Click Here For A Review of The David Pack Maestro's Show!

Click Here For A Review of The Twin Palms Show!

Click For an interview With Pat Newman!

Click Here For A Review of The Cerritos Show!

Click Here For A Review of The David Pack Club Caprice Show!

Exclusive Interview with David Cutler Lewis/by Mike Beverley

David Cutler Lewis was an integral part of Ambosia for 6 years!

Helping to mold the last 3 albums, he placed his brand of key

board 'genius' on each album! Mr. Lewis is a Grammy winning

keyboardist with the band: Shadowfax! A true pioneer, he is also

the keyboard player for the Sunken City band! Thanks to Dave &

Mike for this excellent interview! Enjoy!!!!

The Awesome Grammy Winning
Keyboardist: David Cutler Lewis!

1. With the success of One Eighty behind the band, did you feel pressured to recreate the feel and drive of that album using a different producer?

"Certain members of the band were really into Pink Floyd's, 'The Wall.' We decided to try for a different edge and thought that James Guthrie who produced the 'The Wall', and being in England, would effect our direction. We went for more dramatic pieces and had no obvious top 40 hits. Possibly a fatal mistake."

2. One Eighty is very much a "rhodes/prophet" dominated album.  Your instruments are very much up front in the mix.  Did this cause any problems with the rest of the band during the production/mix down stages?

"Not a bit. The Prophet was new then. (I got mine from Joe Zawinal from the group Weather Report, serial number #41.) I was able to blend it so well with the Rhodes. Things were not in stereo then, and I discovered taking the mono signal into 2 channels and effecting both sides with pitch and other effects filled out the record great. The Moog solos I did were done with 2 channels and 1 being a mic under a road case with a amp on 11. The secret is to play the keyboard exactly like a guitar as far a bending and vibrato. I never used the mod wheel. Just the pitch wheel. The mix was an effort by everyone. We all just had a similar idea of the mix. "

3. Biggest Part of Me/You’re the Only Woman showcased your Fender Rhodes and Prophet.  During the writing phases of those songs, what was the extent of your input?

"I feel that my input was strong. With the Prophet being a new sound, I came up with chord alterations and textures that influence the total song. I was a little naive in the importance of being attached to a 'song.' Lots of money there, and you don't make money on arrangements."


4. Was the use of the prophet mirroring back-up vocals on several cuts intended to "thicken" the bands four/five part harmonies, and how much of an influence did you chordings have on those phrasings?

"Yes, it was a great sound behind a wall of vocals. Sure I can up with alterations that I assume affected the vocal arrangement. "

 
5. Did you and Royce ever consider yourselves "members" of the band and not just "additional musicians" and how much influence did Freddie have in containing the nucleus of the group?

"Royce and I did think of ourselves as members, as we were all together all of the time. We all shared equally in rehearsals. We were on the road for so long, how could you not think that way? It WAS a 6 piece band, no doubt about it. I don't want to comment on Freddie."

6. How did you ever achieve "feedback (octave harmonic)" from your prophet/mini moog on the solo from "Shape I’m In"?

"Hmmm, I feel I should charge for this. I had a separate volume output for one of the tone generators, which I set an octave higher, and would press the pedal to get the higher octave"

7. Do you record direct or through a monitor system?

"I record direct always unless I'm using an amp to solo with. Not only with Ambrosia, but with Shadowfax I solo'd through a Marshall stack live." 

8. How much input did you have on the production of the One Eighty album?

"Simply put, I'd say I had a lot to do with the One Eighty record. "

9. Your trademark sound was strangely absent from Road Island.  Was there a falling out with the band during the recording and prior to Hornsby’s appearance?

"Well yes, from the album sales, the 'idea' didn't pan out. There was no falling out, but from the lack of response from record sales, the band couldn't afford to keep Royce and myself retained. After a brief period of time the band started rehearsing again with Bruce Hornsby, but he ended up leaving and I came back for one more season. The last gig I did I think was at Mammoth Mountain, '82."

10. How much of Dave’s guitar and piano style effected your arrangements?

"David Pack had a very good idea of what he wanted on his hit songs. What I came up with on the Prophet really filled in those ideas. "

11.Do you still use the prophet/rhodes/CP70/mini moog or are you midi?

"My main axes now are the 01/Wfd, Ensoniq VFX, Roland Remote Asis, and a rack full of midi'd sound mods."

12. What about a keyboard book of your playing?  Have you ever been approached by Keyboard Player for any articles?

"I actually submitted a 6 minute solo I transcribed note for note from the Herby Hancock album, "Headhunter's", the song "Sly." Its the rhodes solo. It took 4 months! Also the total solo from Chick Corea's album "Light as a Feather", the song "Spain." They wanted the left hand and if you listen to those songs there was just random comps on Sly. "

13. Joe Puerta loves your playin' on 'Living On My Own' and believes that you gave the band that R&B flavor that the 'One Eighty' album was famous for.

"Joe's cool. All this really brings back actual memories of putting that record together in rehearsals. The Prophet was really a GREAT axe and I made the most out of it. "

Dave relaxes before Sunken City.

For personal Ambrosia reflections from Dave, you may contact him at:

[email protected]

To contact Mike Beveley for technical/musical related  Ambrosia information
[email protected]

Top

Home