In the late 1970s, Surrey Sound Studios in Leatherhead, Surrey, became the unlikely birthplace of one of rock music’s most influential debut albums, Outlandos d’Amour. Recorded by a then-unknown band called The Police, the album’s creation is a story of raw talent, resourcefulness, and a small but ambitious studio punching above its weight.
Surrey Sound Studios was founded by Nigel Gray, a doctor whose love of music led him to build his own recording facility. He set up the studio using mostly secondhand gear, demonstrating remarkable ingenuity in making it all work. The initial setup included a 16-track Alice mixing desk and an Ampex MM1000 16-track tape machine. The location itself was equally humble—a converted Victorian toll house that retained much of its quaint charm while housing a surprisingly powerful setup.
When The Police arrived at Surrey Sound Studios in 1977, they were a young band with little money and big ambitions. Over a period of six months, they worked with Nigel Gray to lay down the tracks for what would become Outlandos d’Amour. Songs such as Roxanne, Can’t Stand Losing You, and So Lonely were crafted in this unassuming space. The band’s tight budget meant they had to work quickly and creatively, but the constraints seemed to fuel their creativity rather than hinder it.
Despite the limitations, Gray’s technical expertise elevated the sessions. The Alice desk provided a clean yet warm sound, while the Ampex MM1000 ensured high-quality tape recordings. The gear was modest by professional studio standards, but Gray’s ear for detail compensated for any shortcomings. He also had a small but effective selection of effects, including an EMT 140 plate reverb, a DBX 162 compressor, and an AMS delay, which he used sparingly but effectively.
As recording progressed, Gray and The Police developed a strong working relationship. His production approach emphasised clarity and punch, which suited the band’s sound perfectly. After the completion of Outlandos d’Amour, Gray upgraded the studio’s equipment, replacing the Alice desk with an MCI JH-400B console and installing an MCI 24-track recorder. However, it’s important to note that these upgrades were not funded by the album’s success; Gray only received £2,000 for his work on the record, a modest sum considering the global success the album would eventually achieve.
Released in November 1978, Outlandos d’Amour was initially met with mixed reviews, but it soon gained traction thanks to the strength of singles like Roxanne. The track became a breakthrough hit, earning the band international recognition. The album went on to become a commercial success, laying the foundation for The Police’s meteoric rise to fame.
Surrey Sound Studios played a crucial role in this journey. Nigel Gray’s ability to turn a small, secondhand-equipped studio into a hit-making powerhouse demonstrated the importance of skill, vision, and an understanding of the artist’s needs. The success of Outlandos d’Amour was not only a turning point for The Police but also a testament to the fact that great music can be created without the bells and whistles of a major recording facility.
The studio’s association with The Police continued as they recorded their next two albums, Reggatta de Blanc and Zenyatta Mondatta, at Surrey Sound. However, Outlandos d’Amour remains the defining moment in the studio’s history – a debut album that defied the odds and launched one of the biggest bands in the world. Today, the legacy of Surrey Sound Studios lives on, reminding us that creativity, passion, and a bit of resourcefulness can lead to something truly extraordinary.
