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A Word on the Producer: My friend Eric Schwartz, I’ll have you know, is a substantial artist in his own right. An excerpt from his bio states, “Schwartz is possibly the only artist in the history of the world to get raves from Gloria Steinem and Hustler Magazine.” A celebrated juxtapositioner, a purveyor of the best muppet energy on the most incendiary of topics with the funkiest of earworms, splayed on the spectrum of sincerity and absurdity…Never was there such an agony of decision between dancing and catching every lyric. Couldn’t be happier/prouder that such a smart performer not only took my song in stride – booking the world-class studio and musicians, and adding keys and background vocals to the track – but also liked my song. For the love of your personal humanity, call on this cat for a house concert. He’ll do it.

A Word on the Studio/Engineer: Will Kennedy and Studio P were a welcome fit for such an intimate song – tucked into a corner of Pacoima, CA that feels more like Los Angeles than Hollywood, I took in flora, food, and folks in a delicious waft of what I consider my home region (I was born and raised in the San Fernando Valley). It’s hard to find studios that are as complete and cozy as Will’s, a great use of tiny space with an isolated drum room and a loo, not so much meant for even the wee ensemble we used for this number but well-planned and executed all the same. A no-nonsense workhorse, capable of telling you when he needs to not be interrupted, capable of telling you when it needs to be done again and when it doesn’t, and an all-around advocate of good work. Call on Will for your project.

A Word on the Band: And if you’re looking for A1, totally pro, one-take wonders, receptive to instruction and hip to protocol, upholding their artistic integrity while being a fully functioning cog in the greater song-machine…Call these dudes:
David Goodstein — Drums
Phil Parlapiano — Accordion

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This Appalachian waltz lent itself to mass amounts of devastating mountain estrogen.

A Word on the Band: Back in November, Sugar in the Gourd, an all-girl string band in LA, asked if I could sub short notice for one of their members, which I did with relish since I so infrequently get to play music with other women. The success of that evening led them to hire me for another date one of their members couldn’t make, and before the evening was over I was inspired to recruit them (don’t you love how recruiting begets recruiting? In LA it seems no one has time to “scope out” a musician—you take a chance on them based on word of mouth reports, and if it works out, take another chance on them to test consistency—everything is relationships! And vetters are always simultaneously being vetted by the vettees!). Much love to the Sugars for being So supportive, wild, and interested! “…you can’t get it out…!”

A Word on the Engineer/Studio: Whenever I’m looking for a studio the first step is to ask the band. “Kevin Jarvis at the Sonic Boom Room in Venice,” was Lisa Salloux’ immediate response. In addition to the Sugar in the Gourd record, Kevin Jarvis also does a lot of post production for some heavy-hitting TV shows, a fact which endeared me to him immediately since that’s the business I grew up around in LA through my father. The Sonic Boom Room is a great place to record – complete with a full drum kit, at least three rooms that can be isolated, and shelves and shelves of various snares (“I’ve gotten rid of a bunch,” Kevin promises). The bathroom was clean and the coffee, tea, and company were delicious. SonicBoomRoom.com will be live starting 2017 March 1. Visit Kevin there and peruse his impressive resume…

Lynn Shipley — standup bass
Lisa Salloux — mandolin and BGVs
Aubrey Richmond — fiddle and BGVs
We all co-produced on this one to some extent.

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A Word on the Engineer/Studio: Jeff Kossack loves chilling out to great music—I suppose that’s one of the reasons he’s part of the Tall Men Group, a highly respected local band in which each member is a phenomenal songwriter in his own right. In the studio as in life he’s affable and charming, just as likely to offer you whiskey as water, and a no-nonsense, music-spewing people-connecter. He worked quickly and cheerfully, was hospitable to me and my friend Therese who sometimes accompanies me as my Professional Audience, and brought good and interested ears to my song.

A Word on the Accompanist: I don’t generally support out-of-house accompaniment; as in, I want the musicians with whom I work to be present and engaged and able to see and hear what, when, and where the music is. In lieu of that, though, I’ll take a musician who works hard to get it right, takes instruction, and delivers on a deadline. Thank you Nick Kirgo for working with me sight-unseen!

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I’m very fortunate that my earliest songwriting influences are all people I know personally. That is why each year I’m going to do just one cover, songs I like written by people I love. Last year I did a song my dad wrote. This year’s cover is brought to you by Bob Marlowe, the Man of Glass. And not only did I get to record with Bob, my parents happened to be in town so they jumped on board as well. Between our shenanigans and the warmth and hospitality bestowed by Deborah Marlowe and Pip the Dog, everything conspired in that La Crescenta home to elicit the comfort and peace of a deeply meaningful sliver of song I have heard since I had ears to hear. Finally, add to that the legacy I felt I was continuing with Bob’s music—which along with my mother’s and David Covington’s (one more influence whose song you may soon hear from me) found its way into another politically charged time when all people wanted was to talk about love and redemption and coffee.

Not much to say on the studio, it was literally a closet, we sang to coats and underwear.
Not much to say on the engineer, he’s my dad, he’s invincible.
We all produced at our own discretion and when necessary.
Bob Marlowe played guitar, his favorite Taylor in an open G tuning.
Scott Brownlee played stand up electric bass.
I sang the first verse and then Bob, Pamela Brownlee, and I all sand in three-part harmony the rest of the song.

Bob Marlowe

Scott & Pamela Brownlee

The Salt Company

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So much thanks to the formidable, world-class, beloved bass player for and collaborator with artists such as Jackson Browne, Stephen Stills, Keb’ Mo’, and Brett Dennen (to name just a few) – Mr Kevin McCormick. Just as watching a master carpenter work is relaxing because you know they won’t cut themselves, watching Kevin McCormick play bass is dreamy and engaging and comfortable – not a note goes by that he doesn’t dig on, automatically giving listeners the room to dig on ’em as well.

When I approached Kevin about this project, I gave him a very rough scratchy voice-memo recording with the A and B parts of the song, and said I’d like to do a choir of vocals with a choir of bass parts, and nothing else. So he took it to his cave for a couple of days and then had me overlay on his creation. It reminded me of gradeschool when I’d draw a few lines and pass it to my friend Jenny, and she’d elaborate on those lines and pass it to our friend Mandy, and this would continue until we had a full-fledged dragon on our hands (and no idea what the teacher was talking about). It was good to collaborate, and opened my mind to the idea of co-writing, of which we may see more in the near future…

In the meantime, please enjoy what Kevin and I (and the Southern California All-Bass Ensemble) co-created – I remarked to him in the process that learning his bass solo in the middle of the tune was making me a better musician…

McCormick’s Pick

Upright Bass

Piccolo Bass

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Through our mutual friend Chris Murphy I was given a little studio time with Pat Flynn (of New Grass Revival) as a producer and guitar accompanist for this month’s single, and I’m so pleased he and our friend Evan Winsor and the steadfast Cartier of Hayloft Studios were so available and so GAME. Live takes can be very tricky, especially with a central mic like we did this time…but the virtue of having a different team for each tune is making things work in all different ways.

Pat Flynn – Producer, Guitar

Hayloft Studios and Josh “Cartier” Cutsinger

Chris Murphy – Mandolin

Evan Winsor – Standup Bass

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A Word on the Studio:
Electracraft is in the heart of Hollywood and embodies so much of what you’d hope to expect in an LA recording studio – belied by the dingy exterior, you’re admitted in, ascend the stairs, and the first thing you notice is the expansive smoking area, “for whatever,” as Hal puts it. Inside is not only an open control center reminiscent of something of which James T. Kirk would approve, not only a large-yet-cozy isolation booth, but also a full kitchen and breakfast table. “Sometimes you’re in here a while,” Hal says. “It’s nice to have.” It was clean, inviting, easy to navigate, secure parking, and rather hugely professional vibes.

A Word on the Engineer/Co-Producer/Accompanist:
Hal Cragin took the bare bones of a demo recording and gave them not only skin, but sinew, muscles, and even an organ. His drum samples are some of the tastiest and liveliest I’ve ever heard, and it’s a very rare exception that I’ll even consider fake drums. #veryhardsell The moment we were settled in Hal showed me what he’d already done to the track, needlessly adding caveats about how we didn’t have to keep anything he did ever, and from that point we worked fairly seamlessly together, volleying thoughtful ideas, feedback, candid opinions, and over-the-top humor. He took exceptional care of both me and the song. Many, many thanks, Hal! To the future! ❤