[ignore the date I'm still working on linking stuff, alright?]
Most people know you guys for the Wedding DJ anthem Love Shack, does that bother you?
No, not really. I live in California and there’s this karaoke bar, indoor/outdoor and I was riding past on my bike when I heard something familiar. There were these six girls onstage singing Love Shack, everyone was singing along, it just blew me away. It’s become their song now, a community song. We were just in this small gay bar in Paris off the beaten track and they put on Love Shack and everyone started dancing, I don’t even know if they knew we were there or not. It seems to have this universal effect of affecting people. Personally I always thought of Love Shack as pretty uncharacteristic of our songs. I remember before we recorded it, it wasn’t quite together and we played demos for our producer and he said ‘do you have any more?’ ‘we we’ve got this song that isn’t finished’ so I put it on and it was Love Shack, I didn’t think we were gonna record it cos it just wasn’t finished, it wasn’t quite together. He said ‘that’s the best thing you’ve played me!’ he loved everything but said ‘that song’s amazing you have to record it’ and he did actually do some maneuvering in the arrangement, he found the chorus. It was there, but we only did it once, we didn’t see it as a chorus. That really pulled the song together, it almost didn’t happen.
I bet you’re glad it did…
It was funny because after we recorded that and I was playing it to friends, before it was released, I was like ‘you gotta hear this’ because it was very different from what we’d done. But I did feel it was good it had a vibe to it. It was really interesting how it just captured something, we recorded that in one take, or we were and right in the middle of the song there was this lightening storm and the whole electricity went out in the studio. It was a good take and so we took a break waiting for the electricity to come back on and we came back and listened to what we’d done half way though and we were like ‘ah, it was a perfect take!’ but it wasn’t finished, so we did it again and got the best ending and we just tagged it on, so it really only has one edit. So fortunately it was right at the breakdown where it goes to the bassline, so it made it a very easy edit. I read somewhere that there was this producer Joe Meek (very sixties, very eccentric, gay, had a tragic ending to his life) he always believed that if there was a lightening storm when you were recording then you were going to have a hit. He may have been on to something.