Questions For Tony Visconti

[heavyd]

Thank you, Tony Visconti for doing this - a great opportunity for us. I would like to read any comments you may have about the production of music in surround sound. Were you sold on 5.1 from the beginning or was it an acquired taste? What is your mixing philosophy? I guess I just can't wait for Young Americans

[Merseyside]

No question just a thanks for the great music and for being here sharing your experiences.

[motorcitydave]

Just a simple question here, Mr. V. When you were working on 'Electric Warrior,' did it occur to you that it would be a classic album of sorts? One that would stand the test of time?

[MichaelR]

Another thanks for taking the time, Tony.

you really are one of my "Heroes" !!!

(sorry, couldn't resist)

seriously though, thanks.


Michael

[poweragemk]

Originally Posted by Tony Visconti

Oh man! I miss SPUMONI GARDENS! Did you ever go to Jahn's on 86th street? Yum, yum!

Spumoni Gardens is quite a place.

[deadbirdie]

Thanks Tony! It's lovely that you did this.


Any chance of you working with Oasis in the near future?
I always thought you could bring out the best in the lads.

Cheers!

[Paul H]

Hi Tony,

thanks so much for taking the time to answer our questions. A true gent. I'm sorry for picking something that will be less than positive but...

What happened to the Finn Brothers record you worked on. I was SO looking forward to hearing your work with them and then we never got to hear it.

Did you get the feeling that things hadn't panned out how they wanted? Did you get any feedback as to why they started over? What do you think about the material you recorded? How does it differ from the final version (assuming you've heard it)?

Sorry to bombard you with questions but it seems unbelievable that they'd go to such lengths to work with someone with such a huge reputation and then leave it behind...

[christopher]

hello, and welcome to the forum, Mr. V.!

just another reason to love this forum.

later, chris

[Chip Stylus]

Originally Posted by mafru2

Hi Tony! I've been bugging Richard for stories on your work with the Move. Wondering if you can share some here?

I'd like to hear all about his former life as an engineer for Denny Cordell.
Was it enjoyable, did he learn stuff from Denny that he still uses today?
That kind of thing.

[Javi Barcelona]

Hello Tony,

Usually you quote your favourite Bowie albums (i.e. Scary Monsters) judging the powerful or brilliant sound on your production. So you're not too proud on Space Oddity or Lodger albums. But I also thank the intimate atmosphere on a few songs (i.e. Letter to Hermione, An Occasional Dream...), an intimate atmosphere (on the way it was recorded) difficult to find on Bowie albums (probably Space Oddity and Hunky Dory albums only? -I know you didn't produce the latter, although I remember you quoted it as your favourite Bowie album that you haven't produced-). Do you dislike that sort of dull sound even when it works in some way? Or it's Bowie's taste and thoughts that you respect? Or do you think that this sort of sound is not for Bowie because his style?

Sorry for the long question. Another one (related in some way): what's your favourite Bowie album you have produced, despite your production (if it's possible to ignore that part)? And why?

Thank you very much for being here answering our questions. I would ask you a million more.


javi

[2take]

Hello Tony-
I'm a big fan of a lot of your work and it is an honor to speak with you.
I am an old friend of Dave Sharp, the guitarist in The Alarm, who's Change album you produced. It's definitely the best sounding album they ever put out-- and I know it is Dave's favorite as well. I thought it would be the one to put them over the top. Alas, this wasn't to be. Any memories or thoughts of your time spent with them on this album? What did you think of Dave's playing? I always thought he was under-appreciated as a guitarist.
Thank you for your time.

[mfp]

I love this forum more everyday! I just want to thank you Mr Visconti for answering our questions. I really love your work, with Bowie and T Rex of course, but also with French band Rita Mistsouko. "The No Comprendo" album you produced with them sounds incredible; and in 1986 IMHO most albums sounded like crap...

I have one question; I see you are credited as an arranger on the Space Oddity album. Did you actually write the orchestral arrangements on songs like An Occasional Dream or Wild-Eyed Boy from Freecloud?

[quentincollins]

Welcome!

Post long and post often!

[rhavers]

I'm just back from breakfast with Tony and he apologises for not getting to any more questions yesterday the publisher had him on a punishing interview schedule. He's hoping to get back to more tonight and will do some on the plane home (to NYC).

He's really buzzed by the interest and touched by some of the wonderful things that people have written.

Thanks for being patient

[Urban Spaceman]

Hi Tony! Thanks so much for joining in on the forum. I've enjoyed reading your posts so far. Your reflections on working with the Move are priceless - they're one of my favorite bands (Shazam is one of my desert-island discs)! I know you also worked with Badfinger pretty early on - if you have any memorable stories from those days that you'd like to share I'm sure many folks here would love to read them. Thanks again for all the great music! Cheers!
--------- Chris

[The Panda]

Hi Tony, Thank you for taking time for us!!!!!

I am a huge Richard Barone fan, so you know what's coming. The Richard faithful have been referring to his album as "Richard's 'Smile,' as it seems it will never come out. (I asked Jill Sobule about it and she agreed that the Brian Wilson analogy was a good one.)

Is the album even halfway done? Has Richard just lost interest in it? He seems to always find time to do other things (the book, the Peggy Lee thing, Bongos reunions,etc) so I'm wondering if he's just not looking at himself as a songwriter/recording artist anymore....

Thanks for any help/encouragement you can give. I'd like to live long enough to hear the final product....

[ziggyson]

Hi Tony
how you doing? Just like to say that in "Heroes" you gave me my all time favourite track and album."Heroes"even to this day makes the hairs on my neck stand up on end.
this must be mymost played track EVER!!!!must have played it a million times since October 1977.
Anyway my question for you is,if you had produced lets Dance woould it have had a totally different feel to it,people say its YA2,for me its deffinatly not.
Take care and carry on the good work.
Dave T

[mark f.]

Before they went off to do their promotional work Richard PM'd me that folks should keep the questions coming. I promised him I'd keep the thread bumed so that Tony could find it when they get back.

[Tony Visconti]

Well, the mood of the studio in Rome where we recorded the album (Forum Sound Studios) was kind of Gothic. It is in the basement of a church, right next to crypts. The studio was never bright enough for my liking, there were areas that sucked in light and smelled bad. But this was a terrific place to make such an emotional album.

Morrissey was usually in a good mood being part of the band when the tracks were going down. It was nice to see him there. But when he put down vocals the band left and it was just him, myself and Marco on Pro Tools. Then the mood changed. I can never fully understand where a great artist finds the inspiration and the emotional connection that separates the men from the boys, but Morrissey would go into his private world when he was singing any song on the album. I don't want to make our private conversations before and after his vocals public, but he does ask for advice and he considers direction. It's an emotional experience for us in the control room too. Morrissey is definitely "on stage" in the studio, this is not a walk through exercise, this is the real thing when he does vocals.

I can't remember very specific funny moments, but Morrissey is very quick witted, a man of the moment. Just seeing him stand in the middle of the Italian childrens choir was a very funny sight with Morrissey looking extremely amused after the children just sang, "The father who must be killed."

======================================== ========

My question concerns working with Morrissey on 'Ringleader of the Tormentors'. What kind of mood (if any) was established when Morrissey was performing the vocals for such songs as 'Dear God, Please Help Me'? With such seemingly poignant and personal lyrics, do you actively attempt to construct a gently encouraging atmosphere, or allow someone like Morrissey to dictate what the mood of the studio is like when he records? Is any discussion entered into regarding the lyrics themselves (I assume not), or are comments restricted merely to the performance?

And, if you could spare the time, could you disclose the 'funniest' moment from those 'Ringleader' sessions? As you've noted in interviews, Morrissey has a real sense of humour. Any examples?

Many, many thanks.

Oh, and best of luck with the t'ai chi. [/quote]

[Tony Visconti]

Originally Posted by heavyd

Thank you, Tony Visconti for doing this - a great opportunity for us. I would like to read any comments you may have about the production of music in surround sound. Were you sold on 5.1 from the beginning or was it an acquired taste? What is your mixing philosophy? I guess I just can't wait for Young Americans

I was sold on 5.1 when it was called "Quad." Surround sound is a very creative tool and not necessarily just used for music in the front and ambience in the back. I love making a solid rock band mix in the front and putting overdubbed strings and horns on the sides and the back sometimes (but not always). When Young Americans eventually does come out in 5.1 (March, apparently) you'll notice I've done some radical stuff -- "Fame" will never be the same....