Andy Sneap interview from 2005

[Faster]

This was an interview I've done for the magazine I was working for back in 2005. The whole interview covered both Andy Sneap's works as a producer and his band Sabbat (they were still inactive at the time). I thought it would be interesting for some of you to read this maybe, so, there you go. If there's interest, I can put the second half of the interview where we discussed his productions etc...


1. First of all, a boring question but I want to hear the begginings of SABBAT from your own words. How did it all start?

I met Frazer at a local show, I was only 15 at the time and was introduced to him because his band Hydra were looking for a new gtr player. Martin was in this band also and within a couple of months the drummer had left and we’d got Simon Negus in.

2. After your "Fragments Of A Faith Forgotten" demo, Kerrang! included a 2 pages SABBAT article. Did you ever think "hey, this will be something big!" when you were recording that demo?

We’ll we kinda hoped but we weren’t under any illusions, but it did seem like things were on our side and we were in the right place at the right time.

3. Is it true that "Fragments Of A Faith Forgotten" demo cost you only 10 pounds? If this is true, then what exactly did you spent that 10 pounds on?

Yep ten whole pounds, and I think that was spent on the Metal Cassettes for the porta one 4 track.

4. Some magazines labelled you as a black metal band in those days, what do you think was the reason for that? The image, the lyrics or the pentagram on the cover of the "Fragments" demo maybe?

We were I guess, we had the whole satanic thing going on back then, lets face it , the devil has all the best tunes.

5. You recorded the song "Blood For The Blood Gods" for the dungeons &
dragons type of magazine White Dwarf, can you tell me a bit about that, how did it happen? And why didn't you record that song again for your debut album?

That came about because Games Workshop, who make White Dwarf magazine were based in Nottingham and John Blanche, the art editor took a liking to the band. We didn’t record it for the first album because we wanted it to be exclusive to the mag, but we did rerecord it when we did dreamweaver but Noise have lost the master tapes.

6. After your first demo, you signed a deal with German Noise records, recorded your debut album and went on touring over the Europe, and as long as I know you guys were around 20 years old at the time - in other words, you were very young. Was that hard for you in the beginning? Can you tell me a bit about those days?

I had to wait until I was 18 to sign to Noise. No it wasn’t hard, it was a big adventure, great fun actually. The touring was pretty miserable at times, and it would have been a lot more fun to do all that now, knowing what I know, with experience. I certainly would have followed up a few more opportunities haha.

7. "Dreamweaver" is my favourite SABBAT album. Is it true that you had arguments over the music with Martin in the recording sessions of that album? Whose idea was it to make a concept album?

No, the only argument I had with Martin was over a song called “When all else Fails” which I didn’t want to do as it was about suicide and I was still very upset about a close friend that had committed suicide. I think it was very wrong of Martin to even push the subject.

8. Now a question about "The End Of The Beginning" live video. Your performance on that video is absolutely flawless. Are there any studio overdubs in that recording?

Overdubs, on a live recording….never…..

9. "The End Of The Beginning" was released after "Dreamweaver", but out of the 9 tracks on that live set, only 3 tracks are from "Dreamweaver", the rest is from your debut, why?

Well, considering each track off Dreamweaver was about 8 minutes long I don’t think we sold you short. We’d also just got a new guitar player in so I think that was a reason also.

10. Now a question about Martin's departure. After he left the band, Martin told the press that the reason for his leaving the band was the birth of his child and his need for money to finance his family, and in SABBAT he couldn't do that etc.... But soon after that, he joined Skyclad. Were there any other reasons for his departure?

He basically lied to everyone, thinking he’d get out the deal with noise, but it doesn’t work like that due to a leaving members clause in the contract. We didn’t get on back then, he was wanting to go in a more folk direction and I wanted to stay metal.

11. After Martin's departure, you worked with Ritchie Desmond for "Mourning Has Broken". Were the songs ready for that album by the time Ritchie joined the band? The lyrics on "Mourning Has Broken" are different than your previous records, they were on more modern day related topic, what was the reason for this change of direction?

No the songs weren’t really ready, it was all too rushed as the label and management wanted us to put an album out before Martin. We figured Martin was doing the pagan thing, and to be honest, he’s great at it, he’s one of the best lyricist in the business, so we tried another angle but it didn’t work out.

12. Can you tell me a bit about the band's splitting up after "Mourning Has Broken", why did it happen?

Because the new guys were exactly that, new, very inexperienced and it was awful live. We did 2 shows and I said no more.

13. After SABBAT, you played in GODSEND and recorded a demo with that band. I didn't listen to that demo, can you compare its music with the music of SABBAT? Why did that band split up after one demo?

We actually wrote some good stuff, worked with a few different musicians but I’d become so disillusioned with it all by then, and when I started to get more and more production work I just put my heart into that. The problem with being in bands is you have so many egos, and I have such a vision and I’ve proved myself right time and time again. That’s why I think production is a better place for me.

14. What do you think about the 3 SABBAT albums when you look back? Which one is your favourite?

I think they’re ok, they are what they are. They sound very dated to me now, but we were so young and I think it’s a shame Martin threw the towel in so early. The first one is the best for me because I have fond memories from when we made it.

15. Martin and some of the other SABBAT members played gigs over Europe in recent years under the monicker RETURN TO THE SABBAT and they only played SABBAT songs. Did they invite you to play with them? (I think there is no SABBAT without Andy Sneap...)

Yeah that was a bit odd, I was told in the end they were doing it as a four piece and I wasn’t needed. So I said they couldn’t use the name. They played the songs wrong and from what I’ve been told it was a pretty dismal affair. I’m not really into the reunion thing, Martin refused to let Simon Negus be involved so I wasn’t into it. Either it’s the real deal or not at all.

16. Are you still in contact with the old band members?

Yeah, y know I’m good friends with Martin these days, we have a lot more in common than we ever realised, that’s why I think it’s a shame that we couldn’t have done all this now, as we have a real laugh when we get together. And that’s only been in the last couple of years really. Frazer I see around, he’s doing ok, and Simon Negus I saw a couple of years ago. Both Frazer and Simon have quit playing I think.

17. All the SABBAT releases -especially "Dreamweaver"- are hard to find these days. And some of your songs have never been pressed on CD, like "Blood For The Blood Gods" for example, the live video is not on DVD and also can't be found so easily. Are there any plans for SABBAT re-presses? Now that you are a long time producer, would you like to remix all those SABBAT albums?

I went to Sanctuary in Berlin (as they have all the Noise back catalogue) to try and get the Dreamweaver multitracks, but no luck, they couldn’t find them. They do have the first album and the multitracks from the live show though. I managed to get the live show on Laserdisc from Japan, tho I’ve never watched it because I don’t have a laserdisc player but I may get it transferred at some stage.

18. Is it possible that we can hear something new from the "musician" Andy Sneap? You played on Chris Jericho's band Fozzy, but what about starting a studio project of your own, are you interested in doing something like that?

I am actually, and I’m pretty sure I could get a good roster of known people together but it’s finding the time. I enjoy playing still, and when I work with great players like Arch Enemy I always sit there thinking, fuck I should be doing this, but I just haven’t had the time.

19. Thank a lot you for your answers Andy, any last words to add?

I’m glad you look back on the Sabbat days with such fond memories, it seems like such along time ago for me now, thanks to everyone that remembers the Glory Days haha, stay metal!!!

 

[Lasse Lammert]

If there's interest, I can put the second half of the interview where we discussed his productions etc...

yes, please.

(of course! )

 

[kev]

+1 lol

 

[cobhc]

+1 I enjoyed reading the first part.

 

[Faster]

Here's the second part then.


- When did you decide to become involved in music producing business and why?

I kinda fell into producing as a natural progression from playing. I’d always enjoyed the studio side of things more and I liked putting the big picture together. It would have been around 92 93 when I started getting more into the studio side of things.

- Did you take any special courses on producing and sound engineering?

No, can you not tell?

- Did it help really much or do you think "fighting would be learnt the best in a battlefield"?

yep, still fighting. I learnt quite abit doing the 3 Sabbat albums so I generally had more experience than most local musicians I was dealing with back then.

- Which was the first band and album you produced and what do you think about your work on it when you listen to it now?

Some of the early stuff sounds amazingly good, quite surprising actually, ofcourse, there’s a few things I do different now and a lot of techniques I’ve learnt but the basic vision was there. Iron Monkey and Whatever were two of the first bands I did on a professional basis.

- How much input do you have in the music or arrangements of the bands you are producing? Do the bands bring demos of their songs before the recording sessions or do they go directly into recording? Which case is better?

Every case is different, some bands need a bit of help, others have it totally worked out. If they need help, then I play a stronger part in the writing, arrangement etc. It’s whatever it takes.

- Which style of metal is your favourite? Do you produce albums in styles you don't like and if you do, how can you keep up your performance?

I only work on projects I can relate with, even if I don’t like the vox too much, if its got something about the riffs at least I can get into it, but I have to like it to be involved.


- You have your own studio. When did you build it? Do you own the studio only by yourself or are there any other collaborators? Can you give us some information about the studio and can you name some bands you worked with and albums if possible?

Yes I own my studio, where it is now, I’ve live here for 4 and a half years. I had it on an industrial unit before that, which worked ok but it wasn’t a great vibe. Everything I’ve done in the past 2 years has been at the new premises.

- If a band asks you to produce their album in a different studio, would you agree? And do you think recording in a different studio would effect the sound so much?

I’ve worked all over the world, no I don’t think it would effect the sound too much. Sometimes its good to get out, use different equipment etc, you can learn a lot by being limited and having to work round things. I’m not one of these guys who insists on this, this and this, I’ll try and work within the limitations if need be.

- Among the albums you produced, which one (or ones) do you think has the best production work and why?

Don’t ask me that, I cant answer it. Haha. You decide.

- Are there any bands or albums you think that made a breakthrough because of your involvement in their process?

Mmm don’t know if I’d put it down to the production, but albums have definitely turned out stronger for my involvement sure. At the end of the day, it should be a team effort with the band, producer, label, management and if it is, it can be a great springboard for the band.

- Are there any albums you produced that you think are underrated?

I think some bands don’t get the recognition they deserve, whether that’s because of the labels or current trends I don’t know.

- There's something we call "the critic's curse": When a long time music critic listens to a new album, his mind automatically starts to review the album, no matter if he has to review it or not, and it takes a bit of the listening pleasure away. You are a long time producer. When you listen to a new album, do you automatically concentrate on the album's production and criticize it instead of listening directly to the music itself? And if you do, do you think it is an annoying thing?

I can’t listen to albums these days, it kills me. I can’t enjoy it as a fan and mainly I listen to stuff I’ve done. I can only listen to my mixes and enjoy them 3 to 4 months down the line.

- If someone brings you a demo of a band (which you think is very bad and even a good production wouldn't help it), and ask you if you can produce their album, would you accept or not? Have you ever been asked by such bands to produce their albums?

No I wouldn’t do it.

- Do you try to motivate the band members in recording sessions when they are not sure if their ideas will work or not? Have you ever been involved in a recording session with a high tension in the studio between the production staff and band members or the band members themselves? Have you ever walked out of any recording session or kicked a band out of the studio?

No its usually a good vibe, there’s been some heated moments but I just sit back and watch then concentrate on getting a performance out of someone who wants to work.

- Do you think the albums you produced have a trademark sound? Do you think this is a sign of reaching your own style or repeating yourself? Which is more important for you, an album with originality and uniqueness, or an album with a good production?

Both are important. I don’t think I’m repeating myself, sure, I have an identifiable sound, but I think I work with enough varied bands, and I always try and take the bands sound and refine it as opposed to enforcing my sound.

- Now a question about your work with BLAZE. Many Maiden fans think that Blaze Bayley sings much much better on his solo albums compared to his work in Maiden. What do you think about this and what would be the reason for this? Bayley says you did a great job in taking the highest efficiency from his voice in the studio. What can you tell us about your cooperation with Blaze?

I like Blaze, he’s a good guy and I think he had a real rough ride with Maiden. He wasn’t the right guy for them, I don’t think anyone could replace Dickinson to be honest, but once I got to know Blaze I could see why Steve Harris picked him. He has real determination and a workman like ethic. Basically he does need a bit of guidance in the studio, but once he gets it he’s cool, he’s fun to record with actually and I just don’t think anyone in Maiden gave him that sort of help. He learnt a lot from Maiden though.

- Talking about Blaze Bayley, Iron Maiden's last album has been heavily criticised for its production. I read that they recorded live without a metronome and they put together parts from different takes with slightly different tempos, which created some slight & sudden tempo drops in songs. From a producers view, what do you think about this way of recording?

Not one I’d use.

- Lately it has been discussed among fans that most Rock albums nowadays are heavily damaged in mastering process. A Rush fan compared the sound levels of Rush's "Vapor Trails" CD with their early CD's, and the sound levels showed that there were almost no peaks left after the heavy compressing which is probably the origin of the bad sound on that album. What can you say about this situation?

No its not done at the pressing plant. It’s the old level wars problem that keeps cropping up, everyone wants it loud but you can only go so far, then you’re just killing the mix.

- How much do you charge the bands for production? Do the prices differ depending on what you do (i.e. engineering, mixing, or doing both or producing altogether)? And how much do you charge the bands for using your studio? Do you have a discount for underground and demo bands?

I charge them their entire advance, including publishing, 2 pints of Caffreys and some chicken crisps.

- Are there any albums that you wish you would have produced?

Back to that Iron Maiden question I guess.

- Who are your favourite producers, or the producers who inspired you when you started producing, and which albums are your favourites production-wise?

Martin Birch, Bob Rock, Terry Date, all the good guys. If an albums produced well I can just keep listening to the production, never mind the songs.

- If you had a chance to work with one of these bands, which one would you choose? And can you tell us what you think about each of them shortly?
Iron Maiden
Judas Priest
Metallica
Slayer

It’s a tough one, Maiden need to cut their songs down, get back to some riffs like Piece Of Mind, Priest did ok on the last one, not great, I would of preferred a more Painkiller attempt, Metallica,,,,er, I’d switch the snare ON and tune their gtrs this time and Slayer,,, yeah I’d have to say Slayer, I could make a great Slayer album, I think they’ve still got it in them.

- Plans for the future? Are there any new albums in your producing schedule at the moment?

Quite a few things coming up, most too early to comment on. Caliban is the next mix and I’ve got some Soulfly stuff also.

 

[kev]

^^ Thanks for that matey, that made some great reading.

 

[slashvanyoung]

Very nice read! Thanks!

That:

we had the whole satanic thing going on back then, lets face it , the devil has all the best tunes

and that:

Overdubs, on a live recording….never…..

made me

 

[88mph]

Mert is a great reporter. He's a friend o' mine but never had a chance to read this stuff. Good to see them here.

 

[John_C]

andy should really do a slayer album. Full production and everything

 

[Cameron37]

Thanks for that - nice reading.

I remember reading an interview years ago where andy was suggesting perhaps some drumming in the 80's had been "enhanced" in the recordings - anyone remember that or am i just senile?

 

[BC666]

Tnx for the interview

 

[Habsburgs]

Thanks Cameron.