Why Don’t We Do it in the Road?

-Jordan Bremus

Eleanor Rigby is no longer turning in her grave, because last week the British government granted Abbey Road protected status as a historical building. Abbey Road, the London-based recording studio made famous by the Beatles, is now under Grade II protection, which prevents any changes or alterations to the building’s “character.” EMI (Electric and Musical Industries) will also keep its place as the original owner of the studio.

Although the studio is no longer searchin’ for a third-party financial bailout, it is still in trouble. EMI and English Heritage, a government preservation agency, have come together to “revitalize” the studio, but have not stated how. Should we let it be and hope we can work it out? No, EMI should open it to the public use—across the universe.

“Music – of whichever genre - is the thread that follows us through all our lives and Abbey Road Studios have produced some of the very best music in the world,” said Cultural Minister Margaret Hodge, “It’s a testament to both the importance of music in people’s lives as well as the passion this kind of issue stirs up, that so much interest has been generated by the perceived threat to the future of Abbey Road.”

A day in the life of Abbey Road consists of three studios used for multiple purposes. Each range from intimate recordings of famous artists, including Alanis Morisette and Rod Stewart, to wide orchestral recordings for symphonies or movie scores, such as the Harry Potter series and Avatar.

Now that English Heritage is behind EMI, the debts that Abbey Road has accumulated can be approached and hopefully handled (it is reported that Abbey Road posted a 1.75 billion-pound loss since March 2009). But the studio still needs help.

Why can’t the little help from some friends be the public? If Abbey Road were open to uprising artists or those who just want the opportunity, the studio would be able to save more money and get the revitalization it wants. The studio can then be a place where the crying, waiting, hoping talent from here, there, everywhere can show off their skills and become what they dream about in their golden slumbers. Where guitars can gently weep on that long and winding road to hopefull success.

A statement from the government said, “The Abbey Road Studios have been listed in acknowledgement of their outstanding cultural interest and to ensure that recording artists for generations to come can continue to make and record music in the same rooms as musical icons of years gone by.” Even the English government does not want Abbey Road to end up as a museum—it needs to be used.

The studio charges clients based on two different fees—the Booking fee and the Post Production Work fee. Both fees are calculated by time spent in the studio, equipment used, trademarks and legal liability, and over-all the popularity of the artist. On average, a typical studio fee can range from $500 to $1,000 depending on the time used. If Abbey Road decided to charge a basic fee (i.e. $500) and time block (any time at all) to the public, they would be able to record more music and make more money.

It could be a monthly event, the first Saturday of every month, for example, where Abbey Road opens its doors. All they got to do is sign up and pay in advance, show for the hour they planned, and record what they choose.

This would also allow the public to avoid the need for managers or agents to represent them. Many studios, including Abbey Road, only accept a credible artist for recording purposes. Which means they need someone with a little power to sway the decision of the studio. I just don’t understand how people with true talent get shoved aside because they cannot afford or find someone to represent their interests. That is too much monkey business. Simplify the situation.

Now—the catch that carries the weight. Abbey Road, and many studios like it, has strict copyright laws. Anything recorded within its walls is required to carry its production seal and rights. Meaning any duplicating (or burning) of the studio’s recorded products can result in a lawsuit. Hence the need for detailed contracts, or chains. The agreement should then be this—the artist, or artists, are allowed one copy of their recordings for free, and if they want more, they pay a separate fee. This would then bring in more revenue for Abbey Road. The whole point of this idea is to allow the public to get a taste of the recording industry and to keep Abbey Road afloat. It could be a beginning for a new tradition.

So EMI, I don’t want to spoil the party, but you know what to do. Open your studio to the public and you may find something that even the Beatles could envy. And most importantly, escape the taxman and revitalize Abbey Road the way it deserves. Don’t let me down. The End.