EIN Presswire: United States Press Releases

UK Based Singer/Songwriter Wendy Halo @Halo_Wendy Feeling Honored to work with Grammy Award-Winning Gary Noble

I am honored to have Gary Noble working on the High LIFE remix I promised you 😀

Grammy award-winning mixing engineer Gary Noble started working in studios in 1988 when a lot of today’s greatest rap and R&B artists were children — or not yet born. Since then, he’s been in charge of making music sound good for Amy Winehouse, Lauryn Hill, Nas, and the late Lisa “Left Eye” Lopes. The latter left him an indelible studio memory.

Gary being interview 

You worked on so many records over the last 31 years. One of them was Public Enemy’s The Greatest Misses remix album with Salaam Remi in 1992. What did you learn about Public Enemy then?

I learned Chuck D’s sound that we hear on the records is 90% him. It’s not stuff they did to his voice. That’s really his voice. I had to do what I’m doing, but leave it as natural as possible so his raw energy comes across. It’s the same thing with Flava [Flav]. That’s really their energy you’re feeling on the songs.

You also worked on The Fugees’ Blunted on Reality. It turned 25 this year. What do you remember from those sessions?

They’re an amazing talent. They have talent coming out of their fingertips. If you hear some of the outtakes, you’d be blown away. The issue was we needed to get songs done and if you give them 20 tracks and put them in the booth, they’d give you 20 different vocals (laughs). It was a lot of work. But, it was a lot of fun working with them.

They’re very dedicated. You don’t have to tell them, ‘Man, go in the booth and give us the last verse.’ They’re already in there. You have to tell, ‘Come out and listen to make sure if we’re going in the right direction.’ They’ll do vocals all day with no problems. It was a nice vibe. I still know them to this day.

That’s dope.

Also, the hook for ‘Fu-Gee-La’ was done by Lauryn on a whim and Salaam was like, ‘Yo, make that the hook.’ They were going to use something else and someone was like, ‘Nah. That’s the hook.’ She was like, ‘No. I want to use that on another song.’ Salaam was like, ‘No, L. You have to put it on this record. That’s the hook.’


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