Danced Interview
The following incident
occurred whilst I was co-producing Toyah's first album "SHEEP FARMING
IN BARNET" at the now sadly defunct Chappell studio in New Bond
Street, where my co-producer Steve James was then a house engineer.
Our method of working was to get the band in during the day to record
backing tracks, and then send them home while we would work long in
to the night deconstructing the tracks and then splicing them back together
in an attempt to make some sense out of them. At this time Toyah's band
were very young and had much to learn in the art of song construction!
One night we were working on the track "DANCED"
and were desperately looking for a way to make it come to life when
Steve mentioned that he had seen a new synthesizer in the music shop
earlier that day, a Roland Jupiter 4. "Right, let's try it"
I said. Steve had an "arrangement" with the friendly night
watchman whereby he would borrow various items of equipment from the
shop downstairs, which was also part of Chappells. Ten minutes later
we had the Roland plugged in to the desk. One of the things that intrigued
us was a button labelled "arpeggiator". I pressed the button,
played a chord and a sound that I can only describe as Mantovani gone
mad issued forth from the monitors. "Wouldn't it be great if we
could get that perfectly in time with the track!"
Then, at the back of the Jupiter we noticed a socket labelled ARP CLOCK
IN or something similar (Remember we are in pre-MIDI days here). After
much experimentation, we found a snare drum seemed to trigger the effect
the best. Unfortunately the snare drum on the track was playing straight
fours which didn't produce the sound we were looking for. Steve went
out, played 16s very evenly on the snare drum along with the existing
track. Then we gated it and sent it to the Roland and I played the chords.
Magic. It transformed the song. We went home tired but happy.
Next day the band came in to listen to what we'd been up to the previous
night. A little apprehensively we played the track. Toyah herself loved
it - "What's that? It's fantastic!" Ten minutes later the
keyboard player arrived and we played it to him. Halfway through the
"Mad Mantovani" section he went berserk and knocked me out
of the chair yelling "I'm the keyboard player, how dare you put
things on without asking me!"
Somewhat stunned, I had no chance of retaliation as Toyah leapt up
and started punching him. My memory is a little hazy here, but at some
point the offending Jupiter was damaged and I recall Toyah chasing the
hapless chap out of the studio and in to the long corridor screaming
abuse. Though only 5 foot tall, Toyah was as strong as an ox, and a
formidable adversary.
Fortunately, tempers cooled down, the Jupiter was repaired and the
mad Mantovani strings were allowed to stay on the track. To the best
of my knowledge this was the first time anyone had used the arpeggio
function in this way, and many years later it still sounds worth the
aggravation!
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