We asked Danielz of Thunderwing Productions Ltd and tribute band, T.Rextasy to give us some background info on the four master recordings that were used for the #RSD18 release, ‘The Final Cuts’…
NOTES:
All the following tracks were originally mixed for this release by Thunderwing Productions Limited; Danielz, Caron Willans, Paul & Judi Thomas, Marc Arscott & Karen Hirst, Gavin & Sally Ingels
When rough-mixing these tracks, it was clear to see that Marc was heading in a softer direction, bringing in only Dino Dines on keyboards, and a nameless guy on drums to keep a steady beat. Just one multi-track tape contained all the tracks below and required baking before playing to prevent particle ‘shedding’, which would’ve resulted in serious drop-outs. We used a studio in North London, one of the few remaining that still had actual 16/24 track tape machines. As one can imagine, placing the heavy multi-track onto the tape machine was a marvel in itself, but when Marc’s voice blasted through the speakers it sounded as though he was singing in the vocal booth opposite the recording studio – the recording was so clear and precise, even on a tape that had been recorded on over 40 years ago!
It was a strange experience pushing the faders up and down, with Marc’s voice entering the room while we mixed the guitars, keyboards, and drums into the mix. We decided not to add any FX of any kind as we did not think it was our place to do so – therefore what you hear on this album, is exactly how Marc recorded each individual track.
HOT GEORGE
This was recorded in April 1977 at Decibel Studios, Stamford Hill, London, N16. It featured Marc on lead vocals and electric guitar, and Dino Dines on keyboards. It is unsure who Marc was using on Drums at the time. Bass guitar was most likely played by Marc, as he played bass at this session. This was a rough-mix taken from the 16 track 2” multi-track master. As the song is so short, no fade out was necessary, and we feel that Marc may well have left it like this too, creating a ‘punk’ feel to the track.
LOVE AND THE FOXEY BOY
This was recorded in April 1977 at Decibel Studios, Stamford Hill, London, N16. It featured Marc on Lead vocals, acoustic guitars, BVs, and bass guitar. Dino Dines plays keyboards. Drummer is unknown. On this rough-mix of take 3, the guide vocal has been included, as well as a false start, to give an indication of how Marc was working at the time. Marc had originally titled this track as ‘Foxy Girl’, but as lyrics progressed, he changed it to ‘Love and the Foxey Boy’ (this title is written in Marc’s hand on the master-tape box). We left the track running to its natural end. As the outro is of a reasonable length, Marc may well have decided on a fade-out, especially as it kind of falls apart at the end. Fans may also like to know, for historical purposes, that a full-length backing track exists on the 16 track 2”multi-track tape.
SHY BOY
This was recorded in April at Decibel Studios, Stamford Hill, London, N16. This is take 2 of the track, and though sounding like a working version, could possibly have been kept by Marc as the master, although difficult to say, as there is another complete take in existence. However, Marc chose this take to overdub lead vocals and acoustic guitar, along with the bass guitar he had played and previously recorded. We also included a short false start where Marc asks for more of his bass guitar in the monitors, just for an additional kick to the track. With Dino Dines on Keyboards, and an unknown guy playing drums, the song runs to its natural end. This was a rough-mix taken from the 16 track 2” multi-track tape.
20TH CENTURY BABY
This was recorded in April 1977 at Decibel Studios, Stamford Hill, London, N16. As this is the only take on the 16 track multi-track tape, it is uncertain if Marc would’ve kept this sparse version or used it as reference for a future recording. Marc sings lead vocals while playing acoustic guitar. Dino Dines plays a beautiful Hammond keyboard backing which sits in the track perfectly. Although this a rough-mix of the song, every instrument can be heard clearly as the majority of the 16 tracks on the 2” multi-track were not recorded on.
Annotated by Danielz – March 2018.
