‘Lessons In Doubt’ from the forthcoming Exit North album.
Hi Noel. I assume you are referring to recording rather than live performance. I think there are levels of distinction when working with improvisational artists. Inviting a group of experimental musicians to improv together in the studio could be, (with digital recording), more a means of gathering a wealth of original samples to then manipulate into something representative of your own ideals, in other words plagiarising. If the improvisation were not tampered with in any way, and was a true ‘live performance’ recording rather than edited and manipulated then I would take no issue with it, but whether it’s any good or not is another matter. I prefer wrestling with composition without any hint of improv. To my mind this is much more daunting, particularly if you’re composing outside of more standard forms. In answer to your question I don’t believe this has anything to do with a sliding scale in ‘pop’. Perhaps each music genre has its own sliding scale of depth and ingenuity but they each serve a different purpose.
Thanks Mike. The drum fills were most certainly improvised and the aim was to create some suspense and to momentarily lose some of the momentum in the repeating 4 bar cycle. The strings added to the drama and in fact a couple of the string moves were written to follow the drum fills (approx. 6m and 6m20s) and therefore give the impression that these small events were a coordinated effort between the orchestra and drums when actually it was an afterthought cunningly employed by Ann O’Dell.
There were many laughs with Mick. Backfiring practical jokes were a common theme. One that always makes me smile occurred during a drive from London to France, probably to record Rain Tree Crow. Mick was at the wheel and pulled off onto a dirt road and for whatever reason, who knows, perhaps in an effort to unnerve me, or perhaps he was inspired by the crunch of the gravel underneath, decided to attempt a fancy spin at an unimpressively slow speed. It was enough to send his beloved, metal cigarette case that was sitting on the dashboard sliding out of the window and subsequently get flattened under the rear wheels. It seemed impossible to drive over your own belongings that were, until a few moments before, inside the car but somehow he managed it.
Exit North is COMPLETE (sigh of relief) and being mastered as we speak. I believe it’s a very fine album. We are looking at a release schedule for around autumn.
New photos? I’ve posted snaps on Twitter recently. Or do you mean my new photo?? That too, taken & posted yesterday on Facebook. Keep up! 🙂
These snaps are from February 2018 in Gothenburg during recording for Exit North.
Know your vulnerabilities and know there’s aways someone out there willing to take advantage of them.
Anyone who knew Mick could tell you he was much more concerned about food than bass equipment. I’ve no idea what he used apart from a fretless WAL (preceded by a Travis Bean) and Trace Elliot amps, but I think that’s all it took. In the studio I believe he often went D.I. which leaves even less to ponder. I think we can put it down to technique?
I think I did attend the show in 1976 although it’s a vague memory. I thought BBD were a really interesting band at the time and the album ‘Sunburst Finish’ seems to be the most memorable for me. I liked the dynamic guitar-based arrangements that were equally really accessible songs and Bill was a great, understated front man. I’ve met Bill a few times in various circumstances, most recently at a concert we performed together for Harold Budd in 2005. Bill performed on the one Yukihiro Takahashi tour that I didn’t, in 1983 I believe, which I was sorry to miss.
I took these images when recording Masami’s album ‘Rice Music’ at Air Studios in … 1981 or 82 … not sure which.