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Yesterday Never Knows session notes



JB: Recorded expediently at Joey's studio, The Tomato Farm II (Palo Alto) during just one late night session. This arrangement was not up and running when we recorded the initial batch of guide tracks for this project at The Tomato Farm I (Menlo Park), so I recorded a basic acoustic rhythm guitar track at Mike's Crespi Fried Chicken Studio. John Hasty used this as a guide track to lay down the drums. By the time I got around to recording my actual album tracks there was the bass part that ended up on the album, along with a guide slide melody.

I played my Godin Multiac through a Line 6 Pod on the Floor pedal board. I used the "rotary drum and horn" patch for a Leslie speaker effect. The first bridge is meant to evoke "Strawberry Fields Forever". For our live performances I use a Roland GR33 guitar synth for some Mellotron flutes, but left these for Mike to add on keyboards. For my first solo I added "warble echo" (this reminds me a bit of Steve Hackett). My second solo has three separate reverse delay parts, two clean lines played on the Godin, and one super crunchy chord part played on a Gibson 135 (I call this setting "Robert"). This little section caused some warbles of it's own over time. I know it took a while for it to grow on Mike, who after applying a topical cream, got used to the aural itching, while our mixing engineer, Doug Dayson, really liked my first solo but didn't think this pass lived up to the others, so he asked me to cut a second solo, similar to, but expanding on the first, which was an idea I didn’t warm up to, so we experimented with adding some more goofiness in the form of Mike on piano and John Hasty on mouth trombone, [mp3 of alternate mix coming soon] but it didn't seem to be quite the thing, so we settled on going with the original flashback I meant it to be. A swirling psychedelic pastiche that would act as a cool fade-in to the acoustics of the second bridge. It may sound random, but it took quite a few takes. Joey worked really hard with me to achieve whatever it is that was achieved. (I swear the Humboldt County Rest Stop wasn't visited till after the recording was done.)

The second bridge is played in the manner of "And I Love Her". I played Joey's Matsuda Custom acoustic for the strummy bits and then added arpeggios on his girlfriend, Lisa Edberg's classical guitar. All this in one night. Great session.

MT: I played my Parker Fly for most of the melody lines and the first slide solo, my Epiphone Riviera 12-string for various sections and the second slide solo, and my Taylor acoustic for the “And I Love Her” bridge. I’m pretty sure I played my Les Paul Deluxe on the “Taxman” riff on the last verse. The crunchy tones are through my Vox Valvetronix AD120VT amp (which I usually mic with both a Neumann U-47fet and a Shure SM57) and the clean tones were recorded direct using my Boss GT-3 pedalboard.

JF: As one of the influences that shine through on this arrangement is (80's version) King Crimson, the closest thing to a Music Man Bass sound I could come up with was the obvious choice. Since I don't own a Sting Ray, my G&L L-1505 served that purpose beautifully. Played through a True P-solo mic preamp, it gave the chord melody in the intro a nice clarity. Doug tossed a touch of reverb on the intro bass during mixing. After the solos we become completely acoustic and I am on my sweetie's Epiphone Upright. Her's sounds better than mine, so...anyway, I mic'ed it up with a Neumann U-47 on the fingerboard and a Blue Dragonfly off the bout. Hasty had played the clave part in the "And I Love Her" breakdown with drumsticks, so one night I replaced them with my LP claves through a Marshall 603 s microphone into a True P2 analog mic preamp. Percussion credit! The last verse features the only slap bass on the record, Doug punched up my bottom a bit here in mix sessions.

JH: Recorded at Two Ducks Studio, through a Tascam DM 24 board with MXL 2003 on the overheads, AKG C1000 on the hat, and Audix D6 on the Kick, Audix OM3 on the snare and mounted toms and a Shure Beta 52 on the floor tom. ADK Vienna for the bongo overdub.
Yamaha kit and snare. Lots of padding to get that Ringo tea towel sound. Do I hear bongos?
Orville Redenbacher popcorn shaker: half full. The best shaker: you can make music with it and then eat it. Shaker/snack.



JB: This arrangement started off quite differently for a concert in 2007 at the Little Fox in Redwood City. We played it during an "acoustic" mini set during the show. John Hasty played guitar and Joey played mandolin. Over time they both wandered back to their main instruments for live performances. (Although the mando part sidled it's way onto the record.)

Recorded at Mike's Peaceful Ocean Studio, Tonemeister Tyler set me up on one of his pedal boards for this track. I play my Gibson 135. I also put down a rhythm acoustic part that ended up with some distortion and was replaced by some fine strumming by Joey.

MT: I had originally planned on using my Oahu Diana lap steel on this one, I instead opted for multiple slide parts on my Parker through my Vox amp to emulate the smooth glissando singing style on the original tune.

JF: I used my INCREDIBLE Human Base Jonas 5 fretless into the True P-solo. The bass line in the chorus section is based upon the line that Paul played, just stretched out a bit to fit into 6 beats instead of 4. We actually originally performed this piece as a "jug band", with MT on lap steel, JB and JH on acoustic guitar and me on mandolin. So I HAD to get the mando on the record too. It is a Breedlove Quartz KO mandolin, mic'd w/U-47 (close, end of fingerboard) & an AKG C 2000 B (a bit further away, off the body) into the True P2 mic pre. It was discovered that JB's acoustic strummy part had a bit of distortion on it, so I ended up replacing it with my Matsuda Custom acoustic, utilizing the same mic pair and basic configuration as with the mandolin. Guitar credit!

JH: Recorded at Two Ducks Studio. Audix, AKG mics. The first drums recorded at my studio! Camco kit with a DW snare. 15” New Beat hats, 24” Dream ride, 18” Sabian HHX, Sabian 16” HH crash. Shure Beta 52 on the kick, Audix OM3 on the snare and toms, Shure Beta 4 on the hat, AKG C1000 for overheads. Speak kick. What is a speak kick? Take the kick track, clean the track of noise, replay it through the monitor speakers, and re-record it with a LDC mic to a new track. Big room sound, clean, (did I say Big?). A great way to get a big room sound (in a small room) and have complete control over the final product. Oh yeah, you have to move the new track 3 milliseconds ahead to avoid any phase issues.



JB: My first attempts at this track were at Portable Soup Studio. (My Boss BR 1180 8 track.) I had used this unit for some other parts on this album but this arrangement proved to be too much for my home recording skills. I headed over to The Tomato Farm II for some evening sessions. The first of which demonstrated Lesson # 1 in multiple studio digital recordings: KEEP TRACK OF THE TRACKS. We had all of the right files except for the drums. (Silver Lining: While this ended that particular "Eleanor" session, it opened the door to what became "Boy Meets Girl.”) On later visits to Joey's garage I used my Lowden acoustic for the chorus (double tracking the false harmonics), melodies, some rhythm, and a finger style solo. I then added some synth strings, a cool bowed piano patch and a synth solo on my Godin Multiac.

MT: My main sound on this tune is my Parker going direct using my Boss GT-3 pedalboard. My rhythm parts I’m playing when John is playing the melody or soloing is going through a Leslie 825 rotating speaker cabinet. During my first solo I’m using the pitch-shifting capabilities of the GT-3 for a “whammy-pedal”-like effect; during the last solo I kick on a Fulltone OCD pedal for the second half.

JF: Golly, did this one go through some changes for me. I completely altered my approach to the groove from a slinky line that bounced off of the common G tone in the E minor and C Major chords, to a textbook 6/8 Latin groove. Here is a tune that takes full advantage of my preferred recording process off dropping the final bass in after everyone else has their part tracked. Aptly, this was inspired by a viewing of "The Making of Sgt. Pepper" wherein we learn that Paul did exactly this. The bass is profoundly connected to both the rhythm and harmony, so if there is a slightly goofy rhythm moment, or a slightly boring harmony moment, I can be the hero. I was totally digging my fretless on this tune as well, but with all the action I wanted to get involved in, the tone was just grabbing too much attention. I ended up with a F-ing rock solid tone courtesy of my G&L L-1505, into the True P-solo mic pre. If I say so myself, I dig that chromatic shiznit at the end.

JH: Recorded at Two Ducks Studio through a Tascam DM 24 board with ADK and Audix mics: D6 kick, I5 snare. Yamaha kit and snare. Audix D6 on the kick, Audix I5 on the snare, ADK S-51 toms, ADK Vienna for the overheads and overdubs, AKG C100 for the hat. Speak kick. Cymbals: Zildjian 14”-15” new beat Hi Hats, 13” Sound Master Hi Hats , Sabian, Paiste, Dream ride, Uflip. Mics: Audix OM3, Shure Beta 52 and ADK S-51 on the toms and ADK Vienna, MXL 2003 , AKG C1000 for the overheads. Shure Beta 52 or Audix D6 for the kick. Audix OM3, I5, MXL 2003 or AKG C1000 for the snare drum.



MT: I’ve had the basic arrangement idea for this tune for a long time. We’ve actually performed this quite a few years ago with Bartron, Hasty and myself all playing the vocal melodies on guitars while Joey would play the keyboard/guitar arpeggios on bass. The recording ended up with me playing all the guitar melodies on slide guitar (my Parker) and the keyboard parts (an M-Tron Mellotron cello and the piano parts).

JF: Basses everywhere! The band has performed this live ONCE. I played the harpsichord arpeggios, while Mike and the John's did the vocal harmonies on guitars. For our recording I used my Rick Turner Renaissance 5 into the True preamp for the arpeggios. I wanted to double them an octave above and tried this with Lisa's Ken Lawrence Custom played with a pick. But it was too much. Failing to coerce Bartron into learning the part AND driving from the Santa Cruz mountains to record it, I make my second appearance with the custom Matsuda acoustic guitar. I used the U-47 and AKG again, with the Neumann really tight on the 14th fret. Since it was in my hands already I added a track of subtle strumming that appears after the bridge. For the reading of Paul's original bass part I used my Rickenbacker 4003, played pick style into an Alembic F1-X Bass preamp. This was my first REAL bass (my first bass was a short scale Fender Musicmaster), Mom and Dad gave it to me and I love using it to record. Years ago, when it was the ONLY bass I had and desperate to get it to sound more like a "regular" bass, I replaced the pickups, bridge, you name it. But a few years ago, I pulled all those original parts out of the safe and Brian Michael over at Gryphon restored it's true self. Finally, the synth parts are covered by the Human Base fretless, doubled an octave higher, into the True pre.

JH: Tablas, talking drum, brushes on a snare and cymbals.


BLACKBIRD: YouTube Video

JB: This one started out at Mike's Two Dog One Cat Night Studio, and took a couple of different passes and approaches. I started out on the Godin with a synth vibraphone/chorused acoustic patch that I had been using for live sets. I really enjoyed playing with that tone but it didn't stand up to repeated listens in the track. I went back and redid all the parts, including solos, on the Lowden. Mike liked the acoustic for the rhythm track but preferred the synth tones for the solos. I ended up giving them a try at Portable Soup with the Gibson through a fuzzy/tremolo patch on my Line 6 Pod and then doubled the second half of the acoustic rhythm with a clean tone. Recording these electric parts on this cozy winter's Sunday morning was a very nice session. A cheerful fire going, a press pot of Ethiopian to sip, my wife Lisa, ever tolerant of the sounds emanating from my studio, reading the funnies, and our cat Dusty asleep on the hearth make this one of my fondest memories from this project.

MT: Parker Fly through Boss GT-3. I tend to use the biggest Dunlop glass slide for my slide guitar playing, which I use on my middle finger like Jeff Beck or Bonnie Raitt.

JF: For this tune, I really wanted a fat, bumpy tone. I tried using my Jazz Bass with massive EQ modification, but it wasn't nailing the tone I was looking for. Amazingly, I do NOT own a Fender Precision Bass - anymore. Mine was a bit mediocre and I sold it years ago. Our Mike Tyler, however, owns quite a nice one. After stringing up with flatwounds, I plugged into my Alembic F1-X tube preamp and went to work on creating a bridge between Hasty's dirty N'Awlins shuffle and Mike's soaring slide. I play the "Rain" bass line pretty straight off the record. Can't improve upon perfection!

JH: Recorded at the Tomato Farm through the Sound-craft 3B. Yamaha Kit, Cravatto Snare, Orville Redenbacher popcorn shaker: half full. MXL 2003 on the overheads, AKG C1000 on the hat, and Shure Beta 52 on the Kick, Audix OM3 on the snare and mounted toms Hi Hats: Paiste 14” Sound Creation dark, Zildjian 20” K custom ride, Sabian 16” HH crash 18” Sabian HHX studio crash, 9” Uflip splash.


BOY MEETS GIRL (Mother Nature's Son/Girl)

JB: I had been toying with the ideas for this medley for a while without really considering that it would make it on the record. I pictured this piece debuting at the YNK record release concerts. While searching sound effects websites for a train sound to be heard at the end of "I Don't Want To Spoil The Party", I came across some nice nature sounds that I thought would add to the" Mother Nature's Son" section.. I fooled around a bit on my 8 track [mp3 of demo coming soon] and left it at that until the missing drum file session for "Eleanor". Not wanting to waste the 2 hours of driving that evening, I asked Joey to set up a new song in the computer and started flailing away. I really wasn't ready to record an album worthy version yet, but the process was started. It took three or four sessions to get the right feel (plus a few deft recording punches!). We then started adding the sound effects. Besides the nature sounds, some airport security announcements were added. The birds and creek sounds inspired me to whistle the main theme from the Yes epic, "Close To the Edge" during the fade out. The final sound effect to add to the natural ambience was a chain saw.

JF: I recorded John's guitar with the Neumann U-47fet on the fingerboard and the AKG C 2000 B tilted off the body. The True P2 analog preamp was chosen. I tend to prefer my small Marshall condensor (603S) for things like egg shakers, but Hasty swung by the Tomato Farm 2.0 and the U-47 was set up so we went with it. Could I really go wrong with a U-47? I think not. The sound effects sessions were alot of fun. Bartron came to the Farm armed with a CD-R of bird sounds/water/airports and a concept. I served mainly as engineer again, placing the sounds in the Pro Tools session timeline, creating fades and pans. The U-47 was again used to record John's whistling. My debut as Josef Fabianthal - director, is heard in the intro.



JF: When this project was initially proposed, I started playing around with a couple of different arrangements. "Lucy in the Sky with Diamonds" as a sorta Bill Laswell meets Steve Tibbetts thang, never made it to rehearsals - "we have enough material". In light of that I still couldn't stop monkeying with this one, mostly sitting on the couch at 2AM with my Fender Jazz Bass. I really didn't plan on including it in this collection until we were at the mixing stage. I tried several tempos, none felt quite right throughout the tune. The verses would be too slow, the solo too fast...I abandoned the click track and just played it the way I felt, the rubato and pregnant pauses added to the emotional effect. I had worked out playing the solo completely with harmonics, but I couldn't hear it as anything but showing off. Also, I was bored with solo bass for 3 minutes. Then, it hit me - Accordion. Don't ask me why, I just heard it in my mind in my brain in my head. The lovely Lee Parvin to the rescue! I frantically emailed him a chart of my chord substitutions and delicately explained my concept. With a player such as Lee, I didn't want to coach him too much. Just give him the sign and let it roll. He did a beautiful job in my opinion, it gives the tune just the breath of fresh air it needed. I had a great time going to his studio to record the ol' wheezer. I REALLY wanted the sound of the steam arm in there, an ode to the many songs I've performed accompanied by that charming noise. Props to Big Love Daddy for the big "Cafe Fade". Recorded late at night sitting crosslegged on the floor of Tomato Farm 2.0 with my Jazz Bass into the True P-Solo mic preamp.

Lee Parvin: Accordion


FLYING: YouTube Video

JB: Once I had discovered the world of royalty free downloadable sound effects, pasting a brief intro, reminiscent of “Rev. #9” onto Flying was inevitable. I collected a slew of files and headed off to the Tomato Farm II. I had an arrangement for the effects written down on a piece of paper that required the recording of some quotes from "I Am The Walrus", which Joey promptly recorded on drums and bass. I later added the Cap'n Crunch on my new Epiphone ES-175. Piecing these together with the various other sound bits was a digital blast. (The couple of sound samples that weren’t downloads came from a tube of you.) Joey encouraged the concept along cheerfully, and his own creative input helped give the intro a tighter musical feel.

The basic arrangement is:

Orchestra tuning up (with the opening chord from "All I've Got To Do" morphing into a bunch of feedback (including Joey adding some whammy).

"....I am the Eggman..."

Church congregation sing "A-Amen"

Priest intoning in Latin on left/ Muslim call to prayer on right with war sounds and more feedback.

"....They are the Eggmen..."

"A-Amen" again.

More Latin, Muslim, feedback and war. (Oh my.)

"...I Am The Walrus!"

The final " A-Amen…"

Another Beatle quote: the big rhythmic chord from "...Mr. Kite" played by Joey with a calliope sample.

Exit announcements from the "It's A Small World" ride..... What's it all mean?

This all blends into John Hasty's flangey drum intro....

For the actual song I played Joey's Matsuda Custom on the acoustic guitar lines and used the Godin Multiac with a Steve Howe-ish volume pedal sound for the melody. The spacey section has a couple of passes with a wooshy, Mellotrony flute sound that starts out atonal, then settles into an elongated, obtuse quote of the melody in "From Me To You".

The last section was almost totally recorded by me over the holidays in 08/09 on my 8 track. It is an arrangement of variations of the jazzy piano improv heard during the fade out of "Magical Mystery Tour". I have always loved this section and wanted to hear more. I started out putting a bass part down with my Godin guitar synth. Next I added a shaker in my right hand while my left hit a tambourine with a backscratcher. (Conservation of tracks is mandatory at Portable Soup.) These were later replaced with real bass and percussion by Joey and John. [mp3 of original demo coming soon] The background is spacey flutes again along with a meaty bowed piano and string synth patch. The myriad melodic variations feature my Wechter acoustic, Gibson 135, and lots of synth tones. After I had all of the phrases in place I copied bits and moved them about as I fancied. This track was a really, really fun experience. A long time artist friend of mine, Peter Doolin sends out really cool, wacky, holiday cards every year and I had several of them taped to the speakers for inspiration. I also would like to thank Peet's Coffee; The Lagunitas, Anchor, Humboldt, and Mendocino Brewing companies, as well as the maintenance crew of the Humboldt County Rest Stop for further inspiration.

MT: I've always been intrigued with the tremolo guitar sound that is heard on the original Beatles' version of this tune. I still am not sure how the tone was achieved but I experimented with slowed down guitar tracks, sped-up bass tracks and others. I finally settled on my G&L F100e electric guitar in “drop-D” tuning tuned down a step (“drop-C” tuning) for a twangy, spaghetti-western inspired guitar part. I then added many authentic-sounding Mellotron parts (strings, flutes, and trombone) which morphs into multiple E-bow guitar parts played on my Les Paul.

JF: Well, this gets complicated. The intro to "Flying" was concieved by JB. He wasn't exactly sure how it would turn out in the real world, so when he told me about it, I was also told to keep it under wraps until it reached a reasonably cohesive form. My first job was to record the "I am the Walrus" quotes with the direction, "Make it sound like a punk band". I did a very simple drum setup - Zildjan 14" Hats miked with an AKG se 300 B into the True P-solo, Fibes 14x6 1/2" snare miked with an Audix i5 into the True P2 analog, "No-name" 24" Kick miked with the "standard" AKG D112 into the other channel of the P2. Then I played my Rickenbacker 4003 into the Alembic F1-X bass preamp. We needed to record the guitar part, some guitar feedback, as well as the sound of him plugging in. We used my Mesa Boogie 60 watt Mk II and the standard SM 57 microphone on the speaker. Once that was accomplished we could load all of his samples into Pro Tools and begin construction. Most of the work now was arranging everything. We had a track of Catholic priests (I won't tell you the "childish" name that track recieved), Mullahs (the second mullah break "Come To Prayer" is sung) warplanes, battleground sounds, and the "A-a-men" track to juxstapose againt the punk band. I altered the pitches of both the "Amen" and "Allah" to bring this portrait of dischordance in to tune. For the "Mr. Kite" quote, I called upon my Roland U-220 Calliope recorded into the P2. The whammy scream was my Curbow Custom Guitar into my Mesa Boogie 60 watt Mk II miked with a Shure SM 57 into the True P2.
"Flying" was the easiest tune for me. I literally read the part straight outta "The Complete Beatles" Score collection. I did fix a couple of mistakes, the score shows the last bar of the second verse to be full of G eighth notes, when it is actually GGGGGABG.
The line I am playing in the space between the 2nd and 3rd "movements" is evocative of what Chris Squier plays at the end of "Awaken".
The working title for the 3rd movement was "Magical", and it was transferred to my PT system via CD-R's JB brought over. I immediatly replaced his synth bass (sorry, Johnny) with the instrument used in Movements 1 and 2, my Rickenbacker. The motif is Paul's line from the fade of "Magical Mystery Tour", improvised on throughout, inspired by the harmony and rhythm I hear going on around me, kinda my usual approach.
The percussion session with Hasty was very creative and fun. I have a mighty collection of fun things to bang on, and he took full advantage of my arsenal. THREE shaker tracks! Triangle, bells, Bodhran and Tamborine. For this, I employed the Neumann U-47 fet microphone and the True P2 Mic preamp.
The final tweeks were done by JB and I at Tomato Farm 2.0. We recorded pieces of phrases, reversed them and placed them at the front of the said phrase. We also did most of the mixing. Doug did some EQ sculpting and a couple of other adjustments, but what you hear on the record is basically what JB and I mixed late one night last summer.

JH: Recorded at Two Ducks Studio through a Tascam DM 24 board with ADK and Audix mics. Wow, Flanging! Let’s take a trip back to the 60's. MXL 2003 for the snare, Audix D6 on the kick, MXL 2003 for the snare, ADK S-51 toms, ADK Vienna for the overheads. Speak kick. Yamaha kit and snare, maracas.


JB: Mike's idea to play this song in the style of The Allman Brothers "Jessica" was the clearest arrangement concept on this album. I laid down both the strummy rhythm (Wechter Pathmaker) and played the melodies (Gibson 135) at Mike’s Peach Eaten Studio. For the electric tone he set me up through Vox Valvetronix amp. My addition to the arrangement was inserting the bridge of "From Me To You". I had an acoustic solo worked out which Mike asked me to double track at half speed. This resulted in the doubled part sounding an octave higher, creating an enigmatic, demented mando/bouzouki sound. I manage three quotes in this one solo: "Day Tripper"; ""...Hide Your Love away"; and "If I Needed Someone". Pretty cool huh? Lesson # 2 in multiple studio digital recordings: PLAY TO THE CORRECT TRACKS! Unfortunately Mike and I recorded all of our guitar parts to the scratch drums and this caused our drummer and great friend and forgiving soul and all around Time cop, John Hasty, to spend about eight hours one Saturday trying to reign in our phrasing via the wondrous editing functions that Pro Tools offers.(As the kids are saying: "Our Bad".) The fade out from "A Hard day's Night" is played at the end of this song so I naturally wanted to add the sound of a train to fade with it. After much searching I found the particular train I wanted but I can't tell you where it's from. "Who's that little old man?".

MT: Mostly played on my Les Paul for maximum twin Gibson, Allman Brothers vibe. The Leslie cabinet makes various appearances throughout, as does the Epiphone 12-string.

JF: Take me home to Georgia...
I was actually born in the LA County Hospital, but my folks decided the prospect of free babysitting from Grandma was enough to move them back to the south. Atlanta, specifically.
So, the land of the Allmans was where young Joey first touched a bass guitar. And boy, did their music touch him.
The first band I was ever in played "Dreams". The last band I was in that played a significant amount of covers had "In Memory of Elizabeth Reed" and "Jessica" on the set list.
I had a blast with this one.
I played my Fender Jazz (of course!) to channel the Berry-ness. Alembic F-1X preamp. My early attempt to use a pick was abandoned, alas.
In the intro, I doubled Lee's piano plinks with harmonics (can anyone hear them?) before taking off into the open, flam-ridden 1st verse with a nod to Paul's 2 octave leaps in "Getting Better". Our arrangement of "I Don't Want to Spoil the Party" is modeled on "Jessica" so I took Mr.Oakley's groove and adapted it to the Beatles chord progression.
The breakdown before the solos in "Jessica" has that little #9 lick repeating, so I felt this was a good spot to insert the "Come Together" quote. I love Hasty's use of the talking drum to replicate Ringo's drum roll. My only other involvement in recording this tune was the search and placement session JB and I had for the train sound in the fade-out.
Anyway, this one rocks. All the hip kids dig it...

JH: Recorded at Two Ducks Studio through a Tascam DM 24 board with Audix D6 on the kick, Audix I5 on the snare, ADK S-51 toms, ADK Vienna for the overheads and overdubs, AKG C100 for the hat. Yamaha kit and snare, Talking drum, tambourine, and bongos.

Lee Parvin: Groovy Hammond B3 organ and Wurlitzer electric piano.


GOODBYE: YouTube Video

JB: A good friend of mine, Matt Smith, sent me a disc of Beatles ultra rare rarities procured from Napster some years back that included Paul McCartney's 1968 demo of this tune he wrote for Apple Record's artist, Mary Hopkins. I Travis pick my Wechter for this arrangement that is straight from that demo, including the bluesy lines at the end that were hummed by Sir Paul and translated here on slide by Mike. We added the solo from "Maybe I'm Amazed" as a bridge.

MT: Oahu Diana lap steel recorded direct with both my Boss GT-3 pedalboard and my Zoom A2 pedal emulating a Dobro tone.

JF: I just can't leave well enough alone.
JB and MT had performed this as a duo live, and recorded the same arrangement for the CD. While it sounded lovely, I had to grab my Mandolin and start playing around.
Keeping a simple upbeat stroke was my first thought, and that is what went on,uh hard drive. A couple of variations - the triad is plucked out on the bottom of the G7 chord, I play harmony to JB's fingerpicked pickups, the doubled chromatic line in the bridge and the climbing chord tone vibrato at the end. Sweet. Breedlove Quartz KO Mandolin miked with Neumann U-47 fet and AKG C 2000 B into True P2 analog microphone preamp.

All of my parts were recorded (by me) at The Tomato Farm 2.0 Palo Alto, CA.
I want to thank John, Mike and John for the fantastic playing that inspired me to play what I feel, is some of the best stuff I have ever recorded. Thanks to Doug and Ed for an amazing mix, and Rainer for his constant consulting with Doug through the mix process, ensuring a masterful master from him. On a piece like "Flying", they had a thousand tracks of drums, guitars, bass, synths, bells, mullahs, backwards piano, machine guns...yet they made the shit work! Many kudos. We feel the love and genuine dedication to our little project.

JH: Brushes on a cardboard box.

Reflections on engineering: This has been quite the learning experience for me. Lots of hair pulling, reading manuals, asking friends for lots of help. Asking myself why did I get myself into this, and why didn’t I just go to Lee Parvin’s and lay the drum tracks down. WHY WHY WHY!

Through all of this, I hope that I’m better for the whole process. I’ve added to the lexicon of fowl language (mother f*$%^$#@, son#$#%^%&^&) and many others of my own devising. Like Darren McGavin’s character in “The Christmas Story,” I’ve worked it into a fine art. Potty mouth extraordinaire! I love and hate computers at the same time. I miss analog tape for the sound, but not the limitations.

Mostly I have come to a much greater appreciation of “good engineers,” and the time it takes to become one; not that I am. I’ve done my best to get good sounds for each song.

And then the mixing: fugettaboutit. Thank you Doug Dayson and Ed Bangert. (Master Turd Polishers) Mixing is not just something you learn, it’s an art.

Catch phrase: "the cure for the common cover."


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