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Old 08-06-2005, 01:24 AM   #106
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I have one.

In 1984 a producer by the name of Nick Lunay produced a quintet of Australian albums. 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 by Midnight Oil, The Swing by INXS, The Pleasure Of Your Company by the Models & Seance by The Church.

10,9,8... & The Swing are records I believe that best captured their respective bands on record, in terms of capturing the essance of the songs & portraying how the band was at the particular time. I'm wondering did he work similar wonders with The Church's Seance?
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Old 08-06-2005, 01:30 AM   #107
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Quote:
Originally posted by timothius
10,9,8... & The Swing are records I believe that best captured their respective bands on record, in terms of capturing the essance of the songs & portraying how the band was at the particular time. I'm wondering did he work similar wonders with The Church's Seance?
really?
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Old 08-06-2005, 02:03 AM   #108
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Quote:
Originally posted by timothius
I have one.

In 1984 a producer by the name of Nick Lunay produced a quintet of Australian albums. 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 by Midnight Oil, The Swing by INXS, The Pleasure Of Your Company by the Models & Seance by The Church.

10,9,8... & The Swing are records I believe that best captured their respective bands on record, in terms of capturing the essance of the songs & portraying how the band was at the particular time. I'm wondering did he work similar wonders with The Church's Seance?
Good question....I'm going to have to listen to Seance before answering. I'll report back....
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Old 08-06-2005, 02:20 AM   #109
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really?
In the sense that it best captures the band in it's most simple state. It's not necceserially their best albums, or even best albums from their early era... it merely is the essence of the band.

They are the albums where they sonically have progressed from merely capturing their "live" sound in the studio, the almost obligutary 2nd album stumbling block & have matured enough musically to have some fairly cultured material.

Just to give what I'm saying some context and move it back into the production arena. The equivelant for this I think is UF for U2. It so easily could have been War - but Lillywhite overproduced and organised the mix in a totally obstructive way (I feel) - producing very softcore guitar sounds, exaggeratin drums and provoking pretty harsh vocal performances & pumping bass merely partnering the drums. Eno's work in UF brought out a more sharper (and truer) guitar sounds, more suitable drum arrangements, more atmospheric bass sounds & harnessed vocal performances. I don't really want to tarnish indra's thread with much U2 discussion though. Sorry if I have - I just wanted to use an example we are all familiar with.

The same carrys over I think to The Oils & INXS work with the producer in question... awaiting judges decision on the Church.
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Old 08-06-2005, 02:26 AM   #110
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Originally posted by timothius
In the sense that it best captures the band in it's most simple state. It's not necceserially their best albums, or even best albums from their early era... it merely is the essence of the band.
it's funny cuz from interviews i've heard at the time, inxs didn't like the way the swing turned out at all. they thought it was over-produced and too keyboards heavy.

buuuut...that's off-topic. i too am anticipating indra's reply.
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Old 08-06-2005, 02:35 AM   #111
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Originally posted by KhanadaRhodes

it's funny cuz from interviews i've heard at the time, inxs didn't like the way the swing turned out at all. they thought it was over-produced and too keyboards heavy.
What would they know they were high all the time.

For those who give a shit about producers (as I quite obviously do), Launay engineered (which is generally a right of passage & training ground to outright producing) for the following producers: John Leckie, Steve Lillywhite, Hugh Padgam & Tony Visconti... thats pedigree (minus Lillywhite)
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Old 08-06-2005, 02:38 AM   #112
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seance a fave of mine

Seance was a big album for me, almost worn the vinyl down on that one! It's sentimental for a few reasons, they where touring a lot back then, so a lot of good live memories and it was also the first time i met the band. So lots of emotions suround the album. I think it has a kind of soft-focus sound about it, lots of acoustic guitars over dreamy synths, meloncholic lyrics (check out dissapear for a cool break-up lyric! Tears every time!) But it also has a couple of great pop songs 'one day' is a cracker!

So maybe not there best but, for me at least, a breakthrough of sorts. I would compare it with unforgetable fire as a setimental favourite
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Old 08-06-2005, 02:40 AM   #113
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Quote:
Originally posted by timothius
What would they know they were high all the time.

For those who give a shit about producers (as I quite obviously do), Launay engineered (which is generally a right of passage & training ground to outright producing) for the following producers: John Leckie, Steve Lillywhite, Hugh Padgam & Tony Visconti... thats pedigree (minus Lillywhite)
that was just totally out of line. everyone knows no one in the band ever did drugs!

that's a good list of producers.
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Old 08-06-2005, 02:52 AM   #114
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Originally posted by KhanadaRhodes

that was just totally out of line. everyone knows no one in the band ever did drugs!

that's a good list of producers.
Naturally you are kidding.

http://www.launay.com/hipages/higrou...ygroup_hi.html

Of special note for me: Tim Finn, Nick Cave & The Bad Seeds, Killing Joke, Betchadupa (Neil Finn's son's band), M, The Birthday Party.

I also find it suprising that if INXS were that dissapointed with his work on The Swing they would have let him touch the Kick singles which they knew were a big deal.

I await on the Church response.
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Old 08-06-2005, 02:57 AM   #115
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Quote:
Originally posted by timothius
Naturally you are kidding.

http://www.launay.com/hipages/higrou...ygroup_hi.html

Of special note for me: Tim Finn, Nick Cave & The Bad Seeds, Killing Joke, Betchadupa (Neil Finn's son's band), M, The Birthday Party.

I also find it suprising that if INXS were that dissapointed with his work on The Swing they would have let him touch the Kick singles which they knew were a big deal.

I await on the Church response.
of course i am!

nickography, that's cute

i'm only going on what they said when it first came out.

oh wow, he was the assistant engineer on wham! rap!
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Old 08-06-2005, 06:13 AM   #116
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Originally posted by indra
Because I like a lot of newer or not so well known Australian bands I always envy the folks there when I hear of these bands playing in little clubs all over.
Yeah. The artists I like that either are playing there or considering doing so are more well-known, but yes, I understand the envy.

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Originally posted by indra
But with my luck, if I lived in Australia I would live in the middle of the outback where no one ever plays.
LOL, yeah, really, no kidding. Also, blueeyedgirl, heh, cold water sounds good to me, as we've been having lots of heat waves here in the States this summer.

That's a really cool picture there, too, indra . And LOL at the laundromat performance...ah, moving on up in the world, huh ?

Interesting link you shared there, timothius...I like a good deal of the artists listed in there, it's neat to know that guy's had a hand in working with a lot of them. That's the thing I always find amazing about each artist I get into...I find out one of the band members or producers or someone along that line from that band has worked with another band I like and stuff like that...it's freaky how many connections I can make between all the artists I like. But I also find it pretty cool-it'd obviously explain one of many reasons why I like them .

Angela
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Old 08-06-2005, 10:34 PM   #117
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Quote:
Originally posted by timothius


In the sense that it best captures the band in it's most simple state. It's not necceserially their best albums, or even best albums from their early era... it merely is the essence of the band.

They are the albums where they sonically have progressed from merely capturing their "live" sound in the studio, the almost obligutary 2nd album stumbling block & have matured enough musically to have some fairly cultured material.

Just to give what I'm saying some context and move it back into the production arena. The equivelant for this I think is UF for U2. It so easily could have been War - but Lillywhite overproduced and organised the mix in a totally obstructive way (I feel) - producing very softcore guitar sounds, exaggeratin drums and provoking pretty harsh vocal performances & pumping bass merely partnering the drums. Eno's work in UF brought out a more sharper (and truer) guitar sounds, more suitable drum arrangements, more atmospheric bass sounds & harnessed vocal performances. I don't really want to tarnish indra's thread with much U2 discussion though. Sorry if I have - I just wanted to use an example we are all familiar with.

The same carrys over I think to The Oils & INXS work with the producer in question... awaiting judges decision on the Church.

This one's actually kind of tough for me. I really can't decide if the early album which catches the essence of the band is The Blurred Crusade or Seance. Both have their strong and weak points in regard to the question.

I love Seance. Of their first several releases, it is by far my favourite (up until Heyday ). And there is certainly The Church sound and feel going on on this CD. But is it the album that best captures the early essence of the band? I don't know. It was the first album with the "just plain weird" song (Travel By Thought) and most of the songs do have their trademark psychadelic feel going. But it has odd (and rather annoying) drum production. They are just very harsh and prominant, and there are times that really takes away from the overall quality.

The Blurred Crusade (the album right before Seance ) is really the album where The Church became The Church, the songs generally still work very well today (especially Almost With You -- still a top notch song), and the production is good. For me, however, BC is still early Church and not nearly as pleasing either musically or emotionally as they would become over the next few albums. But I still think for the most part that BC does capture the band when it made that turn down the road they would follow from then on (granted there have been detours).

So I think that I would have to go with BC being The Church's early "essence" album, and then Seance built on that essence.
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Old 08-06-2005, 11:20 PM   #118
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Quote:
Originally posted by timothius
I have one.

In 1984 a producer by the name of Nick Lunay produced a quintet of Australian albums. 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 by Midnight Oil, The Swing by INXS, The Pleasure Of Your Company by the Models & Seance by The Church.

10,9,8... & The Swing are records I believe that best captured their respective bands on record, in terms of capturing the essance of the songs & portraying how the band was at the particular time. I'm wondering did he work similar wonders with The Church's Seance?
That's an interesting point that you've mentioned Nick Launay. In the early/mid 80's, the bands you liked in Australia were of one of 2 types, the pub rock type ie Cold Chisel etc, or the more "atmospheric" type - Church, early INXS, Go Betweens and so on. Then if a band was really cool, it had to have a Richard Lowenstein video!

(any wonder Duran Duran spent a year in our country! )
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Old 08-06-2005, 11:51 PM   #119
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Originally posted by Moonlit_Angel


And LOL at the laundromat performance...ah, moving on up in the world, huh ?

Angela
That is one of the stranger places they've played, although they have play many an odd spot.

They rattle off a partial list of odd spots in following very tongue in cheek interview (done for their label's website):

Quote:

The Church 2003: Q&A with Tim Powles

Frequently asked and often answered questions:

Q. When did the church form?
A. 1980, Sydney, Australia

Q. Wow, that’s a long time (actually a frequently made exclamation) !
A . Exactly

Q. How did the church form ?
A . When cooling masses of northern prog came in contact with hot glammy rock then pressurized by surrounding forces of nasty synth pop and
congealed heavy metal, the church were extruded forth to play twin layers of guitar and spout literary stuff

Q. Exactly how many albums have the band made ?
A. That’s simple, are you counting the compilations and the remixes or the rarities and e.p.s ? ………… Australian and/or Europe and or the U.S. versions….. anyway it’s around about 16-ish, give or take one or two

Q. Who were your guys influences?
A. Between us, everybody! And the stuff we hated influenced us worse than the stuff we liked

Q. It said somewhere that you guys were the antipodean equivalents of REM only not nearly as rich or talented
A. That’s not a question

Q. OK it also said that the band has survived plane crashes, overdoses, jails, riots, persecution and bad exchange rates
A. What a day!

Q. Did the success of under the milky way change your lives?
A. Not any more than you’d expect from a mega selling record and its subsequent catapulting of us headlong into the bewildering spectacle that is pop success in all its temporary absurdity

Q. What are some of the strangest places you guys have played?
A. Roman tv shows, Swedish museums, Australian school assemblies, Scottish discos, unplugged bookshops, bouncing ballrooms, punk infernos, empty
ice rinks, Seattle laundromats, swishy theatres, french garages, a steelworks in alabama, houses of blues, piers, fields, municipal halls, gold coast bloodbaths, arctic nightclub mayhem, gearless in carolina, dutch
pot fuelled jamming, adriatic marketplaces miming mindlessly, operas , fiascos and pubs.

Q. So how do you guys get on after all this time?
A. Like a house on fire

Q. OK and the bands biggest problem..?
A. Smoke inhalation

Q. You’ve had lots of drummers. You guys kinda remind me of spinal tap…….
A. No kidding

Q. Seriously though, what happened to all the others..?
A. Divorced, beheaded, died, divorced, beheaded, survived.

Q. OK so you’ve made this new record. Why "Forget Yourself"?
A. Who? Me?

Q. What?
A. See, it works

Q. Do you guys still have something to say after all these years?
A. Yes

Q. Well, what’s that?
A. Well, we’re not sure but we’re sure it’s important

Q. How is this one different to the last few?
A. We came to hold the position that when all was said and done that perhaps we had been a trifle remiss as of late in the serious rockin’ dept. and we took the steps of cranking up the olde amplifriers and hitting the “boogie button” hard ! as well as rock we added the extra precaution of a little roll.

Q. What’s it like doing an interview with yourself?
A. You should know

Q. So.. ( the sound of a mobile phone ringing..) hello..oh, hello sir…yes, but…yes, but…..ok, sir,.. loud and clear, sir…………um, listen they’re saying this bio will be shortly terminated unless we start downsizing the fluff and maintaining our factual oriented goals.
A. So ask me where we recorded the new record

Q. OK
A. Tim Powles studio in Glebe, Sydney…..spacejunk

Q. Why did you record there? Why not some leather encrusted ultra tech futuristic top dollar joint run by gangsters and frequented by dealers and bimbos?
A. Hang on, that is spacejunk

Q. Was it weird having the drummer produce?
A. We didn’t like the fact that we called him Tim when he was drumming but Mr Powles when he was producing

Q. What are the songs about?
A. They’re about 3 or 4 minutes

Q. ….(sound of mobile ringing) .. hello, yes sir… yes, I told him sir..very well sir I’m afraid that’s it
A. Damn

Q. And I never asked you why are you guys called The Church
A. No, you never did.
There's actually a lot of truth in that "interview" and makes me snicker, so I figured it was a good one. I've heard radio interviews with them that were amazingly similar to this in tone, sometimes much to the consternation of the hosts.
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Old 08-06-2005, 11:55 PM   #120
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I'd like to see a few U2 interviews like that!
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