Continued from page 20
Cleveland, Chicago – with Chicago being the
biggest hit. I had Mike Clink (Whitesnake,
Guns N' Roses, Mötley Crüe, Megadeth) as my
assistant back then. You know, it wasn't really
supposed to be a double album but when you
have 12-minute songs like "Rock Bottom" it
makes it difficult. And let's not forget that
vinyl records could only be 20 minutes a side.
If you get one song that's 12 or 13 minutes how
are you going to juggle all of that? So, I had to
try to figure out on songs like "Love to Love"
and others how I was going to get it done. I
ended up talking to Chrysalis Records, and we
finally decided to do the double album. Now,
in the end, there were two songs that I still
needed that I really didn't think were up to
par, so we went back into the Record Plant
Studio C and re-recorded those two songs. I
don't know if anybody could tell the difference
as I used all the same mics, the same place-
ment, everything. I set up to record just like it
was on stage and at the gigs. I must say there
were very little overdubs. I've heard people
say "Oh yeah, there were lots of overdubs on
the Strangers live album, but no. One of the
reasons there wasn't overdubs is because I
picked the songs that didn't need it. There was
however some "fixing" here and there, but
there were not a lot of overdubs. Now, having
said that it was forty-something years ago
(laughter)!
Thin Lizzy Night Life, 1974
You know, I did that one in a studio in
London called Trident, and I had never
worked there before. Listening back to that
album I was disappointed in the mix and the
lack of success that it had compared to other
Lizzy albums. Yeah, looking back I was disap-
pointed for sure. Sometimes you catch your-
self going "what was I thinking" or "why did I
do that?" But other times you go go "that was
fucking great!" and that's just the way it goes.
With Lizzy, I really liked the two guitar player
thing with Gorham and Robertson, but I didn't
like the studio at all. The control room was on
one floor, and the studio itself was on another
level. So to do any adjusting on a mic or what-
ever you had to go up and down these fucking
stairs! Back and forth, back and forth.
However, Trident did make some great con-
sole boards.
ALL ANALOG
RECORDING!
Damn Yankees Damn Yankees, 1990
RS: Ok, so John Kalodnar was the guy at
Geffen, and this is like 1989 or something like
that. I had had dealings with him with the
band Survivor and some other things.
Kalodnar is the one that got Ted Nugent, Jack
Blades, and Tommy Shaw together, and that's
what he did well. The whole A&R guy thing
you know? The best thing they can do is create
marriages, and the worst thing they can do is
meddle in the music (laughter). So he puts
together these guys, and they went and wrote
demo songs, and it was great. What happened
was the president of Geffen Records at the
time passed on those demo songs. Passed on
"High Enough" and all of those great songs. So
later I got a call one day from Michael Austin
over at Warner Brothers. He says he's got these
guys, Nugent, Blades, Shaw, and also their
music. I said yeah I would love to hear it! I
went down to Warners and ended up doing
the album with them.
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