No. Having played at Harold’s farewell concert already …
Actually I must update this post, having since been asked to open the show with a performance once again of Harold’s track ‘Lirio’ for solo gong, however I’ve been unable to accept the invitation due to the price of oil. It’ll be a great show regardless. Recommended.
Not really, I’m a devout minimalist. If I were to be swayed I would go for something like Sergio Larrain’s work in miniature framed prints. I recently saw the Wim Wenders Polaroid exhibit at The Photographers Gallery and again, nice to see multiple miniature images hanging on white walls. That’s more my kind of aesthetic. But then white walls … why spoil them?
Now there’s a thought …
Here it be, the full image for those not satisfied with the JBK edit.
artistic and thought provoking photo session for ‘Music Life’ magazine circa 1979
(test Polaroid by Fin Costello)
We were a band and as such would each individually offer comments and opinions about what was going to tape, so whichever member(s) might be in the control room listening to others performing/recording there would generally be some (hopefully) constructive ideas on offer. Also, being the drummer, I was by default the executive level timing disciplinarian, and tracks like ‘Despair’ (which was performed to a Roland ‘Rhythm Box’) would have been scrutinised very closely indeed before overdubs were met with approval (bless Richard for being so patient although those piano mics do pick up a lot of huffing & puffing).
Roland ‘Rhythm Box’ (note: 3rd white button from the left = ‘Swing’)
I believe I played real Hi-Hat and possibly other percussion on ‘Taking Islands’ but Ryuichi Sakamoto pretty much constructed the entire thing on the Pro-5, and the man has great timing so it was like having the day off.
Japan at Air Studios (photos by Nicola Tyson)
Turning the beat around was a conscious decision. Messing with the downbeat was always bit of a habit of mine and Mick would design bass parts to compliment this approach (‘Still Life In Mobile Homes’, ‘The Art Of Parties’ for example). In the case of ‘My New Career’ the beat turn around was employed to accentuated the chorus vocal line.
Drums sounds were generally heavily compressed in those days, it was a contemporary sound of that time. I wasn’t involved in sound engineering back then so it would have been the producers job.
‘behave’ – Photo by Fin Costello