The rule was that whoever took charge of whatever song had better beat that song up and take it's lunch money. We all produced different parts of the project and everyone grabbed the reins on different songs. My end was the hub of our recording quadrangle. "We recorded this project separately, in our four different home studios. Through the process various ways of working sparked ideas and long distance file sharing ("We had reliable back up" -Phil) and emails worked like a spread out rehearsal room and studio. Things started to really get fun and established our pattern for working together." It began to markedly change when Butch sent us his drum track idea, which started the complete transformation. "The original demo sounded nothing like the finished track. Some songs would begin with "back and forth bantering via email" according to Phil. Then I added some shaker and tambourine, and like all the drum tracks on EOW, I mixed it down to stereo and posted it."Įveryone would add parts and sort them out along the way. "It took about 30 minutes to record and edit the takes. In some cases Butch would build an arrangement from Phil's demo. Many years later, in four different cities in two different states, the band began.
They went their ways, with groups like Call Me Bwana and Fire Town, and of course Butch's career (and the group Garbage) took off after Nirvana's Nevermind became the beast that it would be.
In the late '70s Butch, Frank, Phil Davis, and Peter Anderson were playing in two different bands in Madison, WI. The main guitarist, Franklin Lee Anderson, recently mixed the album in Milwaukee, WI, and we had Dan Hersch master at D2 in Atwater Village, CA." We decided to form a 'country' band, and wrote and recorded an album, all done via file sharing from our home studios. A while back I got an email from producer/engineer/drummer Butch Vig (Tape Op #11): "I started working with some musician friends a couple years ago on a side project, The Emperors of Wyoming.
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