{"id":4441,"date":"2021-01-27T13:40:51","date_gmt":"2021-01-27T13:40:51","guid":{"rendered":"https:\/\/www.shindig-magazine.com\/?p=4441"},"modified":"2021-01-27T14:03:11","modified_gmt":"2021-01-27T14:03:11","slug":"inside-lost-innocence","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=4441","title":{"rendered":"Inside Lost Innocence"},"content":{"rendered":"

JON ‘MOJO’ MILLS\u00a0talks with Alec Palao about his latest Gary S Paxton compilation, the garage\/psych set\u00a0Lost Innocence,\u00a0<\/em>discussing the wealth of unissued material, which can be heard below<\/strong><\/p>\n

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Gary S Paxton at his Homewood Avenue studio, Hollywood, late 1966<\/figcaption><\/figure>\n

Shindig!<\/i>:<\/strong> Paxton has a very unique sound… and the tracks you have chosen all coalesce. What is it about his techniques that work so well for garage records? There\u2019s almost something Meek-ish about his use of compression… yet the more psychedelic outings are very contemporary
\nAlec Palao:<\/strong> Gary Paxton was actually not nearly as radical as Joe Meek in his recording approach, and given the eccentric nature of his studio locations (family homes or disused banks), was able to achieve amazing fidelity on most of his sessions. But when it was appropriate to \u201csquash\u201d the sound, as on the garage-rock things he produced, Paxton knew exactly how much punch to apply. What’s interesting is that he rarely mixed things in his studio, preferring to take them over to places like Capitol Studios in Hollywood, to avail himself of their top-end outboard gear. That\u2019s the famous Capitol echo chamber you hear on \u2018Our Love Should Last Forever,\u2019 or on the lead guitar on ‘Lost Innocence,\u2019 for instance.<\/p>\n