In July 2015, I upgraded my aged PC to a super gaming machine with 48Gb of internal memory. Previously, I had been used to computers running 4GB, at the most 8Gb of memory, so this was like driving a Ferrari after pootling along in a Mini. The score-writing program Sibelius had been one of my chief music software tools for a number of years previously but with limited memory it would never play back satisfactorily. Suddenly, with the increased available computer memory, new vistas opened and I put Sibelius through its paces with a Rolling Stones-style riff which, at the time, sounded pretty impressive to my ears. This was before I started using ProTools so I made a demo version of the song using the Export Audio function in Sibelius.
And there the track sat for over a year as I learned more and more about the subtleties of ProTools. During that time, my home studio setup was augmented by a Rode condenser mike and Fostex monitor speakers.
By October 2016, Cavan, Mark and I were looking for a title for our 2017 show at the Phoenix Theatre in Bordon. This time, our fifth year at the theatre, we planned to feature original tracks written by each of us, and “Better Late” seemed an appropriate overall title for the show. So I returned to the abandoned track which by now sounded very primitive compared to my recordings during the intervening year.
I rejigged the chord sequence of the song, researched Charlie Watts’ drumming style – in particular his individual use of hi-hat patterns and his tribal-sounding floor toms – and put together a virtual set of drums tailored to reproduce the exact specification of Charlie Watt’s drumkit, which had been recorded in Abbey Road studios with each drum individually miked, and with proper stereo overhead and room mikes. I went through the drum part, which I had composed in Sibelius, adjusting the velocity of every single note to give it a “live” feel. It was a long-winded and painstaking job but I knew the end result would be worth it.
Keith Richards’ guitar style was easy to reproduce, as I have been using an emulated version of his 5-string open-tuned Telecaster (which he calls “Micawber”) in the band for years on my Line 6 Variax guitar. The alto sax solo, however, is a virtual instrument, although Cavan will be playing it for real at the Phoenix shows.
The bass guitar part was also recorded using a virtual instrument, a Rickenbacker 4001. This was in the days before I bought a Variax bass; nowadays I would probably play it on its Steinberger setting which Bill used a lot after he left the Stones. (Did I tell you about the time I met Mr Wyman in Harrods back in 2000?)
The lyrics were modelled on the classic Stones tracks from the mid-60s such as “(I Can’t Get No) Satisfaction” and “19th Nervous Breakdown” with a theme of discretion being the better part of valour so I used that phrase for the middle eight in a very un-Stones-like section of the song.
Instrumentation: All instruments played or programmed by Brian Parks:
Line 6 Variax electric guitar (simulating 5-string open-tuned Fender Telecaster), programmed Wurlitzer 200A electric piano, programmed 1928 Steinway grand piano, programmed Rickenbacker 4001 bass guitar, programmed 1960s Gretsch drumkit recorded at Abbey Road, programmed alto sax, lead vocals, backing and harmony vocals.
Lyrics
When you’re driving down the freeway, one hundred and ten
And a voice inside your head tells you over again
That you’d better slow down, or maybe even stop
Cos that fast motor cycle looks a little like a cop. Yes he does. Oh yes he does.
You take a short cut through a dark alley late at night
And you see some individuals a-spoiling for a fight
You turn right around and walk the other way
Cos you know you wanna live to fight another day
Better late. (Better late than never)
Better late. (Better late than never)
Better late. (Better late than never)
Better late
When the surf’s up and you’re driving in your camper van
And you turn on the radio and listen to the man
He tells you there’s a hurricane a-blowing from the sea
So you drive back home and watch it on TV
Better late. (Better late than never)
Better late. (Better late than never)
Better late. (Better late than never)
Better late
They say the better part of valour is a heap of discretion.
And if life’s taught me anything it’s taught me this lesson.
That the way to survive and continuously thrive
Is to do what it takes to keep yourself alive
Better late. (Better late than never)
Better late. (Better late than never)
Better late. (Better late than never)
Better late
When you’re playing with your band tryin’ to earn an honest wage
And a riot breaks out right in front of the stage.
Security are telling you that there’s no place to go
So you keep right on playing till the end of the show
Better late. (Better late than never)
Better late. (Better late than never)
Better late. (Better late than never)