Tank Dilemma in action. (l-r) Shannon Bourne, Ruben Shannon,
Brenton Smith (obscured), Matt Hewson, Matt Trenery, and Richard Tankard.
This band is seriously awesome. "Do yourself a favour." - Molly Meldrum.
Here's Richard Tankard, who very kindly and wittily contributed his thoughts on the track:
"When I was sent this, initially I thought, 'why?'. I had no idea. Then, I heard something 30 seconds in that sounded like me. Aha, I thought; that would be why. Despite this, I still had no recollection on this whatsoever - until about 1.10-1.15 when an extra bar, a 13th one, gatecrashed this 12-bar modulating ... thing. Then, the vaguest of memories came flooding on back. I know not who wrote it, or even if that mystery extra bar was intentional. I do know that it's a series of 12 bars (except for that rogue 13th) modulating each time, complete with blues ending 1A.
"It seems everyone is soloing at once (this is not something I would have advised). And in the mix, different instruments are brought randomly to the foreground. Hey, this was a new millennium.
"One final keyboard observation - it's a very dry, non-rotating organ sound. I know there was a period where my Hammond XB2's leslie and chorus effect went completely on the blink for some months. Sounds like this might have been smack bang in the middle."
Here's Matt Wearne, critiquing his flute playing:
"I wish I'd put in some dynamics, put a bit of guts into it and put some accenting in, sheesh, bit embarrassing. I think it was the first (only?) time I've seen Tony Peel's studio and we talked about Volvos. I was impressed with the reverb-baffling, funky-shaped wooden wall with nice bright woodgrain."
"Yep, definitely my mix. I remember mixing it down a dozen times and trying to remember which solo to pull up when (it came in), as it was back in the days of analogue desks - none of these 'com-pu-ter' thingys."
Harry at the mixing desk at Motherlode Studios
during the recording of The Last Sane Man On Earth.