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i-, sai'r)l'-ry behalf , tlrat l'rrr real good a1 L.--"pir-rg rly objectivity. I rnean, we will
re:orcl things sontetirnes in the stuclio and
r,v: r.vill be in certain conditions and Danny will say. Oh, this is shit, rnan! "Ancr l' r say. \o. Fenemoer we

liked it when we started it? "Because sorttetirrres we'll work on
these sonqs or ayear. We'llwork on bits and pieces and by the time we finish the album, we've heard the darnn thing 500 tirnes. And it's very lrard to keell your enthusiasrn and objectivily after you've heard a track that many times. There's the other argument that says you shouid make Fast Art. That You shou d write
f

everything out beforehand, go in and record ;t and get "ll thaL nice s;torLaneity. That's f ine for sorne lleople but it's not what I do. Sorne of the tracks we recorded quicklV but, by and large, we build tlrese things over a period of trrne. I rrake Slow Art. {laughs)" So Kootch shows dif{erent sides of hrs lrersonality, whereas Don is the r-n ore constarlt one?

tri-producer, takes care of the tech-i-a, sprq peerinq side of thirgs. One of the rnost successful sides of the new albunr is the wav that they have usecl tl^e rew cor-r)uter and synthesiser tecr rnolooy rvlrile re'raining true to their musical values. Don welcomes new
as being

'

"l would sav so. And I think Danny would agrce with tne. And Ladanyi is sort of therc in the rniddle too. There's the three of us basicallV. lt's a sort of
tea|n."
Greg Ladanyi is lhe one who as wel
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teclrniques alr.rost with open arms. ln fact what is lrrobalr'y rhe rrost ;nportant instrumtn t To Fr'-rergtr over the past couple of years, seerns to have become alrnost as dear to Don as his drums, as he ex-

pla'ned

Lo r^e.

"sorrreLir' es we'll buy a new toy and be inspirecl to write a new song. That's the way Building The Perfect Eeasf was written. We bought Yarnaha DX7 synth whcn they canre out and we were plunking around and saying: This is neat!

Listcn to tlrisl"

,OH YEAH, WE TRY AND KEEP THE HUMAN WARMTH .. .'
ln f act it sounds like tlre three of therrr have had a fie d day getting to know all the rrew eqr,tiprnerrt that is l:ursting upon the nrusic scene. lt sounds as lf they werd rrore like kids ror-tnd a Christrnas tree than nratLrre nren at a recording session

"A rrew piece of equiprnent like that will inspire you to write a new song. So if you have to 1:lorrk down two or three
thar pays for itself." lf Vou thought that Don would run

with the DX7.

thousanc-l bucks for an instrurnent, if you qet a ne\r'/ song put out of it, tt rnore

away f rorn a drutn rnachine and bury his hcacl n the California sand, you'd be

wrong again. "Arrd the drurr rrachines of course, there's the brand new one that washes tl-re car and feeds the doq. The Linn 9000 tt's called. lt will also prograrn key' boards and sequence everything. And you rnake your own chitls and rnsert your own drurn sounds.

And nranufacturers are always

eager

for Don to

harie the latest ulldated equip-

|rent? "Yeah. We also work closely with
Toto-Grec1 enqineers, Toto as well - and theV get everything first. All the cotnpanies that nrake this shit rrake sure Toto qet it because they know how to use it. I rrean, they've got a couple of wizards

in that band that can do anything with anVthinq. I cor-rldn't rnake an alburn without a couple of those guys, I dorr't think. They really helped rre a great deal. Steve Porcaro the syntlresiser guy and a coLrple of their roadies do a lot of our llrograrrnring, sequencirrg arrd things like that. They are great guys. They bring a lot of enthrrsiasrn when they corne arrcl they're so busy. They were helpirrgl rne , doing their own allturr and doing the soundtrack for the Dune novte."
Don and Co. also llot heavilV into that other bustlinir area o{ technical

clevelol)nent, cligital de de-de delay lines,
as he explain-.d

to

rtre.

"Then we used the British AMS echo units. We got rather carricd away with those, we'd use four or five at a tirrle. You know cnclitreers l've found this
MUSIC U.K,

with Szvmczyk and Ladanyi - you have to back lem down a little because they

want to put their stamp on there too, so thev get a little gizmo'd out by the end of an album. You have to saY: Come onl Back that down a little, we've got to let the music come through here."

it. So Kootch said: Let me try this thing? l've just bought it. "When you get a chance to_listen to Sunset Grill - the iazz kind o+ Lh,ag-

It is understandable with so much happening in the technology, they want to try it all out in the f ield. "But," said Don with a laugh, "not aL nV expense. I have 'nixed emotions about all this technology. I think it can be good and bad depending on how it is
used, as with any technology."

it's got eve;ything in the world there. Thai's the kind of piece de resistance on this album. lt's got everything except the kilchen sink. I f inally got Randy Newman :to come and pay me back for some of the work l'd done on his albums. i did backihg vocals on three or four of his albums. I sang on Red'
necks and Christmas tn CaPetown. Anyway, he arranged the synthesiser strinqs for Sunset Grill. Randv Newman must rate as one of the last of the gate eccentr jcs. His mu sic co'nes across as being very genline

thing. Ben Tench .- from Torn Petty and the Heartbreakers did a little bit of synth on it. lt's got real horns - a brass section on the tag. lt's qot the drum machine and all kinds of sLuff. But I really like the synth arrangement that Randy d id. " "lt's great- That's the most fun for
rne doing a solo album, having all these incredible musicians ar my disposal and I arr sort of sat rp there like a movie director and cast people in certain roles. I called up a lot of people I didn't know from Adam for Lhis album and I was delighted with tl-'e respolse. Everybody from nerrrcomers to veterans. There's a

But I could still hear Don plaVing real drurns on the album. "Oh yeah, we trV to keep the human warmth. I think we've succeeded with this alburn, even with all the technology that is on Side 2, at keeping some sdrt of warrnth. What we do usually - if we use a drum machine - is l'll qo out and overdub snare, mavbe sor-ne toms or bass drum on top of that - which drives rne insane, because playing in tirne with a machine is very difficult to do. lt flams if you're not right on the beat. But usually l'll go out and overdub real drums and we mix things. "Kootch bought one of those new Roland 707 guitar synthesisers, which are not exactly perfected yet but we got some great use out of that. on the track Sunset Grill , Koorch did an amazing job on that with the solos. Those are not horns, that's a guitar. We got two of the best trombone players in America in the studio and they just couldn't cut

kid called Charlie Sexton on Man With

"He's quite a character. (laughs).

A Mission

Yeah, he is genuinely c'aly, eccenLric and neurotic. But he's a nice guy underneath ailthat. You can tell by his music he's very serlous. So anyway, I got him

down there to arrange this thing and got the synthesiser guy he uses named Mike Boddicker - he does quite a bit of work around LA - and he came down and did about 1 2,000 dollars worth of overdubs on it. When I got the bill went; Jesus Christl" ls it the same as in Britain, session musicians get an extra session fee for each addltional overdub? "sometimes. But basically it was just time, searching for the right sounds and things like that. There are a couple of those guys in L.A., You hire them and they bring dcwn this glant bank of stuff into the studio and it looks like the inside of a 747 cockPit or someI I

up on Side One - he's just s;x Leen years old and he's the lastest Guitar Wiz from Austln, Texas. He's a great kid, he's got both his feet on the ground and l'm going to try and write some with hirn. "There's Patty Smyth who is the vocalist in a new group happen,ng in United States called Scandal. She's an incredibly good vocalist. She grew up on the streets of New York. Her mother ran several nightclubs when she r,nras a kid so she got to see it all happen. called her up, I didn't knowher, because l'd seen her on MTV and thought she was an incredlble singer. I f igured she'd say. Bug off you old fart! don't want to work with you She said she'd love to and I said: You do? You would? She said: Yeah, are you kidding? used to go around singing Witchy Women
I I ! I

-

the sort of Rockabilly rave

whenlwasfifteen."

GELF ELECTRONICS LIMITED Unit 11a Home Farm Industry, Sherrvood flrive, Bletchley, Milton Keynes MK3 6BE Telephone: Milton Keynes (O9O8) 77503
April 1985
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