The S&V Interview

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Mike Mettler  |  Sep 24, 2014  |  0 comments
And then there were… five? The above photo is no trick of the tale, for you’re indeed seeing the five key members of Genesis — from the top of the stairs down, Phil Collins, Tony Banks, Steve Hackett, Peter Gabriel, and Mike Rutherford — together again for the first time in many years. No, they’re not reforming, but rather have come together to celebrate the career-spanning documentary Genesis: Sum of the Parts airing on Showtime October 10 (and expected to see home release sometime in November), as well commemorate the September 30 release of R-KIVE (Rhino), a 37-track, three-CD box spanning 42 years of both band and solo material. “I know, who’d have thought there’d be all of this activity at my age?” laughs Mike Rutherford, a mainstay of the band through all of its incarnations. “But when you see all these songs side by side, like ‘Turn It on Again’ with [Collins’] ‘In the Air Tonight,’ [Gabriel’s] ‘Biko,’ and [Mike + The Mechanics’] ‘The Living Years’ — you go, ‘Wow, that’s a great body of songwriting.’ ” Full-bodied, you might even say. Recently, Rutherford, 63, and I talked about the band’s impetus for sound quality, why tracks like “Supper’s Ready” still endure, and what might come next. Play me my song, o musical box.
Chris Chiarella  |  Feb 14, 2013  |  1 comments
Spin a few of sound re-recording mixer Greg P. Russell’s movies on a proper 5.1 or 7.1 system, and you’ll soon realize that this guy loves home theater. Having worked on more than 200 movies, including every Michael Bay opus since The Rock (although he freely admits “Armageddon was over the top”), Russell has crafted some of the most thrilling soundtracks of our generation.
Mike Mettler  |  Feb 21, 2018  |  0 comments
All photography: Jeremy Danger (2017).

Nancy Wilson doesn’t like being idle. The noted Northwest-bred guitarist/vocalist was up for tackling new challenges while Heart, the band she and her sister Ann Wilson made famous, decided to take an extended break — and she found exactly what she was looking for with her new six-piece collective, Roadcase Royale.

Mike Mettler  |  Jun 08, 2016  |  0 comments
Could there be a better name for the first all-new Monkees studio album in 20 years than Good Times? Produced and mixed by Adam Schlesinger (Fountains of Wayne, Tinted Windows), Good Times! teems with vintage energy from all four Monkees — including the late Davy Jones. Good Times! is the perfect soundtrack to accompany the band’s 50th anniversary celebrations this year, which also include having the TV show appear for the first time on Blu-ray (The Monkees: The Complete Series) and a tour featuring Micky Dolenz and Peter Tork (and sometimes Michael Nesmith, schedule permitting). Recently, I sat down with Nesmith, 74, in New York to discuss his songwriting influences, his sonic goals for his Good Times! contributions, and The Monkees’ enduring legacy.
Bob Ankosko  |  Jun 22, 2017  |  1 comments
15 Minutes with the Society for Information Display’s Dr. Taka Tsujimura

To commemorate the 30th anniversary of the OLED display, we reached out to Dr. Taka Tsujimura at the Society for Information Display (SID) to discuss the past, present, and future of a TV technology whose future looks nearly as bright as it did three decades ago when researchers cobbled together the first practical OLED device.

Mike Mettler  |  Nov 13, 2013  |  1 comments
“You always think your voice will never end, of course,” observes Jon Anderson, the unmistakable alto tenor fronting indelible Yes classics like “Roundabout,” “And You And I,” “Going for the One,” and “Owner of a Lonely Heart,” to name but a scant few of their progressive gems. About 5 years ago, Anderson’s golden voice was threatened with a health scare, but after a necessary recovery period, his singing voice is back, and stronger than ever.
Adrienne Maxwell  |  Feb 23, 2007  |  0 comments
Home Theater's second annual peak behind the Grammy curtain.
Kim Wilson Photography: Mark Schafer and Marc Stewart  |  Jan 18, 2010  |  0 comments

Homeowners love what technology provides but many prefer to keep its presence at a minimum. Such was the case in this beautiful Southern California home in the upscale Pacific Palisades area. "This project had a good sized budget of $100k to provide whole-house distribution of audio, video, phone and data," said Mark Schafer, President of Custom L.A. "Still we all encountered a few challenges such as the family room, where the client wanted a completely invisible Home Theater in a wide open space".

Mike Mettler  |  May 04, 2016  |  0 comments
Any band can sound good in the studio, but it’s the live stage where artists really have to prove their mettle night in and night out, especially if they’re interested in a little ol’ thing called longevity. One group that owned the planks from the minute it first stepped onto them is Bad Company, the British blues-rock collective that further legitimized Led Zeppelin’s Swan Song label upon the release of its mega-selling self-titled debut in 1974. Even though Bad Company became a hugely successful arena act, they never released a live album to properly chronicle their ’70s heyday — until now, that is, thanks to the double-CD offering Live in Cncert 1977 & 1979 (Swan Song/Rhino). And though he’s always on the run, Bad Company vocalist and co-founder Paul Rodgers, 66, found time in his packed schedule to get on the line with me to discuss the finer aspects of live performing, loving analog, and how to best honor the band's legacy. That Bad Company sound is their claim to fame.
Mike Mettler  |  Mar 10, 2017  |  0 comments
Paula Cole has always been an artist with a singular vision, and she’s still on point to this day. In celebration of the recent 20th anniversary of This Fire, Cole re-recorded the majority of the album live on May 1, 2016 at The City Winery in New York, along with revised/new studio versions of “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait” for release as This Bright Red Feeling on her own label, 675. Cole and I got on the line to discuss her original production goals for the sound of This Fire and its re-recording, working with Peter Gabriel, and her thoughts on streaming.
Mike Mettler  |  Aug 29, 2019  |  2 comments
We caught up with Peter Frampton on one of his days off from the road to discuss his band’s fine chart-topping new album All Blues, why first or second takes are the best options, why the sun is a recurring theme in his songwriting, and why he feels his Farewell Tour needs to be his final hurrah.
Steve Guttenberg  |  Oct 28, 2005  |  First Published: Sep 28, 2005  |  0 comments
Gabriel talks about his new dvd play, technology, and why ipod won't take over the music world.

Peter Gabriel's career got off the ground when he fronted one of Britain's top prog-rock bands, Genesis. He went solo in 1975. For this interview, we focused on his groundbreaking videos and his lifelong fascination with technology.

Mike Mettler  |  Apr 20, 2016  |  0 comments
Photo: Joe Green

I think it’s fair to say Peter Wolf is one badass Mamma Jamma Wolfa Goofa. The fast-talkin’ onetime DJ and longtime J. Geils Band frontman proves that point to the nth degree on his eighth solo album, A Cure for Loneliness (Concord), which teems with honest energy and reflective grace. Wolf has definitive ideas about how he wants his music to be heard these days. “I’m not a fan of overly compressing things or limiting stuff,” he admits, “so I try to keep it warm with a good sonic quality. I tend to keep things dryer, which is a lot more to my personal taste.” Wolf, 70, called in from his adoptive home of Boston (he’s actually a Bronx native) to discuss the sonic choices made for Loneliness, his favorite records and gear, and the inspiration for his kinetic live performing style. When it comes to the original Wolfa Goofa, rest assured your ears are gonna have fun long past the midnight sun.

Mike Mettler  |  Apr 19, 2017  |  2 comments
Though “A Whiter Shade Pale” singlehandedly sealed their position in rock history 50 years ago this May, Procol Harum continued to make sonic waves from the late ’60s on into the ’70s. Fast-forward to the present day, where Procol Harum continues to shine brightly as evidenced by the sweet and salty sounds of Novum, out on April 21. I called I called PH vocalist/pianist Gary Brooker across the Pond to discuss the live approach to cutting Novum, the ongoing impact of “A Whiter Shade of Pale,” and why he still likes playing with orchestras.
Mike Mettler  |  Oct 22, 2014  |  0 comments
“It’s a very common name. Back of $20 bills, that’s me.” Producer Andy Jackson is being typically self-effacing as he leans back in a chair across from me in front of the massive Neve 88R console that dominates the control room in the Astoria, the grand houseboat recording studio moored on the Thames somewhere near Hampton, Middlesex in England. It’s late August 2014, and it was my distinct honor to be summoned across the Pond to partake in an exclusive listening session for The Endless River, which has been deemed the final Pink Floyd album. (River will be released worldwide by Columbia on November 10.) After a rousing listening session in a place where much of the music I heard was either created, recorded, and/or mixed, I sat down across from Jackson exclusively to discuss the genesis of River, the costs and benefits of mixing in both analog and Pro Tools, and what may (or may not) be in Floyd's future.

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