Pat, how did you end up doing the Brazilian stuff?
P: I would say almost exclusively at first through Arto [Lindsay], who I had worked with on his own stuff. I guess the first thing I went to Brazil for was Marisa Monte's first studio record, her second record [Mais]. Arto did a great job of bringing a different thing to what was a pretty stagnant pop pool down there. He, and then consequently me, were beneficiaries of that, getting a lot of work through that.
D: Did he do a lot of that record up here, or vice versa? Were the rhythm tracks down there and then add guys up here?
P: It was almost exactly half and half. Actually Roger Moutenot did a bunch of the recording of the stuff that was done here, and I did the stuff that was done in Brazil. But there were full bands at each place. It was great. Down there we used some of her touring band and some famous guest friends — it was interesting. That was a pretty early taste of the Brazilian recording scene, which has gotten amazing since then. At the time they were sort of straddling the thing that I think this country went through and probably the UK went through in the '60s, where there is the old way of doing things and the people doing them who are still there. That was definitely fading out by when I got there, but still the specter of it was there. You booked the studio 9 to 5 or 10 to 6, but it was very corporate in a way that we didn't really deal with much after the '60s.
Yeah we really take for granted how loose the studio system is post-Beatles.
P: That pretty much is the turning point, at least in pop music.
There were some notes online for the live EP [Everything That Happens Will Happen on This Tour] for the Everything ... tour. Did you do the recording on that?
P: I did the mixing. They were travelling with a system where they could pretty much record every show.
D: Yeah we just had to get a Pro Tools rig in and a computer.
