| Author |
 Topic  |
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
 Posted - 08/06/2005 : 14:28:55
|
http://forum.frankblack.net/topic.asp?TOPIC_ID=13951
This is part of Chip Away Boy's thread, I just thought I'd post here away from the initial confusion.
Produced (and mixed) by Jon Tiven
Mixed by Dan Penn and Earl Drake
 (Dan)
 (Earl)
Mastered by Jim Demain
***GUITAR***
and vocals
Steve Cropper
Buddy Miller
Reggie Young
***BASS***
David Hood
***VOCALS***
Dan Penn and Spooner Oldham*
*and keyboards, bells
James Griffin
Ellis Hooks
***DRUMS***
Billy Block
Anton Fig
Chester Thompson
Akil Thompson
***SPECIAL GUEST CONTRIBUTION***
Jon Tiven
harmonica, harp and acoustic guitar
Jean Black
vocals on Strange Goodbye
|
Edited by - fbc on 08/23/2005 01:15:17 |
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/06/2005 : 14:30:08
|
Steve Cropper and Buddy Miller
|
 |
|
|
kelladwella
= Cult of Ray =
Germany
729 Posts |
Posted - 08/06/2005 : 16:16:50
|
Nice, fbc, very nice.
Thank you for collecting and posting these!
So thatīs how they look like, huh?
Good to have visuals to connect to the names. |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/06/2005 : 16:18:37
|
illinois entertainer (Aug 01, 2005)
This time, he's delving into Americana and doing so with the aid of Steve Cropper, Spooner Oldham, Reggie Young, Anton Fig, and David Hood (with guest appearances by Buddy Miller and Chester Thompson, among others). These are musicians whose collective histories lie in Stax Records, Muscle Shoals, and American Studios -- the three studios that have had the most far-reaching effect on American music in general, Southern soul music in particular. Produced by Jon Tiven, Honeycomb was recorded in four days just before the Pixies reunion tour. It was not only the first time Black has recorded in Nashville and the first he has ever worked with these musicians, it was also the first time that a lot of these musicians have ever worked together
"Those guys reek of mojo. They're just so . . ." Black takes a long pause before continuing, "cool. And you can't figure out if they know they're cool or if they don't. I mean, they must know at some level that they're great musicians. They were most impressive in their prowess. The record represents these guys never even having heard the song before. It was all Take One, Take Two, or Take Three. No rehearsal. I'd say about a third of the songs are Take One, say a third are Take Two, and a third are Take Three. I don't recall there being any Take Fours. And of those Take Ones that you hear, what you're hearing on the record is the band playing the song for the first time and also hearing the song for the first time. They have that much faith in their ability. They'd say, 'What's the tempo, Frank? One, two, three. O.K., I got it. What are the chords? Right. What's the song about? O.K. Got it.' And they just played it." Black laughs. "That was really something. I'd never been around anything like that before."
That level of skill can be intimidating, even for as experienced and, more importantly perhaps, as revered a musician in his own right as Black. "It's one of those times you just have to have some confidence in who you are and say, 'You know what? You guys wouldn't be here if I was just some flake, so stop worrying about it and just do your thing, man. They'll do their thing and we're gonna make a record.' You know, it's just a professional attitude one tries to have -- any musician tries to have when they go into a recording studio, whether they're famous or obscure. I've experienced that with a lot of musicians, a certain kind of unspoken professionalism. They don't care who you are, you don't care who they are, we're all just a bunch of guys in here trying to make something that sounds catchy," Black laughs. "You're humbled by the fact that there's just blank tape and whatever we do does have the potential to suck. So it's this great equalizer. No one really wants to go through the tedium of going, 'Yeah, this stinks. Maybe the song stinks. Maybe I stink today.' Everybody knows that that could happen, so it truly doesn't matter who you are. I don't think I've ever experienced anyone in a recording that was all caught up with their ego. 'Cause everybody knows, y'know? Everybody knows - Frank Black, illinois entertainer (Aug 01, 2005) |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/06/2005 : 16:23:09
|
quote:
Originally posted by kelladwella
Thank you for collecting and posting these!
So thatīs how they look like, huh?
Good to have visuals to connect to the names.
that's ok. Inspired by Chip Away Boy.
i'm hoping all the pics match up.
i've put all my trust into google.
Any and ALL corrections welcome, please.
|
|
|
|
Daisy Girl
~ Abstract Brain ~
Belize
5305 Posts |
Posted - 08/06/2005 : 18:08:07
|
FBC thanks so much for putting this thread together! Obviously, you put a ton of work into tracking down all these photos!
Man, i have to say I think this is one of the coolest threads ever on this forum.
Thanks so much for the photos of the musical geniuses that put together HOneycomb.
This is very cool.
Hopefully we'll be lucky enough to see them on a stage preforming HOneycomb sometime soon.
Thanks again FBC!
"I ain't goin to be what I ain't" |
|
|
|
The Marsist
= Cult of Ray =
Ireland
730 Posts |
Posted - 08/06/2005 : 19:02:35
|
i just noticed steve cropper was in the blues brothers
"To be known as an underdog - that can only be a good thing. It's better than sucking."
- Frank Black
|
|
|
|
frank_black_francis
= Cult of Ray =
Canada
895 Posts |
Posted - 08/07/2005 : 07:13:53
|
| James Griffin - RIP 1953-2005 |
|
|
|
OldManInaCoffeeCan
* Dog in the Sand *
USA
1467 Posts |
Posted - 08/07/2005 : 07:52:35
|
Ahhh, these are nice, very nice. Love putting faces to names and pictures to stories. Well done Guitar Man.
Yeah, fbf, Mr. Griffin did pass-on this year, thanks for the reminder.
[Hey, I want to download these and save 'em on my PC, how do I do that?]
______________________________
I joined the noisy cult of six-sixty-six when I somehow agreed to the Registration Policy |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/07/2005 : 08:01:34
|
| by checking your email |
|
|
|
OldManInaCoffeeCan
* Dog in the Sand *
USA
1467 Posts |
Posted - 08/07/2005 : 08:35:54
|
You da fuckin man, fbc, you da man!
______________________________
I joined the noisy cult of six-sixty-six when I somehow agreed to the Registration Policy |
|
|
|
HeywoodJablome
* Dog in the Sand *
USA
1485 Posts |
Posted - 08/07/2005 : 13:35:11
|
| That's awesome, looks like they were recording in my uncles rec room! It makes me not feel so down about my pathetic little living room/"studio". And thanks fbc! Looks like Steve lost the shades (and a couple a hairs to boot!). |
|
|
|
Carl
- A 'Fifth' Catholic -
Ireland
11546 Posts |
Posted - 08/07/2005 : 15:02:23
|
| You should add a pic of Jean there, fbc! |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/07/2005 : 15:22:54
|
No way Heywood, nice and simple does it everytime. lo-fi baby.
Carl: i would but i can't find it. if you can in say, 15 minutes i'll.... |
|
|
|
Jontiven
= Cult of Ray =
USA
347 Posts |
Posted - 08/08/2005 : 16:08:56
|
FBC---
You rock. A fine collection of images that brings me right back to the sessions. I know it was the artist's choice not to have something approximating this on the cd booklet itself, but it's nice to have them collected somewhere. Definitely helps conjure the atmosphere and recall the personalities involved.
One correction and it's minor: I "Mixed," not "Mixied"
best,
Jon Tiven |
|
|
|
Broken Face
-= Forum Pistolero =-
USA
5155 Posts |
Posted - 08/08/2005 : 16:32:00
|
hello mr. tiven
not to be a pain, but could you outline for us who is playing on which track? i can usually tell mr. young and mr. cropper apart, but is mr. miller on all tracks? and who is drumming on what?
sorry if this is annoying, i'm just very curious
-Brian
If you move I shoots!
|
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/08/2005 : 16:43:53
|
oops, thanks Jon for the correction and post.
I'm sorry i used the word *other* to pigeon hole yours and Jean's contributions as musicians/artists.
Oh, and also for missing out your harp playing. But not now.
I hope i'm right in remembering you played guitar on Strange Goodbye too.
Brian, you've just said exactly what i wanted from this thread. I was hoping to collect as much info from the sessions for any database/archive use, and for our own reading pleasure too. |
Edited by - fbc on 08/08/2005 16:46:51 |
|
|
|
Jontiven
= Cult of Ray =
USA
347 Posts |
Posted - 08/08/2005 : 18:06:39
|
okay, it's harp and acoustic guitar, not to be picky....
and you guys might want to check out this interview with me that has a whole load of HONEYCOMB stuff but please do not email or call me with questions, that's for people who need me to write songs for them or produce their albums --- I let them print my contact info under duress
http://www.celebrityaccess.com/news/profile.html?id=261
and here's from memory my guitar recollections:
Buddy Miller was only there the first day (likewise Anton), so he's on Violet, Strange Goodbye, Atom In My Heart, Sing For Joy (plus a few on the next album)---Cropper was there as well (he's on the whole shooting match)
The rest is all Reggie Young and Steve Cropper, and in general Steve is the more percussive and cutting guitar and Reggie's pretty smooth.
I hope I'm not giving away any big secrets. Even if I am, you guys and ladies deserve it. Your interest and support for this record has been huge. Don't let up. Request radio play! Ask for it at your local record store even if you don't buy a copy, make them order it.
Got to run....bye!
Jon Tiven |
|
|
|
scruvs
= Cult of Ray =
353 Posts |
Posted - 08/08/2005 : 22:48:00
|
Thanks Jon for sharing this interview and giving us another glimpse into the studio session.
_____________________
Boy, you sure can holler. |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/09/2005 : 03:29:50
|
Jon this is great inside information.
I have to say a big thankyou for bringing Lyle Workman to my ears, too.
I can't wait and hope to hear him working with FB once again.
If it's okay, i've taken some of your HC quotes from the above interview and posted them below.
We getting closer to a JT Q+A, i can feel it. (wishful thinking but we have to try. hope you understand) |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/09/2005 : 03:30:31
|
Jon Tiven, a transplanted New Yorker now residing in Nashville, is a triple threat music industryite -- producer, songwriter and musician. With credits that are highly impressive, one of his latest productions, Frank Black's new solo album, Honeycomb, is getting him a lot of notoriety
How did you and Frank Black hook up?
Peter Lubin, who signed the Pixies to their Elektra deal, is someone I went to high school with, so when I was making my Otis Blackwell Tribute album in 1993, I asked Peter if he could put me in touch with Frank --- actually his name is Charles, Charles Thompson -- and Peter was very helpful. I had him do one song on the album, and it turned out so great he decided to do a second, and we really hit it off. I brought a friend of mine, Lyle Workman, to the session. He wanted to meet him, and within a matter of weeks Lyle became his guitarist. Which I guess Charles appreciated as well.
So we stayed in touch. I did a few more tribute albums and when I asked him to participate, he jumped in feet first, and then next thing I know he's asking me to produce an EP in New York. Around that time, we sat down and just talked about music, and he had musical goals in his life, one, of which, was to make a record in Nashville with "The Cats." I had done some writing in Nashville with Dan Penn, Donnie Fritts and Spooner Oldham, and for my money those were the veterans worthy of respect.
A few years later I ended up producing a few records in Nashville, and I got to know more of "The Cats." Charles and I would talk a few times a year, and I'd always put the bee in his bonnet about doing his Nashville album, He would give me a wink and a smile over the telephone as in "all in good time, my good man," so when he called me to tell me that he actually wanted to make this an actuality, it wasn't completely unexpected, but the timing couldn't have been better. For one thing, I had just moved to Nashville in 2002 so that made things a lot easier in terms of the logistics. And I was 10 years older, wiser and better equipped musically and emotionally to deal with a project of this artistic magnitude.
Why is this a project of artistic magnitude?
The artist wanted to take a flying leap at appealing to a wider audience, and he chose me to shepherd him into an area that he felt would be a challenge. Not everybody in the music business is looking for Peter Pan and eternal youth; some of us are open to actually growing older with dignity. And this is a very difficult business in which to do that and maintain a profile, because it's youth-youth-youth that the record companies keep seeking. So he wanted to make sure that he could take on this kind of an adult-oriented record and maintain his credibility, not seem too much of an old fart in the process, but at the same time acknowledge the fact that he was 40, just going through a divorce and singing about it. Who has done that before? Nevermind the clarity, the perspective, and the brilliance he brings to it...and uplift at the same time. This is a record that can change the way people look at their own lives. And dance to.
What makes Honeycomb different from Black's previous solo recordings?
Charles had written a bunch of songs that were brutally honest and direct, and he wanted to make sure that they weren't played like just another batch of songs. He wanted musicians who could really bring some of their own emotional weight to the sessions, and believe me there were enough divorces in that room to keep Marvin Mitchelson working for a lifetime. And the players didn't know exactly what to expect, although I sent them all copies of his last album, Show Me Your Tears, before the sessions and got reactions from the guys like "wow, this is pretty offbeat compared to what we're used to, but I like it, very creative." They all showed up with open minds and open hearts, and every one of them showed Charles amazing respect. Because they knew this wasn't a product of your Music Row mentality where every chord change is a button pusher and everything falls into a standard time signature, there were parts of the songs that had to be felt not read. It had been a long time since these guys played a session like that. We had magic in the studio for those four days; I listen to the record and still feel it.
What kind of pre-production did you and Black do?
First off, I had to put the band together. That was a joy: find your first-choice guys and they all said "yes" with the exception of Levon Helm, who had to put us off as he was resolving some health issues. But Levon came and made the follow-up record with us a couple of months later. I didn't have to twist anybody's arm. They were plenty thrilled to be a part of something well outside of the usual.
Charles called me a month later to do another session, which will be out sometime early next year, and it's a very different record from Honeycomb. We cut all of the tracks initially in 24 hours, and I thought that was going to be the album, but now we're going in again soon so maybe it'll be two discs, I don't know. But that's another album, another story.
Charles sent me demos, and they were rough. Some songs didn't have lyrics, some were just works in progress, but they were all brimming with intensity in a non-Pixies way. I heard "I Burn Today," and I kept telling Charles I thought it needed another section, a bridge in G, and he wasn't seeing it. So the day before we cut it, I sat with him and played him what I thought it should do, which was totally wrong but helped point him in the right direction to come up with what he did. I was happy that he was open enough to make the change, because it provides a lightness and relief to the song that is key to the hope that the song induces. We had no rehearsals. He walked into the studio on day one and everybody played their hearts out.
Some of the best songs on that album were the result of Charles being so psyched-up by the first couple days of recording that he wanted to finish "My Life Is In Storage" and "Honeycomb" so they could make the record. He played them for me a couple of different ways the morning of day three, and I let him know my preferences.
I was very intent on all the musicians putting their stamp on the arrangements, but particularly the guitarists. We had three of the greatest guitarists walking the face of the earth in Steve Cropper, Reggie Young and Buddy Miller, and I wasn't going to let them get off easy. Steve and Reggie had known each other since high school and never cut an album together. I knew that there was a mutual respect there that we needed to tap, and the lick-trading was the culmination of two lifetimes of incredible work.
READ THE INTERVIEW IN IT'S ENTIRETY HERE |
Edited by - fbc on 08/09/2005 03:34:24 |
|
|
|
Carl
- A 'Fifth' Catholic -
Ireland
11546 Posts |
Posted - 08/09/2005 : 03:53:51
|
| Thanks, Soren! |
|
|
|
Jontiven
= Cult of Ray =
USA
347 Posts |
Posted - 08/09/2005 : 04:38:22
|
I would be happy to do an online Q*A, although I feel like I'm pretty much doing it informally with you guys on a regular basis. I don't know how these things work, but talk to your moderator and we'll set a time and date.
bye,
Jon |
|
|
|
Joey Joe Jo Jr. Chabadoo
* Dog in the Sand *
1079 Posts |
Posted - 08/09/2005 : 05:44:31
|
Do you plan to work again with Frank Black or ... the Pixies in a recent future?
 |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/09/2005 : 11:22:05
|
quote:
Originally posted by Jontiven
I would be happy to do an online Q*A, although I feel like I'm pretty much doing it informally with you guys on a regular basis.
You sure do, and it's much appreciated.
I know your work with the man stretches back to Cult of Ray.
There's some questions that aren't 'Honeycomb' related, and I don't think there's a thread for them yet. So fingers crossed for the not too distant future. I can't wait.
|
Edited by - fbc on 08/23/2005 01:16:26 |
|
|
|
HeywoodJablome
* Dog in the Sand *
USA
1485 Posts |
Posted - 08/09/2005 : 19:01:19
|
| Absolutely Jon, it's nice to see you taking the time answer all our queries, thanks again. |
|
|
|
Joey Joe Jo Jr. Chabadoo
* Dog in the Sand *
1079 Posts |
Posted - 08/10/2005 : 07:50:53
|
[quote
Jon Tiven
harmonica, harp and acoustic guitar
[/center]
[/quote]
Jon, are U by chance Tim Burton?
|
|
|
|
Jontiven
= Cult of Ray =
USA
347 Posts |
Posted - 08/10/2005 : 15:09:57
|
In answer to question#1, Not for another month.
In answer to #2, I thought the days of me being mistaken for someone else were over. Guess I'm still not famous.
bye,
Jon Tiven on a slow Wednesday
HEY WE NEED TO GET A LITTLE MORE AGGRESSIVE WITH THOSE RADIO REQUESTS PEOPLE IF YOU WANT TO SEE FRANK BLACK and the HONEYCOMBERS LIVE. AND SALES, WHILE VERY RESPECTABLE, COULD USE A LITTLE MORE UMPH. ALL YOU DOWNLOADERS WHO PROMISED TO BUY, NOW IS THE TIME. YOU KNOW THE VERSION ON BACK PORCH IS WORLDS BETTER THAN THE CRAPPY MP3s YOU PREVIEWED. DO YOURSELF A FLAVOR, SPEND THE $15.
|
|
|
|
OldManInaCoffeeCan
* Dog in the Sand *
USA
1467 Posts |
Posted - 08/10/2005 : 16:45:25
|
Sir Jon Tiven,
Please elaborate concerning your answer to question #1. I recognize in "another month" The Man will be here for his Honeycomb showcase. Does your answer imply that you and The Man will be back in the studio, and if so, will it be for the next Nashville album? And if you would, please update us on The Man's Honeycomb showcase at the Cannery Ballroom as the "Grand Finale" of the AMA annual conference, including whether you possess, and will share, any news concerning who will be playing with The Man that night, and whether we will have the pleasure of any other appearances by The Man during the conference (is there something planned for the awards show on Friday night?).
As always, your contributions are much appreciated.
OldManIna"Honeycomb"CoffeeCan
______________________________
I joined the noisy cult of six-sixty-six when I somehow agreed to the Registration Policy |
Edited by - OldManInaCoffeeCan on 08/10/2005 16:50:55 |
|
|
|
Carl
- A 'Fifth' Catholic -
Ireland
11546 Posts |
|
|
PixieSteve
> Teenager of the Year <
Poland
4698 Posts |
Posted - 08/11/2005 : 10:13:36
|
head to toe in black
 Oh let it linger |
|
|
|
Kirk
= Cult of Ray =
USA
633 Posts |
Posted - 08/11/2005 : 10:20:56
|
| she's pretty |
|
|
|
fbc
-= Modulator =-
United Kingdom
4903 Posts |
Posted - 08/11/2005 : 10:29:00
|
| thanks, carl |
|
|
|
billgoodman
>> Denizen of the Citizens Band <<
Netherlands
6214 Posts |
Posted - 08/11/2005 : 11:02:56
|
foxy
---------------------------
God save the Noisies |
|
|
|
OldManInaCoffeeCan
* Dog in the Sand *
USA
1467 Posts |
Posted - 08/12/2005 : 04:39:50
|
Hey, Hey, Hey, I just checked the website for the venue for The Man's Honeycomb showcase show,
http://www.mercylounge.com/live_music
and they have revealed that DAN PENN will be one of the special guest that will be playing the Cannery Ballroom the same night Frank is playing. Dan Penn plays at 8:30 p.m and Frank plays at 12:30 a.m. So, I'm guessing after Dan plays his show, he'll stick around and join Frank at 12:30 a.m. as one of the 'Comb Cats.
______________________________
I joined the noisy cult of six-sixty-six when I somehow agreed to the Registration Policy |
|
|
|
VoVat
>> Denizen of the Citizens Band <<
USA
9168 Posts |
Posted - 08/12/2005 : 15:45:52
|
quote:
One correction and it's minor: I "Mixed," not "Mixied"
Then who DID mixy the album? :P
I was all out of luck, like a duck that died. I was all out of juice, like a moose denied. |
|
|
|
Topic |
|
Honeycomb Cats
