Crazy Rhythms
Glenn Mercer: By the time we were recording Crazy Rhythms, there was this punk rock thing
Mercer: Mark [ Abel ], our co-producer, said,“ We’ re scheduled to mix in a week, we have to move on. Why don’ t we just record the guitars direct and then when we go to mix we’ ll feed’ em back to an amp— I’ m sure it’ ll sound better there.” But we kind of got happening in New York and we definitely felt used to the way the guitars sounded direct, some solidarity. But we didn’ t want to align so we ended up keeping’ em. ourselves too closely because we kind of felt like,“ Well, this has been done before, it’ s been Million: A lot of times the environment done better.” And they were kind of [ going off takes over— some unknown element takes on ] the fashion aspect with the safety pins … over— and you have to be smart enough to So I think we just kind of steered away from be aware of what’ s happening and try to anything that resembled what was going on enhance it. And I think that’ s what we did. in New York. We wanted to stand out. We wanted to carve out a sound that was unique.
THE“ CRAZY RHYTHMS” LINEUP: KEITH DeNUNZIO, BILL MILLION, GLENN MERCER, ANTON FIER
Bill Million: We’ d made the decision that when we did record an album, we were going to be in charge of the sound. So we went in with that determination; however, we were
( 1980
still pretty much novices. We started turning
)
dials and discovering sounds, and after about eight hours of struggling to get a guitar sound, we said,“ Let’ s try something different.”
66 FLOOD