Hey Ho

Collection Contents

#		Title	Length
1		Ruby Red	0:07	Play
2		She Said, She Said	4:09	Play
3		A Day in May	4:18	Play
4		Dendra	3:14	Play
5		Valley of the Kings	4:13	Play
6		Anyways and Always (Revision 2)	4:20	Play
7		Hatshepsut	4:07	Play
8		An Eliizabethan Dance	5:13	Play
9		Peace of Mind	5:28	Play
10		Emily	6:30	Play
11		You, Me, and the Sun	3:29	Play
12		Blank Track	0:11	Play
13		Say Goodbye	10:58	Play
14		Blank Track	0:06	Play
15		Bonus Track	3:57	Play

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Description

I had been up all night with a 12 string acoustic and a Sony 2 track reel-to-reel producing this insane piece which bounced about all over the place.
At my request, I asked my wife to ask my piano teacher who regularly walked her dog by the house, to have a listen.
Her name was Mrs. Copenger and sadly, no longer with us.
She sat quietly on the chair as this piece rambled on then turned to me at the end and said 'you have a lot to say'.
That was the most important thing to happen to me in that context because, she was a brilliant piano player, and for her to say something like that to me was very uplifting and confidence boosting.
She once told me that when she wrote for an orchestra, it took her eight hours work for about twenty seconds playing time.
How things have changed when you consider the electonic help us musicians get.

I write/record as I feel so that my mood reflects in the feeling of the piece.
Sometimes, usually when the horrors arrive, the last thing I want to do is music, but if I can find the will power to overcome them, sometimes there is another quality which comes into the music...more than honesty..another element.
Other than music, I like reading, mainly about Egyptian mythology, photography from the point of view of 'point and shoot' .
I used to like horticulture and plants having spent about fifteen years as a commercial grower.
That has ended because of my back. It gives me hell and am going into hospital soon for more pain-killing injections.
(Bet you wanted to know that!)
In 1982, I started a small 8 track studio in a garage
in the colder climes of North Yorkshire and recorded bands and singer/songwriters.
The first machine was a Fostex A 8 eight track 1/4".
We wore out the head after 1500 hours work. It's nearly always the outer tracks which go first.
The second machine, was a Brennell mini eight eight track
whose recording characteristics were in some respects better than the Fostex, except that it did not have noise reduction and the cooling fan was annoyingly loud.
I had been working and saving and some money so I bought a Studer A 80 8 track 1".
Off I went with my kids in the car to Cheshire where the machine was advertised only to find that he was a dealer
whose stock was held by the owners.
We had a diesal VW and slowly, to conserve fuel set off to London borrowing the money from my son Simon.
The man who owned the machine was a Radio 1 DJ called Adrian Juste.
I had not been close to a Studer before and had not realized its size.
Eventually, whilst Adrian went upstairs to mix his next show (on his new 24 track) we sat looking at it.
We bought it, and hired a van to pick it up.
It was so heavy that we had to put it on its back and tied the end of it to the seats to stop it sliding out of the doors.
So there it was, in my garage this machine, the object of my dreams.
Adrian had new heads and a capstan motor fitted.
Swiss made, it ran like a clock until one day afetr a year or so, one of the cards went wrong so I phoned up the main agents in London.
The cards cost between 250 and 300 each depending on its function. It had ten in total.
Welocome to the big league ! (I was charging 5 an hour.)
That machine was great when at its best.
You could record a guitar, vocal, tambourine, it just sounded great.
I suppose 24 bit and above is as good as or so they say.
Is that why Sony's studios in Japan have 24 track Studers?
It was fun, and all experience.
I had the machine for ten years, the last bill for its repair was over 1000 which I did not have so put it on my credit card ( evil things, credit cards, especially for crazy musicians).
Oh what the hell, as long as the music comes out good.
I have a new album out which I quite like.
I'm supposed to say it's wonderful and stuff. When its your own, its confusing. Words like 'good' and 'bad' are not appropiate.
No its ok, I've got used to it now, the last 3 pieces and the title track 'Hierophant' are passable!
It should be cdbaby in about ten days.
'Hey ho' is ok, the title track was written for a man called David and the whole thing came into being because of the encouragement from a work friend called beth. Thanks Beth.
She was watching me listen to a piece.
It's a strange business being a composer...