The Gospel

Die Autobiografie von Steve Lukather steht schon eine Weile im Regal – war direkt nach Erscheinen ein ganzer heißer Tipp von Wolfgang Haffner.
Jetzt endlich gibt es Zeit und Muse dafür – und ich bin, Kopfhörer und Spotifiy in Reichweite, mittendrin im LA der Siebziger und Achtziger, vor allem gebannt von den vielen tollen Porcaro Stories.

>>The other guy who hung around us was Roger Linn. At the time, he was Leon Russel’s guitar player and engineer and a very tech-minded guy, so naturally befriended Steve [Porcaro]. One day, Roger called Steve up and told him that we all had to come over to his place. We went round to Roger’s apartment, and he had set up on the living-room table this Roland box that was ripped apart with soldering irons and shit coming out from the sides of it. Roger had has us sit on the couch and pressed play, and out of this box came the sounds of a snare and kick and hi-hat, playing 4/4 time. Right there, Roger had invented the prototype Linn drum machine. Now, as the drummer among us, Jeff was horrified. He leapt up off the couch, violently shaking his head, and shouted at Roger, ‚This thing can never leave this room – we have to destroy it!'<<
(Steve Lukather „The Gospel“ Constable 2018, Seite 70f)

Im weiteren Verlauf der Geschichte arbeitete Steve P.  mit Roger an der Ausstattung der Linn LM-1 mit (>>involved in the process of hooking a clock up to the same kind of machines so that synthesizers could be run to it<<) und 65 Seiten später erzählt Lukather die Geschichte von Bensons „Turn your Love Around“, einem Schnellschuß zu dem Jeff Porcaro die LM-1 programmierte – und der ganz nebenbei, 1982 mit einem Grammy geehrt wurde.

Auch ein schönes Bild in meiner Vorstellung, die Randnotiz zur Jam-Supergroup „Phux Snot“ mit Carlos Vega, Lenny Castro, Mike Landau, Will Lee und Eddie Van Halen.
>>In 1992, we played a single-night stand at the Baked Potato. The word got out inadvance and something like 4000 people lined up on the street outside, trying to get in to a hundred-seat club.<< (Seite 95)
Ebenso: >>It was a great dinner. Afterwards George [Harrison] said we should all go to Jeff Lynne’s house and have a jam. Holy fuck, yeah… So Jeff welcomes us – he really is one of the nicest cats ever and now a friend – into his studio. Bob [Dylan] picks up a bass, I grab an acoustic guitar, George grabs a Rickenbacker twelve-string (Beatles style); and there’s [Jim] Keltner on electric drums and Lynne on keyboards.<< (Seite 242)

Ganz anderer Sound, dafür doch eher mein Evangelium: die Platten von Fila Brazillia. Die wurden jetzt allesamt ins Bandcamp gestellt und Steve Cobby (die eine Hälfte des Duos) erzählt im FB verschiedene Anekdoten dazu.

>>The vocal sample that the tune was titled after was from a Peanuts and Charlie Brown LP that was purchased from Oxfam. We never really bought into the idea of only sampling from classic RnB or Soul and much preferred sifting through the rammel on offer in second hand shops than taxing classic soul or funk tunes. Not that we didn’t do that as well, but we liked the challenge of melding curveballs into righteous work.<<
Steve Cobby FB, 14.02.20