On Part 2 of INSIDE BARRY REYNOLDS, the legendary songwriter and rhythm guitarist talks about becoming a member of the Compass Point Allstars with Sly & Robbie, Wally Badarou, Mikey Chung and Sticky Thompson, featuring amazing adventures at the Nassau studio with Joe Cocker, Robert Palmer, Chris Frantz & Tina Weymouth, Jean-Paul Goude, Black Uhuru, Chris Blackwell, Harry Nilsson, Ringo Starr and more! And of course, plenty of inside stories about his long and fruitful writing and recording collaborations with Grace Jones, from where the Compass point era all began…
Throughout INSIDE BARRY REYNOLDS, an in-depth series of conversations with music journalist/DJ musicologist GREG CAZ, Barry reveals his fascinating story from Lancashire to London, Nassau to NYC. A great raconteur and fine gentleman, Barry talks about growing up fast as a talented guitar playing young teenager in and around the blues scene in London and the early Beatles era in Hamburg, to creating the groundbreaking "Broken English" album with Marianne Faithful, and being an integral part of the unique hybrid sound on some of Island Records greatest albums recorded at Chris Blackwell's legendary Compass Point Studios in Nassau, Bahamas from 1979 through the mid-80s. The "Compass Point Allstars," backed an incredible variety of top artists at the time, including Joe Cocker, Black Uhuru, Robert Palmer, and so many more rock and reggae greats. Barry continues to be a musical collaborator with many of the finest international artists working today, an in-demand producer, prolific songwriter, and of course, a rhythm guitar master.
For more information about INSIDE BARRY REYNOLDS, go to the INSIDE BARRY REYNOLDS page on jasoncharles.net Podcast Network’s Audio Dramas Channel
Jason Charles dot net,
Deep talk, deep sounds,
This is Inside Barry Reynolds part two featuring legendary songwriter and guitar player Barry Reynolds known for his iconic work with Marianne faithfull and Grace jones. Barry is also one of the original compass point all stars. The group of international musicians that created some of rock and roll and reggae's most groundbreaking albums and sessions
at Chris Blackwell studio in the Bahamas in the seventies and eighties. Throughout this series of in depth interviews with new york based DJ musicologist and journalist Greg koss Barry reveals his fascinating story from Lancashire to London and Nassau to new york city,
a great rock on tour. And Gentleman Barry tells inside stories
of his early years as a teenage guitar prodigy around the early Beatles scene in Hamburg, becoming a top recording and touring musician for everyone from Clapton to black uhuru and joe cocker and his most recent collaborations with baba mall and new york performance artist and musician, Tammy faye Starlite.
And Now Part two of Inside Barry Reynolds.
So now we're getting sort of into
a very, very
legendary and fascinating period that's always held a fascination for me,
which is the whole
compass point era, which is an era that I really, the the whole sort of like,
you know, Grace jones centered around Grace jones chris Blackwell
and then you know, compass point studios in Nassau in the Bahamas
and then you had sly and Robbie and you had Wally battery through and you had Mikey chung and you had all and you had yourself and you had all these brilliant people, the great producer and engineer, Alex, sad, um so all these amazing creative people, just sort of like converging on this studio in the caribbean and making this music that's just so
Cutting edge 40 years ago and still cutting edge now,
there is something about the creative energy
that came out of that whole scene that I find just endlessly fascinating,
like you know, I still listen to these records
and they still there just mind blowing, you know, and and it's connected also to the whole downtown new york circa 1980 81 you know, sort of thing, where you had your
people, like your artists and your
fashion people and all these different creative jean paul, Goude, you had photography, you had film, you had fashion, you had you had keith haring, you had basquiat,
he had hip hop starting, and so this whole downtown new york creative nexus chris Blackwell and Grace jones managed to stuff that all on a plane and fly it down to the Bahamas and get it all on tape on these brilliant,
just kind of mold, breaking game changing records, and I would really love to like get your sort of overview of that whole era and how you came to be a part of it
in such a central part of it. Well, what happened was
it was my birthday, I was living in London, I was I was really drunk,
I was I was high and I got a call from Blackwell
and thank God I wrote something down or else I would have forgotten, you know, he was like, oh what's happening man?
He said, he said, yeah, I want you to come down to a compass point studios and do something with Grace jones and I thought he said Gloria
jones and Gloria jones used to go out with marc Bolan and you don't want to get into a car with her. Yeah, that's right. And so I said, yeah man, whatever you know, and hung the phone up and then went back to the party or whatever I was doing and the day after I saw this scribbling and I thought
you have to get in touch with Island Records here. And so I got in touch with Island Records and I said, I apologize, he said anything, you know, out of whatever, you know, I don't know what the fuss was going on last night
but yes, you know, I'm, I'm interested I said, but why Gloria jones and uh you know why? And I've heard of
slain Robbie through
who is that? The duet that did give me a little send me one on the way home town uptown top ranking by healthy and Donna. Yeah and that groove, you know, I just also in black uhuru at the time.
Yeah, I played on a couple of Black Who
albums but then I I got got in touch with chris and said, yeah, he said, no, it's Grace jones, he said, and if you can go out and get her albums and listen to her last albums because I've never heard of race jones.
And so anyway, I found the albums and came back and portfolio and like those early kind of more disco issues,
you know, there's a mistake here. Why why do you need to get into this? Yeah, because one I I thought they were awful records.
You know, I thought you know, the grooves were dreadful. They were kind of thrown together. And you know, it was just like,
I don't know if missing was you to put it. All right, well, we'll uh, chris is very uh
forceful. And uh you see, he said just come over and you know,
and so I remember getting on the plane and and Wally was on the plane as well. I met Wally Wally. Wally battery through the keyboard player and Wally could barely speak english. And it was the first time in my life I have to say this. You know the truth.
I arrived in with with Wally at compass point.
There was no one there to greet us
and it was like where are we staying? And eventually someone turned up, you're staying in this place. And
yes, I will. What what what about the studio? And somebody showed us the students like where's the other musicians
order in Jamaica?
Why?
So? Well, you know, they'll they'll be coming over in three days. Why did you bring this over now? You know? And,
And so he started off a little, little, little weird and then sly and 80 or so. Right? Yeah. And
there was a little racism there. I must admit, I was going to say reverse racism. There's no such thing, you know, I mean, racism is racism. When when I arrived there, first of all, they looked at Wally because Wally is like african, Parisian and so kind of regal
in many ways, you know?
And so the Jamaicans kind of looked down and he's looking down upon his mark.
You know, he, he thinks he's superior
and he wasn't, he just didn't understand what was going on. Race actually said something about this because I read her her book, which is brilliant.
And she, she mentioned how there were certain cultural tensions
at first, at least, you know, at the beginning of these sessions where like
Wally and the Jamaicans took a minute to kind of like, suss each other out and get used to each other before they actually,
after a couple of, a couple of days, just thought, I want to go home, I, I can't relate to these people. And I, I think, you know, they don't like me and whatever. And so I think it was Alex and said, well, listen, what we'll do is put down the grooves
and
you can work later and Wally is good at working by himself,
leave him alone, you know, and let him, you know, put the fairy dust on, uh, put put on it. But
what broke me through with with the Jamaicans, I always now I'm, I'm Mikey is in new york and I'm in touch with Mikey, I love him dearly.
He's one of my best friends
and he's in new york these days.
Yeah. And so anyway, my Mikey and I have always, I'd bring mike into sessions that I was doing as well, you know, get him over to europe and stuff because I think he's a great bass player as well as the guitar, he plays like Robbie, you know, and the way he
does the bubble thing on, you know, the keyboards and stuff like that.
But I remember this one time in
the studio, I don't know in in England we have these cigarettes called embassy
and this was when I was smoking cigarettes
and so we would sit, which was a great idea, we would sit in a circle
so there was eye contact,
you know, and so
you know, it's not each other or whatever.
But I remember I had this this chair, you know, and I'm a music stand, I don't read,
but I have to stand there just, you know with notes and everything and I put my cigarettes on there.
And so the first day, you know, I put my embassy cigarettes, which I bought on the plane
and
you know, I would go to the bathroom and come back and they weren't there.
And he was like,
hmm, that's odd
day after the same thing
day after
the same thing. And so I'm thinking, what is going on here? So
I look over and sticky who I dearly love, amazing musician, amazing percussionist. And I looked over and he had this set up
and I see these embassy cigarettes.
Now you couldn't buy embassy in Nassau and you can buy embassy in Jamaica.
And so I went over and said, listen man, I said,
because they weren't talking to me at that point, you know, I don't know why.
But um,
and I went over and I said, listen, if you want a cigarette,
I said, she's actually one man.
So you don't have to take the packet
And so sticky. Who I mean sticky is like trench town sticky. I mean hard as nails. He's got about 400 kids, you know,
the state turned around to me and said, you're calling me a teeth.
I said, I'm not calling you anything. I'm just saying, you know, you've just stolen my, you, you,
those are my cigarettes, where else would you get them?
And so sticky said
you me outside, come on.
And so I'm thinking, oh here we go. And so he's walking, you know to the doorway of, uh, you know, leading out to the studio and I'm following him and I'm thinking
you're going to get in a brawl and you're probably going to get plastered by this guy what's going on?
But anyway, I I followed him and as soon as we got to the door sticky, turned around and went, the only, the only kid in man, the only joking and gave me, gave me a hug and I was like, thank God for that, you know, it's great.
Yeah. And then after that
I'd kind of,
the ice was broken a bit. Yeah, and I I gained a certain amount of
macho respect. I know it sounds weird, but after that, you know, my name became job being,
you know, so I noticed on, on a couple of these records, you know, your credit is barry White Reynolds. Yeah, it was like, I'm like, that's not even funny, you know, if you're gonna, you know, whatever, but but they they were great with,
you know, they they they call musicians such a bloody horse mouth,
whatever ailment you have, they would, you know, whatever.
But after after that, we started when we started recording, we're recording three tracks a day
in,
wow! So out of that came like in rapid succession, the warm leatherette
and nightclubbing albums. Yeah.
And now Grace would come down later,
Grace would come and some I would call up Grace and it annoyed me, I told Grace about this because she did some interview in the new york times and she was saying, and yes, you know, we'd work out the songs and like,
no, we didn't,
you weren't there.
Um because I I remember calling Grace and Grace is waking up and I'm like, listen, I need to know the key that you're singing this song, and and so, you know, I get the guitar and go, how's this key? And she's singing in a certain key, and I go,
okay, well she's singing in g let's do it in a
or whatever, you know, because, you know, once you're in front of my little more energy, you know, and whatever, and and it worked that way,
Oh, that's great, that's brilliant.
And so now now is the time that like, I got to ask about this song, which is one of my favorites and it's one of yours, and it's called
Bullshit. Especially not one way favorites. I love that too.
It was it was, to be honest with you, it was like,
we got through the tracks so quickly that Blackwell was like, surprised and it was like, We need material. Do you have anything? And so one night I think I got drunk
uh and you know, rum and you know, a few jeffries and smoke whatever, and uh and and wrote this and we went in and and recorded it.
Mhm.
And if I wandered down the wrong road,
it's all right,
baby, just let me go
if I get tired of all those assholes,
it's all right,
because I want to
yeah,
rain
wow, you know, the lyrics to that are so kind of like, there's times when I myself just kind of need to hear that song because it expresses exactly how I'm feeling, you know,
and I think a lot of us can relate to it. Is there a certain that's really good to hear because I've never heard that before.
No one has actually brought in a part of this bullsh. It was just great. You know,
and it's and the title is right there on the record and it's just like, wow, this is great. There's a song on there called bullshit and
you know, and and when I play it sometimes at parties and people just kind of look over and they smile and they get the thumbs up like, yeah, I know exactly what this song is. Yeah, it's a it's a nice one
and I figured it was probably something written. I mean it shows signs of being something that maybe this was written at the last minute or maybe it's just something that came from somewhere deep inside. Either result is great and it fits her persona so perfectly well. Yeah, that's interesting enough. But Grace is probably one of the laziest people I've ever met in my life.
And so I would start with an idea
and sometimes Grace would start with an idea. I remember at one point she was splitting up with
jean paul and during one of their arguments, he turned around because Grace was hanging out with Andy war hole and you know, the, you know the artsy new york, yeah, art group. Exactly. And uh
she wrote something
jean paul saying the only, the only way you see me is as an art groupie. And as soon as she said that I said, you know, we should we should do something with it.
Wait.
Some people like to be
wait.
And it's funny because when I listen to that song now
and I don't like these writers at all, but it kind of reminds me of like the, it reminds me of almost like a something that Andrew Lloyd Webber would write, you know that that melody, I rather write my memoir,
there's nothing in my book and uh, but you know, she called the book Are groupie apparently. And so
but after it was always easy for me to write with Grace, you know, because she was really open and
I, I love her dearly, you know, and when I'm in Jamaica, we always, we always get together, you know, and I was doing that Piazzolla tango cover her idea.
No, it was jean paul goods
and it was
that was one of my beefs with Grace, because
what happened was I wrote the lyrics
to ah to Liberty tango, you know, and basically it was about a stalker,
you know, in some club in paris and we're listening to it listening back and naturally Dylan who's Parisian, I said, you know what, it would be great
because we didn't have the accordion solo in yet. I said it would be great if you could talk if you could say something here in french.
And so her and Natalie got together and just said something in front, as I mentioned, a street, you know, and so she mentioned Hoffman boulevard, you know? And then when the album came out, I see like five writers and that really annoyed me,
you know, because I thought you just threw this, I I did the work that
interested.
I I hope I'm not sounding too self aggrandizing here, but it's actually very common occurrence, you know, in terms of like who gets a piece of the song for doing what, you know, exactly. It's one of the longest running things in the music business and less than that,
and it never stopped, it, never stopped, it never stopped. But I also love libre tango, because I love the accordion solo in there. There's a great atmosphere to libre tango. Yeah. And the groove that just, it's like a tank. It has that tango feel, yeah. For anyone familiar with the music of Piazzolla hearing how you guys managed to just like reshape it and adapted to that context. Just makes it that much more brilliant. But jean paul was the one that brought that end and I think everyone at first was like, and then I thought,
yeah, give me a, you know, give me a couple of days, let me see what I can do with the lyrics. You know writing a lyric to that melody.
And uh and so I I think he was, I thought Grace sang it really well
before
him hanging around my door
like a home
stealing for the brain.
Like the night
waiting for the day.
Strange.
He shadows me back home.
Mm hmm,
rainy nights Hoffmann.
The reason you
big drifting from the bar,
don't touch on
fine,
enjoy a ballot.
And it's funny I was living in London at the time and everywhere I went in europe, I was touring and everywhere I went. I'd go into a restaurant and it was to be playing. So you know, we did our job. I can imagine that playing in every restaurant in europe. For sure. Yeah.
Yeah.
I didn't get paid from every restaurant.
So, um so, so again, do you have these, these records that you guys just made under these interesting circumstances? Oh, I always wondered it was probably not in the same month, but warm leatherette was recorded at compass point
in 1980. Around the time that a C. D. C. Was there to do back in black. I always wondered if
you guys ever like bumped into each other there or something.
I did. Yeah. Yeah. Yeah. They were really nice. But the most interesting person that I met down there and the Stones came down, you know, all this and whatever.
And but
I remember one time going into the studio and said, and I heard this music and I hear this, get back boogaloo, get back, where are you going to? And I thought, what the fucks that ringo? She was ringo and Harry Nilsson. Right, my goodness. So
I just look in and it's like 1:00 PM, right?
And I I just look in and I see Harry Nilsson and put on a lot of weight because he was drinking a lot, you know, and the lost weekend never stopped for those two.
Yeah, and and and he had what will ringo is completely clean now, you know, he doesn't know. But there was a bottle of Jack Daniels, you know, which is half full. And so they had already started.
And I went in and I really liked Harry Nilsson immediately, I loved his, his sense of humor. And then Grace came in
and at this point Grace was really into, he was into boxing and hand held the whole health thing
and she came in and Harry Nilsson sat there and she went, what are you doing? You know, you're drinking, you know, uh liquor at one o'clock in the afternoon, you're gonna kill yourself. She said, don't you get any exercise? And Harry Nilsson remember him saying,
of course, I get exercise, I get up and I sit down
and I thought he's my hero, oh my goodness. But then what happened was I got a call from my girlfriend in uh in London. She said Lennon has just been shot.
And uh
That night around 3:00 I heard this helicopter and he was picking up Ringo and Harry Nilsson and taking them to Miami to get a plane to go up to New York. And I remember it was like a whole day that I didn't know if he was dead
or he'd just been shot.
And when we found out it's just like
it's hard to get any work done when you hear some news like that. Yeah
wow. So it's so Ringo and Harry were actually on the island
And that's interesting. That was like, you know an interesting period like I thought 1980 Nassau Bahamas. So I made the AC. D. C. connection. I didn't realize that Ringo and Nielsen were there as well.
Well they weren't there at the same time as a C. D. C. Yeah he was a few months earlier. Yeah but a main stay there also was robert Palmer robert Palmer was
he lived opposite the compass point studios
and him and his wife and his child
James Jim who I
who I played with since robert passed away. I played on the bottom all album and toured with bob a mall with with Jim Palmer who's a great percussionist and a really good writer
and robert um
you know I I don't think he used slime Robbie or the, the old stars. And so the sound was was predominantly roberts sound, you know, he brought in
his own musicians, I think he was wally on a couple of things and
but he was very inventive,
it was, you know, he was always trying for new things and
and he was he was just, he he was a sweet man, you know, he was very intense. I I would see robert in the studio
a lot and sometimes we would get together around his place and and just play
and
we did a couple of sessions, we did one session which I'd love to find the tape. It was,
it was with with lee scratch perry who was a genius, you know, and uh and we did things like, hold on, I'm coming, you know, Sam and Dave song and
and we we had a great jam, we were jamming for about six hours and I don't know where those tapes have gone, but
it really should be released, you know, because it was a joy. I also sang with him
on the joe cocker album, Sheffield Steel and I remember joe coming down and there's a couple of tracks, there's a couple of grooves on the album that I just think
those are magical and there's a bill with, with the song that we do and the Robbie's baseline is like from heaven, The groove is almost like a staple singers, you know, I'll take you there
staring at shadows
on the wall.
Mhm
wishing there was someone out of the car?
Someone might understand
rubella. So help.
I think one song that I I
I don't get embarrassed to listen to
is um
a random human song funny enough called Marie and it was just sly
Robbie and Wally on the piano and me on
guitar and we did it in one take And I thought we captured the mood of the song and I thought jo sang it beautifully. So that's what happened with that.
Mm hmm,
mm hmm.
Like a princess.
Oh no.
Right.
With your help out.
I will never
Funky.
Mhm.
I'm drunk now baby.
But I've got to be
mm hmm.
I never could tell you
what you mean to me.
But I love you
the first time I saw you and I'll always love
Hugh Marie.
Right?
I loved you the first time I saw you.
Mm hmm.
And I always
I love Hugh Marie.
So you knock out all these records and these first two grace albums.
And then uh does Chris Blackwell say, hey Barry, do you want to make a solo album?
No,
what happened was Chris was going out with this lady called Natalie Dylan who was the wife of Alain Alain Delon And
I think Robbie had been arrested. Right?
And because he was doing some session in new york and he sent his roadie
back
with
his base is so called base. He said listen man can you take this back you know because I got my other bs here, I don't mean me don't d did you take it back? And so this guy said okay now they all knew Robbie in Jamaica and so when he walked in he was like yeah Robbie how are you doing?
But they didn't know this guy and so they stopped him,
I said can you open the guitar case? And so he opened the guitar case and there was an Uzi in it. Oh my goodness. Yeah and so the guy was immediately arrested
and so then the next thing they were waiting for Robbie to come back and Robbie was immediately arrested and he was but he was putting gun court you know which is yeah and
and I think with chris connections and you know money can buy you everything as randy Newman says money can buy you money can buy you all the coke coke you know I don't know they say money can't buy you love in this world that will give you a half pound of cocaine and a 16 year old girl on september night.
That might not be love but it's alright. Yeah beautiful line and also incredibly true. Yes. So I thought I I think chris did some moving and shaking but I remember going asking Robbie I said Robbie I said you know you
you're in I think he was in there for about
Maybe 2, 3 months or something like that. I said what was it like? He said
there was about 100 people in one room.
I was going wow! I said how did you exist? He said there was one bed
and he said that was mine
and sour. Okay
all right. You know he had bless him but he's the real thing, he's a real gangster, you know what I mean? But also a wonderful musician and a wonderful person, I love him.
And so like so what's the genesis? Uh so sorry I I got off track there and so we were we were there all the musicians were there and it was Natalie who turned around and said barry, why don't you make an album? And I think my response was because I I don't really want to I don't know. And Chris was like well there's you know you've got some studio time here
and so we spent about three days you know just going in and doing these tracks and Alex was there
and Alex helped me out with
the vocals and stuff and I just kind of dragged these tracks together. My favorite track on the album is me again being drunk, I don't drink by the way but
I did an ira song and it's just me playing
acoustic guitar and singing called
yeah the ball fenian men. And I remember being kind of nervous because I looked up and I see chris and Tina from talking heads and they're all in the studio and they're all looking at me and I'm getting I'm even more nervous now. And so I went up to my room which was behind the studio,
I had a huge slug of rum
and I had a, you know, a couple of puffs or whatever
and then came back and did the track and I remember Alex, we've got it
and I said really? And so I remember going in listening to me, I'm like I'm slurring my words here, you know, I'm not drunk. I just said no, you can't tell. It's okay,
mm hmm.
Mhm.
The plans.
I'm mad
to no woman,
Good luck in young nettles.
So I was coming.
I'll listen
to the sound. She was coming.
Oyo,
Gloria lee
to the bull.
Yeah.
And
Tess 50 long years
since I saw the moon being
on strong manly forms.
And then I
with hope gleaming.
I see them again
sure through all my daydreaming
Oh yeah,
Gloria lee
to the boom
feel
some died by
blends,
some die
with a stranger
and wise men.
I have told
they're cold.
It was a faith.
But they stood by
fear. Danger.
Gloria
really
To the Ball.
So, so you made that solo album which I like a lot um which I think
needs to be rediscovered. There's also that great cover of the dan Hicks tune. How did you choose that song?
This was this was weird, right one, I heard dan Hicks and I loved him, you know, because it was something different and I fell in love with the two chicks who was singing with him,
you know, and and and
I heard
I heard I scare myself and for me, it was like the first psychedelic violin solo I've ever heard, which is at the end, you know, even before jean Luc Ponty,
you know, with David Laflamme, if I'm not mistaken for a Beautiful Day,
which is a psychedelic jazz rock band led by a violin. Yeah, and I, I heard that and it and it stuck with me and I thought, what a great song, because I was, you know, when I was asked to do the album, I didn't know what material I was gonna do. And so I thought I'm going to try this and so I tried it and when Ireland put out the the album, they put this out when they made singles, you know, And then I see at the bottom line, I'm living in new york at this point, I see Dan Hicks is playing and so I think great, I'm gonna go down
because my single is being released next week, right now, dan,
I had a
had a drinking problem also, and he did that old, you know, water in the glass on stage when it was actually, you know, Stahle something and you know, and so as the show's going on, he was getting a little sloppier whatever, and after the show, I remember
he came off stage, this was at the bottom line, he came off stage and went, went to the bar and I thought
I'm going to go up to him and give him the single, you know, and I thought he'd be really pleased with this, you know? And so I tapped him on the shoulder and he was like, kind of unapproachable, you know, he was at the bar, he was really into serious drinking. It was like, you come near me, I'll kill you,
you know? And so anyway, I went up to him and said, listen
and down over,
I've recorded one of your songs and I'd love to know what you think about it, if you can give it a listen when you have the chance? And he turned around and he looked at the single frisbee and it over the audience. Oh God.
And so I had, I had two things that I could do, I could cry or I could just crack up laughing. And I remember cracking up laughing, I was, and I just said to him, I didn't expect that
and then walked off and that was it. So, I I never got to know what he thought of it, you know? But
and uh what did you think when thomas Dolby also covered it two years later, it was over, you know, I I've actually gotten over making uh you know, they were talking about making another album and I wasn't really and I was I was
I think the two of you would both cover that within two years of each other.
Yeah, I think his was a success where his mind didn't really take off when he was coming off. She was she blinded me with science. And you know, they did put that out as a single, which I don't know
why like that particular song for him after that hit he had, but it's a great tune and
it really turned
hearing like, especially his version, you know, got a little bit of place. So I think it turned a lot of people onto dan hicks, which was, which was cool. Yeah. Which, which is definitely good enough.
It's kind of like because some of these sounds like
I see people all the time just like flogging it away in the studio, spending hours in the studio and trying to come up with something half as compelling as say, till the doctor gets back for example.
Mhm
mm
mm hmm.
Yeah,
just breathe on the ocean.
Beat me
mm hmm.
Yeah, I think it was a moment in time that
I praised Blackwell for this because it was a case of like
if it works, I'd rather go into a studio with, with bad musicians that have good ideas to be quite honest with you, You know, than, you know, session guys. And I've never considered myself a session guy, even though I've been on a few albums,
I've never, you know, I was never
like, oh get Reynolds, you know, to play on this or whatever. I mean what you do on these records that you're on is something very much, I mean with all due respect to like your great session players, there is something, there is something to
these records that you guys are, especially, it's why I wanted to preface this whole segment
talking about that creative
thing that was happening
at compass point.
There are there are a lot of influences, I think it's mainly sly and his ear for, you know, for uh caribbean music and also in brigade, there's a lot of influences, you know, when you not, not, not even just music, you know, I mean the raga thing when you think of like the amount of indians who live in Jamaica, you know, that's bound to rub off somewhere and there's a lot of chinese, hence the, you know the way that Mikey chung plays,
Mikey chung plays in a very staccato eating and it could be thinking, thinking, thinking, thinking, it's not that, you know, but it's definitely influenced by the chinese, you know that that staccato guitar that Mikey would usually copy Robbie's face line,
but in doing so he would also, you know, instead of, he'd go, you know, and play the same line, but embellish it a little
and because Wally was a special keyboard player
and uh tom tom Club, I I think they used Wally as well that Chris and Tina bought penthouse behind the studio and then they still own it funnily enough and that they would pass the studio sometimes, you know, and I
I don't know what influence, you know, we we had on on their rhythms, you know. But they were really interested. So yeah, they were interesting times.
Mm hmm,
mm hmm.
Mhm
mhm
Okay,
mm hmm.
I'm hoping
information
the line
I've been searching for some inspiration.
Good love from me to you.
This is something that you can't, you can't just call a bunch of like
top rate session guys throw them in the studio and come up with something as magic as these records,
you know what you did right there. Because I don't know if you know the story about George martin,
what happened was the Beatles became huge in America.
And so it was some, some business guys ideas, some lawyer's idea,
probably Allen Klein or someone like that, who thought we were going to get the best musicians here
and we're going to get the best producer in the world
and we're going to make an album and we're going to top the Beatles.
And so what they did was they got some great musicians
and
I think George martin said no, I I really don't want to do this because I have not heard the material and everything, But I think they gave him an offer that he couldn't refuse. Which
I think probably opened his studio. They made they gave him so much money for this. And I think the name of the bounds C Train or something like that.
Yeah. Yeah. They kind of disappeared. You know? I know C Train. There was a guy that used to be a couple of guys that used to be in the blues project
and a couple of other guys, that's a nice record. It's not the Beatles, you know? But but I remember George Martin doing an interview, he said these guys came in and he was like well we're here, you know, we've got George martin let's let's make a record, let's let's meet. Yeah. And it was exactly like that.
And George Marty was like
okay, what material do you have? And it was like all right, Yeah.
Material I've always found that great musicians don't necessarily make make for great writers.
Yeah. There was a story I heard in the 90s where some young hotshot producer approached George Martin. This was at the height of the Brit pop era
and said
like Dl Mr Matson, we got
this studio, we've got the same console, we've got the same amps, we've got the same guitars, we've got the same that the Beatles use, we've got the same disk that the Beatles used? We got the same that that the Beatles used. You know
and why can't we get that sound? And martin goes because you don't have john Lennon, you don't have the same band. That's what makes the beauty of, you know, when I listen to,
I love the band
Leave on helm have three great singers and they sound, to me they sound like farmers singing. There's, there's an earthiness, there's a loneliness to that band actually revolutionized rock in a kind of quiet way
Because not just among songwriters in America, but when music from big pink, their first album came out in 1968,
it kind of like devastated the London scene where all of a sudden it put an end and overnight it ended british psychedelia. Like overnight
everybody wanted to do this earthy root. See George Harrison wanted to join them. Yes. You know eric Clapton wanted to join the band, you know, because there was, there was a truth there, there was you know, it just worked, I think music works with everything. I had this beautiful track by George Harrison
um playing with with some reggae musicians
and it was a live track and it was gorgeous. There was no
ah you know, this is rock mixed with it was a form of music, you know, it was like a new form of music and and it just fitted so well. I, as I think all music, classical music and you know, when I hear randy Newman's arrangements on?
And I love his last album by the way,
when I hear Running humans string arrangements, you know, I mean, these are
purely like soundscapes from films and you know, which he does, you know, but and his father did and his grandfather or whatever and it really comes through. But I love the minimalist way that running human
does those sounds good. So, any any music I believe is can be brought together if it's done in a tasteful way and not an obvious way. That's interesting.
This is Delphine Blue for Jason Charles dot net podcast network. You've been listening to Part Two of Inside Barry Reynolds, a series of in depth interviews with the legendary songwriter, guitar player and DJ, musicologist and journalist, Greg CAz.
For more information about barry Reynolds and this series. Check out the audio dramas channel on Jason Charles dot net podcast network. And listen and subscribe to the entire series wherever you get your podcasts or live and direct on Jason Charles dot net.
And I've done it again, done it again. Done it again,
Jason Charles dot net.
Deep talk, deep sounds.
That was so deep