STUDIO LINES
“Lemmy had this huge glass, maybe 12 inches tall, which he would fill up to an inch from the top with ice and Jack Daniel’s, and add a little Coca-Cola. Needless to say, things got a little confused: [Motörhead drummer] Philthy couldn’t remember his parts, and we spent an entire day going over the songs and getting them right, and then we recorded them.”
“We started mixing at a studio called One On One, owned by a guy named Richard Landis, which had a solid-state SSL 4000 series desk. The three songs we were mixing were ‘Going To Brazil’, ‘Love Me Forever’ and ‘No Voices In The Sky’, which I think is a greatbottom end on your bass’, because when he plays through his Marshall amp he rolls off all the bass—that’s his sound. We’d tried to get more bottom on there: He didn’t want to use a direct box, so we snuck one in—we were hiding it from him. It may have been a little devious, but I wanted to get some bottom on the record.” “He’d found the direct box track and was like, ‘What’s this? What’s this? What’s this?’, and he went and sat in the back. I don’t remember what was happening, because my blood was rushing at this point. He sat back behind me, and I started mixing again and he said, ‘No, no, no, no!’ and he pulled on the back of my chair. I don’t think he did it on purpose, but the chairs were kinda flimsy, and as he pulled, the chair—with me in it—fell backwards. “It was accidental and I didn’t get hurt, but he was saying ‘Argggh!’ and going on about how there was no bass. It was a gnarly situation!”
