Dave created some loop tapes for me to take and I took a bouzouki, rababa (one string Egyptian fiddle), and a mesmer (a reed instrument). Unfortunately, Dave could not get the time off but I was lucky to be able to spare 3 weeks and so I went to San Francisco. The Rez’s had a space in their diary for us to get together again and they suggested we try and finish the project.
“In 1983, after the London Mole Show, Dave and I met with the Rez’s backstage and we talked about that tape. We ended our visit with a tape of selected sections of the improvisation with some limited overdubs, this tape exists and was given the working title of ‘4-Daze’. For all it’s ‘anarchic’ quality, Rez and RatL music was/is extremely crafted (or at least a strict quality control). It turned out the Rez’s and we were very similar in work methods and although we all thrived on the spontaneity of the improvisations, the processes that followed needed to be very carefully considered. Day 2 we would split into two groups, one to write lyrics/devise singing (me and Rez’s) and the other to consider overdubs (Dave and Rez’s). It was hopelessly optimistic and we quickly realised that we couldn’t do it in 4 days, so the project was shelved.”īrian, “Day 1 was the jam and selection of bits to use. So we spent a couple of sessions just jamming with the tape running and then started going through the material and looking for the best bits that we could work up into something. “When we first went to San Francisco in 1981, there was this idea to record an album from scratch in four days.
To date, Renaldo & The Loaf are the only group to have co-produced and recorded an album with The Residents. 2017 CD: Klanggalerie gg200-2 (with bonus tracks)Īll song writing and playing by The Residents and Renaldo & the Loaf.įeaturing Nessie Lessons (vocals, “Crashing”) and Snakefinger (guitar, “Sitting on the Sand and “Extra: Version” and violin, “Africa Tree”) History.1999 CD: Ralph America RA004 (limited, numbered).
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