Recording
In March 1991, Urlich, armed with a half million dollar recording budget, returned to the studio to commence pre-production for her second album, Chameleon Dreams, with English writer/producer Robyn Smith, the man behind her highly successful debut. By mid year, Urlich and Smith had entered Sydney's 301 Studios to record their two songs, plus a third track written by Smith and Barry Blue. The same team had been responsible for two of the best tracks on Safety in Numbers (Escaping and Guilty People), and their latest offering Boy In The Moon, proved pivotal to the sound of the new album. Other tracks were collected by travelling all over the world.
First Urlich went to London to co-write with celebrated writers like Rob Fisher with whom she wrote the album's title track Chameleon Dreams. She then went on to Los Angeles, where she met up with Grammy Award-winning writer/producer Ian Prince, and with whom she wrote two songs for the album and he produced four tracks. She returned to London again, where she co-wrote a number of songs with Simon Law and Tony Swain before completing the project with three tracks produced by Swain.
The success of Chameleon Dreams earned Urlich the "Best Selling New Zealand Artist of the Year" award at The 1992 World Music Awards in Monte Carlo. She attended the awards ceremony and performed Love Train.
Chameleon Dreams was nominated for two ARIA Award in 1993 and has sold over 75,000 copies.
Read more about this topic: Chameleon Dreams
Famous quotes containing the word recording:
“Write while the heat is in you.... The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.”
—Henry David Thoreau (1817–1862)
“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)