The man behind Boy George

Press, 2 December 1987, Page 26

The man behind Boy George

By

MICHAEL AMICONE

Much of the credit for Boy George’s artistic-commercial renewal belongs to his producer, Stewart Levine, a low-keyed veteran who has quietly amassed an impressive track record over the past 20 years. With the exception of the hit movie theme, “Up Where We Belong,” which he produced for Joe Cocker and Jennifer Warnes a few years back, Leyine has maintained a low profile while making adventurous records with such highly regarded black artists as B. B. King, the late Minnie Ripperton, the Jazz Crusaders, Womack and Womack, and Hugh Masekela. In 1984, Levine crossed the Atlantic to lend his production skills to a series of young English artists: Curiosity Killed the Cat, the fashion-model-turned-pop-singer, Nick Kamen, and Simply Red (whose platinum “Picture Book” debut L.P. is his biggest record to date).

Levine is now living and working in Los Angeles. At the moment, he is recording the Yes

frontman, Jon Anderson, and getting used to the rigours of being a hot producer. Q: After 15 years in Los Angeles, you relocated to New York in the early 80s, then spent a short period in England. What prompted the changes of scene? LEVINE: I was becoming disenchanted with the business here. It seemed like all I was becoming called to do was “resurrections,” like bringing Kenny Rogers back one more time. Who needs it? I want to work with vital and interesting artists. That doesn’t negate the possibility of working with someone established — a great artist is a great artist. Just as long as it isn’t someone who shouldn’t be making contemporary records. Q: How did you hook up with Boy George? LEVINE: I had made a couple of records for Virgin Records while I was over in England, and George had heard one of these things. He was also a very big fan of the Womack and Womack record, “Love Wars” (which was named the best album of 1983 by both “New Musical Express” and "Melody Maker”). When it came

time for him to talk about making a solo album, Virgin asked me. It was right at the same time that he got busted for the first time. They called the day that it happened and were very apologetic about the problem, and I said, “Well, he probably needs to make a record right now.” Q: On the album, there’s an interesting reggae version of the old David Gates-Bread song, “Everything I Own,” which has already been a big hit in England.

LEVINE: I was just trying to get more songs on the record and I to try a reggae thing. Sb I asked George what his favorite reggae song was, and he said, “Everything I Own.” It gives you an interesting angle on England and America, because he was not aware, nor were any of the other musicians, that it had been an American hit by Bread. In England, when a song is a hit in America, particularly a ballad, obscure little reggae bands will cover it quickly and put it out for England’s reggae audience. That particular cover crossed over and became a No. 1 hit, and they only remember that

version. I called a radio station in Monserrat (the bulk of the Boy George L.P. was recorded there at George Martin’s AIR Studios), and they sent over a tape of the original Bread version and the reggae record of it. I had to sit down with them and teach them the chords to the Bread version, and George refused to listen to it Now he tells me that he bought the “Best of Bread” album, and it’s his favourite.

Q: In describing your production style, is there a certain sound that your records are noted for?

LEVINE: No. That’s why I’m still making records. If somebody stamps a record with their sound, and that sound goes out of fashion, then they’re out of business.

Q: After so long in the business, what keeps your interest from waning? LEVINE: I’ve always chased the' music, and I’m absolutely more intrigued with making records now than I ever was. It’s a great time to be making them. —(c) 1987, Music Connection.