![]() ![]() We were in the mood to tell everyone to f-f- f-fade away. It was another street song, like "Anyway Anyhow Anywhere," and I think, Zen ducks aside, we were all in the mood for a bit of aggression. Put on too much echo and the result was permanent. The price to pay for this was that these things had to be mixed at the time of recording and that mix could never be changed. This allowed us to get the backing vocal harmonies sounding like we were a twelve-piece vocal group. We'd do harmonies all over the place, building them up by bouncing one track onto another on those three-tracks. He'd fly in, throw everything at the wall, tear it down, and rebuild it. We only had a three-track recorder-eight-tracks were still three years away-so we didn't have a lot to play with. He was always a bit bass-light, which used to upset John, but recording circumstances were difficult in those days. I understand technically why Pete didn't like it. Bottled-up rage, barely controlled, spilling out onto vinyl, shouting I hope I die before I get old.Īlmost all the great things that happen in studios are accidents, and that's when you've got to rely on your producers to spot the ones that work and the ones that don't. It was aggression, pure aggression, pushed forward by that onbeat. "Keep that blues stutter." And it worked. "Why don't you all ffffffffade away?" But it wasn't a stutter. ![]() Keep that in." Pete had a long "fffff" in the demo. ![]() Next take, I corrected it, but Kit popped out and said, "Keep it. I tried to follow him and I stuttered on the first line. So he was off, on the onbeat, full of aggression. The whole reason for his genius was the absolute, utter anarchy. He could do it but it killed him to do it. When you tried to pin him down to a straight four-four time, it was impossible. That was the thing about Moon-he was never a conformist drummer. Then we got to IBC studios and Keith just stuck it on the onbeat, which gave it the kick up the arse it needed. The second demo had the key changes and the call and response, but it still didn't feel right. Kit wasn't sure either, but he told him to keep going. More of a chink-a- chink-a-chink Bo Diddley number. The first demo he played us was much slower. ![]()
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