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 HISTORY |
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It was fun and it was hard work. And it wasn't paid very well. Being an album and a touring band, it was usually a matter of survival, in a business that could reward the lazy hugely. I know, let's go punk: we'll clean up. And it was just a business. It was not the village market of the '60s, nor the Music Industry of now. It was in-between. Albums were still vinyl (some multi-coloured), and mixing desks were mainly analogue. CD ROMs were a glint in someone's eye. There were computers. Funny things like Commodore Pets, and mini-computers that were plugged into mixing desks and made the faders go up and down. Fun to play with, but producers and engineers usually trusted their ears. Except for a class of producer that was rare then. This was the guy who would throw into the pot his collection of sampled sounds. Listen, here's the snare sound I stole off a Bowie album. Good, isn't it? No need to spend hours setting up a drum sound. I've got it all here in my briefcase. Very efficient. Very dull. The Movies stopped when this sort of thing was coming in. It was exhaustion. They'd spent months in New York on the final album, and the spirit had gone. Their bodies followed. But it was good while it lasted. And in the Before/Early/Middle/Late, Road, and Etc sections we record some of the times, some not so good, some better. |
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