The Making of Kimono My House (via a FB thread):
"There were heated discussions over the arrangement of 'Complaints'. I proposed an outro section, which was duly rehearsed and recorded to cassette. The following day, after it was digested, there was a reversal of position. My outro, to which I had become unfortunately attached - always a mistake - was deemed to 'overshadow the rest of the song'. My work ethic at the time was, and indeed still is, to make the weak bits better, rather than chop the good bits out, but this solution was not realised and the outro was duly chopped.
There were confrontations about mixes. The proles - i.e. those of us who actually played the music - were excluded from the mixing process. Thus there were various surprises in store upon hearing rough mixes. On 'Falling in Love', for example, there's a break where the guitar is clearly too quiet. My remark about this did not go down well. However, and obviously prior to rough mixes, the ongoing problem was about how much time to spend getting a decent bass sound, about which I naturally had certain opinions. I suppose it depended upon whether you were attached to the notion of a good bass sound. I was, very.
My sonic requirements were sometimes achieved, as on the track 'Barbecutie', and sometimes not, as on 'Amateur Hour'. On this latter tune, I was requested to replace the (to my ears well-recorded) amped bass by my D/I'd retake. Having to replace a well-performed part on sonic grounds was the ultimate indignity, given the sound which I was aiming for, and which I was generally achieving. The bass part itself was identical, although performed with perhaps less enthusiasm. Actually there is no 'perhaps' about it.
The bass on 'In My Family' was described as 'really wimpy' by the head Mael, an adjective which I initially presumed was ironic, given the nature of the underlying composition. Plus, when the critique was delivered, I must admit I construed it as complimentary; something which is 'rarely wimpy', in my book, is no bad thing. However, the context indicated that dialect played a role in our discourse. There was no retake. Listeners can judge for themselves, no doubt.
Other than that, I think the rehearsal process, which was where the arguments/discussions/whatever took place, was a positive process which improved the final result rather than detracted from it. In my recent 'solo' life, I have returned to the notion that those musicians who know what to do are best at knowing what they CAN do.
On the KMH album, I generally I tried to shoehorn in as much as I thought relevant/possible, which included extra-curricular poly-rhythmic stuff from the realms of prog rock and jazz fusion, much to the stylistic horror of some. Playing three chords in the space of four, for example - I offered these kind of musical tricks from other genres. In the event the result was a (kind of) synthesis. As we now know from Hegel, this can only be A Good Thing. But if only he had Told Us Earlier. Or if only We Had Known About It At That Time".