TECH TALK

TECH TALK

FUTURE COMES TODAY FOR RICHARD LLOYD by Billy Cioffi

I don’t know if it’s true that, as one writer put it, the first thing Richard Lloyd grabs when he wakes up is his Stationmaster, but i wouldn’t be a bit surprised if Lloyd does dream about guitars. He’s certainly obsessive in his dedication to the instrument and Richard Lloyd is determined to live up to his seif-expectations.

The world first became aware of Lloyd as half of Television’s potent guitar force—the other half being Tom Verlaine. Television’s remarkable first album, Marquee Moon, is still influencing a generation of musical conceptualists. Although it was a commercial flop upon it’s release, Marquee Moon is often cited as one of the most important records released in the last 20 years.

When Television went the way of most bands (splitting due to “creative differences”), Lloyd released another critical milestone: Alchemy. The first solo effort by the guitarist was greeted by generally warm critical response but lukewarm sales. Following the record’s release, Lloyd did battle with drugs and drink, but, happily, has re-emerged.

His official rebirth came with the release of Fields Of Fire, recorded and released in 1985. He cut the record in Sweden and it was, once again, a favorite among the critics, but was never released in America. Now, his new Celluloid album signals the apparently sincere desire by his label to secure Lloyd a foothold beyond that of cult status.

Talking with Lloyd in New York recently, he brought me up to date on his resurrection.

“I’ve just been in London doing press and talking to people over there. We’re now rehearsing, doing a few scattered dates and getting ready for whatever they (Celluloid) need us for. I’m also about to buy a whole bunch of recording equipment for my house. I’ve never had a four track! Once I get that I’m going to look at writing some new stuff.”

Why has Lloyd decided on home recording and a whole new creative process?

“It wasn’t on purpose; it’s just part of my failings. I’m rectifying it so I can have more work in progress.

“When I went off to record Fields Of Fire, my management said, 'Well, we haven’t heard the songs,’ and I had to say, 'Well, they’re in my head.’ They flipped out: ‘What do you mean, in your head?’ It was like an easel. I didn’t have the paints to put them down, so everything stayed in my head. Anyway, this is going to make things a lot easier so I’m really looking forward to it.”

Why would Lloyd choose to do a live recording at this point in his career?

“I know that this record is the right step for me. A kind of conciliatory effort so I can find out who l am, where I am. It was actually four years between Alchemy and Fields Of Fire. This new one is a way for me to get an overview of myself, so I can know who I am. It kind of solidifies things for me. Plus the record sounds better than anything I’ve done yet.”

The producer of Fields Of Fire was Steve Katz, whose musical history and pedigree reaches back to the early ’60s. After a stint as a folkie, Katz founded the Blues Project, then went off with Al Kooper and formed Blood, Sweat & Tears and sold about 50 million records. Instead of becoming involved in BST’s Vegas period, Katz went off to co-produce Lou Reed’s Rock And Roll Animal.

“What Steve brought was ‘air,’ ” says Lloyd. “He’s that kind of guitarist. My

tendency is to fill up every available crack. His tendency—because of Blood, Sweat & Tears—is to have more space. It’s helped me a lot in terms of restraint and in terms of reverb and stuff. The amount and degree that I use it. For example, leaving the drums a little drier. My overall sense is to make everything ‘swimming wet,’ and you have to be careful. I learned a lot from him and I really want to try and utilize these things in recording. That’s the other reason for home recording: you start to get a better grip on the production facet of making music. Making a record is not like making a live show—it can be—but it can also be a number of other things. One of the most pleasing things about this record is that, although it is live, people are listening to it and not realizing it's live! When I tell them they say, ‘Oh, I didn’t know that.’ ”

Lloyd’s sonics are pretty simple when it comes to his basic rig... although there is a ringer thrown in here and there for sound’s sake.

“I would love an endorsement from Fender guitars, but they don’t really need an endorsement from me!” he says. “I am playing a Stratocaster through two amps: a Roland JC120 and an Acoustic G20-110. The Acoustic has one 12” speaker, but I like the reverb in it. I also use a Korg Digital Delay rack mounted and set to about 400 milliseconds, eight repeats.” ?

And what does Richard Lloyd listen to for pleasure nowadays?

“I’ve been listening to a couple of songs on the Lolita Pop album—they’re friends of mine from Sweden. I’ve also been listening

to Roy Orbison. I saw him on Saturday Night Live and he blew me away! His voice was so.. .I couldn’t believe it! I’ve been doing a lot of vocal work and singing this last year, so I’ve been paying a lot of attention to that aspect. It used to be that it didn’t matter what they were singing ’cause I focused in on guitar. Now I’ve been paying more and more attention to vocals and Orbison has so much vitality!”