![]() ![]() Mike Howlett was a great producer for us – he didn’t over produce anything – he just guided us – didn’t try to change us – just made sure what we were doing was treated correctly and sounded great. How important was producer Mike Howlett in realising your sound? What happens on the road, stays on the road ? It became part of our signature sound.ĭo you have a fun story you can tell from one of those American tours at the time? Sure, Paul’s guitar work was great, to me it sounded like a distorted synth so it blended right in. ![]() ![]() My favourite soft synth is Hybrid!! Love it!ĭo you think that having quick Paul Reynolds’ rock infused guitar alongside the synths helped you along in your American success? Not such a big fan of Moog or Yamaha but that might be because I’ve never really sat with one. I don’t really have a fave synth these days, the Jupiter 8 was good, the Fantom X6 is great and the new crop of synths that are out now all sound great. I “played“ synths because it was easier than guitar and just seemed kinda exiting at the time. It was only monophonic, the second was a Korg Delta because it was polyphonic. I shoved it through a Clone Theory box and got some deep gritty chorus sounds from it. My first synth was a Korg MS-10, a brilliant little synth. ![]() What attracted you to using synthesizers and what was your first one? We didn’t really find kindred spirits in Liverpool, didn’t seem to fit in with the scene there in ’79. We had our own thing going, never wanted to be part of a “scene” really – we were individual / original / different to what was going on.īill Nelson who produced ‘(It’s Not Me) Talking’ and ‘Telecommunication’ was a key mentor for you in the early days?īill did seem understand us and what we were going for – he is a great guy and producer, easy to work with as well. How do you think you sat within that Merseyside post-punk scene, did you find any kindred spirits? It’s the best Seagulls song, followed by ‘Wishing’ and ‘I Ran’, and it’s the one I think people will gravitate to easily. Why did you choose ‘Space Age Love Song’ as the single to launch ‘Ascension’ with? What do you think the Prague Philharmonic Orchestra have added to A FLOCK OF SEAGULLS’ music?Ī new dimension, it’s probably easier to listen to. It was a no brainer, who wouldn’t want to hear this? The original quartet has been reunited for ‘Ascension’, what was the catalyst for this?Īugust Day Records asked us if we would do it. Mike Score kindly took time out to chat about both the musical and cultural impact of A FLOCK OF SEAGULLS. However, their futuristic synthesized rock (which was not that dissimilar to ULTRAVOX) has stood the test of time, with Mike Score’s solo incarnation of the band having been still very much in demand on the live circuit worldwide. However, for the first time since 1984, the original line-up of frontman Mike Score, his drummer brother Ali, bassist Frank Maudsley and guitarist Paul Reynolds have reunited on ‘Ascension’, an album of A FLOCK OF SEAGULLS’ best known songs like ‘I Ran’, ‘Telecommunication’, ‘Space Age Love Song’ and ‘Wishing (If I Had A Photograph Of You)’ all re-recorded with the Prague Philharmonic Orchestra.ĭespite being one of the first UK acts to gain a foothold in the American market and winning a Grammy in the process, A FLOCK OF SEAGULLS are often under-rated. A FLOCK OF SEAGULLS were one of the most heavily rotated acts on MTV after it first started broadcasting in 1981.īut it was the Liverpudlian based quartet’s ability as a live band and their willingness to tour as support the likes of GENESIS, THE POLICE and THE GO-GO’S in the US that cemented their success.ĭespite relocating to Philadelphia in 1985, the band lost momentum and eventually split. ![]()
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