After OSOTM, Stevie stated in interviews around 1990-1991 that on her next solo outing she wanted to go back to the basics, indicating that she wanted to go back to recording a more organic record ala Bella Donna. So while she had the best of intentions, you know how those go, "even best intentions turn around one day" :rolleyes: Anyway, she enlisted the production assistance of Glyn Johns - the legendary english producer/engineer of The Rolling Stones, The Beatles, The Who, Jimi Hendrix, Led Zeppelin's first album and
many of the Eagles hit albums, which sounded good on paper, but in reality, Stevie and Glyn got along like oil and water. He made recording miserable for Stevie (which no doubt was not helped by her nearing the nadir of her Klonopin addiction - in fact we may have Glyn to thank for Stevie finally hitting bottom, she may have abused klonopin even harder just to be in his presence:shrug:) For starters Glyn forbid Stevie have any hanger ons (Stevie's numerous girfriends etc.) be near the sessions or studio, unless they were involved directly,
and he forbid Waddy from playing anywhere near the record. Stevie said in an interview after SA was released, that Glyn told her "The last thing you need is Waddy !!" So that of course went over like a lead balloon. So they finished recording, and it was quietly announced that the record would be released sometime during the summer of 1993, only to be delayed again until the fall of 1993.
The following is the Alantic Group new release book for Sept 1993 which contained the announcement of the Street Angel release and some
interesting details: (
pay attention to the originally planned track list)
http://i158.photobucket.com/albums/t...P1020930-1.jpg
In the meantime Stevie finally hit bottom and mustered up the strength to go into rehab/detox from prescription drug addiction in late 93, pushing back the release
once again! When Stevie came out and listened to the SA recordings she & Glyn turned in to Atlantic/Modern stone cold sober - she flipped! She absolutely hated it. So without Glyns Johns assistance
or blessing - Stevie went back into the studio to try and fix what she could with the production assistance of Thom Panuzio, Ray Bittan and herself and remixed everything, adding more percussion, Waddy Wachtel into the mix, and dropped Ethan Johns (who incidentally happens to be Glyn's son) compositions & recordings ("Inspiration" & "Playing In Gods Garden") from the track list as well as "I Call You Missing" while switching up the track list order and adding in 4 newly recorded songs including: "Greta", "Love Is Like A River" "Docklands" & "Jane". Still not completely satisfied, Stevie decided to just let the record go and finally get it out there after spending over 2 years recording it. She claimed she had already spent a fortune recording it with Glyn and then spent even more trying to go back in and fix what she felt wasn't quite right about it. Tragically, in the end SA was just one big headache full of bad memories during the pinnacle of Stevie's Klonopin addiction years. I don't think under these circumstances it could have turned out any better :shocked:. But thank god she went back in and added "Greta" & "Love Is Like A River" - and one can only wonder what became of "I Call You Missing" during these sessions. Interestingly, Glyn Johns who is notoriously temperamental, was so furious that Stevie went in and remixed everything that he demanded that any mention of his name be stripped from any credit on the final release. What a hot mess!! I'm sure the inside stories from those around Stevie during this time (1992-1994) make recording RAL seem like a vacation by comparison:nod:
