King Of America (1995) liner notes: Difference between revisions
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After that, I pretty much gave up producing other people's records. You can only marry the [[Cait O'Riordan|bass player]] once. | After that, I pretty much gave up producing other people's records. You can only marry the [[Cait O'Riordan|bass player]] once. | ||
Then there were [[The Coward Brothers]]..... Declaring this to be their "Second Comeback Tour", these embittered characters made several unscheduled appearances in my shows with T-Bone. Despite claiming authorship of most of the very famous songs they performed, the profits of their "First Comeback Tour" had been squandered when they were persuaded to fake their own deaths in advance of the "Ultimate Comeback Tour." These and other shabby admissions were exclusively revealedin The Cowards' impromptu television interview with C.N.N. - whose news crew happened to be killing time while waiting for President Reagan to emerge from his holiday hideaway - when the Brothers - Howard resplendent in a white brocade jacket, Henry in that sober little Nudie | Then there were [[The Coward Brothers]]..... Declaring this to be their "Second Comeback Tour", these embittered characters made several unscheduled appearances in my shows with T-Bone. Despite claiming authorship of most of the very famous songs they performed, the profits of their "First Comeback Tour" had been squandered when they were persuaded to fake their own deaths in advance of the "Ultimate Comeback Tour." These and other shabby admissions were exclusively revealedin The Cowards' impromptu television interview with C.N.N. - whose news crew happened to be killing time while waiting for President Reagan to emerge from his holiday hideaway - when the Brothers - Howard resplendent in a white brocade jacket, Henry in that sober little Nudie number with the rhinestone lapels plus sunglasses - stumbled into their poolside barbecue for a drink. | ||
This masquerade was really an excuse for performing songs ranging from their theme tune, the [[George Jones]] classic "[[Ragged But Right]]", through [[Bobby Charles]]' "[[Tennessee Blues]]" to a | This masquerade was really an excuse for performing songs ranging from their theme tune, the [[George Jones]] classic "[[Ragged But Right]]", through [[Bobby Charles]]' "[[Tennessee Blues]]" to a medley of "[[I Left My Heart In San Francisco]]" and "If You're Going to San F..." You probably get the picture...... As their ghost writers T-Bone and I composed "[[The People's Limousine]]" during a long and occasionally surreal journey through Italy. | ||
In early '85 The Coward Brothers' first and only single was recorded in Los Angeles with [[David Miner]] on bass and [[Ron Tutt]] on drums. The b-side was a [[Leon Payne]] song made famous by [[Hank Williams]] "[[They'll Never Take Her Love From Me]]" on which the Cowards were joined by D. Miner and [[Stephen Bruton]] on mandolin. | In early '85 The Coward Brothers' first and only single was recorded in Los Angeles with [[David Miner]] on bass and [[Ron Tutt]] on drums. The b-side was a [[Leon Payne]] song made famous by [[Hank Williams]] "[[They'll Never Take Her Love From Me]]" on which the Cowards were joined by D. Miner and [[Stephen Bruton]] on mandolin. | ||
During the same visit I went into the Sunset sound studios to record versions of all of the then completed songs for my next record. T-Bone and engineer [[Larry Kalman Hirsch|Larry Hirsch]] were extremely patient as a collision with a bottle of whiskey gradually undid the session. However this was not before I had recorded several | During the same visit I went into the Sunset sound studios to record versions of all of the then completed songs for my next record. T-Bone and engineer [[Larry Kalman Hirsch|Larry Hirsch]] were extremely patient as a collision with a bottle of whiskey gradually undid the session. However this was not before I had recorded several increasingly incoherent takes of "[[Poisoned Rose]]", "[[American Without Tears]]" and "[[Indoor Fireworks]]". | ||
(A very ponderous reading of "[[I Hope You're Happy Now]]" was briefly released from this session but for this issue I have chosen another almost entirely unpublished recording: "[[Suffering Face]]". I say "almost" because parts of the lyric found their way into a song featured on the album ''[[Blood & Chocolate|Blood And Chocolate]]'' called "[[Crimes Of Paris|Crimes of Paris]]"). | (A very ponderous reading of "[[I Hope You're Happy Now]]" was briefly released from this session but for this issue I have chosen another almost entirely unpublished recording: "[[Suffering Face]]". I say "almost" because parts of the lyric found their way into a song featured on the album ''[[Blood & Chocolate|Blood And Chocolate]]'' called "[[Crimes Of Paris|Crimes of Paris]]"). | ||
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Despite the ragged nature of the demos, T-Bone and I were able to plan the album sessions en route for The Coward Brothers' final comeback tour of Australia and Japan, on which we were the "special guests". By the time we entered Hollywood's Ocean Way Studios we had booked several line-ups to tackle the songs. | Despite the ragged nature of the demos, T-Bone and I were able to plan the album sessions en route for The Coward Brothers' final comeback tour of Australia and Japan, on which we were the "special guests". By the time we entered Hollywood's Ocean Way Studios we had booked several line-ups to tackle the songs. | ||
The first consisted of Ron Tutt on Drums, [[Jerry Scheff]] on bass and [[James Burton]] on guitar. This trio had been a major part of [[Elvis Presley]]'s "T.C.B." band, although I was actually more familiar with Ron and James' recordings with [[Gram Parsons]]. It turned out that Jerry, | The first consisted of Ron Tutt on Drums, [[Jerry Scheff]] on bass and [[James Burton]] on guitar. This trio had been a major part of [[Elvis Presley]]'s "T.C.B." band, although I was actually more familiar with Ron and James' recordings with [[Gram Parsons]]. It turned out that Jerry, whose musical background included the navy and modern jazz, has also featured on records ranging from The Fifth Dimension's "Up, Up and Away" to The Doors' "L.A. Woman". | ||
James Burton is one of the few guitar players who is almost always called "legendary. " This is because he IS amazing AND his credits stretch from Dale Hawkins' "Suzie Q" through his years with Ricky Nelson and Elvis Presley to a fantastic range of session and stage appearances, Jerry Lee Lewis, Emmylou Harris, and Randy Newman being only three of my favourites from the hundreds of artists he has played with. | James Burton is one of the few guitar players who is almost always called "legendary. " This is because he IS amazing AND his credits stretch from Dale Hawkins' "Suzie Q" through his years with Ricky Nelson and Elvis Presley to a fantastic range of session and stage appearances, [[Jerry Lee Lewis]], [[Emmylou Harris]], and [[Randy Newman]] being only three of my favourites from the hundreds of artists he has played with. | ||
These sessions were cut as "live" as possible. T- | These sessions were cut as "live" as possible. T-Bone and engineer Larry Hirsch had miked me so that my vocal and guitar performances were central to the sound picture. With the exception of some trickery on "[[Jack Of All Parades]]", there were few effects employed other than reverb. The distortion of the piano on "[[Sleep Of The Just]]" was achieved in the studio (by running the mikes through a Leslie cabinet) so that we could play to the altered sound. | ||
After balances were achieved the musicians gathered around to learn the changes. My task was made much easier as the players were referring to charts transcribed from my demos by T-Bone's associate producer David Miner. It only remained to determine where I intended to straighten out the wayward meter of the solo renditions. | After balances were achieved the musicians gathered around to learn the changes. My task was made much easier as the players were referring to charts transcribed from my demos by T-Bone's associate producer David Miner. It only remained to determine where I intended to straighten out the wayward meter of the solo renditions. | ||
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(Jerry and James both toured in the "[[The Confederates|Confederate]]" bands after the album's release. In fact Jerry Scheff was also the bass player in both "[[The Rude 5|Rude Five]]" line-ups which toured after the albums ''[[Spike]]'' and ''[[Mighty Like A Rose]]''. James and Jerry also feature on my much delayed covers album ''[[Kojak Variety]]''. | (Jerry and James both toured in the "[[The Confederates|Confederate]]" bands after the album's release. In fact Jerry Scheff was also the bass player in both "[[The Rude 5|Rude Five]]" line-ups which toured after the albums ''[[Spike]]'' and ''[[Mighty Like A Rose]]''. James and Jerry also feature on my much delayed covers album ''[[Kojak Variety]]''. | ||
The only other time I played with Ron Tutt was when, along with James, Jerry and pianist [[Glen D. Hardin]], the "[[The TCB Band|T.C.B. Band]]" (plus guest acoustic rhythm guitarist!) accompanied [[Roy Orbison]] and "Special guests": [[Bruce Springsteen]], [[Bonnie Raitt]], [[Jackson Browne]], [[T Bone Burnett]], [[ | The only other time I played with Ron Tutt was when, along with James, Jerry and pianist [[Glen D. Hardin]], the "[[The TCB Band|T.C.B. Band]]" (plus guest acoustic rhythm guitarist!) accompanied [[Roy Orbison]] and "Special guests": [[Bruce Springsteen]], [[Bonnie Raitt]], [[Jackson Browne]], [[T Bone Burnett]], [[K.d. lang]] and [[Tom Waits]] - to mention a few - for the ''Black and White Night'' T.V. special in 1987). | ||
Recording with members of Elvis Presley's band might have seemed daunting or even provocative, However none of this could quite prepare me for the intimidating prospect of our next session. | Recording with members of Elvis Presley's band might have seemed daunting or even provocative, However none of this could quite prepare me for the intimidating prospect of our next session. | ||
When T- | When T-Bone had pencilled these names next to studio dates somewhere over the pacific it had seemed like a brilliant idea. After all the intention had never been to hire off-the-peg "legends" for the hell of it. In fact the first two players through the door were unknown to me; pianist [[Tom Canning]] and keyboard player and producer [[Mitchell Froom]] who was to play Hammond B-3 on the session. It was the rhythm section that was alarming! On drums: [[Earl Palmer]] who, among many other things, had starred on most of the great Little Richard sides. On Bass: [[Ray Brown]] whose jazz recording credits could and probably do, fill a book... Gillespie... Parker... Powell... Peterson... Ellington.... You name them. He's played with them. While the introductions were underway T-Bone was musing as to why nobody seemed to be able to achieve the spontaneity that we had heard on a Louis Armstrong/ Ella Fitzgerald side playing on the inflight music around the time we were planning this very session. Being the diplomat Earl informed us... "Of course, you know, Ray was Ella's first husband..." and after a beat Ray added "I think I might have played on that session". | ||
"Oh yeah" I was thinking, "and now | "Oh yeah" I was thinking, "and now we're going to play this stupid little song I've written". | ||
Actually I think they both might have thought I was out of my mind when I said I didn't give a damn if this record was a hit, so long as it sounded right. This was clearly not the sort of talk they were accustomed to. Still, with Tom and Mitchell quietly taking care of their parts we eventually got the take of "Poisoned Rose". I just had to get my nervous voice under control and catch a first verse where my performance sat right with the Ray's solitary bass accompaniment. Cue the celebration and crack open the Glenlivet! | Actually I think they both might have thought I was out of my mind when I said I didn't give a damn if this record was a hit, so long as it sounded right. This was clearly not the sort of talk they were accustomed to. Still, with Tom and Mitchell quietly taking care of their parts we eventually got the take of "Poisoned Rose". I just had to get my nervous voice under control and catch a first verse where my performance sat right with the Ray's solitary bass accompaniment. Cue the celebration and crack open the Glenlivet! | ||
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One of the features of this record is the way in which the instrumentalists arranged themselves in support of the singer, rarely offering an unbidden challenge for the spotlight. This was what I was responding to, and was the complete opposite to my relationship with The Attractions. | One of the features of this record is the way in which the instrumentalists arranged themselves in support of the singer, rarely offering an unbidden challenge for the spotlight. This was what I was responding to, and was the complete opposite to my relationship with The Attractions. | ||
The essential difference between English and American musicians could be very crudely defined in these terms: American musicians will always ask "How do we end?", English Musicians only ask "How do we begin?". There are, of course, virtues in both approaches. T-Bone and Mickey probably lay somewhere between these extremes. I knew them as the fine R'n'B rhythm section with [[Daryl Hall|Hall And Oates]] but they were also fans of the English approach and were frankly by my decision to use them ahead of The Attractions until they witnessed how strained that relationship had become. | The essential difference between English and American musicians could be very crudely defined in these terms: American musicians will always ask "How do we end?", English Musicians only ask "How do we begin?". There are, of course, virtues in both approaches. T-Bone and Mickey probably lay somewhere between these extremes. I knew them as the fine R'n'B rhythm section with [[Daryl Hall|Hall And Oates]] but they were also fans of the English approach and were frankly puzzled by my decision to use them ahead of The Attractions until they witnessed how strained that relationship had become. | ||
We got to work on the song that was intended to give the record company a point of entry into the new/old world of this record. I was still resisting the process of isolating one song from the body of the record by applying the kind of varnish that usually betrays a "hit single attempt". | We got to work on the song that was intended to give the record company a point of entry into the new/old world of this record. I was still resisting the process of isolating one song from the body of the record by applying the kind of varnish that usually betrays a "hit single attempt". |
Revision as of 20:53, 9 November 2017
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