1982-1983ROCK MUSIC
EDDY OFFORD (EDDIE)RECORD PRODUCER AND ENGINEER. MOST FAMOUS FOR PRODUCING, CO-PRODUCING OR ENGINEERING LEGENDARY PROGRESSIVE ROCK BANDS EMERSON, LAKE & PALMER (ELP) AND YES. PROG ROCK. EDDY OFFORD STUDIOS. ATLANTA GEORGIA.
INTERVIEW IN EDDY OFFORD'S RECORDING STUDIO IN ATLANTA WITH AMERICAN SOUTHERN ROCK BAND, BLACKFOOT DURING THEIR RECORDING SESSION FOR VERTICAL SMILES ALBUM.
INTERVIEW IN EDDY OFFORD'S RECORDING STUDIO IN ATLANTA WITH AMERICAN SOUTHERN ROCK BAND, BLACKFOOT DURING THEIR RECORDING SESSION FOR VERTICAL SMILES ALBUM.
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| 01:00:00 0 |
EDDY SAYS HE DOESN'T LOOK FOR ATLANTA-BASED ARTISTS. HE SAYS THE ARTISTS ALL MEET HIM AT HIS ATLANTA STUDIO. SAYS HE DID SOME STUFF WITH STEVE MERRITT (LIKELY SOMETHING FOR THE LAS VEGAS MUSICAL DREAM STREET), A SCOTTISH BAND CALLED PALLAS (THE SENTINEL ALBUM) AND SAYS BLACKFOOT IS NOT FROM ATLANTA REALLY. HE SAYS HE FLIES IN PEOPLE HE WANTS TO WORK WITH.
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| 01:00:50 50.57 |
EXPLAINS HOW HIS STUDIO CAME ABOUT. MENTIONS HOW THE GRAND OLD MOVIE HOUSE IN ATLANTA CALLED THE FOX WAS GOING TO BE TORN DOWN A GROUP OF PEOPLE BOUGHT ANOTHER SPACE AND CALLED IT THE LITTLE FOX AS A NEW THEATER BUT WHEN THE FOX WAS SAVED HE BOUGHT THIS SPACE (WHAT WOULD HAVE BEEN THE LITTLE FOX THEATER). JOKES WHEN HE IS OLD AND GRAY HE'LL OPEN UP A MOVIE HOUSE. SAYS HE'S ALWAYS WORKING ON THE BUILDING IMPROVING.
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| 01:01:49 109.37 |
EXPLAINS HOW THERE IS NO SEPARATION BETWEEN THE PRODUCER AND THE BAND. NO GLASS SEPARATING. SAYS IT CAME ABOUT BECAUSE HE USED TO GO ON THE ROAD WITH YES AND HE'D COME BACK TO THE STUDIO AND IT FELT TOO STERILE. SAYS THERE'S ABSOLUTELY NO NEED FOR A PIECE OF GLASS. IT JUST INHIBITS COMMUNICATION. GROUP FEELS LIKE THEY'RE IN A GOLDFISH BOWL. IT'S WEIRD.
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| 01:02:19 139.48 |
EXPLAINS WHY MOST STUDIOS DO HAVE SEPARATION. EXPLAINS THAT WHEN RECORDING MONO OR STEREO ETC YOU HAD TO RECORD THEM SEPARATELY BUT WITH 16 OR MORE TRACK ABILITIES NOW YOU CAN JUST RECORD EACH ON A SEPARATE TRACK. BUT STUDIOS JUST KEPT DOING IT THE OLD FASHIONED WAY.
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| 01:03:06 185.99 |
TALKS ABOUT AMBIENT SOUNDS LIKE USING A MICROPHONE IN A BATHROOM. TALKS ABOUT NATURAL REVERB RATHER THAN RECORDING IN A PADDED ROOM AND ADDING IT BACK IN LATER. A MORE LIVE SOUND.
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| 01:04:11 251.72 |
SAYS BANDS COME TO HIM FOR TWO REASONS. ONE IS FOR THE WAY HE RECORDS WHICH IS TO GET A RAW EDGE TO THE MUSIC AND THE OTHER IS BECAUSE OF HIS BACKGROUND IN PROGRESSIVE MUSIC. BLACKFOOT WANTED TO BE JUST A LITTLE MORE PROGRESSIVE. NOT MUCH, JUST A TAD. AND HE HOPES HE HELPED THEM DO THAT.
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| 01:05:06 306.93 |
SAYS WORKING WITH A STRAIGHTFORWARD ROCK AND ROLL BAND WAS A LEARNING EXPERIENCE FOR HIM. SAYS HE CAN INJECT SOME KIND OF "NEWNESS" FOR THEM. SAYS HE REALLY HAPPY WITH THE ALBUM AND THE BAND ARE A GREAT BUNCH OF GUYS TO WORK WITH. EXPLAINS THE NEW SOUND USES INSTRUMENTS ON ONE TRACK THAT MAKES IT SOUND LIKE A FOG HORN AND AN OCEAN SOUND.
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| 01:06:30 390.04 |
SAYS HE RECORDED THE POLICE LIVE AT THE OMNI RECENTLY AND HE MAY MIX THE ALBUM FOR THEM SOON. HOPING TO MEET WITH THE BAND SAGA. SAYS HE WANTS A VACATION FIRST. MAYBE SAN PADRE OFF THE COAST OF TEXAS.
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| 01:07:12 432.09 |
SAYS ROCK AND ROLL IS ALL HE'S EVER KNOWN SO IT'S HIS WHOLE LIFE.
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| 01:07:39 459.39 |
BLACKFOOT IN THE STUDIO. RICKEY MEDLOCKE WITH GUITAR MAKES FACES. GIVES THE FINGER JOKINGLY. (AUDIO BLEED COMING THROUGH.) SHOTS OF MUSIC MIXING BOARD AND OTHER EQUIPMENT.
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| 01:10:01 601.01 |
LOGO FOR PYRAMID AUDIO INC LOGO. MIXING BOARD. PULL BACK TO SEE RICKY MEDLOCKE WITH HIS GUITAR. RICKEY PLAYS GUITAR. NO SOUND ON GUITAR.
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| 01:11:11 671.53 |
BLACKFOOT
YOUNG GIRL
RECORDING STUDIO. RICKEY MEDLOCKE PLAYS GUITAR BESIDE EDDY OFFORD WHO SITS AT THE MIXING BOARD NEXT TO HIM PLAYING THE TRACK. CU ROCK AND ROLL GUITAR SOLO.
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| 01:16:25 985.57 |
GUITARIST RICKEY MEDLOCKE AND RECORD PRODUCER EDDY OFFORD IN MUSIC STUDIO. BEHIND THE SCENES TYPE SHOTS.
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| 01:17:04 1024.06 |
MUSIC RECORDING EQUIPMENT. PORTABLE MIXING BOARD?
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| 01:17:30 1049.99 |
CU BELL WITH TWO METAL FIGURES WITH HAMMERS
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| 01:17:43 1063.4 |
STUDIO WALL WITH PHOTOS OF NAKED WOMEN ON IT. SEXISM. SEX IN THE WORKPLACE. OBJECTIFICATION OF WOMEN.
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| 01:18:08 1088.75 |
DOORWAY TO THE STUDIO. DOORS ARE OPEN.
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| 01:18:22 1102.66 |
END.
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