THIS JUST IN: new “Internet Leak” from Al, a White Stripes spoof called CNR: http://tinyurl.com/kno97q

Coinciding with my interview with “Weird Al” Yankovic appearing in RELIX magazine, now on the newstands, I have just posted my new BonzFire Film of the conversation (scroll down for the links).   Here is an excerpt from the text interview:

There is a great tradition of musical parody in the history of American culture.  Such stars as Spike Jones and Stan Freberg achieved huge success through their talent for mocking the classic pop songs of the day.  “Weird Al” Yankovic is today’s reigning king of pop parody, gifted as a comedian, recording artist, concert performer and video director.

In the summer of 2009, Al decided to release four new songs individually as singles on June 16, July 14, August 4 and August 25.  These four and others will be included on his next album, slated to be released in 2010.  It was during the recording of these “singles” that we met up with Al at Westlake Recording Studios, and then again at Bernie Grundman Mastering.

BONZAI: These days are you recording analog or digital?
YANKOVIC: Now I am recording full digital.  For a long time I was deferring to the audiophiles who said there was something about analog tape.  There probably is, but I can’t hear it.  Most people today listen to crunchy MP3s or YouTube versions of songs and seem to be more inclined to getting music that is convenient as opposed to sonically superior.  But having said that, I just enjoy working with digital more.  It’s more convenient, more flexible.  I do not miss the tape.

Click to view the filmed interview in HD on YouTube and at MIX magazine.

To view more of the text interview, visit my Berklee College of Music Blog.

Read my interview with Al in Relix Magazine:  WeirdAl_MrB_RELIX

During this 25th Anniversary of the film and album This is Spinal Tap, the band has reunited to set the record straight, once and for all.  What a stupendous relief for the countless fans who empathized with Tap’s well-documented fall from grace and money.  All of the original album has been re-recorded along with much anticipated never-released material.  Tracking took place at The Village in LA with engineer Ed Cherney and longtime Tap collaborator CJ Vanston producing.  Guest artists include Phil Collen of Def Leppard; John Mayer; Keith Emerson of Emerson, Lake, and Palmer; and Steve Vai.

Cherney mixed half of the thunderous new album at his Studio Ed at The Village while Vanston mixed the ear-splitting remainder at his studio, The Treehouse.  Mastering was done by Gavin Lurssen with publicist Bobbi Fleckman peering over his shoulder, while the worldwide media onslaught is being orchestrated by the ambitious Paul “Big Iggy” Ignasinski (www.artist2market.com ).

Vanston explains, “Spinal Tap is re-recording the entire first album because they thought the original album was a hatchet job, just like the movie.”  With worldwide attention focused on Tap’s triumphant independent release of Back From the Dead on The Label Industry Records, a RockBand 2 music video game in the works, and a one-stop World Tour planned for London’s Wembley Stadium, this is surely one of the most anticipated juggernauts of comic/tragic music mayhem ever conceived and/or executed!

And now, join me at The Village with the blond and effervescent David St. Hubbins, the master of the big bottom bass Derek Smalls, the moody yet severely gifted Nigel Tufnel, and the natty tweakster CJ Vanston.

Read the entire story published in Mix magazine: spinaltap_by_mrb.

Read a great review of MUSIC SMARTS by Barry Rudolph for Music Connection here.

I’ve seen Ross Hogarth at work many times and he is not only smart, he’s got a lot of heart.  He creates a roomful of comfort, with special considerations for each of the musicians.  It’s a pleasure you can feel in the music he’s recorded with artists such as REM, Ziggy Marley, Keb Mo, Jewel, Melissa Etheridge, John Mellencamp, John Fogerty, and Motley Crüe.

Ross Hogarth in his BoogieMotel. Photo by Mr. Bonzai

Hogarth continues to work at the finest studios around, but as a result of the massive changes in our recording industry, he has created a personal workspace in his LA rancho which he calls BoogieMotel.  He has a wealth of vintage outboard gear, mic-pre’s and microphones, plus a powerful computer supplied with an impressive arsenal of plug-ins.  He selects the gear depending on the project.
Hogarth is a master of old school analog recording and he has utilized that knowledge in creating digital product that has an uncanny analog touch.  Let’s talk recording with him and delve into the technology and philosophy.

BONZAI: What is your philosophy of mixing?
HOGARTH: I have always believed in the song and the muse. My philosophy of mixing is found in the same place of certainty as in recording, but even more so. Honor the song. The mix is the last stop before mastering. I have complete control by then on the direction of the song. Sonically the picture I paint has to be aligned with the intention of the song. This is where I can’t let any technology or misuse or abuse of it get in the way.

If you would like to read the whole magilla, click here: 053109hogarthsotryphotos.

Last Friday, we visited “Weird Al” Yankovic in the studio.  Al’s most recent parody is “Whatever You Like,” which can be downloaded from various music services by going to the offiical Yankovic website. Just click on his site to the right in my “Friends” category.  This tune is from Al’s forthcoming album, and he is currently recording 4 new tracks, which he will make available as Singles this summer.

The reason for this visit was to commemorate the 25th Anniversary of my first meeting with Al, when he was recording “Dare To Be Stupid.”  This time around, I brought my new film company, Bonzfire Films, to the studio for a multi-camera interview, plus a rapid-fire session for supplemental still photos. In one brief minute, Al did 30 A-to-Z portraits: the Many Faces of Al.   We are putting this together and will reveal the results in the not-too-distant future. Other projects soon to appear include an exclusive film interview with the members of Spinal Tap and their music producer CJ Vanston.  All I can say is that if you thought Derek, David and Nigel were grouchy in the past, they bring new meanings to the words: bad-tempered, testy, grumpy, crabby, peevish, cantankarous, irritable, petulant, snappish, and veddy ill-tempered.  But somehow, they are still lovable.  Especially David St. Hubbins, who reveals an attempt by his mother to make him a Castrati, because of his beautiful pre-adolescent choir boy voice.

Here is a photo of my Bonzfire partner, KamranV, and “Weird Al” during a  heated discussion on the set.  It seems that Al’s bagel didn’t arrive with the special goat cream cheese with capers and sun-dried kumquats, as stipulated in the contract rider.  Luckily, I have contacts with the Very Happy Goat Farms on Catalina Island, and they delivered the cheese to the Big Cheese by helicoptor. 

By the way, KamranV has been nominated as a Governor of the Recording Academy, Los Angeles Chapter.  If you are a Grammy® voting member, I heartily encourage you to cast your vote for Kamran.  He’s an amazing music producer, filmmaker, new media expert and he would certainly bring some fresh new ideas to the organization.

From MUSIC SMARTS

Just Kiddin’
“Usually, when I forget the lyrics, I just pretend to mouth the words for a few seconds, then I tap the microphone a couple times and glare angrily at the sound engineer.”
—“Weird Al” Yankovic

Order the book here.

For some “Weird Al” from the vaults, visit my Berkleemusic Blog.

READ MY INTERVIEW WITH AL IN RELIX MAGAZINE:   WeirdAl_MrB_RELIX.

Ace recording engineer/mixer Jim Scott may be one of the best examples of a disappearing breed.  He started his career in the analog days as a gofer at Record Plant LA and worked his way up through the traditional tiers from janitor to assistant engineer, and eventually “super-assistant.”  His first gig as a fledgling solo engineer was for Sting’s solo debut, The Dream of the Blue Turtles, an album which earned him a Grammy nomination for Best Engineered album.  Not a bad start.

Jim Scott is pictured in his new Plyrz Studios. Click to enlarge.

When Scott’s home base at Cello Studios (formerly a division of Ocean Way) closed down in 2005, he took a radical turn in his career and built his own studio in a brand new warehouse building on the outskirts of LA.  For a PDF of the story which appeared in Mix magazine, click here:  902mix38_jimscott_dp6.

Got MUSIC SMARTS by Mr. Bonzai ?

The Inside Truth and Road-Tested Wisdom from the Brightest Minds in the Music Business

You can Look Inside the book and order at:  Amazon.com .

and find excerpts about Jack Johnson at my Berkleemusic blog .

Jack Johnson

The Surfer’s Path   surfers_path_jack-johnson1

Mix magazine    jack-johnson-instudio1

SchoolJam auf Deutsch   jack_johnson_mrb_german1

OZO

Ozomatli is a celebration waiting to happen – a fiery brew of jazz-funk, Latin salsa, and urban hip-hop. Basic tracks for their album, “Don’t Mess With the Dragon,” were recorded in Ocean Way’s Studio B with engineer Robert Carranza and KC Porter, who wrote and co-produced with the band. The project was completed at KC Porter’s private studio, Worldbeat Recording, in the Santa Monica Mountains, and then mixed by Serban Ghenea in Virginia. This photo essay was originally published in Mix magazine, February, 2007.

To see the PDF, click here:   ozomatli