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Shepp last won the day on December 19 2020

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About Shepp

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    John Shepp

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  1. Thankyou all for your kindness and interest earlier this year on the records and demos I worked on with MG/B. It was something I'd intended to do long before this year, but fitting as there is still a lot of interest in the period leading up to and including 1995. I hope the pain of this current crisis diminishes and we can once again attend or play live concerts and see our favorite artists. It's been a game changer for my industry and I've seen many of my contemporaries suffer greatly from depression, lack of work, lack of social contact and despair. It's not unlike being in the middle of an
  2. Actually, Matt and I were always goofing around talking in Monty Python voices, and called the multitrack recorders "the big machine that goes "bing"". Probably shows you the atmosphere we had together was generally light hearted. No doubt we kept some of that stuff in just for fun, or it was such a rush job, I didn't mute it out on mixdown. The Depeche song was totally appropriate for that line up to do, I agree, it fit in with the overall sound they had perfectly, and I dedicated a whole session to mixing the final. I was starting another project the next day and another band was in
  3. Thanks Daniel, I quite enjoyed the talk with Ian and you and the stuff that came up. So with regards to the overall vibe of songs like "Awkward", it really does bare no musical comparison to AMR except being edgy and different. Lyrically and musically there no similarities. The Depeche cover is very close to the original in approach, notably faster though and without layered vocals. The Piano and Cello and Guitar overdubs create the spacious elements, especially in the tag, building up to a crescendo. There is a breakdown before the tag where Ariel does a cool tapping bass arpeggio and t
  4. Hi Adam, I'm glad this whole topic has been well received by the fans of MGB. The great thing about the interview was the stuff that was uncovered that perhaps had forgotten. I think given the timeline, the new line up (power trio or with Dave Genn) had a good period of time to gel and define a style. At first the reference points rhythmically were far from the more progressive folk of the previous incarnation of the band, throwing a lot more Police and Pixies into the mix. With Dave in there, this was glued. So the song titles in the vault are as follows: Last of the Ghetto Astrona
  5. You're welcome, Millstone, yes I would tend to agree, but you never know, with age sometimes you get sentimental. Yes, it was recorded on linear digital tape. The studio had a good compliment of decent tube preamps, and the console was english (an Allen and Heath with VCA automation)
  6. Yes I do have the full digital master of Euphony. At this point it is in the vault. If there was a desire to release it digitally, that process could be done. The 15 hours material I am unaware of any digital media that was kept. It may have just been a cassette, given we were using the studio as part of an award. I know the Sony DASH tapes were provided free of charge and likely reused later by students. It was a studio used by either Trebas or Columbia Academy at the time. It's likely my assistants on that session were all students as well.
  7. Very sad news. RIP Rich Rock
  8. Hi Steve, Yes I've stayed in touch with all the previous band members, as well as Dave and Ian. Stay tuned, there's an interview video that Ian and I participated in with Daniel that should answer a few more questions and reflects upon our work all those years ago.
  9. Daniel, here's the sequence I came up with for the "Lost Album" 1.Black Penny 2.Awkward 3.The Navigator 4.Ceiling Song 5.Wherever We May Go 6.Twelve Second Tour 7.Never Let Me Down Again 8.Healers And Saints Songs never completed or just demoed and we didn't come back to: -The Boy Who Cried Wolf (not recorded) -A Mile Out Of Paris (single mic recording to document, never produced) -I Dream Of Dolphins (produced, stripped down, vocals, guitar, piano and bass, abandoned) -Sky Pilot (perhaps a title, but never recorded) The general impression of the eight c
  10. The first run of CD's had the well known misprint of the word Ghetto as Ghello, but did you know it also had Matt's birthday, MGB290671? That's today, so happy 49th birthday Matt!
  11. I think once people discovered how good the lyrics were in Omissions, they latched on to it. It is superior writing. Ian Tyson wrote Four Strongs winds at 24, Matt wrote Omissons at 24. Ok, there were at least two different sequences to LOTGA, neither included Revenge, which was the Charlie session I mentioned above. The third version is the one you all know with Omissions at the end as a hidden track, but here's order number 2, which includes all the songs we recorded during that period after Revenge was done. You'll notice some interesting similarities. 1. Alabama Motel Room
  12. You're right, in fact, it would have had sense to have it as track 11, just after the tail end of The War Is Over. In 1995, hidden tracks were a niche thing, as most people would listen to the album or several in a CD changer system. The hidden track would appear only if the changer system didn't time out, otherwise, it would continue to the next programmed CD. Omissions did become popular though, I would hear about it all the time. Sad to see it didn't get included on the vinyl album as side four. But to cut a metal master for one song, or to thin out the grooves to include it on side
  13. Hi Tips, "I Dream of Dolphins All The Time" is a line from the song "I Dream of Dolphins" and reused in the song "Sharks Of Downtown" Borrowing from other compositions (because the line is so good, why not use it again?) is also seen on the song "Healers and Saints" recorded just after Dolphins. In that, the line "I'm tired of blood and overpriced bubblegum, Mom" ends the song. Six months later, it reappears, to open "Symbolistic White Walls" Great line to recycle, as Healers was never even mixed. It was just a takeaway tape for Matt to take home. No newer versions of Dancing
  14. Hi Daniel, My memory is time period of time between Euphony and doing the 15 Hours session is vague. I don't see any rehearsal dates that I was present on, and likely not, because the band had already been in recording studios, and knew the process. 15 Hours was free recording time, won as the result of the CFOX contest. (I don't recall if I got paid much, doesn't matter in the long run anyway). Fact is, I was up for it, and to capture new material was the best use of the time. I don't recall getting stuck on the arrangement flaws, which were plenty, and rather just resolving to show
  15. Hey Tips no sweat, happy to say my say! The transition was not gradual at all. We had just finished mixing the Lost Album (actually I did most of it while the original lineup was on tour) then, boom, one phone call later, I was at Matt's apartment meeting Geoff Lloyd. I believe I didn't meet Ian that day but could be wrong. I believe Geoff relates this story in the memorial thread, about him being at Undertones and getting the call. At any rate the only orginal member on the newer material at that point would be Judy. LOTGA proper started in March of 1995, with the Charlie Qui
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