cover art and inserts.
Catalogue # - TBLP 26258.
We toured extensively on our first album. Too long, in my opinion. There was two years
and 4 months betwwen the first and second album.
We started pulling together new material for the second album in the fall of 89. I think that both Paul and I tried to branch out a lot stylistically. Since the first album was a success, we were fairly self-indulgent, allowing ourselves 15 songs with almost as many completely different styles. I feel that this is the great weakness of Hack. Many of the songs are very good, but I always had the unpleasant sensation that there was always something on it you wouldn't want to hear no matter WHAT mood you were in.
We started recording in January of 90, with Fred producing again. We recorded at Francois Kevorkian's Axis studios on 54th St. in Manhattan, 16 floors above the Studio 54 night club, at which we had played at least 4 shows over the years. Fred had his own room there, in which we did pre-production before going over to the 24-track room for recording. We mixed upstairs in the A-room with the SSL. Bob Rosa engineered.
The female vocals were done by India and Mariuccia Nocera, who had some dance singles of their own.
This was when digital recording gear began to show up. The 48-track mix recorder was
digital. But what was really new at the time was when we were done, and it came time
to SEQUENCE the album. Sequencing is merely the process of assembling all the differnt
recordings together into one long tape that can be made into the final album CD or LP.
Until then this had always been done by cutting and taping together quarter-inch audio tape.
Around this time, however, digital computer recording equipment was available. Fred decided
to sequence the thing on some monster Mac's that Axis had. We had to rent, at phenomenal
expense, TWO of the biggest hard disc they could get for the Mac: 660 megabytes! It was the
first time I or anyone else involved had ever heard of a computer with more than a gig
of storage. We thought we were so cool... As Fred kept saying when there were problems:
"We're pioneers". And there were problems. We'd be running the stuff off the hard discs
onto DAT, and there'd be these little popping drop-outs... barely audible... Even after
Fred got it sorted out with DigiDesign's tech support, we were constantly listening to
little percussion sounds and nervouly wondering if they were actually drop-outs...
The whole process took until the end of 06/90. We made the "Think" video in 07/90, Peter Hewitt directed. (He went on to make the films "Bill & Ted's Bogus Journey (which he told us was going to be called "Bill & Ted Go To Hell") and "Tom & Huck"). The album came out in 09/90, and we began touring on it in 10/90.
A great deal was made of the name, "HACK". We were using the name much more loosely
than most people assumed. True, we were thinking of computer hacking, but we were also
implying the idea of musical hacks, meaning, getting the job done efficiently and
moving on. Or, as Jim liked to say, it meant that "we cut up meat!". Truth is, things
like that rarely mean as much to the band as they do to reporters and fans.
There was a small number of CD's printed with a full-color image of a close-up of part of my car, for promotional purposes only, not for sale. (Top row, right) I have one. Ha ha.
Don't ever write to that fan club address on the back. That only lasted about a year.
Equipment used on this album included:
Voyetra Sequencer Plus MIDI sequencing software
Akai S-1000 sampler
Roland MKS-80 analogue synth
Roland MKS-50 analogue synth
Roland D-50 PCM synth
Roland D-110 PCM synth
Roland U-110 PCM synth
Roland D-550 PCM synth
Oberheim Matrix 1000
Roland SRV-2000 reverb
Yamaha SPX-1000 multi-effects
And a whole lot of other stuff.
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