Cold Hearted Woman

We recorded all the music live on the big sound stage that the Rolling Stones had had built for their early 80’s revival tour at Long View Farm studios.

I had an apartment with Paul Morris in the big barn, that was directly below the sound stage. All the rooms were wired for recording so if Keith Richards decided to record in his bedroom he could. John O’Reilly had Keef’s room. It had no natural light.

Ritchie decided that my lounge and dining area immediately below my bedroom was the perfect place for the Marshall Majors to be placed and recorded from. Of course all this was done between the witching hour and 4 in the morning. Between takes of overdubs and/or solos there were often long periods of silence apart from the scratchy hum of the amps. These were the moments when I could either work on the melodies and lyrics or try and catch up on some sleep.

Of course intuitively Baron Blackmore would wait for the perfect moment and unleash a 10 second flurry of notes then it would go back to a sinister eerie silence. Until the next attack.

 

Having been denied the diatribe of Temptation which became Wolf to the Moon, I took Ritchie’s driving riff and punctuated groove and released the imagined pain and bitterness of this non relationship in the lyrics of this song.

It all went very smoothly vocally and they went down rather fast. I liked the fact that the ad-libbing at the beginning and at the end that I did on the CHW and on every song actually made the album. Well there were no solos when I was recording vocals so I just filled the holes.

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