So, picture this: a wildly successful music producer, credited with generating hundreds of millions of dollars for the record company through collaborations with Madonna, is asked, how can we repay you? In the case of Patrick Leonard, his response was to seek funding for his own project, thus giving birth to the remarkable Toy Matinee endeavor.
Having previously crafted highly successful albums for Madonna, widely regarded as some of her best work, Leonard found inspiration in Kevin Gilbert after witnessing his performance at the Yamaha Band Contest, where Leonard served as a judge. Impressed by Gilbert’s musical talents, both Leonard and Gilbert shared a common aspiration to create music that held genuine substance, both in terms of lyrics and musicality.
Kevin Gilbert, much like Patrick Leonard, was a musical virtuoso, displaying proficiency in multiple instruments and possessing innate musical talent. Tragically, his life ended prematurely in a manner befitting the rock and roll lifestyle. During his brief time on Earth, Gilbert not only played a pivotal role in crafting Toy Matinee’s exceptional album but also collaborated in co-writing songs for Sheryl Crow’s debut album, Tuesday Night Music Club contributing to eight of the album’s tracks.
Kevin Gilbert also had a notable solo career, with his album Thud showcasing standout tracks like Goodness Gracious, Joytown, and The Tears of Audrey, among others. Additionally, he released an EP consisting of five songs, including a phenomenal rendition of Led Zeppelin’s Kashmir – a must-listen for its exceptional arrangement.
The 1990 self-titled album by Toy Matinee consistently receives acclaim for its musical excellence, by those who are aware of its existence. The band skilfully amalgamated pop, rock, and progressive elements in their music. Renowned for its intricate arrangements, catchy melodies, and Kevin Gilbert’s impressive vocals, the album reached new heights.
To enhance the musical tapestry, Tim Pierce assumed guitar duties, Guy Pratt handled the bass, and Brian MacLeod took charge of the drums. In general, the Toy Matinee album stands as a tour de force of unadulterated musical talent, a quality that, unfortunately, seems to be lacking in today’s music.
Brilliant songs like Last Plane Out and Turn It on Salvador showcase the band’s musical diversity, while tracks like The Ballad of Jenny Ledge demonstrate Gilbert’s songwriting prowess. At times they do go deep in terms of subject matter, such as the rather dark There Was a Little Boy. The production quality is also noteworthy, thanks to Patrick Leonard’s production skills, and his choice of Bill Bottrell to man the desk.
Overall, Toy Matinee’s 1990 album is considered a gem by many music enthusiasts, and its musical brilliance continues to be appreciated by new fans as they discover this little-known gem. Unfortunately, there is next to nothing to be found anywhere on how the recording or mixing of this album was done. It was recorded at Johnny Yuma Recording, which was actually Patrick Leonard’s home studio. Likewise for the mixing, liner notes say it was mixed at Smoketree Ranch, and nothing can be found on this place.
Johnny Yuma Recording featured 48 tracks of analogue recording, and I would assume it was two Studer A827 machines synchronised to provide the 48 tracks of recording. Dolby SR noise reduction system was used to keep tape noise to a minimum. A Neve 8068 console formed the heart of the studio. Patrick Leonard was a fan of the DBX 160 compressor and the LA-2A and LA-4 compressors. I think it is safe to assume their use throughout the recording and mixing of Toy Matinee.
So, if you have any information on this brilliant albums production, please let us know!
