I was going to say that those recordings were made at a particularly tempestuous time of my life, but that's starting to seem like a reduncancy. This particular brand of tempestuosness stemmed primarily
from:
Musical confusion; an abortion; a vast array and variety of sexual infidelity, drunkenness, a twice-drawn pistol; a visit from Interpol; the bloodiest bank robbery in la to that point; the purchase of a&m by polygram; and a sudden breakup and move from a suburban home with dog, woman, and friends to a motel overlooking the freeway, days in Compton, and many long hours in a pistol range venting some unfathomable unspeakable rage.
Steve Berlin and Matt Wallace were coproducing, the poor bastards. We recorded it at an unnamed
studio owned by Leon Haywood in Compton, which was actually a pretty cool studio, technically and otherwise, nice API console, etc... with the exception being the very real sense of fear that was in the air . There was the aforementioned bank robbery/multiple homicide next door, for one thing. Also Leon always had his shotgun handy, and made sure we had an escort if we went across the street to get donuts and barbecue. Very slow-moving cars would drive by, and pissed off-looking guys in gang colors giving us the I See You Dead stare, etc...
An A&R guy came down and was wandering around the studio and Leon didnt recognise him and brought him back at gunpoint to the control room. "Do you know this guy?" "Yeah, you know him goddamit, that's blank!" "Well tell him not to be pokin around" We named the studio Leon's Music and Firearms, and sometimes Abdullah's Mosque of Music. We drank a lot of shitty coffee.
I remember playing a lot of guitar and bass. I remember screaming into the mike a lot. I remember being really frustrated by my incompetence. I remember a Texas blues version of Aids and Armageddon with a wonderful guitarist named Rich Stekol, and a great five-string violinist named Gene Elders. And that's when I met Greg Leisz for the first time. I remember Leon's piano, which was beautiful and in a nice sounding room, and that's also when I played my first B3 organ. And this powerhouse drummer who I actually went on the road with and can't for the life of me remember his name. Big glowering blond guy, I remember. The working title , and one I still think applies was "Black Hours". How in the hell did you find it? I havent heard it since after we did it.
Black Hours
B
Baerwald
(view)
I was going to say that those recordings were made at a particularly tempestuous time of my life, but that's starting to seem like a reduncancy. This particular brand of tempestuosness stemmed primarily
from:
Musical confusion; an abortion; a vast array and variety of sexual infidelity, drunkenness, a twice-drawn pistol; a visit from Interpol; the bloodiest bank robbery in la to that point; the purchase of a&m by polygram; and a sudden breakup and move from a suburban home with dog, woman, and friends to a motel overlooking the freeway, days in Compton, and many long hours in a pistol range venting some unfathomable unspeakable rage.
Steve Berlin and Matt Wallace were coproducing, the poor bastards. We recorded it at an unnamed
studio owned by Leon Haywood in Compton, which was actually a pretty cool studio, technically and otherwise, nice API console, etc... with the exception being the very real sense of fear that was in the air . There was the aforementioned bank robbery/multiple homicide next door, for one thing. Also Leon always had his shotgun handy, and made sure we had an escort if we went across the street to get donuts and barbecue. Very slow-moving cars would drive by, and pissed off-looking guys in gang colors giving us the I See You Dead stare, etc...
An A&R guy came down and was wandering around the studio and Leon didnt recognise him and brought him back at gunpoint to the control room. "Do you know this guy?" "Yeah, you know him goddamit, that's blank!" "Well tell him not to be pokin around" We named the studio Leon's Music and Firearms, and sometimes Abdullah's Mosque of Music. We drank a lot of shitty coffee.
I remember playing a lot of guitar and bass. I remember screaming into the mike a lot. I remember being really frustrated by my incompetence. I remember a Texas blues version of Aids and Armageddon with a wonderful guitarist named Rich Stekol, and a great five-string violinist named Gene Elders. And that's when I met Greg Leisz for the first time. I remember Leon's piano, which was beautiful and in a nice sounding room, and that's also when I played my first B3 organ. And this powerhouse drummer who I actually went on the road with and can't for the life of me remember his name. Big glowering blond guy, I remember. The working title , and one I still think applies was "Black Hours". How in the hell did you find it? I havent heard it since after we did it.
from:
Musical confusion; an abortion; a vast array and variety of sexual infidelity, drunkenness, a twice-drawn pistol; a visit from Interpol; the bloodiest bank robbery in la to that point; the purchase of a&m by polygram; and a sudden breakup and move from a suburban home with dog, woman, and friends to a motel overlooking the freeway, days in Compton, and many long hours in a pistol range venting some unfathomable unspeakable rage.
Steve Berlin and Matt Wallace were coproducing, the poor bastards. We recorded it at an unnamed
studio owned by Leon Haywood in Compton, which was actually a pretty cool studio, technically and otherwise, nice API console, etc... with the exception being the very real sense of fear that was in the air . There was the aforementioned bank robbery/multiple homicide next door, for one thing. Also Leon always had his shotgun handy, and made sure we had an escort if we went across the street to get donuts and barbecue. Very slow-moving cars would drive by, and pissed off-looking guys in gang colors giving us the I See You Dead stare, etc...
An A&R guy came down and was wandering around the studio and Leon didnt recognise him and brought him back at gunpoint to the control room. "Do you know this guy?" "Yeah, you know him goddamit, that's blank!" "Well tell him not to be pokin around" We named the studio Leon's Music and Firearms, and sometimes Abdullah's Mosque of Music. We drank a lot of shitty coffee.
I remember playing a lot of guitar and bass. I remember screaming into the mike a lot. I remember being really frustrated by my incompetence. I remember a Texas blues version of Aids and Armageddon with a wonderful guitarist named Rich Stekol, and a great five-string violinist named Gene Elders. And that's when I met Greg Leisz for the first time. I remember Leon's piano, which was beautiful and in a nice sounding room, and that's also when I played my first B3 organ. And this powerhouse drummer who I actually went on the road with and can't for the life of me remember his name. Big glowering blond guy, I remember. The working title , and one I still think applies was "Black Hours". How in the hell did you find it? I havent heard it since after we did it.
