Post by rockinronnie on Feb 28, 2014 21:07:03 GMT
Precious Pup
Member
Member # 14582
7 August 2008
The basic tracks for J.S. and pretty much the foundation for N.T.L. we did during the same recording period at Windmill Lane, Dublin.
It was always the intention to lay the basics for more than one album at this time not a question that we had studio time left over. Can't imagine that happening!
We finished dubs and mixing of what became J.S. first and went back to work on the tracks that became N.T.L. at a later point. There was never any running order for a double album discussed between the Band and myself. It was intended to be two different albums and certainly from your comments it came across that way.
Precious Pup
Member
Member # 14582
8 August 2008
Good Morning from Nashville, Tennessee.
Thank you all for your warm welcome to the forum I was not expecting such a response.
Let me first say that I became a fan of S.Q. at the time of P.O.M.M. and never imagined in my wildest dreams that I would work with them for so many albums. (3 with Pip and 2 on my own).
I’d like to start by giving a little background on how Pip and I started together before we worked on the R.A.O.T.W. album.
In the early 70’s I was an engineer at The Marquee Studios, London and worked on a session that Pip was doing the arrangements and playing guitar on.
We got on really well together and subsequently I began to work as engineer with Pip on most of his early Productions.
One of the albums we did together was with Graham Bonnet. I had previously worked with Graham when he was signed to DJM Records and was very enthusiastic when this opportunity came up.
G.B. at the time was managed by Quarry Management who also managed S.Q. so that’s how it began.
IMO Pip is a great Producer, gifted arranger and guitar player. Add to this his down to earth personality and generosity I can honestly say it was brilliant to work alongside him in these early years. There are certainly things I’m sure we would both wish to change on R.A.O.T.W. but despite all it was a very successful album sales wise and brought in many new fans.
Our last project together that I started but did not continue was The Long Distance Voyager album with The Moody Blues.
Shortly after beginning this album my manager Simon White had been approached by S.Q.s management with an offer for me to Co Produce with the Band the next couple of S.Q. Albums. At first it was not an easy decision to leave the T. M.B. project until David Walker (Pips manager at the time) arrived at the studio one day and gave me a right bollocking about business matters. After this incident there was no way I wanted to have any involvement with him and I left the project and accepted the offer to work with S.Q. on what became the J.S. and N.T.L. albums.
It was a certainly not the best way to end my working relationship with Pip as we had spent many hours together and became a great team but relations with D.W. had really soured.
From this point on I became a Producer in my own right. For those of you that are interested in other albums I’ve worked on I’ve been putting together a site at www.johneden.us
Now having said all that for those of you still with me I’ll try to answer some of the questions raised with regard to J.S. and N.T.L.
For Aldo:
“Don’t Drive My Car” –Brilliant track I think everyone put in 110% on this one. It was a special moment when this made it to tape. All pretty live with very few o/dubs. Richard’s vocal sat well on this and a great solo from Francis.
“Wild Ones” and “Name of the Game” – We probably spent more time on these two tracks than others on J.S. and so glad to read your comments.
For Blues and Rhythm:
Alan - I’ve had no contact with since N.T.L.
Richard - Shortly after N.T.L. we produced a single for Marietta but no contact since.
John - In 1984 I Produced the Partners in Crime album “Organised Crime”. I was brought in by Muff Winwood Head of A&R at CBS. A year earlier I’d worked with Muff on The After The Fire single ”Der Kommisar” which became a top 5 US Hit so I think the hope was the magic would work again! This was the last time I saw John.
Francis – Seen him a couple of times since NTL, occasional chat on the phone and email.
I’ve lived in the States now collectively for 16 years so not quite the same as when I was in England for keeping in touch.
My personal views on Just Supposin’ and Never Too Late:
In essence I think J.S. came out a pretty good album with all the right elements to satisfy all. With N.T.L. we did not come out of Windmill Lane Studios with enough material. We did record additional songs but the board used did not have enough headroom and I think sonically a couple of tracks suffered..
I’m always happy to talk about any technical issues, mics, consoles studios etc. for any of the recordings.
So that’s about it from “Old Precious Pup” think I’ve gone on far too long!
copperhead
Member
Member # 9815
8 August 2008
Hi John.
Really great and enjoyable to read your recollections and what you`ve been up to.
When I listen to Just Supposin` I think that this album might have the strongest and best vocal performances of all Quo albums. It seems there are quite a few vocal overdubs on songs like The Wild Ones and What you`re Proposing,am I right?
I've also always thought that Bernie Frosts backing vocals added an even more nasal trademark to Francis`voice. Any comments or recollections on this?
Cheers
Vemund Moss
www.herculesband.com
Precious Pup
Member
Member # 14582
9 August 2008
Hello Vemund in Norway:
Thank you for your positive comments. Francis lead vocals were double tracked. Bernie certainly complimented well Francis's vocal character on the top parts. Used AKG414 mic with 1176 for limiting most of the time. Physical balance between them on mic. Very little Eq. I never thought we did a huge amount of vocal overdubs on this album just kept it to what was needed for the songs. Everything was recorded 24 track analogue, no locking multiple machines and certainly no pro tools at this time to go to "infinity and beyond".
Diesel
Member
Member # 5177
8 August 2008
John, fascinating read. If only the bands' reminisces were as soberly insightful, as well as the drugs etc recollections.
One thing I'd ask is fr recollections on the production of Over The Edge. It's my view it's possibly the best Quo have ever been on record but as Quoling says, it's a shame they never managed to make it as meaty or fullsounding on stage as that album version.
Can you just recount your memories of recording it, please?
Precious Pup
Member
Member # 14582
10 August 2008
Hello Diesel, Wow thats quite something for you to say "best Quo have ever been on record", made be crank up the old dat machine and give it a listen again. Don't really have any stage reference's to go on to make a comparison as you do. I had a couple of room mics on John's drums so that helped with the live sound of the track plus any other amp spill they brought in. I used a multi delay effect on Alan's Vocal and fed Johns tom tom fils into the same delay. Can't remember if I used a digital delay or 1/4" tape machine on varispeed to get the timing of the delay.
RADIO QUO
Member
Member # 11898
8 August 2008
Rock Family trees!!...and the connections between Bands, Producers/Engineers and Managers over the years, eh?
Thanks for the further information.
Perhaps difficult to comment on past business relationships....so would just be interested to know your feelings about Quo's branching out and diversifying their material (more than previously) after 1985....and if you feel it was the right way to go for the Band?...
...and I have been in Bands in the studio....but think some fans on here may be interested to know what are the specific roles of the Producer and Engineer?..and how they differ or have similarities.....and how this relates to your work with Quo?
Precious Pup
Member
Member # 14582
10 August 2008
Good Evening Radio Quo: I don't have any feelings I can give on this time. I was out of the S.Q. loop. For most of this period I was Producing albums in Montreal and California plus building a residential recording studio in Suffolk.
Your 2nd one is a really great question and I could go on quite a bit about this (as I’m writing I’m thinking it’s a real pity Pip W. isn’t here he could really add to this and makes this a great string). Hopefully he’ll come back and be appreciated in the same way I’ve been responded to so far.
Anyway here goes:
The Producers role can be pretty wide ranging but will entail many of the following: song selection, supervising the recording sessions, guiding the artist through the process, budgeting, booking studio time, musicians and arrangers, mixing and mastering.
The Engineers role is capturing the artists performance and taking direction from the Producer as to how he or she envisages the recorded sound should go onto tape (oops sorry showing my age now) - hard disk as accurately as possible. Making the right choice of microphones, positioning, and separation of instruments is key to all of this.
In both roles having great patience and a degree in Psychology can be most helpful!
quolion
Member
Member # 119
8 August 2008
Great read John!
Here a couple of questions:
1) what's the story behind the song A.B. Blues, the b-side to WHAT YOU'RE PROPOSIN'?
2) Francis sung all the tracks on NEVER TOO LATE. Was this a band decision or forced by the Record Company/Management?
3) What's your favourite track on JS and NTL?
4) You "only" co-produced both albums. Which band member was more involved in the production. [My guess is Francis :-) ]
5) Did you listen to QUO's latest album IN SEARCH OF THE FOURTH CHORD, produced by Pip after a break of nearly 12 years?
Many thanks John,
keep on quoin'
Precious Pup
Member
Member # 14582
10 August 2008
1) I recall several reasons this came about:
Seemed like a good idea to have the band jam and see what came up. It did not use up an album track and offered the fans a track that wasn’t on the vinyl album (Although I realize it became part of the CD reissue later on). It solved any issue about who had the “B” side writer/publisher split as everyone had equal credit.
2) I was not involved directly with the label on this album. S.Q. hired me and management dealt with all label communication. I think any label input was relayed through management directly to band members. I did start to work with Alan on a lead vocal (just the two of us) one day but that’s as far as it got. It just turned out that Francis sung lead on this album be it due to the Bands, mine, label or management input its hard for me to pin this down with a very definitive answer.
3) What You’re Proposin’, but Don’t Drive My Car is pretty close
Never Too Late
4) Well you answered this question…. But here’s a little more.
At tracking stage it was a combined effort but as dubs progressed I worked with Francis the most. When Richard was on top form it was really great from him and Andy to. Alan always pulled towards not forgetting old Quo. If John was into the song then all the Quo magic was complete. However it didn't always happen that easy.
Also worth a mention that Francis and I worked with another Band “Flying Squad” signed to CBS after RAOTW. Francis wore the Producer badge and me the Engineer. We recorded this at Wissleloord Studios in Hilversum and this experience had an influence after discussions with Pip and the Band/Management in choice of studio for S.Q. albums that followed.
Francis and I also Produced Graham Bonnet’s single “Night Games” which the basic track we laid at Red Bus Studios. So we did work pretty closely together in this period.
5) Yes I have the CD of ISOTFC (b/d gift from my Dad). It’s the 1st album I’ve really listened to in great depth since my years with the Band.(Not for any specific reason other than working on other projects and not living in England). Can’t seem to get “Figure of Eight” out of my brain. Good to see Bob writing with Francis again and Pip back in the chair.
Ma Kelly's Greasy Son
Member
Member # 4397
10 August 2008
John, i have to say that JS was my first ever album and is still my favourite to this day. The best produced Quo album ever made and it still gives me goosebumps, 28 years on.
Just one question that has niggled me for some time -
A few on this MB have previously said that it's a drum machine on Riverside from NTL rather than JC ... is this true as i can't see it myself?
Precious Pup
Member
Member # 14582
12 August 2008
OK this is for MKGS and per-ola regarding Riverside:
It was not a programmed drum machine but I recall around mixing working with Francis (as at this stage John had left having finished all the basic drum tracks months earlier ) and we added additional snare and tom fills using pretty dry sampled sounds that gave the drums a machine like sound but manually played. Also we had no room ambience on these dubs which again changed the character from other tracks. There were feel issues on the basic track that these dubs were an attempt to smooth out. That’s my recollection of it. With today’s technology I could have done a better job and made it sound less machine like. I think remixes of this track exist which I was not involved with so hard for me to comment on other versions you may have heard.
lorenzo
Member
Member # 961
10 August 2008
HI John...A friend of mine who used to have a studio in Scotland(Inverness) said you worked there around 1980.His name is David Balfe.Were you working on a solo project then or was it with the Moody Blues
...also John, do you think Quo could have made it in America arouind the time of JS and NTL(perhaps some of their strongest ever recorded material)given that you have a long time living Stateside and know what the US market is all about.
Precious Pup
Member
Member # 14582
12 August 2008
Hi Lorenzo, Thanks for your post.
Please say Hi to David Balfe for me. He bought my Fender Precision for 100 quid when I 1st moved to London in 1972 from Torquay and needed cash to pay the rent.
In 1983 I Produced "Grand Prix's" album "Samurai" at his studio in The Highlands. David and as wife took great care of us.
This was nothing to do with T.M.B. which was Produced by Pip W. at Threshold Studios, where we also mixed Rocking All Over The World.
Good to see you're a S.Q. fan and following this thread.
quolion
Member
Member # 119
10 August 2008
Thanks John for your great answers.
Yep, Bob is writing/working with Francis since 2001 again and the 1st release of their "new" tracks were on HEAVY TRAFFIC (2002)In my opinion the best collection of songs since Just Supposin'.
You must have a listen to this album. It was also their latest US album release.(2003)
Francis and Bob wrote so many tracks in the last couple of years, that Francis will be recording his 1st propper Solo album next year!
Cheers John!
Precious Pup
Member
Member # 14582
12 August 2008
Thanks quolion.
I'm hoping to have a chat with Bob very soon and I'll try and pick up a copy of Heavy Traffic
Precious Pup
Member
Member # 14582
12 August 2008
Hi All:
It's time for the Pup to get back in his Kennel for a while.
I'll check back from time to time but I will not be online quite so much and able to respond.
Thanks for the great questions and courtesy.
I'm very, very proud to have been (in 77 thru 81) a small piece in the puzzle of the long continuing journey of Status Quo.
Francis, Richard, Alan, John and Andy -Thank You
I must admit I was a bit hesitant to come on after Pip had told me of his experience some time ago.
When I saw this string 'Per' I jumped at the bait and did not expect such response and questions from you all- Brilliant.
This is a really great and well administered site.
IMO Pip W. should be a part of it. He's spent far more time in the chair with the band I think than anyone and can provide a great deal more past & present insight than me. I hope you welcome him back if he chooses to return sometime.
Cheers for now,
Precious Pup
quolion
Member
Member # 119
12 August 2008
superb John!
Maybe a bit late but another question comes to mind, the Remixed US- Album version of Whatever You want.
Titel: "Now hear this" (Released 1980)
Remixed by Steve Klein in Miami, USA
1) Any ideas why a special US-Remix of this album? I think the hole production (sound/mix/artwork) is a joke!
Why wasn't Pip and you not involved?
2) Have you listen to the new remastered CD-Album versions (by Tim Turan) of Rockin' all over the world, If You can't stand the Heat, Whatever you Want, Just Supposin' and Never too Late? (released by Universal in 2004/05) Tim Turan did a superb job!!!
3) Maybe for your interest:
a few demos and studio outtakes were released (official and on bootlegs) in the last couple of years, like
- Hold You Back (demo 1977)
- One by One (writing demo 1978)
- Late Last Night (writing demo 1978)
- Another Game In Town (demo Trent Studios 1978)
- Rearrange (demo Trent Studios 1978)
- Shady lady (demo Trent Studios 1978)
- Invitation (demo Trent Studios 1978)
- Coming and Going (demo 1979)
- Living on an Island (demo 1979)
- Bad Company (Outtake 1979)
- Somethin' bout you baby I Like (acoustic backin' track demo)
- Moutain Lady (2 different takes)
Do you know them all and any rare recordings left?
Many, many thanks John and I also hope Pip will be coming back very soon. There a hundreds of great questions to ask...Cheers!
Precious Pup
Member
Member # 14582
24 August 2008
W.Y.W. US Remix came about because of vocal levels. I think either Billy Gaff (Riva Records) or other execs. at the time had the notion that the original mix needed the lead vocals to be higher in the mix for US FM radio. It was one of those ideas at the time, can’t say it worked but it does provide another collectable S.Q. piece of history that brought about your question.
Personally I would love to have gone to Criteria Studios in Miami for the experience of seeing this studio but on reflection not much point as the idea was to have a different set of ears do the job.
Francis, Richard and Management went and came back with few good stories of meeting Yanks around the pool but leave that to them.
Now onto your question about the re mastering. I’ve not heard the Tim Turan re mastered series but would say this and it’s also linked to remixing. At this point in time Radio One was still in mono and the C.D. was not commercially available. When mixing we placed a great emphasis on Mono compatibility for Radio 1 and the dynamic limitation’s of vinyl. So we always mixed with these considerations, given the opportunity again it would be a different approach for CD.
To best take advantage of the CD the only way is to go back to the original 2” mutitracks and remix the albums to both a digital format and 1” analogue. The question is would this process justify the cost with the general decline of sales of CD, MP3’s, illegal downloads etc. we have in the industry today?
From a Production/Engineering standpoint it would be interesting to remix these vinyl albums pre CD - just a cost v. sales equation and just what state the original 2” tapes are in after 30 years of storage !
Member
Member # 14582
7 August 2008
The basic tracks for J.S. and pretty much the foundation for N.T.L. we did during the same recording period at Windmill Lane, Dublin.
It was always the intention to lay the basics for more than one album at this time not a question that we had studio time left over. Can't imagine that happening!
We finished dubs and mixing of what became J.S. first and went back to work on the tracks that became N.T.L. at a later point. There was never any running order for a double album discussed between the Band and myself. It was intended to be two different albums and certainly from your comments it came across that way.
Precious Pup
Member
Member # 14582
8 August 2008
Good Morning from Nashville, Tennessee.
Thank you all for your warm welcome to the forum I was not expecting such a response.
Let me first say that I became a fan of S.Q. at the time of P.O.M.M. and never imagined in my wildest dreams that I would work with them for so many albums. (3 with Pip and 2 on my own).
I’d like to start by giving a little background on how Pip and I started together before we worked on the R.A.O.T.W. album.
In the early 70’s I was an engineer at The Marquee Studios, London and worked on a session that Pip was doing the arrangements and playing guitar on.
We got on really well together and subsequently I began to work as engineer with Pip on most of his early Productions.
One of the albums we did together was with Graham Bonnet. I had previously worked with Graham when he was signed to DJM Records and was very enthusiastic when this opportunity came up.
G.B. at the time was managed by Quarry Management who also managed S.Q. so that’s how it began.
IMO Pip is a great Producer, gifted arranger and guitar player. Add to this his down to earth personality and generosity I can honestly say it was brilliant to work alongside him in these early years. There are certainly things I’m sure we would both wish to change on R.A.O.T.W. but despite all it was a very successful album sales wise and brought in many new fans.
Our last project together that I started but did not continue was The Long Distance Voyager album with The Moody Blues.
Shortly after beginning this album my manager Simon White had been approached by S.Q.s management with an offer for me to Co Produce with the Band the next couple of S.Q. Albums. At first it was not an easy decision to leave the T. M.B. project until David Walker (Pips manager at the time) arrived at the studio one day and gave me a right bollocking about business matters. After this incident there was no way I wanted to have any involvement with him and I left the project and accepted the offer to work with S.Q. on what became the J.S. and N.T.L. albums.
It was a certainly not the best way to end my working relationship with Pip as we had spent many hours together and became a great team but relations with D.W. had really soured.
From this point on I became a Producer in my own right. For those of you that are interested in other albums I’ve worked on I’ve been putting together a site at www.johneden.us
Now having said all that for those of you still with me I’ll try to answer some of the questions raised with regard to J.S. and N.T.L.
For Aldo:
“Don’t Drive My Car” –Brilliant track I think everyone put in 110% on this one. It was a special moment when this made it to tape. All pretty live with very few o/dubs. Richard’s vocal sat well on this and a great solo from Francis.
“Wild Ones” and “Name of the Game” – We probably spent more time on these two tracks than others on J.S. and so glad to read your comments.
For Blues and Rhythm:
Alan - I’ve had no contact with since N.T.L.
Richard - Shortly after N.T.L. we produced a single for Marietta but no contact since.
John - In 1984 I Produced the Partners in Crime album “Organised Crime”. I was brought in by Muff Winwood Head of A&R at CBS. A year earlier I’d worked with Muff on The After The Fire single ”Der Kommisar” which became a top 5 US Hit so I think the hope was the magic would work again! This was the last time I saw John.
Francis – Seen him a couple of times since NTL, occasional chat on the phone and email.
I’ve lived in the States now collectively for 16 years so not quite the same as when I was in England for keeping in touch.
My personal views on Just Supposin’ and Never Too Late:
In essence I think J.S. came out a pretty good album with all the right elements to satisfy all. With N.T.L. we did not come out of Windmill Lane Studios with enough material. We did record additional songs but the board used did not have enough headroom and I think sonically a couple of tracks suffered..
I’m always happy to talk about any technical issues, mics, consoles studios etc. for any of the recordings.
So that’s about it from “Old Precious Pup” think I’ve gone on far too long!
copperhead
Member
Member # 9815
8 August 2008
Hi John.
Really great and enjoyable to read your recollections and what you`ve been up to.
When I listen to Just Supposin` I think that this album might have the strongest and best vocal performances of all Quo albums. It seems there are quite a few vocal overdubs on songs like The Wild Ones and What you`re Proposing,am I right?
I've also always thought that Bernie Frosts backing vocals added an even more nasal trademark to Francis`voice. Any comments or recollections on this?
Cheers
Vemund Moss
www.herculesband.com
Precious Pup
Member
Member # 14582
9 August 2008
Hello Vemund in Norway:
Thank you for your positive comments. Francis lead vocals were double tracked. Bernie certainly complimented well Francis's vocal character on the top parts. Used AKG414 mic with 1176 for limiting most of the time. Physical balance between them on mic. Very little Eq. I never thought we did a huge amount of vocal overdubs on this album just kept it to what was needed for the songs. Everything was recorded 24 track analogue, no locking multiple machines and certainly no pro tools at this time to go to "infinity and beyond".
Diesel
Member
Member # 5177
8 August 2008
John, fascinating read. If only the bands' reminisces were as soberly insightful, as well as the drugs etc recollections.
One thing I'd ask is fr recollections on the production of Over The Edge. It's my view it's possibly the best Quo have ever been on record but as Quoling says, it's a shame they never managed to make it as meaty or fullsounding on stage as that album version.
Can you just recount your memories of recording it, please?
Precious Pup
Member
Member # 14582
10 August 2008
Hello Diesel, Wow thats quite something for you to say "best Quo have ever been on record", made be crank up the old dat machine and give it a listen again. Don't really have any stage reference's to go on to make a comparison as you do. I had a couple of room mics on John's drums so that helped with the live sound of the track plus any other amp spill they brought in. I used a multi delay effect on Alan's Vocal and fed Johns tom tom fils into the same delay. Can't remember if I used a digital delay or 1/4" tape machine on varispeed to get the timing of the delay.
RADIO QUO
Member
Member # 11898
8 August 2008
Rock Family trees!!...and the connections between Bands, Producers/Engineers and Managers over the years, eh?
Thanks for the further information.
Perhaps difficult to comment on past business relationships....so would just be interested to know your feelings about Quo's branching out and diversifying their material (more than previously) after 1985....and if you feel it was the right way to go for the Band?...
...and I have been in Bands in the studio....but think some fans on here may be interested to know what are the specific roles of the Producer and Engineer?..and how they differ or have similarities.....and how this relates to your work with Quo?
Precious Pup
Member
Member # 14582
10 August 2008
Good Evening Radio Quo: I don't have any feelings I can give on this time. I was out of the S.Q. loop. For most of this period I was Producing albums in Montreal and California plus building a residential recording studio in Suffolk.
Your 2nd one is a really great question and I could go on quite a bit about this (as I’m writing I’m thinking it’s a real pity Pip W. isn’t here he could really add to this and makes this a great string). Hopefully he’ll come back and be appreciated in the same way I’ve been responded to so far.
Anyway here goes:
The Producers role can be pretty wide ranging but will entail many of the following: song selection, supervising the recording sessions, guiding the artist through the process, budgeting, booking studio time, musicians and arrangers, mixing and mastering.
The Engineers role is capturing the artists performance and taking direction from the Producer as to how he or she envisages the recorded sound should go onto tape (oops sorry showing my age now) - hard disk as accurately as possible. Making the right choice of microphones, positioning, and separation of instruments is key to all of this.
In both roles having great patience and a degree in Psychology can be most helpful!
quolion
Member
Member # 119
8 August 2008
Great read John!
Here a couple of questions:
1) what's the story behind the song A.B. Blues, the b-side to WHAT YOU'RE PROPOSIN'?
2) Francis sung all the tracks on NEVER TOO LATE. Was this a band decision or forced by the Record Company/Management?
3) What's your favourite track on JS and NTL?
4) You "only" co-produced both albums. Which band member was more involved in the production. [My guess is Francis :-) ]
5) Did you listen to QUO's latest album IN SEARCH OF THE FOURTH CHORD, produced by Pip after a break of nearly 12 years?
Many thanks John,
keep on quoin'
Precious Pup
Member
Member # 14582
10 August 2008
1) I recall several reasons this came about:
Seemed like a good idea to have the band jam and see what came up. It did not use up an album track and offered the fans a track that wasn’t on the vinyl album (Although I realize it became part of the CD reissue later on). It solved any issue about who had the “B” side writer/publisher split as everyone had equal credit.
2) I was not involved directly with the label on this album. S.Q. hired me and management dealt with all label communication. I think any label input was relayed through management directly to band members. I did start to work with Alan on a lead vocal (just the two of us) one day but that’s as far as it got. It just turned out that Francis sung lead on this album be it due to the Bands, mine, label or management input its hard for me to pin this down with a very definitive answer.
3) What You’re Proposin’, but Don’t Drive My Car is pretty close
Never Too Late
4) Well you answered this question…. But here’s a little more.
At tracking stage it was a combined effort but as dubs progressed I worked with Francis the most. When Richard was on top form it was really great from him and Andy to. Alan always pulled towards not forgetting old Quo. If John was into the song then all the Quo magic was complete. However it didn't always happen that easy.
Also worth a mention that Francis and I worked with another Band “Flying Squad” signed to CBS after RAOTW. Francis wore the Producer badge and me the Engineer. We recorded this at Wissleloord Studios in Hilversum and this experience had an influence after discussions with Pip and the Band/Management in choice of studio for S.Q. albums that followed.
Francis and I also Produced Graham Bonnet’s single “Night Games” which the basic track we laid at Red Bus Studios. So we did work pretty closely together in this period.
5) Yes I have the CD of ISOTFC (b/d gift from my Dad). It’s the 1st album I’ve really listened to in great depth since my years with the Band.(Not for any specific reason other than working on other projects and not living in England). Can’t seem to get “Figure of Eight” out of my brain. Good to see Bob writing with Francis again and Pip back in the chair.
Ma Kelly's Greasy Son
Member
Member # 4397
10 August 2008
John, i have to say that JS was my first ever album and is still my favourite to this day. The best produced Quo album ever made and it still gives me goosebumps, 28 years on.
Just one question that has niggled me for some time -
A few on this MB have previously said that it's a drum machine on Riverside from NTL rather than JC ... is this true as i can't see it myself?
Precious Pup
Member
Member # 14582
12 August 2008
OK this is for MKGS and per-ola regarding Riverside:
It was not a programmed drum machine but I recall around mixing working with Francis (as at this stage John had left having finished all the basic drum tracks months earlier ) and we added additional snare and tom fills using pretty dry sampled sounds that gave the drums a machine like sound but manually played. Also we had no room ambience on these dubs which again changed the character from other tracks. There were feel issues on the basic track that these dubs were an attempt to smooth out. That’s my recollection of it. With today’s technology I could have done a better job and made it sound less machine like. I think remixes of this track exist which I was not involved with so hard for me to comment on other versions you may have heard.
lorenzo
Member
Member # 961
10 August 2008
HI John...A friend of mine who used to have a studio in Scotland(Inverness) said you worked there around 1980.His name is David Balfe.Were you working on a solo project then or was it with the Moody Blues
...also John, do you think Quo could have made it in America arouind the time of JS and NTL(perhaps some of their strongest ever recorded material)given that you have a long time living Stateside and know what the US market is all about.
Precious Pup
Member
Member # 14582
12 August 2008
Hi Lorenzo, Thanks for your post.
Please say Hi to David Balfe for me. He bought my Fender Precision for 100 quid when I 1st moved to London in 1972 from Torquay and needed cash to pay the rent.
In 1983 I Produced "Grand Prix's" album "Samurai" at his studio in The Highlands. David and as wife took great care of us.
This was nothing to do with T.M.B. which was Produced by Pip W. at Threshold Studios, where we also mixed Rocking All Over The World.
Good to see you're a S.Q. fan and following this thread.
quolion
Member
Member # 119
10 August 2008
Thanks John for your great answers.
Yep, Bob is writing/working with Francis since 2001 again and the 1st release of their "new" tracks were on HEAVY TRAFFIC (2002)In my opinion the best collection of songs since Just Supposin'.
You must have a listen to this album. It was also their latest US album release.(2003)
Francis and Bob wrote so many tracks in the last couple of years, that Francis will be recording his 1st propper Solo album next year!
Cheers John!
Precious Pup
Member
Member # 14582
12 August 2008
Thanks quolion.
I'm hoping to have a chat with Bob very soon and I'll try and pick up a copy of Heavy Traffic
Precious Pup
Member
Member # 14582
12 August 2008
Hi All:
It's time for the Pup to get back in his Kennel for a while.
I'll check back from time to time but I will not be online quite so much and able to respond.
Thanks for the great questions and courtesy.
I'm very, very proud to have been (in 77 thru 81) a small piece in the puzzle of the long continuing journey of Status Quo.
Francis, Richard, Alan, John and Andy -Thank You
I must admit I was a bit hesitant to come on after Pip had told me of his experience some time ago.
When I saw this string 'Per' I jumped at the bait and did not expect such response and questions from you all- Brilliant.
This is a really great and well administered site.
IMO Pip W. should be a part of it. He's spent far more time in the chair with the band I think than anyone and can provide a great deal more past & present insight than me. I hope you welcome him back if he chooses to return sometime.
Cheers for now,
Precious Pup
quolion
Member
Member # 119
12 August 2008
superb John!
Maybe a bit late but another question comes to mind, the Remixed US- Album version of Whatever You want.
Titel: "Now hear this" (Released 1980)
Remixed by Steve Klein in Miami, USA
1) Any ideas why a special US-Remix of this album? I think the hole production (sound/mix/artwork) is a joke!
Why wasn't Pip and you not involved?
2) Have you listen to the new remastered CD-Album versions (by Tim Turan) of Rockin' all over the world, If You can't stand the Heat, Whatever you Want, Just Supposin' and Never too Late? (released by Universal in 2004/05) Tim Turan did a superb job!!!
3) Maybe for your interest:
a few demos and studio outtakes were released (official and on bootlegs) in the last couple of years, like
- Hold You Back (demo 1977)
- One by One (writing demo 1978)
- Late Last Night (writing demo 1978)
- Another Game In Town (demo Trent Studios 1978)
- Rearrange (demo Trent Studios 1978)
- Shady lady (demo Trent Studios 1978)
- Invitation (demo Trent Studios 1978)
- Coming and Going (demo 1979)
- Living on an Island (demo 1979)
- Bad Company (Outtake 1979)
- Somethin' bout you baby I Like (acoustic backin' track demo)
- Moutain Lady (2 different takes)
Do you know them all and any rare recordings left?
Many, many thanks John and I also hope Pip will be coming back very soon. There a hundreds of great questions to ask...Cheers!
Precious Pup
Member
Member # 14582
24 August 2008
W.Y.W. US Remix came about because of vocal levels. I think either Billy Gaff (Riva Records) or other execs. at the time had the notion that the original mix needed the lead vocals to be higher in the mix for US FM radio. It was one of those ideas at the time, can’t say it worked but it does provide another collectable S.Q. piece of history that brought about your question.
Personally I would love to have gone to Criteria Studios in Miami for the experience of seeing this studio but on reflection not much point as the idea was to have a different set of ears do the job.
Francis, Richard and Management went and came back with few good stories of meeting Yanks around the pool but leave that to them.
Now onto your question about the re mastering. I’ve not heard the Tim Turan re mastered series but would say this and it’s also linked to remixing. At this point in time Radio One was still in mono and the C.D. was not commercially available. When mixing we placed a great emphasis on Mono compatibility for Radio 1 and the dynamic limitation’s of vinyl. So we always mixed with these considerations, given the opportunity again it would be a different approach for CD.
To best take advantage of the CD the only way is to go back to the original 2” mutitracks and remix the albums to both a digital format and 1” analogue. The question is would this process justify the cost with the general decline of sales of CD, MP3’s, illegal downloads etc. we have in the industry today?
From a Production/Engineering standpoint it would be interesting to remix these vinyl albums pre CD - just a cost v. sales equation and just what state the original 2” tapes are in after 30 years of storage !