Get ready to dive into the creative process behind Necko’s latest single “You Don’t Gotta Be Alone Anymore” as we explore the inspirations, musical techniques, and production secrets that brought this 70s-inspired rock ballad to life.
In a world where authenticity is hard to come by, Alek Necko, lead singer and guitarist of the band Necko, is an exception. With their latest single, “You Don’t Gotta Be Alone Anymore,” Necko has tapped into the 60s and 70s rock sound that has long captivated music enthusiasts. The result is a 70s-inspired rock ballad that draws on themes of isolation and unrequited love, brought to life with moody and elastic vocals that are almost cinematic in quality.
The making of “You Don’t Gotta Be Alone Anymore” was a product of a day-long recording session, spearheaded by Necko and the band alongside producer siblings D.E.L. What transpired in that studio is a testament to the power of letting one’s influences shape their art. From the moment Necko picked up his guitar, he was channeling the sounds that had inspired him since he was a child. The result is a track that evokes the raw emotions of blues and rock n’ roll, creating an irresistible rasp that pierces the soul.
With this latest release, Necko proves that true artists can capture the spirit of an era and channel it into something entirely new. “You Don’t Gotta Be Alone Anymore” is a song that taps into the rich legacy of rock n’ roll while still sounding fresh and relevant today.
In an exclusive, Alek Necko shares the behind-the-scenes of the making of “You Don’t Gotta Be Alone Anymore.”
I entered the studio and went about the usual routine: guitars out of cases, pedals laid out in front of my blue velvet armchair. At the time I was using a coiled cable for extra Jimi effect but to be honest it was more of an inspirational tickle rather than a tonal choice; a school of thought I believe has evaded us over time: the idea of allowing our influences to take shape within us to then mould who we become. From what I’ve seen in my brief life experience at 24 years of age is a world whereby people want the best instead of what makes them happy, or what feeds their soul and warms their heart. I picked up a guitar because a certain idol of 10 year old me stood above the camera and played directly into it, causing my focus to dial in the way it never had before, and the way it has always done since, whenever I hear a guitar solo that makes me tingle in ways only a few people understand.
Marshall amplifier in the booth, heating and raring to go.
We cut what we needed to cut in order to complete a track we had written prior.
Joe’s 2010 Les Paul Standard was the one I played most that morning. The Seymour Duncan pickups are hot: Jazz in the neck and JB in the bridge. They sizzle with intensity and worked well for the tone we needed for this particular track.
11am. Done. Lunch.
Come back in to the room, it’s 12:30pm.
Joe, Nick, Timm and I gather and ponder the best way to use the remainder of the day.
“Let’s do something bluesy.”
I had been listening to Led Zeppelin’s Since I’ve Been Loving You on the way to the studio that morning – it was an hour and a half drive from my house in peak hour traffic and allowed me the most beautiful and calm preparation for sessions. I was able to consume quite a lot of music in that time and, effectively, helped me decide on a direction to take writing on any given day based on my mood and enjoyment of particular pieces during the drive.
Joe was into it, and immediately picked up his Bass and began jamming in C minor blues. I don’t remember at what point I joined in, but I remember Joe stating, “Okay, I think we have enough.”
I’d been soloing over Joe’s progression with my Gibson 61’ SG Standard for a total of seven and a half minutes. We clearly enjoyed the initial stage. It was now time to develop a vocal, so Nick and I left the room with my Ebony J-45 acoustic and began the process.
“That’s it?”
Joe was stunned that we had written the song’s complete vocal in twenty minutes and were ready to track.
We cut the vocals in a short amount of time that wouldn’t have ticked more than thirty minutes.
One thing I knew was that I didn’t have the guitar I needed that day to record the solo. I had a particular feel and tone in mind that I wanted to capture. So we left it for the following week.
The guitar I needed is my number one limited Heritage H-150 in Original Sunburst. The classic PAF sound it provides was perfect for this track. I wanted something vintage-sounding; somewhere in between Clapton’s ‘The Fool’ SG and Page’s ‘59 Burst tone.
I kicked in a Windmiller Preamp from Aclam to boost my Marshall Studio Vintage Combo – but there was something missing.
“Hey Joe, have you heard Hendrix’s ‘Red House’? There’s this delay that kicks in in the solo. Let’s try that.”
It was the magic ingredient that gave the outro of ‘You Don’t Gotta Be Alone Anymore” the psychedelic atmosphere it craved, and it was all I wanted. Listening to the solo makes me feel like I grew up in the sixties without knowing at all what it would have been like. And that’s the power of music, I think.
– Alek
