Sad to learn this. Have been on a Rupert kick for the past few years, a very impressive legacy and body of work. Rupert was always very much searching and pushing boundaries at a young age. He teamed up with some interesting musicians for his first album Pick Up A Bone, Simon Jeffs (later Penguin Cafe Orchestra founder) being one the more important. Other notable names being Paul Buckmaster and Peter Robinson, both musicians with some very interesting sessions to their credit. Hine's first album already remarkably displays a rather eclectic mix of disparate styles, and eccentricities in subject manner and vocals. I especially like the song Landscape. It's a lush album with great production and engineering from John Punter. Unfinished Picture his next LP was even stranger and no doubt sold few copies. An album that sounds very promising on paper but is unfortunately not especially successful. Many of the same impressive collaborators are back including Ray Cooper, Mike Giles and Steve Nye. Cryptic subject matter, textural experimentation and silliness abound. Amazing that Rupert was given such artistic freedom, budget and access to top musicians to produce two very uncommercial records at the start of his career. He must have had some good industry connections, or very good luck. The second Quantum Jump record Barracuda is a favourite of his earlier work. The first and more popular Quantum Jump is somewhat dated and over reliant on funk cliches for me. Unlike me Hine does prefer the homogeneous sound of the first LP. The familiar and stellar cast of musicians return with an expanded Penguin Cafe Orchestra, Geoffrey Richardson and Henry Lowther! Barracuda is very strange and cinematic with themes of paranoia and escapism. His important lyrical collaborator Jeanette Obstoj makes her first appearance here. If you like adventurous art rock music this is very much worth hearing. Another record from this period worth highlighting is Murry Head's third album Between Us. Rupert produces and basically brings his people to play on the record and sounds at times like a record he might have made. There are a few stand out songs on this record, Los Angles, Mademoiselle and Sorry, I love you are beautifully produced and written. Jumping ahead to 1981 Immunity is Rupert's first moderate commercial success. A very influential record that many took notice of, Rush among them. The detail, craft and ideas are still dazzling all these years later. The synth programming is spectacularly great and still betters much of what has come since. More paranoia and unconventional subject matter. Also in 1981 Hine produced Saga's Worlds Apart. A record I grew up with and still very much like. Hine helped Saga sell a whole pile of records in Germany and elsewhere. No doubt he was attracted to the synth heavy sound of the band. Great guitar, drum and synth sounds abound alongside a very good collection of modern accessible FM pomp rock. Michael Sadler recalls Hine insisting that he sing from the high and slightly dangerous perch of the studio rafters to get the right amount of fear in his vocal. The follow up Heads Or Tails also produced by Hine is worth hearing too. What a strange and wonderful career. Rupert was probably one of the early "ideas" type of musicians, like a Brian Eno. Not a great singer or instrumentalist, wrote very unconventional songs while producing/collaborating at the same time, and had great success spanning three decades. Have been meaning to start a Hine type thread and suppose this is a good time to talk about Rupert. Hoping I can learn more about his early days and keep this thread going for some time.