Questions For Tony Visconti

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

 

Hi, I am a huge Thin Lizzy fan and I was wondering if you could relay some experiences that stick out for you about recording Bad Reputation and Black Rose. As producer how instrumental were you on fostering the dual lead guitar style they employed?

 

No, I haven't heard the Illusionist, but I will check it out.

BTW, you guys did a great job with the Born To Boogie DVD. I was waiting for that one for a long time. Thanks!

 

Honestly, I never listened to those albums he did in the 80s. I liked Blue Jean quite a bit.

I loved his very dark contribution on the Kashmir album. That group is a Danish national treasure.

 

Don't get me started. Well, things always evolve and no matter how much you like an old building, someone will eventually come along and knock it down to build a "better" one. But that rarely happens.

I have never lived through a worse period in popular music. There are some great groups and artists around but it seems that record companies don't support them. The aspect of making a hugh turnover by appealing to the masses was always there, but in the 60s, 70s and part of the 80s record companies would still gamble on quite a few left-field artists. Marc Bolan was one and David Bowie was another. I don't think those chaps would ever get signed in today's climate. It's really sad. Maybe it's radio programmers who insist on a certain type of record but it all sounds very samey out there ("Don't bore us, get to the chorus.")

I love My Space. I've discovered some very interesting artists. My Space may become the biggest label yet!

 

Steve and Richard,

Thank you for the invite. This hotel hook up is so frustrating, but I'll answer as many questions as I can. I'll be back in New York next week.

--Tony

 

Welcome to the forum, mr. Visconti!

It's a real privilege to have such a legendary producer here. I would like to ask you... how was it to work with Prefab Sprout (one of my favourite bands) on "The Gunman and Other Stories" and with Morrissey in Rome on "Ringleader of the Tormentors"? Are there some particular anecdotes about the making of these albums?

 

Hi, Tony.
I´m another fan from Denmark. David did a great and rather different show in the town of Horsens, where I live, in ´02. Wham, Bam, Thank you Mam!
One question, though. You and David seems, though obviously being very good buddies, to have a great flair for when or when not to work toghether cratively. But have there never been disagreements concerning this? Have there, fx., never been times when you wish that you had produced any of the work you didn´t produce - or David expressing regret that he didn´t use your skills in some cases...?

 

You may have caused coronaries in half our membership with that one!

 

Very true! I get a lot of requests to be a "friend" of a band that I have never heard of, and it's sort of amazing how often I really like the four songs they have posted!

J. D.

 

Dear Tony,

Congratulations, firstly, on an amazing career.

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.

 

Hello from downunder, Tony! Thanks for taking the time to do this.

I'm reading your autobiography at the moment, so I'm sure I'll have lots of questions soon...

I'm looking forward to hearing your 5.1 mix of "Young Americans" next month ... I know you can't predict the future but do you think that David might give the go-ahead for 5.1 mixes of Low, Heroes, Lodger + Scary Monsters? (I would love to hear a remix of Lodger in particular as I'm sure you could work wonders with that one now).

I agree with your comments about "Scary Monsters", that album's a tour de force - the details in the mix are just incredible, plus the sense of space - it's something I don't hear in most of the pop/rock albums of the period.

One other question for now: that's you singing backup on "Children of the Revolution", right?

 

Hi Tony,

Looking forward to reading your book 'Bowie, Bolan and The Brooklyn Boy' some excellent exerpts on Bowie-net. Who really was Telegram Sam?

The Move were the most underrated band of the sixties. IMOP, sadly they have small library of works, but 'Shazam' shines as a recording for having the defineable Bass/ Drum sound that hundred others bands have tried to emulate. There are no credits other than produced by Roy Wood.

Was this recorded at Advision? Engineer? They say the master tapes are lost?

Thanks for your rich contibutions to british rock.

 

Hi welcome to the boards! Thanks for answering questions.

 

I find your comment interesting as I spoke to several mastering engineers on this subject and they tended to blame the artists and music companies for wanting it loud. The problem now is that we are in a culture of CDs mastered to remove the dynamics; both artists and engineers are caught up in it. I find this really depressing. I would gladly pay for remasters that corrected this fault, whether CD or download (uncompressed, not AAC or MP3).

I sympathise. Try to read the link if you can, it is articulate and nicely illustrated. http://one.fsphost.com/roiotrade/loud.html

Tim

 

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

 

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

 

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?

 

Another thanks for taking the time, Tony.

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

(sorry, couldn't resist)

seriously though, thanks.


Michael

 

Spumoni Gardens is quite a place.

 

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!

 

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...

 

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

just another reason to love this forum.

later, chris

 

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.

 

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