HHк(џсџтљFG(ќHHк(d'@(@B"d$€d+33+33HH§‚@/D@ИTм‹ИTоёof MP(ќHH€ЕDб У} EXPENSES 92XLS XCELЩлаЅАичЇЧh[Dб Х і~DefaultџџЉ#лЄџ џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ.0dџџџџ "”"”Geneva Helvetica*ј,P 0dџџ0dџџ 0dџџ0dџџ€Qffff џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџћџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ.џ џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ. џџџџ.и идоии$ƒ идои Jim Vallance Jim V $ƒќ   ў ќ‡ў/‡01ˆ‡џњ% !"#$&(‡,‘'-џ)*+.е24allanceXџџџџ ИTпћG4 Desk:џV+33HьЬЭQр0РџT+33HьЬЭAр:Œ Ў Р7January 6, 1999 Bryan asked if I'd contribute some memories from writing and recording his first album in 1979. I hadn't actually listened to it for ten or twelve years, so I dug through my collection of old vinyl recordings in search of a copy. I discovered that I actually own two copies of Bryan's first album, one of them unopened, still in the original plastic wrap! I decided to leave it that way. Who knows - in another twenty years it could be worth two or three bucks! At first glance after all these years, I wasn't sure what to think of the album artwork. It's basically a fuzzy picture of Bryan grimacing, like he just ate a really bad taco. I also found the credits were hard to read - tiny black print against a purple background. I rememberer the record company sending us a rough copy a few months before the album was released, and the print was even worse - you couldn't read a word. Bryan made them change it. He was really into quality control, even at that early stage of his career. er. I don't think the record company knew what to make of him, this cocky kid telling all these seasoned professionals how the album should look and sound. The truth is, Bryan was usually right. For one thing, the first pressings didn't sound as good as they should have, so Bryan insisted on re-cutting the masters. He was so pissed about it he phoned the A&R man at home at two o'clock in the morning. It got fixed. The songs on the album are a real mixed bag. InBryan still hadn't defined himself musicallyck in the morning. It got fixed. The songs on the album are a real mixed bag. In 1979 Bryan still hadn't defined himself musically, and he hadn't quite found his voice yet either. There are a few glimpses of the singer he'd be one day, but for the most part the album is "all over the map" stylistically. And none of the songs compare to later ones like "Summer of '69" or "Everything Iy or February 1978. It was a chorus of mine married to a verse of Bryan's. A real pretty melody, even if the lyrics are a little vacant. I don't have a copy of the version recorded for the album, but I remember it being quite good - at least as good a Do". Still, the album can't be completely dismissed. It's a decent first effort. In addition to the nine songs on the album, there are several more that were recorded but not included. "Stay" was one of the first songs we ever wrote, back in Januararwas "Hold Me Once", written by Bryan and our friend Eric Kagna. We did a huge production on that one, with twenty violins and cellos from the Vancouver Symphony. I thought it was a definite contender, but even though we were desperately short of materials anything else on the record. It even had a lovely string quartet on it, arranged by Eric Robertson. But for some reason Bryan decided to leave it off the album. A few years later recorded by the Canadian group "Prism". Another one that didn't make i to record Bryan's first album. Here's what I remember about writing and recording those songs. Hidin' From Love We wrote this one in 1978 in the living room of my rented house at 12th and Carnarvon in Vancouver. I don't know why we wrote it in the living room. Maybe it was one of the times when it had rained a lot, which means my basement studio was probably ankle deep in water. song came from a combination of styles and influences: a bit of The Cars, a bit of Toto, a smattering of Kraftwerk. The The song came from a combination of styles and influences: a bit of The Cars, a bit of Toto, a smattering of Kraftwerk. The Cars first album, in particular, had a big influence on us. It's easy to hear how the chorus of "Hidin' From Love" was inspired by "Just What I Needed". And we even used hand-claps like "My Best Friend's Girlfriend". As I recall, Bryan played all the guuitars, including the solo, and I played bass, drums and keyboards. Some of it may have been recorded at Pinewood Studios in Vancouver. Win Some Lose Some The song grew from a chorus written by Bryan and Paul Dean (Loverboy), combined with a verse rirse rickless", and bits of "Into The Fire". "Win Some Lose Some" was recorded by Hayward Parrott in the small room at the back of Manta in November '79. We were going for a "Beast of Burden" sound, so we stuck a microphone down the hallway to get some ambience on the drums, but it ended being mostly inaudible anyway. I played drums, guitar and organ. Bryan played guitar. I can't remember who played bass - it was either me or Jim Clench (BTO). Wait and See Bryan wrote this with Allee Willis, who was having huge success at the time with "Earth Wind and Fire". Give Me Your Love Bryan wrote this one on his own, which proves he doesn't need much help in the songwriting department (but I won't tell him if you don't). It's my favourite song on the album, with a great guitar solo from young Bryan (he's a lot better soloist than most people realize, even way back then as a teenager). They still play this one on Canadian radio from time to time. Marek Norman sings backing vocals with Bryan in the choruses. Marek was a friend of mine from Vancouver who happened to be at Manta that day, and we asked him to give us a hand. He was in a rush to get somewhere, so we told him it would only take a few minutes. It ended up taking two hours! Bryan played keyboard, and I played drums. Tom Szczesniak is on bass. During the mix in L.A. Bobby Schaper put an Eventide delay on the drums, which was quite a snappy new idea for back then. I remember having a great night out with Bobby and Bryan at the Tick-Tock restaurant in old Hollywood. The place was so normal it was weird, like the "Andy Griffiths Show" come to life - chock full of senior citizens in chequered shirts and polyester trousers eating sliced turkey and mashed potatoes. It was a surreal slice of Americana, right out of a movie, which is the whole reason Bobby brought us there. We had a ton of laughs that night. Wastin' Time Another song Bryan wrote on his own. I can't remember if he wrote it specifically for BTO, but they recorded it for their Rock 'n Roll Nights album, which I produced. When Bryan discovered just how short his album was going to be (only 26 minutes of music) he decided to add "Wastin' Time" at the last minute. Even with the extra track, the album still had less than 30 minutes of music - pretty poor value by any standard! We recorded "Wastin' Time" during the mixing sessions at Sunset Sound in Los Angeles. Bobby Schaper engineered, and David Hungate (Toto) played bass. Bryan played guitar and I played drums. We did it iff of mine. The lyric is mostly Bryan's, about Angela Hudson, his girlfriend at the time. We wrote it on September 5, 1979 at my house in West Vancouver. I had a proper little studio in the basement and we did all our writing there, up to the end of "Ren a couple of hours. Don't Ya Say It Bryan and I wrote this in my room at the Hampton Court Hotel in Toronto in August '79 (I was producing the group Cano at the time). The title was inspired by Paul McCartney's "Don't Say Goodnight Tonight". Stylisticat at Sunset. Bobby didn't like the solo we'd recorded in Vancouver, and he said, "You know, Gene plays a pretty mean sax". We didn't believe him until Gene pulled out his horn and started to blow. He nailed the solo in a couple of takes. It was a magilly it's a remnant from Bryan's brief disco career (the song "Let Me Take You Dancin'" spent a couple of weeks in the U.S. charts in th a remnant from Bryan's brief disco career (the"Let Me Take You Dancin'" spent a couple of weeks in the U.S. charts in th Bachman's drum kit. I can't recall if it's me or Matt Frenette (Loverboy) on drums, although I'm pretty sure Jim Clench (BTO) is on bass. Bryan played guitars, and I played keyboards. There's an excellent synthesizer solo by Peter Bjerring, done on an Arp Odyssey. The Arp was pretty "state of the art" at the time, but now its considered an antique! I remember sitting with Bryan in his hotel room in Los Angeles, a year later, writing out the credits for the album. When we got to Nancy, Bryan decided to leave her off. I still don't know why. State of Mind We wrote this at Manta one day during the album sessions. It's a blatant rip-off from Toto's first album - I can't remember which song, maybe "Hold The Line". Eric Robertson did the horn arrangee Spring of '79). For me, one of the highlights of the album was Gene Meros' sax solo on "Don't Ya Say It". Gene was Bobby Schaper's assistan sax solo on "Don't Ya Say It". Gene was Bobby Schaper's assistana Say It". Gene was Bobby Schaper's assistanc moment. Remember We recorded the basic track on October 20 and 21 (1978) at Mushroom Studios in Vancouver. The horn overdubs and Nancy Nash's backing vocals were done a few days later (October 24?). I was producing BTO at the time, so we used Robbieement. I played drums and keyboards and Bryan played guitar. I'm pretty sure that's Tom Szczesniak on bass. Not a bad song really, except maybe for the lyrics ("I know that you're curious, so don't look so serii serius")?!?!?!. Try To See It My Way I w decided to leave it off the album. A few years later it was recorded by the Canadian group "Prism". Another one that didn't make it for the album, Bryan decided to nix that one too. But I'm getting ahead of myself. It all really started on October 28, 1979 when Brya boarded Canadian Airlines flight #80 from Vancouver to Toronto. The next morning we rolled into Manta Studios rea79 when Bryan and I boarded Canadian Airlines flight #80 from Vancouver to Toronto. The next morning we rolled into Manta Studios readyous")?!?!?!. Try To See It My Way I wrote the piano riff at The Record Plant in New York in April 1979. I planned on giving the song to Ian Lloyd, but Bryan liked the idea, so he and I finished it. We stole the titl by The Beatles. Jeff Baxter (Steely e from the opening line of "We Can Work It Out" by The Beatles. Jeff Baxter (Steely Dan) played most of the guitars. Not a particularly memorable song. к3Ћ~ X$ i( ”§ ЉbцеЖИŽU#б@џџџЫYЋˆš hs)УХ Њсu† OЦЈQџT+33HьЬЭAр :А РџT+33HьЬЭAр :  Рџ