John Lennon's sunglasses, Ringo Starr's ring part of Celebrity Auction at Mecum
John Lennon's "Lost Weekend" glasses & Ringo Starr's "Power Ring" will be at the Mecum Celebrity Items Auction
Mecum Auctions, known for its collector car auctions, has announced its first celebrityauction taking place in July in Santa Monica. More than 2,000 items will be featured in the Mecum Celebrity Items Auction including personal items and artifacts from Steve McQueen, John Lennon, Ringo Starr, Frank Sinatra, Marilyn Monroe, John Wayne, Hunter S. Thompson and more.
Two high-profile items from ex-members of The Beatles
were both consigned by their ex-girlfriends: A pair of John Lennon
prescription sunglasses worn by Lennon in the mid-70s during his 'Lost
Weekend' when he spent time with former girlfriend, May Pang; and a
custom-made ring worn by Ringo Starr that was given to him in 1976 by
his ex-girlfriend, Nancy Andrews.
Ringo can be seen wearing the silver and gold Electrum diamond
'Power' ring on the cover of his 1977 album, 'Ringo the 4th.' Both Pang
and Andrews will be at the auction to authenticate their items.
Steve McQueen fans will take note of his 'Yucatan' trunks (circa
1969-1971) which are also up for auction. The two trunks contain '16
leather-bound notebooks filled with drawings, storyboard illustrations,
photographs and a detailed story pitch' for 'Yucatan', a movie intended
to be the follow-up to McQueen's racing flick, 'Le Mans'. Although the
film star worked on developing the film for two years, 'Yucatan' never
got made. The film is currently in pre-production with Robert Downey Jr. in the lead role.
The bulk of the auction will feature items from the collection of
John Hagner, curator of the Hollywood Stuntman's Hall of Fame. Hagner's
extensive collection includes movie memorabilia from 'Indiana Jones and
the Last Crusade', 'Captain America' and other classic films.
Mecum Celebrity Items Auction: Celebrating the Legendary History will
take place at the Barker Hangar in Santa Monica, CA on July 26 and 27. A
silent auction featuring select items will begin online at www.MECUM.com on July 5.
Whatever happened to Jimmie Nicol? Exclusive interview with author of new book, ‘The Beatle Who Vanished’
Published by Daytrippin.com
By Marshall Terrill
Jimmy
Nicol performing in London on the day it was announced that he was to
replace Ringo Starr for The Beatles World tour; photo courtesy Jim
Berkenstadt
Jimmie Nicol played with the world’s most famous rock group for 13
days…and then years later he walked out of his London flat and
disappeared without a trace. In his new book, “The Beatle Who Vanished”,
author Jim Berkenstadt uncovers the twisting trail of intrigue that has
followed Jimmie Nicol since his disappearance in the late sixties.
“The Beatle Who Vanished” is the first account of Jimmie Nicol, an
unknown drummer whose journey from humble beginnings to improbable
climb – rescuing The Beatles’ first world tour from disaster by stepping
in for an ailing Ringo Starr – was only part of his legend. Though his
13 days of fame made headlines, the true mystery of Nicol’s account is
riddled with blacklisting, betrayal, drug abuse, bankruptcy and an
eventual disappearance that leads many to question whether he is dead or
alive.
Berkenstadt, the author of several Beatles books, spent six years
of his life gum-shoeing the life of Nicol. In this exclusive interview
with Daytrippin’, Berkenstadt discusses why the Beatles selected Nicol,
his unforgettable 13-day tenure with the Fab Four, and how his 15
minutes of fame turned into nearly a five-decade hangover. Q:
As you so aptly state in the opening of the book, Jimmie Nicol was a
classy footnote in Beatles history. So what made you decide to dedicate
six years of research and writing to this project?
JB: “The Beatle Who Vanished” really started out as a challenge to
see if I could find enough information to write an article about Jimmie
Nicol’s life. He only ever merits one sentence in Beatles history books
and no mention in British music histories. I got lucky early on
finding out the general chronology of his career by locating bands he
had played in and then finding members of those bands to talk to me
about their lives with Jimmie. I found that almost universally his
friends loved him very much and found him to be generous and highly
talented. They all seemed to be rooting for him to succeed.
After a while, I was being connected to various band members from
Colin Hicks & His Cabin Boys to Vince Eager & the Quiet Three,
the Shubdubs and Spotnicks. This led to my compiling Nicol’s amazing
discography and helped piece together the chronology of his career. The
recordings I found all over the world, helped me to learn about Nicol’s
amazing and creative gift as a drummer, composer, arranger and producer.
The years of writing and research were an amazing journey and
challenge. Nicol was an enigmatic character. He always seemed to erase
his trail when he moved on, rather than preserve it. The best way to
describe my years of research is like a treasure hunt to find thousands
of pieces to a giant puzzle. Then after finding all the pieces, one has
to use interviews, photos, articles, video, recordings and memorabilia
(i.e. posters) to fit the pieces together to create the portrait of
Jimmie Nicol that readers will see in the book.
Q: You’ve been a part of the Beatles world for close to 25 years,
including working as a consultant on the reissue of “All Things Must
Pass” and the Traveling Wilburys box set. Not to mention your other
books (“Black Market Beatles: The Story Behind The Lost Recordings” and “The Beatles Digest”) on the Fab Four. How did this help in terms of locating sources for your research?
JB: The two projects you mentioned, along with some of my work for
Apple (The Beatles “Help!” DVD and the Cirque Du Soleil “Love” show)
involved treasure hunts and connecting with the right people who were
eyewitnesses to history. As an attorney, I became adept at research and
finding almost anything on the Internet. This would include locating
people who are hard to find, long lost news articles in foreign
languages and lost audio and video.
Q: Like most people, I have never given much thought to Jimmie Nicol.
Were you surprised by the fact that he was such an accomplished drummer
before he was asked by the Beatles to fill in for Ringo Starr?
Colin Hicks and The Cabin Boys EP with Jimmie Nicol on drums; courtesy Jim Berkenstadt
JB:I did not know what to expect of Jimmie Nicol’s drumming
at first. It took about a year to locate some early 1950s live video
performances (which I will put up on my web site at www.thebeatlewhovanished.com)
and listening to 45s and LPs that I collected from all of the bands he
recorded with before and after his stint with The Beatles. Once I heard
the music he had played on, I was blown away by his ability to play not
only great rock and roll, but Ska, Big Band, Jazz, R&B and really
anything. As the readers will discover, not only was Jimmie a great rock
drummer who could step in at the last minute for Ringo, but through a
stroke of fate, he already knew the parts to The Beatles current concert
set list when they chose him.
Q: How would you compare Nicols’ style of drumming to Ringo Starr’s?
JB:It is interesting to use film clips of both Ringo and
Jimmie playing drums with The Beatles, to compare and contrast. The
Beatles were musically a very tight unit. They breathed, moved and
played together as one. Imagine how difficult it must have been for them
to launch a world tour with a brand new person to drive their rhythm?
Nicol came through for them based upon his experience.
From a technique standpoint, both Nicol and Starr employed the
matched-grip style of holding the sticks. This was still a new approach
to drum technique in 1964. The matched-grip approach positions the
weight of the arms over the stick, allowing the weight to assist in
producing a bigger sound. Briefly, Ringo’s style is defined by his
staying low to the drums and cymbals for the most part, using his
strong/powerful wrists to get a beat that is clear, communicative and
which helps define and serve key sections of the song. In contrast,
Nicol’s style is more staccato than Starr’s. Nicol employs more of a
whipping arm motion from a higher plane down into the drums which
produces a brighter tone (Nicol also sets his stool higher than Starr
for this purpose). His performances with The Beatles also highlight more
of his R&B and Big Band influences in the way he breaks away from
the beat and plays strong fills to set up changes in the tune.
Both styles work well to hold The Beatles together, yet of course;
Ringo had recorded the songs in his style, which would be more familiar
to fans. However, what fans could actually hear The Beatles at these concerts in 1964?!
Q: You cast a very large net when it came to researching Jimmie
Nicols’ life – including trips to England, Holland, and Mexico. I
imagine it was a surprise that this book took you around the world?
JB:Almost everything I came to learn about Jimmie Nicol’s
life was a surprise. He was the definition of an independent spirit. He
often chose the unexpected path. No one could tell him what to do or how
to think. Each time he vanished in his career, it would take me awhile
to locate where in the world he would show up next! He usually never
said goodbye… just walked out the door… to another spot on the globe.
Very mysterious. I tried to retrace his footsteps by traveling to
England, Sydney, Adelaide and Melbourne to get a feel for the places he
had lived and worked. I call that Frequent Flier Research…
Jimmie Nicol drumming for The Beatles in Adelaide, 1964; photo courtesy Jim Berkenstadt
Q: I was also surprised in your book by the amount of newspapers
articles that existed on Nichols in addition to some of the memorabilia
and photos you were able to unearth. How lucky were you in this regard?
JB: The articles were not too difficult to find. I would Google rock
historians in other countries who had an interest in their country’s
music history. They often had links that directed me to what I needed.
Google books were very helpful in locating “Billboard” magazine issues
mentioning Nicol. I collected the key British music magazines at EBay
in the UK.
Beatles historian Mark Lewisohn was very generous and helpful in
pointing me in certain directions and helping me find obscure facts.
Kudos to Mark! Many rare photos of Nicol with his various bands such as
Vince Eager, The Shubdubs and The Spotnicks were generously loaned to me
by band members.
The rare handbills, programs and memorabilia were found on EBay or
loaned from collectors worldwide. The Beatles era video and photos are
available to watch or license at archives such as Getty. I picked up a
set of Beatles autographs with Jimmie Nicol that was signed on their
first plane ride for a flight attendant on BEA at Sotheby’s Auctions in
1985. Priceless…. for $200. The first night concert set list from The
Beatles First World Tour, (illustrated in the book) was hand-written by
Neil Aspinall. He gave it to Lennon, who gave to Nicol, who used it on
his bass drum. After the show, Nicol left it. Torben, the drummer for
the warm up band The Hitmakers, picked it up as a souvenir and kept it
for decades.
LPs were the hardest to locate. I found a Mexican LP Nicol produced and played on in the late sixties called Nicolquinn.
It is the only copy in the world I have ever seen. Out of Nicol’s
10-page discography I compiled, I think there is only one 45 record I
was unable to locate; likely due to anemic sales at the time.
Q: What were some of the attributes Brian Epstein was looking for
when replacing Ringo Starr for the tour, and why do you think they
ultimately decided on Jimmie Nicol?
JB:This was an emotional and scary time for Epstein. He had
to find a fill-in for Ringo or the entire tour would collapse into a
disaster of financial ruin, lawsuits against NEMS and catastrophic bad
PR for The Beatles. There were no “out” clauses for illness to postpone
tours in 1964. The show must go on! Epstein needed a competent drummer
who could drive The Beatles bus while they could comfortably sing and
play the songs out front. But he also needed someone who was mature
enough not to let the experience go to his head. Maturity, diplomacy and
discretion were most needed to fill in. The person chosen would be
seeing and experiencing things on tour that did not fit into the current
“mop top” family-friendly image, such as sex and drugs.
There are other factors as to why and how Nicol was chosen, but I will leave those to be discovered by the readers.
Q: After the elation of The Call in which Nicol was notified that he would be touring with the Beatles, what sort of pressure do you imagine he was facing?
JB:By the time of The Call, Nicol was a pro. He had
played in some of England’s best first generation rock bands, led his
own big band and was one of the top 5 session drummers at the time in
London. He was a confident and strong player and in the book I explain
in detail how he already knew most of Ringo Starr’s drum parts. I think
he became nervous once all of the fan attention and media started to
surround him. He realized that this was no normal gig and no everyday
band. He had the stress of driving the best rock band in the world and
he wanted to do his job well.
Q: And conversely, it sounded as if Ringo Starr, though he shouldn’t
have been worried, was much more upset than originally reported. What do
you think he was going through?
JB: Ringo felt helpless in a hospital bed watching his buddies on TV
head off on their first world tour. Keep in mind, Pete Best had been
replaced by Ringo after only two years. Now Ringo was being temporarily
replaced (two years after Best) by Jimmie Nicol, a well-known London
drummer who was in the hottest live band in town, Georgie Fame and the
Blue Flames. He was likely a little insecure and worried…
Jimmie Nicol (left) with Paul, George and John at a press conference in Amsterdam, June 1964; photo courtesy Jim Berkenstadt
Q: The most telling quote I found in the
book was when Nicol got his first taste of Beatlemania. He said: “The
day before I was a Beatle, not one girl would look me over. The day
after … they were dying just to get a touch of me. Strange and scary all
at once. It’s hard to describe the feeling but I can tell you it can go
to your head. I see why so many famous people kill themselves.” That
quote is in some ways a cautionary tale…
JB: This is a cautionary tale. In the words of Grammy Producer Butch
Vig (Paul McCartney, Nirvana, Green Day), “This is a fascinating and
mysterious must read for hardcore Beatles fans, and anyone who wants to
understand the meteoric rise to pop stardom and the subsequent crash
landing.”
Q: Despite all of the mayhem, it sounds like the Beatles burned the
candles at both ends during this tour and Nichol had to force himself to
keep up. Amsterdam, in particular, sounded like a wild time.
JB:The whole tour was pretty wild for its time, as readers
will see. Keep in mind, Nicol was a few years older than The Beatles and
he had done this all before. It is hard to come off stage after a
Beatles concert of wild, crazy screaming and simply go to sleep. So, a
good time was had by all.
Q: Nicol also endured subtle and not so subtle slights throughout the
tour, including a protest by an Australian DJ for not hiring a drummer
from Down Under. This must have put a few dents in his armor?
JB: Nicol was very independent and proud. He felt he deserved more
respect for his subbing and “saving” the tour from cancellation and
disaster. The Beatles were very friendly and respectful. They introduced
him at the shows too. But others were not so kind. Along the way,
managers of other bands would volunteer their drummer or a DJ would
protest the loss of jobs for their country. In addition, the posters and
programs all portrayed that Ringo was behind the kit – not Jimmie.
Surely this annoyed Nicol, who felt at times like he was
under-appreciated. I think over the years, these and other issues
revealed in the book, had an impact on his psyche.
Q: They say every picture tells a story, but that photo in your book
of Jimmie Nicol sitting alone in the Sydney Airport after his tenure was
over is haunting…it’s almost as if you can read his mind: “My life just
peaked.”
JB: That photo is quite haunting. Nicol is deep in thought. One day
you are on top of the entertainment world. The next day, you are on your
way home. What does the future hold? Can it ever be as amazing as what
you have just gone through? Can one ever go back to their everyday life?
What does 15 minutes of fame do to someone? I will leave it to readers
to see what Jimmie had to say about that amazing photo. I found it in
the archives of an Australian newspaper and licensed if for the book. In
my mind it had to be a full page, to convey its intensity.
Nicol performed the job admirably received a 500-pound bonus and a gold watch. I can’t help but feel that he felt hollow inside.
How he felt about The Beatles experience seemed to change over the
years. I don’t want to give away the story, but it is quite interesting
and mysterious.
Jimmie Nicol with all four Beatles in Melbourne; photo courtesy Jim Berkenstadt
Q: Thanks to your meticulous research, the Jimmie Nichol story
doesn’t end in 1964. Can you give readers a brief sketch of what he did
in the sixties, seventies and eighties?
JB: The research was intense. Over 700 footnotes. Hundreds of
interviews with his friends, bandmates and eyewitnesses. Before The
Beatles, Nicol played rock, jazz, big band, R&B and Ska in a number
of bands from the late 1950s to 1964. He then started to get involved in
recording sessions and arrangements. He created a pre-Beatles band
called Jimmie Nicol & the Shubdubs, which he also carried on with
later. Nicol rode a roller coaster of successes with different tours,
recording projects and non-musical occupations. He also had failures
along the way, including band breakups, bankruptcy, divorce and more.
Q: If there is a message or subtext to “The Beatle Who Vanished,” what would you like you to convey?
JB: I think this is an interesting story on two levels. First,
piecing together the career of someone who is really forgotten in
history is one part detective work and one part jigsaw puzzle assembly.
There were thousands of pieces to Nicol’s puzzle; especially because he
had the ability to vanish and move to another country. More
importantly, a portrait emerged about a very talented person who
experiences a huge ride to the top of the entertainment world – at a
very young age and for a very short time. I wanted to explore what those
15 minutes of fame were like and how it then affects the rest of their
life. Hopefully, I have been successful in conveying Nicol’s story,
which is clearly a cautionary tale.
Note: Visit the official website for “The Beatle Who Vanished” at www.thebeatlewhovanished.com
where you can read a free excerpt and watch the official video promo.
You can “friend” the author, Jim Berkenstadt on Facebook at http://www.facebook.com/RockAndRollDetective
**** Marshall Terrill is the author of 16 books. His next literary
endeavor will be a photo/passage book with guitarist Laurence Juber
called “Fifty Years on Six Strings.” It will be published in November
2013 by Dalton Watson Fine Books.
NASHVILLE, Tenn.— GRAMMY® Award-winning
former Beatles executive and music industry icon Ken Mansfield chronicles a
deeply personal journey of faith and struggle in his highly-anticipated fourth
title, Stumbling on Open Ground: Love,
God, Cancer, and Rock ‘n’ Roll (Thomas Nelson, January 15).
Revealing ongoing
trials with two bouts of cancer, Mansfield’s memoir thoughtfully frames his
spiritual struggle and physical pain in the light of ultimate healing and
triumph. Sharing personal prayers and honest insight alongside remarkable
moments from his storied music career, he confronts his failing body, a faith
that both falters and soars, and the questions that aren’t supposed to be
asked—but need to be answered.
Stumbling on Open Ground also features contributions from
Mansfield’s wife of 25-years, Connie. Offering a candid glimpse into a marriage
facing one of life’s greatest challenges, the couple trace the work of an
extraordinary God who has transformed them both in the process.
“Dealing with cancer is not as linear as
most books describe the ordeal,” Mansfield shares. “Going into it, going
through it, and coming out of cancer is not that orderly. The battle is more of
a hanging on, a falling apart, a sense of loss, and a lot of lonely flailing among
the rubble.”
“This is a quest
for deeper comprehension, a desire to dip beneath the opaque surface,” he adds.
“As a child, I would ask my earthly father how to do things. As a child of God,
I am asking my heavenly Father how this all works between Him and me.”
Ken Mansfield’s
legendary career in the music industry includes tenures as the U.S. manager of
the Beatles’ Apple Records, an executive at Capitol Records, a vice president
at MGM Records, and president of Andy Williams’ Barnaby Records (CBS Records),
among numerous influential roles. He has worked with such artists as the Beach
Boys, James Taylor, Roy Orbison, Glen Campbell and Lou Rawls.
Instrumental in
launching country music’s “Outlaw” movement in the 1970s, Mansfield was
involved in the careers of Waylon Jennings and Jessi Colter, among others. He
produced Colter's #1 hit "I'm Not Lisa," as well as Jennings’ 1975
landmark recording, Are You Ready For The
Country. He also produced the Gaither Vocal Band’s GRAMMY® Award-winning
1991 Homecoming album. The seminal
release precipitated the resurgence of Southern Gospel music and the Gaither Homecoming series of recordings,
videos and concerts.
Since devoting
his life to Christ more than two decades ago, Mansfield is now an ordained
minister and sought-after speaker. He appears at churches, special events and
colleges across the nation and has authored The
Beatles, The Bible and Bodega Bay (B&H); The White Book: The Beatles, the Bands, the Biz: An Insiders Look at an
Era (Thomas Nelson); and Between
Wyomings (Thomas Nelson).
Stumbling on Open Ground: Love, God,
Cancer, and Rock ‘n’ Roll
($15.99), a 256-page trade paper title, will be available January 15 from
Thomas Nelson.
Rock and Roll, Cancer, and
God’s Love Collide at the Crossroads of Doubt and Faith
Stumbling on Open Ground is a story of private trial and faith like
those found in the books of Esther and Job. Punctuated with stories from Mansfield’s
years in the music business—working with George Harrison and Waylon Jennings,
among others—Stumbling on Open Ground
is a private dialogue between a charismatic man, his loving wife, and the
extraordinary God who transformed them both in the middle of a heartbreaking
disease.
“Dealing with cancer is not as linear as
most books describe the ordeal. Going into it, going through it, and coming out
of cancer is not that orderly. The battle is more of a hanging on, a falling
apart, a sense of loss, and a lot of lonely flailing among the rubble.”
—Ken
Mansfield
Ken’s story is told in tandem
with his wife, Connie. She is the enduring comforter, a co-victim of cancer
whose capacity for selfless, empathetic eros
comprises the human counterpart to God’s agape.
This is the consummate love story of two people on a journey with God to the
edge and back.
Stumbling on Open Ground is a
must-read for anyone who has ever needed strength in moments of trial and doubt.
Ken
Mansfield is the former US manager of the
Beatles’ Apple Record Company and an award-winning producer. Ken is an
ordained minister and public speaker who appears at churches, colleges, and
events across the nation.
Laurence Juber invites fans to his 60th birthday celebration this week at McCabes
Grammy artist Laurence Juber will
celebrate a milestone in grand style with a birthday bash at a SoCal
institution.
Family,
friends, fans and well-wishers are invited to join Juber help ring in
his 60th birthday
with a concert performance set for 8 p.m. Saturday, Nov. 8, 2012, at
McCabes Guitar Shop, 3101 Pico Blvd., Santa Monica, Calif. Tickets
are $20.
“I
always look forward to my annual McCabes gig. I celebrate my birthday
as the anniversary of first picking up the guitar,” says Juber. “I
can’t imagine a more appropriate place to play than this legendary
guitar store and concert venue.”
The
former Wings lead guitarist and virtuoso just may be the busiest man
in the music industry. In addition to recently playing a part on
tribute albums to Bob Dylan and Linda McCartney, Juber performs
almost 100 dates a year, has regular session work, conducts
professional workshops, performs on soundtracks for feature films and
television. His latest effort, “Soul of Light,” was released this
past April. Early 2013 will see the release of two new projects:
“Under An Indigo Sky” showcases the jazz/blues 'Noir' side of his
playing; “Catch LJ Live” is a concert set CD/DVD combo.
A
world-class guitar virtuoso solo artist, composer and arranger, Juber
fuses folk, jazz, and pop styles and creates a dynamic multi-faceted
performance that belies the use of only one instrument. As a studio
musician, he can be heard on recent albums from artists as diverse as
Barry Manilow, Donovan, Al Stewart and Dan Hicks & the Hot Licks.
He is also featured on the soundtracks to hundreds of TV shows and
movies including the Academy Award-winning “Good
Will Hunting”, the James Bond thriller
“The
Spy Who Love Me”, the 1987 smash “Dirty
Dancing” and most recently, “The
Muppets”. He is also featured on the new
Paul Williams digital single “Still
Alive”, from the documentary film of the same
name.
Known
to his fans as ‘LJ’, Juber has released 20 acclaimed solo albums.
His celebrated arranging skills are featured on two volumes of LJPlays The Beatles, the first of which was
voted among the all-time top ten acoustic guitar records. Juber says
fans never tire of hearing him play their songs and he remains
endlessly fascinated by their catalog.
"Every
time I hear a Beatles record I gain a new appreciation for them,"
Juber said. "Above and beyond the analytical part of it and
creating the arrangements, when I start deconstructing Beatles songs,
I find unexpected things. I can never listen to a Beatles record
twice and hear exactly the same thing. There’s always something
that I’ve missed, or a new discovery where you say, 'Wow, what was
that little guitar lick?' Or the way in which the backing vocals come
in…there’s always something new to discover in their work."
If
you go:
What:
Laurence Juber
Where:
McCabes Guitar Shop, 3101 Pico Blvd.,
Santa Monica
Will Turpin and The Way to headline Steve’s Live Music on
November 2
Georgia music legend and
veteran rocker Will Turpin will showcase his new band, play songs from an
upcoming CD release and make his debut appearance at an intimate Sandy Springs
listening room next month.
Steve’s Live Music will present Will Turpin and The Way at 8
p.m. on Friday, Nov. 2, 2012. The
recently opened music room is located at 234 Hilderbrand Drive in Sandy
Springs, Ga. Tickets are $10 in advance and $12 at the door and available
online at www.StevesLiveMusic.com.
“I visited the club in September to hear Ed Roland’s Sweet
Tea Project and had a great time,” Turpin said. “The venue is built for real
music lovers and I felt it was perfect for us.”
Owner Steve Grossman opened Steve’s Live Music in June 2012
and offers an intimate listening room (120 seats), which features local and
national songwriters and musicians performing traditional music, including
Irish Folk, bluegrass, Dixieland jazz, polka and blues.
Turpin, who has been the bassist for the multi-platinum
group Collective Soul for the past 18 years, says his new band plays a diverse
selection of rock and pop.
“We have a different sound and identity from Collective
Soul,” Turpin said. “You’ll hear elements of a lot of
musical influences in our repertoire. Some Beatle-esque songs, some rockin’
songs and some real laid back stuff.”
In addition to Turpin (keyboards and vocals) the band lineup
includes Jason Fowler (lead guitar and vocals), Mark Wilson (bass and vocals)
and Scott Davidson (drums).For this
intimate listening room setting Turpin has recruited his friend, Calvin Kelley,
to play percussion in lieu of Davidson’s hard-pounding drums.
The band is currently recording their first full-length CD, Serengeti Drivers, at Real 2 ReelStudios in Jonesboro, Ga. Once Serengeti
Drivers is released in spring 2013, Will Turpin and The Way will embark on
a tour with dates to be announced next year.
With his band, Collective Soul, Turpin is a member of the
Georgia Music Hall of Fame and has sold more than 10 million albums worldwide.
Collective Soul has attained seven No. 1 songs and 19 Top 40 singles, making
them one of the most successful bands of the 1990s.
If you go:
What: Will Turpin and The Way
When: 8 p.m., Friday, Nov. 2, 2012
Where: Steve’s Live Music, 234 Hilderbrand
Drive, Sandy Springs, Ga.
Hot on the heels of a national
tour with Collective Soul and a year after his debut solo EP, musician Will Turpin is headed into the studio
with a new band for his first full-length CD, Serengeti Drivers.
Beginning Oct. 8, Will
Turpin and The Way will enter Real 2 Reel Studios in Jonesboro, Ga., to
craft their first studio effort. Co-produced by Turpin and Jonathan Beckner,
the work will include almost a dozen new tunes.
“You’ll hear elements of a lot of different musical
influences,” Turpin said. “Some Beatle-esque songs, some rockin’ numbers, and
some real laid back stuff. The vocal mix of the three singers will be smooth
enough to savor with a glass of wine or kick up your heels with a beer.”
In addition to Turpin (keyboards and
vocals) the band lineup includes Jason Fowler (guitar and vocals), Mark Wilson
(bass and vocals) and Scott Davidson (drums).
Some of the lyrical themes focus on love, honesty, betrayal
and questions revolving around the universe. Turpin said seven of the songs
were co-written by Fowler, an Atlanta-based musician and friend.
“A lot of times I have an idea for a song that is not
finished or is halfway complete and Jason is able to help me out with a riff or
a vocal melody or theme,” Turpin said. “Then there are times when we can create
something right on the spot. We’re a good team.”
Turpin also received songwriting support from his wife Donna
on a tune called “On And On” which was inspired by her recent cancer scare; a
topic that Turpin went public with in June.
“It’s a song about the strength of love and how love never
really dies because it goes on and on,” Turpin said. “Donna actually helped me
finish the lyrics to the chorus and that was special for both of us.” Other song titles include “Either Side Of The
Sun”, “Let It Go”, “Belong”, “Tomorrow”, “Faith, Hope, Love”, “One And Done”
and “Nothing Without.”
Once Serengeti Drivers
is released in 2013, Will Turpin and The Way will embark on a tour with dates
to be announced next year.
This year, Turpin’s version of “What Child Is This?” will
appear on A Rock By The Sea Christmas:Volume Three, a charity CD series set for release on Oct. 16. Net proceeds
from the 13-song holiday compilation will benefit the Pediatric Brain Tumor
Program in Orlando, Fla.
Turpin’s other
group, Collective Soul, is a member of the Georgia Music Hall of Fame and has
sold more than 10 million albums worldwide. Collective Soul has attained seven
No. 1 songs and 19 Top 40 singles, making them one of the most successful bands
of the 1990s. They are planning a 20th anniversary tour and boxed
set CD package in 2014.
The Musical Instrument Museum (MIM) and C. F. Martin & Co. are
proud to present in August “Guitarmania to Beatlemania: The Evolution of the
Acoustic Guitar,” featuring renowned Grammy Award-winning guitarist Laurence
Juber.
The
show begins at 7 p.m. Thursday, Aug. 9, 2012, at the MIM Music Theater, 4725 E.
Mayo Blvd., Phoenix. Tickets range from $22.50 to $27.50 and can be purchased
by calling 480.478.6000, visiting online at theMIM.org or visiting the
MIM Ticket Office.
Acoustic guitar
aficionados are in for a rare treat during an evening that will showcase one of
America’s favorite instruments and feature a concert performance by a true guitar
virtuoso. Presented by Dick Boak, Martin’s museum director and archivist, Juber
will discuss his work composing, recording, and performing as the lead
guitarist with Paul McCartney in his band Wings and Juber’s own successful solo
career.
LJ plays the Beatles' "Drive My Car"
“The Beatles inspired me
play guitar. Martin build the guitar that I am inspired to play and
it’s an honor that this historic company make my signature instrument,” Juber
said. “I’ll look forward to performing
my concert set at MIM and accompanying Dick Boak as he explores the history of
the C.F.Martin company and of the acoustic guitar in America.”
Juber embarked on a
career as a solo artist, composer, and arranger after years spent playing lead
guitar with Paul McCartney and Wings. Juber’s solo albums include "LJ Plays the Beatles", one of Acoustic
Guitar magazine’s all-time top recordings. Boak, author of Martin Guitar
Masterpieces and Martin Guitars: A History, is also a woodworker,
draftsman, guitar designer and builder, Martin’s public relations liaison,
guitarist, and is responsible for some of the most unique collaborations with
top celebrity guitarists to design and build the finest instruments made at C.
F. Martin & Co.
LJ interviewed by Jim Deeming
This past April Juber
released “Soul of Light” (Solid Air Records), his 20th solo project.
He recently contributed to “Chimes of Freedom”, an Amnesty International
benefit disc on which he joins Seal and Jeff Beck for a version of Bob Dylan’s
“Like a Rolling Stone.” Diablo 3, the latest version of the popular video game,
features his music. An instructional app for the iPad is also in the works and
he and his wife Hope, just inked a deal with a New York City producer bring “Gilligan’s
Island: The Musical” to Broadway.
Among music producer Anthony J. Resta's dozen RIAA certified gold and platinum awards, are two releases by Collective Soul - Dosage (1999) and Blender (2000).
Most critics and fans agree that the platinum-selling Dosage is the group's best effort to date, which captures them at a blissful and creative time in their career. And while Blender doesn't engender the same warm response as its predecessor, it has aged well over time.
In the third portion of this epic five-part interview, Resta discusses his work on both releases, the group's ability to write and produce well-crafted rock tunes and his on-going admiration of the Georgia rockers.
Part III
Q: In addition to Duran Duran, one of
your most celebrated collaborations is with Collective Soul, who I think is one
of the most underrated American bands of all-time. Tell me in your own words
what is special about this group?
AR: I think Collective Soul writes really
honest and earthy rock songs that speak from the heart and shoot from the hip.
They also are a dying breed of band that isn’t afraid to push boundaries
sonically and try different treatments and styles all the while sounding
completely coherent as a unified personality regardless of those boundaries.
Publicity photo for Dosage, circa 1999
Q: Your first collaboration with CS was Dosage,
an album many fans and critics consider to be their best work because it took
them creatively to the next plateau. What do you remember about what they
wanted from the sessions, what you wanted from them, and how you got to the end
result?
AR: I drove to Miami with a van full of
toys not knowing what to expect. I had been working on Suze Demarchi’s solo
record Telelove at Long View Farm in North Brookfield, Massachusetts,
for a couple of months. At that stage we were going into mixing and they were
cool with Bob St. John riding solo during the mix and off I went. Turns out Ed
Roland was a fan of Nuno Bettencourt's solo record Schizophonic, which I had co-written
and co-produced a bunch of songs. Bob St. John put him in touch with me at
Longview. Ed wanted to see if my quirky “Dr. Rhythm Freak” treatment might gel
(no pun intended) with the band. So they sent me raw tracks for “I’m Not
the One”. I did a sonic treatment of synth textures, then sequenced and
programmed drums and a bunch of Mellotron stuff. Ed called me up and
said, “It’s super cool but man, where the heck is the one?” He said, “Can you
make the rhythmic end of this A LOT more user friendly? And that began
our long years of collaboration. I set up in a little room next to the control
room and began doing my thing, often dancing around like a cartoon character
hence my nickname ‘Dr. Freak.’ I had large racks filled with modules and Akai
samplers and FX processors. It was really a mad scientist looking lab for sure.
Dosage (Atlantic Records, 1999)
Q: Dosage was recorded over a
four-month period in Miami at Criteria Studios. Who made the decision to record
in Miami and do you think ambiance or a setting can influence the outcome of a
record?
AR: The band made the decision to work
there. It was an awesome studio and being right on the beach (I stayed in
Aventura) was really cool. There was this weird bar in the hotel open
till like 6 a.m. or something. The main form of entertainment was “Play-ooki
Karaoke” where people were not only singing, but playing real instruments
along. Every night it was like a scene out of a David Lynch movie. I brought Ed
once, and he just kept shaking his head saying, “Wow, this is quite the freak
show” or something to that effect. I can’t really describe how
odd it was, but my memories of it (clouded in rum and coke) was in that sort of
faded super 8mm film look. I’m not sure if being in the Caribbean or Alaska or
Switzerland really influences anyone’s playing, but it sure does set up a
mood.
Q: We’ve touched on this subject in the
past, but I think we’re both in agreement that Ed Roland is one of the greatest
songwriters to come along in the last 20 years, and certainly in my opinion,
he’s one of the Top 5 of all-time. What do you like about his lyrics and songs?
AR: I love how they speak to the listener
and touch them all at once in a million different ways. It’s an awesome gift
and I’ve learned more about songwriting from Ed Roland than anyone. He’s beyond
gifted. All the number one songs that people didn’t even know were Collective
Soul can attest to this. He is a fabulous producer as well. I learned from
getting more inside his ELO, Cars, AC/DC influences to find the roots of what
he eventually turned into something 100 percent Collective Soul. The band as a
team puts together the sonic fingerprint and makes it complete.
Singer-songwriter Ed Roland
Q: It should also be noted that CS’s
arrangements are amazing. They have been criticized for their overtly
commercial sound but I contend that not many artists are gifted in this
way…certainly the Beatles and the Stones were commercial. Your thoughts on
this?
AR: Selling ten million records as a rock
band doesn’t happen very often. People forget that success and being commercial
need to meet somewhere for music to appeal to millions of people….if that makes
any sense at all. Critics love to hate successful artists unless they are
Radiohead or Sigor Ross or whatever they deem “critically acclaimed and hip” at
that given moment. It has nothing to do with the music.
Q: Let’s discuss some of tracks on Dosage.
“Tremble for My Beloved” is just so out there. It’s unlike any other song they’ve recorded before or
since. What do you specifically recall about the making of that tune?
AR: I tend to put long intros and outros
on songs as a rule and then they can either become concept records like Pink
Floyd’s Dark Side of the Moon or get trimmed down to a few seconds
during the mix. I think all of the songs on Dosage have this treatment,
some more subtle than others. I remember special moments where Ed would be
listening to the four ADAT’s I was overdubbing onto with my own mixer and Aux
sends of FX that were most often printed. He would be so thrilled about some
things and just as many times he’d shake his head and say, “Nope, not a
chance.” I love working with artists that KNOW WHAT THEY LIKE. It’s the best
way to work. I can be relentless and will try a zillion things until a few
special ones connect. Ed helped me learn what was special enough to be in a
song and what was just me having too much fun with all my toys. It was a
period of growth and experimentation. I was lucky to be given wonderful
opportunities like this. I am grateful to this day for that wonderful
opportunity.
"Tremble For My Beloved" by Collective Soul
Q: The intro to “Tremble” is a perfect
example of your 'soundscaping' technique that Will Turpin, their bassist,
pointed out in a recent interview. How did you come up with the intro sound for
“Tremble” and merge it with the music?
AR: I would always put down way more
crazy things that didn’t really fit the music… just for my own head and for me
to come up with the right stuff. Lots of wrong stuff needs to happen during and
before you get to the right stuff. Ed would often filter and still does filter
what fits and what doesn’t. I think he was really open for experimentation at
that time and it shows not just in my parts but the bands parts, the guitar
tones, the vocals, etc. Bob St. John and Shawn Grove and Tom Lorde Alge all had
amazing sonic input on the record as well.
Guitarist Dean Roland
Q: The next track, “Heavy”, was a No. 1
hit for 15 weeks straight. In the case of songs that become big hits, can you
recognize when a song is going to be big or is that an art form in which no one
can predict?
AR: Honestly, no. One never really can be
sure with what will connect with the masses. It’s an equation that has never
been solved. I hear of record companies spending millions to promote what they
thought was a “one listen, no brainer, home run, bona-fide smash hit” only to
have it fall flat. And other things that were not even supposed to be singles
ROCKET to #1.
Q: There’s supposedly a very
off the wall version of “Heavy” that was different from the released version.
Do you remember anything about that alternative version, which Ed once said,
“Needed to come back down to Planet Earth.”
AJ: I don’t recall a version
like that. I remember Bob St. John doing an earlier mix of it and some of the
stems he used got printed and used by other mixers. I don’t think he got credit
for coming up with that gated guitar intro… Bob and I had been doing that sort
of stuff for years before "Heavy."
"Heavy" by Collective Soul
Q: “Needs” sounds like it was
a big production. Tell me your memories in putting that song together?
AJ: I don’t hear it as the
“biggest” production. Just because it has a lot of strings doesn’t really make
it the biggest. I love the video to that song. A bunch of the later songs we
worked on at Tree Sound and Bopnique Studios (BTW we definitely cut “Dandy Life” at Bopnique) are a little cloudy in my memory. We were passing around
2-inch tapes, hard drives and ADAT’s. Lots of overdubs were done in Ed’s basement
in Atlanta. It was a really nice cozy place and we had some of our best
creativity flowing on post-production stuff there. I guess I can’t really
answer that properly…
Q: “Generate” is one of my
favorite songs because of the drum track. I remember in a past interview with ModernDrummer where Shane Evans mentioned that Dosage really pushed his
abilities because he was introduced to electronic drums, loops and percussion
textures. At first he saw it as a threat, but then realized it could be used as
a tool to expand his drummingabilities.
This must have been an interesting process to witness?
AR: I think Shane was super
open and cool to me, coming aboard and introducing electronica into the mix. I
think he added some things like the broken glass loop in one of the songs. He
was really open to playing to my sequences, and it's way more fun than playing
to a click! I love Shane...he has a great pocket.
Drummer Shane Evans
Q: The other single, “Run”, is considered
one of CS’s greatest hits and a concert staple of theirs. What do you recall
about this track?
AR: Ed introduces me as the co-writer of
the song occasionally and that is very kind of him. We had just finished reworking “She Said” at the very end of
the project at Tree Sound Studios. I was playing with beats and sounds and Ed was
walking around playing an acoustic. I asked, “What’s that? He said, “I don’t
know.” I said, “It sounds like the Beatles...keep going. I put all the beats
together and began putting downs some raw orchestral loops and stuff and it
just fell into place. The band had to come back at a latter set of sessions to
play on it and turn it into what you hear now. I love Tom Lorde Alges treatment
of my programming and beats on that track. He’s a master mixer and moves things
around and reinvents things in a creative way that makes you excited. He’s not
lazy just throwing up the faders and mixing…that’s been my experience. Bob St
John and Karyadi Sutedja and Paul David Hager are the same way. I love mix
engineers who roll up their sleeves and dive in to their elbows and ELEVATE the
music to the next level.
"Run" by Collective Soul
Q: You’ve mentioned before that “Crown”
is your favorite song on Dosage. Why does this song resonate with you?
AR: People that know my history and
influences realize how much of a Pink Floyd freak I am, and on that track Ed
just let go and let me run free. I took his scratch acoustic and ran it through
a lexicon vortex and some other stuff and built the track on top of it. The
synth bass alone is made up of something like twelve different sounds. Shawn
Grove and Ed watched me record the drums with maybe two or three mics and VERY
expensive vintage U47 VERY CLOSE to my head to capture the drummer perspective.
I played through the song about three times and cut up the pieces in my rack of
Akai S3000’s. I sequenced it as stereo mix blend, so that is what you hear on
the record. There is one fill in the outro that’s based on a triplet
displacement to the pulse that I literally fell off the drums playing. It’s in the
outro. We laughed and laughed, so I used it. It’s a cool moment. There is a
constant push and pull to the various sections because of how the various parts
fit together. We had Pro Tools but I did things in this sort of OBLIQUE
strategy way, trying to think like my heroes of the time. Mainly Brian Eno at
that particular moment. I love the vocal and the lyrics to crown and my synth
solo is so Pink Floyd. Something in the message connects to my dad, who I lost
in ‘97. It will always be one of my favorite collaborations of all time.
Bassist Will Turpin
Q: “She Said” was released on the Scream
2 soundtrack and ended up as a bonus track on the album. What’s your
recollection on the recording of that song?
AR: That song was a technical nightmare
because the time code for the orchestra was at a different rate or drop frame
or something, so much trouble syncing the new stuff. I added to the old master
it was a very long three-day mix session at Tree Sound Studios and Bob St. John and I
were pulling out our hair. It was really stressful. We eventually got it all
working. I like the version on Dosage a lot. It’s a great song.
The lyrics are so uplifting. I put some weird Mellotron guitar in the pre-chorus that I still can’t figure out why sounds like a Wurlitzer piano.
Guitarist Ross Childress
Q: Collective Soul recently finished a
tour where they sang Dosage in its entirety. How does this make you feel
and looking back, what was special about that record?
AR: I’m so honored and proud to have been
a part of Dosage, and they have been so kind and gracious to mention me
in press about it. I think it sounds more
contemporary now than when we made it. It’s a classic for sure.
Dosage Tour 2012 commemorative poster and VIP pass
Q: If Dosage was pushing the band
in a new creative direction, then it could be said that Blender pushed
them further into a more modernized and electronic sound that started with Dosage.
Despite the fact that it wasn’t the most popular CS album, it does have a very
strong personality. As a whole, what do you think of Blender today?
AR: I love Blender and so do most
fans of Dosage. It’s a great record. I wish songs like “After All” and
“Turn Around” had been released as singles. I think that might have made it a
platinum album instead of a gold record.
Blender (Atlantic Records, 2000)
Q: “Vent” is certainly a highlight for
me. What’s your memory of that song?
AR: To be honest, I don’t really remember
all that much about it. I did have fun making the djembe and conga loops and
some goofy turntable work here and there. I was just getting into using two
turntables and messing with white label vinyl from shops in little five points. In retrospect, I’m not so
sure it really fit Collective Soul’s sound of the time but we loved trying new
things and it was fairly tasteful. I like the scratching at the very end of
“Turn Around” into that little classical piano bit I did. I added some weird
robot sounds from a contraption that used to be at Boston’s Logan Airport and
it became a segue way into “Boast.”
Q: “Why Pt. 2” has an opening sound that
has your unmistakably signature. I’ve tried to figure out for years what it
is…what the hell is that noise?
AR: It’s a drum sequence from an Akai
S3000 through a Lexicon Fireworx unit. Ed bought two and gifted me one. He’s
very generous like that. It’s all over that record and Dosage as well.
The "Why Pt. 2" video was filmed at publisher Larry Flynt's estate in Los Angeles
Q: “Why Pt. 2” features a blistering
guitar solo by Ross Childress. He has a very individualized style of playing
and was interesting to watch. What was he like to work with and what did he
lend to the group?
AR: Ross kept to himself a lot. He was
always very quiet. He was set up in a different room and we only saw him when
he unveiled one of his massive solo textures. Ed used a ‘50s white Les Paul
that looked like an SG 3 gold pickup and PAF’s on that song. That guitar has a
sound like nothing else. We were shaking the electrical room that we used as an
amp booth. I coached Shane to do one of my signature over the barline
outro fills. Ed kept it in, which is usually not his favorite thing. I think he
threw me a bone on that one. Thanks E!
Ross Childress working on a track in Anthony J. Resta's Bopnique Studios
Q: “10 Years Later” is one of the group’s
most interesting songs, though I can’t tell you why other than the sound and
tempo is so different. There’s also a sad quality to the song. What do you
recall about the session?
AR: “Ten Years Later” is sort of the
“Crown” of Blender for me. I really heard something very clear and
psychedelic Beatles on it. There are tons of crazy textures like cymbals
swelling in tape echos and walls of Mellotron flutes play re-harmonized chords
to the song. I also played the slowest drum track I’ve ever recorded on that
song, giving it the best ‘Ringo’ I could muster up. That track moves along at
55 bpm. Very hard to play. I can’t remember why Shane didn’t play on it. I
think it was pre-production that we just got attached to and left alone.
Ed Roland and Anthony J. Resta at Tree Sound Studios in Georgia
Q: “Perfect Day” is really cool. I love that
squawky circular guitar riff. How did you get that sound?
AR: That was all done with turntable bits through FX. That song
was a nightmare. I think we recorded it at three different tempos it was very
hard to put together. It all started with the main drum loop that was actually
recorded by Paul David Hager in Nashville at East IRIS when I was playing drums
on a Megadeth remix to “Crush ‘em”. The guitar mics were left on and it created
this wild Jeff Lynn sounding drum room. I cut it up and it became the
foundation for “Perfect Day” in pre-production. It remained in for the duration
and had a really odd swing to it. That was hard to overdub, too.
Q: Of course, “Perfect Day” features
Elton John on piano. What do you recall of that session and what was he like to
worth with?
AR: Elton was brilliant and his parts
were done in an hour. We were told by some Nashville folks that it would be
tough going on the piano. ARE YOU KIDDING ME? He nailed it in two or three
takes. I’m sure a lot of it was from the second take. Elton was funny, telling
a lot of jokes and we all had a “perfect day”. OMG – that’s so corny but you
might leave it in:)
Anthony J. Resta with Sir Elton John
The best story was about us going to
dinner with Elton that night. After he
left, someone came up to us and said, “Not half an our ago Elton john was
sitting at this very table.” We were obviously completely invisible. Ed said,
“NO WAY! Don’t you know they have lookalikes for everybody these days?” The guy
walked away mad muttering, “No, no… it was him.” HYSTERICAL!
Q: “Over Tokyo” was a song written and
recorded by Ed in the early ‘90s. He dusted it off again for Blender.
Both versions are good but it shines a light on the issue that there are a
hundred different approaches and ways to do a song. How do you personally decide
which is the right one?
AR: You just try stuff and trust your
instincts. You could do “Over Tokyo” as a bossanova and it would still be
a great song. That’s another one that the tempo was just impossible to get
right. We had to speed up the analog half-inch to speed it up even after it was
all done. Crazy. I love the Japanese girls in the break, which was also Ed’s
idea. I love that song!
Q: Collective Soul had some personnel changes
when they returned for Youth. What was your role on that album?
AR: For Youth they hired Dexter
Green to produce. Ed had me come in and add some of my flavor during the final
stages. I was not present for the tracking.
Youth (El Music, 2004)
Q: Any other interesting stories
regarding songs from that album or those sessions?
A: I remember at one point I was supposed
to fly home for the weekend and I was feeling behind. So I said to Ed, “There
is some party that I don’t want to go to” and he said “GO!” I’m so glad I did
because it ended up being a massive event with all Bopnique artists. It was all
day and all night, and I was to be the MC. I did it on maybe two hours sleep. I
slept at the board that night.
Q: Afterwords is the last record
you did with Collective Soul. I thought it showed a new maturity and depth in
their songwriting. I find myself listening to that album more than any other CS
record.
AR: I think because the drums were
recorded at Bopnique by Karyadi Sutedja with Ryan Hoyle (a real master session
player) and we built INCREDIBLE foundations for the songs. Its so organic and warm
and phat. I LOVE the sound of that record. It was also the first time I added
any guitar stuff on a CS record. Like the George Harrison sounding signature
lead line on “Bearing Witness.” It was a really quick little idea that ended up
getting used. I to this day can’t figure out how I got that sound. Everyone
asks if it’s a slide but it was just a Les Paul direct into an API mic pre. Not
sure what was going on with the compression but I think it was a dbx 160 and a
Joe Meek SC2 fighting each other for supremacy.
Anthony J. Resta with master session drummer Ryan Hoyle
Q: “Hollywood” was a great single that
emerged from the album. Ed said he wanted to write a “summer song” with an ‘80s
feel. It truly hit the mark.
AR: We tracked most of that at Bopnique
as well. We wanted a last '70s new wave flavor and we got it I think. Some of the stuff Ed had me remove at the mix
(we mixed that track at Bopnique) because it was T00 much of a Cars ripoff. In
retrospect he was right in toning that aspect down a bit. A couple of the parts
I added I’m really proud of like the harmony arpeggio sid station bit that goes
with Joel’s guitar in the chorus. And my Baritone guitar that does contrary
motion to the rest of the band in the outro. I love the sound of that record. I
got chills seeing the ads for “American Idol” where it was featured.
"Hollywood" by Collective Soul
Q: “All That I Know” is another great
tune and seemingly another surefire single.
A: We used the worlds only known Solid
Walnut Optigan and a homemade drum loop to build the song. I love all of Ryan’s
drum parts – he really orchestrated some amazing grooves on that record. We had
a great Boston Pops player but down a clarinet solo over the whole outro that I
just LOVED. But it wasn’t kept. I don’t remember why.
"All That I Know" by Collective Soul
Q: You haven’t recorded with Collective
Soul since 2007. Any plans to work together again?
AR: You never know! I really would love
to do another one. It would mark the 15th year anniversary when I
first started with them. I think I would be out to top everything. I’ve learned
so much and am so much more into “space” and simplicity. I think we would craft
another platinum record.
In part IV of this interview, Anthony J. Resta will discuss his other artistic collaborations such as Blondie, Perry Farrell and Missing Persons.
For more information about Anthony J. Resta, visit his website at http://bopnique.com
