home tradingrules new bootlegs search messageboard Love win a bootleg contact me links  
 
 

DON'T TRY THIS AT HOME!


PRODUCING 101 (part 2)

Jillian Wheeler

So that first week in January we spent cutting most of the drum tracks, which
was basically me playing 'scratch guitar' (a guitar played as a guide only,
which gets erased later on and replaced by a better sounding one) and Mini Bar
drummer, Malcolm Cross, on drums.  Rusty played drums on two songs and believe
it or not he layed the drums down on one of the songs drums first without the
help of a guitar or anything.  That was cool.  By weeks end we had 12 songs
with drums completely done.  The drums were recorded to a 24-track , 2" tape by
Venice Studio whiz, Steve Refling and them dumped to Pro Tools.  By that
Friday, David Nolte and myself were laying the bass down to the songs.  He did
5 songs and I did 7.  The single, "Real Life", is Nolte's work and a damn fine
job if I say so.  By that weekend we had drums and bass done.  12 songs.  And
it sounded fat.  No, it sounded PHAT.

The next week we went into the Wondermints' studio with (Brian Wilson
guitarist) Nick Walusko behind the board and proceeded to cut about 98% of the
guitars and guitar solos in the next 10 days.  Although we had a bunch of amps
and a massive amount of pedals at our desposal, at the end of the day all we
used was Rusty's RED SNAPPER distortion pedal and Nick's VOX wah-wah pedal.  We
ran this stuff through our friend, Paul Flynn's custom "Divided-by-13" amp,
which was a cross between a Matchless amp and a Marshall amp.  At first the
signal was fuck-all noisy but Rusty turned the volume down and cranked the
microphone up.  This gave us a very smooth sound yet it still retained the
'rock.'  Nick had to split with Brian Wilson to do some shows in Japan so we
had a week or so off while he did that.  They'd played Australia and had some
time off so some of the band members took holidays.  Some went to New Zealand,
some went to Thailand and other exotic places.  Unfortunately, Brian's
celloist, a Swede named Marcus, perished in the tsunami that hit one of those
south sea resorts, so Nick was certainly upset about that while we were working
on the record and I remember him feeling very sad about going out again without
Marcus (who's body was only found just last week), which we totally understood.

So the record company guy, who was a real funny and knowledgeable guy, flew out
to LA and we had some meetings/dinners/lunch and stuff with him.  He then
intimated that he wanted to record 3 more songs!  One of them was a demo called
IN MY MOVIE.  I thought the demo was weak and the song, kinda good but cheesy.
Me and Rusty went to work on it, changed some stuff and then I got Nolte to
work on a bass line to give it some steam.  We got some studio time at Steve's
and cut 2 more of the songs.  IN MY MOVIE sounded great.  And it was about Feb
1 by this time.  Steve's way of recording the guitar was to have me play his
'71 les paul straight into his '69 JMP 50 watt marshall, cranked fuck-all loud
to high heaven.  It sounded great.  And see, Steve HATED, absolutely DISPISED
pedals so we couldn't use our baby, the Red Snapper.  But it worked out really
great.  And Jillian was flying in the next day. 

And also Nick was back and we did all the keyboards in one day.  We were
waiting for Lisa Marie Presley's Keyboardist, Linda Good, to get some time to
come down to the studio, as she was in rehearsals for an upcoming LMP tour.
(she's also sang vocals on some demos Rusty and I made for the Jillian record.)
 Linda was a gem to work with and she blew our minds with her talent and sounds
and all around great attitude. We then had Probyn Gregory stop by and do some
trumpet and trombone work and then pretty much all the background music was
done.  All that was left were some other guitar stuff, percussion, a few guitar
solos and Jillian's lead vocals.  Rusty and I had done many of the background
vocals at Nick's, including ALL the backing vox on WOULDN'T IT BE NICE.  We
took a few days off and got ready for the lead vocal recording dates, which
would be Feb 3 to Feb 14.  The schedule would be Monday-Saturday from noon to
6pm so she'd have her voice right and so she could do her homework.  Yes, we
had to work with homework obstacles!  But when she stepped to the microphone I
don't think anyone was prepared for the voice they were about to hear.  I don't
think I've smiled that much since.and our budget was shrinking fast, switching
between studios and we weren't even mixing yet.  The mixing itself was nearly
15% of the budget.  We were 2 weeks from being done with the recording and then
it was gonna be another 2 weeks of mixing then another week of mastering.  On
Feb 3 we showed up to STANLEY RECORDING STUDIO in Venice and John Would was
engineering the vocals.  We brought him the hardrive so he'd have a jump start
the day before and Rusty and me went to the Tavern for pints, not quite sure
what to expect from Jillian's voice.  In the meantime, LOVE had some gigs
cancelled in LA and then a last minute CoachHouse show was added.  We didn't
really want to do it (for reasons I'd rather not say) but decided not to fight
it.  It was now Stella time and we decided to leave the 'B.S.' behind for once.




all the best, Mike

 

 


 

 

 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Click Here!