It’s been quite a while, but I’ve finally switched my recording gear on (if you live in the West Kirby area, you may have noticed a slight dimming of the lights and your freezer might have switched itself off – that was my fault, sorry if I spoiled your ready meals) with the intent of recording some of my songs at long last.
I forgot just how time-consuming recording is – I switch on my gear in the morning, start working on a drum track, get the valve in my vocal mic warmed up, run through a couple of songs and it’s teatime already. The good lady wife asks “what have you done today?” and all I have to play her is an eight bar drum beat. “Is that all?” she asks. To which I can only respond “dum tish tish tish…”
Yes, there’s something to be said for real drummers. Unfortunately you can’t have them sat in the corner of your studio 24/7 waiting for inspiration to strike: they’d eat you out of house and home, for starters. Plus, they’re not the cleanest of domestic animals. And the racket they make when they get on that damned wheel of theirs…
Ah, drummers. I always say (well, not always always, that would make for a tedious conversation) that there was a reason why the Japanese made the drum-machine, and not the bass-machine or the guitar-machine. In my many years of recording and gigging, I found the only thing you can rely on with drummers is that you can’t rely on them. Yes, there’s the odd exception – step forward and take a bow Nick “The Drum Doctor” Lauro (the early 21st Century version at any rate – we lost touch in the 80s, he might have been a complete and utter bar-steward for all I know). But in the main, if they can let you down, they will let you down.
Or maybe it’s just me? What d’you mean “probably”?
Meanwhile, back in Deva Road Studio, I’ve been working on recording a halfway decent version of Still Got The Blues For You (my song, not the song of the same name by Gary Moore) at the request of my good friend Duncan Lewis. Duncan’s in the music business, and thinks he might be able to get someone to do a cover of it (though this wouldn’t actually be a first – my old school friend Karl Jones has apparently recorded a cover of Girl On A Train, though I’ve yet to hear it). Which would be nice.
So far, I’ve laid down the drum track, and almost finished recording the two-fingered piano. Come Monday, I’ll breeze through the bassline – bass guitar being one of the few instruments I’m competent at playing – lay down a guide vocal, and then get guitar maestro Jamie Clague to put the icing on the cake with some tasty blues guitar licks.
Icing. Cake. Tasty. Licks. Looks like it’s Maple Pecan Danish O’clock…