Post by Deleted on May 3, 2012 17:21:12 GMT -5
We have been lucky that during all the frantic preparations and rigorous timetable that must go with putting on probably the most theatrical show we have seen for some time from Ian and the band, they found the time to answer a few questions from us.
We have had the plan to get some feedback from the band during the initial stages of the tour planned for sometime but that still didn’t allow enough time for us to offer it for open questions to board members. So, here’s a brief ‘chat’ with Ian and the boys, a little way into the UK tour.
First up Ian
TJTB: You’ve outlined how the theme of the album developed, but how did it develop musically and lyrically. With the concept of ‘Gerald’s’ alternate life paths in place, how did the lyrics fall into place, did they develop in sync with the theme synopsis or were random pieces restructured to fit the flow of the album.
Ian: The lyrics were all written before or during the music-writing process. Except for A Change Of Horses where the music was written originally for a tour with Anoushka Shankar and restructured with added lyrics later.
TJTB: Were there any other alternate life paths explored for ‘Gerald’ and possibly tracks recorded but omitted?
Ian: There were many alternative life paths sketched out - like astronaut, lawyer, footballer, F1 driver, optician, insurance salesman but I had to narrow it down to 5 in order to fit everything on (only just) to an album that would cut on vinyl.
TJTB: You’ve touched on how you fitted in A Change of Horses conceptually with the rest of the album. The song is very optimistic, as if a "fresh start" were actually possible for the various Geralds; but the way I interpret Kismet in Suburbia, the "fresh start" lyric is being employed in the ironic sense.
Ian: No - just the realistic outcome of life and the awareness that this karma-like fate is not so bad after all.
TJTB: It seems like, for each of these characters, it is only a fresh start into pain, loneliness, humiliation, boredom and, ultimately, oblivion.
Ian: So cynical of you!
TJTB: Well, this seems further reinforced by the 'Suppose bold woman' stanza, which seems so depressing and regretful to me.
Ian: This is the fantasy longing of the "ordinary man, Gerald" but is hopeful, against the odds. I hope he gets lucky and doesn't have to pay for dinner....
TJTB: I guess what I am saying is that A Change of Horses -- which is a beautiful and optimistic song -- seems only vaguely connected thematically to the rest of the album. Was this because you had to alter the lyrics to sort of wedge the song in? As much as I like the song, it is the only one that doesn't quite seem to fit the flow of events that are unfolding as the album reaches its conclusion.
Ian: It is a pivotal piece and marks the point in mid-life for many people where they weigh up events and choices-to-date before, perhaps, starting anew with a change of direction. Not a bad thing. I did it in my '30s but came back full-time to music. Of course it is shoe-horned in to some extent but gracefully with an almost perfect fit. Size 9 (42 European).
TJTB: Also, is it correct to assume that the song, as originally written, was intended as an expression of the great optimism that many people felt when Obama was elected president, and that the "change" of horses was the change from the Bush Administration to the Obama Administration, and/or the hope and "change" that Obama promised?
Ian: No - completely wrong. I don't do politics in public, but nice try!
TJTB: Were the spoken word parts of TAAB 2 part of the original score or did they develop as part of the recording process, was there much discussion about whether or not spoken word parts would stand the test of repeated plays or add or detract to the listener’s experience?
Ian: The spoken word was part of it from the very beginning. I originally thought about doing more like that but kept it to the three main bits. Such good fun to do onstage.
TJTB: Was 'Tea with the Princess' or 'Hare in the wine' Cup ever considered for inclusion in TAAB 2 and were the musical references to songs such as 'Heavy Horses' & 'Minstrel in the gallery', Beltane within TAAB 2 intentional?
Ian: No - didn't occur to me as they would have major shoe-horn jobs.
TJTB: Do you remember your visit to the Royal Opera House Harrogate to play Thick as a Brick [1]? If so what was special or unique about that performance and would this make your performance of TAAB 2 at the same venue particularly special?
Ian: Yes - I remember the occasion as my brother who was the manager of the nearby Harrogate Theatre came to see me in concert for the first time. I think he may have been faintly embarrassed... But no real attempt to recreate an event as it all depends on what availabilities there are for the theatres in the UK. They are usually booked up a year in advance so you have to take what is available.
TJTB: Considering ‘Gerald’ has matured over the last 40 years, then so has technology.....in terms of the recording process how different are the recording technologies and approach taken 40 tears on between TaaB[1] and TaaB2?
Ian: The essence of writing, arranging and rehearsal were exactly the same. The musical instruments were the same. The recording technology was very different. But we still only used 24 tracks and recorded at 24 bit digital for much better fidelity than the original analogue tape. The vinyl cut is amazing too, for the first time in my 44 years of making records! Recorded with Tascam X-48 digital recorder and transferred to Logic 9 for the mixing. Mastered at Abbey Road.
TJTB: How different was the TaaB2 recording for you personally, did you feel less or more inhibited by the pressures of putting out a successful piece of work?
Ian: No - I don't give a damn, really. There are no great expectations of huge success and if half the people who bought TAAB1 even quite like this one, I would be overwhelmed with gratitude. Which could cost me about 2,500,000 beers....
Our thanks to Ian for finding the time during a mad touring schedule and working on refreshing of the stage production to talk to us at The Board.
Next up, soon - The rest of the band.
We have had the plan to get some feedback from the band during the initial stages of the tour planned for sometime but that still didn’t allow enough time for us to offer it for open questions to board members. So, here’s a brief ‘chat’ with Ian and the boys, a little way into the UK tour.
First up Ian
TJTB: You’ve outlined how the theme of the album developed, but how did it develop musically and lyrically. With the concept of ‘Gerald’s’ alternate life paths in place, how did the lyrics fall into place, did they develop in sync with the theme synopsis or were random pieces restructured to fit the flow of the album.
Ian: The lyrics were all written before or during the music-writing process. Except for A Change Of Horses where the music was written originally for a tour with Anoushka Shankar and restructured with added lyrics later.
TJTB: Were there any other alternate life paths explored for ‘Gerald’ and possibly tracks recorded but omitted?
Ian: There were many alternative life paths sketched out - like astronaut, lawyer, footballer, F1 driver, optician, insurance salesman but I had to narrow it down to 5 in order to fit everything on (only just) to an album that would cut on vinyl.
TJTB: You’ve touched on how you fitted in A Change of Horses conceptually with the rest of the album. The song is very optimistic, as if a "fresh start" were actually possible for the various Geralds; but the way I interpret Kismet in Suburbia, the "fresh start" lyric is being employed in the ironic sense.
Ian: No - just the realistic outcome of life and the awareness that this karma-like fate is not so bad after all.
TJTB: It seems like, for each of these characters, it is only a fresh start into pain, loneliness, humiliation, boredom and, ultimately, oblivion.
Ian: So cynical of you!
TJTB: Well, this seems further reinforced by the 'Suppose bold woman' stanza, which seems so depressing and regretful to me.
Ian: This is the fantasy longing of the "ordinary man, Gerald" but is hopeful, against the odds. I hope he gets lucky and doesn't have to pay for dinner....
TJTB: I guess what I am saying is that A Change of Horses -- which is a beautiful and optimistic song -- seems only vaguely connected thematically to the rest of the album. Was this because you had to alter the lyrics to sort of wedge the song in? As much as I like the song, it is the only one that doesn't quite seem to fit the flow of events that are unfolding as the album reaches its conclusion.
Ian: It is a pivotal piece and marks the point in mid-life for many people where they weigh up events and choices-to-date before, perhaps, starting anew with a change of direction. Not a bad thing. I did it in my '30s but came back full-time to music. Of course it is shoe-horned in to some extent but gracefully with an almost perfect fit. Size 9 (42 European).
TJTB: Also, is it correct to assume that the song, as originally written, was intended as an expression of the great optimism that many people felt when Obama was elected president, and that the "change" of horses was the change from the Bush Administration to the Obama Administration, and/or the hope and "change" that Obama promised?
Ian: No - completely wrong. I don't do politics in public, but nice try!
TJTB: Were the spoken word parts of TAAB 2 part of the original score or did they develop as part of the recording process, was there much discussion about whether or not spoken word parts would stand the test of repeated plays or add or detract to the listener’s experience?
Ian: The spoken word was part of it from the very beginning. I originally thought about doing more like that but kept it to the three main bits. Such good fun to do onstage.
TJTB: Was 'Tea with the Princess' or 'Hare in the wine' Cup ever considered for inclusion in TAAB 2 and were the musical references to songs such as 'Heavy Horses' & 'Minstrel in the gallery', Beltane within TAAB 2 intentional?
Ian: No - didn't occur to me as they would have major shoe-horn jobs.
TJTB: Do you remember your visit to the Royal Opera House Harrogate to play Thick as a Brick [1]? If so what was special or unique about that performance and would this make your performance of TAAB 2 at the same venue particularly special?
Ian: Yes - I remember the occasion as my brother who was the manager of the nearby Harrogate Theatre came to see me in concert for the first time. I think he may have been faintly embarrassed... But no real attempt to recreate an event as it all depends on what availabilities there are for the theatres in the UK. They are usually booked up a year in advance so you have to take what is available.
TJTB: Considering ‘Gerald’ has matured over the last 40 years, then so has technology.....in terms of the recording process how different are the recording technologies and approach taken 40 tears on between TaaB[1] and TaaB2?
Ian: The essence of writing, arranging and rehearsal were exactly the same. The musical instruments were the same. The recording technology was very different. But we still only used 24 tracks and recorded at 24 bit digital for much better fidelity than the original analogue tape. The vinyl cut is amazing too, for the first time in my 44 years of making records! Recorded with Tascam X-48 digital recorder and transferred to Logic 9 for the mixing. Mastered at Abbey Road.
TJTB: How different was the TaaB2 recording for you personally, did you feel less or more inhibited by the pressures of putting out a successful piece of work?
Ian: No - I don't give a damn, really. There are no great expectations of huge success and if half the people who bought TAAB1 even quite like this one, I would be overwhelmed with gratitude. Which could cost me about 2,500,000 beers....
Our thanks to Ian for finding the time during a mad touring schedule and working on refreshing of the stage production to talk to us at The Board.
Next up, soon - The rest of the band.