![]() I was so tempted to replace this ragged, mumbled, nonsense vocal with a newer one that had the final lyrics but decided to go for artifact over artifice. but the words hadn't been written and I sang the demo in full Rorschack test mode, just hoping for vowels and consonants that felt good with the music, which (Scrambled Eggs, anyone?) often leads to the desired results. The song and the harmonies are pretty much where they ended up on. Drums a go-go.Ī little glimpse into the writing process. If the drums sound familiar, it's because they are sampled from the intro of my own "Silver Lining" which allowed Linda to overdub another drum part over her own performance. I was asked to contribute to a Nick Lowe tribute and though it was hard to choose one track, I went with this obscure b-side that I had on a cassette I had recorded off a KSAN (San Francisco) broadcast during my college days. ![]() I'd like to think that Gene would have approved. The original Byrds recording is so yearning and so sweet but somehow in the more intimate, stripped down form included here the song almost sounds foreboding and obsessive. The oldest of the tracks included here, recorded for "Full Circle," a tribute to Gene Clark. TOMORROW IS A LONG WAYS AWAY (Gene Clark) That last sentence was for the recording geeks out there and probably put the rest of you into a deep, deep slumber. This was one of my first experiments with Garageband after years of recording on a Teac 3300 four-track reel to reel, a Fostex X-15 four-track cassette recorder, an ADAT and then the Korg 16-track hard disc recorder used on many of the songs on this comp. This song is written about the power of sound and noise and repetition and volume and a group of people doing all of the above and how it can help transcend an otherwise difficult situation. Written for "Cast Iron Soul," the long-awaited (23 years!) sophomore effort from Danny & Dusty. And, yet, it's a sentiment that still rings true as there will always be someone who has to be second best. The movie's ending had to be changed and the song wasn't quite as relevant. Only one hitch-as the movie was being made, the Boston Red Sox won their first World Series since 1918. I wrote and recorded the song in one day and it ended up in the closing credits and on the soundtrack. The song and movie was meant to convey the frustration of loving a team that comes close but never quite wins. My friend (and ringleader of the Willard Grant Conspiracy) Robert Fisher told me that the filmaking Farrelly Brothers were looking for a song for their remake of "Fever Pitch" in which the main character's love of soccer and Arsenal in particular would be moved stateside to baseball and the Boston Red Sox. There's more where this came from but this seemed like a good place to start before I put all the tapes in the elevator and move back down to solid ground. ![]() Some were recorded for compilations, tributes and as Hail Mary passes for TV and movie placement. Some of the songs are demos for versions that would later show up on record. Get it? Now that I'm moving on to another location (with another wildly clever studio name, I'm sure), it seems a good time for a wrap-up of some of the music I've made from home over the last decade or so. Since then I have moved many times-from apartment to apartment AND from label to label-and have spent the last 18 years living and doing my home recording in my 5th floor apartment on the Upper West Side of Manhattan. My first label and very modest home studio was called Down There, named for the basement apartment where I lived in Los Angeles back in the days leading up to the Dream Syndicate. Recorded and Performed (except otherwise indicated) by Steve Wynn at Up There Studios (New York City) between 20.Ībout that title.
0 Comments
Leave a Reply. |