Mahogany Wood was the only new song, this featured one of Dave’s loops, I played the bouzouki bits and so I guess this one was the most RATL-like track. One of the Residents had transferred selected bits (chosen by us all in 1981) onto a 16 track tape, these either acted as templates for songs and were completely written over or, in certain instances, parts of the original bleed through (‘Sailor Song’, ‘Womans Weapon’), sometimes chunks of the original feature heavily (‘Monkey and Bunny’). The songs were all based around the jam session. I was disappointed not to get my hands on an Emulator. Mostly we used a Yamaha synth, a Resitar (an electric guitar with all strings tuned to E), drum machine, assorted percussion and voices…and of course the talents of Snakefinger and Nessie Lessons. The Rez’s instruments were still in transit from Europe so we had a limited selection to chose from. The next 3 weeks were intensive and quite hard work (in the nicest way).
Dave created some loop tapes for me to take and I took a bouzouki, rababa (one string Egyptian fiddle), and a mesmer (a reed instrument). Unfortunately, Dave could not get the time off but I was lucky to be able to spare 3 weeks and so I went to San Francisco. The Rez’s had a space in their diary for us to get together again and they suggested we try and finish the project. “In 1983, after the London Mole Show, Dave and I met with the Rez’s backstage and we talked about that tape. We ended our visit with a tape of selected sections of the improvisation with some limited overdubs, this tape exists and was given the working title of ‘4-Daze’. For all it’s ‘anarchic’ quality, Rez and RatL music was/is extremely crafted (or at least a strict quality control). It turned out the Rez’s and we were very similar in work methods and although we all thrived on the spontaneity of the improvisations, the processes that followed needed to be very carefully considered. Day 2 we would split into two groups, one to write lyrics/devise singing (me and Rez’s) and the other to consider overdubs (Dave and Rez’s). It was hopelessly optimistic and we quickly realised that we couldn’t do it in 4 days, so the project was shelved.”īrian, “Day 1 was the jam and selection of bits to use. So we spent a couple of sessions just jamming with the tape running and then started going through the material and looking for the best bits that we could work up into something. “When we first went to San Francisco in 1981, there was this idea to record an album from scratch in four days. To date, Renaldo & The Loaf are the only group to have co-produced and recorded an album with The Residents.
#THE RESIDENTS & RENALDO & THE LOAF TITLE IN LIMBO RAR FULL#
During the late 1980s some of the songs were released on compilation CDs or as CD bonus tracks on the first CD issue of Not Available, and the full album was reissued as a limited-edition CD in 1998.Īll tracks are written by The Residents and Renaldo & The Loaf. "Monkey and Bunny" from the album was performed live during The Residents' 13th Anniversary Tour additionally, "The Shoe Salesman" was included in the setlist of the group's 2002 Demons Dance Alone tour. Brian Poole ("Renaldo M.") came to San Francisco to sing, and also participated in the instrumental overdubs.
Dave "The Loaf" Janssen was unable to get time off from work and just sent some tapeloops. In 1983, during a time of financial crisis in the Residents' quarters, the half-finished album, with its gentle, tuneful sound, seemed like a financial lifeline, so the Residents decided to put vocals on the tracks and ready the album for release. The album was originally recorded during four days in 1981, when Renaldo and The Loaf were on vacation in San Francisco, but they were unable to finish the album before the duo went home. Guest performers include Snakefinger (guitar and violin), and vocalist Nessie Lessons. Title in Limbo is an album by The Residents in collaboration with Renaldo and the Loaf, released in 1983 on Ralph Records.
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