Transcontinental studios,I was th first one to call it "Transcon" Louis Pearlmann's paper empire.It was fantastic,I loved it I blew the fucking doors off of it.He gave me an astounding recording enginTraeer,Micheal Tucker.Two session musicians..Chris Valentino on drums and percussion and Doug Matthews on bass.This studio was the bomb!It dripped of finery.They did not want to allow me to record there.The studio was built for "The Backstreet Boys" and it was that group that gave permission for me to come in and rock that joint.Louis pearlman left it up to The Backstreet Boys and they said okay.This was all before Nsync punk sissies,The Backstreet Boys were for real.AJ Mclean showed up to watch the session and shot pool with my son who taught him how to do armpit farts.I did not have a chance to meet him and wish I could have but I was tearing that studio to pieces with Chris and Doug.The recording engineer was Micheal Tucker,the number one choice for Jive records in NYC.Flat out genius-a brilliant young man and it was fully understood by all parties that I was coming in to push that very fine studio to it's limits.Again at that time that studio existed exclusively for The Backstreet Boys only,it was their private studio,Nsync did not exist and The Backstreet Boys were number one on the charts.Nsync were such phonies,The Backstreet Boys were for real.An empire was built upon their backs.I had to fill out 26 forms to get into that studio.The ok to go in was finally given by The Backstreet Boys,I was the first outside artist to record there.At the time I was recording at Morrisound in tpa which was still superior to that but I had a fun fun time at Transcon.You can tell that by the great song I got out of it.I did not go with a band,I had orlando studio guys so I traveled in with the film crew.That was another ten pages of documents to fill out to bring them in.After all of this initial process we were treated with great respect.Mr.Pearlman's private chef took our order to prepare our food.The film crew flipped out as they expected the taco wagon.It is such a shame that Mr. Pearlman chose the wrong way to go.This was all such a good thing.so ah...poppy as it were.Orlando in itself,well this town is all about Mickey Mouse which is cool,I like Mickey,yet in the meantime back at my main studio,Morissound they were getting a big kick out of this and expected a full report of my adventure.Which was technically in terms of state of the art equipment transcon is fully up to speed,this was prior to pro-tools,the recordings were done analog on a skully "21/2" Yet the studio was built into a shopping center complex and thus the acoustic design was subject to question.Not the equipment though-all of that was a first class state of the art ride.And all of the staff were totally professional,first class also.My two session guys Chris Valentino and Doug Matthews were excellent.Though what I was doing was not their normal type of call they rose to the occaison,tight and powerful they rocked.They came through in every way as well as any top LA session crew.We met on this day and did this tune together.Sounding as though we had been playing together for years and years.My film crew,my hangout buddies,they stepped in and got it all.The major question I left with is why the sliding glass door between the rhythm section room and the vocalist?Considering the normal pussy ass shit they do here?The recording engineer,Micheal Tucker,a stone and proven pro,very young-under 25 at this time.Multiple millions in sales to his credit,in demand all of the time,to do again real waffely pussy ass shit music,pop shit.I came in to do some hard rock and he did not bat an eye.He understood what we were doing,and we were pushing it all the way and was a gas to work with.He nailed the EQ on the drums in 25 minutes and we just blew man.Oh wow,it was so loud and hard.He was so cool with it and so pro.He was getting off on it big time.very focused.Most of his work is this mundane pop shit.He commands large fees to do that yet you dig what I am saying "todays project is the Mariah Carey/Justin Bieber duet,oh be still my beating heart-what an intense load of shit that project is destined to be.I think that Mariah is a great singer,I would love to hear her rock out just once.She is so overproduced all of the time,her version of Diana Ross's "Do you know" is so oversung,just God awful.And as I said she is a marvelous vocalist, why does she only sing all of this stupid shit?So pair her with Justin Bieber for a really safe sound.What a waste,get her together with Kid Rock so she can get loose for once in her life.She is such a gifted singer who always get such crappy songs to sing.Well not "Do you Know" but her version of that song is so lame.Oversung,if you are working a tune with a great melody work the melody,that will carry you just fine.Perhaps she needs to write a song about her life and sing it.Maybe hang out with Linda Rondstat and Joni mitchell and discover how to portray an actual emotion in a song.Justin Bieber,well a part of showbiz is that there are always going to be these waffley guys with a hairstyle.I cannot imagine any young american guy who is into Justin Bieber,If you are contact me and I will buy you a Justin Bieber lunchbox of your very own for you to take to school everyday you little pussy.