Now I sing in the La Jolla Symphony chorus, and exercise my main musical passion composing electronic music in my home studio—my goal to be in Guinness as the oldest first time hit maker in history (I just turned 70! Ugh!!)
Studio tricks? Well, my strength was “punching in,” so that, whether a vocal or an instrument, the performance seemed seamless.
My best mix was Family Affair, which was totally unorthodox in the sense that everything, and I mean everything (including bass) had reverb, EXCEPT the Sly’s vocal. And over and over, I’ve been asked why his vocal sounds the way it does; so there you go.
I also filtered out all the 1/16th notes in Sly’s rhythm machine so it sort of sounds like a heartbeat. Sly, at first, didn’t like it, but he came around.
And I severely edited Sly’s guitar, muting stuff that I thought detracted from the sonic landscape. That’s why it disappears and tails off after the solos (he actually played through the whole song) leaving only Billy Preston’s keyboard as the main melodic instrument in the “basic track,” which of course wasn’t because everything was overdubbed after Sly laid down the chords on his keyboard with the rhythm machine.
I did meet Rusty, but with the majority of my work with Syl being with Riot (with all the original band except Gregg Errico), and with just a little in LA for Fresh, consequently, I didn’t interact or know Rusty very well. He probably doesn’t remember me.