE JOHNSTON OF THE BEACH BOYS

September 28, 2011

TCM Music Group, Latest News – Ted Carfrae Interviewed With The Legendary Bruce Johnston At The BBC, 22nd September 2011

TCM’s Ted Carfrae was thrilled to meet up with the legendary Bruce Johnston of the The Beach Boys last week.

L to R: Ted Carfrae, Michael Solomon, Janice Ian And Bruce Johnston At The BBC.

Bruce was in the UK for a quick promotional visit for the Doris Day album ‘My Heart’ released by Sony UK, and requested that Ted join him in his scheduled interviews at the BBC as Ted was the latest and final producer on the album.

Roger Day – BBC Kent.

The first interview was on the Roger Day Show on BBC Kent and can be heard on the BBC iPlayer. Click here for the link. The interview starts at 39 minutes.

Bruce also requested that Ted accompany him and participate in his second interview for BBC Radio 4 at Broadcasting House.

Be sure to check out this Friday’s blog, where Ted recounts his unexpected but emotional meeting with Bruce.

TED CARFRAE, MY LIFE IN MUSIC: DAVID CASSIDY ‘THEN AND NOW’ – PART 2

September 23, 2011

Ted Carfrae, My Life In Music: David Cassidy ‘Then And Now’ – Part 2

In Part 1 Ted Carfrae of TCM Music Group recounted his initial meeting with David Cassidy and the steps leading to recording the ‘Then And Now’ Album…..

With all the backing tracks now finished it was time to record David’s vocals. It was a little awkward to organise the vocal sessions because David had two or three days with me in London before he had to return to the US again, so we were under some pressure to get his vocals done in time.

David’s vocals would ultimately be recorded in two studios. He told me about an amazing studio owned by a friend of his, top songwriter and record producer Terry Britten. Terry is one of my all time heroes, a real inspiration to me for many years and I jumped at the chance of meeting and working with him.

Terry Britten Wrote Songs For Tina Turner, Status Quo, Michael Jackson and Sir Cliff Richard.

Terry’s incredible studio in Richmond, Surrey called ‘State Of The Ark’ is to this day the most amazing studio I have ever worked in. It is special because it is filled to the brim with the most amazing collection of original classic vintage equipment and microphones that I have ever seen. And at the centre was a classic EMI TG12345 console 4 that Terry had rescued from a barn in France, brought back to the UK and restored to its former glory.

This sixties valve desk didn’t have traditional faders, it had vertical curved slides that were really great to use and the channel strips were made up of a simple compressor, some basic in-line bass and treble EQ, some phase control and that was just about it. The beauty of this desk is that when you play anything through it, it immediately pulls everything together, it sounds warm and authentic and with the racks of other vintage compressors and processors to choose from, I was completely in my element.

The first day I arrived at the studio I was greeted by Terry himself, who is a real gentleman and this is also where I first met his sound engineer Chris West who would  go on to work with me on many subsequent albums. We tried out several of the vintage microphones on offer and ended up using a vintage Neumann U48 valve.

 State Of The Ark’s Selection Of Vintage Amps.

Unfortunately things did not go to plan. David had contracted a virus and vocals were not going too well. His throat was swollen and sore, he was quite ill. We had the doctor come in and after a couple of days it became very evident that I was going to have to make additional plans to record vocals when David was feeling better, there really was no choice.

Of course this change to the schedule was crucial because I knew that Universal was firming up their release and marketing schedules that included TV advertising and promotion and of course without the finished record, the release date would be delayed and that was not an option.

After pressing on with the vocals and finally getting some good takes, I decided that I would have to meet David in the US at a later date, to complete the three or so remaining vocal sessions. David was going to be in New York on business so we decided to record the remaining three vocals while he was there.

Very quickly I needed to organise a studio at very short notice. Universal booked my flights and hotel and before I knew it, my bag was packed and I was on a plane and arrived in New York on 7th August 2001…..just a month before the awful 9/11 terrorist attacks.

This was going to be very tight. I still had three vocals to record and only one day to do it before catching my return flight home the same night and at this point I didn’t know if David was going to be well enough to sing.

Actually, a really funny thing happened to me as I arrived at my hotel in New York that day.  I was staying at the Soho Grand Hotel, a really beautiful original art deco building. When I checked in, I could see that there was a sizeable film crew, lights and lots of glamorous people standing around.

After I checked in I went to the elevator to go up to my room. The elevator door opened and there inside as I got in, were the four ladies from Sex and the City. They looked amazing and said hello to me and asked what I was doing in New York hearing my English accent, I told them I was working with David Cassidy and they went crazy, ‘We love him’ they said. And with that the door opened, they said goodbye and that was it.

I was stunned, I immediately ran into my room, called my office and said ‘You won’t believe what just happened to me’ – it was a really bazaar moment, one of many during the making of this album.

David Cassidy, Ted Carfrae and Mike Tocci.

The next day I made my way to the studio and met with my engineer Mike Tocci and assistant engineer Jonathan Adler. I managed to book only a few hours studio time at the famous Electric Lady Studios in the Village, famously owned by Jimmy Hendrix.

In fact, we recorded in what was his bedroom. The studio was really colourful, lots of Hendrix murals plastered on the walls and our studio was situated on the top floor of the building. There was a new SSL desk, Pro Tools rig and a nice size room so we were set and it was just a matter of waiting for David to arrive and I just prayed that he would be well enough to finish these songs.

When he arrived, clearly David was feeling much better and he was thankfully on top form and we set to work knowing that we only had a few hours before I had to catch my flight back to the UK.

I had decided to bring backing tracks with me to work with, mainly due to the lack of time I had to prepare for the trip. The songs we recorded were ‘Rock me Baby’, ‘Cherish’ and a new song called ‘Lyin’ To Myself’ written by David and his wife Sue Shiffrin.

Thankfully it all went well, David left for his next appointment, Mike Tocci burned off a couple of data discs with all the complete vocal sessions for me and I was on the road to the airport. I was finally back on track, recording was now complete and I was ready now to start mixing as soon as I arrived back in the UK.

The State Of The Ark EMI TG12345 Mixing Desk.

The album was mixed entirely at ‘State Of The Ark’ with Chris West engineering. To make life easier, Terry also had a Radar 1 in the studio so we were able to slave his machine to mine with time code so that we could sync and lock the two machines together and play everything back at once, this way we effectively had a 48 track playback machine which was great.

The console didn’t have as many inputs as we would have liked so Chris very cleverly balanced and grouped the strings and brass together and brought those into the console as stereo left and right channels. The best thing, as I have said before about this desk, is that it naturally pulls all the elements together so mixes came together very quickly and the sound is wonderfully
warm and transparent. The lack of processors built into the desk meant that we could keep everything really simple and direct and this is where the attention to detail when recording really paid off.

The arrangements were perfect. Everything was recorded properly at the right levels. All necessary repairs had been made so by the time we came to mix the album, there was nothing to worry about and we could really enjoy it.

 Ted Carfrae At State Of The Ark Studios.

Of course mixing was live, any changes during the mix were done by hand. There is no kind of automation available on this desk, no instant mix recall options. So Chris and I would rehearse moves and then record time and time again until we got it right. For me this was probably the most enjoyable part of making the album and it was an honour to be working with an engineer like Chris who taught me so many new tricks of the trade, with both of us working together side by side using our combined skills to the max and coming out of it with a beautiful sounding album that I am so proud of.

We mastered directly onto ½ inch tape running at 30ips and often we would record in sections and then edit the actual master tape.  The album was finally finished and it went on to become a massive hit album around the world.

For me personally it was the beginning of a wonderful period in my career filled with so many wonderful people, places and memories and when I recount these great experiences, it reminds me of just how blessed I have been to have been given these wonderful opportunities.

Latest News From TCM Mastering

Beto Hale In Westlake Studio D Hollywood, California.

TCM Mastering’s Ted Carfrae has just mastered a new track for Mexican star Beto Hale called ‘Explosiones’ from his upcoming new album. Explosiones is available from Amazon.

Beto Hale - Explosiones

For more information on Beto, check out his great website – http://www.betohale.com/archivos/news/news.htm

DORIS DAY’S LATEST ALBUM RELEASE, PRODUCED AND MIXED BY TCM MUSIC GROUP’S TED CARFRAE, CHARTS IN TOP 10

September 16, 2011

The Legendary Doris Day’s Latest Album ‘My Heart’, Produced And Mixed By Top UK Music Producer Ted Carfrae Debuts In The Top 10.

Multi-Platinum UK based Producer, Ted Carfrae of TCM Music Group is proud to have produced the latest album ‘My Heart’, for Grammy award winner Doris Day. This is the Hollywood icon’s first studio album of new material in 17 years and her first ever UK top ten album.

Released in the UK, by Sony UK on September 5th 2011, the album has already charted and reached the top 10. It has also been released across much of Europe as a digital download and released on CD in Germany. Click here for more details.

The album comprises 12 tracks, some originally recorded in 1985 by Day’s late son Terry Melcher.

All of the original recordings were synthesizer based. Ted Carfrae and music partner CJ Boggs wrote brand new arrangements and using top session musicians, they re-recorded new orchestrations with real instruments at their studios in Nashville, Tennessee. The album was mixed and mastered at TCM’s UK music studios in Kent.

Ted recalls ‘I decided at the outset that I wanted to keep the arrangements as simple as possible so that we simply framed the wonderful vocal tracks. It was therefore imperative that our approach was totally about the vocal. We selected the best players we could find. I in particular, wanted to work with James Baker, a UK-based pianist who has the most amazing feel for a song and in the case of ‘You Are So Beautiful’ where it is just piano and Doris, he did an incredible job’.

To read a recent interview with Ted Carfrae, discussing the project and giving a track-by-track appraisal of the album, click here.

Please Note: Part 2 of the Ted Carfrae My Life In Music: The Making Of David Cassidy’s ‘Then And Now’ Album due to be published today, will follow next Friday. 

LATEST NEWS FROM TCM MASTERING

Sligo Fogg – Sodium Moon.

TCM Mastering’s Ted Carfrae has mastered the latest Sligo Fogg album – Sodium Moon. Click here for download from Amazon.

TED CARFRAE, MY LIFE IN MUSIC: DAVID CASSIDY ‘THEN AND NOW’ – PART 1

September 9, 2011

Ted Carfrae My Life In Music: The Making Of David Cassidy’s ‘Then And Now’ Album – Part 1

Ted Carfrae of TCM Music Group recounts his meeting with David Cassidy…..

I first met David Cassidy when I went over to Las Vegas, where he was appearing in a show called ‘At The Copa’ with Sheena Easton. We met in his dressing room after the show and we discussed briefly the idea of making an album together.

David Cassidy ‘Then And Now’ Album Cover.

Universal Records then approached me a few weeks later. We had a meeting to discuss the possible concept and we came up with the idea of a ‘Then and Now’ collection of songs – which involved faithfully re-recording David’s massive hits and recording some new songs as well. I had never done this before, so for me it was very interesting and before I knew it, Universal had done the deal and I was on a plane to meet with Cassidy again in Las Vegas.

This time we met at his sumptuous house and discussed the songs that we wanted to record and some other ideas as well. David is very hands on and by the time I left to come back to the UK, we had decided the track listing and the new songs we wanted to include in the project.

David had just finished working on a TV movie about his life and he had recorded some of his original hits for the movie with his original arranger/producer, Mike Melvoin and we decided to use some of those recordings on the album as well, so we were essentially ready to go. We had the material sorted out and agreed, we had dates in the diary and now it was a matter of returning to the UK and putting the project together.

Pre-production and planning is probably the most important part of the recording process. For a major project like this one, I will usually allow around three months to plan everything. This will include thinking about musicians, checking availability and booking them, selecting and booking recording studios and sound engineers, planning accurate budgets, working on all the arrangements and having the music part written out and scored. I also had to think about all the logistical issues that naturally arise, working with Universal to schedule David’s flights and hotels to coincide with the recording dates exactly and of course all of this had to be worked around David’s prior commitments.

So as you can imagine, it can be a fraught and stressful time. But this is what I love about making music. It is always challenging for many reasons and it’s not just about going in and having a great time. It has to be a well oiled machine because I am personally responsible for the budget and I need to deliver the finished product on time and to specification.

Damon Albarn’s Gorillaz Project.

For this project I enlisted the help of arranger Michael Smith. Mike was a member of Damon Albarn’s Gorillaz band and we had been working together developing a new singer/songwriter called Rosabella Gregory.  I really liked Mike’s musical background and versatility and I felt he would be perfect for this project.

Mike and I got together regularly over a matter of weeks to work on the arrangements and at the same time we were thinking about musicians and started committing them to the project. I remember that everyone was really excited about working on this album and the atmosphere was amazing in the recording studio.

I chose to record at RG Jones Studios in Wimbledon, South London. I had made several albums there before. The room could comfortably hold up to 30 musicians and for me it was a place of history and magic because it had an amazing atmosphere and countless great artists and records were made in that room.

RG Jones Control Room In 1985, With SSL Mixing Desk And Studer Tape Machines.

It was always a bit like coming home for me, so the fact that the studio is now gone altogether is very sad. It had one of the early SSL desks with mix recall and a fine selection of classic microphones to work with and the resident sound engineer Gerry Kitchingham (engineer on A-ha’s Take On Me) is one of my all time favourite engineers.

Recording commenced on 4th July 2001. I remember being really excited about getting started, a bit like a race horse at the starting gate. All the months of planning were done. The arrangements were ready, all the musicians were set up and ready to go. David had arrived to sing guide vocals and with the first notes of the intro to ‘Could It Be Forever’ it all came together in that moment.

I assembled my usual crack rhythm section with the exception of my usual drummer, Ralph Salmins who was unavailable. So we enlisted the talent of Mike Bradley on Drums with Steve Pearce on Bass, Pete Murray on Keys and Piano, Mike Smith on Fender Rhodes, ‘Frizzy’ Karlsson and the great Hugh Burns on guitars and Frank Ricotti on percussion – a truly stellar line-up of musicians.

Ted Carfrae, David Cassidy and Singer/Songwriter Rosabella Gregory.

Everything was recorded live on this project and there was no way I wanted to make this record sound inferior to the originals, so it had to be the real deal. We recorded onto my newly acquired Radar 1 Digital Recorder. The sound off that machine is like tape but with great editing facilities and instant playback and to this day I think the sound produced by the Radar 1 is hard to beat.

The first day went really well and over three booked sessions we laid down twelve songs. David was ecstatic with the rhythm tracks, they sounded great and we managed to get them all done ahead of time.

I remember that we had about half an hour left in the studio with the guys, so David and I decided to try and record just one more song. We both loved Bill Wither’s classic ‘Ain’t No Sunshine’. So we quickly ran over the feel and arrangement with the guys, ran into the studio and hit the record button with just a few minutes recording time left.

It was amazing, we recorded the song in just one take. And the result is something that is spontaneous and real and for me personally, it was a moment in the making of this album when all the elements came together at the same moment and gelled – an incredible end to a great day and the song remains my favourite on the album.

The first day is always challenging because you never quite know what is going to happen but as it turned out the sessions flowed really well, the guys really enjoyed it and very importantly, I was right on schedule.

David Performing In Melbourne 1974 With 60,000 Fans.

A word about the importance of singing Guide Vocals…..

Having David Cassidy with us in the studio singing guide vocals was imperative to the success of the day for several very good reasons. It enabled me to immediately address any tempo issues that did actually arise, something that is very difficult to rectify later. We could address any issues with key registers and make immediate amendments to the arrangement and most importantly, the track could be constructed around David’s vocal style. He could pretty much dictate the flow of the song and the musicians could adjust their performance to fit perfectly with the vocal delivery.

It also gives the artist the ability to be spontaneous and a very good example is the fade at the end of our version of ‘Cherish’. The guys were locked in a groove and David stirred them up, speaking to the guys as they were playing, giving instructions. The room was electric because everyone was together in the moment rocking it out and it really is the most amazing feeling when that happens.

The result is incredible but that can only happen when musicians and singer are working together in the moment. So I always record with guide vocals because sometimes, the guide vocal is so perfect and amazing that you keep it and use it in the final mix….. I have done that so many times, so guide vocals are something to always consider as an integral part of the recording process.

On day two we commenced overdubs – adding extra guitar or keyboards, more percussion, recording guitar solos and making odd repairs that needed to be addressed. We also recorded new, more specialist instruments such as harmonica, recorder and harpsichord parts. Finishing up with all of the rhythm parts in the can ready for the next phase of recording – strings, brass and background vocals.

David Cassidy Teen Idol…..Made The Cover Of Life And Rolling Stone.

David had to return to the US for some concert dates. So the following week, I booked three days at Livingstone Studios in North London to record strings, brass and woodwind and background vocals. Because the Radar 1 only has 24 tracks, I decided to create stereo sub-mixes of the rhythm tracks so that we had plenty of tracks available for this next phase of recording.

With Jon Musgrave engineering for me and Mike Smith conducting, we commenced day one recording the string section over three sessions. We had a mid-size string section made up of eight violins, two violas and two cellos. I wanted strings that sounded lush but not overpowering and this particular line up worked to great effect.

With the strings done, on day two we concentrated on recording brass and woodwind. Our small brass section comprised of two trumpets and flugal horn and one trombone, which doesn’t sound like a lot but when you double them (record the same part twice) it sounds much bigger of course. So when you are overdubbing instruments, it is very easy to achieve the size you are after. I only used two virtuoso woodwind players. My dear friend Paul Fawcus and Scott Garland added the various different saxophone and flute parts as needed, bringing their own unique styles to the different songs.

On day three we started recording background vocals and I assembled a great vocal group consisting of Mae McKenna, who has performed on every record I have ever made and still works with me to this day. She is incredible and has the purist of voices. Janet Mooney, another fine voice, the great Lance Ellington, son of bandleader Ray Ellington and Phil Nicoll who came over from France where he lives to do the sessions with me. Everything seemed to be going so well.

Next week…..things don’t quite go according to plan.

TCM MUSIC GROUP LATEST NEWS: TED CARFRAE INTERVIEWED FOR DORIS DAY ALBUM ‘MY HEART’

September 2, 2011

TCM Music Group’s Ted Carfrae Talks About Producing On Doris Day’s Album ‘My Heart’.

Doris Day’s Latest Album ‘My Heart’.

Multi Platinum Producer, Ted Carfrae of TCM Music Group talks about producing on Doris Day’s latest album ‘My Heart’ in this recent interview for the longest running Doris Day website – Discovering Doris. Ted also gives a track by track appraisal.

The album is already generating a huge amount of interest. So if you’re interested in Doris Day, you need to check out the interview.

The album is due for release in the UK September 5th 2011 by Sony Music UK. The CD can be purchased at Amazon UK and Amazon.com on import.

Over his long and successful career, Ted has worked with some of the biggest music artists in the business. Everyone from Kiki Dee and Cilla Black to David Cassidy, Soul Queen Jaki Graham to Sheena Easton and Classical Superstar Katherine Jenkins.

In the last few years Ted has taken great satisfaction in helping up and coming artists like Ray Prim, Robert Gillies, Texas Rap Artist SES, 7th Heaven, Klubkidz and CYLiX.

Through TCM Mastering and the TCM Music Group, along with his partner in Nashville – CJ Boggs – many new artists have benefitted from the professional, fast and affordable services they provide.

So if you need some music advice, help with production, recording, mixing or mastering, drop them a line or call them to discover some of the great deals on offer at the moment.

Latest TCM Mastering News:

TCM Mastering’s Ted Carfrae has just mastered James Scott’s album ‘Letters from Sonora’. An album of great acoustic guitar work. James Scott is a solo finger-style steel string guitarist.

TCM MASTERING – LATEST NEWS: EXCLUSIVE DORIS DAY RADIO PLAY

July 7, 2011

TCM Mastering – Latest News: Exclusive Doris Day BBC Radio 2 Play

World Exclusive First Play Of The New Doris Day Song ‘Heaven Tonight’ – On Paul O’Grady’s BBC 2 Radio Show.

On Sunday 3 July 2011, British fans of Doris Day had an absolute treat as they were given the first listen to one of the all-new songs from Ms. Day’s upcoming album ‘MY HEART’. Sony Music UK released to British radio the catchy ‘Heaven Tonight’ which was written by Beach Boys’ legend Bruce  Johnston.

Doris Day’s – ‘My Heart’ On Paul O’Grady’s BBC Radio 2 Show.

The previously unreleased recording received its first play on BBC Radio 2 during Paul O’Grady’s popular Sunday show at 5pm (UK time). For  those who do not know, O’Grady is one of Britain’s best loved comedians and television presenters. He is also known to be a huge admirer of Ms. Day so it seems entirely appropriate that he was bestowed with the honour of  launching her new album.

The new release – ‘MY HEART’ features new production work by the acclaimed multi-platinum selling producer Ted Carfrae who is best known for his work with David Cassidy and Engelbert Humperdinck as well as British singer Jane McDonald.

At the moment TCM are offering a RED HOT SUMMER DEAL – Ted Carfrae owner and founder of TCM Mastering and TCM Music Group will mix and master a track for £175.00 inclusive. For more information please contact TCM by clicking here.