Well, this is the last chapter around the last Peter Doherty record. Since Graham is busy with Blur’s rehearsals (we’ll talk later with him upon this reunion i hope) it was time to talk with the man behind the wheel. Like the Maestro who conducts the Orchestra, Stephen is one of the most talented and experienced producers. He worked with so many people, so many egos and personalities but delivered us always a great work and a his very own personal view. Hop you enjoy the following lines:
King_leer (KL)
Stephen,
I’ve already done something like this, namely on the last Kings of Leon record.
As a producer, what was your task since the beginning in Peter Doherty Solo record? At any point it was different from your other experiences?
Stephen Street (ST)
Basically, I had to help Peter develop these songs into fully structured songs. Some of these songs had been around for a while and some were very new but the thing that was similar was that they hadn’t really progressed past being ‘sketches’. The only demos I heard of the songs were just Peter singing straight into his laptop, often without a proper start or ending so it was like a blank canvas really, quite different to most of the demos I hear before working with Artists. Therefore it was quite a challenge, but because Peter inspires as an Artist it was easier to develop ideas for arrangements. Also it was incredibly helpful to have someone as talented as Graham Coxon on board from the beginning. His playing is absolutely inspirational and before long both Peter and I were aware that the songs were going in wonderful directions.
(KL)
1) Peter often records demos – as he did here in Porto. You start from there and then you’ll develop the entire sound of the record? I’m asking this because I know that for you the vocal performance is extremely important even “If someone has captured the moment it doesn’t matter if the vocal has a few imperfections” – Quoting 1999 Sample Craze Interview. So, you have to gather what exists and merge it with your ideas, right?
There are simple fantastic string elements together with the electric guitar that create a different environment. I should say there’s a “Cabaret” feeling on this record with major climax moment with “Sweet By and By”. Am I far from the truth?
(ST)
As I mentioned above, I had nothing but the very most basic demos to listen to before the session. I simply sat down with a guitar and tried to work out the chords and made some notes as to some arrangement ideas. These I ran by Graham when I first visited him with a view of getting him involved.
As far as Peter’s vocal performances are concerned, when he is in good shape he is amazing. However, I had to push him along sometimes and coerce him into finishing his lyrics and performances to a satisfactory level, but I do think that Peter appreciates that. There is no point surrounding yourself with sycophants who tell you that everything is ‘brilliant’!
I knew that because this was a “solo’ album we didn’t have to worry about surrounding the songs with the sound of a ‘band’ and therefore it freed us up to try something different for each song like Strings and atmospheric guitars and keyboards.
Curiosity questions 1 (KL):
a) On “The Last of The English Roses”, in the first seconds of this song you can hear something like a cell phone interference. Production or something more than that?
(ST)
The demo for LOTER was the most basic possible. It lasted for about 8 minutes and 6 minutes of that was just the sound of Peter rustling about next to his laptop and his mobile phone causing interference! However, there was something I liked about that “ambience” of Peter on his own next to his laptop that created quite q dark atmosphere so I sampled it and played it alongside a drum loop that I made up and that formed the backdrop for Peter and Graham to play along to when we started recording.
Curiosity questions 2 (KL):
b) 1939 Returning – Who had the idea to add those sounds (some kind of old movie intro at the start and at the end what is it? Seems a merry-go-round environment)
(ST)
Me! Ever since my work with the Smiths I have often enjoyed putting sound effects into the recordings to create the right ‘ambiance’.
A Challenge (KL) – you can listen at the blog’s Player:
The typical pop tune lasts 3 to 4 minutes. There’s at least two that you’ve worked that last longer. It’s difficult to maintain the listener’s attention on a 7 or so minutes track.
Talk to us about this 3 examples. The first are two different songs but at the record, for me, combine as one. The second is perhaps the one I like more, a magnificent tune. The last it’s not yours but probably you already listen to it and it was a surprise for me (If you didn’t heard it, do me that favour.)
a) A Little Death Around The Eyes & Salomé - Peter Doherty – “Grace/Wastelands”, 2009
(ST)
A Little Death just grew into an epic as far as I’m concerned. It started with Gram and Peter playing along to a kind of 60’s jazzy loop I had made up and it seemed to suggest that Scott Walker, / Serge Gainsbourg vibe so we went down that route. Then at the end of the song I made up a little loop from the ‘doodling that Graham and Peter played at the final chord. That seemed to suggest that the song could cross fade with something and Salome fitted the bill perfectly (same key, lovely mellow vibe).
b) Late Night, Maudlin Street – Morrissey – “Viva Hate”, 1988
(ST)
I’m glad you like this track. It is one I’m particularly proud and fond of! Very different to a normal pop arrangement it just grows and grows but in a subtle way. The reason it works as a long track is because Morrissey’s vocal delivery is wonderful and he has a story to tell and the music keeps shifting in subtle degrees.
c) Moment of Surrender – U2 – “No Line On The Horizon”, 2009
(ST)
No sure why you want me to comment on this track! It’s a good track with some obvious Eno trademark production touches and the Edge sounding more like Dave Gilmour than ever before!
Finally (KL):
You’ve worked with at least 3 different generations of bands, songwriters, etc.
The 80’s – Smiths and Morrissey…
The 90’s – Blur, Graham Coxon, The Cranberries…
The 2000’s – Kaiser Chiefs, Babyshambles & Pete Doherty, The Courteeners…
What are the major differences between this “moments in time”?
(ST)
To be honest, there are no major differences as such. A good melody, a great vocal delivery, interesting arrangements/dynamics, neat guitar parts; these things have always been important throughout the years. Certain qualities still ring true and are still the qualities that attracted me to want to work with the artists in the first place.
THE END
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