Day, The Connells, The Specials, Blake Babies, Weezer, Yo La Tengo, Evan Dando, Warren Zevon, Dirt Merchants, Fat Tuesday Toys Went Berserk, The Shods, Spore, Blameless, Uncle Tupelo, Morphine (band) and many more. Check out "The Bridge - A Tribute To Neil Young" for Fort recordings of The Pixies and Dinosaur Jr. Affiliated Producers Producers affiliated with the studio in the 1980s and 1990s included Lou Giordano, studio manager Gary Smith, Sean Slade, Paul Q Kolderie,Tim O'Heir. and Matt Bayles. Smith brought the Pixies to Fort Apache to record their legendary 1987 demos later known as The Purple Tape and also produced several of Throwing Muses' 1980s albums there. Smith became a co-owner of the studio when it was moved to its 24-track Cambridge facilities in 1988. Eventually, in the 1990s, Harvard sold his ownership interests in the studio to partners Smith and Billy Bragg and departed. Fort Apache also hosted a recording label in partnership with MCA Records in the mid-1990s. History By Location Norfolk Avenue 1985 to 1987 Smith brought the Pixies in to record their 1987 demos Pixies (EP) later known as The Purple Tape. Smith also produced several of Throwing Muses' albums. Camp Street 1987 to 2003 The Camp Street location was above the Rounder Records warehouse and offices on Camp Street in Cambridge, Massachusetts. Records made in this location include Hole's Live Through This (1994), Radiohead's Pablo Honey (1993), Radiohead's The Bends (1995), Dinosaur Jr.s Green Mind, Fat Tuesday's Everybody's Got One and Buffalo Tom's Let Me Come Over (1992). Camp Street 2003 to 2010 Grammy-winning producer Paul Kolderie continued to operate this studio under the Business Name "Camp Street." His most recent works include the 2014 Grammy-Nominated DELLA MAE record, the first new record in a decade by The Dismemberment Plan , as well as new records from Speedy Ortiz, Mike Gordon, Mark Mulcahy, and Yellow Ostrich. Edmunds Street 1995 to 2003 The second location was opened in 1995 was a short walk across Mass Ave to Edmunds Street. The Edmunds street location used the same architectural plans as the Camp Street locations so that mixes could be worked on in both places. The Edmunds Street location featured a performance studio with a stage and 18' high ceilings. This improved space made it possible to record huge drum sounds like those heard on Oceanic. The Edmunds Street studio also opened the opportunity to host