by philipchevron Sun Dec 31, 2006 7:15 pm
pogues24 wrote:Mr. Chevron, I was wondering when did you actually become a member of the band, was it during this recording; if so did you play on any of the tracks, or was it after said recording. I remember you took over Jem Finer's spot when he went on maternity leave. Also, didn't you produce A Pistol For Paddy Garcia as well?
Iain
My application is still being considered.
Rum Sodomy had already started principal recording by the time I stood in for Jem on tours of Germany and Scandinavia in 1985. However, as the Pogues were using the same studio in which I had been recording and mixing an Agnes Bernelle album, the Men They Couldn't Hang and a number of other smaller projects (Elephant Studios in Wapping, London Docklands) we tended to see quite a lot of each other at that time, especially as we also had a mutual colleague in Elvis Costello. I was also booked to produce two tracks "Muirshin Durkin" and "Whiskey You're The Devil" [I also play piano on this one] when Elvis was unavailable.
I suppose a more superstitious person than myself would have seen lots of portents going on here but the truth is, my role in The Pogues gradually became more and more blurred, and the finishing post of the album ever-further away [we were still checking mixes in Kenmare that summer, brought over personally by Elvis] that the sporadic and mainly unplanned appearances I made on the album either as a player or, more often, a backing singer soon began to accumulate a sort of work credit rate that, when allied to the fact that I was now also the Pogues' permanent live guitarist, seemed to merit my inclusion on the album credits.
The production of "A Pistol For Paddy Garcia" was done on another occasion in another studio [ditto "The Parting Glass"] and it's worth remembering that "Paddy Garcia" was never originally intended to be part of the
Rum Sodomy album but was used as a bonus track in other formats than the [then] principal 12" Vinyl one.
[quote="pogues24"]Mr. Chevron, I was wondering when did you actually become a member of the band, was it during this recording; if so did you play on any of the tracks, or was it after said recording. I remember you took over Jem Finer's spot when he went on maternity leave. Also, didn't you produce A Pistol For Paddy Garcia as well?
Iain[/quote]
My application is still being considered.
[i]Rum Sodomy [/i] had already started principal recording by the time I stood in for Jem on tours of Germany and Scandinavia in 1985. However, as the Pogues were using the same studio in which I had been recording and mixing an Agnes Bernelle album, the Men They Couldn't Hang and a number of other smaller projects (Elephant Studios in Wapping, London Docklands) we tended to see quite a lot of each other at that time, especially as we also had a mutual colleague in Elvis Costello. I was also booked to produce two tracks "Muirshin Durkin" and "Whiskey You're The Devil" [I also play piano on this one] when Elvis was unavailable.
I suppose a more superstitious person than myself would have seen lots of portents going on here but the truth is, my role in The Pogues gradually became more and more blurred, and the finishing post of the album ever-further away [we were still checking mixes in Kenmare that summer, brought over personally by Elvis] that the sporadic and mainly unplanned appearances I made on the album either as a player or, more often, a backing singer soon began to accumulate a sort of work credit rate that, when allied to the fact that I was now also the Pogues' permanent live guitarist, seemed to merit my inclusion on the album credits.
The production of "A Pistol For Paddy Garcia" was done on another occasion in another studio [ditto "The Parting Glass"] and it's worth remembering that "Paddy Garcia" was never originally intended to be part of the [i]Rum Sodomy[/i] album but was used as a bonus track in other formats than the [then] principal 12" Vinyl one.
