Rupert Hine

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Rupert Neville Hine (born September 21, 1947 in London - † June 4, 2020 ) was a British rock musician and music producer .

life and career

After an unsuccessful first single, which he recorded with David Robinson (later David MacIver ) in 1965, he achieved his first success with the album Pick Up a Bone , released in 1971 , in which Roger Glover was also involved as producer and bassist .

In 1973 he not only produced his second album Unfinished Picture on the express advice of Roger Glover himself, but also for the first time the album by another artist ( Yvonne Elliman ) and began his parallel career as a producer.

As a later producer of (inter alia) The Fixx , Saga , Rush , Howard Jones , Chris de Burgh and Tina Turner , he contributed in the background to the success and development of numerous other musicians and bands.

In 1975 he formed together with Trevor Morais (drums), John G. Perry (bass) and Mark Warner (guitar) the formation Quantum Jump with a jazz-rock sound. The title The Lone Ranger from the first album Quantum Jump became known , which was introduced in 1976 by DJ Tony Blackburn as Record of the Week on BBC Radio 1 , but was no longer allowed to be played because of its alleged allusions to drugs and homosexuality. The chart success came a few years later after Quantum Jump had long since disbanded: The Lone Ranger appeared in 1979 in a new mix, in which the name Taumatawhakatangihangakoauauotamateaturipukakapikimaungahoronukupokaiwhenuakitanatahu, which was known as the longest geographical name at the time, forms the intro. The single, an extraction from the remix album Mixing , reached number three in the UK charts and sold over half a million copies. According to Hine, he owed the success above all to Kenny Everett , who had used the intro repeatedly in his radio and TV programs in the years before, thus giving the title the necessary attention.

A completely new direction shows up in the solo work from 1981. Immunity was Rupert Hines most successful solo album. Hine turned to synth pop , the lyrics came from the poet Jeannette Obstoj , almost all of the lyrics of his later solo works were written by her.

After waving not drowning was no longer particularly successful commercially, Rupert Hine decided to start again with the Thinkman group . However, there has never been a band: the live performances were played by actors who played back music and played fictional musicians. The main theme of The Formula songs - mass media and manipulation - manifested itself in the project itself, so musically the albums of the Thinkman episode were also pure solo albums.

Hine was the producer of the world music album One World One Voice in 1990 . At the time of the Thinkman episode, the Underworld albums Underneath the Radar and Change the Weather were also produced. Conversely, in 1994, Underworld's Rick Smith and Karl Hyde co-produced The Deep End, Hine's last work.

Works

The following list includes Rupert Hine's own music. In addition, he has produced over 100 albums with various artists.

  • The Sound of Silence (single, 1965)
  • Pick up a bone (album, 1971)
  • Hamburgers (single, 1972)
  • Unfinished Picture (Album, 1973)
  • Quantum Jump ('Quantum Jump' album, 1975)
  • Barracuda ('Quantum Jump' album, 1977)
  • The Lone Ranger ('Quantum Jump' single, 1978)
  • Mixing ('Quantum Jump' album, 1979)
  • Immunity (album, 1981)
  • Waving Not Drowning (album, 1982)
  • The Wildest Wish To Fly (album, 1983)
  • Better Off Dead (Soundtrack, 1985)
  • The Formula ('Thinkman' album, 1986)
  • Life Is a Full Time Occupation ('Thinkman' album, 1988)
  • Hard Hat Zone ('Thinkman' album, 1990)
  • The Deep End (album, 1994)

Web links

Individual evidence

  1. Neville Farmer: Obituary. In: ruperthine.com. Retrieved June 7, 2020 .
  2. ^ Biographical data of Rupert Hine in: International Who's Who in Popular Music 2002. 4th edition. Europa Publications, London 2002, ISBN 1-85743-161-8 , p. 233.
  3. James Hogg, Robert Sellers: Hello, Darlings! The Authorized Biography of Kenny Everett. Random House, London 2013, chap. 21st