Anyone have any idea what keyboards were used on the first couple of roxy music records? I seem to remember something about a hohner pianet-t and a farfisa VIP. Any ideas, rememberences?
thanks,
zac
Roxy Music Keyboards?
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cavalry thrill
- studio intern
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Roxy Music Keyboards?
"nowadays a woman's gotta hit a man"
Wow. Great Roxy clips on Youtube! "Out of the Blue' is one of my all-time favorite songs.
I saw the Roxy reunion tour in 2001 at the Theater at Madison Square. It was pretty awesome, despite the lack of Eno and Jobson. (Seriously, I really think that the Eno of Roxy Music and "Here Come the Warm Jets" is not the same person as they guy we know today. By the way, remind me to tell you my story of "the Eno" that I bring to every session with me.)
Roger
I saw the Roxy reunion tour in 2001 at the Theater at Madison Square. It was pretty awesome, despite the lack of Eno and Jobson. (Seriously, I really think that the Eno of Roxy Music and "Here Come the Warm Jets" is not the same person as they guy we know today. By the way, remind me to tell you my story of "the Eno" that I bring to every session with me.)
Roger
Okay.... so I was working on a record in New York City in the summer of 2001 (yes, unfortunately that 2001) and the session was going into months and months. We were getting a little stir-crazy. I had just finished reading Eno's book, A Year (with Swollen Apendices), (a diary from the year 1995) for the third time. I decided to go downstairs to Kinko's and see how large I could photocopy the cover of the book:
I managed to get it large enough that I could make a mask of it. I mounted it on stiff cardboard and put a stick on it. I went back upstairs to the studio and snuck into the control room so nobody saw me. I hid behind the console (or in front of, meaning I was behind the nearfields) and slowly, when everyone least expected it, I came up above the meter bridge, holding this ghastly mask of Eno, with a hole cut out for the mouth, and I said in my best English Eno accent, "I believe that what this track needs is more PCM70." It is definitely a "you had to be there" moment, but trust me, it was probably the single funniest thing to happen in NYC at that very moment.
So "The Eno" as we called it, became our mascot/spiritual advisor for the rest of that project. When label people would come by, I would don it and say things like, "I believe you should perform this track as if it is the year 3012 and you are a tuba player for a Neptunian wedding band and you have grown up with a steady diet of John Coltrane and John Mellancamp only. Then you should smother me in cling peaches and run the left-most channel of the board with no audio going to it, but an insert of patch # 112 on the H-3000 on it."
Cut to a few months later, and one of the folks we were working with went to England for the Q Awards and met Brian Eno backstage. He said hello and proceeded to tell him about our Eno on a stick back in NY and how I would put it on and spout out crazy production ideas when we got bored. As I was told, Eno stroked his chin in curiosity and said...."hmmm....well does it work?"
I later planned a whole series of these, including A Martin, Spector, Wilson, Froom, Brion and a Quincy.
So that's my story. As I sit here, "The Eno" is pinned to the wall, looking over me like a watchful saint, ready to give me inspiration, no matter what I'm doing.
Roger
I managed to get it large enough that I could make a mask of it. I mounted it on stiff cardboard and put a stick on it. I went back upstairs to the studio and snuck into the control room so nobody saw me. I hid behind the console (or in front of, meaning I was behind the nearfields) and slowly, when everyone least expected it, I came up above the meter bridge, holding this ghastly mask of Eno, with a hole cut out for the mouth, and I said in my best English Eno accent, "I believe that what this track needs is more PCM70." It is definitely a "you had to be there" moment, but trust me, it was probably the single funniest thing to happen in NYC at that very moment.
So "The Eno" as we called it, became our mascot/spiritual advisor for the rest of that project. When label people would come by, I would don it and say things like, "I believe you should perform this track as if it is the year 3012 and you are a tuba player for a Neptunian wedding band and you have grown up with a steady diet of John Coltrane and John Mellancamp only. Then you should smother me in cling peaches and run the left-most channel of the board with no audio going to it, but an insert of patch # 112 on the H-3000 on it."
Cut to a few months later, and one of the folks we were working with went to England for the Q Awards and met Brian Eno backstage. He said hello and proceeded to tell him about our Eno on a stick back in NY and how I would put it on and spout out crazy production ideas when we got bored. As I was told, Eno stroked his chin in curiosity and said...."hmmm....well does it work?"
I later planned a whole series of these, including A Martin, Spector, Wilson, Froom, Brion and a Quincy.
So that's my story. As I sit here, "The Eno" is pinned to the wall, looking over me like a watchful saint, ready to give me inspiration, no matter what I'm doing.
Roger
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Andy Peters
- re-cappin' neve
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eno mask
The Obliquest of all Strategies ...Rodgre wrote:So "The Eno" as we called it, became our mascot/spiritual advisor for the rest of that project. When label people would come by, I would don it and say things like, "I believe you should perform this track as if it is the year 3012 and you are a tuba player for a Neptunian wedding band and you have grown up with a steady diet of John Coltrane and John Mellancamp only. Then you should smother me in cling peaches and run the left-most channel of the board with no audio going to it, but an insert of patch # 112 on the H-3000 on it."
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