Time to roll the closing credits on "Josh Phillips - the collection [2105 Re Masters]"
to quote the late frank sinatra, "Regrets, I've had a few...." but we will have to wait 'til the epilogue for all the negative stuff, for now i'll just try to catch up with all the positive things I ought to have included which didn't fit into the mp3 comment boxes along the way.......
in no particular order;
ashley's stereo imaging throughout is consistently amazing - no matter what technology we were using - even when just tape bouncing he has always been able to see the stereo mix before we even laid the tracks down
matthew (doc) parker's innovations with primarily horrible nylon acoustic gitars and later the bass and electric even tho they lay back in the mix, are still truly innovative sounds, and then there's then invention of the silent samle whch we invented on the amstrad music machine and following that the sample editor where we could edit our samples "bit by bit" literally, all of these were just awesome!
stevens vocals, although quirky and fairly weedy seem to have complimented our style in "the fugue" and certainly developed well with my voice and our steampunk sound
danni "tits" did the most awesone androgenous machine voice on move any mountain and was extremely patient with us on the recording day and kate whatshername's violin on laridé although we didnt get enough of it was just perfect pitch for what we were doing and sounds lovely
joffrey's work on the kit in "the crossing" is just so accurate and martin's guitar really proficient, julian has a great voice (we didn't really get him the best mic's for this session)
also, it has to be pointed out that everything by "the fugue" and "the crossing" was a live take - and we had at most 4 tracks to work with!
and I have to thank my dad for buying me the Korg Poly 800 mkII and whoever it was that stole the Yamaha dx100 (fm synthesis don't you know) from the school and sold it to me for 20 quid and my dad again for playing the dharabuka on have accordion will travel - 4 bars late as it happened so we had to to a digital remaster in 2003!
then there's paul james and nigel eaton (aincent beatbox) for the inspiration for early parts of mixdown, so long and laridé which I think technically we have surpassed many time's but respect is still due
what other thigs should I mention? Oh, the snare drum on the awakened sleeper comes from a song called heaven give me words by propaganda on which howard jones plays the hammond organ
the quote by peeter o'toole on move any mountain comes from robert shreeves video cassette of supergirl, I think my mum was one of donovans oysters on the walrus and the carpenter
thats basically all of the positive stuff what I can find to say right now, you'll have to check out the next episode to see the rest of the closing credits
oh by the way, this track samples "omega amigo" by the shamen if you must know!
