The last quarter of 2008 and the early part of 2009 I was approached to produce a covers album for NATE JAMES to be called REVIVAL, a brief detour post SET THE TONE (2005) and Nate's sophomore album KINGDOM FALLS (2007), later of which I wasn't involved with, except for a couple of songs I co-wrote. I was actually rather delighted to be asked back to the production helm, and to take on a whole album of some eclectically chosen, but very risque cover songs was quite a challenge for me. Not because covers are generally hard to do per se, as essentially the hard work's been done on the originals in terms of the writing, and the memorable arrangements. What became the most challenging aspect was how to approach the production. "What do I do to make these classic songs contemporary again?" and "Should I even try to make them contemporary?" - It was, personally speaking, a scary prospect for little 'ol me to take on the mighty Quincy Jones' sound and modernize 'Give Me The Night' - Or even the almost futile task of recreating the vibe and feel of Stevie Wonder's 'Higher Ground'. The answer, essentially was to take each track on its own merits (or not in some cases! lol) and ask myself the question - What elements of each song should I keep that make these Classics exactly that, Classics!....and work from there and hopefully do them justice!
Never before in my musical career had I been so apprehensive about doing a project. But this was my first commercially released album that I've produced in it's entirety, from top to bottom! Also, apart from the obvious responsibility issues, also raised scheduling and other logistical problems with regards to the record label's release time tables, winter illnesses and what was realistic in terms of working the production schedule out.
Firstly I had to do all song templates and get preliminary approval on basic direction, and then knowing exactly what musicians I needed for each song, negotiating the ULTRA small recording budget for the musicians, and organizing recording schedules. Even though I only had a small budget, I managed to hire some of the most amazing musicians in the UK.
Paul Walsham on live drums...a relatively unknown session player from Liverpool, but definitely someone you want to know if you need to lay a hot drum groove! Atlantic Horns, aka Ben Edwards (Trumpet), Mark Brown (Sax) & Mike Kearsey (Bone), who are regular players for Basement Jaxx. Arranger Christian Badzura and his Liverpool String Orchestra - who did the most amazing job of making a Quintet sound like a 20 piece string section on half the album. The gorgeous Hinda Hicks as guest vocalist on Sly Stones 'Family Affair'. The LOVELY and amazing Brenda Edwards (X Factor, Chicago) on backing vocals, as well as my good friend Sarah Ozelle who laid her honey toned backing vocals on 'Give Me The Night'. über talented Ben 'Spex' Jones on electric guitars. Steve Salvari on additional keyboards on 'Runaway'. Also guesting with acoustic guitars on George Michael's 'Faith' is artist and singer songwriter Stewart Mac, who i've been developing over the last couple of years.
Then with Nate's vocals, over the Christmas period was a challenge for us both, as poor Nate and I had the worst flu ever...I was half deaf from it, but obviously affected Nate more as he sounded like violin string on a cheese grater whilst we battled through each track. Luckily the schedule was extended and so we pulled through.
Mixing mastering process was both a pleasure and a burden! The pleasure being, I got to work with two of my closest and most trusted friends in life and work; Michael Scherchen (mixing and live bass!) and Fidel Rosales (mastering and add. guitars!). Time and budget restraints made the process difficult and notable A&R indecision's accounted for some lost ground. Fortunately, the majority of the mixing and mastering was magically completed over the last 2 or 3 days before completion deadline. I think in hindsight, it pays to work with people you trust implicitly, as things always seem to right themselves and fall into place by the end, and again, luckily for myself, Nate and the whole team it did.
Really, now the project's completed, it's obviously now down to public scrutiny as to whether we've done a good job and sells or not. Hopefully people get to hear it and in the right context, and fingers crossed this covers album will be a commercial head turner for Nate again for his 3rd PROPER album!
BRING IT ON BABY!
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Vybrant Music
