May 12, 2009


In the ’60s, Mickie Most was one of the most successful producers in the world selling millions of records with The Animals, Herman’s Hermits, Lulu, The Nashville Teens, Jeff Beck, Hot Chocolate, and Donovan.

In 1964, on my first trip to London, Chas Chandler (The Animals bass player) introduced me to him. I was really excited to see one of the world’s top producers up close and in action. My chance came when he invited me to the background vocal overdubbing session for The Animal’s “Please Don’t Let Me Be Misunderstood”. Although he was unequaled in the studio, I believe that his greatest talent was his ability to pick hit songs.

mickie with phoneOver the years, Mickie and I became friends, he made me acutely aware of the importance of the song and helped hone my skills both as writer and publisher. Mickie always made sure that I was contacted every time he came to New York looking for material, which was flattering, considering that he never recorded any of my songs. Seeing him meant listening to his new product, which never failed to elicit hours of raves from me.

I remember when he came by my office at Scepter records and played Ed Silvers and me “Sunshine Superman” and “Mellow Yellow” by Donovan before he delivered the masters to Epic…you can imagine how blown away I was!

The last time I saw him was in 1980, when I was producing a single on myself as an artist for Chrysalis Music UK and had gone horribly over budget. He listened to my tracks and gave me $10,000 in free studio time at his RAK studios to finish it up. I couldn’t thank him enough, but my “chemically fueled” out of control ego wouldn’t allow me to complete the project…that’s when I came back to the U.S. broke and brokenhearted…and left the music business.

I’m glad to say I’ve learned from my mistakes. If I have any other regrets, it’s that I didn’t keep up a lot of relationships I made through the years. You don’t meet someone like Mickie very often, but when you do you should cherish them.


To learn more about Mickie Most


Copyright 2009 by Artie Wayne



  1. Mickey was indeed amazing, and a really nice and down-to earth guy (and the ONLY EMI-attached producer who did not contractually HAVE to work at Abbey Road Studios – a can of worms at that time!).

    Mind you, Mickey made the rest of us London producers miserable, because he had the absolute first grab/option on any new Don Kirshner/Screen Gems song/acetate that would arrive at the Screen Gems London office by pouch on Mondays (that means every new Goffin-King song etc.!!) You could hear grown men cry when Mickey would be in the studio the very next day with some of his “catches,” with DJ copies out by Friday, spinning on Radio London or Radio Caroline in hourly rotation by the weekend, and high up in the charts the following week…! But, hey – those WERE the days! 🙂


    Mark Wirtz

  2. Colleen Says:

    this is a nice tribute

  3. David Rosner Says:

    Hi Artie – I, too, thought the world of Mickie and played new songs for him during his visits. Had a fair-sized hit with him on Herman Hermits’ “This Door Swings Both Ways” (Estelle Levitt-Don Thomas) at April/Blackwood. Introduced him to Neil Diamond, and he had a big Lulu hit with Neil’s “The Boat That I Row” in the U.K. The record was flipped in the U.S., but Neil didn’t mind being on the B-side of “To Sir With Love”. Mickie was a terrific guy, sorely missed. —David

  4. Robin Miller Says:

    Great recollections Artie. I don’t think Mickie produced Kim Wilde’s Kids In America though – seem to recall the label credit went to her brother Ricki (Ricky).

    It was released on his RAK label though.


  5. Mark Says:

    Robin..acutally Mickie mixed it. I think allowing brother Ricky production credits was a wee bit generous 🙂

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