No complaints, really. It's a good place to play. If it had a roof, it might be a different story?

Indeed. Liverpool is the other one I can think of.

So we all came up at roughly the same time in the same part of London.

Thanks. He was really great to talk to and, yes, he knows everyone. As I reminded him, I saw him and most of what would become Spandau play at the Hope & Anchor pub when I was in my teens. Chris Foreman also went to the same school as them.

Jon, the interviewer, was in Denver and I was in London. So there was a lot of lag over Zoom. It's always a bit disjointed.

😂

And there’s more…

Slightly surprising.

2/2… So the sound only ‘kisses’ the tape as it goes through the machine, it doesn’t record onto it.

No, it’s a sound thing and is part of the recording process. As you record the sound goes through the tape machine and tape and ends up as digital information on computer. You get the ‘warmth’ of using tape and the sound of analogue recording but it is then recorded digitally.

3/3... If you can, I would always record a big backing track with the core of the band. People playing together always makes fir a better feel. You can always patch up after.

2/2... Which can be a curse rather than a blessing. Madness record using the technique which is sweetly called, 'kissing the tape'. We run the recording through the tape and tape machine, whilst having everything digital as well.

Yes, I think one of the most important things you can take from analogue recording is to have the confidence to commit to your ideas. When I first started recording, which was on eight track tape, you had to be concise and edit along the way. Recording digitally allows you limitless overdubs.

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