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Music Maker July 1988

Mick Ronson

Mick Ronson radiates a kind of modesty, you soon forget that he is the guitarist / arranger / co-producer on popklassiekers as David Bowie's "Ziggy Stardust ',' Transformer 'by Lou Reed,' Night Out 'by Ellen Foley й n the man behind the recent comeback from Dalbello. Not to mention his guitar in ao Bob Dylan, Van Morrison, T-Bone Burnett and Ian Hunter. With the same enthusiasm with which he has his work with Bowie, he even talk later about the action taken by the Dutch group Bad to the Bone the evening that he has seen the interview to play in the Amsterdam Sleep-inn. It is the end of February when I Mick Ronson pick up from the practice of Fatal Flowers in the Brouwersgracht. The group rehearses a number of days under his leadership before the whole company to the Woodstock village near New York afreist to serve the new plate to go. Although the snow swirls down Ronson sets for just visiting his house to walk. "I'm not a sport, so why am I doing in a city as much as possible everything going. It is but a short," says the well-preserved looking veertiger. That that short almost on the other side of the city appears to be concluded not, as Ronson themselves - like many Englishmen - a master hand in the noble art of conversation. " In rap coal English he tells about Woodstock, where he recently with wife and daughter live. "It is a cozy village with around 7000 inhabitants. It lies about 50 kilometres from the area where she was the Woodstock Festival held. It's a warm welcome, you do not lock your house to do if you leaves and such. There are many musicians, Dylan has a house, most of them ex-members of The Band live there, Todd Rundgren lives in the neighborhood and even a few musicians. I'm on my work as a producer of course much from home, but I'll always be happy. " Once arrived at the hotel looks even Mick Ronson on his watch and he apologised for the fact that he still need to make a few phone calls. "When I'm in Europe I always watch my time on the U.S.. Then at least I know whether I can reach someone there or not." A fifteen minutes later, we can - now again warmed by a strong call whisky - begin. BOWIE In the Netherlands we know you primarily as a guitarist David Bowie's Spiders from Mars. How did your time at Bowie ended up? I've never done audition, I just get to know him somewhere around 1970. Bowie was not so well known, he had a few years earlier had a hit with "Space oddity, but that was already a while ago. I occasionally came to him on the floor and when he once needed a guitarist for a radio action, he asked whether I had meaning to get involved. That clicked and since then I continue to play with him. " On plates from that time, you are always mentioned as an arranger and sometimes as co-producer. What exactly was your role in those days? "I organised the band, did the music rehearsals and wrote the orchestra arrangements. I've played violin in my teens and had a classical background. That was my violin with the advent of Duanne Eddy already exchanged for a guitar, but he scores that came out of me that knowledge useful. In this way, I also worked with David to Transformer of Lou Reed worked, which I then called the credits as co-producer got. " What is your favorite hindsight plate from that period? " 'Pin-ups' (the plate with all of Bowie 60s covers, eds). That plate was good to do, because these were the songs that David and I as a teenager always wanted to do. I started playing the guitar by Duanne Eddy and shortly after you got The Beatles, The Stones, The Yardbirds. The best music is music that gets you so mad that you want to tackle an instrument. With 'Pin-ups' we were suddenly itself those songs. Why was there Friday shortly after it put an end to your cooperation? "David and I were never really apart, but more grown apart. At one point wanted David for a while what else to do. He had plans for a play on Broadway, and he was provisionally no longer on tour. At that moment I got the chance to make a solo album to make and that I was done. And then I was always busy with other things. " What do you think of Bowie's current work? "His last album I was not too good. But everyone makes turn out to be a bad plate, is not it?" Let's dance 'I felt fantastic. " You then have a time with Bob Dylan getoerd in The Rolling Thunder Revue. How did you him? "That is a beautiful story, really. He did in those days of that-surprise gigs in small bars. One day he played in New York in a club near where I lived and since I had never seen him play and z 's work is not so good but once I knew was watching. At one point the doorman threw me out of that tent, because I do he looked far too strange. I wore platform and then I had me up. On a I have given moment came back inside, but when I was there again thrown out. While I am against the doorman that I cried yet again re-entry would come, whether it was through the window, Dylan came towards us. At the end of the song was that I have some time with him and that he is talking at the end of the evening asked if I had to sentence him to go on tour. Of course I said 'yes', but I heard a long time nothing from him. Until Dylan to a Friday evening calling and saying: 'you can rehearse Sunday? Next week on tour. " I have him actually accidentally met, but that kind of coincidences make life fun, is not it? "

FATAL FLOWERS
After that tours with Dylan you can always go concentrate more on produce. How is the contact between you and Fatal Flowers formed? "Around three years ago I sat a while in London. Fatal Flowers joined it and their manager Peter Dispa called me with the question whether I might be interested to produce them. I went to one of their performances look and found they are very good. Their image spoke to me and they played very straightforward rock. I just had that plate with Lisa valley Bello made tijdenlang and was mainly involved with computers and synthesizers. They were a real band with guitars and long hair as The Rolling Stones and therefore something very different if I was doing. That challenge was to me and we did that night are still talking about. But after that action, we lost sight of each other. Fatal Flowers went back to Canada and I went to Italy and since I had no management, there was no office where she could reach me. For the time they began to penetrate and therefore they have to "Younger Days" another producer sought (Vic Mail, eds) . Ultimately, they have me for this lp can find. " Is it not difficult for you to work without management? "Yes certainly, it's a difficult business if you work in a way that is invisible to the general public. When you have a period of no major international hits had then everybody thinks that you are retired. But nothing is further from the truth, I'm a lot of things but always in different countries. I have in Canada The Payolas produced and which was triple platinum album, a sort of national anthem, but who did nothing in the U.S.. A few months ago I was David Lee Hayes made a countryplaat and which is now high in the U.S. countrycharts. But when I Dalbello 'Whomanfoursays' had made and which lp hardly sold in the U.S., people began in New York to me to ask if I still made music. I had been working me balls off! "

ENERGIEK
How should the new Fatal Flowers plate riveting? "Rough, sober and easy to understand. I like things in a simple way to do that without a normal human being there is a hundred times before he must listen to understand where it passes. Musician If you try to reach non-musicians. is very pleasant to see that you are not someone cheerful music you can make them do that music also not too clever. I'm not against things like jazz-fusion, but that goes for most people far above their pet. Many musicians who find that the public does not respond to their music turning itself around and start on the public to cancer. While the whole eggs to eat with music is true that people for other people play. Making music is a way of communicating. So I start production usually with the simplification of a number of things in the demo. In some songs I would also add a catchy tune to it. I also think it Fatal Flowers important that the plate is a very energetic. " How do you get the energy that a band like Fatal Flowers live radiates on a plate? "It is above all a question of attitude. I want the band members themselves feel proud of what they do and a kind of 'now or never' attitude. Furthermore, it is very simple: you look at the good points that they have and who try some on, while the bad sides are trying to get rid of. Near Fatal Flowers are the good sides that they want things simple and that they play a real rock 'n roll band. You can see what they do, they do not use tricks, and if I want them also. They are a gitaarband and therefore it makes no sense to make them sound like a keyboardband. I do not want to use things that they do not themselves on stage, because then you're engaged in deceiving the public. Near Fatal Flowers I start with the inclusion of drums, bass, two guitars, organ and not to forget the vocals. ga Only then I listen to what it should. Many producers start with bass and drums and then placing layers of keyboards, after which there ultimately is no more room for the guitars. You must first things the characteristic of the band recording and then the extras. It is also important that you as early as possible the vocals on the band turned on. Often there is so much time spent on the inclusion of the music that hardly any time for the inzingen, while the singing is particularly important. Another reason for the vocals early on to take is that you know exactly where you can and especially where you have no room for extra things. " To what extent should you take a technically perfect? "It must be emotional for me on a good way. It should have the right belief. Jimi Hendrix played terrible sometimes false, but what he did was very convincing. Wherever you obviously have to take note of is that you make a plate acoustic comparable to the rest of the plates that come true, because everybody listens a lot more with 'hi-ears' than before. But that's not such a problem with the equipment you see in the average studio at your disposal. What I strongly believe in the idea of "acting in the studio." I hate to stop the tape during a song. If the guitarist plays, he plays the whole song and not just the solo. The same goes for the vocals. I am also not in favour of hours to match particular piece inzingen to do. It would then be technically perfect, but it is the emotieloos. I prefer to put a couple versions side by side, where I select passages from the best. From all the plates I made are the most exciting moments always who at one time, almost accidentally put on tape. "

PRINCE
What kind of studio ga you Fatal Flowers? "In the Nevassa studio in Woodstock. It is an ordinary house in which a 24-track recorder is set down with some peripherals. Just 'the usual stuff, nothing extra. I do not think so good or bad studios. It is not to what it says, but what you do. I have people in the best studios of the world see and there with terrible records again see and vice versa. The Eurythmics have some of their finest recorded with an 8 -- sporenrecorder. I'm only in that new studio of Prince, and there is really nothing special. I mean, it's a nice control room and there is certainly a custom-built mixer, but it is not exceptionally good stuff. A lot people will say that the junk is what he has. But when you hear his plates... " And it is natural for you to enjoy while you're at work once a maandje home. "Sure, but do not forget that it is important that you can work undisturbed. In cities like New York get quickly deduced, in Woodstock, apart from the inclusion of a plate little to do." Know your except Fatal Flowers are other Dutch bands? "No,... Eh... Was not Netherlands Golden Earring?" Radar Love "is one of my favorite songs. Oh yes, last night I went to a band essentially look to Bath .... eh .... the Bone, which I found fantastic! They have right mentality: get on stage and do it, just the fun bunch. When you see them you also want to play guitar

Source: Music Maker, Jan van der Plas