Questions For Tony Visconti

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.

 

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?

 

Welcome!

Post long and post often!

 

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

 

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

 

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....

 

Serious Moonlight

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

 

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.

 

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."

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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]

 

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....

 

Hi Tony

I heard it said that you found it exhausting working with the Moody Blues on their album The Present. I also find it unusual that they never play any songs from that album in concert. Thanks and welcome to the forum.

 

Oh yes. I thought it would last about a decade. But it's become a true "classic" that also seems timeless. I love the album, one of my favorites.

 

I didn't produce The Present. I did The Other Side of Life, Sur La Mer and part of Keys of the Kingdom.

 

That would be an interesting band to work with. Thank you for the suggestion.

 

I mainly learned to carefully record the low end instruments, kick drum and bass. To keep them high in the mix. To never settle for second best in performances, at the risk of being unpopular (temporarily). Denny taught me many things just by being Denny -- a great man.

 

Does he get heavily involved in the production of the music tracks or does he leave that more to his musicians? I've always been curious about how much direction he gives to or takes from his collaborators.

 

I am proud of all my David Bowie albums. I think Scary Monsters is the best but by only a few points. I love The Lodger too. I know what you mean by the intimate sound of Space Oddity and Hunky Dory. It seems the lower the budget, the more intimate the sound, in these cases.

Please don't assume that when I say I like one Bowie album the best I don't like the others. I love the production of The Man Who Sold The World, but the sound could've been generally better. It's not bad for its time.

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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[/QUOTE]

 

I loved working with the Alarm. We had a Welsh connection through my former wife Mary Hopkin. Dave is a great player, he had a four amp set up and I recorded each amp on a separate track. During a mix we'd feature the lead amp louder, then revert back to the chord amp. One amp was just for spring reverb only. Dave bought the amps from Pete Townshend (Hi Watts).
Michael Peters, one of the best vocalists ever! All of them were great musicians.

 

Yes, I wrote the orchestrations. I conducted the orchestra as well. Wild Eyed Boy... took five days to write. It was for a small symphony orchestra. It was one of the most exciting days of my life, with David Bowie sitting in the middle of the orchestra playing 12-string live. He overdubbed his voice afterwards.

 

Tony, is there any chance of that happening? I'd love to hear the results of a recording session with you producing Kate Bush!

 

Hello Tony, Welcome to the Forum and a big "Thanks!" for taking the time to answer questions. I'm curious about any participation or use you might have had of the Oblique Strategies cards while making Low/Heroes/Lodger. Was this something between the musician's only or did it include you? If so, what are some of your recollection's about their use?
Thanks again for your time!

 

TONY!! Thanks.. Any chance of you doing more 5.1 work on any more Bowie Hi Res releases??

 

Over the years I rarely see anyone mention that you produced the Iveys (later Badfinger) “Maybe Tomorrow” album. Any stories that come to mind that you’d like to share? How did the process of this album evolve.? I understand that they had quite a bit of songs written by this point. Also how did you get involved with these guys?

Also wondering how the (very few) overdubs on the “Born To Boogie” soundtrack came about. I mean who thought these should be added?

One more, what is David Bowie’s involvement with these surround mixes that you’ve been working on?

Thanks for taking time to humor us, and also what to thank you for the “Electric Warrior” surround mix. I just love how faithful sounding it is. I often cuddle up to the back speakers to hear the backing vocals on ‘Monolith’, gets me every time!!

Peace be with you and rock on,
Jake

 

It's an honor to have you here Mr. Visconti. I love the work you've done all these years. While I'm typing I'm listening to T Rex and some questions came to my mind: What was the atmosphere when you worked with Marc Bolan for the last time? What's your favorite T Rex track?

Thanks for reading this.

 

Very impressive; I love these arrangements. Space Oddity has always been one of my favorite Bowie albums.
Thank you so much for taking the time to answer our questions, it's really very nice of you.