On February 18, 1984, the Payola$ played the PNE Gardens with opening act Darkroom. At the time the band–which also included guitarist Bob Rock, bassist Alex Boynton, drummer Chris Taylor, and keyboardist Christopher Livingston–was basking in the success of its latest album, Hammer on a Drum.
That disc was produced with one of my alltime fave guitarists, Mick Ronson, and boasted four singles in “Where Is This Love?”, “I’ll Find Another” (Who Can Do It Right)”, “Christmas is Coming”, and “Never Said I Loved You” (a duet with Rough Trade’s Carole Pope).
If I recall correctly, I think I preferred the Payola$’ previous LP, 1982’s No Stranger to Danger, which Ronson produced entirely on his own, and also played and sang on. Everybody loves “Eyes of a Stranger”, right?
Besides the Ronson connection, the Payola$ had me mightily impressed at the time because another of my top rock heroes, Ronson’s buddy and bandmate Ian Hunter, sang backup on “I’ll Find Another”.
So when the time came to interview Hyde in the Vancouver offices of A&M Records, I was definitely primed for some Hunter/Ronson anecdotes. Here’s a shortened version of the story that ran in the Feb. 17, 1984 issue of the Georgia Straight.
Your second album, No Stranger to Danger, was dedicated to Alex Harvey. Is that the sensational Alex Harvey?
Oh yeah, Bob and I are real big fans of his. He’s one of the best performers I’ve ever seen live in my life. I saw him about four or five times, and the first time was the only time I’ve ever gone absolutely out of my way to get backstage and meet somebody. I lied, and tried to fake a Scotch accent. I got right to the door of the dressing room and they asked me for ID, so I never actually did meet the guy.
He was backing up Slade at the time, around ’72. He just floored me, the guy was so magnetic and dynamic and completely in control. And it was a Slade audience–they were throwing stuff at Alex and booing–but he just stood there and delivered. I just thought it was fantastic.
About the new album, Hammer on a Drum. You recorded it in two stretches, with several months off in the middle.
Yeah, that’s just the way it happened. But as it happened, it was a good idea, because it’s easy to burn out if you take a month and a half and never see daylight. It becomes a bit hard on the system.
So breaking it up in two allowed us the leisure of listening to the first half for a while in the middle, and deciding if it needed changing. Also, when we went into the second half we had enough energy left to give it to the mix.
There was one song, “I’ll Find Another”, that you did a lot differently when you came back to it.
Yeah, it used to be called “Dancing With Another”. We did it for a year, and it just got so boring that the lyrics meant nothing to me anymore. I just couldn’t sing it with any sort of conviction. So when we found out that Ian Hunter was coming up we just changed it round completely, so that it was sort of a tribute to Mott the Hoople.
Hunter sang background on that song. You must have been excited about working with him.
Oh yeah, I’ve always wanted to meet the guy. And I’ve probably picked up more than I care to admit, vocally, from him. Because there was one period way back when I didn’t listen to anything else but Ian Hunter for a long, long time. His vocal style just went straight to my central nervous system, and I couldn’t help it. I probably wouldn’t do that with anybody else. It’s just that he sang the way that felt best to me, and I think my body said, “Take a little lesson from this guy”.
I see that on No Stranger to Danger you’ve got a song titled “Rose”. Ian has an old song called “Rose” as well.
He certainly does, and I think it’s one of the Top 10 rock and roll songs ever written. That’s why I called mine “Rose”, ’cause it’s about the same chick.
Mick Ronson produced the new Hammer on a Drum as well as No Stranger to Danger. Were his production techniques any different than on the previous album?
Mick tends to work through a sort of free-flow, grabbing-at-anything attitude–there’s no set plans for doing things. He goes by just whatever his heart feels is right.
Does that jibe well with the band?
Yeah. On the first album it was a bit of a problem because it’s hard to make a decision sometimes when you’ve got conflicting ideas. Like if Mick wanted to go one way, and Bob wanted to go the other way, and I didn’t know which way to go, then you’re stuck.
So we decided before the most recent album that the three of us have a voting system, and that the majority would rule. But we never actually disagreed to the point that we had to take a vote.
Do you intend on working with Mick on the next album as well?
No. We’re going to use somebody else. We’re in contact with about five people, but I can’t say who it’ll be yet.
It would be nice to end this stroll down memory lane on a positive note, but that producer turned out to be schlockmeister David Foster, who took the band further away from rock ‘n’ roll with their next album, Here’s the World For Ya.
They shoulda stuck with Ronno, methinks.