Posts Tagged ‘Tim Gabor’

The studio time for the “Paid” EP was $6000. A copy of the receipt is included in the CD packaging. Additional costs included manufacturing, mastering, art, advertising, radio, press, etc…

The EP was recorded at Robert Lang Studios, which was a departure from their frequent recording spot, Studio Litho. Also Tim Gabor did not do the cover art – something he usually did. Of the 6 Tracks, only three were new, and two were Supersuckers classics revisited. In keeping with the bands spirit, it was released on 06/06/06. Fan club members were even treated to an advance copy in the mail.

Eddie Spaghetti described the method of the EP release below, when asked in a German on-line interview below found at dewahrschauer.net  –

“Paid” is the first of two or three EP’s which will be part of an upcoming full-length album. what was so interesting for you to choose this way of releasing like they did in the Fifties A – I just think that with the way people get their music now, it’s a chance for us to re-think the way we deliver it. And the fact of the matter is that it’s a singles-driven world out there today and instead of being down about that, we’ve decided to embrace it to an extent. If were entirely up to me, we’d just put out singles from now on, but alas, we’re a band and we do things together, so the EP was a bit of a compromise to that regard. That said, It’s an awesome record!

I was recently asked about the idea of releasing this EP… And I’m sure the above sums it up well. Regardless, I thought the EP was a good call and maybe even a bit ahead of it’s time. I liked the idea of the band releasing songs when they had them finished and not sitting on them. And these were quality tunes. Furthermore, we really believed radio would embrace it because of its “crossover” appeal. Capturing new fans with songs like “Breaking Honey’s Heart” and “Paid” seemed inevitable. And of course I felt great when the TV show, “Deadliest Catch”, chose to use “Paid”. But overall, my expectations fell short. It wasn’t a huge seller and radio didn’t pay much attention. In fact, some of the hardcore fans felt it was just too soft and some wondered why the band decided to mix both “rock” and “country” songs on the same release. It was well received by the press and fans, however it didn’t catapult the band out of the bars and into the theaters as hoped. Proving once again, the bands legendary live shows, were going to have to be the catalyst for the leap into larger venues.

Looking back, “Paid” marked a huge turning point for the band. The days of the successful Big Show and banner year of 2005 were over. While we all looked forward to 2006, believing all our past efforts would make things better, the glory days seemed to be fading. Even with the addition of Scott Churilla, and a long anticipated full length album ( later to be titled, Get It Together) planned in the near future, there was change in the air.


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Q:  Tim you’re very well known among the Supersuckers fans for creating most of the art work for their Mid-Fi Recordings catalog.  Is there a particular cover you feel proudest ofand why?

A: All the covers are special to me but the one that stands out the most is Must’ve Been Live.  I especially liked the artwork on the back of the LP. Originally, the artwork for the back of the LP featured the band members as “Playing Cards”.  Each member was their own card.  Bolton was a 6 of Clubs, Dancing Eagle was a 6 of Hearts, Rontrose was a 6 of Spades, and Eddie was a 2 of hearts.  When I sent the art over to Eddie he immediately called me and said “NUMBER 2” ?!?!  I want to be the King of Hearts.

I thought having Eddie as the 2 of Hearts was funny.  It’s the Supersuckers so you wouldn’t have 4 of a Kind.

And I really liked Devil’s Food and Motherfuckers Be Trippin’.  I had so much freedom with those two covers.  With Motherfuckers Be Trippin’ I was able to make up the whole story inside insert where there’s the picture of Dancing Eagle pouring a glass of wine over Eddie and the caption reads “(AP Presow “Motherfuckers” and the aftermath  (inset).  City officials have no explanation for the events that led up to the horrifying “drama.”

And with the glow in the dark Devils Food LP I come up with the sticker “Made with Real Suckers Blood”.  The freedom I had as their art director really allowed me to be creative.

Q:  Is there a favorite Supersuckers story you’d like to share?

A: I remember this roof top party at Studio Litho which belonged to Stone Gossard of Pearl Jam, and I showed up with a bucket of Kentucky Fried Chicken and a Paper bag full of those old M100 Firecrackers.  These M100’s were so old I wasn’t even sure if they would light.  And of course Eddie grabs one right out of my hand, lights it, and tosses it off the roof.   I remember thinking if Eddie blows his hand off it’s going to my fault that the Supersuckers  aren’t around anymore.  Danny Bland, Brian Kasnyik, and David Fisher were also at this party.

Q:  How did you first meet the Supersuckers

A: Jeff Kleinsmith over at Sub Pop asked me to do the poster for the Must’ve Been High release.   I didn’t do the CD or LP art for that album but I did do the promotional poster that was mailed out to stores.  The theme of the poster is almost like a poker game gone crazy.  Lot’s of smoke and guns.

Q:  How did you get inspired to create?

A: I listen to the music over and over and over again.  I try and beat the music into my brain.  With the Supersuckers, I always loved them live.  So I wanted Must’ve Been Live to look and feel real active.  In fact some of that smoke on the cover was inspired from the Kiss Alive album.  It’s all discovery along the way.  I try things over and over until I really like it.  It’s almost like fine art where those unplanned accidents bring me to discovery…

Q:  You’ve worked with artists ranging from the Foo Fighters to Anthrax.  Was there every a time you wanted to work with the same artist again because you felt like you grew so much and wanted to prove it.

A: The Foo Fighters.  I really wanted to do another record for Dave Grohl.    Back in 1993 I’d hang out with Dave and a bunch of us would go bowling and party.  In fact one time at one of his birthday party’s I showed up with an old slot car track and set it up.  Back in 1993, I did that cover for their first release.  I just always felt like I wanted to do another one because I had grown and developed so much as an artist since 1993 or 94.  I did hear from him years ago but for some reason we never connected.  So Dave call me sometime.  My number is below.

Tim. in closing I want to say thanks…  Working with you was an honor and a lot of fun.

I particularly loved the concept for the Mid Fi Field Recording.  I love my wife’s photo of Dan Bolton playing that Black Les Paul that was used for “Live at the Tractor Tavern”.  Most people don’t know why Dan was playing that Black Les Paul that I believe  belonged to the opening band, but it was because he had forgotten his Gold Top at home.  That photo is worth way more than 1000 words.  It’s one of my favorites.

All the photo’s on the cover of this record were taken by Stephanie Neal at House of Blues in Souther California.

Your commitment and vision to what we did was something that I’ll always admire.  I know the Supersuckers fans and everyone else will appreciate what you’ve shared.  Thanks again!

Everyone please see this video Tim Gabor provided that shows cover of Must’ve Been Live from start to finish…

Anyone interested in getting a hold of Tim can email him or visit his site.

Tim Gabor

PO Box 27288
Seattle, Wash. 98165
Studio: (206) 906-9993

And I have a few posters left on eBay if interested. Thanks!!!

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