Moments of small insanity with Gordon Raphael

Image: Gordon Raphael 

More often than not, we forget the people beyond the band that make great albums happen. In this case it's the work of Gordon Raphael, who happened to produce one of the greatest contemporary albums in recent history, appropriately voted best of the decade in NME - Is This It by The Strokes.

Not only that, which let's be honest is an interview in itself, Gordon has worked alongside the likes of The Libertines, Ian Brown, Damon Albarn and Regina Spektor throughout his illustrious career. 

Yet his capabilities extend beyond the studio, Gordon has been part of an astounding fifty bands whilst living in locations across the world. London proved to be one of his most prosperous abodes, it was there that he established The Basement Club, an instrumental night that played an integral part in launching the likes of Bloc Party and Gordon's own Black Light.    

With an appearance at Manchester's Night and Day Cafe looming on Thursday 29th January, our man Ben Smith had a chat with Gordon to give you a taste of things to come on the night from the legendary producer.

They got onto the subject of moments of small insanity with the Libertines, rubbing shoulders with Julian Casablancas and a horde of other compelling tales that give a brief glimpse into the producer's monolithic career. 

First up, we're sure you're a man with many stories to tell, can you give us a brief idea of what will you be discussing when you come to Manchester?    

The four city UK tour I am about to embark upon is an experiment. For the last few years I have been working with bands in Mexico City and Buenos Aires, and in both of those places I am asked to speak to students at music schools and recording arts colleges.

I have probably done about 10 of these Q&A based talks and I have found them to be enjoyable and spirited exchanges with topics ranging from "what's it like working with Julian Casablancas?" to "which microphones did you use when recording Regina Spektor singing?".

Many of the questions are philosophical regarding the history and future of the music industry, the creative side of recording and I get many chances to tell stories from my life as a rock musician, songwriter and record producer.

A friend of mine in Leeds, Nicholas Ellis, actually visited me in Argentina last summer as I was playing a show there with my band. It was his idea to try these talks in a public way, and to take it to the UK where my work as a producer was first recognized and appreciated.

You already have an affinity with Manchester as such through working with Ian Brown. How'd that materialise, what did you two get up to and what was he like to work with? 

Well, since that's one of my best stories, and I want to save it for the actual night! I would say that 1) It was a completely random experience, and I had no idea I was recording Ian Brown until halfway through his first song, when I completely recognized his voice!

And 2) We both enjoyed the short recording session, and he was quite kind to me when I wound up moving to England in 2002.

So what did you get up to when you recently  travelled to the likes of Argentina, Seattle, New York, Bristol, Paris, and Berlin recently?

Well, I spent 100 days in Argentina in 2014, combining working in great studios with rock bands there, and also starting my own band (actually, two of them) and playing loads of shows. I even had an art exhibition of my paintings and my band played at that as well. It was really a great night for me.

The most intensive thing I did was record an album of twelve songs of mine with my Argentinian musicians, and I spent much time in Bristol mixing it at two studios belonging to Portishead members.

In Paris I met two great bands: Jack's On Fire and Mystified, and they took me around to many museums and amazing places over a ten day period. I also hung out with Jerome from the incredible French rock band Deportivo, which I recorded in Limehouse, London and mixed in Paris a few years ago.

We must ask you about producing The Strokes' all conquering album Is This It. What was the secret behind that album's success do you think? Were you pretty taken aback by how well it was received or did you have the feeling during recording that is was going to be massive? 

OK. I was certainly surprised and taken aback when the first thing we recorded together, The Modern Age EP (hear that below), got attention in the UK. It was recorded as a quick three-songs-done-in-three-days deal, basically a demo-tape to get them some decent club gigs in New York.

The fact that this record got written about in the press, and that their first short tour in England was attended by Radiohead members and Kate Moss was shocking for me.

By the time we were in the studio making Is This It, the buzz in favour of The Strokes was already roaring, and I, for one, had the feeling that it was going to be a sensation.

I can only add that the success of that musical moment had to be the incredible song writing by Julian, the great performances by the band, and the timing of how it arrived in the world at exactly the right point. The sound of that record was completely contrary to everything that was popular at the time.

What are your fondest memories of working with The Strokes during that period? 

My fondest memories were just how cool the songs were sounding all along the recording process, and how hard the band members worked individually and as a team to make sure that nothing was less that fabulous. 

You also produced The Libertines seminal first album, we understand they were pretty keen for you to work with them, is that correct? What was it like working with the likes of Doherty and Barat? Was it as chaotic as we'd perhaps imagine?

I was asked by The Libertines on two occasions to produce their first album and at first I said no. The second time they met me, they had switched from a kind of traditional English folk sound, to a real rock four piece group, with great drumming and vocal harmonies. I instantly said yes to that line-up, and went on their first UK tour doing live sound.

Two months later, they called me over and explained that their request to have me as producer had been vetoed by someone at their record label. I was really upset about this, to be honest, as I had my heart set on producing that first batch of songs, and I believed it would really help my career in the UK.

The tour I went on with them was not too chaotic, but there were moments of small insanity! Later while I was recording Room On Fire with The Strokes, news of drug-fuelled chaos, robberies and a jailed Libertines member played out on MTV, and in fact I was really sad then, because it seemed that the bright sound I had heard in the beginning was not going to get a chance to really be heard.

You mentioned earlier about living in England for a while, which in turn led to your club night Basement Club, giving a platform to bands such as Bloc Party, Regina Spektor and the aforementioned Libertines. How has it been for you playing a part in so many success stories during your career yet remaining relatively out of the limelight? 

Great question. Because I started playing in rock bands when I was 13 years old, I have always been drawn to the "limelight". Being on stage, and being photographed or written about really gave me huge drive to create music and art, and try to get my ideas and visions out into the public.

For example, I have been in 50 bands, and two of them got famous. Sky Cries Mary (check them out below) in Seattle to a certain degree, and I did one tour as a member of The Psychedelic Furs, which was tremendous.

Getting to tour USA, Canada and Japan with Sky Cries Mary fed my limelight urge for six years, and then producing The Strokes and Regina Spektor took it even higher.

The fact that The Strokes were kind enough to put my photo inside of their first album, was a huge blessing. I don't know any band that's ever done that before in the history of rock music.

Now, of course I still want to go much higher, and shine in even more of the limelight - this time for my own music, and other bands around the world that I may record soon. I am pleased with my own songs and I am happy with what I have achieved so far, but I still feel I have loads more to contribute and create.

For any up and coming producers out there, what three bits of advice would you give them in order to make a success of it?

Really hone in on what you believe are your best powers and attributes that will make you the best you can be.

Identify clearly which kinds of music and artists you enjoy working with the most.  

Try your best to start with whatever is close at hand. Your own songs? A band down the road? Someone you see performing at a club.

Last up is a bit of a free for all, can we have a sneak peak of a story to come during the talk at Night & Day Cafe?

The time in 2004 when Sony gave me my own label Shoplifter Records, and since I was feeling very powerful and happy I rented a huge bus, and took 5 of my label's bands up to Manchester to perform at In The City. They were: Black Light (my own band), Miss Machine featuring Anna Mercedes, Regina Spektor, Satellites and Kill Kenada. That was a great day to remember. 

Thank You! 

Hear more from Gordon Raphael when he hits Night & Day Cafe on Thursday. Grab your tickets here.

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