RICHB wrote:Question for Phil. What actually happened when you all met up in the recording studio for this doc? It didn't really mention it after the bit where Shane turned up
After our crew set up our backline in approximately the same studio areas as 1987, we just ran through "FoNY" a few times for the benefit of the cameras, as though recreating the moment, and illustrated, as you can see in the final cut, that we periodically need to give ourselves a refresher on how the damn thing goes: it's not that it's complicated, but it's easy to slip into a 4th which should be a 5th and vice-versa, a quirk amplified by the song's structural kinship with The Broad Majestic Shannon, which is not as similar as people think. There were some individual moments with players too, such as Andrew explaining "the hump" [please don't ask, the offside rule is easier] but apart from James illustrating the song's debt to Ennio Morricone in the piano, very little of that was used, the producers wisely concentrating instead on Steve Lillywhite and his Pro Tools as musical tour guide.
Then we all went upstairs to RAK's green room and had lunch and a photo session with Bleddyn Butcher and a
very long chat about whether or not we were going to cut a new album [on that occasion, the result was, I think, "maybe"], while individual Pogues went back down to the studio room to be interviewed individually by the BBC people.
We weren't there, in summary, for any other reason than to participate directly in
The Story of Fairytale of New York.