About
| Luther Russell is set to release his fifth LP, a double-length entitled The Invisible Audience, on July 12th on Ungawa Records. It’s a wildly ambitious record from the multi-talented singer-songwriter/producer, which he calls “a glimpse into the jukebox of my psyche.” The twenty-five tracks on this epic record were culled from months and months of recording “whenever I could get into my eight-track studio or on a four-track cassette to get an idea down.” The album’s narrative flow seems to run the gamut of emotions from regret, betrayal and loss to humor, nostalgia and hope. His last release, 2007′s Repair (produced by Ethan Johns) was a ragged, rootsy pop record full of rich, sometimes bouncy melodies which belied their darker subject matter, namely that of his then-fresh divorce. The album won him quite a bit of acclaim but nonetheless failed to break him to a wider audience. Since then he concentrated on the production side of things, working with a wide array of artists, including Noah & The Whale, Laura Marling, Sarabeth Tucek, Holly Miranda, Richmond Fontaine, Sean Lennon and Fernando, to name a few.
It was during this industrious period that Luther would hit the recording studio on his own whenever time permitted “to capture some kind of feeling before it slipped away” or for other projects like “the odd failed soundtrack that never was.” Being a multi-instrumentalist (Luther has lent his talents to many other artists on drums, guitar, bass, keys, etc.) helped to get many songs recorded with no time to waste. For instance, “Traces,” a track evoking Slim Chance-era Ronnie Lane, was done “pretty much in one day”, recalls Russell. Still, he did enlist help from a few close musical allies to help flesh out harmony-laden blasts like “Everything You Do” and “Tomorrow’s Papers”, as well as the psychedelic trance-rock of “Motorbike”. In fact, on the elegiac “In This Time,” members of his old band The Freewheelers popped by to help with the feel of the track. “I just had so many different types of songs coming out of me over the past few years that for once I wanted to intertwine as many as I could, regardless of style or genre, to try and paint a more complete picture of who I am as an artist. This would be my chance because I could take my time and do it until it was done–whenever the hell that would be”. Turns out it wouldn’t be for roughly five years, as Luther wouldn’t finally compile the songs until he was able to listen to many different sequences on the often snail-paced subway rides between Manhattan and Brooklyn where he had relocated after several years in Los Angeles. “I just began to hit upon the fact that all of the instrumental tracks that I had accrued could provide little ‘smoke breaks’ for the listener, so to speak”. Inspired by the sprawling double-albums of his youth, such as Husker Du’s Zen Arcade, Game Theory’s Lolita Nation and Fleetwood Mac’s Tusk, he began to see the songs woven together in a longer, more colorful tapestry. “I wanted to make a record that someone could literally get lost in…every time you’d drop the needle you’d be somewhere new. It would be like a friend that was always around, but each time you get together something has changed a little, just like in life”. Invariably the album would wind up consisting of some darker pathways, to which Luther attributes more than a few harrowing experiences, such as the sudden passing of two of his “very best friends” and a horrible accident where he nearly lost use of his right hand. “A period of intense darkness seemed to settle over me after the recording of my last record. Moving to New York was definitely an ‘escape’ of sorts, but the kind of loss I experienced over the past few years one can never quite shake, I think”. It’s these more contemplative stretches of musical highway that are found in songs such as “A World Unknown,” a stripped-down blues lament concerning “various frightened glimpses into one’s own mortality” and “1st & Main,” a spidery concoction regarding a certain sojourn through downtown L.A. “which I’d rather not discuss”, Russell broods. Livelier tracks include the uproarious “Long Lost Friend,” something of a sonic shotgun-wedding between the Faces and Nilsson, juxtaposed with lyrics about “literally having fuck-all”, and “Ain’t Frightening Me,” a dervish of acid words and zig-zag melody influenced by the proto-power-pop of Nick Lowe and Dwight Twilley. The font of mix-and-match songcraft throughout the record can also be attributed to Luther’s background, which includes a grandfather and great-uncle, each of whom wrote several Tin Pan Alley standards. It’s this family history which he pays tribute to on instrumentals such as the ragtime-y “109th & Madison” (named for the intersection in Harlem where his grandmother grew up) and “Still Life Radio,” the old Broadway-style opener which evokes an instant nostalgia even before the expansive record has begun to rev-up (with the grinding Sidekick Reverb). As to the inevitable head-scratching regarding the sheer length of the record, Luther takes it in stride. “I fully get and understand that many people will ask ‘why so long’ and generally not have the patience to sit through such an ‘endless’ listen”, he laughs, “but I just had to do it. It just felt right and I thought it would be a true musical experience–that is if you even like what I do in the first place!” This time around, not only has Luther Russell made a record that has many of the hallmarks he is known for (ear-catching melodies, lyrics layered with multiple meanings and adventurous musicianship), but he’s managed to make one that contains all of them: the dark folk-blues territory he has covered in past records such as Lowdown World, the bold experimentation found in out-of-nowhere u-turns like Down At Kit’s and the melancholy pop of the aforementioned Repair. The Invisible Audience aims to tie up the many loose ends of Luther’s recorded output and twist it into something new, yet strangely recognizable. “It’s an album made for music fans. People like me. Folks who want to disappear for a while, take a vacation from all the bullshit. All you need is a pair of headphones and an open mind”. |
Shalom.
Just a line or two to say “thanks” for the “End Rant” in the current issue ( #81) of Tape Op magazine. As an old (72 !), retired (after 45-years ) professional broadcast engineer, I learned my craft on analog acetate disc, 1/4″ mono and 2-track stereo reel-to-reel tape, and finally, shoved kicking and screaming into the “digital domain” of DAT and Mini Disc ! Tell you what, I still love – and use – my Tascam 414 mkII PortaStudio for tracking, Tascam 112R mk II for mixdown,and as a last consession to the “revolution”, My SuperScope to “burn” a stereo master CD !
Now, if my “pickin’ ” skills were just nearly as good as the old equipment is capable of capturing, I would be a happy camper ( or recordist, as the case may be! ).
Larry, the Kentucky Thumbpicker
You are most welcome, Larry! Glad to have made an impression on anyone…
i liked the article too. it has me tempted to buy a four track. even though I have all this pro tools stuff. there is something to be said for not staring at a computer screen
amen, bones!
I really loved your column in the most recent issue of Tape Op!
Though I became a musician in my teens, I didn’t start making my own recordings until my late 20s. ProTools was all the rage at the time, the Digi 001 had just been release and I had a Mac G4, so it seemed like the perfect match.
All of this new technology, however, combined with my general lack of recording experience proved to a far less than a perfect arrangement. It was kind of like a caveman trying to wrangle an ICBM.
I sold the Digi 001, tried a couple of other digital formats with varying degrees of success, and then, via eBay (the bastion and prime facilitator of my recording hobby/passion/obsession), I picked up a Tascam 4-track. It’s the cool one with 8 inputs and and the “extra” 5th track/channel strip (I can’t remember the number anymore).
I absolutely loved it. I was so comfortable using it, the process felt so natural and the feature just made sense. And to this day, I can’t get the same vocal sound from any digital set-up.
I’m back to ProTools with an Mbox on the Mac. The general ease of use and quickness with editing and mixing is great, but i still miss that Tascam. It had such a natural quality to the sound that’s missing in the digital realm.
Anyway, thanks for the column, it brought back a flood of fantastic memories, and I’m glad to hear that others have shared the same love affair with the 4-track cassette recorder!
Hey Ryan, Thanks for the comments… Really glad the article has reached a few people
in a positive way….I was curious as hell to know if there were some folks out there who
shared the same experiences and/or just wanted the damn things to stick around in some way!
The point is probably that the four-track cassette is a sort of microcosm for a solid way to approach recording:
that is to say: simplicity leading to decisions, real tape distortion & loads of fun.
Thanks for writing Four Tracks and an Attitude,
I love Tape-Op and have learned so much (I think) yet when I bought a new computer a iMac (Mid July 2010 model) in August 2010) my audio-interface did not have Snow Leopard Drivers and I was overwhelmed with the amount of options out there, USB 2.0 , Firewire 400 (or both in same Audio Interface) and still selling USB 1.1 which I am still puzzled about. I read up on Manufacturer sites, Magazine online sites,(Recording.com SoundonSound.com, Music Gear sites (Harmony-Central) I even bought one and returned it (unopened) and this was after months of research !, Reading Your article grounded my anxiety , I have a Teac Porta 2 (which is mint, and unused, have it in the original box, plastic sealed 4 track, cables, power supply,manual (not sealed)) I bought it then bought a USB Audio Interface (one that has no drivers for OSX 10.6) I loved each and every reason-rationale and will check out your site, Thanks Man, Saved me a panic attack! (Wish I read it in say Sept2010 ha
Peace , You write very well, now to check out the sounds, I kept wondering too why a Casiotone MT-40 I have is worth more than when I got it in the 1980′s(learned that in Sound on Sounds 25th anniversary issue) King Jammy and Wayne Smith ‘Sleng Teng ‘ 1985 (SOS Nov 2010 page 186 , a simple 4 note bass line and somewhat naff electronic drums (regge-dancehall music and genres derived from it including grime, dubstep and jungle come courtesy of the Casiotone MT-40 (quoting Chriss Korff in the SOS article and the above song “Sleng-Teng” was the first track or “riddim” to be entirely produced electronically , then sang over by vocalists (I did a poor job describing the Casiotone MT-40 and Sleng Tang by King Jammy& Wayne Smith
(sorry) but thanks for writing one of the best Tape Op articles that was 1) interesting and 2) made me laugh afterwords once it sunk in in regards to my futile search of late
*I have my eyes on a USB 2.0 ART Dual Tube Pre from Winter Namm and it looks just right and has no alarms, bells, clocks, jets,whistles, jitter what ever nor seatbelts!
ambienttales
I just retrieved my Fostex X-26 from obscurity, along with many (but not all, alas) of my recordings from Sophmore year in high school onward to the late 90′s. It was fun enough listening back to all the stuff, but your article got me excited to record once again with the lil’ beast.
At one point track 4 stopped be able to erase, making it essentially a track with infinite overdubs…unless you f*cked up, because you couldn’t fix it if you did.
thanks for the inspiration!
Steve
that’s very cool, steve…glad i could be of some inspiration to whip out some old cassettes!
Hey Luther,
Thanks for great the End Rant (Tape Op #81.) I have been recording myself and bands for going on over 30 years now and agree with your thoughts on the magic that can occur due to limitations. Early on I was tracking full bands on my two channel cassette with wonderful results. This mode of documentation prompted me very early on to be mindful of my micing/tracking practices because punch-ins or “fixing it in the mix” were NOT options. Much later my Tascam Portastudio 424 MkII was used in pretty much the same manner (WOW! 4 tracks!) Like most, I have ventured into the digital world (iMac/Logic/Tascam US-2000) but recently decided to pull out the trusty 424 to add drums and fretless bass to a friends demo track and fell in love all over again. It lent so well to the dark mood of the track and pushed both myself and the bassist to “nail it” from the get go. No plug-in’s, punch in’s…just a heart felt performance. It reminded us both of how much we missed the process and the lack of options (not to mention that wonderful tape compression.) Simple yet beautiful. Your article confirmed what we already knew but somewhat forgot. We are currently brainstorming new ways to reintroduce the four track back into our recording bag of tricks. It’s true, less is more! Thanks again.
that is really nice to hear, francis…
remember, all the recording mediums are valid, i think we just have to keep our options in check
in order to preserve a sense of performance,
cheers, luther
Hey Luther–
I’ve been an avid Tape Op reader for a little while now, and I just wanted to say that I LOVED your article about the Tascam Portastudio. I just found one on Craigslist and am excited to get it going.
The model I’m looking at is the Portastudio 424 MkII, and I was wondering if that’s the same model you use.
I assume it is, but thought I’d ask anyway–No worries if you can’t respond!
I look forward to reading your next Tape Op contribution–your wisdom is inspiring!
Thanks man!
Theo
thanks theo!
yeah it’s the 424…can’t remember if it’s the mkII
it’s grey…
anyway, thanks for th ekind words, sir
L
Your songs and singing are great and I’ve heard great things about the piece you wrote for Tape Op; alas, my subscription lapsed before I could receive that issue. Is your article posted online anywhere and if not would you consider posting it here at your site? Thanks!
thanks very much, silver phial (and i presume gene clark fan)…
i will think about posting that article, maybe further writings.
i have a new article i am readying for tapeop.com.
Just read your blog on Federale from last year (January 2010).
If you ever want copies of any of the shows I recorded during my time following you guys to Ohio, South Carolina, Ventura and L.A., drop me a line. (I have the shows from Bogarts in Ohio, that second story bar in Spartenberg, South Carolina, the show in Ventura, CA — Nickelby’s??, and the show at the Viper Room… they were all great. I also have a few others taped by other fans.)
I can’t believe it has been so long since our paths have crossed, but I’m already looking forward to the next time.
Craig