Recording / Songwriting Updates

   
[7/11]  That was easy - I sent a mix of  "It's All About You" to studiopros.com and they sent me back a stereo mixed drum track in 48 hours.  Voila!  (Ok, it wasn't quite that simple; I asked them to change a bunch of kick hits and a couple of drum fills, but they turned that around in  a couple of days too.)  Spent some time working on the mix, getting rid of stuff, which generally makes things sound better.  Still need to record final vocals.  Also worked a bit on the mixes for "What's That Thing?" and "Doctor Bones".
 
[5/27]  Lots of progress on "It's All About You" - finished bass, two acoustic guitars, electric and lead guitars, organ and piano.  Next, need to add drums and final vocals.
 
[4/17]  Spending more time in the studio: Recorded Dan vocal for "If I Ever" and submitted it for a possible sync opportunity.  Also tweaked the vocal for the version where I sing the lead myself and mixed that too.  Recorded a final version of my high lead vocal for "It Ain't What It Ain't" (there will be a low lead vocal as well, plus some backing vocals).  But I spent the most time recording bass for "It's All About You" - the plan is to get it sounding solid and then send out the tracks for a drummer to record remotely.  And as I may have mentioned, bass is fun but always a challenge for me because aside from having to be played exactly in time and locking with the drums, as a guitarist I always seem to play parts that are too complicated, so then I need to go back and keep simplifying.  That might also be a lesson in life for me.  :-) 
 
[3/3] Wrote two more new songs: "It Ain't What It Ain't", written in reaction to the new scary post-election world. I recorded a quick demo of this; it's supposed to sound like The Clash though the demo sounds more like a cross between The Clash and Squeeze. I want to re-record the vocals and replace the acoustic guitars with electric guitars and then I'll put it on our web site. Also, to go in the opposite direction, I wrote "Overly Enthusiastic Love" which is upbeat, very silly, and in the musical style of Dan Pelletier (though he may deny it). Dan came over last weekend and recorded a piano part for this song, and I laid down a bass part for one of his songs ("Grand Apology").
 
Nashville drummer Steve Goodie recorded drums for "If I Ever". That recording is pretty much done, needs a ride cymbal and I might tweak the vocal a bit, and then need to mix it. Also might record a version with Dan singing the lead vocal, if he can sing it good. :-) And I've been working on mixing "Five Foot Four Girl".


[12/18]  Since the last entry we finished (I think) the backing vocals for "Five Foot Four Girl".  Also decided that the two acoustic guitars were too messy and so replaced them with a single acoustic guitar.  But that was too simple so I added mandolin, which also turned out to be a nice counterbalance to the piano.  In fact, it just might be that the whole song is finally done and ready to be mixed... although maybe it needs a little electric guitar in the bridge.  Or maybe not.  Will do a rough mix and then decide.
 
[7/10]   It turns out that paddleboarding in nice summer weather is more fun than working in the recording studio... so between hanging out at the lake, a trip to Chicago and rehearsing for our upcoming show at the Putnam 4-H Fair, not much recording happening.  But I did lay down some backing vocals for "Five Foot Four Girl".
 
[6/9]   Ok, since the last entry I wrote two new songs.  The first one, "If I Ever Get Another Chance", is actually about 60% recorded already, which (for me) is pretty impressive.  But it's so depressing that I felt a pressing need to write a catchy up-beat song, "It's All About You".  For that one I just threw together a quick scratch demo, but I really like the feel of it.  If you're wondering why I would write a depressing song, it's not because I'm feeling depressed...the title came to me in a dream, along with the thought that I could sell it for lots of money.  Then I woke up.

In addition to the above projects, I'm also in the middle of editing the "Five Foot Four Girl" lead vocal I mentioned last time.  Should be finished with that in a day or two, if day job, commute and my swinging social life don't eat up all of my time.  (Actually, if the weather's nice I will probably rather be cruisin' the lake on my new stand-up paddleboard than be holed up in my studio.)
 
[5/22]   Finished up a demo recording of "What's the Matter With the Way It Was?", also remixed an old recording of "Wrong Side of the World" and added harp solo to an old live recording of "Loch Ness Cafe" and sent 'em off as an entry to the Falcon Ridge Folk Festival Emerging Artists Showcase, where I fully expect to be passed over for the 15th time.  But what the hell, maybe someday they'll slip up and let me in.  Also, Barbara just sang a few more lead vocal takes for "Five Foot Four Girl", need to listen back and do some editing and then hopefully we will be ready to add the harmonies.
 
[4/23]  But since I haven't been able to get Barbara to do backing vocals on "Lazy Me", moved over to working on "What's That Thing?"  Re-recorded the bass, which improved the sound tremendously, added electric piano, then started going through the tracks getting rid of everything I don't need to unclutter it.  Finished reviewing the acoustic guitars; I think I'm going to have to replace the electric guitar.  And we need backing vocals for this too.  Meanwhile, I wrote a new song, "What's the Matter With the Way It Was?", and started recording it.
 
[2/6]  "Lazy Me" lead vocals are done, and I've gotten rid of most of the clutter.  Just need to finish the backing vocals and mix!

[1/17/2016]  Jonathan sent the drum tracks, and after a session of Pro Tools (software) magic the drums sit nicely in the track and sound great.  I'll take a little virtual drumming credit as well, since I had fun constructing some tom fills in the bridge from extra sample bits that Jon provided.  Now we just need to record final vocals, deferred due to holidays, house guests, sore throat and need to rehearse.  Also I've been spending lots of time premixing "Lazy Me", which has grown into a monster with hundreds of tiny bits and alternate takes that I have to finalize and consolidate and get down to 24 tracks.  But it's finally starting to come together.
 
[11/30]  Another long stretch of time when for one reason or other I couldn't get into the studio.  But I finished tracking instruments (except drums) for "Five Foot Four Girl".  Used my new Roland GT-100 guitar effects unit to play electric guitar solo with some nice reverb/delay, added two mandolins, re-recorded the cowbell - that was fun; I ended up playing it halfway up the stairway leading to our upstairs to get the hallway echo effect.  Working with Jonathan Mele who will remotely record the drums.
 
[8/30]  Catching up... what have I done?  Wrote new song "Exactly Where It Hurts" and recorded a demo in record time - all tracks recorded in no more than three takes, except the electric guitar solo which took maybe 20 minutes or a half hour to get right (using new guitar effects box Roland GT-100).  Recorded MIDI piano for "Five Food Four Girl", will need a bit of tweaking to get some of the timing more exact but it's pretty good as is.  Circling back and replacing a few spots of the bass where I had gotten too fancy.
 
[3/29]  Finished "Five Foot Four Girl" bass, and working on additional guitar parts.
 
[2/18/2015]  Update: Recorded all of the acoustic and electric guitar fills and solo for "Lazy Me", and currently working on improving the drum track - replacing kick drum and reinforcing the snare.  Also started recording "Five Foot Four Girl", finger-picked acoustic guitar.
 
[12/13]  Done with the bass!
 
[11/30]  Bass still in progress - got a nice funky part for the bridges.
 
[11/22]  Working on "Lazy Me" bass - nothing final, just trying to find the right balance of simple and complicated, fingers or pick, etc.  I think I've got the first verse and chorus.  Only took four or five hours.  Oh, and I have most of the lyrics for "Upgirl" - very odd.
 
[11/20]  Working on and off over the last week, finished keyboards.  It's all stored in MIDI, so I can go back and tweak in a couple of spots once the rest of the arrangement is final.  Then this morning while zoning out in a half-awake half-sleep state some strange phrases came into my head, including "frame your upgirl".  What it could mean?  I'm thinking of working it into a trippy song with unusual sounds and time signatures.
 
 [11/8 - 11/9]  Working on keyboards, including organ and vibes.  Also laid down some scratch slide guitar, high hat, working on percussion arrangement.
 
 [11/2]  Finished the main acoustic guitar edits.  Next will start thinking about keyboards and other pads to fill out and vary the sound palette.
 
[10/29]  A couple of weeks ago I finished the edits for "Lazy Me" kick drum, but now not sure if I will use the tracks.  Meanwhile, I recorded the main acoustic guitar part.  I thought that would be easy because it's basically what I usually play when we perform the song, but the tempo is fast and there's some intricate picking parts that have to be clean, so it took me most of the day and I have to edit some parts - about halfway done with the edits.

[7/21]  Still haven't finished edits to "Lazy Me" drums.  (Lazy, I guess.)  But I wrote a new song, "Devious Kisses" - inspired by a poster advertising the TV show Devious Maids.  (I watched a couple of minutes of the show afterwards...godawful!)  Recorded a quick demo of the song, then later recorded another demo in a different key so that Rachel can sing at our 4-H Fair show.  Then Barbara and I worked out and recorded some cool-sounding and sort of soulful backing vocals.

Also, Rich Benson dropped by and we recorded a test of of him playing bass on "What's That Thing?".  As mentioned below, I had spent a while working out new bass parts for this song because there were technical problems on the original recording, plus I wanted to change up some of the parts.  But I didn't like the sound of my Precision bass for this song.  Rich's Fender Jazz bass sounds cleaner and I liked a lot of his ideas, so at some point I hope to bring him back to replace the part for real.

 
[4/10]  Various personal issues, general busyness plus tendonitis in my shoulder kept me out of the studio for a while, but recently I spent time working on Gene’s "Lazy Me" drum tracks.  First I had to comp together the best parts into a single track.  The kick drum sound is somewhat mushy and not clearly defined, so I have been painstakingly adding a sampled kick drum that needs to be lined up manually EXACTLY for each and every hit.  A hundred edits later, I am up to the last verse.  Not fun - but it does really make a difference (to my ear).
   
[1/29]  Finished recording scratch tracks for "Lazy Me" (had fun playing drums) and sent them off to Gene Lewin, for him to record the real drum tracks.
 
[1/24/2014]  Finished re-recording a few backing vocal bits for "Doctor Bones" and have moved on to final editing and preliminary mixing.  In addition to getting the sounds and levels of the tracks right, I also need to simplify the mix as much as possible, which means getting rid of fills here and there that sound cool but are not necessary and which compete with the vocal or other tracks.

Also getting back to "What's That Thing?", which has always sounded cluttered and didn't groove well.  Got very useful feedback from Barbara on various parts to get rid of.  I'm currently in the process of listening to the bass and drums, then adding the two acoustic guitars and listening to see which of the guitar fills are slightly off rhythm and fixing this, and which fills should be removed.  After that, there will be a lot of pruning and shifting on the electric guitar track.  And I'm planning on replacing the bass part.  But it's already starting to sound much better.

We decided to remove "Ten Rooms in the House of Love" from the CD track list and replace it with "Lazy Me", which needs to be recorded from scratch.  The first step will be to get tracks from drummer Gene Lewin - we're very excited to be working with him!


[12/30]  So let's see, what have I been doing since the last entry?  I finished the bass on "Doctor Bones".  The song needed a bit more sparkle so I thought I'd add some harpsichord, to go with the 12-string guitars, but that was too over-the-top, so I added piano and just a few touches of harpsichord.  (All keyboard parts played on my Yamaha synth.)  Given my limited keyboard skills, the best way for me to work is to record the parts with MIDI, then use Pro Tools to edit the notes until the timing and feel of the part is right.  I think I still need to go back and tweak the timing of some sections.

Next, I circled back to the lead guitar.  Rick Garcia had laid down a few quick takes at the end of the session where we recorded "Loch Ness Cafe", so I selected the best parts and then worked on getting an electric guitar sound that matched Rick's, so I could add a few more parts that would blend with his.  It's always interesting to do this because I learn a lot about how to play guitar by listening to how he plays.  Lead guitar is now done - hooray!

Dan Pelletier has released his new CD "My Freakin' Heart", which includes the song "Emily" (see below).  I thought that a lot of nice stuff got buried in the mix, so I got the master tracks from Dan to play with.  I replaced his keyboard bass with real bass and started working on a remix, to be continued.

Recorded a demo of "Church On Synagogue".  The objective was to see how fast I could do this.  A couple of hours - not bad (for me).

We also spent a little while in the studio yesterday recording a "liner" - one of those audio snippets like "Hi, this is <your name here> and you're listening to <radio station>".  Turns out that an internet radio station (Women of Substance Radio) will be playing "I Was Born" starting next month, and they requested a liner.  Barbara worked on her sexy voice. 

[10/6]  Unbelievable, but I haven't been in the studio in almost three months!  Anyway, my notes from last listening said that the bass for "Doctor Bones" is boring, so I spent much of the day working on the choruses, to make them interesting but not distractingly so.  A bit more work will be required.  Sounds better, though.
  
[7/10]  Finished recording and comping my backing vocal for "Doctor Bones".

[ 6/29]  Finished comping the "Doctor Bones" lead vocal and started recording my backing vocals.  Also started playing around with ideas for re-doing the bass for "What's That Thing?".
 
[5/19 - 5/21]  Several recording sessions:  Barbara & I recorded backing vocals for Dan Pelletier's song "Emily".  Barbara added some backing vocals to the chorus of  "Beautiful".  We re-recorded Barbara's lead vocal for "Doctor Bones".  And we started adding backing vocals for "What's That Thing?", which is finally starting to sound properly Motown-ish.

[4/30]  After playing the new song a few times I've come to the conclusion that it's just too darn long.  Maybe Dylan was able to get away with seven minute songs back in the day, but I'm not Bob Dylan so I should try not to strain people's attention spans.  I cut out a verse...still a long song but maybe not quite as painful.  For the record, here's the lost verse:

    She was just a mom who loved her son, he was her ungrateful child
    But after tears and the passing of years they finally reconciled
    And somewhere there’s a shepherd who looks out for all black sheep
    They wait for him to find them in the church on Synagogue Street

[4/24]  I just finished writing a new song, “Church On Synagogue”.  In May we’ll be performing in a concert to benefit the Reform Temple of Putnam Valley, which is on Church Street, and I thought it would be fun to come up with a Dylanesque song based on the inverted name/address.  (e.g. Dylan wrote “…but he just smoked my eyelid / and punched my cigarette” – heck, I can do better than that!)  So this new song is in the general style of “Stuck Inside of Mobile with the Memphis Blues Again”, lots of verses and of course a harmonica break. 
 
For inspiration I looked at my bookshelf and built several lines around selected titles, including This Perfect Day (Ira Levin), Anthem (Ayn Rand), No Country for Old Men (Cormac McCarthy), Moses (Anthony Burgess) and others.  One of the big challenges for me was that I didn’t want to write obscure and cryptic lyrics like Dylan, but I also didn’t want to be so specific that it become a story-song.  Another challenge was to find chords and melody that were similar to Dylan but not too close a copy to any particular song.  And, as often turns out to be the case, even though the song started out as a not-very-serious throwaway, I ended up with a number of lines that I really like, with a good conceptual and/or emotional punch.

Also, our friend Dan Pelletier asked me to add some guitar to a recording of a new and delightfully tuneful song, “Emily”, and I had a great time laying down an acoustic slide guitar solo with two- and three-part harmonies. 

[2/18]  While looking for three songs for our Free Songs web page, I found an old recording of a song idea called "Unbelievable" and did a quick mix to make it sound a bit better - mostly put effect and EQ on the drum machine and added vocal reverb.  I also mixed a few tracks from "Monty's Room" - I'm actually not sure where the original tracks are.  The faux pedal steel guitar part sounds nice.  I created it by playing my strat with the volume pedal - hit strings with pedal off, then swell the sound, sometimes playing chords and sometimes single notes.  Multi-tracking it made it lush and steely.

[through 2/14]  Desperately trying to finish mixing and create the video in time for Valentine's Day.  Just barely got it done on the day.  Most of the mixing time was spent removing piano parts, editing the djembe track and adding talking drum.  Then I ended up mixing the hand drums down quite low.  I'm quite happy with the way the final mix sounds; I think I'm learning a little something about this audio engineering stuff.  Barbara was very helpful with feedback and art curating for the video...which, as usual, took far more time than I had expected.
 
[2/2 - 2/3]  Recorded acoustic guitar (Martin D-35) for "Anatomy of Love".

[the next week]  A couple of days comping the various drum takes into one.

[1/19/2013]  Drum recording session in our home studio, with Bill Morris.  This was the first time I ever tried to record a drum kit live.  (In the past I've played drums on recordings, but always recorded each drum separately - combining the twin disadvantages of piecework and amatuer musicianship.)  We worked on "Anatomy of Love", which I am (once again) hoping to finish by Valentine's Day.  First we recorded Bill on djembe (hand drum), then we recorded the drum kit.  I used what's called the "recorderman" technique - see details on the internet - which allow recording of the whole kit with only three or four mics.  Major thanks to Emile Menasche for the loan of some nice mics and a tube preamp!  I was really pleased with the drum sound - it's amazing how well it turned out.

[10/14]  Another month when I didn't get to use the studio at all!  Anyway, I started comping the excellent piano and organ parts recorded by Cary Brown back in December 2011 (see below) for "Loch Ness Cafe".  These parts really give the song life and make it all hang together.  I plan to finish the mix this week and submit to the U.K. Songwriting Contest.  The song has been played on BBC Scotland; hope they like it over there across the pond. 
 
(Note: the song was mixed by the deadline and went on to win semifinalist in two categories: Jazz/Blues and Open.  Of course, this was not the "final" mix - I still want to re-record the acoustic guitar and maybe the harmonica solo, and simplify some of the parts in the mix.  But it's pretty darn close.)
 
[9/3]  Listened back to the recent changes, and the acoustic guitar fills don't really add the sparkle I'm looking for, so will definitely need to play with adding keyboard.  I did a rough mix because I think I'll submit this song to the International Songwriting Competition.
 
[8/20]  Has it really been so long since I did work in the studio?  Maybe I forgot to keep this log up to date.  Anyway, determined to move forward, I figured I'd pick something that was close to completion and finish it up. 
    The state of "Let's Change" was: I had an old, mixed basic track of vocals, acoustic guitar and bass, and we had recorded additional drums and electric guitars.  Bill Philbrick EQ'd the the tracks and we had done a mix, but I wasn't happy with the balance.  I thought all I would need to do was change the level of the drums and the sound of the electric guitars, but now that I listen to it again, I see that it needs the rhythm track to be beefed up, and other instruments, probably more acoustic guitar and maybe keyboard, and I might want to add another backing vocal and double the bass.
    I added high hat in a couple of spots, which really helped, and I'm working on some acoustic guitar fills.
 
[4/3]  Taking a break from my own stuff; did some work producing "My Bravest Smile", a song by Dan Pelletier.  This weekend I recorded bass, guitar and drums, and did a rough mix.

[3/10]  Ok, I declare the "Anatomy" bass part finished.  I started playing with acoustic guitar for this track, got some ideas, but I can see that in order to play simple parts that don't step on the other tracks I'm going to have to compose it section by section (like I did with the bass).  I'll come back to this later; I get tired of working on the same song forever.  Started to play with revising the bass on "Truest Kind of Lie", to make the song sound lighter.

[2/2 to 2/14]  Continued composing and recording "Anatomy of Love" bass parts, whenever I can find the time.  More to do, still working on getting the right feel.
 

[1/23]  Played the new songs last night at the BeanRunner,  including "Five Foot Four Girl in a Ten Foot U-Haul Truck"  Our friend J. had sent us a change-of-address email; she was down-sizing, and signed it as "Five foot four person in a ten foot U-Haul truck".  I replied, "Sounds like a great song title ... but what rhymes with truck"?  She responded, "Luck".  So I wrote the song, didn't tell her, and we surprised her with it at the concert.  And now the story can be told.

[1/16]  Finished writing a new song, "Now That I Have You", and recorded a guitar/vocal demo so that Barbara can learn it.  (Barbara didn't like the verses, and actually I wasn't too happy with them either, so I re-wrote the words and music, and now we both like them.)  We'll be playing at the BeanRunner Cafe on 1/22, and I like to have new songs - which often means a last-minute rush to finish something I've been working on and then teach it and rehearse it.  Unfortunately, now Barbara is sick and can barely speak.  When we're rehearsing, she has to whisper the lyrics.

[1/10 - 1/15/2012]  Sick... watched a lot of TV.

[12/29 - 12/30]  Started composing the bass part for "Anatomy of Love".  Recorded a new lead vocal for "Truest Kind of Lie" and recorded the lead vocal for "Doctor Bones".  We're struggling with demo-itis on "Truest Lie"... the demo version sounded better than the final version, which seemed plodding and heavy.  That's why we went back and re-recorded the lead vocal; I think we're on the right track now.  Also, thanks to Bill's custom pre-amp, the sound quality is much better, beautiful and clean.
 
[12/17]  Recorded the 2nd acoustic guitar for "Five Foot Four Girl in a Ten Foot U-Haul Truck".
 
[12/11]  Excellent session with keyboardist Cary Brown!  We laid down tracks for "Doctor Bones" (organ), "Loch Ness Cafe" (organ and piano) and "Ten Rooms" (organ and piano).

[12/4 - 12/6]  Things are moving along again.  I finished editing the lead vocal and two acoustic guitar tracks for "Ten Rooms" and started composing the bass part.  Also, we're tracking the lead vocal for "Doctor Bones".  It's a hard song to sing, and Barbara hasn't performed in a while, so we've been laying down several takes each day, and it keeps getting better, but it's not there yet.  It reminds me of something I read about the Beatles'  "Abbey Road" sessions: McCartney wanted a knock-your-socks-off screaming vocal for "Oh, Darling!" and he couldn't seem to get it to his satisfaction, so he showed up early to each recording session and laid down a couple of takes.  Eventually he got the one he was happy with.  Well done, Paul!
     Also, Bill Philbrick (who engineered our first CD and co-wrote "She's Cool") was kind enough to loan us a high-end microphone and pre-amp to play with, so we've been doing various recording tests.  The pre-amp sounds great so we're trying to squeeze in some real tracking before we have to return the equipment.

[11/7]  I wanted to post three more songs from the archives on our Free Songs page; I couldn't find a mix of "I Don't Understand Boys", so I went back to the original tracks (from ADAT) and remixed it - sounds cool!  And I was also able to improve a really old recording of "Cowboy Song", but lead vocals, guitar and two fiddles had all been bounced to one track so I couldn't really balance or EQ the song properly.

[10/29 - 10/31]  Storm - no power!
        
[10/27]  Final mixing of "Monty's Room" and "Guilty (With An Explanation)", with Rob.  Hooray! - it's only been five years (!) since we started mixing these.  I think they sound really nice.
 

[9/25]  Finished "Monty" recording.  Now I'm preparing the tracks for mixing, doing the final editing and setting levels etc. so I won't have to spend time doing this in Rob Morsberger's studio when we mix in a couple of weeks.

[9/5]  More "Monty" faux pedal steel guitar.  Finished 3rd verse; still need to do the outro. 

[8/30]  More work on "Monty" faux pedal steel guitar.  It will probably take one more session to complete this part.
 

[8/13]  Finished "Monty" MIDI piano tweaking (which made a big difference).  Started working on the final touch: by playing my stratocaster with a volume pedal, sometimes blending two tracks of this, I'm getting a sound that's very close to a pedal steel.  It's really sounding nice.

[8/2]  Mostly finished "Monty's Room" piano; need to tweak the MIDI file a bit on account of all thumbs.  

[7/21]  Editing lead vocals for "Ten Rooms" and re-recording piano for "Monty's Room".  (The original piano track was recorded a long time ago using a really awful-sounding sample and a non-velocity-sensitive keyboard.)  Finished the melody for the new song and started recording a demo.

[7/11]  Comp'd the acoustic guitar for "Waiting On You" - there will be two acoustic guitars, one hard left and the other hard right.  Met with Rob Morsberger to prepare for final mix of two songs, "Monty's Room" and "Guilty (With an Explanation)".  Met with keyboardist Cary Brown to plan piano and organ parts for three songs, "Ten Rooms", "Doctor Bones" and "Fullness of Time".  Mostly finished the music for "Five Foot Four Girl in a Ten Foot U-Haul Truck", will need to finalize the melody.  Recorded lead vocals for "Ten Rooms".

[6/26]  Recorded acoustic guitar for "Waiting On You" (see 5/11 below).  The rest of the song is sketched out with scratch tracks.  Parts of the song sound to me like Steely Dan meets "Brandy You're a Fine Girl".

[6/16]  Finished the lyrics to another new song, "Five Foot Four Girl in a Ten Foot U-Haul Truck"... no music yet.

[5/11/2011]  Just finished a new song, inspired by overhearing a guy on 34th street on his cell phone saying, "What the f#ck you doing while I'm standing here waiting on you?"  Clearly destined to be a hit.  The process was pretty much as usual: I started with some words and an idea of the melody/feel in my head, fleshed out the words and got some feedback from songwriters Joe Giacoio and Dan Pelletier, made a few revisions, ignored some advice, then worked on finalizing the melody and chords. 

The music for the bridge was not happening, but I returned to it on a different day and a very nice one came to me.  (This is always a challenge, but a bridge that's as tuneful and hooky as the chorus is a delight...as any Beatles fan knows.)

Fired up the studio (had not used it for a while) and started to record scratch tracks, to work out the parts.  My goal once again is to try to get this thing tracked without taking forever - good luck!  And I believe it's time to put the air conditioner in the studio window.

* * *

Since we came up with the idea of posting songs from our archives, I've been going back through my tapes again, to identify what's been digitized as opposed to what's decaying on reel tapes or cassettes.  My current resolution is to spend some time on a regular basis transferring songs from reel tape to the computer. 
  
Does anyone actually want to hear this stuff?  I don't know.  Maybe my descendents.  But someone will have to reconvert the recordings so they play on the quantum computer.