Eight Seconds keyboardist made mark as producer
Eight Seconds, one of Ottawa’s best-known bands of the 1980s, lost its keyboard mastermind when Frank Levin died in China late last year. He was 55.
Levin had been living in Shanghai for about 10 years pursuing business opportunities, said his friend and former bandmate Andres del Castillo, who travelled to China to bring Levin’s ashes home to Ottawa. Del Castillo wrote about the journey in a poignant essay posted to social media.
In a recent interview, del Castillo recalls his friend as a fun-loving, adventure seeker with “crazy raw talent” and a natural instinct for music. Levin was also a brilliant producer, one of the first in Ottawa to use MIDI, or musical instrument digital interface, in his Fishtank studio. The ’80s-devised technology streamlined the studio recording process.
“It’s been around forever now, but Frank was one of the pioneers locally,” said Del Castillo. “That allowed him to work with a lot of clients who didn’t necessarily have the money to go into the studio and hire musicians. MIDI allowed him to orchestra someone’s music to give it that bigger-than-life feel. Frank was all about that — music should be bigger than life.”
Del Castillo first met Levin through the Ottawa music scene; both men played in cover bands. They decided to get together and see if they could come up with some original material. They entered the 1983 ShareCHEZ bestband contest, sponsored by Ottawa radio station CHEZ-FM, and one of their first songs, Where’s Bula?, won.
Through their newly forged radio-station connections, the music was heard by the illustrious English producer Rupert Hine, known for his success with artists such as Chris de Burgh, Saga, the Fixx and, later, Tina Turner.
“We were a band that couldn’t get a Canadian record deal because we were keyboard-oriented and Canadian labels were looking for the next Loverboy or Bryan Adams,” said del Castillo, who was Eight Seconds’ singer. “But once Rupert got involved, the international labels came calling. And the reason Rupert became interested was because he was a keyboard guy, and he recognized Frank’s aptitude and his natural talent for MIDI and creating new sounds.”
Hine produced their 1986 fulllength debut, Almacantar, which yielded the radio hit, Kiss You (When It’s Dangerous) and earned them a 1987 Juno award nomination as most promising new group. A second album, Big Houses, was recorded but didn’t come out until 1990, by which time they were embroiled
MIDI allowed him to orchestra someone’s music to give it that bigger-than-life feel. Frank was all about that.
in a management dispute and their label deal fell apart.
Still, the heyday of touring and performing was a “tremendous” time, says del Castillo. “It’s the best thing in the world. You become more than brothers because you’re constantly with each other. Of all the time we spent on the road, I don’t ever remember a raised voice in anger. We just had fun, and Frank, in particular, was the ringleader of fun.”
After the band dissolved, Levin became a sought-after producer who would work with any artist, regardless of style. He worked with pop acts, including Alanis Morissette in her early years, and One to One, as well as rockers like Mr. Bones, Persona, Batstone and many more. “You couldn’t box him in, in terms of music,” said del Castillo.