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bring atmosphere. Really what, certainly for a singer, what you deliver as a singer
    and in an acoustic context can be very different, just has a different sensibility.


    BiTS:  There's a couple of other tracks that I want to ask you about, if I may. First of
    all, am I right in thinking that song ‘One For Phil’ is for Phil Lynott? Is that right?

    MS:  That is right. And Brian, will you

    tell us about that?

    BP:  Sure, you are absolutely correct.
    And that was a little thing that was

    got together with Rory Gallagher and
    an Irish uilleann piper, Davy Spillane.
    I was brought in, I got the gig to do

    some  harmonica  on  a  track  on  an
    album called “Out Of The Air” by Davy
    Spillane,  and  that  was  one  of  the

    other  tracks  on  it.  So  again,  that's
    when Phil passed away. When Rory

    passed away, we knew him quite well
    and we wanted to do some kind of a
    tribute that was not just doing one of
    the  songs.  So  we  got  together  this

    unusual  thing  that  he  was  very
    responsible for, I'd say co-authoring,

    although he didn't get credit. It was a
    jam that was recorded pretty much.
    So with that, we took that as our chance to give Rory a tribute as well.


    MS:  And again, like the songs, for example, ‘Grinnin’ In Your Face’ would be one that
    I've done for years as well and have also done ‘Grinnin’ In Your Face’, where I've
    taken it as being an unaccompanied, maybe end of gig song for many years and just

    to treat it a little bit differently with the accompaniment. But of course we were lucky
    as well and we were fortunate and very proud to have guests joining us as well so
    that was very exciting.


    BiTS:    Now  tell  me  something  about  the  recording  please.  Were  these  acoustic
    recordings done straight or has there been any overdubbing or anything like that?

    MS:  I would say that there was essentially our recording process, Brian will say

    more.

    BP:  Ian, as Mary pointed out from the very start of experimenting with tape decks
    in the flat, I've taken a kind of a firm hand on the recording process. That is to say, I

    sat with the producer or the engineer and tried to do what it is we want. To answer
    your question, some of the songs that have just got Lluis Figueras on guitar and Mary,
    went down together as they were. I think maybe one or two takes at most. I think
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