2 Oct: studio

KING SHAM
me – vocals
Rob – guitar, bass
John Cerreta – organ
Pete McDade – drums

It’s October 2, 2001. I began this whole process on October 29, 2000.

It does bother me. Objectively I know it’s not as if I’ve actually spent a year on it… even apart from the lack of recording between April and September when we have been in studio it really only amounts to one or two days in a week, punctuated by a couple of weeks off. Hopefully, I’m going to be able to give him a lump sum within the month, and we’ll set aside a block of time to wrap it up. I can’t say enough about Rob and the fact that he has been so willing to work with me on doing this, given the frequency with which he’s actually getting paid by me.

All that said, we began work on song #7 of 11 last night. Pete came in last week and laid down the drum tracks. Last night with a scratch guitar track and the bass already done I did the vocals. One take with a couple of punch-ins, and then doubling it. I could already hear the backing vocals, which is always reassuring. There’s nothing worse than not hearing anything, like staring at empty paper with a deadline looming. Then Rob and John did the intro to the song, a kind of warbley (I love trying to type a word like that… like “wonky”) guitar and organ bit.

Basically things went really easily. I wasn’t absolutely crazy about the song, and I hardly ever play it acoustic. But when we rehearsed the band a couple of weeks ago I brought it out and the version we hashed out sounded great (and I had sort of known that it really was a band song). When I was doing the vocals last night the song wasn’t grabbing me much, I was thinking it might end up being a weak point, but as things fell into place it really started to sound great.

It’s hard at times to keep myself excited about the CD, just because the process has taken so long and has had so many long breaks of no activity. The CD is really meant to be a whole entity (what they euphemistically refer to as a “song cycle” instead on “concept” record, sort of like calling a comic book a “graphic novel,” it just serves to make you seem desperate to not sound uncool) so it’s hard to keep a grasp on it with so much time passing between songs. But I am eager to get it done and out, I want to have a SECOND CD… it’s hard to explain. It’s hard to keep saying that what I do during the day isn’t my real “job,” that what I am is a musician, when I look and only see one CD sitting there. I want development.

Don’t get me wrong. I feel good.

18 Jan: studio

JEFF LYNNE
Paul – guitar
John Cerreta – synth

Six guitar tracks recorded and stacked. Four of them were my Kramer Ferrington (still in loyal, tinny service after 13 years) and two acoustic. Very painful by the end, my hand cramping badly.

John recorded some synth, a sort of “Turn to Stone” sound. Rob also did some Mellotron at the end. The keys made it apparent, though, that the guitars are anticipating the beat and will need to be redone.

13 Nov: studio

FINE (formerly “Finale”)
Paul – guitar, vocals
John Cerreta – vibraphone

John had done some vibraphone work before tonight. The instrument is pretty wonky so it’s unclear how much of it will be used. Vocals done in one take (one take each on two mics). We opt for the latter.

Asked about using “Claire de Looney” (a song of Rob and John’s they played for me last time I was there) as a song. Looks good, got a copy to work on it, as well as a copy of FINE to plan backing vox.

At one point Rob made reference to circus music at end of FINE so I told him about the Zelinsky CD. He seemed excited. Also, John and Rob were very complimentary about the vox.