Out Of Nowhere comments by Jimi Tenor 1. Out of Nowhere 
"I wanted to get a sci-fi feel into this track. I tried to remember the opening scene from The Planet of the Apes, where they walk in the hot desert - maybe it's not the opening scene actually. Anyway, a hot burning desert in a deserted strange planet. I was one of the members of the orchestra in the take. I was playing my photophone next to the string-section. The first take was too slow and I didn't play well. I told Tadeusz (the conductor) that it needs to be about two minutes faster, otherwise the younger audience will lose interest in the album. We knew it was going to be the opening track. Second take was fine." 2. Hypnotic Drugstore "This is the only track that I had to modify a lot in editing and actually use a sequencer. The version on the album is mostly jamming between takes. We recorded everything on Dat during the sessions." 3. Paint the Stars "This was the first track we recorded because it has only the orchestra, not drums and bass rhythm section. I didn't reveal the nature of the vocals for the orchestra. Actually I didn't know exactly what I was going to sing. I did the vocals later on in London. I guess I was trying to make something quite sexual." 4. Pylon "This was a totally improvised piece. I put a simple bass line playing in our living room through a small guitar amp and improvised a sax melody while Nicole was playing chimes. I later added the Rhodes." 5. Blood on Borscht "I got carried away with this one. The original length was at least double compared to the album version. When I started to print the score I counted the bars and decided I could easily make it shorter. I erased about 80 bars and the song got the length that is on album. I actually erased 81 bars accidentally and that's why one of the cycles before the halftempo bit is only seven bars!" 6. Backbone of Night "I feel slightly guilty about this... the version we rehearsed was very different. I was very bombastic and drum heavy. I was happy about the version. It wasn't tight enough so I decided to do almost an ambient version. I guess we'll rerecord the heavy version next year?..." 7. Spell
"This seems to be the most commercial track of them all. I was happy to notice that not all I do is uncommercial. Mike Kearsey did a very good job with the arrangement. I think everybody was quite happy while making this song. I was at least... I wanted to have tubular bells in it. And I got them!" 8. Better than Ever
"This track pleases me a lot and is my personal favourite. The arrangement in the middle bit worked out nicely. Chris Dawkins made a big contribution for this album and the guitars in this one are great! (at least to my taste). They had a nice Hammond in the studio in Poland that I played in this song." 9. Night in Loimaa "This was a nightmare to record and edit. The stuff we wrote was quite difficult rhythmically and we had to record the track in segments. I'm happy with the final result. It sounds pretty crazy. I hope it sounds Chinese to people who don't have a slightest idea what China is like." 10. Call of the Wild
"This is without orchestra although it was perhaps the song I most wanted to have them to play. We ran out of time and didn't have the score ready in Poland. Later we recorded the rhythm track with Mikey Wilson in London and I started to gather stuff on top of that. I went to NY to record Satoru Ito's guitar and Mike Kearsey played many tracks with trombone and euphonium. My wife Nicole made the lead vocals and Wanda Pittman did BV's. Most of the stuff I recorded with my walkman and pasted later on to the multitrack." |
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