Scott Henderson September 1, 2015

Cover bands were the order of the day in the early ’70s, and if you weren’t willing to get up there and play four sets a night of Top-40 hits, you weren’t going to get any gigs.
“Then punk rock came along and it was okay to be a weirdo. It was encouraged to be a weirdo” says Scott.
Now instead of dreaming of rocking out with tight pants and feathered hair, kids saw a new way to vent all their aggressions. While still playing in cover bands, Henderson borrowed a friend’s Tascam 3340 machine to record at a practice space in central Saanich and started to get into four-track recording techniques.
“My friend, Malcolm Dew Jones, and I . . . bought a half-inch, four-track tape machine. It was the size of a bank vault and weighed about the same. We got a cheesy mixing board and some cheesy mics and I built this studio in the basement of my house at 306 Vancouver Street; a house I shared with a bunch of local punk rockers.” Notably, local speed punk legends, The Neos, recorded the vocals for their first record in that living room.
The first studio was short-lived and Henderson moved it to his new house that he shared with his girlfriend at the time. Hole In The Wall Studio (named for the hole in the wall) was located where Save-On Foods grocery store on Blanshard now stands, in an area previously known as the “banana belt.” He mainly set it up to record his own projects, but soon found he was always being asked to record other bands. And so it was that on Sept. 22, 1982, Henderson recorded The Neos.
Victoria’s fledgling punk-rock scene needed someone to document the music being created, and Henderson was just the guy to do it. Over the years, the location and name of the studio changed, but he was always there to record the bands.  After Hole In The Wall, Henderson moved his equipment downtown to the corner of Douglas and Johnson, upstairs from where Burger King now stands. This studio was called Clandestine Armaghetto and it was here that Henderson recorded Red Tide’s single “Kelp & Salal.”
The clandestine part came when the landlord told them there could be no noise before 6pm Monday to Thursday and 9pm on Fridays. Unfortunately, Henderson forgot to inform the Dayglo Abortions that when he allowed them to practice there one Friday evening at 6pm.
Next up was On The Corner, which was on the corner of Johnson and Pandora in the room that is now the front lounge of Backpacker’s Inn. This studio ran through ’84 and ’85. At some point in ’86, Henderson moved the studio in with Randy Stubbs and Dayglo Abortions’ members Jesus Bonehead and Spud, and upgraded to an eight-track machine.
Around 1988, Henderson moved into the home of former Monday writer James Kennedy, who had a basement full of lutes, harpsichords and hundreds of recorders.
“I called that [studio] Lutes and Flutes,” recalls Henderson with a chuckle. Next, Henderson and his girlfriend moved into their own place out on Shelbourne. The inevitable studio was called The Dollhouse, which ran from 1989-1993.
“Mission of Christ, Shutdown, a couple of Show Business Giants records and the first Hanson Brothers record were all done at Dollhouse,” he says.
Eventually, Henderson moved out to Colwood and the Sea Of Shit was born. “It was my first really pro recording studio, with a 24-track machine and digital multi-tracking. It was what everyone was using at the time, so Nomeansno recorded there, then took the tapes and mixed it in Vancouver.”
SOS became somewhat legendary throughout the ’90s and into the new millennium with a who’s who of Victoria punk rock laying down their songs.
In 2005, SOS was no more and Henderson was without a studio for the first time in a very long time. He spent a lot of his time doing live sound at Logan’s Pub (which he still does), until he and a couple of friends partnered up in 2007 to open Lap Of Luxury in Sooke. It is here where he continues to record both his own projects as well as any number of local musicians.
Thirty three years is a long time to be involved in something, but Henderson couldn’t be happier.
“The thing about music in a community like Victoria is that you make a lot of friends. It’s more like a big family, really.” Written by Ty Forslund for Monday Magazine 2012

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