About The Ikes and Flyin' The Spaceship
Although The Ikes have known each other for years and played together many times The Ikes pretty much started in 2014 when Phil Bosley, Matt Keighan and Mike Maves the had the opportunity to make sound track music and bumpers for Secret Golf's The Rural Golfer which aired on RFD TV and Secret Golf with Steve Elkington which originally aired on CBS Sports, and can now be seen on Amazon Prime and of course at SecretGolf.com
The future Ikes gathered together to write and record music for the shows at Matt Keighan's studio AudioMat in Niagara Falls. A year later the show and Secret Golf was expanding and Mike built Secret North Studio to do both audio and video production for Secret Golf. It was during a break in production in 2015 that the Ikes were formed and the bed tracks for Flyin The Spaceship were recorded at Secret North...More on how that all happened soon but for now here's a taste of the music that Phil, Matt and MIke were making for television and the web.
Check out this link and watch the first episode of the Rural Golfer to get a taste of the music the boys created for the show
Secret Golf Episode 1 The Rural Golfer
Our version of "Cosmic" is a little different, and maybe a tad Canadian but one thing that's certain is that cosmic only really seems to happen when people all play together in a room and just keep at it till they all catch that cosmic wave together... That's how we like to make records....The Ike's learned the importance of that many years ago from the great Gregg Dechert .... We'll be talking about more Gregg in future posts.
"I can teach you everything I know in an hour. Everything. That’s how simple it is to make records. Nowadays, buddy, the technician is in control of the medium. They try to make out like it’s black magic, or flyin’ a spaceship. I can teach anybody on this planet how to fly the spaceship. If you look at the modern console, there’ll be thirty knobs – high frequency, low frequency, mid frequency, all notched in little tiny, tiny, teeny tiny degrees – and it’s all bullshit. All this stuff doesn’t matter, and you can’t be intimidated. You just ignore it – all of it.
I walk into studios with the biggest console known to mankind, and I ask for the schematic and say, “Can you patch from here to here and eliminate the ENTIRE board?” I just run it right into the tape machines. All the modern consoles, they’re all made by hacks, they’re not worth a shit, they sound terrible. None of it touches the old tube stuff – like the green board from Heider’s. It has two tone controls – high end, low end and a pan knob – and that’s it. I had great good fortune when I was a kid and started makin’ records. I made ‘em at Wally Heider’s, Gold Star, so all the people that taught me were Frank Dimidio, Dave Gold, Stan Ross, Dean Jensen – these guys were the geniuses of the music business, still are.
They taught me more about sound and how sound is made and the principles of doing it, and it’s unshakably correct what they said to me: You get a great sound at the source. Put the correct mike in front of the source, get it to the tape the shortest possible route – that’s how you get a great sound. That’s how you do it. All other ways are work. The biggest moment of my life – the one I haven’t been able to get past every, really – is 1961, when I first got to L.A. I got invited to Radio Recorders to see Ray Charles, and I walk into the studio, and Ray’s playin’ all the piano parts with his left hand, reading a braille score with his right hand, singing the vocal live while a full orchestra played behind him. So I sat there and I watched. And I went, “This is how records are made. Put everybody in the fuckin’ room and off we go.” In those days everybody knew they had to go in, get their dick hard at the same time and deliver. And three hours later they walked out the fuckin’ door with a record in their pocket, man.
Of course, in those days they didn’t have eight- , sixteen- , twenty-four- , forty-eight- , sixty-four-track, ad nauseum, to fuck people up, and that is what fucked up the recording business and the musicians of today, by the way – fucked ‘em all up to where they’ll never be the same, in my opinion. People realized they could do their part…later. Play their part and fix it later. And with rock and roll, the more you think, the more you stink.
It’s very easy for people to forget what rock and roll really is........."
Rock and roll is not sedate, not safe, has truly nothin’ to do with money or anything. It’s like wind, rain fire – it’s elemental. Fourteen-year-old kids, they don’t think, they feel. Rock and roll is fire, man, FIRE. It’s the attitude. It’s thumbing you nose at the world.
It’s a load. It’s such a load that it burns people out after a few years. Even the best of ‘em burn out. People get old – they forget what it’s like to be a kid, they’re responsible, they’re this and they’re that…. You can’t have it both ways. You’re a rock and roller. Or you’re not.
I wanna tell you something’: Neil’s never been insecure about anything in his fuckin’ life. First among equals is Neil Young, and it’s always been that way. When Neil’s got his ax in hand, it’s like the Hulk. His aura becomes solid – he becomes eight feet tall, six feet wide. The only guy other than John Lennon who can actually go from folk to country to full orchestra. The only guy. I think when it’s all written down, he will unquestionably stand in the top five that ever made rock and roll."
David Briggs from the Neil Young Biography Shakey [pp. 263 – 264].
If you want to read the book....and it is a very good read have a go via the amazon link below....