Rupert Hine, Synth-Pop Music Producer, Dies at 72

Rupert Hine, a prolific English producer and songwriter who thrived within the synth-pop heyday of the 1980s making hits with Tina Turner, the Fixx and Howard Jones, died on June four at his residence in Wiltshire, England. He was 72.

The dying was confirmed on his web site. His spouse, Fay Morgan Hine, stated he had quadruple bypass surgical procedure in 2010 and discovered he had renal most cancers in 2011.

Mr. Hine started his recording profession in 1965 and made six albums below his personal title from 1971 to 1994, in addition to albums with a bunch he began, Quantum Jump, within the 1970s.

But he was higher often called a hit-making producer. He produced the Grammy-winning Tina Turner hit “Better Be Good to Me” and different songs for her within the 1980s, and he produced the most important hits by the Fixx, Howard Jones and Duncan Sheik. He additionally made albums with Stevie Nicks, Rush, Suzanne Vega and Underworld, and produced all-star tasks devoted to environmental consciousness and to human rights in Tibet.

Mr. Hine began producing albums in the 1970s, notably for the progressive rockers Kevin Ayers, Anthony Phillips and the band Camel. His own songs leaned toward the atypical structures and cerebral concepts of progressive rock.

The ways his production melded acoustic and synthetic sounds aligned with pop’s embrace of new wave and synth-pop in the 1980s. He often played keyboards and synthesizers in his own productions. As electronic instruments emerged, he was a founding member of the International MIDI Association, which standardized the MIDI (Musical Instrument Digital Interface) specifications that make most synthesizers interoperable.

Mr. Hine produced two albums by Howard Jones, including the million-selling “Dream Into Action,” and the first four albums by the Fixx, among them “Reach the Beach” in 1983, with the hit “One Thing Leads to Another.”

He also produced songs for Tina Turner’s three multimillion-selling 1980s studio albums, including “Better Be Good to Me” and the title song for her 1986 album, “Break Every Rule,” which he co-wrote. He produced two albums for Rush — “Presto” in 1989 and “Roll the Bones” in 1991 — and produced Stevie Nicks’s million-selling “The Other Side of the Mirror” in 1989.

Mr. Hine resumed his solo career in the early 1980s, writing songs with lyrics by Jeannette-Thérèse Obstoj and releasing three albums under his own name, each gleaming with electronic sounds. Anticipating a backlash from the music press against a hit-making producer, he billed himself as a fictitious band, Thinkman, singing about subverting the media. He played nearly all of the instruments on Thinkman albums released in 1985, 1986 and 1990. Actors portrayed band members for photos and television appearances.

Mr. Hine went on to produce Duncan Sheik’s 1996 debut album, “Duncan Sheik,” which included the hit “Barely Breathing.” He made his final album as a songwriter under his own name, titled “The Deep End,” in 1994, working with members of Underworld and the Fixx.

He continued producing in the 2000s, including albums for Ms. Vega, Geoffrey Oryema and Teitur as well as another politically conscious project, “Songs for Tibet: The Art of Peace” (2008), with songs from Sting, Alanis Morissette, Dave Matthews and John Mayer. A follow-up, “Songs for Tibet II” (2015), had songs from Lorde, Kate Bush and Peter Gabriel.

In addition to Ms. Morgan Hine, whom he married in 2015, Mr. Hine is survived by a son from a previous marriage, Kingsley Hine; his stepchildren Amy Armstrong and Sam Armstrong; and a sister, Julie Juniper.

Mr. Hine worked to nurture songwriters in recent years. He was a board member of the Ivors Academy, formerly the British Association of Songwriters Composers and Arrangers. He ran a publishing company, Auditorius, as a joint venture with BMG. And with the technology writer Alan Graham, he started the company One-Click Licence, creating an app to streamline music licensing.

Unlike some producers, Mr. Hine didn’t set out to impose a signature sound. “What is this artist trying to say?” he said in a 2019 YouTube interview with Cherry Red Records. “With each individual song, how is he wanting to change the way the audience feels four minutes later?”

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