Updated: Nov 2, 2018
Finally arrived at a set list for the 'Plectronica' performance and have burned it to CDR for reference purposes. Next step is to take the original DAT tapes to Fairview to transfer to the mastering computer and then put everything in the correct order and create the master disc which will be used on the day of the event to form the backing tracks for the performance.
I now have to type up my charts for the set, which I'll need to prompt me on each number's twists and turns, then print them out and arrange them in a physical folder which will sit on my music stand at the venue.
Problem is, my eyesight has deteriorated so dramatically from the diabetic macular degeneration this last year, that I'll hardly be able to read the charts when they're on the stand. I'm already having to hold a magnifying glass up to the computer screen to check the accuracy of my typing as it is. It's sometimes very depressing but things could be worse so, keep on keeping on, as they say...
Contacted John Spence today to arrange a date for the backing track mastering. The earliest he can fit me in at Fairview is the 12th November. Should just allow enough time for me to sit at home with the mastered tracks and select the right guitars to suit each one. Maybe I'll manage with less guitars this time...(or maybe not.) So many nice instruments to choose from, it becomes a bit of a lottery to some degree.
The three new 'Orchestra Futura' tracks should prove interesting and not too difficult for us to tackle 'blind' with no prior rehearsal. I've kept them extremely simple in chord structure, just basic, modal drones with plenty of scope for live decoration. I like the idea of static tonal centres but with lots of filigree, jig-saw puzzle decor on top. Space to wander and time to dream.
These improvised live 'overdubs' are always dependent on the mood of the moment and the quality of the sound, particularly the on-stage monitors which have to convey as much detailed information from the backing tracks to the musicians and myself as possible. It will also be interesting to see which of the tracks our surprise guest chooses to play on too. (Reminder: must email him the three choices as soon as possible so that he can choose one that he feels comfortable contributing something to.)
Artwork to start this weekend, though I have my usual trip to Wakefield on Saturday to visit my mum. Telephoned her twice today, as I do every day to make sure she's ok.
John (Leckie,) emailed an interesting photograph to me today. It was of the two of us, taken during the initial recordings of my 'Quit Dreaming And Get On The Beam' album. The location of the photo' is the village hall in West Haddlesey which we used as our recording space for the album.
I lived in the village at that time and hired the village hall for the purpose of recording. We had the Rolling Stones Mobile Studio parked just outside, with microphone cables snaking from the truck into the village hall via the windows. It worked out really well, but we had to vacate the premises some nights as the hall was used for the ladies' 'keep fit' classes! The nice thing was that, after a day's recording there, John and I could stroll back down the quiet, darkened village street to my home, (Haddlesey House,) where we'd relax with a nice meal and a glass of wine. Seems like only yesterday, but, in truth, it was a long time ago...happy days.
Have been feeling like I'm catching a cold. Taking the usual precautions and hoping it doesn't get a hold prior to 'Plectronica.'
JOHN LECKIE AND MYSELF IN THE EARLY 1980s. THE PHOTO' WAS TAKEN IN WEST HADDLESEY'S VILLAGE HALL, WHERE WE RECORDED THE ALBUM ; 'QUIT DREAMING AND GET ON THE BEAM.' THE SINGLE 'DO YOU DREAM IN COLOUR?' WAS ALSO RECORDED HERE. IT WAS A SIMPLE, UNPRETENTIOUS WOODEN BUILDING, BUT IDEAL FOR THE LOW-KEY, RELAXED RECORDING OF THE ALBUM. WE WERE OUT OF THE REACH OF THE RECORD COMPANY'S EXECUTIVES AND FREE TO PURSUE WHATEVER WE WISHED. A TIME WHEN CREATIVITY HAD FEW COMMERCIAL CONSTRAINTS...
A FLYER FOR 'STUPID-SERIOUS', A COMPLETED ALBUM AWAITING RELEASE...BUT WHEN?