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Post by matt on Feb 19, 2017 17:39:26 GMT -5
Interesting to hear that Gem played on some early back versions of HFB stuff. Wonder if he did that during Oasis times, or when Beady Eye was happening or what... "He mullered the Mexican ... it was a honky tonk piano loose Stones / Monday's ' gimme shelter ' with a great groove and sonics before he quo'd it up and stripped it of any character đđbut he's more keen to make sure he keeps 100 % ( in his mind that simply equates to dropping all evidence of that person as if that wipes the original backing track and sole reason the track exists in the first place - it doesn't ! Thinking about it ... I wanted to use great sounds on previous mixes which he was dead set against ( the mighty I original guitar is by Strangeboy and totally amazing and I suspect cutting it out meant he didn't have to acknowledge help / writing / collaboration cos why else drop it ? ...was a rare moment of liberated brilliance probably written at a very early pivotal jamming stage ( so I was told ) .. Also similarly with files from Gem and co ... I wasn't allowed to use even though as a sample freak they clearly deserved their place above and beyond what he'd recorded cos they were great and had character .... I'm getting it now .... uses people to write , then piggy backs & discards taking his chords and lyric to the next producer Yes ... noise coming from his camp is ALL about writing IN THE STUDIO to new backing tracks ( exactly like Mexican / Right Stuff which was first time he'd ever worked like that and boy he resisted ) and DH is saying traditionally NG is mid paced and not much fun ... It's like US talking , another campaign built on our initiative ... selling him according to answering our critique ... I've written a song which kinda sums it up , it's called ' the man who went to extraordinary lengths to remain the same ' đđđ it's a psych classic đđđđťđâď¸" Certainly towards the end of the Dig Out Your Soul production sessions in early 2008, Noel and Gem did indeed demo songs that would end up on Noel's debut. Dream On was one of them, I think Soldier Boys and Stranded On The Wrong Beach might have been a couple of other ones done. Dave Sardy allegedly 'raved about them' and said to Noel during sessions that 'we should totally record these now!'. It sounds like another excuse to have a dig at Sardy (it is!), but those songs mentioned don't come close to Noel's songwriting on Dig Out Your Soul. Personally, I thought it was a major indictment on Noel's songwriting that they were all bland mid tempo plodders with not much rhythmic variation - again, that's the producers role to try and mix things up a bit, and Sardy failed to do so on Noel's first album - who knows, Amorphous Androgynous could very well have versions in the lockers that really do mix things up a lot more.
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Post by spaneli on Feb 19, 2017 18:04:18 GMT -5
Interesting to hear that Gem played on some early back versions of HFB stuff. Wonder if he did that during Oasis times, or when Beady Eye was happening or what... "He mullered the Mexican ... it was a honky tonk piano loose Stones / Monday's ' gimme shelter ' with a great groove and sonics before he quo'd it up and stripped it of any character đđbut he's more keen to make sure he keeps 100 % ( in his mind that simply equates to dropping all evidence of that person as if that wipes the original backing track and sole reason the track exists in the first place - it doesn't ! Thinking about it ... I wanted to use great sounds on previous mixes which he was dead set against ( the mighty I original guitar is by Strangeboy and totally amazing and I suspect cutting it out meant he didn't have to acknowledge help / writing / collaboration cos why else drop it ? ...was a rare moment of liberated brilliance probably written at a very early pivotal jamming stage ( so I was told ) .. Also similarly with files from Gem and co ... I wasn't allowed to use even though as a sample freak they clearly deserved their place above and beyond what he'd recorded cos they were great and had character .... I'm getting it now .... uses people to write , then piggy backs & discards taking his chords and lyric to the next producer Yes ... noise coming from his camp is ALL about writing IN THE STUDIO to new backing tracks ( exactly like Mexican / Right Stuff which was first time he'd ever worked like that and boy he resisted ) and DH is saying traditionally NG is mid paced and not much fun ... It's like US talking , another campaign built on our initiative ... selling him according to answering our critique ... I've written a song which kinda sums it up , it's called ' the man who went to extraordinary lengths to remain the same ' đđđ it's a psych classic đđđđťđâď¸" Certainly towards the end of the Dig Out Your Soul production sessions in early 2008, Noel and Gem did indeed demo songs that would end up on Noel's debut. Dream On was one of them, I think Soldier Boys and Stranded On The Wrong Beach might have been a couple of other ones done. Dave Sardy allegedly 'raved about them' and said to Noel during sessions that 'we should totally record these now!'. It sounds like another excuse to have a dig at Sardy (it is!), but those songs mentioned don't come close to Noel's songwriting on Dig Out Your Soul. Personally, I thought it was a major indictment on Noel's songwriting that they were all bland mid tempo plodders with not much rhythmic variation - again, that's the producers role to try and mix things up a bit, and Sardy failed to do so on Noel's first album - who knows, Amorphous Androgynous could very well have versions in the lockers that really do mix things up a lot more. least one track from DOYS was written in studio. Idk, seems like a weak shot by Gaz. Like you degrade him for "not putting the effort in" then when he's putting the effort it with David Holmes, you get pissy that it's not you receiving the credit. Come off it. Everything can't be your brilliance. I sometimes wonder who's more into their self, Gaz or Noel. Edit: The Ballad of the Mighty I story is weak too. No real reason to bring it up. Like he refers to the song as "liberated brilliance" as if he caused it to happen, even though he says it started in an earlier jam session, which I assume was without him since he doesn't give many details. Secondly, he complains that Strangeboy's part was cut, though it's not unusual for an artist to have multiple session musicians to play on a track if you're not satisfied anymore with the previous one, especially when that session musician is being replaced by Johnny Marr. If Johnny Marr, the greatest guitarist of his generation, said that he had an ace solo for my track, then bye bye Strangeboy. It comes off less as Gaz looking out for Strangeboy, and more Gaz being pissed that the solo was replaced, which negated HIS producing credit for the song, which really isn't all that underhanded. There's a lot of reasons to be sympathetic to Gaz, but the Might I story is a bridge too far, and more than a bit of a reach.
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Post by shoreline on Feb 20, 2017 11:54:49 GMT -5
What's up with all this hate/negativity against Gaz all of a sudden? Seems uncalled-for, IMO. Don't think there's incredible hate for Gaz. But I'm not going to blindly follow what he says without critically analyzing it. I don't believe that Noel was 100% right for what he did, but that doesn't equate to Gaz being 100% correct either. Nevertheless, I think most people have been incredibly supportive of Gaz. Though he does have the tendency to be overly dramatic in his explanation, and sometimes overly verbose. Nothing wrong with some balanced, constructive criticism. I'm thinking more about the people who got nothing else to say than (stuff along the lines of) "Gaz seems to be having a cry-wank, Gaz is a very bitter man, he seems like the guy who likes the sound of his own voice, Gaz is so obsessed with Noel" etc. That's a different thing.
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Post by matt on Feb 20, 2017 12:09:37 GMT -5
Don't think there's incredible hate for Gaz. But I'm not going to blindly follow what he says without critically analyzing it. I don't believe that Noel was 100% right for what he did, but that doesn't equate to Gaz being 100% correct either. Nevertheless, I think most people have been incredibly supportive of Gaz. Though he does have the tendency to be overly dramatic in his explanation, and sometimes overly verbose. Nothing wrong with some balanced, constructive criticism. I'm thinking more about the people who got nothing else to say than (stuff along the lines of) "Gaz seems to be having a cry-wank, Gaz is a very bitter man, he seems like the guy who likes the sound of his own voice, Gaz is so obsessed with Noel" etc. That's a different thing. Fans of Dave Sardy infused dad rock.
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Post by uboasis on Feb 20, 2017 17:45:18 GMT -5
I love Noel and Liam but this is disappointing. Probably the one time I've been disappointed by Oasis. Two points on this. I want to see if people agree or disagree.
I've said this in the past, but does anyone think it is a distinct possibility that Noel released the AA Version of AKA What A Life because it's 15 minutes of mostly garbage and he wanted fans to no longer desire the AA album? It temporarily worked for me. If the AA album was going to be like WAL remix, then no thanks. But hearing what they've done with Paul Weller and the Right Stuff, and reading about what Gaz said, I really do think the album would have been good. Do you agree?
Also, I think Liam will never win the general public court of opinion vs Noel. But after this, if Liam comes out with a bold, modern, adventurous album that is halfway decent, he would win the court of public opinion among regular board members here vs Noel. Do you agree?
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Post by mossy on Feb 21, 2017 10:58:32 GMT -5
I love Noel and Liam but this is disappointing. Probably the one time I've been disappointed by Oasis. Two points on this. I want to see if people agree or disagree. I've said this in the past, but does anyone think it is a distinct possibility that Noel released the AA Version of AKA What A Life because it's 15 minutes of mostly garbage and he wanted fans to no longer desire the AA album? It temporarily worked for me. If the AA album was going to be like WAL remix, then no thanks. But hearing what they've done with Paul Weller and the Right Stuff, and reading about what Gaz said, I really do think the album would have been good. Do you agree? Also, I think Liam will never win the general public court of opinion vs Noel. But after this, if Liam comes out with a bold, modern, adventurous album that is halfway decent, he would win the court of public opinion among regular board members here vs Noel. Do you agree? I'm in the minority of people who like that remix :-) It's essentially just a massive extended outro. Could easily have been edited at the three minute point or so when the original song ends.
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Post by eleysium on Sept 27, 2017 10:09:59 GMT -5
I don't see him doing anything with that stuff, maybe Gaz will leak it 20 years from now. I think a collaboration album with Damon is more likely.
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Post by sfsorrow on Sept 29, 2017 8:34:47 GMT -5
Yeah, I think I take Noel at his word when he says simply that he didn't like the way the AA stuff sounded in the end and, in this case, he does. He mentioned in one of the recent interviews about how he told Holmes, to Holmes's shock, that he could have pulled out at any time.
However, I do think there is also something to the argument that Noel is more confident in making a more left-field album now than he was in 2011.
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Post by Jim on Nov 22, 2017 5:56:04 GMT -5
Dunno, but it isn't black and white is it. Lots of factors contributing to the success and failure of each project. What's most interesting is Noel isn't ruling out working with them again, now he's got more comfortable with their way of working, via Holmes. X Yeah that's interesting. I'd still like to see it happening. AA make some incredible music and Noel obviously knows how good they are considering how highly he spoke of them before. I doubt his opinion on their talent has changed, even if the project never worked out. That's life. It's not always someones fault, i think both need to just be on the same page at the same time. Gaz has also said he'd happily work with Noel again if he wanted to. I think there's still a mutual respect there, it just maybe wasn't the right timing. I would have still loved to hear a Death In Vegas produced Oasis album but as Noel said, they just weren't ready and didn't have the material so it didn't work. A Liam album co-written and produced by DIV would probably be great but probably not right for his career. Death in Vegas is just Richard Fearless nowadays as Tim Holmes left quite a while ago and heâs went proper dark electro so I canât see him writing stuff like he did on Scorpio Rising. Maybe as a producer, but again he hasnât really done any Liam type of music for a long time.
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Post by ninestonecowboy on Nov 22, 2017 6:38:25 GMT -5
Yeah that's interesting. I'd still like to see it happening. AA make some incredible music and Noel obviously knows how good they are considering how highly he spoke of them before. I doubt his opinion on their talent has changed, even if the project never worked out. That's life. It's not always someones fault, i think both need to just be on the same page at the same time. Gaz has also said he'd happily work with Noel again if he wanted to. I think there's still a mutual respect there, it just maybe wasn't the right timing. I would have still loved to hear a Death In Vegas produced Oasis album but as Noel said, they just weren't ready and didn't have the material so it didn't work. A Liam album co-written and produced by DIV would probably be great but probably not right for his career. Death in Vegas is just Richard Fearless nowadays as Tim Holmes left quite a while ago and heâs went proper dark electro so I canât see him writing stuff like he did on Scorpio Rising. Maybe as a producer, but again he hasnât really done any Liam type of music for a long time. Funnily enough, Scorpio Rising was my least favourite album by DIV. Trans-Love Energies was post Tim Holmes and that still had shades of the older stuff in places, songs like Black Hole but yeah, definitely in a darker direction. They had some very good musicians playing with them before it was just Richard Fearless on his own too though. People like Ian Button contributed a lot to their music for a while. So i guess you're right, Liam working with DIV today wouldn't really work the same without all the others involved.
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Post by theseventwenty on Feb 25, 2018 22:30:00 GMT -5
I wonder if THIS bit of music is from the AA sessions too - sounds like it kinda could be, when the mellotron comes in and stuff...
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Post by Deleted on Aug 19, 2018 15:45:55 GMT -5
Who does this wee guy think he is calling ma feet medieval when heâs a grown man still hiding stuff in a sock drawer.... grow up (both to him personally and also to his wee totty trotters).
I heavy want to hear the album but like itâs probably going to be pure anticlimactic if it ever did get released.
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Post by crisppacket on Aug 21, 2018 5:58:33 GMT -5
Oh shitttt, was there any need for so many brackets though âšď¸âšď¸âšď¸ Interesting to read how heâd written in the studio, thought Noely had never done that before and it was a revolutionary tactic DH employed eh đ But long story short Noel wasted more than a year of their time/money and used AA stuff without credit yeah?
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Post by mossy on Aug 21, 2018 11:57:38 GMT -5
Oh shitttt, was there any need for so many brackets though âšď¸âšď¸âšď¸ Interesting to read how heâd written in the studio, thought Noely had never done that before and it was a revolutionary tactic DH employed eh đ But long story short Noel wasted more than a year of their time/money and used AA stuff without credit yeah? Yeah, nothing new in this latest post, all things Gaz has said before. Given Noelâs past performance and by just trusting my ears when listening to The Right Stuff Iâm willing to believe most of what Gaz says. X
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Post by mossy on Aug 22, 2018 8:21:01 GMT -5
Alright, this post will probably set a record for the longest ever, sorry for thatâŚAnyway, leaving all the mutual accusations and bashing between Noel and the AA (in person of Gaz Cobain) aside, Iâve basically just tried to compile a proper recording sessions guide including supportive quotes form the involved parties. Iâve read through all the various press articles on the lost album since 2011 I could find very carefully, and especially Gazâ Facebook ramblings too, and just put the relevant information together without much thinkingâŚI had the impression that this topic really needed some kind of summary, as thereâs always the same questions and speculations arising whenever it brought up again (no offence meant, by the way). Thanks to everyone involved in this thread and the other discussions that dealt with the subject and particularly the ones that had posted links to news articles, interviews etc., especially to mossy and The Crimson Rambler! Oh, and this is by no means complete or free of errors, youâll notice the quotes are sometimes quite contradictory. Please feel free to add and correct. After all, Iâve just tried to put the focus on the actual music to find out what really was recorded by Noel and the AA/by the AA for Noel/by Noel without knowledge of the AA. So there you go⌠Dusty Attic Productions, Kent, UK â Fall/Winter 2009 until late 2011 Producers/Writers: Gaz Cobain, Brian Dougans and Noel Gallagher Recording Engineers: James Stone, ⌠⢠Ballad Of The Mighty I [possibly titled âThe Mighty Iâ] ⢠Broken Arrow [?] ⢠Crimson Rambler ⢠Dream On [?] ⢠Everybodyâs On The Run ⢠Freaky Teeth ⢠If I Had A Gun⌠[2 versions] ⢠Record Machine ⢠Shoot A Hole Into The Sun [released on the b-side of the âDream Onâ-single] ⢠Soldier Boys And Jesus Freaks ⢠Stop The Clocks ⢠(Stranded On) The Wrong Beach [?] ⢠Teotihuacan ⢠The Death Of You And Me [Short snippets can be heard at the start and end of the official AKAâŚWhat A Life! video] ⢠The Mexican [revised version released on âChasing Yesterdayâ] ⢠The Right Stuff [revised version released on âChasing Yesterdayâ] ⢠The Song Doesnât Remain The Same ⢠What A Life! [?] [Remix found on the b-side of âEverybodyâs On The Runâ was mixed after the main sessions and was not intended for the album] ⢠⌠Other musicians possibly involved - â11 musiciansâ were involved according to Gaz Cobain (the following lists the extended AA band members; names and descriptions courtesy of the AA MySpace): Dave Sanderson - Owl vocalising and conga rhythms of the ancients Gary Lucas - His Guitarness.... [confirmed] Alisha Sufit - Voice from the Magic Carpet Stu Rowe and Antony Argiros - the lost chords Baluji Shrivastav and Jonathan Mayer- sitar, tablas and the Om Mikey Rowe and Rainy Moor - Analogue Overlords of the Vintage Keys and Hammond Dimension Virgil Howe - Drum Circle of One [confirmed] Kez Gunes - the Pulse of the Lower Frequencies Edd Keene - Upper Chakra Flutes Dianne Harris - Woman with burning vision As so often since the aborted/unreleased DIV sessions, Terry Kirkbride was involved recording the drums as well. This is proven by the only studio footage that has surfaced so far, showing the recording of Shoot A Hole Into The Sun: This is apparently the only image proof of the AA and Noel together in the studio: SUPPORTIVE QUOTES ON THE RECORDED SONGS: "no the one you're thinking of that we DID do was ' the song doesn't remain the same ' unfortunately that one was scrapped cos it was the quietest revolution of all time" (in reply to someone asking whether they were involved in Whilst the Song Remains the Same) "WHAT A LIFE ...we never chose it for our album cos we never liked it &.it was.just a remix after the event" âI agreed since most of our time had been spent writing the 4/5 new trax the Right stuff / Shoot a Hole / Crimson Rambler / MEXICAN so mixing had fallen by the wayside .ââthis prompted me to spend another week being much more OUT THERE ,eventually creating 'SHOOT A HOLE 'when i already had two great versions of IF I HAD A GUN...â"[Teotihuacan] was brought forward for our consideration..."(Excerpts of posts from Gaz Cobain on his Facebook) Noel mentioned in early promo interviews for his âregularâ debut that the 3 singles from that album (The Death Of You And Me, If I Had A Gun, What A Life) would be reworked for the AA album. Canât find a direct quote unfortunately, but definitely can recall reading it a couple of times. Hereâs Noel possibly referring to the AA version of Ballad Of The Mighty I: "Take the Ballad of the Mighty I. Pure dance tune. For some time Iâve had a slower psychedelic version of that song with congaâs, very 1969. In in the back my mind I had the idea to make it lighter, a bassline played by my engineer Paul Stacey and a drum beat was added. They give it the needed energy. Then Johnny Marr did his thing and he really made a twisted disco tune."(Oor magazine, January 2015, Thanks to General Dread, @mimihopps and Mean Mrs. Mustard for translating) He had also mentioned that Ballad Of The Mighty I was indeed recorded with the AA in the BBC Mastertapes interview in December 2014 James Stone, one of the recording engineers at Dusty Attic referred to Ballad Of The Mighty I on Twitter (@dustyatticpro) in early 2014: â@je_suisNatalie What happened to the Noel & Amorphous Androgynous album? That is what I want to know.â â@grantyh @je_suisnatalie he shelved it. I was one of the recording engineers on the album. Amazing songs, real shame. Mighty I is a killerâ ânoel has told hotpress ireland he sent amorphous androgynous if i had a gun,soldier boys and jesus freaks,everybodys on the run,record machine and stop the clocks. he said that soldier boys instrumental break went from 40 secs to 4mins and goes from rock to reggae to krautrock! (âŚ) but he says that only 3 or 4 tracks from high flying birds will appear on amorphous album with 10 new tracks!âI couldnât find a transcript or scan of this interview that originally appeared in Hot Press magazine in August/September 2011, so I had to quote user ârickrock79â from the official NGHFB forum. www.noelgallagher.com/old/forum/viewtopic.php?f=1&t=1193Funnily enough, The Right & The Mexican originally werenât even supposed to be on Chasing Yesterday. The Right Stuff was originally supposed to be b-side in a longer instrumental form, The Mexican wasnât even on the original running order and was just added to lighten things up after the âemotionally heavyâ (canât find the exact Noel quote) songs that preceed it. THE CHRONOLOGY OF THE NONE-RELEASE (in the words of Noel Gallagher) âThe albumâs [due in early/mid-2012] got 18 tracks on it. Some of itâs Vaudeville, some of itâs actual space jazz, some of itâs Krautrock, some of itâs soul, some of itâs funk⌠and thatâs just the first song. Itâs the furthest out Iâve ever been, put it that way.â (Album announcement/press conference, 6th July 2011) âIt sounds a bit like Pink Floydâs Dark Side of the Moon. The sound is similar to High Flying Birds, but more psychedelic and tripped out. Itâs not an electronic project. People are jumping to that conclusion because Amorphous Androgynous used to be an electronic outfit. Iâm not even sure what the albumâs title is going to be yet. Iâm just fucking about with the mixes now. When will it be out? In my head, next summer. But if High Flying Birds is a success, then not until next winter.â(Spin, September 2011) www.spin.com/2011/09/qa-noel-gallagher-solo-lp-oasis/"I've got a break in the middle of this tour in July, so now the plan is to do something then, and then to finish it off after the tour in October. So it might come out at the end of the year, but it's more likely to be next year now. [âŚ] I set the benchmark pretty high with this record [Noel Gallagher's High Flying Birds], and I'm not just putting [out] a record for the f**king sake of it. At the moment it's not a great record â so it won't come out until it is."(NME, February 2012) www.nme.com/news/noel-gallagher/62040"Well, yes, it's recorded but it's not mixed. And whether it'll ever see the light of day or not, I don't know. There's a lot of work left to be done. A lot of work. I just did my bits in the studio and left it up to the Amorphous Androgynous to artistically direct it. And unfortunately for everybody, they've not finished it."(AZ Central, April 2012) âThe second album [with Amorphous Androgynous] ended up having to be scrapped. (âŚ) I donât think it will come out. Iâm pleased with the songs. The songs that I did when I was in the studioâIâll probably re-record them. But the moment has passed, I think. Do you know what I mean? When you have records, thereâs a window before their moment passes. Iâve already moved on from that Amorphous Androgynous thing. Iâve written a bunch more songs since then, so Iâm afraidâunfortunatelyâthe success of this album killed that one. I wasnât planning on being on tour for 15 months. Well, it was a record that contains songs that werenât conventional songs. It wasnât verse-chorus-verse-chorus. Theyâre a bit trippy and a bit floaty. My songs, in general, they donât really rely on the mix. Theyâre all written on acoustic guitar. Theyâre as good with me just singing them into the microphone in the style of Bob Dylan as they are with a full band. The High Flying Birds album didnât rely on the mixes. The songs were there. This was a record thatâabsolutely, 100 percentârelied on the mixes, because they werenât songs, so to speak. They were grooves and, you know, there werenât many chords in them. And the mixes werenât fucking right. And unfortunately, I didnât have time to go back in and remix it. And now Iâm too fucked. Iâm fucked. Iâve been on the road for 15 months. I am fucked.â(AV Club, October 2012) www.avclub.com/article/noel-gallagher-on-going-solo-and-working-with-hipp-87837âBut for all the great ideas on it⌠I was in the middle of a tour, that last album had blown up, the mixes weren't right. And by the time I got back off tour I was just like, 'I'm not fucking putting out another record, I can't be arsed'.â The former Oasis man added that track 'The Right Stuff' from his upcoming album 'Chasing Yesterday', which began its life on the Amorphous Androgynous album, is "vastly different from the first one." He said: "The [song] in this record is vastly different from the first one, which had a lot of noodling and fucking about. It's become quite psychedelic, jazz, fucking whatever you wanna call it."(NME, January 2015) www.nme.com/news/noel-gallagher/82326#bjLMHifyr830Cd0A.99âOh yeah, Shoot a Hole Into the Sun. That was amazing and it was the one good thing that came out of that record. On this record, The Right Stuff was born out of that project â but what's on the album is completely different. If I played you what was done by Amorphous Androgynous, you'd barely recognise it. We were doing a completely different track that's never come out, which right at the end had those three chords as an outro thing. I didn't think anything of it and went back to the studio the next day, and they'd looped those three chords and I played drums and put a bit of a beat on it. I wrote a song around that. When it came to this album, I thought that the idea was good, but the execution wasn't very good â so I re-recorded it, got a saxophone player. [It was] the same with The Mexican, which came out of another tune which I started played the riff of. It had a bit of a vibe.â(entertainment.ie, February 2015) entertainment.ie/music/news/Interview-entertainmentie-speaks-to-Noel-Gallagher-Part-1/347042.htmTHE GENESIS AND DOWNFALL OF AN ALBUM (according to Gaz Cobain) âBetween 2009 and 2011, I was obsessed with Noel Gallagher. During that period, we spent four weeks in the studio with him. The rest of the time it was just Brian [Dougans, the other half of AA] and me, in control of the budgets, all the music and the musicians. We got in Gary Lucas from Captain Beefheartâs Magic Band and Virgil Howe, son of Steve Howe of Yes, to give an idea of how far-out we were going.â(The Guardian, May 2015) www.theguardian.com/music/2015/may/07/noel-gallagher-oasis-amorphous-androgynous-too-afraid-to-be-weirdâWe spent two years working on what was supposed to be the solo album with Noel.â(musicfeeds.com, April 2015) musicfeeds.com.au/features/amorphous-androgynous-gaz-cobain-talks-working-with-noel-gallagher-paul-weller-ian-astbury-more/ ââŚhe recorded another album, which did straight version, in exactly the same order as oursâŚâ ââŚhe actually recorded another album in secret that also completely copied our track orderâŚâ(digitalaudioreview.net, April 2015) www.digitalaudioreview.net/2015/04/noel-gallaghers-lost-amorphous-androgynous-album/âHe basically came out when we'd been making an album for about a year and a half, and he said: 'I'm not releasing one album, I'm releasing two.' That was the first time I heard about it, and I'd been working on his record for a year and a half, and I didn't even know that he'd been recording the same stuff that we were doing in a straight form. I mean, we were the only people who had ever made him improvise on the spot, and we wrote backing tracks for him. Both of those tracks [The Right Stuff & The Mexican] - we wrote the backing tracks, we worked on them for six months waiting for our moment to come, and we finally get him to come to the party. He writes some lyrics and some basslines, and do you know who he thinks wrote those tracks?âInterviewer: âNoel?â âYes, him. On his new record, we are co-producers - we're not even writers.â(The Quietus, May 2015) thequietus.com/articles/17837-amorphous-androgynous-garry-cobain-on-noel-gallagherâ...[Noel] expected us to join the suffering masochists that hang around him , contributing without credit ( like the 11 musicians ( mostly friends of mine ( sorry again guys ! ) but even a couple of Noels friends he brought in ( I say 'friends' but it was me who rang them personally to explain and apologize )who's credits mysteriously disappeared from the sleeve of DREAM ON / SHOOT A HOLE ( didn't quite fit the picture of solo career maybe ) DESPITE us delivering them months in advance of the deadline for our sleeve art credits ?)
everything was amazing but it needed bigger mixes- we agreed since we'd spent way too much time writing new tracks ( the Right Stuff/ the Mexican/ Shoot a Hole plus a coupla others ) to be able to mix to the fullest....so it seemed a good plan....he went on tour with the other album and gradually realized he couldn't be arsed...â
âWe took on his songs( apart from the new ones we wrote ) in pretty much their natural flow ( bar the odd extended Intro / instrumental break or freak out here and there ) as soon as you get near to his song he just doesn't 'get it 'and wants it guitar / bass / drums so your best bet is just gratuitously fucking with it - turn it into new songs . He's very impressed / wowed by that .I never wanted to do that cos actually the songs I chose I liked but just wanted more colour and depth and imagination ( and groove at points ) . Once he decided to secretly record his straight versions and ours was a 'radical remixes ' album ours was kinda fucked cos he overlooked to tell us of any such plan and therefore he wouldn't want to muddy the water with other 'competitive ' versions of the song . In other words , radical remixes suits him cos they don't threaten his version ...â âHence the only things he's released by us are either radical or completely new ( but in my opinion nowhere near the best stuff - our 2 mixes of IF I HAD A GUN ( before a 3rd - SHOOT A HOLE was done out of embarrassment he kept comparing our 'shit ' album to DARK SIDE OF THE MOON ) are possibly my favourite.â
âTo be honest... the biggest disappointment for me in all of this is that in the end our material was just cherry picked to give him obscurity credibility when actually the best things we did ( imo )were actually perfectly measured songs flowing ( not abstracted ) but very creatively produced... something i believe which would have been loved by his fans hungry for a little expansion but also non-believers .....â(Gaz Cobainâs Facebook, 2015) And last but not least⌠GAZ COBAIN ON REMIXING CHASING YESTERDAY ââŚoh and by the way we were remixing the whole of CHASING YESTERDAY before we realized what was happening with the Right Stuff and the Mexican......not quite so clear cut now is it ?â
âThe dissolution of that particular job ( free rein to remix an alternative CHASING YESTERDAY all agreed , contracts drawn up, ready to sign ) was us asking 'awkward' questions about' the right stuff 'and 'the MEXICAN ' in terms our writing credits.â
ââŚour CHASING YESTERDAY would have included us finalizing our original versions of both songs [The Right Stuff/The Mexican]â
âwe chose RIVERMAN as one of the 8 we WERE working from Chasing Yesterday album but no way did it start our album - closed it ( or should I say what we had in mind closed it )â
âDon't worry Noel I got them all including multitracks for all your solo albums including Chasing Yesterday ... How the hell we were remixing his latest 'opus ' when we're so 'shit' is beyond me unlessâ(Excerpts of posts from Gaz Cobain on his Facebook) This post is always worth a bump. X
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Post by theseventwenty on Sept 11, 2018 8:42:09 GMT -5
The AA mixes will be a nice bonus for the Deluxe Special Edition 10th Anniversary Reissue. By the way, the 10th anniversary will be in 3 years, feel old yet? There's maybe a decent chance of these being the bonus tracks if they do a reissue...he already released all the demos from the album so what else could they include? Except live versions of the tracks, like they did on the Chasing The Sun Oasis reissues. I'd guess it would be a remaster of the album (a remix would be nice, but more work), maybe the AA tracks, the bonus tracks and some live stuff thrown in
I'd LOVE if it came out for a ten year reissue, but I'm not totally convinced they'd do that.
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Post by MONO on Oct 6, 2018 10:12:06 GMT -5
Did he run out of ideas for his second Cosmic Pop album? Pretty sure the unaltered AA stuff is better than Noel/David Holmes redoing it.
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Post by mossy on Oct 6, 2018 11:52:03 GMT -5
Did he run out of ideas for his second Cosmic Pop album? Pretty sure the unaltered AA stuff is better than Noel/David Holmes redoing it. It took 4 years to make WBTM by fully writing in the studio so letâs hope theyâre relaxing that rule this time. Most of the songs from the AA album sessions have been released already though in their straight or reworked form on his debut album (Record Machine, IIHAG etc.) or Chasing Yestersay (Mighty I, Right Stuff, Mexican). So I believe the only new songs left from those sessions now are Crimson Rambler and possibly Oh Lord. Crimson Ramber was originally written by the AA like The Mexican so would be a contentious one to release on his third album. If he wants to release it heâll likely want to redo it to stop the AA from getting a writing credit. O Lord doesnât strike me as something to be getting too excited about no matter what the AA did to it! So maybe he is actually going over the old material to prepare it for release on the HFB 10th anniversary reissue? Unless even more new songs were recorded with the AA than we know about. Either way, amazing to hear him calling it really good again and working on it after all the previous âitâs shitâ, âitâs too quietâ and âit was so bad Iâve destroyed itâ nonsense! X
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Post by theseventwenty on Mar 14, 2019 9:11:41 GMT -5
Over thinking it. Let the past die. Kill it you must. NEVER!
It's definitely a different version to the album version though - and the strings sound like the stuff AA uses too
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Post by theseventwenty on Mar 23, 2019 10:37:17 GMT -5
Also, re. Gaz's comment about We Persuade Ourselves... and their mix of Everybody's on the Run that they did being closely connected - both tracks are the exact same tempo. I wonder if the new AA track reuses or samples some of the stuff from their EOTR, or if it's a complete coincidence that they're both 77 beats per minute
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Post by mossy on Mar 23, 2019 10:45:16 GMT -5
Also, re. Gaz's comment about We Persuade Ourselves... and their mix of Everybody's on the Run that they did being closely connected  - both tracks are the exact same tempo. I wonder if the new AA track reuses or samples some of the stuff from their EOTR, or if it's a complete coincidence that they're both 77 beats per minute Gaz said there was a chance heâd sample material from Noelâs album as Noel wouldnât know anyway. So maybe. He was likely being flippant when he said that though. He wouldnât want Noelâs lawyers blocking the release of an album heâs worked on for years. Noel does play on Crossing Over though - another track which will definitely be on their new album. X
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Post by mossy on Oct 1, 2019 1:19:06 GMT -5
The AA mixes will be a nice bonus for the Deluxe Special Edition 20th Anniversary Reissue. By the way, the 10th anniversary will be in 3 years, feel old yet? Corrected using realism.... ;-P COME ON NOEL, YOUâVE GOT THREE WHOLE YEARS TO MIX THIS YOU IDLE BAR STEWARD!!! X Two years to finish those mixes for the HFB anniversary edition now Noel... is a decade enough distance? âIt might be nice to go back and revisit it in years to come, because Shoot A Hole Into The Sun is fucking great and there might be more stuff like that in there. Best to give it a bit of distance though, I think.â Noly G, Aug 2018. X
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Post by mossy on Oct 3, 2019 23:43:56 GMT -5
I still ride or die for the AA sessions. It probably sucks too but I want it. I've wanted it since the moment it escaped Noel's mouth in July 2011. Fuck the proper album give me the weird! It might suck, but all the bits weâve heard havenât. That slide guitar version of The Mexican sounds good and removing the stupid âkid on crackâ line will instantly make it better! âNoel is loved by middle England. Would I turn his four-minute songs into prog-psych music? No, I was prepared to meet him halfway. My mandate was to bring my psych and prog influences to bear on pop songs. It was never going to be as way out as Pink Floyd. But I did think I could make his songs as free as Cosmic Dancer by T Rex.â Gaz In 2015. Canât believe there are 2 CDs worth of material sat there unheard. Itâs the new mustique tape! X Alright, this post will probably set a record for the longest ever, sorry for thatâŚAnyway, leaving all the mutual accusations and bashing between Noel and the AA (in person of Gaz Cobain) aside, Iâve basically just tried to compile a proper recording sessions guide including supportive quotes form the involved parties. Iâve read through all the various press articles on the lost album since 2011 I could find very carefully, and especially Gazâ Facebook ramblings too, and just put the relevant information together without much thinkingâŚI had the impression that this topic really needed some kind of summary, as thereâs always the same questions and speculations arising whenever it brought up again (no offence meant, by the way). Thanks to everyone involved in this thread and the other discussions that dealt with the subject and particularly the ones that had posted links to news articles, interviews etc., especially to mossy and The Crimson Rambler! Oh, and this is by no means complete or free of errors, youâll notice the quotes are sometimes quite contradictory. Please feel free to add and correct. After all, Iâve just tried to put the focus on the actual music to find out what really was recorded by Noel and the AA/by the AA for Noel/by Noel without knowledge of the AA. So there you go⌠Dusty Attic Productions, Kent, UK â Fall/Winter 2009 until late 2011 Producers/Writers: Gaz Cobain, Brian Dougans and Noel Gallagher Recording Engineers: James Stone, ⌠⢠Ballad Of The Mighty I [possibly titled âThe Mighty Iâ] ⢠Broken Arrow [?] ⢠Crimson Rambler ⢠Dream On [?] ⢠Everybodyâs On The Run ⢠Freaky Teeth ⢠If I Had A Gun⌠[2 versions] ⢠Record Machine ⢠Shoot A Hole Into The Sun [released on the b-side of the âDream Onâ-single] ⢠Soldier Boys And Jesus Freaks ⢠Stop The Clocks ⢠(Stranded On) The Wrong Beach [?] ⢠Teotihuacan ⢠The Death Of You And Me [Short snippets can be heard at the start and end of the official AKAâŚWhat A Life! video] ⢠The Mexican [revised version released on âChasing Yesterdayâ] ⢠The Right Stuff [revised version released on âChasing Yesterdayâ] ⢠The Song Doesnât Remain The Same ⢠What A Life! [?] [Remix found on the b-side of âEverybodyâs On The Runâ was mixed after the main sessions and was not intended for the album] ⢠⌠Other musicians possibly involved - â11 musiciansâ were involved according to Gaz Cobain (the following lists the extended AA band members; names and descriptions courtesy of the AA MySpace): Dave Sanderson - Owl vocalising and conga rhythms of the ancients Gary Lucas - His Guitarness.... [confirmed] Alisha Sufit - Voice from the Magic Carpet Stu Rowe and Antony Argiros - the lost chords Baluji Shrivastav and Jonathan Mayer- sitar, tablas and the Om Mikey Rowe and Rainy Moor - Analogue Overlords of the Vintage Keys and Hammond Dimension Virgil Howe - Drum Circle of One [confirmed] Kez Gunes - the Pulse of the Lower Frequencies Edd Keene - Upper Chakra Flutes Dianne Harris - Woman with burning vision As so often since the aborted/unreleased DIV sessions, Terry Kirkbride was involved recording the drums as well. This is proven by the only studio footage that has surfaced so far, showing the recording of Shoot A Hole Into The Sun: This is apparently the only image proof of the AA and Noel together in the studio: SUPPORTIVE QUOTES ON THE RECORDED SONGS: "no the one you're thinking of that we DID do was ' the song doesn't remain the same ' unfortunately that one was scrapped cos it was the quietest revolution of all time" (in reply to someone asking whether they were involved in Whilst the Song Remains the Same) "WHAT A LIFE ...we never chose it for our album cos we never liked it &.it was.just a remix after the event" âI agreed since most of our time had been spent writing the 4/5 new trax the Right stuff / Shoot a Hole / Crimson Rambler / MEXICAN so mixing had fallen by the wayside .ââthis prompted me to spend another week being much more OUT THERE ,eventually creating 'SHOOT A HOLE 'when i already had two great versions of IF I HAD A GUN...â"[Teotihuacan] was brought forward for our consideration..."(Excerpts of posts from Gaz Cobain on his Facebook) Noel mentioned in early promo interviews for his âregularâ debut that the 3 singles from that album (The Death Of You And Me, If I Had A Gun, What A Life) would be reworked for the AA album. Canât find a direct quote unfortunately, but definitely can recall reading it a couple of times. Hereâs Noel possibly referring to the AA version of Ballad Of The Mighty I: "Take the Ballad of the Mighty I. Pure dance tune. For some time Iâve had a slower psychedelic version of that song with congaâs, very 1969. In in the back my mind I had the idea to make it lighter, a bassline played by my engineer Paul Stacey and a drum beat was added. They give it the needed energy. Then Johnny Marr did his thing and he really made a twisted disco tune."(Oor magazine, January 2015, Thanks to General Dread, @mimihopps and Mean Mrs. Mustard for translating) He had also mentioned that Ballad Of The Mighty I was indeed recorded with the AA in the BBC Mastertapes interview in December 2014 James Stone, one of the recording engineers at Dusty Attic referred to Ballad Of The Mighty I on Twitter (@dustyatticpro) in early 2014: â@je_suisNatalie What happened to the Noel & Amorphous Androgynous album? That is what I want to know.â â@grantyh @je_suisnatalie he shelved it. I was one of the recording engineers on the album. Amazing songs, real shame. Mighty I is a killerâ ânoel has told hotpress ireland he sent amorphous androgynous if i had a gun,soldier boys and jesus freaks,everybodys on the run,record machine and stop the clocks. he said that soldier boys instrumental break went from 40 secs to 4mins and goes from rock to reggae to krautrock! (âŚ) but he says that only 3 or 4 tracks from high flying birds will appear on amorphous album with 10 new tracks!âI couldnât find a transcript or scan of this interview that originally appeared in Hot Press magazine in August/September 2011, so I had to quote user ârickrock79â from the official NGHFB forum. www.noelgallagher.com/old/forum/viewtopic.php?f=1&t=1193Funnily enough, The Right & The Mexican originally werenât even supposed to be on Chasing Yesterday. The Right Stuff was originally supposed to be b-side in a longer instrumental form, The Mexican wasnât even on the original running order and was just added to lighten things up after the âemotionally heavyâ (canât find the exact Noel quote) songs that preceed it. THE CHRONOLOGY OF THE NONE-RELEASE (in the words of Noel Gallagher) âThe albumâs [due in early/mid-2012] got 18 tracks on it. Some of itâs Vaudeville, some of itâs actual space jazz, some of itâs Krautrock, some of itâs soul, some of itâs funk⌠and thatâs just the first song. Itâs the furthest out Iâve ever been, put it that way.â (Album announcement/press conference, 6th July 2011) âIt sounds a bit like Pink Floydâs Dark Side of the Moon. The sound is similar to High Flying Birds, but more psychedelic and tripped out. Itâs not an electronic project. People are jumping to that conclusion because Amorphous Androgynous used to be an electronic outfit. Iâm not even sure what the albumâs title is going to be yet. Iâm just fucking about with the mixes now. When will it be out? In my head, next summer. But if High Flying Birds is a success, then not until next winter.â(Spin, September 2011) www.spin.com/2011/09/qa-noel-gallagher-solo-lp-oasis/"I've got a break in the middle of this tour in July, so now the plan is to do something then, and then to finish it off after the tour in October. So it might come out at the end of the year, but it's more likely to be next year now. [âŚ] I set the benchmark pretty high with this record [Noel Gallagher's High Flying Birds], and I'm not just putting [out] a record for the f**king sake of it. At the moment it's not a great record â so it won't come out until it is."(NME, February 2012) www.nme.com/news/noel-gallagher/62040"Well, yes, it's recorded but it's not mixed. And whether it'll ever see the light of day or not, I don't know. There's a lot of work left to be done. A lot of work. I just did my bits in the studio and left it up to the Amorphous Androgynous to artistically direct it. And unfortunately for everybody, they've not finished it."(AZ Central, April 2012) âThe second album [with Amorphous Androgynous] ended up having to be scrapped. (âŚ) I donât think it will come out. Iâm pleased with the songs. The songs that I did when I was in the studioâIâll probably re-record them. But the moment has passed, I think. Do you know what I mean? When you have records, thereâs a window before their moment passes. Iâve already moved on from that Amorphous Androgynous thing. Iâve written a bunch more songs since then, so Iâm afraidâunfortunatelyâthe success of this album killed that one. I wasnât planning on being on tour for 15 months. Well, it was a record that contains songs that werenât conventional songs. It wasnât verse-chorus-verse-chorus. Theyâre a bit trippy and a bit floaty. My songs, in general, they donât really rely on the mix. Theyâre all written on acoustic guitar. Theyâre as good with me just singing them into the microphone in the style of Bob Dylan as they are with a full band. The High Flying Birds album didnât rely on the mixes. The songs were there. This was a record thatâabsolutely, 100 percentârelied on the mixes, because they werenât songs, so to speak. They were grooves and, you know, there werenât many chords in them. And the mixes werenât fucking right. And unfortunately, I didnât have time to go back in and remix it. And now Iâm too fucked. Iâm fucked. Iâve been on the road for 15 months. I am fucked.â(AV Club, October 2012) www.avclub.com/article/noel-gallagher-on-going-solo-and-working-with-hipp-87837âBut for all the great ideas on it⌠I was in the middle of a tour, that last album had blown up, the mixes weren't right. And by the time I got back off tour I was just like, 'I'm not fucking putting out another record, I can't be arsed'.â The former Oasis man added that track 'The Right Stuff' from his upcoming album 'Chasing Yesterday', which began its life on the Amorphous Androgynous album, is "vastly different from the first one." He said: "The [song] in this record is vastly different from the first one, which had a lot of noodling and fucking about. It's become quite psychedelic, jazz, fucking whatever you wanna call it."(NME, January 2015) www.nme.com/news/noel-gallagher/82326#bjLMHifyr830Cd0A.99âOh yeah, Shoot a Hole Into the Sun. That was amazing and it was the one good thing that came out of that record. On this record, The Right Stuff was born out of that project â but what's on the album is completely different. If I played you what was done by Amorphous Androgynous, you'd barely recognise it. We were doing a completely different track that's never come out, which right at the end had those three chords as an outro thing. I didn't think anything of it and went back to the studio the next day, and they'd looped those three chords and I played drums and put a bit of a beat on it. I wrote a song around that. When it came to this album, I thought that the idea was good, but the execution wasn't very good â so I re-recorded it, got a saxophone player. [It was] the same with The Mexican, which came out of another tune which I started played the riff of. It had a bit of a vibe.â(entertainment.ie, February 2015) entertainment.ie/music/news/Interview-entertainmentie-speaks-to-Noel-Gallagher-Part-1/347042.htmTHE GENESIS AND DOWNFALL OF AN ALBUM (according to Gaz Cobain) âBetween 2009 and 2011, I was obsessed with Noel Gallagher. During that period, we spent four weeks in the studio with him. The rest of the time it was just Brian [Dougans, the other half of AA] and me, in control of the budgets, all the music and the musicians. We got in Gary Lucas from Captain Beefheartâs Magic Band and Virgil Howe, son of Steve Howe of Yes, to give an idea of how far-out we were going.â(The Guardian, May 2015) www.theguardian.com/music/2015/may/07/noel-gallagher-oasis-amorphous-androgynous-too-afraid-to-be-weirdâWe spent two years working on what was supposed to be the solo album with Noel.â(musicfeeds.com, April 2015) musicfeeds.com.au/features/amorphous-androgynous-gaz-cobain-talks-working-with-noel-gallagher-paul-weller-ian-astbury-more/ ââŚhe recorded another album, which did straight version, in exactly the same order as oursâŚâ ââŚhe actually recorded another album in secret that also completely copied our track orderâŚâ(digitalaudioreview.net, April 2015) www.digitalaudioreview.net/2015/04/noel-gallaghers-lost-amorphous-androgynous-album/âHe basically came out when we'd been making an album for about a year and a half, and he said: 'I'm not releasing one album, I'm releasing two.' That was the first time I heard about it, and I'd been working on his record for a year and a half, and I didn't even know that he'd been recording the same stuff that we were doing in a straight form. I mean, we were the only people who had ever made him improvise on the spot, and we wrote backing tracks for him. Both of those tracks [The Right Stuff & The Mexican] - we wrote the backing tracks, we worked on them for six months waiting for our moment to come, and we finally get him to come to the party. He writes some lyrics and some basslines, and do you know who he thinks wrote those tracks?âInterviewer: âNoel?â âYes, him. On his new record, we are co-producers - we're not even writers.â(The Quietus, May 2015) thequietus.com/articles/17837-amorphous-androgynous-garry-cobain-on-noel-gallagherâ...[Noel] expected us to join the suffering masochists that hang around him , contributing without credit ( like the 11 musicians ( mostly friends of mine ( sorry again guys ! ) but even a couple of Noels friends he brought in ( I say 'friends' but it was me who rang them personally to explain and apologize )who's credits mysteriously disappeared from the sleeve of DREAM ON / SHOOT A HOLE ( didn't quite fit the picture of solo career maybe ) DESPITE us delivering them months in advance of the deadline for our sleeve art credits ?)
everything was amazing but it needed bigger mixes- we agreed since we'd spent way too much time writing new tracks ( the Right Stuff/ the Mexican/ Shoot a Hole plus a coupla others ) to be able to mix to the fullest....so it seemed a good plan....he went on tour with the other album and gradually realized he couldn't be arsed...â
âWe took on his songs( apart from the new ones we wrote ) in pretty much their natural flow ( bar the odd extended Intro / instrumental break or freak out here and there ) as soon as you get near to his song he just doesn't 'get it 'and wants it guitar / bass / drums so your best bet is just gratuitously fucking with it - turn it into new songs . He's very impressed / wowed by that .I never wanted to do that cos actually the songs I chose I liked but just wanted more colour and depth and imagination ( and groove at points ) . Once he decided to secretly record his straight versions and ours was a 'radical remixes ' album ours was kinda fucked cos he overlooked to tell us of any such plan and therefore he wouldn't want to muddy the water with other 'competitive ' versions of the song . In other words , radical remixes suits him cos they don't threaten his version ...â âHence the only things he's released by us are either radical or completely new ( but in my opinion nowhere near the best stuff - our 2 mixes of IF I HAD A GUN ( before a 3rd - SHOOT A HOLE was done out of embarrassment he kept comparing our 'shit ' album to DARK SIDE OF THE MOON ) are possibly my favourite.â
âTo be honest... the biggest disappointment for me in all of this is that in the end our material was just cherry picked to give him obscurity credibility when actually the best things we did ( imo )were actually perfectly measured songs flowing ( not abstracted ) but very creatively produced... something i believe which would have been loved by his fans hungry for a little expansion but also non-believers .....â(Gaz Cobainâs Facebook, 2015) And last but not least⌠GAZ COBAIN ON REMIXING CHASING YESTERDAY ââŚoh and by the way we were remixing the whole of CHASING YESTERDAY before we realized what was happening with the Right Stuff and the Mexican......not quite so clear cut now is it ?â
âThe dissolution of that particular job ( free rein to remix an alternative CHASING YESTERDAY all agreed , contracts drawn up, ready to sign ) was us asking 'awkward' questions about' the right stuff 'and 'the MEXICAN ' in terms our writing credits.â
ââŚour CHASING YESTERDAY would have included us finalizing our original versions of both songs [The Right Stuff/The Mexican]â
âwe chose RIVERMAN as one of the 8 we WERE working from Chasing Yesterday album but no way did it start our album - closed it ( or should I say what we had in mind closed it )â
âDon't worry Noel I got them all including multitracks for all your solo albums including Chasing Yesterday ... How the hell we were remixing his latest 'opus ' when we're so 'shit' is beyond me unlessâ(Excerpts of posts from Gaz Cobain on his Facebook)
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Post by theseventwenty on Oct 18, 2019 8:42:07 GMT -5
If we ever get to hear this, Iâd then like to hear the AA remixes of the entire Chasing Yesterday album that Gaz mentioned once I donât think they ever actually remixed CY. That project fell apart at the negotiation stage, before theyâd actually done the work. X yeah, it doesnt sound like they finished it - sounds like they STARTED it tho...
"GAZ COBAIN ON REMIXING CHASING YESTERDAY:
ââŚoh and by the way we were remixing the whole of CHASING YESTERDAY before we realized what was happening with the Right Stuff and the Mexican......not quite so clear cut now is it ?â
âThe dissolution of that particular job ( free rein to remix an alternative CHASING YESTERDAY all agreed , contracts drawn up, ready to sign ) was us asking 'awkward' questions about' the right stuff 'and 'the MEXICAN ' in terms our writing credits.â
ââŚour CHASING YESTERDAY would have included us finalizing our original versions of both songs [The Right Stuff/The Mexican]â
âwe chose RIVERMAN as one of the 8 we WERE working from Chasing Yesterday album but no way did it start our album - closed it ( or should I say what we had in mind closed it )â
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Post by theseventwenty on Oct 20, 2019 14:53:13 GMT -5
Yep: â"we identified it as 'devil blues redemption song 'and put dirty bottle neck played by Gary Lucas of captain beefheart / Jeff Buckley ( grace / mojo pin ) on it plus some eerie mouth organ ( Morricone ' once upon a time in the west ' we've been seeing this devil blues indie thing for years and decided to crank it right up to the max .... funny 'take me to church' does it very well ( lyrically ) years later but cleaner on the mix Was a good directive and yeh I like the song" Hearing Gazâs descriptions of the the AA tracks is gutting. Dunno if they could live up to his hype, but goddamn I want to hear them to see for myself. Gary Lucas on slide guitar. Fookinâ hell. X I almost feel like, compared to the versions we have, those same songs with more interesting production, instrumentation and amazing musicians playing on them pretty much COULDNâT disappoint me. The worse thing about the HFB album is the flat production, for me - lots of layers and stuff to hear but not produced or mixed in an interesting way at all. Imagine those songs rebuilt from the ground up with a world class set of musicians, obsessed over for months and mixed in a way to bring all that interesting detail and (importantly) EMOTION out. It would take a LOT for me to be disappointed in these
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