Interviews

Colin: There’s stars, and then there’s stars. There’s the Beatles, then there's everybody else.

BW: When I was young, we‘d be on road trips in California, maybe 18 or 19 years old. And one of your songs would come on the radio as we headed down to play in the Santa Barbara rugby tournament. We'd hear “Down Under,” and soon we'd all be singing along. He must have been like that to you.

Colin: The novelty never wears off. You're on stage. You're playing with Ringo. And there's nothing wrong with that at all (laughs). It's a mind blower, all the time. You know, it's also a great experience. And you get to get to play with all the other guys in the band, too – to play everyone's songs, and be a sideman for this song and that song. It’s an interesting group of people, an interesting format to be involved with as well, because as you say, everyone's got their individual hits and stuff. But the reason why it works is because of Ringo.

I remember a story that Joe Walsh mentioned. Ringo told Joe what he was up to, and said “I’m going to be doing something new and put a band together. I'm going to go out on the road with all these people, from all the different bands.” And Joe said, “I don't think that'll work. There are just too many egos.” And Ringo said,”Oh no, it'll work.” Joe responded, “Why do you think that?” And Ringo just smiled: “Because I'm Ringo.”

BW: (laughs) Yeah, he would definitely have that effect.

Colin: And that's it. You know, that's the reason why people do it, and they forget about their egos. And for the most part, because they get to do great work, and they get to play with Ringo, right at the top of the food chain.

BW: You mentioned Joe Walsh, and he is just astounding. I saw him on Daryl's House a while ago, and he was incredible. Listening to him on Pretty Maids All In A Row, it’s just such a pleasure. It must be great for you too. He’s so unique.

Colin:Such a unique sound and a unique soul, too. He still plays a lot, and he still practices. And he's got great chops. Joe Walsh, he’s just fantastic. God knows it's wonderful when he’s in the Eagles - and that's the standard point, isn’t it, when Joe steps up to the mark.

BW:And I now see we’re at the mark as well, and just want to thank you for all your music, and the time today. And again, it’s a wonderful album.

Colin: I appreciate that. And thank you.

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Chad Fischer

Chad Fischer is the producer of the album, and Colin’s creative partner in this lockdown endeavor. We had a brief conversation about his experience making the album. And as I discovered, a chance encounter decades ago led to a lifelong friendship between the two musicians.

BW: Chad, Thanks for taking the time to discuss the new album.

Chad Fischer: Of course! It’s been a great experience.

BW: How did you first meet Colin?

Chad Fischer: Back in the 90’s, I was the drummer for a band called School of Fish. I met him through a mutual friend. I was renting a room at a house in Laurel Canyon, walked in and saw him at the kitchen table. We hit it off, and I started going to his place in Topanga Canyon and playing drums with him. We’ve been great friends ever since - best men at each other’s weddings, you name it. It’s been wonderful.

BW: We all know him through Men at Work, but I rediscovered Colin by way of the “Garden State” soundtrack. I understand you were hired to score the film – and it won the Grammy that year.

Chad Fischer: You know, in terms of that soundtrack, we owe it all to Zach Braff. He helped Colin and I enormously. And there’s an interesting back story to it all. After School of Fish, I moved on to a band called Lazlo Bane, and we ended up doing the theme for the TV sitcom “Scrubs.” I was still living in Laurel Canyon, and producing a number of singer/songwriters there. Zach started coming to some of Colin’s shows, and brought the creator of Scrubs as well. Eventually they got Colin’s music on the show. And later on, Zach wrote and directed “Garden State,” and had me do the soundtrack. I was working with Alexi Murdoch and a whole community of singer/songwriters. It jump-started Colin’s career again, and mine as well. We all owe Zach a big bottle of wine.

BW: That’s a fantastic story. It was a landmark album for those times, the way “The Graduate” was for the 1960’s generation.

Chad Fischer: Yes, and Zach was inspired by those movies too. It was another thing Colin and I shared, but this new album is the biggest thing we’ve done together.

BW: Sounds like the collaboration is built on that friendship and trust. What’s it like working with him?

Chad Fischer: His work ethic is incredible. A lot of people don’t realize this, but Colin is a Scottish warrior. A road dog, a work horse, he never ever stops working. He’s put out so much content, and the guy is in it to win it. It’s been a 30-year comeback in the making. He’s climbed up through bigger and bigger venues as time has gone on.

BW: Tell me about producing an album in the midst of the lockdown. As you’re involved in the arrangements, how did it go?

Chad Fischer: In terms of the music-making process, his voice was the star of the show. It was a backwards approach, as we built everything around the vocals. Usually, the vocals are inserted in a rush at the end of production. But our system worked great, as the vocals were center stage.

It was a great way to do a record. Colin would do the vocals first, focus on his performance, then send me three or four tracks and say “do whatever you want with them.” He would send me the vocals and guitars, and I would add my parts at home. I would get carried away and put in drums, bass and piano, and go for a wall of sound, like Spector. And a number of people helped us, including Louise Goffen, Carole King’s daughter.

We exchanged the files in hirez, and in this case, it all turned out beautifully. I place the focus on the separation of elements. I’ve discovered the real issue typically isn’t the resolution of the medium, it’s more about the mix itself - the overlapping frequencies that muddle the mix. If it’s recorded well, then it’s really about the separation of the instruments. Frequency management has been the main job in my recordings - for example, a tubby guitar that masks a piano and overpowers the other parts - those aspects are the real problem in overall sound quality.

BW: It came out beautifully. And where did you listen to the mix - what’s your playback chain?

Chad Fischer: Well, to test mixes, I built an identical model of the Apollo 11 space capsule in back of my house.

BW: Wait a minute. (laughs) That’s awesome!

Chad Fischer: Yes, it’s pretty fun. It has two subwoofers and a great sound system, and I would listen to the entire album there, to get a sense of how it sounded. It worked out perfectly.

BW: We’ll definitely need to hang out in that capsule sometime soon.

Chad Fischer:Absolutely so.

All rights reserved by Bill Wright Copyright 2022 Many thanks to Compass Records for arranging these interviews. You can catch up with Colin Hay here:

Can’t Find My Way Home:

Waterloo Sunset:

I Just Don’t Think I’ll Get Over You (Garden State Soundtrack)

Beautiful World (Alternate Mix)

Photograph (Happy 80th Birthday Ringo Starr tribute)