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"Shapes" by Paul
Cox
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SONGS ON ‘FIRST TOUCH’
Q:
My question
is about David. Every time I listen to it I am amazed at its power.
What is the story behind this song? How did you write it? What inspired you
to write it? - from Aida
A:
I am
glad you like this one. 'David' was the last tune I wrote for 'First Touch'.
'David' is the name of a friend of mine who died in the summer of '95. His
wife called me the next day and asked if I could write him a tune. I said I
would without thinking and the result is this tune which I wrote without
that same afternoon without thinking. It's almost as if it wrote itself. I
was just there. I think this is the quickest I have ever composed anything.
Usually I like to take my time trying all options with a piece. This one
came out the way you hear it. It was written and recorded, as you hear it in
less than an hour. I feel 'David' is the tune that was the last piece in the
jigsaw for 'First Touch'.
Q:
About a
month ago I first saw you on an episode of Studio Jams. How you came up with
the two instrumental songs Rush Hour and Otis. They are a
couple of the best instrumental songs I have ever heard and I am wondering
if you can tell me, what inspired you to write those two particular songs? -
from Samuel
A:
Rush
Hour was originally written and recorded as a kind of power acoustic track.
I like playing with styles like this. Playing it on the Jam sessions is
really how it should always have been i.e. with a rhythm section, so I
really enjoyed the process of going for it in this way. Otis was written for
my son by the same name. It's quite a simple structured jam.
Q:
I’d like to know if you’ve used alternative tunings in any
song. I have been able to play Eclipse using standard tuning, even if
I am not quite sure, because some clusters in it made me think of some
dropped string. Second, did you play with fingers or pick? Third, did you
use an Ovation with nylon or steel strings? Fourth, in which tracks did you
use two guitars (or more) and where is it only one guitar? Finally, are you
thinking to publish transcriptions of your music? - from Pierfrancesco
A:
Wow, that's a lot of questions! I will do my best: On
'Eclipse' I used normal tuning. On 'Looking For' I used DADGAD, on 'Rush
Hour' and 'February Sun' I used a dropped D and on 'Ten Years' I used a
dropped C. The guitar I played was a P-Project electric nylon string made in
Japan. The only tunes that aren't two guitars are 'Eclipse', 'Ten Years' and
'David'. All the tunes are played with fingers. I prefer the sound. In the
last few years I have been playing with fingers and without nails. It's a
warmer sound. Less bright. I have been very influences by South American
music, particularly from Brazil (Egberto Gismonte, Jobim etc), Venezuela
(Antonio Lauro) and Argentina (folklore music, not necessarily tango). I am
still influenced by American, Spanish and Arabic music and of course I am
influenced by the music of J.S. Bach. He is the original genius. I haven't
published 'First Touch' for guitar but a lot of people ask me so it is maybe
something to think about.
Q:
Please can you tell me the tuning of your guitar on 'Ten
Years' on the 'First Touch' album? - from Christopher
A:
The tuning I use for 'Ten Years' is normal except the low E
string drops to a C.
SONGS ON ‘SECOND NATURE’
Q:
I've not had the chance to hear you play live yet but I was
wondering as some of your songs are quite short do you play around with the
arrangement to space them out for the gig? Also what was the time signature
for Truco? - from Chris
A:
It is true we make the arrangements longer in concerts. This
is to show or play with different variations. I don't see the need to do
this on record because I only want to say what is relevant. For some reason
my tunes (or stories) are quite short. Even I get bored with too many words
(or notes). I am glad you asked me about 'Truco'. I am proud to say it is
all in 4/4. The first stab you hear is on 3 and...
Q:
I am always moved (sometimes to tears) when I listen to
Last Song from Second Nature, the best word I have to describe it
is "tender." I would ask you what you were thinking about when you wrote it,
but if I am correct, it was written by Sir Elton John. A lot of how a song
sounds also has to do with how the musician who is performing it interprets
and plays it. What does the song mean to you? - from Deb
A:
The reasons for doing this song are very personal and very
sad. I am glad you get something out of it.
Q:
A friend of mine just gave me Second Nature, (very
good by the way), and I was thinking: The Last Song, do you play that
solo or is there a second guitar? - from Phillip
A:
This is played on two guitars. I have since worked out a
version for solo guitar.
Q:
My favourite song from Second Nature is Foi Boa.
What is it about? - From Nina
A:
I am so glad you like 'Second Nature' and I am happy to tell
you 'Foi Boa' is my favourite track too. That was the first one I recorded.
It is about the experience of meeting someone you love and would like to
know and love more and more knowing you might never meet again. It's about
the subject of a memory of something like love being more meaningful than
the action. It's about longing.
Q:
On Sunday evening I listened to Second Nature and
again extremely enjoyed If. It's a really fantastic song. It makes me
feel being close to the ocean since I listened to it last year when I was in
Italy. The feeling I had then is a very lasting experience... I always
remember the smooth movement of the waves. - From Alex
A:
I am glad you like 'If'. The tune was originally meant to
mean 'If I could love someone it would only be you'.
Q:
I have a question about the Second Nature album. I
think I listen to it more than any other CD because it makes me feel so
relaxed. My favourite piece is Quiero Decirte. I was just wondering
what it means in English and what inspired you to write it. Beautiful music.
- from Anna
A:
I am glad you like 'Quiero Decirte'. It was actually the
first tune I wrote for the album. I means "I want to tell you". It's about
wanting to tell someone you love them but are too embarrassed or not ready.
SONGS ON ‘THIRD WORLD’
Q:
I bought Third World a week ago and I like it very much, it's very
emotional and interesting, the music I'm searching for and find. I'm
practising Letter Unsent by ear. These riffs really make me imagine
someone singing on that track. Would you please tell me the story behind
that unsent letter? - from Andris
A:
I am glad you like this tune. Actually I also imagined this one as a song
because I was originally singing the melody. Most of my tunes start out this
way. But in the end I made it an instrumental. It is not difficult to play.
I hope you enjoy it.
Q:
My question, what ever inspired you to write such a beautiful
song as Forgotten Dream on
Third World?
It's like no other I've ever heard. I'd like to know what was going through
your head at the time. - From Bonnie
A:
'Forgotten Dream' is exactly what it says on the label. I
woke up one morning with a unique feeling that I had had some amazing
beautiful, but sad dream but couldn't for the life of me remember what it
was or who was in it. So I documented this feeling or emotion in the only
language I really knew how. Music.
Q:
I have read that you feel better able to express yourself in
instrumental music than lyrics. I was pleasantly surprised to hear on
Third World
the song (with lyrics)
Denver Sun.
I am curious about this song and the lyrics. I believe the liner notes give
credit to William Topley for "vocals". Did you write the lyrics and what was
is like for you to put lyrics to your music and publish it? - From Deb
A:
William Topley is one of my best friends. Being an intimate
kind of album I wanted to include a 'friend'. The lyrics are his and the
music mine. It deals with the life of a musician on the road meeting a
particular girl whenever he is in that town. I find it very romantic. Sounds
like a cliché idea but it's both sad and beautiful.
Q:
Does Altea, the 12th track on
Third World
refer to the Spanish Mediterranean coastal town near Benidorm? Also, why
after about 3.53 minutes of phrases is there silence for almost 15 minutes
before you re-appear on a beautiful tune with a background feminine voice
speaking French, apparently on the phone? What does this lapse mean? - From
Isabel
A:
'Altea' is written after the Spanish town. I wrote it while I
was there a few years ago. I love the place (or the region) because it's
kind of mysterious or witchy in a positive sort of way. I love the language
they speak there and it comes as no surprise to hear that many artists and
poets go there for inspiration. The gap after it was intentional. I wanted
the listener to get a surprise track fifteen minutes later. The reason for
this is because I didn't think that tune (titles 'Apres le Beep') should be
on the album because it wasn't musically related to the other tunes but at
the same time I wanted to 'show' it. The woman speaking is my wife (who is
French) and she is basically giving me shit on the answer phone (hence the
title) because I was I didn't live up to her expectations on a certain
incident. I found this amusing but still quite therapeutic putting it on my
album plus the concept of having the last laugh. She thinks it's funny too
now.
Q:
I got
Third World
two weeks ago and I like it very much. My favourite is Devil's Punch Bowl.
How did you come to this title with the Devil in it although it's such a
wonderful piece of music and what does the title really mean? - from Kerstin
A:
The title 'Devil's Punch Bowl' signifies a particular area on
the A3 road about 40 miles south of
London. There is some mystique surrounding this region.
Kipper lives near there and I recorded this tune at his place. On my way
home I was trying to think of a title whereupon this one came to me. Perhaps
not very interesting, but you did ask.
Q:
I love the first song Always on your
Third World
album. I wish it was longer! Sorry to keep asking, but what inspired you to
write it? I think it's beautiful. - From Anna
A:
'Always' is about relentless love for someone. There is one
note that keeps repeating which is this feeling. The chords around it are
like different ways of saying 'I love you'.
SONGS ON ‘FOURTH WALL’
Q:
On the track one more second, the section
w/Dave Heath did you write something specifically for the flute and the
other woodwind sections on the album, or did he improvise around the melody
and the mood of the pieces? Also has your niece Claudia, who sings on
Count It Off, sung on anything else either with you or another artist or
has plans to do so? Finally, did you record the master edition of
Bachiana? - from Jackie
A:
David improvised around a theme I proposed to
him. He expanded on it. Claudia is new to the industry. I am proud to have
her on my record. I decided against 'Bachiana' in the end.
Q:
I was wondering if there is a story behind how
you arrived at the final song order for Fourth Wall? Also, once
you've completed an album, do you consider it "done", or do you still hear
things you'd like to change in the songs? - from Amy
A:
I came to the order decision at the
last minute. The other one just didn't feel right. I am much happier with
the new order which I believe runs smoother. Whenever I hear anything I have
done I can always hear how I could improve it. But whether I can or not is a
different matter. I don't think I have made the perfect recording or
performance of any tune so far in my career. This is partly what drives me
to improve. I sometimes listen to my old albums. The more distance or time I
have from them the easier they are to listen to. I can accept them more
because they remind me of where I was spiritually and emotionally. The
fresher they are (like 'Fourth Wall') the harder it is because I can hear
possible changes or alterations all the time simply because what I hear is
my place in the universe right now.
Q:
In Lyre String why
did you decide not to choose Willam's vocal to be included in the mix? I
thought the vocal piece is pretty good as well but your instrumental of the
piece is superb too. - from Linda
A:
I decided not to
use lyrics in 'Lyre's String' to keep the album's instrumental feel. I do
really like Williams's version too and I am sure I will use it some day.
Q:
Why did you change the running order at the
last minute? Has it to do with the changes you made on Count It Off?
- from Peter
A:
It was a last minute change. The
other order stopped working for me. I think this is better. The only place
for 'Count it Off' was at the end.
Q:
I notice in the liner notes on Fourth Wall
that you play keyboards for some of the tunes too, which I don't think I or
many fans know about. Do you learn to play keyboards since childhood as
well? Finally, how do you decide on the sequencing of the tunes? Do you
relate to them as a sequence to tell a complete story or do they have
individual meaning for you now that the album is completed? - from Linda
A:
I am not a serious keyboard player.
I can just about handle playing the chords I want to hear. The sequencing is
decided by the mood and the keys.
Q:
Meeting
Point is a classic. It reminds me of Jan Grabarek's airy compositions.
Was all of Rhani's percussion tracked in one take? Have you picked a label
yet? - from Michael
A:
That was
Rhani all in one take except for the chorus where he overdubbed a Moroccan
tambourine. I am sticking with the European label and am still looking for a
US label.
Q:
I have a question regarding
the mastering and final order of Fourth Wall. What happened with
Bachiana and Barock? Those were roughs that were placed on your site some
weeks ago, but as I see the final order, they are not showing up. - from
Martin
A:
'Barock' is still
there but is now called 'Three Souls'. 'Bachiana' is a great tune but I
couldn't make it fit with the others.
Q:
I have a
question about your new album. Does Sting sometimes comment on your demo
tracks? How important are his comments for you? - from Margitta
A:
Sting does
make comments on my music which I find useful sometimes. He just uses pure
instinct and likes or dislikes music from the heart. He is brutally honest
with me but I am happy to say he likes most of my new album. His favourite
is 'Iguazu'.
SONGS ON ‘SHAPES’
Q:
I was fascinated by your and
Sting's performance of and comments about playing Bach in the hallway of
Sting's home on the All This Time DVD. Have you and Sting ever
considered recording a CD of Bach's Partitas together? - from Patti
A:
I recorded an album
'Shapes' which have two or three of these partitas recorded with my own
arrangements. I dare not do them for real. I would prefer to leave that to
the specialists like Julian Bream or John Williams.
Q:
The song Presto on the Shapes album... is it
two guitars that are playing or do you play the whole thing alone? - from
Normand
A:
I only wish I could do this with one guitar. The main part is
as written for violin on one guitar (an octave lower). I added a rhythm
guitar arrangement. I then added a bass line and finally I played all the
percussion on the guitar. Oh, and some hand claps. One could call it
cheating but the thing about making a record is you are in a recording
environment which is a perfect place to experiment. I can do a solo version
of this tune which also works live but when in the studio, why not!
Q:
How can I get the notes for the Presto? It is
wonderful. I'm not a very good guitarist, but I would train for hours to
play this. - From Josef
A:
I took the notes from the J S Bach book of Partitas and
Sonatas. I am playing exactly the same notes but adding different parts on
bass and rhythm. Glad you like it!
Q:
The more I listen to Shapes the more beautiful I think
it is. All the songs are amazing but there are two that I particularly like:
one is the first track and the other is Mi Fe. It surprised me the
fact that Alejandro Lerner participated in the album. I am not a fan of him
but I must say that I really love that song. I wanted to ask you how he came
to play with you and who wrote the lyrics of Mi Fe. - From Myrian
A:
I am so glad you like the album. The first is my favourite
too. I have known Alejandro for a few years having collaborated with him on
his albums and a songwriting retreat in
France. I wanted a Latin song on the album so I thought it
natural to ask him. He wrote the lyrics.
Q:
I noticed that on Ave Maria, Sting and Placido Domingo
recorded their parts in separate studios. Did you attend both sessions? What
is it like to work with Placido Domingo? His voice is such an incredible
gift. Is he as gracious and professional as he comes across? - from Dawn
A:
Actually, I wasn't there for either Sting's or Placido's
vocals because they had to do their performances where they were. Sting in
Paris and Placido in Italy while I was busy trying to finish the album in
England. But I know all about the sessions. Placido had sung an opera in
Rome and then gone to an ambassadorial dinner before going to the studio at
1:00am. Unbelievable dedication. He was there until 3:00am. He says he likes
recording after an opera because his vocal chords are looser. I am so happy
to have him on the record. I have since seen him and talked about his
experience and of course thanked him. I think his performance on 'Misa
Criolla' is magical. Sting did the usual amazing vocal.
Q:
Your version of Gymopaedie Number 1 by Eric Satie on
Shapes is one of the best things I have ever heard. - from Des
A:
I am so glad you like this version of Satie. I really think
his music lends itself to this style. I am looking forward to experimenting
with Debussy and Ravel.
SHAPE OF MY HEART
Q:
I was just wondering if you ever recorded the guitar solo of
Shape of my Heart as you did it in 'The Professional'... that last
scene where Mathilde was walking in the yard... and then as the movie ended,
it went into the original one, but that simple guitar piece before that is
what always comes up in my mind and I have hoped for it when I bought your
album with Neil Stacey and the Demolition Man soundtrack. Would you
ever consider recording it as a single? - From Don
A:
I remember recording that intro for ‘The Professional’ (which
is called 'Leon' in France and Europe). Luc Besson was a fan of the song and
called me up to ask if I could customise it for him and then segue into the
original. It worked out well. But it's exclusive to the movie so I can't
release it in that form.
Q:
In which key did you write Shape Of My Heart (the
intro and solo/instrumental part) it sounds like they were written in
different keys. - from Soy
A:
The intro is in F#minor and then modulated to C# minor for
the solo. Originally I wrote this in E minor. I am glad you enjoy it.
Q:
Please could you tell/show/communicate the fingering for
Shape Of My Heart. I have played it a several ways and they all have
their own idiosyncratic hardships, so rather than let my fingers drop off I
thought I'd ask the writer. - from Pete
A:
There are indeed different ways of playing this part. The way
it was recorded was by having the high note on the G string and 14th fret
going down etc. The way I like to play it now is with the high note on the B
string and 10th fret. The simplest way but not the best sounding is to play
it 'downstairs' with the high note on the E string and 5th fret.
Q:
How did you end up arranging the alternate opening for
Shape of My Heart for the film "The Professional?" Did Luc Besson
personally choose that song? It's a beautiful arrangement.
A:
Luc Besson personally called me up and asked if he could use
the song for his movie and if I wouldn't mind doing a custom version for the
film. Of course I was interested so I did, and had a lot of fun working the
arrangement to picture. I was just playing around with different keys until
I arrived at what you hear.
Q:
Some pupils at the school have heard the song - Shape of
my Heart, on the new CD and think it is great. I am willing to pay for
the music if this is necessary. Although I have already been told that the
music for this song is not available some pupils in the school that I teach
in have expressed an interest in performing this song and I wondered how it
would be possible to give them the opportunity to play this music,
especially the guitar so that they could be further motivated. - From
Alistair
A:
Thanks for your interest in this song. I get a lot of
questions about it. As far as I know there isn't an official publication of
the guitar part but there are many unofficial ones. It's actually all down
to the fingering which seems to vary from one guitarist to another.
Q:
Could you please tell me what guitar you use in the Shape
Of My Heart video? - From Paul
A:
The nylon I used on the video was a Rodriguez classical
guitar. Very serious.
LA BELLE DAME SANS REGRETS
Q:
I just got done watching your videos on the sting website and
I have to say I feel like I just had a conversation with my best friend! I
purchased a classical guitar (I've been playing regular guitars for years)
and it is so different. I don't know where to start. I learned La Belle Dame
Sans Regrets - most of it anyway. Do you have any tips? - from Tim
A:
I am glad you have taken the time out to learn La Belle. You
must have a lot of patience because this is quite a tricky one to play. My
main tip for this tune would be to practice playing the melody on its own to
try and make it "sing" as much as possible. Then do the same with the rhythm
and try and make it as smooth and relaxed as you can. The reason I say this
is because if you separate the parts you have a better chance of
understanding their nature. Then have a rest. Now play the tune with both
parts, remembering what you have worked on. I think you will find some
improvement. The beauty of Bossa Nova and most Brazilian music from that era
is that the guitar parts are so self-contained. The master would be the
guitarist
Baden Powel. He sounded like an orchestra playing different
parts against each other and even tackling polyrhythms. Deep ***t!
Q:
Would it be fair to say that La Belle Dame Sans Regrets
is a tribute to Jobim? - From Colin
A:
La Belle was indeed inspired by Jobim. I wrote the music (or
it wrote itself, more like) the day I heard of his death which had a
profound effect on me like Kennedy or Lennon dying. I was a passenger while
putting this together and he was driving.
Q:
When I heard La Belle Dame Sans Regrets I just fell in
love with it. In fact, I think the first time I heard it was from the movie
"French Kiss". Where did you get that inspiration to write that song? - from
Ivy
A:
The day I heard Antonio Carlos Jobim died I wrote that music.
It is directly inspired by his and all Brazilian music. I am glad you
identify with it.
Q:
On Mercury Falling there is a song called La Belle Dame
Regrets and it's also on your album New Dawn, and my question is
did you write the guitar part? - From Jacky
A:
I did write the music and guitar part for that song. It's a
co-write like ‘Shape of my Heart’. I am glad you like it. It is directly
influenced by the style of playing of my favourite guitarist Baden Powell.
LULLABY TO AN ANXIOUS CHILD
Q:
While everyone asks you and knows everything about Shape
Of My Heart would you please tell me the story of Lullaby To An
Anxious Child? I love both songs but Lullaby is closer to my
heart. I have learnt it a few days ago, and I really enjoy playing a song of
yours what I'm able to sing too. It's strange, because as I'm listening to
Second Nature it makes me think that it was a complete piece before
Sting wrote the lyrics. How much of the song belong to him? - from Andris
A:
It was a complete piece of music before Sting came to it. He
wrote the lyrics and I wrote the music (and melody). This tune very much
South American approach (particularly Venezuelan and Peruvian) in harmony
and rhythm which I have a strong identification with. I wrote it in hotel
room in
Japan during the Soul Cages tour of 1991/1992. I am glad you
like it.
STING SONGS
A THOUSAND YEARS
Q:
I was wondering if you could tell me about the effect used on
the electric guitar for the main riff in A Thousand Years. Also, I
read somewhere that the riff was based on a Bach piece... anything to that?
- from Gordan
A:
It is very much based on a Bach riff. I just used some
chorus, delay and compression for the sound.
ALL WOULD ENVY
Q:
I was watching the DVD from the rehearsals for the Sacred
Love album again and picked up All Would Envy. I've tried to find
the chords to play but I can't really picture it. Any chance you know what
key it is in? - from Peter
A:
This song is in the key of C#. It's quite a tricky chord
sequence. I don't know of any transcriptions. Chris Botti recorded this song
on his last album.
BRING ON THE NIGHT
Q:
I always wondered where did the guitar progression on
Bring On The Night came from, as it always looked to me as a classical
study. I've seen you have added the song into your solo concerts' set list,
so I guess you do like it quite a bit. Could you also tell me how did it
evolve to become Never Coming Home and what was your participation on
the arrangements? - From Julio
A:
‘Bring on the Night’ was played by Sting and I think it is
influenced by a combination of Villa Lobos and Spanish music. If you listen
carefully you will see that the shapes are the same as ‘Fragile’. ‘Never
Coming Home’ is indeed based on the same riff. I came up with the electric
ideas for that song but also played the acoustic part (which is Sting's).
DESERT ROSE
Q:
How do songs like Desert Rose, which have so many
different parts/tracks develop? - from Adrien
A:
A song like 'Desert Rose' is not reliant on the guitar. It is
more production driven. The guitar has its place but it is not central to
the song. On songs like this I like to do various parts or layers and then
let the producers come up with a composite.
EVERYBODY LAUGHED BUT
YOU
Q:
I was curious about a song
included in Sting's Ten Summoner's Tales album, called Everybody
Laughed But You. What's the story behind this song and have You also
worked on it? I think this is a very lovely song and I was surprised that it
has such a small publicity compared to other songs from this album. Have you
ever performed this song at some gig? - from Arthur
A:
I remember this song well
and am a big fan. We used to do this and still do in soundchecks. We have
often tried putting it in our set but there never seems to be a place for
it. It is kind of isolated as a song. But we all like it.
FIELDS OF GOLD
Q:
I was wondering what effects do you use on your Guild Paloma
when you play Fields Of Gold. - from Carlo
A:
I use a bit of chorus for this song.
FILL HER UP
Q:
I was wondering what tuning you use for country/slide guitar,
e.g. on "Fill Her Up" from the brand new day album. - from Lars
A:
I use normal tuning for slide. I am not a slide expert.
Sometimes it is good to use DADGAD.
I HUNG MY HEAD
Q:
I've been obsessed for years by the Mercury Falling
album and specially by I Hung My Head. What's your opinion about this
song (lyrics/melody/harmony and time signature ) Have you ever thought about
making an acoustic version of that with Sting? - from Nuno
A:
I also love this song. The time signature is out there (9/8).
It reminds me of the Mahavishnu Orchestra approach to a guitar riff. Perhaps
I will one day do an acoustic version!
I WAS BROUGHT TO ME SENSES
Q:
I really like the guitar on I Was Brought to my Senses
and was wondering if you came up with that part, or if Sting worked that
out, or was it collaborative? I also really like how it starts in D and then
shifts up into G. I was wondering if that was like that from the beginning,
or if that was something that was arrived at after some evolution etc. It's
really effective musically I think, fitting what the song is about, (a kind
of epiphany) so it seems like that may have been the plan from the
beginning, but wondering if that was indeed the case. - From Brian
A:
'I Was Brought To My Senses' was
initially Sting's creation. Actually, it is he who plays the intro on guitar
and then I take over when it goes into tempo (which I am sure you worked out
was 7/8). The opening bars were jammed for a while in the making of the song
until Sting started singing, finding his melodic idea too high. This is why
we were looking for a better key to go to. I remember the moment well when
we realised the best place to go was G major (which is just down a tone from
the previous chord (A major). The thing with key changes is to make them
sound natural and not mentally (or emotionally, more importantly)
challenging. A good example of this can be heard on 'When we Dance'. It
actually goes up a semitone but it very well concealed. Going up a semitone
is the hardest key change of all. Some people just go up one, but there are
better ways and I think this song demonstrates this very well.
MAD ABOUT YOU
Q:
The intro to Mad About You: normal or open tuning?
Which guitar and which effects? - from Neil
A:
Mad About You is played with the guitar tuned down a
semi-tone. On the album I used a Buzuki and a Telecaster playing the same
riff.
NEVER COMING HOME
Q:
I always wondered where did the guitar progression on
Bring On The Night came from, as it always looked to me as a classical
study. I've seen you have added the song into your solo concerts' set list,
so I guess you do like it quite a bit. Could you also tell me how did it
evolve to become Never Coming Home and what was your participation on
the arrangements? - From Julio
A:
‘Bring on the Night’ was played by Sting and I think it is
influenced by a combination of Villa Lobos and Spanish music. If you listen
carefully you will see that the shapes are the same as ‘Fragile’. ‘Never
Coming Home’ is indeed based on the same riff. I came up with the electric
ideas for that song but also played the acoustic part (which is Sting's).
SEVEN DAYS
Q:
I've seen you play Seven Days a few times live and you
seem to be using open tuning. Or are my eyes deceiving me? - from Neil
A:
Seven Days is played with normal tuning.
THE HOUNDS OF WINTER
Q:
In the song Hounds of Winter, you play a guitar figure
over verses 3 & 4. It's quite low-down in the mix. It's a rolling, finger
picking sort of thing. I love it - it complements the song just right. I've
seen you play it several times but it's kind of over in a flash. Can you
describe it? I want to play it and I know that with a description from you
I'll be able to. - from Garry
A:
I am glad you picked out that part for 'Hounds of Winter'
because I like it too. I had to kind of sneak it in there when we were
making it so as not to draw too much attention to it which might have made
the boss reluctant to have it "survive" on the track. It's basically an open
arpeggio motif using the top E string as a kind of drone or pedal. the notes
are (from low to high) C# A E (fretted) and open E, next chord B G# Eflat
and open E again etc. If you grasp this concept of the part I think it will
make it easier for you to get the rest.
THE
SOUL CAGES
Q. What classical guitar did you use on The Soul Cages
album? And what electric guitar gear did you use - I've found out that
you've used Vox AC30 (combo?) but I'm very curious if you used any
additional distortion, especially on the title track. What electric guitar
did you use (on the videoclip for Soul Cages I can see a strat-like
shaped guitar)? Did you use any pedals? - from Mateusz
A. I used a Rodriguez classical guitar. I played mostly on a
P-Project Strat copy. P-Project is the custom store of Fernandes guitars. I
occasionally used a Les Paul. I played a Basuki on "Mad About You" which was
doubled with a Telecaster. I also used a few Boss pedals (delay, chorus,
distortion, and compression). I mostly recorded the electric DI (straight
into the desk). Hugh Padgham, the producer and engineer had me going through
some good pre-amps. Yes I did use a Vox AC30 but also used a Messa Boogie
Mak 3 amp.
Q. How did you
compose your parts? Did you improvise a lot or maybe you had a more
classical approach?
- from Mateusz
A.
It was mostly Sting, Manu
and myself in the studio (Kenny wasn't there much) so I had a lot of freedom
with my parts on this record as I was covering all the harmony. I try to
compliment the melody as much as possible by playing chords that are more
ambiguous than anything else. There is no formula. I like to colour the
music more than play heroic guitar parts.
Q:
I recently
came across my copy of Soul Cages and remembered how much I loved
your tones on that album. I wondered if the clean electric parts on that
album were stereo "rack sounds" and what you were using for all those great
ambient tones. Any pictures of your rig back then? Also loved your tone and
parts on the title song Soul Cages. Excellent riff. Was there some
slight pitch detune on the main guitar part? - from Paul
A:
You
might be horrified to hear that the the set up I used for that album (and
the track Soul Cages) was very simple. The stereoness comes from sometimes
tracking myself. I like to get a good clean Strat sound with a clear part
and then track it and/or embellish it with something else. I used a basic
pedal board with compression, delay and some chorus. For the heavier sounds
I used a boss Heavy Metal. Most of this album was recorded DI (direct
input). I used an amp occasionally (Mesa Boogie Mark III). I used a
Fernandes Strat copy for this record and sometimes used the Les Paul and a
few acoustics. Most importantly, I had the freedom to express myself the way
I believed in on this album perhaps more than on any other. Sting didn't
really know me so he listened. This is why it still remains my favourite.
THE WILD WILD SEA
Q:
I want to know what guitar effects are used with your good ol'
Fender Strat on The Wild Wild Sea. - from Filip
A:
For the 'The Wild Wild Sea' I remember going straight to the
desk (no amp) and the only effects were compressor, delay and chorus pedals.
Quite basic really.
MISCELLANEOUS
Q:
I wanted to tell you what a great, beautiful record you and
Dylan made with The Latin/jazz Guitars of Dominic Miller & Dylan Fowler.
I came upon it in 1984 when I was 14 or 15 yrs old at the time and had been
taking guitar lessons. I was obsessed with the guitar and that record.
Little did you know there was a kid in Ventura, California really digging
your music. I still have a really poor copy of three songs on it. My wish is
you guys could some how have it re-released. - From Jon
A:
This was a really rare record. As far as I remember there
were only 1,000 printed. It was the first record I made and I don't even
have a copy of it. Strange I know. I wouldn't mind getting a copy myself! I
am glad you like it though.
Q:
I was wondering which guitar
you used on all the demo pieces for the 4th Wall? Was it the all maple wood
Kazafumi? I absolutely love your arrangements on Marcello & Villa Lobos'
pieces and the way you blended in Iguazu. The different tones/colours
and sustains that are produced on these pieces makes me feel that it's not
the usual solid body nylon-string guitars being played. If I'm right ...I
want one of those Kazafumi guitars BIG TIME !!! - from Paul
A:
You are right about the
guitar. I am addicted to this instrument and can't seem to put it down. The
difference in recording with this one (hollow body) and a solid body guitar
like the Guild, P-Project or any other similar guitar is in the overtones.
Being a real acoustic the pick-ups are responding to the instrument as a
whole rather than just what is coming off the bridge. I hope this makes
sense.
Q:
What is the significance of Fourth Wall? How did you
come to that title? - from Mary
A:
Fourth Wall is a theatrical term relating to an actor either
looking or speaking to a member of the audience. It's called 'breaking the
fourth wall'.
Q:
I ran across the No Speak series that IRS Records put out. I
noticed you contributed a song to it in 1991 on the 3rd volume of these
albums. Having never heard the song, is it a rock song or is it a more
mellow song? - Ken
A:
It is much more a rock song. Vinnie Colaiuta played the
drums.
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