{"id":1979,"date":"2009-08-07T15:55:29","date_gmt":"2009-08-07T15:55:29","guid":{"rendered":"http:\/\/kkdowning.net\/steelmill\/?post_type=interviews&p=1979"},"modified":"2024-09-06T09:45:08","modified_gmt":"2024-09-06T09:45:08","slug":"1979","status":"publish","type":"post","link":"http:\/\/kkdowning.net\/steelmill\/1979\/","title":{"rendered":"Chris Tsangarides"},"content":{"rendered":"\n\n\n
\n\n\n\n
\"chris1\"<\/a>
\n\u00a9 Chris Tsangarides<\/span><\/span> <\/p>\n

CHRIS TSANGARIDES<\/strong><\/span><\/h1>\n


\n<\/strong><\/span>
\nA Steel Mill Interview<\/strong><\/span><\/span><\/span><\/p>\n

 <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Interview By Ville Krannila, Jari Asell & Kimmo Tattari \/ August 2009<\/span><\/em><\/p>\n

The Mill goes behind the sound of many classic metal albums once more as we present an exclusive interview with the one and only Chris Tsangarides! He is best known for his production work with many classic heavy metal bands, including Thin Lizzy, Black Sabbath, Helloween and Anvil. Tsangarides has worked with many pop bands as well, including Depeche Mode and Tom Jones. And of course he worked with Judas Priest on two of their seminal metal classics, first on 1976\u2019s \u201cSad Wings Of Destiny\u201d as engineer and in 1990 produced\u00a0 \u201cPainkiller\u201d which has influenced countless modern speed metal bands. For our summer special Chris hooked up with Steel Mill to give latest low down on his current and past career.\u00a0<\/span><\/p>\n

Hello Chris! How\u2019s it going? What are you currently up to?<\/strong><\/p>\n

It\u2019s going great! I\u2019ve just finished albums by Crowning Glory<\/em> and Savage Messiah<\/em>, and currently working on Hannibal<\/em>\u2018s record and then finish up with Dangerous Breed<\/em>.<\/p>\n

Like You mentioned, You have just finished work on UK\u2019s Savage Messiah\u2019s second album. How did the sessions go?<\/strong><\/p>\n

It was a load of fun… they are a great band and I feel confident that they will do very well… they performed everything on the album without the use of studio trickery which is quite something in these days of technology…<\/p>\n

Let\u2019s go back to the beginning, how did your career as a record producer originally start?<\/strong><\/p>\n

I was an engineer at Morgan and in 1978 was put on an album for Gary Moore, he then said that we should produce it together and there was a hit record from it called \u201cParisienne Walkways.\u201d<\/em> So there I was a producer all of a sudden, with a hit record… That\u2019s where I met up with Phil Lynott.<\/p>\n\n\n\n
\"chris2\"<\/a>
\n\u00a9 Chris Tsangarides<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Speaking of Lynott, in the early 1980\u2019s Thin Lizzy released their two final studio albums \u201cRenegade\u201d and \u201cThunder and Lightning\u201d. During the making of the latter, was there a sense that this was the band\u2019s final effort? How do you remember that album?<\/strong><\/p>\n

Most definitely not… They were in fact rejuvenated with the new guitar player (John Sykes) and it was the first album I made using 48 track recording, but it was tough going in as much as we had run out of budget and had to juggle studios about till we finished the record and received the completion advance to pay everyone. It was also much more advanced than previous efforts as I started using drum triggers and also more complex guitar harmonies then before. It was also much heavier than anything that had happened in the past.<\/p>\n

You have worked with Gary Moore on several of his albums starting from his proper solo debut \u201cBack on the Streets\u201d in 1978 until this decade. How\u2019s it like working with Gary? What kind of working method do you guys have in studio?<\/strong><\/p>\n

Gary is a true pro, the early albums were a lot of fun to make as we were both starting our careers really so that naivety helped by letting us do whatever we liked. I think this is a great way of making records as you try everything out with eyes wide open…<\/p>\n

You were one of the three producers involved in Black Sabbath\u2019s \u201cThe Eternal Idol\u201d (1987) plus you mixed the record.<\/strong> What kind of challenges did that create? Is it hard to mix material produced by someone else?<\/strong><\/p>\n

That\u2019s right. Originally I was just supposed to do a few solos and then mix the album but as it turned out there was a whole lot more to it than that. When I came on board there was heavy dissention within the ranks and both Eric Singer and the late Ray Gillen left the band, so we were forced to find a new singer and drummer. That\u2019s when Tony Martin joined and had to sing the entire album again, so 3 weeks turned into 6 months!<\/p>\n

In 1990 you were involved in Bruce Dickinson\u2019s first solo album \u201cTattooed Millionaire\u201d. The album was more rock in spirit than Bruce\u2019s Maiden efforts, but still a major step for the singer. Was there any pressure in the studio when making the album?<\/strong><\/p>\n

None what so ever… We wanted to make a good time R&R album and I think we succeeded.\u00a0 He would have daily fencing lessons in the studio and we had the longest ongoing game of Risk set up on the pool table. I think that Bruce did some of his best vocals on that album and we had a few hit singles off it too.<\/p>\n

After Judas Priest\u2019s \u201cPainkiller\u201d, which we will return to later, you produced Helloween\u2019s \u201cPink Bubbles Go Ape\u201d in 1991. That remains one of the most talked about records in that particular band\u2019s career. How do you remember it now?<\/strong><\/p>\n

It was a very difficult album as Kai Hansen had left and there was a huge power struggle within the band. I did not agree with the choice of songs for it and they were insistent that I could make no changes to them, so how on earth do you do your job under such circumstances?<\/p>\n

I wanted to make a great metal album but they wanted to record all these other tunes that sounded nothing like Helloween fans were expecting…. So there you have it!<\/p>\n

Outside the metal field, you have worked with pop artists as well, such as Tom Jones and Depeche Mode?\u00a0 What sort of influences can you draw from these totally different genres soundwise? What kind of (if any) difference is there in working with completely different types of artists and music?<\/strong><\/p>\n

It\u2019s all basically the same way of working, except with solo singers you have to find musicians to do the recordings. But basically the way you tend to record is the same for everybody, that is they get to play it and I get to record it! (laughs)<\/p>\n

A few years ago you set up your own Ecology Room Studios in Kent. What advantages has this given you in your work?<\/strong><\/p>\n

It\u2019s meant that I have a greater freedom as I can take as long or as little as I like in making records. In these days of smaller budgets it\u2019s the only way to go; it also means that the studio is always set up for my preference which means things get done faster.<\/p>\n

Having worked with various groups throughout your career, is there anyone out there you would most like to produce?<\/strong><\/p>\n

I would love to work with Aerosmith <\/em>or Pink Floyd <\/em>for that matter. I just love those bands, I guess Maiden would be great to work with too! Oh and not forgetting Machine Head<\/em> or Down<\/em>!<\/p>\n

You first worked with Judas Priest as an engineer for their classic \u201cSad Wings of Destiny\u201d \u2013 album in 1976. What recollections do you have from those sessions?<\/strong><\/p>\n

It was great fun as I recall. I knew of the band as I used to see them playing around the circuit and there they were in the studio I worked at. There was much tomfoolery at the time and everyone seemed to be having a good time and I think this shines through on the record.<\/p>\n\n\n\n
\"chris&priest\"<\/a>
\nFrom Sad Wings Of Destiny recording sessions<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Do you remember anything specific about the recordings of the all-time Priest classic \u201cVictim of Changes?\u201d<\/strong><\/p>\n

K.K.\u2019s solo was the first thing I ever got to record on my own so that remains very special to me. Also doing the vocals, I\u2019ll never forget the last big note that we had to multitrack, it was awesome!<\/p>\n

So you knew of the band before you met them at the Sad Wings of Destiny recordings?<\/strong><\/p>\n

I knew of the band as I had seen them play countless times before they came into the studio, but the first time I met them was on those sessions.<\/p>\n

How did you feel after the album was finished? Did you find those songs as good and classic as they turned out to be ?<\/strong><\/p>\n

I <\/strong>remember really loving the album, it wasn’t till much later that people started to say that they were classics.<\/p>\n\n\n\n
\"swod_rob\"<\/a>
\nFrom Sad Wings Of Destiny recording sessions<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

You, of course, returned to Priest for 1990\u2019s seminal \u201cPainkiller.\u201d Up to that point they had worked with the same producer for 10 years, and also had a new drummer. Did that put any pressure on you? What kind of approach did you take with the production?<\/strong><\/p>\n

I suppose there is always an amount of pressure on the producer whenever you make a record. But it felt completely natural walking in there with the guys; it was just like we had seen each other the day before and we picked up where we left off. I thought that they had focused the material to be ultra fast and heavy and I dug that for sure. I took the view that the band should perform the songs as if they were playing live and once we captured the drum and bass performance then we would redo the guitars with their final sound. There is only a snare drum sample that I use playing along with the real snare and that is it for any studio trickery. What you hear is what they played so I\u2019m really proud of them for that and it just shows how great they can be, It was recorded on 24 track 2\u201d tape and then transferred to a Sony 48 track digital machine and I think the sound of the tape really made the difference.<\/p>\n

\u201cPainkiller\u201d is nowadays regarded as a speed metal classic. From the producer\u2019s standpoint, how do you view the album now?<\/strong><\/p>\n

The album has turned into a metal classic, you would not believe how many fans and musicians have told me that we re-wrote the book on metal recordings. I just recently bumped into Phil Anselmo at this years Download and he was raving on to me how great that album was. So many fans ask me when are you going to make another record with Priest as they can\u2019t get enough of that particular era of their music.<\/p>\n

You also co-wrote \u201cA Touch of Evil\u201d for that album. Can you tell us about the origins of that particular song?<\/strong><\/p>\n

Well, the truth is I had made a library record of metal songs for the Bruton library. This is music that people use for films adverts etc and \u201cTouch Of Evil\u201d was one of the songs on it. I was playing it in the control room one morning and Glenn heard it, liked it and wondered if we could adapt it for Priest. So he came up with the chorus and M8, Rob wrote the lyrics and the rest as they say is history.<\/p>\n

There was 14 years between \u201cSad Wings of Destiny\u201d and \u201cPainkiller.\u201d In your opinion, what was the biggest change between those years in terms of how one produces and engineers an album?<\/strong><\/p>\n

By the time we went on to do \u201cPainkiller\u201d recording equipment and guitar amps had gotten far better, we had more tracks at our disposal, higher gain amplifiers, guitars with EMG pickups etc. This makes it a little easier but honestly the techniques I use are all the ones I learnt in my earlier days and what I made up along the way. The only way to make a great record is to have great songs and a great band!<\/p>\n

About \u201cPainkiller\u201d and Scott Travis : when you heard that there was a new drummer in the band , how did that affect your approach to the album?<\/strong><\/p>\n

At first when I heard the original demos of guitar and drum machine at Glenn’s house\u00a0I said where the fuck are we going to get a drummer who can play that? I’ll never forget Glenn’s face when he said that we had one in Scott. And truly he is a one off. It was the\u00a0correct plan of action as the proof is in the \u201cPainkiller\u201d album.<\/p>\n

Were all songs already finished before entering the studio, or were there some adjustments made during the sessions?<\/strong><\/p>\n

No the songs were pretty much written and that\u2019s how it went down! I guess that Rob tweaked his lyrics in the studio a little but\u00a0that was it…all pretty straight forward.<\/p>\n

Do you, generally, think it is important to create a sound of your own or always adapt to the sound of that particular band you are producing? Or is it somewhere in the middle?<\/strong><\/p>\n

I think a producer ends up with his own characteristics on the records he makes. The job is to translate the band\u2019s sound without getting in the way of it, you have to be transparent. There is always a thread of the producer\u2019s sound that runs through all his work. And that\u2019s why people choose the producer that they think would be appropriate for their band.<\/p>\n

You produced the latest Anvil album. How was it to work with them after such a long break?<\/strong><\/p>\n

It was a real pleasure as I hold them in the same light as Priest, we go back a helluva long way and with the earlier albums we stumbled across speed\/thrash metal, It was like we had just let all the years fly by and here we are again doing another album.\u00a0It turned out very well and there is nothing better than working with old friends.<\/p>\n\n\n\n\n
\"chris&anvil\"<\/a>
\nChris with Anvil<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

To wrap it up, what personal goals do you have as a producer? If you could pick any band to work with, who would you choose?<\/strong><\/p>\n

I\u2019ve been lucky enough to have fulfilled many of my dreams in this industry but I still want to make the ultimate heavy album and that would have to be with Judas Priest of course!<\/p>\n

Any last words for the viewers of K.K. Downing\u2019s Steel Mill?<\/strong><\/p>\n

It\u2019s great that this music we love so much keeps on going and no matter what the current trend is true Metal heads will always be there supporting the Bands that keep on doing it. In the words of some dude from some sci-fi movie \u201cNever give up, Never surrender\u201d (laughs)<\/p>\n

Thanks a lot for your time!<\/strong><\/p>\n

Chris Tsangarides on the web:<\/span><\/strong><\/span>
\nhttp:\/\/www.myspace.com\/christsangarides<\/u>\u00a0<\/a><\/p>\n<\/td>\n<\/tr>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n
\n
Where from:<\/strong> UK<\/div>\n<\/td>\n
\n
Active:<\/strong> Mid 70’s -><\/div>\n<\/td>\n<\/tr>\n
\n
Style:<\/strong> various from
\nmetal to pop<\/div>\n<\/td>\n
\n
Selected discography (producer): <\/strong>Gary Moore \u2013 Back On The Streets (1979), Thin Lizzy \u2013 Renegade (1981), Anvil – Metal On Metal (1982), Thin Lizzy \u2013 Thunder And Lightning (1983), Y&T \u2013 Mean Streak (1983), Black Sabbath \u2013 The Eternal Idol (1987), Bruce Dickinson \u2013 Tattoeed Millionaire (1990), Judas Priest \u2013 Painkiller (1990), Helloween \u2013 Pink Bubbles Go Ape (1991), Exodus \u2013 Force Of Habit (1992), Overkill \u2013 The Killing Kind (1996), Gary Moore \u2013 Dark Days In Paradise (1997), Yngwie Malmsteen \u2013 Facing The Animal (1998), Angra \u2013 Fireworks (1998), Gary Moore \u2013 Power Of The Blues (2004), Winters Bane \u2013 Redivivus (2006), Anvil \u2013 This Is Thirteen (2007), Bitches Sin \u2013 Uduvudu (2008), Savage Messiah \u2013 Insurrection Rising (2009)<\/td>\n<\/tr>\n
Trivia: <\/strong>Chris is featured in Sacha Gervasi’s new film documentary \u201cThe Story of Anvil,\u201d which is currently doing the rounds of film festivals.<\/td>\n<\/tr>\n
Essential releases (top5):<\/strong><\/td>\n<\/tr>\n
\nJudas Priest: Painkiller (1990)<\/strong><\/strong> <\/p>\n

One of the most ground breaking releases in metal during the last 20 years, \u201cPainkiller\u201d saw Priest returning to full on metal with a new drummer Scott Travis opening the proceedings with now classic drum salvo. Production is heavy and sharp, enhancing roaring guitars and Rob Halford\u2019s inhuman screams. \u201cPainkiller\u201d has influenced thousands of new bands and remains a benchmark for modern speed metal.<\/td>\n<\/tr>\n

\nThin Lizzy: Thunder And Lightning (1983)<\/strong><\/strong> <\/p>\n

Thin Lizzy\u2019s swan song LP, \u201cThunder And Lightning\u201d introduced guitarist John Sykes and featured several of future classics in \u201cCold Sweat\u201d \u201cThe Sun Goes Down\u201d and the title track. \u201c<\/em>Thunder And Lightning\u201d offered a heavier sound and guitar tone than previous albums and Sykes\u2019 playing is top-notch throughout. The album went up no.4 on the UK charts. The band seemed to enjoy another creative renaissance when the end suddenly came after following tour.<\/td>\n<\/tr>\n

\nBlack Sabbath: The Eternal Idol (1987)<\/strong><\/strong> <\/p>\n

Tony Martin\u2019s debut album with Sabbath, he had to redo vocals already done by late Ray Gillen but did a great job. This was a step up from previous \u201cSeventh Star\u201d album and a highlight remains a grinding \u201cThe Shining\u201d. Quite far removed from original Sabbath and even the Dio-days but Tony Iommi\u2019s guitar sound is still there in all its glory and taken on its own, this is a solid heavy rock effort.<\/td>\n<\/tr>\n

\nAnvil: Metal On Metal (1982)<\/strong><\/strong> <\/p>\n

NWOBHM was on its last legs when Anvil unleashed their second album in 1982. It\u2019s nowadays regarded as one of the classics of that particular genre and recent remaster is well worth checking out. Title track remains a milestone but also \u201cStop Me\u201d and infamous \u201c666\u201d are worth checking out. Chris would return to work with Anvil on \u201cThis Is Thirteen\u201d.<\/td>\n<\/tr>\n

\nYngwie Malmsteen: Facing The Animal (1998)<\/strong><\/strong> <\/p>\n

Swedish guitar maestro\u2019s somewhat forgotten masterpiece from 1998. With Chris producing and drum legend Cozy Powell on one of his final recordings before man\u2019s premature death, Yngwie bounced back with his best albums. Filled with catchy hooks and melodies over Malmsteen\u2019s signature guitar style, this would remain this writer\u2019s favourite Yngwie-record.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a9 Chris Tsangarides  CHRIS TSANGARIDES A Steel Mill Interview   Interview By Ville Krannila, Jari Asell & Kimmo Tattari \/ August 2009 The Mill goes behind the sound of many classic metal albums once more as we present an exclusive interview with the one and only Chris Tsangarides! He is best known for his production […]<\/p>\n","protected":false},"author":5,"featured_media":1983,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[587],"tags":[],"class_list":["post-1979","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-steel-mill"],"yoast_head":"\nChris Tsangarides - K.K. 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