Just an update. I've never ever done the real record studio project thing. Well, I've played on other people's projects, and I've done a couple of tiny tiny budget things back in the longago, but never done my own record in a real recording studio. So, the whole thing is exciting to me.

Basically, these guys are working with me on the record, instead of me coming in as a straight up client, paying by the hour, they're doing the project with me and when/if the record picks up, they get a piece. Fair enough... pay now, pay later, whatever.

Therefore, money/time is not constantly on my mind. I'm able to get in there and try to get it right. I decided that I want it a little rough, a little dirty because a funk record that's purely polished does very little for me. Some folks like it as perfect as possible, but me, I dig Cody Chesnutt's "Headphone Masterpiece" and other records that say "hey, this was done outside of L.A. in some studio that ain't top-end."

I just like a sense of being there while the band is doing their thing, versus being there on the dancefloor while the violins and orchestra and 20-part-harmonies are kicking. Stones Rule. Anyhow...

First night was good, laying the basics.

Second night was miserable, where I spent 4 hours discovering I'm not the studio drummer I (a) thought I was, (b) used to be. Either way, it was a long and frustrating evening.

Third night, I brought in John McKnight on drums. Holy crap. This album will now stink and drip of the funk so hard that your chest will cave in. He knocked out 5 songs the first night, (2 of which, he'd never heard before... I just walked him thru the tune while I played along) and the next night, he knocked out another 5!

Fourth Day, (I took yesterday off from work to get in and get busy) we laid the backing vocals on most of the songs. John McKnight was still in there and helped on the vocals. Again, awesome. HOWEVER, here's the weakness of an unlimited number of tracks in the studio. It's just too damn easy to lay in a 12-part harmony on the chorus. Back in the day, you had to pick and choose your vocals. My first record (back before we had The Wheel) there was 8 tracks. If you wanted backing vocals, they had to go on top of the rhythm guitar or the bass. Now, it seems just a little too easy to turn a simple song into an unholy mess of vocal overkill, Just Because You Can.

My opinion anyways.

So. What have I learned so far?

I can't sing the way I used to. That's the most painful lesson. I'm trying to nail notes that I nailed two years ago when I was playing 3 nights a week, and my vocals are just not there yet. So, I'm hollering in the car on the way to work, at lunch, singing along with everything trying to build them up, but I know in the back of my head that what I have now is the result of not taking such good care of my voice two years ago. It's no big deal, I think it might be better NOT to belt out these tunes, but it does force me to do some re-arranging, re-writing.

However. I've always felt that good songs aren't always about the quality of the singing. Keith Richards is a great example. Anyhow.

I'm having a blast and I'm crippled tired at the same time. I'm off for the next 4 days and then I'm going back in. I'm loving it. I'm hooked. I pretty much plan to do this once a year now to move these great demos on to something more.

That's so cool, man! Funk it up!

I'm having "Mixerman" flashbacks,

Practice/playing regularly is really important and recording just captures everything, it really is amazing, the good, the bad and the ugly. I'm learning that myself.

I can't wait to hear the new drummer, thanks for the update.

Sounds like your having a blast!

Stick up them thar recordings for us!

Hey Otan!

You know, its funny but I'm in the same boat as you are in regards to play now/pay later. That does seem to get in one's psyche because you're trying to make the best quality product you can with one eye on the clock. It sounds like you're knocking these out at lighning speed, which is awesome! and as soon as I read that John McKnight was working with you, it was like: "I know that name..that's a bad dude behind the skins". More than anything I'm happy for you that you've got that tired euphoria (I know I love it when I get to that stage). I can't wait to hear what you're cooking up!

Enjoy the process Bro, its always a wonderful one!



jshua

The dude is awesome. Basically, I name three songs to reflect the direction of the one I'm about to record, like, "Superstition, Dixie Chicken, Thankyoufalettinme..." and he's ON IT. Feels the parts building up, delivers a release, nails stuff, incredibly. Dead on.

I'm taking the next 4 days off, (I'm exhausted, work all day, record til 1 or 2) so next week we'll do guitars, nail down arrangements, and throw on some bass. I've been eyeing a fretless Jazz bass they have in the studio. OH. OH.

OH.

otan said:

Man, I'd love to get at a fretless bass!
Go for it!!!!!

BTW, this is THE John McKnight, I think it is....right?
if so, how in the heck did you get him in?!?!?!?!

then again, you're in Hotlanta with major connections, so I probably answered my own question....



jshua

I've never been to a studio before, so it's a really interesting read for me, how you - as an experienced musician - get along with it.

Keep us updated and all the best for your project!

yeah man, do that thang!

I did a search, and there's a John McKnight who's appeared on a couple Fishbone records - I don't think it's him. This one has played drums on a bajillion CDs here in Atlanta. He's a session musician for the most part, studio and live. He comes out to play with us when he's available. Right now, he's working on a project in Virginia that will probably end up with him touring, opening for the Allman Brothers or Dicky Betts.

The dude is a monster. When you hear these tracks, your head will explode. The hardest part about all of this is knowing that I've got to put together a band to support this record, and the drummer will NEVER nail it like this. Honestly - the dude has the perfect combination of dynamics, feel, pocket, power, everything. I've never played with a drummer who can play like him. Did I mention the two songs we recorded that he'd never heard?

DIDN'T WANT to hear the demo tape. They're in 6/8 and 7/4! He said, "just play the tune, call the changes to me" - not as in, "I don't care" but as in "let me play around with it while you play over it, and tell me if it's fitting in".

Uh, two takes later and we were done.

Yeah, there is a Fishbone guy by that name but this is the dude I thought you were talking about..
and for that, you get a big from me because that's just plain awesome!
That guy has feel for days and is one of the most intelligent drummers I've ever heard!!!!!

Nice stuff Otan!
The music you're workin on is gonna be intense!



jshua

Styles :




Cut the vinyl with the diamond, sweat blood from ya soul, infect us all with your passion.

FLUX said:

No doubt!

1.618

Well. I'm heading back into the studio tonight.

I think I might make one of them trilogy-seque tunes, (sort of like Sister-Head-Party Up) and push two or three of the extra jams into 2-minute versions, just to squeeze them in. I dunno.

Tonight I think I'm doing the basses. That's the easiest thing to do right now - just to get back into the groove. It dawned on me that this record has 50% of jams at the same speed - somewhere between 103-105 bpms. I'm debating cranking up the speed on one or two and changing it all around.

WOW I just LOVE second guessing something that hasn't even been done yet! WHOO!