We were all pretty well into the living in Los Angeles thing by now. No real problems in the band yet, and still enjoying the whole thing. Rick and Roger still cranking away with great inspiration and the band with them every step of the way.
We dumped the place in Malibu when we hit the road in 77 to do the quietest moments tour, and when we came back, set up a proper office for Dave and his staff and a studio scene for us to rehearse and maybe record in. We named it Southcombe in honor of the farmhouse in the west country of England we had all gathered in in the early days to prepare Crime of the Century. Except this was in scenic downtown north Hollywood. But back to work it was.
We booked the Village Recorder, a studio in Santa Monica, to do the next record. Pete Henderson was asked to co-produce and the work began. The studio we were in was fairly small but cool. Nice vibe. It took a little while to get the sounds up and a long time working on the drum sound. John was set up in the loo around the comer for separation and kept a running log on a roll of sturdy toilet paper. It read something like "arrived 1;00... Played music for 20 minutes ... took a break ... had coffee ... played music ... took a break ... worked on drum sound ...drum sounds ... drum sounds ... drum sounds ... drum sounds ... Drum sounds" Until we couldn't any longer. Any way at the end of recording John presented it to manager Dave as a souvenir of the making of He tacked it up , like a zany moulding around the top of his office and it must have looped the office a dozen times. I wonder if he still has that?
In the same studio and right next door was Fleetwood Mac working [sort of!] on their follow up to Rumors. Obviously some cash flying around there. We'd be on the street trying to decide if it would be the cheap Mexican food joint or Mcdonalds for dinner and this van would pull and 4 guys in white outfits would jump out, whip open the doors and tray after tray of food would disappear into the Fleetwood's studio. We'd all stand there shaking our fists thinking 'you bastards!' All in jest of course.
In the studio just on the other side of us was Steely Dan working on their next something. Cool place to be. We had tried over and over again to get the backing track for Child of Vision. We used to try and record as much all at once as possible. Hence John in the toilet, me and Dougie close, Roger on Wurlitzer, same room [in this circumstance] and Rick at the grand behind glass.
Well, this day we come in have a little loosen up and go for Child of Vision. Bang, first take. Complete with piano solo. Same with the Logical Song. Complete with sax solo and Rick on Hammond.