Instant classics are hard to come by. That’s what explains all the excitement around David Bowie’s new album, The Next Day.
When was the last time in music history that a record has earned so much global adulation – before it’s even been released? But the record is a thrilling listen for rock listeners the world over, because one of the craft’s most experienced practitioners has pioneered even further.
A big part of Bowie’s accomplishment was enabled by his devoted band and production/engineering team, all of whom sacredly respected a vow of secrecy about the album’s creation. Amazingly, word never leaked about its recording – a process that unfolded over two years, with three different in-studio bands.
SoHo’s Magic Shop was the proud audio HQ for The Next Day, an artful and driving record that provides the unique feeling that David Bowie alone can deliver. As Bowie’s first studio record since 2003’s Reality – and the 30th of his career – this album was going to have to be special.
No surprise then, that Magic Shop was host not just to Bowie and his world-class bands of musicians, but to the famed Tony Visconti, who’s been the producer on many of Bowie’s landmark works. The pair’s collaboration starts with 1969’s Space Oddity, and goes on to include The Man Who Sold the World (1970), David Live (1974), Diamond Dogs (1974), Young Americans (1975), Low (1977), Heroes (1977), Lodger (1979), Scary Monsters (1980), Heathen (2002), and Reality (2003), among them.
But of course, David Bowie’s right-hand man needs a right-hand man himself, and that distinction goes to the NYC-based engineer Mario J. McNulty. In addition to engineering for Visconti for the past 11 years, McNulty has built up a GRAMMY-winning career nailing down sounds for artists including Prince, Laurie Anderson, Angelique Kidjo, Lou Reed, Nine Inch Nails, Imelda May, Manic Street Preachers, Kashmir, Anti-Flag, Alejandro Escovedo, and Lucy Woodward.
McNulty earned the extreme privilege of being onsite for the recording of The Next Day at the Magic Shop. But more than just bearing witness, McNulty – along with Magic Shop engineer Brian Thorn and project manager Kabir Hermon — was a critical vessel for Bowie and Visconti’s audio vision, swiftly putting their plans into action so the masters could make music.
“It’s been a dream come true to work with David in my career,” says McNulty. “He’s my biggest influence, so being in the studio with him and Tony is fantastic every time. David is so charismatic, and also so extremely smart, that working with him is always a fulfilling situation for me.
“There’s something exciting about David’s songwriting,” McNulty continues, “whether he’s playing riffs on a keyboard or a guitar, that’s unmistakably the sound of David. It’s a little abstract, but you know it when you hear it. Every day was fantastic, and it just doesn’t get better than that, working in a studio with an artist like him. That’s what we all want to do when we’re making records, is work with somebody of that caliber.
“When you’re working with a producer like Tony Visconti who’s obviously a veteran, an icon like David, and his band is a supergroup of some of the best players in the world, your job is not to just get the right sounds to tape, but make it seamless and easy. People have to come into the studio and not worry – instead get to their station, put the headphones on, and just create in a very comfortable fashion. You also have to know how to get sounds extremely fast. That’s probably the most important part of all in making a record like this.”