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 Continue reading ““Don’t Move” at Studio P”
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 Continue reading ““The High Dark Rise” at Sonic Boom Room”
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 Continue reading ““Rain in the Desert” at OtherHand Recording”
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 Continue reading ““Maranatha” at Pip Studios”
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 Continue reading ““Oh Sleeper” with S.C.A.B.E.”
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, Continue reading ““Goodbye My Isaac” at Hayloft Studios”
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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! ❤
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A Word on the Engineer/Co-Producer:
Doug Messenger‘s audioGrand is a blast from the past – his studio is fully analog, which was a great pleasure for me, being amongst sights and sounds and even smells I remembered from my childhood when my dad ran a recording studio in the 80’s (if you listen carefully to the beginning of the track, you can hear the tape starting and Doug’s voice saying “Rolling!”). Doug himself has worked with innumerable A-listers, including-but-not-limited-to Jimmy Eat World, Beck, and Milla Jovovich (who knew??), as well as played tunes with Van Morrison back in the Boston days… The man has been everywhere and done everything, and now tends his studio contentedly, happy to take on the shoestring, crack-knuckled projects of maelstrom waifs out for blood and water in the Los Angeles desert. He’s careful and meticulous, was incredibly encouraging to me and my crew, and went out of his way to make certain I was happy with my product and had everything I needed. Thank you, Doug!
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Meet Steve Postell, an earlier generation mainstay of the Santa Monica songwriter scene. Enter his studio, which like so many studios in LA (including the one in which I live), is a very effectively re-purposed garage…and is nearly completely overrun with frogs.
Glass frogs, plastic frogs, metal frogs, cloth frogs, frogs that play bass, frogs that read, frogs that dance, frogs with afros…just about any kind of frog you can imagine. Somewhere way back in the annals of time a client brought a gift frog for Steve, and somehow the trend never died. Steve is, in fact, no longer accepting frogs, so when you call him to record you (and you should), please do not bring a frog. Not even as a joke.
A Word on the Engineer/Co-Producer/Accompanist/Studio:
I’m finding over time how an engineer’s energy can make or break a recording, and Steve is a master of efficiency and focus, things I readily include in the list of helpful vibes. We sat down at the beginning of the session and planned what we would do and how long we should take at it. He made a quick chart of the song as I explained what I had in mind, and what he wasn’t able to execute to his satisfaction in our session he put together on his own time, an extremely generous gesture. His intellectually-informed creative contributions, both on the dobro and in his totally worthy feedback, put me at ease and let me know I was working with someone who enjoyed the work. Steve does not engage with projects which will not live up to a certain standard, so his willingness to participate in the Singles Project with me, with just about zero precedent, was an immediate compliment, and I am honored to count him collaborator.
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Jack Lee was a quiet tree of invitingness when Therese Barron and I entered the house at the very northern end of the Santa Monica Mountains. His home felt occupied, but with enough room in it for those who entered so that they didn’t feel they might knock something or someone aside by being there. A stone on the desk in the living room where we recorded read a comforting quote by the poet Tagore. Anyone who values the work of Tagore is a win in my book. Thanks to our mutual friend, Nick Thorkelson, for the introduction. 🙂
A Word on the Engineer/Co-Producer/Accompanist/Studio:
Jack Lee is a master of a comfortable silence. He was genuinely excited about the “three-hour challenge” of the Singles Project, and rose to it effectively, making excellent use of both our time by setting a schedule of what needed to happen by when — “Let’s do your part first, then add my parts until such and such a time, then comp, mix, and master.” His dobro and soulful piano parts – created on the spot – fit succinctly into the Blessing Song, unobtrusively, with a spiritual loveliness that not many have naturally in their fingers. The man is an artist and poet in many capacities, and we only scratched the surface of it by calling upon his skills as an engineer and instrumentalist. I’m glad to have him on my roster.
Songography 