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In the early fall of 1973 we were in transition in two ways. 1) Gerry Stickells became our new road manager. He had been road manager for The Jimi Hendrix Experience just a few years before, and 2) SKIP KONTE was added to the band. Danny, Chuck and Cory wanted to try adding another keyboardist to play in tandem with Jimmy and handle, among other things, string pads to some of the arrangements on stage ... thereby freeing Jimmy up to play more of what he had performed in the studio. It was common for, both Jimmy and me, to have to learn our own licks again after an album had been completed. Let me explain. We were diligent in trying to keep the overdubs to a minimum. This was done for multiple reasons, one being the importance of being able to perform our songs live and have them sound like the record. Over the years that has been a staple of the group. We certainly did overdub. It's part of the creative process. Why didn't we just play a "composite" routine in the first place while recording? Truth is, there are recording techniques that facilitate getting the best sound and performance. The way we worked, the recording process itself was part of the arranging method. Things were developed in the studio, as well as in the rehearsal studio prior to recording. Jimmy many times, having done a few overdubs, would also have to create a "composite" performance for the live concerts. He and I take great pride in developing those musical passages for our gigs.
Skip Konte was a wonderful talent and a really laid back, personable guy. He had been in Blues Image and wrote "Ride, Captain Ride" ... their big hit record (also recorded at American with Richie and Bill). Skip, during performances with us, was billed as "The Wizard" and dressed accordingly onstage with full make up and costume. Here's a picture of Skip getting ready before a performance. SKIP KONTE: The Wizard |
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