Posted December, 2011
Photo by Simone Cecchetti
Once in a great while, one comes across an artist who is not only good but scary good. One such person is former Danger Danger guitarist, Andy Timmons. As I shared in my interview with Timmons last year, when I heard the strains of Cry For You wafting across the Dallas International Guitar Festival, I became an immediate fan . . . for life.
Since that interview, I’ve become increasingly aware of the level of high respect given to Timmons among his peers. Some might even go as far as to say that they would just be happy to be able to play his mistakes. Yeah, he’s that good.
During that interview, Andy mentioned that he was working on a new CD wherein he covers the entire Sgt. Pepper album instrumentally. A year later, Andy shot me a note to ask me to meet up with him for coffee and to pick up a copy of his Pepper. Boy! Is this album ever worth the wait! You can catch the Boomerocity review of Andy Timmons Band Plays Sgt. Pepper here but, suffice it to say, I think you should add this album to your listening library.
After practically wearing out the CD, I, of course, wanted to chat with Andy about the album. Between touring in support of the album and his continued work with Mesa Boogie as well as Olivia Newton-John, it was tough to get our schedules in sync. We were able to carve out some time while he was on tour with Olivia. In fact, it was during some down time during the tour, while Andy was paying homage to John Lennon at Strawberry Fieldsin New York City’s Central Park.
Before we got down to talking all things Pepper, I briefly continued discussion on a topic that Andy and I bantered back and forth on via e-mail a few days prior. The subject matter was the theme song from a kid’s TV show that ruled the airwaves in the Phoenix area for over 30 years: The Wallace and Ladmo Show. The theme song was written and played by the late Mike Condello who was the musical force behind anything musical taking place on that show. Andy had mentioned in a previous chat that the Wallace theme song was the second record he ever bought so I started our conversation on that subject.
Before you roll your eyes and fast-forward to Pepper chat, just hold on to your Walrus. This has everything to do with the Beatles and segues quite nicely into our discussion about Pepper.
“That 45rpm record – I still have the original copy of it. It’s just one of those haunting instrumental tunes. It’s a very sad, pensive kind of melody. I don’t know if it strikes you that way but for me the tune is very melancholy for a kid’s show. It must’ve been recorded in ’67 or ’68, obviously. It sounded very Abbey Road to me before Abbey Road came out – the way the harmony sounds – like Paul and George singing together. Mike always did a great job of copying Beatle-type stuff. He had quite a history of that. But, yeah, it was one of my first records. It’s an instrumental tune and I love it so much.”
And, just in case you folks think that this is purely a Phoenix thing, realize that greats like Alice Cooper and Steven Spielberg were heavily influenced by The Wallace and Ladmo Show and that the show’s reach spanned the globe. Andy attests to this fact.
“I was actually in Sydney, Australia, back in about 2000 with Olivia. I was in a really cool collector’s CD shop and I found Wallace and Ladmo’s Greatest Hits in Australia of all places! They had the theme song so it was nice to have a clean version of the theme song! It had all of the Mike Condello hits like Ladmo In The Sky With Diamonds!” Andy laughs at the memory of the fun of it all and concludes by saying of the theme, “It will always be one of my favorite recorded pieces of music”.
It goes to show you that kids are indelibly impacted by music at a very early age and underscores the importance of music education in the lives of our kids. It’s a sad thing to see funding of music education fall victim to budget cuts in our schools.
We shifted our chat to Andy’s current tour with Ms. Newton-John and how his Pepper work factors into it.
“We’re actually right in the middle of it. We’ve done three shows and have four more. It’s a brief run. She’s been very gracious and she’s asked me to open her show with some of my Pepper tunes. So I’m out there doing that. That’s pretty cool. She loves the CD and is very into it and very happy to help promote it. She’s a sweetheart like that.”
As I mentioned earlier, Andy told me last year that he had already started working on the album. I asked him how long it took to put the project together and out the door.
“The main time spent was just me coming up with the arrangements. I called it kind of a hobby for a couple of years because I wasn’t specifically setting out to make a record initially. We were doing Strawberry Fields live and it was going over great. A suggestion from my Italian promoter was, ‘Why don’t you do a whole set of Beatles?’ I really didn’t think that I could pull that off but it kind of got my wheels turning and I started experimenting with other Beatles songs but not necessarily Sgt. Pepper songs. I think Lucy In The Sky was the next one that started to develop nicely.
“I thought, ‘How would it be to play the whole record just by myself in my studio just for fun?’ So, I just started working on other arrangements. I thought, ‘What if I did When I’m Sixty-Four or Lovely Rita?’ – like how I had approached the Resolutionrecord in that I wasn’t doing any overdubs. I was using chords and melody together a lot. So that’s how I approached this whole project. I didn’t want to approach it as far as ‘I’m going to do a bunch of overdubs and try to exactly replicate the record’. I wanted to see how much I could incorporate into one performance while really getting across all of the nuances and memorable things about each song.
“As I went about it, I also decided that I was just going to do it completely from memory. That should tell you how much I’ve heard this
Photo by Simone Cecchetti
music. Obviously, so many people have. It’s very ingrained. But I think it actually helped make it easier for me in that, going back and transcribing the record, per se, would have been a daunting task. Whereas this allowed me to replicate the music as I hear it in my head meaning that, depending how you experience music as you think about it, the important things tend to stick out to me - like whether it’s the vocal or guitar chord or an orchestration from George Martin, or whatever it might be. It’s what helped me thin it out and do what I could in performing it. It made it fun and extra challenging. I think it’s also a cool story. People like to know as they listen to the record – it makes it more interesting than just somebody who sat at home with 24 tracks or whatever and tried to replicate it exactly. It makes it much more of a personal statement for me as opposed to the other direction.”
As Andy mentioned earlier, Olivia Newton-John loves Andy’s Pepper project. I also knew that other of his guitar playing peers had received copies of the disc – folks like Steve Lukather and Andy’s label prez, the incomparable Steve Vai. I asked Andy what their feedback was.
“I think one of the most gratifying is Steve Lukather one of my early heroes for many years and we’ve gotten to know each other over time. He couldn’t be a sweeter, more supportive kind of guy. There’s a handful of guys that I consider when I make a record and I think, ‘Man! I hope they dig this!’ because I respect their ears and I certainly respect their taste in music. My guitar player friends that are definitely Beatles fans , I’m really hoping they’ll connect with what I’ve done because there’s a lot of nuance there that the casual listener may not pick up on but some of the musicians will definitely understand and realize, ‘Alright, this wasn’t an easy feat’ and they can hear the labor of love.
“Steve – he was so sweet! I sent him a link to the record before it was released. He sent me a couple of e-mails over the course of a month, saying, ‘Hey, man, I haven’t had a chance to listen to it yet. I’m traveling but I’ll get to it.’ Then, apparently, he listened to it while he had a day off in Osaka (Japan). I probably got six e-mails. He was going off on how much he loved it. He called it maybe his favorite instrumental record of all time. Heavy praise from my hero! That was very sweet!”
And what has Steve Vai had to say about it?
“He was the first guy to hear it – the first guy I sent it to. One of the most gratifying things he said was, ‘How did you get all those chords in tune?’ The guitar, in general, is a very imperfect instrument. You cannot possibly be perfectly in tune – especially when you have distortion. It magnifies all the impurities of the tuning – especially the more complex chords you’re trying to voice with distortion - it exaggerates the tuning imperfections. I spent a lot of time on that. Some songs happened very quickly on the CD and some I had to figure out how I could achieve the tuning, per se, to really make it listenable for me. It’s a blessing and a curse having great ears in that you know exactly what it sounds like in your head and to get it can be extremely frustrating. We went through a lot to get the tuning just right.”
Bringing his comments back around to what Vai had to say, Timmons said, “He also said that he thought it was a beautiful record and, ‘This is the kind of project everyone talks about doing but never does.’ As I would tell people what I was up to, everybody would have that look like, ‘Really? Is this going to work?’
“I have to admit, over the course of a couple of years – after I had the idea, ‘Wow! Wouldn’t it be cool to actually record this?’ I came in a confident mode where, for a while there I thought, ‘Man, this is really gonna work!’ and then when we did the recording, I thought, ‘Man, I don’t think this is going to work.” It took me quite awhile to get the confidence to really be sure, ‘Okay, I love this. I really think it’s going to work.’ Once I got to that place, it was really exciting! I thought, ‘Regardless what happens, if a couple of my friends dig the way I’m digging it and the way the band’s digging it, then I’m successful.’
“For Steve Vai and Lukather and other people who have been hearing it along the way – no matter what happens commercially, I’m already way successful with what the goal was – to try to present the music in a loving tribute, so to speak. But obviously, it’s nice that it’s getting out there and it’s selling pretty well. I think there’s potential to broaden my fan base that tends to be other guitarists – which is awesome and I’m so thankful for that – but, you know, largely, I want to appeal to a wider group of people and not just people who play the same instrument. I’m hoping this will translate to connecting with Beatles fans in general.
Photo by Simone Cecchetti
“Oddly enough, I get e-mails from people now that will start off by saying, ‘You know, I’m not really a Beatles fan but I really like your record!’ I’m like, ‘How could you not be a Beatles fan?’ I was fortunate that I was born in ’63 and I had older brothers that were all big fans so I grew up with every record that came out then. So it’s just ingrained in me. If you don’t grow up in that environment and aren’t exposed to it, you’re not as likely to be as connected. The youth are obviously connecting when they’re exposed to it. It continues to appeal on such a large scale.
“For me, it’s an honor to add anything to the realm of the Beatle world and to have it be so positively accepted by a lot of Beatles websites already. Beatles Examiner and Steve Marinucci, I’ve subscribed to his Beatles newsletter which has come out every day for 15 years. I sent him a copy. I’ve never met him before but he immediately picked up on it and loved it. I was blown away because I’m sure he gets hammered with Beatle related releases every day. But he really took a liking to it and is helping spread the word. It’s a very cool time for me.”
As he finished that particular thought, Andy interrupts himself by saying, “I’m sitting here staring at the Imagine mosaic, by the way, as we’re talking. I don’t know if you ever saw the back of my CD, ear X-tacy, there’s a picture of me sitting in this mosaic which had to be taken in 1993. Here I am, how many years later.”
With Andy’s extensive network of incredible musician friends, I asked if he’s heard whether or not Paul or Ringo have heard his CD yet.
“No, I haven’t. But that would be a dream of mine! I know that (Beatle engineer) Geoff Emerick has it. I haven’t heard back from him. My publicist, Carol Kaye, actually manages Geoff so she gave him a copy a few weeks ago.”
I caught one of Andy’s performances recently in which he performed several cuts from Pepper, much to the crowd’s delight. I asked Andy what his favorite tune to perform from the disc.
“Ooh! Interesting! I do love all of it. We haven’t performed the whole record yet so it’s hard to say. We’ve done about half of it. Strawberry Fields is still a really strong song to perform live. I really enjoy playing She’s Leaving Home, as well. It’s one of the high points of the record just because it was always the most emotional Beatles song for me. It’s kind of like Paul had really gotten to the same emotional place that Brian Wilson was coming from on Pet Sounds. You hear Brian’s influence on Paul’s bass playing all over the record. But, vocally, that’s one of the influences you hear on that song where Paul gets into that high falsetto stuff. That’s total ‘Brian Wilson’. But he’s mentioned it many times how Pet Sounds was his inspiration, basically, for the Pepper record.
“But Brian Wilson’s music, for whatever reason, is highly emotional to a lot of people, obviously. When you think of his ballads - not the surfing tunes - In My Room and Surfer Girl come from such a delicate, sweet place and, when you know more about his history and his painful childhood, you kind of understand where that stuff is coming from. That one Beatles song kind of gets to that level. It’s a very sentimental lyric, obviously. But what Paul did melodically is really strong.
“Anyway, I took a lot of time trying to get to that same place on the guitar – trying to get it through the guitar in that same way. People seem to really like that, as well.”
As for what he thinks the crowd favorite is, Timmons said, “Strawberry Fields, I think, for sure. It’s fun when we do things like Little Help From My Friends and Lucy In The Sky. No matter what country we’re in – anywhere in the world – the crowd is signing as loud as the band is playing. It’s so cool! Everybody knows the music so well! It turns into these wonderful sing-alongs. It’s awesome!”
For you musicians, guitar techies and gear heads, I asked Timmons about the equipment he used to play on Andy Timmons Band Plays Sgt. Pepper. You can thank me with tens and twenties.
“Essentially, its four amps running at once. Again, being just one guitar performance we wanted the tone to be as stellar as possible. It’s essentially four Mesa Boogies. There was one Marshall amp involved on a couple of songs but my Mesa’s were basically beating out my vintage amps. When it comes to recording, it’s not about what logo is on the amp, it’s the best tone wins. It’s gonna last forever, hopefully. It’s gotta be right no matter what. I had two Mesa Boogie Lone Star’s and two Mesa Boogie Stilleto Deuce Stage Two heads all running through four separate Mesa Boogie rectifier 2x12 cabinets with vintage Celestion 30 watt speakers.
“So one guitar is basically feeding four amps in a variety of ways, split with an A/B box – one side going to the Lone Stars and those being split by a TC Electronic chorus delay. The other side is split by an A/B box and tube driver feeding into two tape echoes feeding into the Stilettos. That’s the overall sound of the record, essentially.
“The guitar was my original AT100 Ibanez signature guitar – the prototype from 1994. On Within You Without You I used a brand new production model AT100 that I set up with the tremolo floating slightly to get those Eastern inflections. I also used a 1968 Telecaster on When I’m Sixty-Four. I was trying to replicate George Harrison’s Gretsch Tennessean tone like he used on Everybody’s Trying To Be My Baby and Honey Don’t, those kinds of songs – his Carl Perkins tone. I have a ’62 Tennessean which is very similar to his guitar but the Tele actually sounded ‘Gretschier’ than the Gretsch. I use that old Tele for that ol’ rockabilly/country tone that I got as a tribute to George. But that’s it –those three guitars but it’s mainly my old AT100 – my old faithful – that’s just the home base for me.”
One thing about Andy Timmons Band Plays Sgt. Pepper that intrigued me was why he included Strawberry Fields at the tail end of the album. Don’t get me wrong: I’m thrilled that he did. I was just curious as to why he did.
“Well, two reasons. Obviously, that was the arrangement that got us started in the first place. But, actually – and a lot of people do know this – but Strawberry Fields was the first song recorded for Sgt. Pepper. When the Beatles came off of vacation after they stopped touring in August of ’66, John went to Spain to film a movie called How I Won The War – another Richard Lester film. While he was there, he wrote Strawberry Fields. When they reconvened in the studio for what became Sgt. Pepper, that was his offering so they worked on that first in late ’66. Then Paul had Penny Lane as an answer. When I’m Sixty-Four was the next one. EMI came to Brian Epstein and said, ‘Hey, we need another single.’ So the label pulls Strawberry Fields and Penny Lane as a single. The Beatles didn’t want to put singles in front of the album. But that really was the first track recorded for Sgt. Pepper.”
Timmons added, “We’re about to release an official video of us playing it in the studio. We shot about six videos a couple of months ago and they’re just now being edited. Simple – just us in the studio playing the tunes but it’s kind of cool to see.”
I followed that bit of revelation by asking if he was planning to do like he did when he released Resolution and that was to film a full-blown concert video of the album.
“Yes! Absolutely! We’re working on logistics as far as how and when and where we’re going to do it.”
When I interviewed Andy last year, he mentioned that he was also working on another CD in parallel with Pepper. I asked him what the latest scoop was on that CD.
“The only scoop at this point is that there’s 14 new songs that were recorded essentially at the same time as Pepper. So that’s going to be one of those situations like Resolution where I’m going to scrap everything I recorded guitar-wise and redo it. It will be awhile because I’m so focused now on promoting the Sgt. Pepper record and getting that out there. That’s why the Pepper record happened before that did because I cut about half of the tracks live with the band and I thought, ‘Okay, this is closer to being done. Let me finish this and then I’ll work on the other thing and get that to the place to where I’m happy with it. That was quite handy by the time we did the Pepper record. I knew exactly what I wanted arrangement wise because I’d been playing it by myself for a couple of years. The band hadn’t heard the arrangements. They had them thrust upon them over a 2 ½ day marathon of Beatles songs. Fortunately, the performances were good so I ended up keeping about half of what I did live with the band. I’m happy to have gone down that path the way we did.”
As we were wrapping up our chat, I mentioned that I had heard that he was going to be interviewed by David Lowry on Live From Music City and had heard that he (Andy) was going to phone in from a very interesting location for that interview.
“My dear friend, Uliana Salerno, has a hair salon in the village in New York City. It just happens to be Jimi Hendrix’s old apartment. That’s where I’m going to do the radio interview from. I decided that I would call in from her place. What a cool place to be able to do it from.”
Indeed, it is. You can catch that interview here. If you weren’t already an Andy Timmons fan, I’m sure that you are now. You can keep up with all things Andy by visiting his website, www.andytimmons.com. While you’re there, why don’t you load up on all of his CD’s and DVD’s in addition to ordering Andy Timmons Band Plays Sgt. Pepper? You’re going to love everything he’s recorded.
If you’re interested in catching his work with Olivia Newton-John, you can find her latest tour dates that he will be working with her on at www.olivianewton-john.com/tour.html. Who knows? You just might be treated to an Andy Timmons performance before her appearance.