CB IN THE STUDIO

Rip It Up, Issue 24, 1 July 1979, Page 8

CB IN THE STUDIO

John Dix

-M i 11 mi I II II 11 I II 11 11 II 11 II I LLLUJ l I I DA YZ -IN THE LIFE OF ... PART 3 tfrf I i i i i i i i i i i i i i i i i i i i i i i n f-ft-t-i MWWFff?--

MANDRILL STUDIOS JUNE 19TH 2.00 PM

What ??? Hang on, did I hear him right? "It’s corning out real good. It sounds like a real band." A real band? Well woop dee f * * king woop. Isn't it just grand to know that Mr Big Time American Producer actually concedes that out here in the sticks, New Zealand does have at least one real band. It's just as well I got to know Jay Lewis before writing this article because Jay is, you see, a nice guy, a very talented nice guy. And if that first quote offended me a little at the time, a later remark explained it: "A lot of groups, they go into the studio and say, you know, ‘Wow, a 24-track machine. We can do anything and patch it up later.' Which is, I think, totally wrong, a bad attitude. That’s why working with Citizen Band is so good. Right from the beginning, laying down the rhythm tracks, they actually sound like a band..." This is Jay's second visit to New Zealand. He was over here several years back as guitarist for the Albert Hammond Band. But since then he’s carved a name as a record producer/engineer, working Gary Wright, Player and Sherbet amongst others. Initially brought over by the Recording Industry of New Zealand to conduct a workshop seminar in Wellington, Jay was approached by CBS head John McCready to produce Citizen Band’s second album (first for CBS). This is the second day in the studio Although yesterday a couple of basic tracks were laid down, the tour CBs and their producer are still really only getting acquainted with one another. "I played those demos last night,” Jay tells the boys. "There's some real strong stuff there. In fact, there's only one song I didn't like. I don’t think it represents what the band’s into.” This comment causes some concern among the band It's bad enough that Jay has already commented on the fact that only nine, perhaps ten numbers will be represented on the album ("18 minutes, maybe 19 minutes each side 20 tops "), the chances being that at least one member is likely to be disappointed by the dismissal of what may be a favourite song. But to be told that one of the numbers isn’t good enough? A deflated ego may be coming up. "Can you remember what it was called?” Mike Chunn asks. "No, but I think it was near the end of the second side," Jay replies. "What did it go like?” Geoff Chunn asks. “0h...100k, we’ll run through the demos anyway and throw around some ideas. I’ll let you know which song it is.” The Chunn Brothers and fellow-CBs, Brent Eccles and Greg Clark, show their concern by surmising about the possible song in question. "SOS ' 7 “Snarl” 7 "Night At The Brit”? Following Jay's advice, they drop the subject and adopt a wait-and-see attitude. Mandrill owner and the album’s engineer, Glyn Tucker (who produced the CBs’ first album) sets up the demo tape for a listen. The booth fills with music: "Acrobats”, "Rust In My Car", "Mishaps”, "No Stereo”...familiar songs to Citizen Band fans. Now here’s a real familiar number Graham Parker’s "Protection”.' "Now this is good single material,” Jay opines. Mike laughs. "Wouldn't that be ironic?” he says. "Parker’s version bombs and Citizen Band's becomes a hit.” "When we toured with Parker last year,” Geoff tells me, "we loved this song so much that he wrote down the words and that for us.” The tape continues rolling with ideas being bandied about regarding possible re-

arrangements and such. “Another Night” comes on. "This is the one that doesn’t fit,” Jay says. Whew! What a bomb that was! To a man, the CBs voice their disproval of his opinion. "This is one of our biggest crowdpleasers,” Geoff says. "It’s a lot more powerful on stage," Brent says by way of excuse. Even Greg, the quietest of the quartet, says, "It could be improved This recording does actually drag a little bit." Exciting stuff, eh 7 What’s gonna happen? Has the producer been outvoted? Or is his vote equal to five of theirs? Will he pull weight on the band and tell them to eat shit? Ah, the suspense. "Okay," Jay says, "we’ll give it a try.” (The song is eventually accepted at the cost of "Mishaps”). There are two versions of Geoff’s "SOS” on the tape. Jay has reservations about the song; "This part's ngat but it’s taken too long to get here ... good guitar solo ... hmm, here as it fades it needs a little humph." "There's something missing there," Jay continues. “We’ll come back to this one.” "Hang on, Jay, “Brent interrupts, "I think we should take a listen to the other version." After listening to the second version, Jay still appears unhappy about the song. "It needs a lot of work on it,” he says. "It’s too long, drawn out and I don’t think it’s as strong as the others.” "Maybe I should drop one of the verses. Perhaps the sound," Geoff suggests. "Either that, "Mike joins in, "or we could slot the solo into the third verse where it goes down to F sharp.” "We’ve got to maintain a flow from the solo on, so it’s got a flow,” Jay says. "But we’ll definitely have to make some cuts." Geoff falls quite, deep in thought. "We’re divided, aren’t we?” his brother asks. "At the moment, yes,” "There must be a compromise somewhere though.” Jay suggests, "but don’t worry, we’ll give everything a try. We’ll just keep everything in mind for when we record it. Is that the lot, Glyn?” "Yep. Except "City Slits” which isn’t on here.” "There is a copy here though, Glyn,” Mike says. Glyn thinks a moment. “You’re right,” he says. "I’ll dig it out.” While Glyn rustles through a stack of tapes, Jay produces his notebook. "Well here are my feelings,” he says. “Rust”, "Acrobats” and "No Stereo” are the strongest. Oh, and "Snarl” I like a 10t,.. "Another Night”...we’ll see. I still feel it doesn’t quite fit. “Protection" fits better. But we’ve still got to keep the other shit in mind, because if we aestheticise it all, we may lose it.” "Okay, here’s "City Slits”,” says Glyn. The song starts up. "We recorded this years ago," Mike says. "Yeah, we were only kids,” Geoff says, sinking into his seat. Years ago? Kids? Well hardly. After all, Citizen Band have only been in existence two years. But I can see the point. The band have certainly come a long way since this recording session. Halfway through the song there's a rather excessive guitar solo. Greg sheepishly looks around then creeps out of the booth in mock embarrassment. Jay, though, is serious, "Now this is the sort of thing we don’t want on the album. It just doesn’t fit.” After the song’s conclusion, he continues, “I think "City Slits" has been emotionally covered in other songs. I’d say there are three different categories in your songs. We don’t want to overdo any one of them. Anyway, we'll see. That’s it. Great. We’ve got something to work from, plus two tracks already laid down. So let's get started.”

MANDRILL STUDIOS JUNE 25TH 2.30 PM

"It’s sort of a sin doing vocals while the sun's still up,” Geoff Chunn says, watching his big brother do his thing, mouth to mike and cans to ears on the other side of the glass partition. All the rhythm tracks for the album have been laid down. Today the vocals start. "Do you think he's giving it enough push?" Glyn asks Jay. "No. It sounds a bit bland,” comes the answer. Brent, relaxing on the couch, suggests that Mike is probably still trying to find his voice this early in the day. Jay has now settled into Mandrill and with Glyn alongside him, the two complement each other, working well as a team. Jay cuts the taped music off: "Okay, Mike. It’s starting to sound a bit better, but let’s try it with a bit more energy this time." Caught In a downpour Out of doors But you 're drying out inside. Boys at the mike Telling you it's alright But the song's on the wrong side Do as you 're told Hope you don't grow old. Just can’t avoid Greasing big brasses And kissing their asses... "We're The Boys” is about the power of radio stations, a subject the CBs feel strongly about. As Mike progresses without interruption, Glyn turns to Jay and says, "It sounds good so far.” Jay agrees then switches off the music, he addresses Mike inside: "Okay, Mike. Sounds great. The first verse we’re gonna keep. Come in and have a listen.” Mike, who's been on his tod inside the studio for thirty minutes, enters the booth and says, "Whew! What a way to start the week.” "Yeah, I know,” Jay agrees. "It’s much easier when you’ve got the others adding the harmonies alongside.” Once the first verse is down the rest seems to fall into place. Around four o’clock Jay is happy enough with the vocals to say to Mike inside the studio, "We’ve got the ending. Just one or two lines to go over later." Glyn plays the song right through "Okay. All of you in there now,” Jay commands. All four CBs gather around the studio piano tuning their vocal chords for the harmonies: WE’RE THE boys... WE’RE the b...WE’RE THE boys ... WE'RE THE BOYS, WE RE THE BOYS. Having impressed as a barbershop quartet, the boys don cans and gather around the mike. The elder Chunn’s recently recorded voice fills the studio... ...Boys at the mike Telling you it’s alright But the song's on the wrong side

(WE’RE THE BOYS) Do as you 're told (GROWN UP BOYS) Hope you don't grow old (TOO SOON 81G...) It's out of balance, "Glyn tells Jay, who, agreeing, switches off the tape and addresses the boys: "Brent and Geoff, how about changing places? Give it another try." ...But the song’s on the wrong side (WE'RE THE BOYS) Do as you're told (GROWN UP BOYS) Hope you don't grow old (TOO SOON BIG BOYS) Just can’t avoid GREASING BIG BRASSES AND KISSING THEIR ASSES... Cut. "More attitude all round,” Jay demands. "Also, the "kicking their asses” line sounded real rough on the demo. Keep it that way. Try it again.” Once the boys find their voices the overdubs are completed rather quickly. Everyone’s happy with the result. Greg enters the studio alone to overdub the guitar solo and, following this, all four CBs re-enter the studio to add a bit of buffoonery to the fade-out which, as if the lyric content of the song wasn't enough, is guaranteed to ensure that the country’s radio programmers will boycott the song. Back in the booth listening to the first almost-completed song for Citizen Band’s second album, Brent raises a cup of wine and intones, "God bless you, CBS. ” Turning to me. he adds, "You know, CBS have really looked after us. The fridge is always well-stocked. We’re well-fed. It makes two weeks in the studio a lot more bearable.” At six o'clock there’s relative silence in the Mandrill building, save the munching of pizza and club sandwiches, and the occasional conversation. But there’s something funny happening in my head. I then realise that "We’re The Boys” is still very much playing. Somewhere. I mention this to Brent. "Yeah, I know what you mean,” he says. “It’s been playing almost non-stop for four hours in one fashion or another. When we finish here at two in the morning I find that I can’t sleep for hours when I get home. The last song lingers for hours. Yeah, I know what you mean, it’s a weird feeling." And that weird feeling persists now, the typewriter tapping out the tune as I work. Last year Citizen Band produced, if not the bestselling, the most critically a h bUr iH < tneir second album sno iliiiner the acclaim. As Jay Lewis said: "Citizen Band don’t need all the frills that other bands rely on...their music is at once obvious and direct...melodically strong and lyrically secure...they're a real band.”