Bill Nelson
In My Opinion The Silos With The Late 80′s/early 90′s Were A A Single Of A Variety, Real Rock ‘n Roll Band.
In my opinion The Silos of the late 80′s/early 90′s had been a one particular of a variety, real Rock ‘n Roll band. The band had unlimited potential and could have set the tone for a generation of guitar-based rock bands. These of us involved together with the band knew it outright. Although our RCA record got fantastic critiques, the way the Gainesville/RCA sessions unfolded was a total disappointment. The record was a dud. (The most effective recording with the band is a reside bootleg recorded on tour by our soundman, Joe Chianicci.) This version with the band remained intact till 1992 and was a powerhouse on tour inside the US and Europe. I stayed on a little longer than did JD Foster and Bob Rupe, recording more tracks which ended up on subsequent records. My last tour with all the band was a grueling six week van tour of Germany, Austria, Spain and Switzerland. The following may be the story of my involvement within the band and of our only main label recording.Richard FordIn 1987, bass player Richard Ford had just finished operating with Joe Jackson and was settling into the freelance music scene in New York. Richard had also played with Bill Nelson of Bee Bop Deluxe as well as numerous other folks. Initially from England, Richard came for the US and lived near my property town of Randolph, NJ just before settling in Hoboken. He encouraged me for function regularly, for which I’ll be forever grateful. He is a genuine musician and could be sorely missed by The Silos in the time of his departure from the band.The Silos had just been voted Finest Band in America by a Rolling Stone Magazine Critics Poll and had been seeking for a new rhythm section to carry them to major status, finding them signed to a key label record organization. Richard was asked to play bass and he suggested me for the drum chair. The line up from the Silos was Bob Rupe and Walter Salas-Humara on guitars/vocals. Me and Richard Ford on drums and bass.Acquiring SignedIn addition to a brand new rhythm section, the band also had a brand new enterprise manager; Hoboken realtor Mark Zoltak. Mark was a former NYC DJ and was the motivational muscle behind the band.He had great concepts and knew the songs much better than these of us within the band. He often spoke his mind and had robust opinions about music. To Mark, music was either excellent or it sucked. There was no in-between. Mark truly understood the essence with the Silos. He got it. He devised a company program to unleash the improved band and get it signed to a significant label. The band rapidly became an unparalleled reside act and played dozens of market showcases in Los Angeles and within the Northeast. The plan worked. In March of 1989 the band was signed to RCA Records by the label’s president Bob Buziak. The trick now will be to capture the true essence with the band at a studio recording.A A single Man BandI was not involved inside the everyday enterprise from the band, so I cannot explain the rationale behind most of the company choices. As the September recording date approached it was obvious that there was a power struggle inside of the band. Particularly, Walter was generating it recognized to us that the band was his brain kid. (Subtext: “The record deal is all mine!!”) Though Walter was indeed a powerful songwriter, he was not even an sufficient singer or guitar player. It was Bob Rupe’s Otis Redding voice and Neil Young guitar style that fleshed out Walter’s contributions. It was the way the ensemble executed the songs and the way we played collectively that made us an incredible band. It was my hope that Bob would hold quickly to his co-leader status, checking Walter’s energy grab. To my dismay nevertheless, Bob assumed the role of second-in-command.To produce things even worse, Walter then started hinting about playing the drums on the upcoming record. Yikes!Just what I necessary, appropriate? One month ahead of our scheduled sessions, he invited me over to his apartment for dinner. After eating in awkward silence, he turned on the stereo and played tracks of great drummers like Al Jackson and Levon Helm. Next he played a number of our demos, the ones I drummed on. Out of nowhere he then delivered this mandate: “Start playing like one of those drummers or I’ll discover somebody else to play drums inside the band.” I believed, “What a douche bag!” Granted, these are two fantastic drummers, but not truly appropriate for the guitar rock of the Silos. Also, not the drummer he sought out and hired for higher success-ME! Please do not get me wrong. Most of my job as a drummer has been to listen to others and execute their music as they hear it. It is also been my experience that when a person pulls shit like this there is normally an ulterior motive. This was his first of many moves to play drums on our recordings. It was this need for manage that would trump every little thing else. Even if it meant he’d sabotage the band’s record deal and chances of accomplishment.There was great irony within the reality that the guy who was the worst singer, guitarist, bassist, drummer and producer; in fact the worst musician in the band was the one particular who needed to play every instrument and do everything himself. Walter had no interest in being a member of band, unless possibly it was a one-man band. His want to play drums would weigh heavily on our upcoming Gainesville recording sessions and would eventually crush my wish to perform with him altogether. In the meantime, even though on a coffee break from a single of our numerous Hoboken demo sessions, Richard revealed to me that he’d be quitting and wouldn’t be joining us in Florida for the recording with the record. For me, that was the starting with the end.We plowed ahead. Austin-based JD Foster would replace Richard on bass. Cowboy Junkies producer Peter J. Moore was brought in from Toronto. Ed Bair would run house/stage sound, and Peter Yianolis would be the recording engineer and operator with the mobile truck. On September 25, 1989, the band and crew settled into rented apartments within the town of Gainesville, Florida ready to record.Why Gainesville?During this period with the Silos, my genuine property was on Bergen Avenue in Jersey City. Richard, Walter and manager Mark Zoltak all lived in nearby Hoboken. Bob lived on the lower east side of Manhattan. We were all inside a couple of miles of each other and within an simple commute to mid-town Manhattan, home to dozens of the world’s top recording studios. In spite of this, Walter somehow convinced RCA executives that recording our record in NYC will be as well distracting (from what?). That instead, we’d want to record in Gainesville, Florida. The fact that there were no suitable recording studios in Gainesville led us to an abandoned theater. We utilized its stage and hallways for live sounds. A mobile recording truck parked subsequent towards the creating and was exactly where the producer and engineer spent the majority of their time. Admittedly, this made for an exciting story and excellent press. For us however, that’s all we got out of it. As we were rehearsing within the theater, we got word that RCA president and #1 Silos fan, Bob Buziak had been fired.
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Bill Nelson Live at the Metropolis ~ 2011.
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