Mark had taken the rough cassette away and he sat on the cassette recorder and punched a few holes in the actual recording. John Leckie recorded the cassette onto 24 track and we played along with it in the studio. Where it dropped out, we kept going, and we made it work. He likes to throw things together. I would give him a bit of lip occasionally, which they never did.
And if they did say anything to him, it would usually boil over. So I suppose it was a different setup. This writer has spoken to John Leckie in the past about his work with the Fall. In the end, a lot of that album was cut from a cassette because that was the quality that Mark wanted. So we recorded some of it straight down to stereo, no multitrack. Mark E Smith looked back on his collaboration with Leckie with a certain respect, bordering on fondness. But, like me, Leckie would just put out the mistakes, leave them all in. I think it was a lot to do with that.
We were just matey at the time. I think he trusted me as a musician to pull something together.
So it was like having another useful band member. He was fantastic. Very quiet. Learnt everything he knew in that studio, so knew all the mics, all the rooms, knew the SSL [G Series]. I was really into sound for the sake of sound as well. So we tried to keep the energy, but add a bit of sparkle to it.
And he was great at that. Simon Rogers today. You could just get a clean bass drum and snare and possibly hat. With that thing, you record channels and then you can re—pan it afterwards, re—manipulate the stereo fields. So he would try and subvert the situation. It makes for fascinating listening.
While Smith is often regarded as someone who throws his ideas down, here he can be heard asking for the track to be sped up as he vocally riffs over the top of it.
Back then I used to do a lot of close-miking, but for some reason I pulled up the wrong mic, just some random mic in the room. He was happy with a [Shure SM] 58 most of the time. You just do a few takes. So you hear things coming in and out. A real surge into it without having to track it up loads of times.
Simon wanted it to be a little bit odd but rhythmical. Meanwhile, Rogers laughs when remembering the moment he got to the end of his rope in his dealings with Smith. I knew the track, I was a big Spinal Tap fan. Natalia Junquera. Madrid 2.
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