Stephen Street started his musical career in the late seventies playing in various bands around London. He played bass in a ska/pop group, BIM, which also featured future Neneh Cherry/Massive Attack producer, Cameron McVey. Frustrated with his progression as a musician in a band, he turned to production and engineering. Street started at Island Records’ Fallout Shelter Studio in 1982, working as an engineer, for reggae artists including Black Uhuru and Linton Kwesi Johnson, and for juju musician King Sunny Ade. During this time, he also helped produce Stephen Duffy’s first two albums, The Ups and the Downs in 1985 and Because We Love You in 1986. Twelve years later, he would again work with Duffy on his 1998 album I Love My Friends. In recent years, Street has used Olympia Studios in London.
(1985-1989) The Smiths and Morrissey
He began working with The Smiths in the mid-80s and was listed as an engineer on the Smiths’ albums Meat Is Murder and The Queen Is Dead. Street was credited as a producer on the Smiths’ final album, Strangeways, Here We Come.
After the Smiths broke up, Street was contacted by lead singer Morrissey, who offered him the position of producer and co-songwriter for his forthcoming album, which came to be titled Viva Hate. Street accepted and this album reached #1, spawning two top-ten hits in the United Kingdom. Street and guitarist on Viva Hate, Vini Reilly, had a dispute over songwriting credits - Reilly claimed to have written the majority of the tracks on the album, which Street dismissed and claimed that he wrote all of the tracks on the album and Reilly had no part to play in this. Street was credited as producer, songwriter, guitarist, and bass guitarist on the album. Street went on to co-write and produce two more top ten singles for Morrissey which appeared on Bona Drag before the singer ended their association apparently because of disputes regarding the royalties and alleged conversations between Street and author of controversial Morrissey texts, Johnny Rogan.
(1990-1997) Blur and (2003-present) Graham Coxon
After hearing Blur’s first single, “She’s So High”, Street contacted their manager. Soon after he was called in and produced their establishing hit, “There’s No Other Way”, although he did not produce the album as a whole. Street went on to produce Blur’s second album, Modern Life Is Rubbish.
Stephen Street was a key force behind Blur’s involvement in the Britpop movement. He produced one of the earliest and most influential creative works in Britpop, Blur’s 1994 album Parklife. The album became Blur’s best-selling ever and included the massive hit “Girls & Boys”. Street later produced the #1 hit “Country House” and Blur’s follow-up album The Great Escape, the song that won “The Battle of Britpop” for Blur by outselling rival band Oasis’s single “Roll with It” from (What’s the Story) Morning Glory in a Battle of the Bands fueled by massive coverage by the mainstream British media. After the Britpop movement waned, Street produced Blur’s overdue chart-topping eponymous album, Blur, a totally different work very influenced by American lo-fi indie rock that showed that the band could continue evolving. This album included the #1 hit “Beetlebum” as well as the hit “Song 2”.
After Graham Coxon left Blur, he and Street aligned and went to produce Coxon’s most commercially successful album up to date — Happiness in Magazines (May 2004). Street’s work with Coxon continued with, Love Travels at Illegal Speeds, released in March 2006 and his latest effort The Spinning Top released on May 11, 2009.
(1992-1994; 2001-2002) The Cranberries
In 1992, Street started working with the Irish band The Cranberries on their debut album Everybody Else Is Doing It, So Why Can’t We?. The album turned out to be a huge success in America (singles Dreams and Linger), and is one of only 5 albums to completely drop out of the British charts only to return at number 1. In 1994, they released their No Need to Argue album, also produced by Street. This became their best selling album (over 20 million copies worldwide). After this album, lead singer of the band, Dolores O’Riordan, was stressed and burned out, and she wanted to do a more hardcore album. They supposedly had some differences, but after two albums not produced by Street (To The Faithful Departed produced by Bruce Fairbairn and Bury The Hatchet produced by Benedict Fenner) they worked with him yet again on their 2001 album Wake Up and Smell the Coffee and the two extra tracks that were recorded for their 2002 best of album Stars: “Stars” and “New New York”.
After the Cranberries went on hiatus in 2003, guitarist Noel Hogan began working on a solo work then titled Mono Band. Street worked with Hogan in producing the album of the same name released in 2005.
(2004-2007) Kaiser Chiefs and The Ordinary Boys
Street produced Employment, the debut album by Kaiser Chiefs. Coincidently, like 15 years before when he heard Blur’s “She’s so High”, he was in the same way involved with Kaiser Chiefs. Street heard one of their early demos and contacted the band with a view to producing them. As they were heavily influenced by, and fans of, his recordings with Blur they agreed. At one point Street brought Blur guitarist Graham Coxon into the studio to rev his moped for a sound effect. This can be heard on the track “Saturday Night”. Street also produced the band’s second album Yours Truly, Angry Mob. Kaiser Chiefs snubbed Street for production duties for their third album, “Off With Their Heads”, and replaced him with celebrity producer Mark Ronson and assistant Eliot James. Street also produced the first two albums for ska-influenced British indie band The Ordinary Boys, also on the B-Unique label, Over The Counter Culture in 2004 and Brassbound in 2005, to high critical acclaim.
(2007-present) Babyshambles and (2008-present) Peter Doherty
Street produced Shotter’s Nation, the second album by Pete Doherty’s band Babyshambles. The recording of the album was said to have been a hard process, due to Street’s lack of co-operation with Pete Doherty. Doherty learnt to abide by Street’s ruling and the rest of the band found the sessions with Street the most productive yet. Street later said in the NME: “Pete wasn’t in a very good state for the first couple of weeks of making the record for the reasons that people know about. It was a bit worrying to be honest with you. There were a couple of times I had to fire warning shots across his bow, say ‘Listen, you’ve got to sort yourself out here because if you don’t I can’t work with you’. I felt like I was going to let down the rest of the band if I walked away from things. I think the guy has got a lot of talent but for me it was hidden under this fog of addiction and I was desperately trying to get through to that young man that’s still there underneath it all who’s a very sharp, well-read, artistic person that’s let his less clever addictions get in the way. Sometimes I had to sit down with Pete and have really good heart-to-hearts with him to get through all of that and connect with the real musician and artist that’s underneath…I wanted to prove to those people that he can make a decent record.”
Doherty told the NME that Street gave the band an ultimatum of “if you carry on like this, I’m going home” in reference to Pete’s drug addiction at the time. Doherty also was quoted as saying, about Stephen Street: “It’s important to have someone who knew what he wanted, we worked 11 to eight with no weekends. It was a contradiction to how we would have chosen to work.” Street also produced Doherty’s solo album Grace/Wastelands (2009) and also will produce the next Babyshambles record.
(2007-2008) The Courteeners
Street approached Manchester indie band The Courteeners after hearing demos and offered to produce the album. The album was recorded in London over a six week stretch and was named St. Jude. The album reached No. 4 in the British UK Album Charts and was subject to high critical acclaim. Street described iconic singer Liam Fray as “the best vocalist he’s ever worked with”.
Liam Fray recounted some apprehension at recording with such a high profile producer who has recorded some of his favourite work, and explained how “We were a little nervous, but then we remembered we were there on our own merit and just got on with it”, and that “We were going in hungover some days and were really worried about whether Stephen would be bothered, but then he told us he’d had Babyshambles in the month before us, so we must have looked like right fairies compared to that lot”. Courteeners drummer Campbell praised Street, explaining how Street “was an absolute legend”. Campbell also explained how Street came to produce the album, saying that “He came to see us play live a few times, and the live tracks he heard then have transcended really well on to the album. He was really approachable, and he wasn’t overbearing, or saying ‘this is how the record’s going to sound’. On one of the days he got out some of the B-sides of bands he’d worked with for us to listen to and he was really proud of it - and so he should be.”
Morrissey, for whom Stephen Street produced for a number of years and eventually formed a songwriting partnership with, has also cited himself as a strong fan of the band. Street also produced the standalone single “That Kiss”, released on 6 October 2008. “That Kiss” saw a departure from the traditional Courteeners sound of the debut whilst expanding on ballads on the debut album such as “Please Don’t” and “Yesterday, Today and Probably Tomorrow” but more heavy on production, for instance the addition of a strings section. According to the NME in August 2008, Street will be producing the next Courteeners record, due for release in early 2009. Rumours abound that Rascals guitarist Miles Kane will be joining the band on the album for a track.
In 1988 Street, along with journalist Jerry Smith, set up the Foundation Label. The label was home to artists including Bradford and Spin. However, the label wasn’t a commercial success and folded in 1991.
Street produced the 1990 Danielle Dax album Blast the Human Flower, released on Sire Records, along with a subsequent remix EP.
Street also worked with Lloyd Cole, produced Shed Seven’s 1998 album Let it Ride and more recently worked with New Order. In addition to this, he also produced several tracks on the Longpigs second album ‘Mobile Home’ in 1999.
Street worked with The Darling Buds’ on their third and fourth albums Crawdaddy (1990) and Erotica (1992).
In 2001-2002, Street worked from Jacobs Studios in Farnham, England to produce The Promise Ring’s final album, Wood/Water, released by ANTI- in 2002.
Street produced The Magic Treehouse, the debut album from Ooberman and Tired of Hanging Around, the second album by The Zutons, released in the UK on April 17, 2006. He also stepped in on production duties for The Caretaker Race’s album Hangover Square in 1990. The band, formed by ex-Loft guitarist Andy Strickland and roving drummer Dave Mew, had recorded a number of singles previously, some produced by John Parrish. For Hangover Square, the band added a number of new tracks including “Man Overboard” and “2 Steel Rings”, both released as singles.
It was confirmed in 2006 that Street would be producing the next album by Feeder, which is currently untitled and will be released in 2008. Street also co-produced the tracks Save Us and “Burn the Bridges” from the band’s ‘The Singles’ album with lead singer Grant Nicholas, released in 2006. An exclusive mix of this track, done entirely by Street, was available from iTunes upon release.
Street also worked with alternative post-punk White Lies when they were known as Fear Of Flying, producing “Routemaster” and “Three’s A Crowd”.
Street has just completed recording a 4 track EP with London based 5 piece exlovers.
In Late 2009 Street began recording with Irish band Funeral Suits
Street has a reputation for producing commercially viable music. As his role became increasingly prominent on the Smiths’ studio albums, their sound evolved from the relatively cheap production of their Street-less eponymous debut) to the polished sound of Strangeways, Here We Come. This also worked to the advantage of Babyshambles, who had struggled to achieve wide mainstream success due to lack of tight production on their debut album, from Clash guitarist Mick Jones, and lack of discipline in the studio - Street tightened the sound and enforced strict rules in the studio, and this resulted in a more commercially and audibly pleasing record, which went on to achieve great success and lift Babyshambles onto a higher platform and to gain new fans and much desired radio play.
Street helped transform Blur from a tentative, obscure London outfit into international rock stars. He produced some of their best known songs to date, including (“There’s No Other Way”, “Girls & Boys”, “Country House”, “Beetlebum”, and “Song 2”) and some of their arguably most popular albums, Parklife, The Great Escape and Blur.
Stephen Street is sometimes referenced by the artists he works with in their songs. In the song “I Started Something I Couldn’t Finish” from Strangeways, Here We Come, Morrissey’s final words are, “OK Stephen? Do that again?” Also, the Blur song “Death of a Party” from Blur is, according to some, a reply to the Smiths song “Death of a Disco Dancer”. Both songs were produced by Street and have comparable qualities.
Edited by [deleted user] on 29 Mar 2010, 00:30
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