"Just For The Record" is a brand new section at the RockUnited site where 'DJ Urban' has a look at some old(er) records/albums in the great history of hard rock and metal. It could be some "obscure" minor record label release that simply didn't get the attention it so rightly deserved the first time around. It could also be a what you would call a "classic" album or sort of a best-seller. They all have one thing in common though. They all ROCK and and they all have at least one classy enough band member to answer our q's.
MITCH MALLOY: "Mitch Malloy"(1992)
MITCH MALLOY and his self-titled debut album from the year of 1992". Malloy spent the eighties in several different U.S. bands (Red Dawn) as well as working as the producer engineer. His big break came when he was signed to RCA for this very album. Released in 1992 it was unfortunatly the case of bad timing and a couple of years too late as the musical wind had changed for something else and grungier. The album was still the decent success though and the first single, "Anything At All", was a top 20 rock charting hit with extensive play on MTV Europe. In fact. That song and video earned him the call up from Eddie Van Halen. Malloy was in the studio with Van Halen, did an audition with the band, and Ed called him later to say he was in the band as their replacement vocalist for Sammy Hagar. But things got ugly and the VH thing came never true (they recorded their next album with Gary Cherone from Extreme). Here to give us his insight and thoughts about the album, the classy singer and artist, the one and only, Mr. MITCH MALLOY...
How long did this album take to make from start to finish, recording-wise?
I think about 3 months. Maybe even more. We went slow. Did it right. ;) Took a break after tracking to clear our ears out before we mixed it.
What kind of initial budget are we talking about here?
How much of the budget did you actually spend on useless equipment and other nonsense?
Iím a no nonsense kind of guy. So none.
What kind of 'sound', production wise, did you have in the back of your mind, prior to entering the studio?
Exactly what it is. I was extremely focused on getting the sounds I wanted as well. And the parts. And had enough experience in the studio to achieve them and to know how to get them. Remember I made this cd when I was 29 I was no longer a kid.
What kind of input did Sir Arthur Payson (the producer) have during the process?
He was great. And he let me have the final say on everything. He was great at guitar parts as he was a guitar player so he was very hard on all of us guitar players. He was hard on me singing wise as well. Pushed me. He was great. He knew when it was right and when it wasnít.
Did the producer (you) use any (weird) experimental miking and/or recording techniques?
Not really it was pretty straight ahead except there were over 20 mics on the drums. LOL I do have a secret guitar mic that I keep a secret though.
How much time did you spend on overdubs?
Two months. A lot. Most of the record was done that way.
And were you pleased with the final outcome? (sound - production wise)
Extremely pleased yes. Still am. As stated earlier yes I co produced the record without written credit. And I was a producer engineer years before that and in fact my productions and mixes got me my record deal. Malloy 88 was some of that.
Your thoughts about Des Child and working with him?
Was exciting as he was the hit writer in my style of music. And he thought I would be huge. He always believed in me. But thank you for not making the bone head move of assuming Arthur is Desmond and Desmond is Arthur. Maybe I have finally dispelled that idiocy. :) Two extremely different people. If it wasn't for Des I never would have met Arthur though as it was singing on Desmonds solo cd that I met Arthur. He was the engineer. Great guy.
Did the record company interfere with anything on your "sound" and "songs", considering what's 'hot and not' at the time?
No they left us alone. On the first cd. The second was another story but we won't go there.
Let's talk about the lyrics. Are you just as fond of them today or are they typical of its time?
I'm not embarrassed if that's what you mean. I'm sure I could do better now as I feel I have really come into my own now as a lyricist but they don't bother me. Not to sound boastful on that last comment let me rephrase that. It's nice to now write lyrics and they come much much more easily than ever before. It's actually fun.
Your favourite songs off the album and why?
Anything at all. Hit. Over the water. Soulful groove.
Any 'oh-I-wish-we-had-never-recorded' song or other regrets?
Were there any other tracks recorded during those studio sessions that didn't make the cut?
Yes shadow in the dark and Never give up on you.
Are there any 'crazy' behind the scenes anecdotes from these sessions that you can share with us?
Not really my drug is music. I'm not in it for the party or the sex or whatever. I'm all about the music and always was. For me that's the party.
Were you ever a "priority" case or merely just another release at your record label? Did you ever feel like they supported you enough afterwards? (promotion-wise, tours, etc.).
Yes the priority. They would have done better to get me on a tour opening for Bryan Adams or someone like that.
If there's anything you'd like to add, say, or promote, please do:
I'd like to just say how much fun my career has become. I love the fans and I'm especially having a good time meeting new fans when I go out. People come up and say hi and it's cool getting to meet them. Also I'm producing new young talented artists this year and I'll be announcing their cds when they are finished. I'm also mixing
and mastering cds. And I'm also playing live with Bad Co former singer Brian Howe. Playing Bad Co songs live. In all aspects of my career I'm having a blast. [Mitch can be reached at: firstname.lastname@example.org]
Interview by: Urban "Wally" Wallstrom,