![]() "She's this Canadian artist we've known for years, and she was on this TV show and did it on the piano. Rick Savage said, 'Well, what about Em Gryner's version? ![]() We can't do that, and obviously the label and everyone's like, 'Well, you've got to do Pour Some Sugar, it's your most popular song'. "This is the thing with strings and rock bands you can really make it sound pompous and ridiculous if you have strings copying a riff like. There are some dramatically different treatments that some people will be surprised by – especially Pour Some Sugar On Me. 'Oh, ok, that's interesting.' And from there, it was like, 'This doesn't work, let's change the sounds on that'. As soon as they heard what he what he wanted to bring to the table it was. And so this American comes on, he's the guy that we use all the time, but he's part of the band. So we got our friend, Eric Gorfain, who's an arranger, and this was kind of weird in itself, because he's an American, and we're doing this very British thing at Abbey Road with the London Royal Philharmonic, and all of that stuff. "If you just listen to the songs, you go, 'Well, this sound is wrong. And then it went on to synclaviers – all this stuff that other bands didn't do, let alone rock bands. With Mutt, it would be using samplers and Fairlights. Our motto, and when people ask if we have any tips for starting out is, well your best isn't good enough. " Mutt Lange got us into this vibe and groove of doing things – just trying a bit harder and not just doing it the normal, regular kind of way. But we didn't want to just do that ordinary average thing that everyone does. We used the parts from the old records on most of it – we re-recorded a few little things. ![]() One of the main things was the context of the sounds. ![]()
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