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because in the beginning when I started producing, I think my biggest Canadian production at the time was a band called Teenage Head. 'Frantic City'? You may remember them. These guys were pretty unruly, if you remember.
They were very punk like. They were the rebels of Hamilton, Ontario and Attic Records said ' Stacy, I got this punk band I signed and I don't know if you're going to be able to handle these guys. I'd like you to produce them if you'd consider it. So, Al offered me that gig, we did 'Frantic City', they flipped a police car in Ontario Place and the rest was history.
To unprofessional musicians, I would be considered quite a no b.s. guy to work with.
Big Al, I have to ask, what is this game called H.O.R.S.E.you played over 200 times all about?
Big Al: That's funny you say that. I'm sitting here listening to some of these stories. You know, I've always been a little intimidated at Stacy so i'm getting all this knowledge when he talks. It's really neat to go though these. But we did quite a bit of basketball shooting because the studio was so big we had a set up there where we could play a little ball. It was a lot of fun. It really was. That spent a lot of time getting us out of, probably the booths so Stacy could actually get something mixed.
Soon after, the band pushes out a second release, with Stacy's help , 'All Fired Up' with no record label. What happens with that song?
Big Al: Well, that was the second LP. The first LP, 'A Mother's Nightmare', it did pretty well. the problem we had was one company wouldn't do this unless the other company did that and then when you have that kind of struggle, you know, you get washed in the mix.
Things happened and Stacy actually ended up sticking around in town and bought a studio called Daily Planet over in Virginia Beach. Since
I was a big guy I got a phone call and asked if I could move a Stutor 24 track analog monster into this thing and you know, hung out a little bit. I convinced Stacy that we still had more songs to do. I am really thankful for him because he believed in me and put us in the studio again with a very limited budget. We had a little budget and we got it done. So we did another ten songs. It was neat to watch Stacy work. It was some magic I had seen. Him flipping guitar solos backwards. Pulling some really cool effects on my vocals. Now this is from 1991. Now we jump to '95. The technology's a little changed. Our first album everybody was trying to press analog on over to digital. Then here we are taking analog. Fast forward to today and the new album 'Oxymoron' that we did, it's been a lot of changes. I guess Stacy's been a part of that the whole time.