c’est fin

On October 29, 2000, I started working at Rob’s studio.

It’s June 20, 2002, and the CD is done.

I never intended to spend this much time on the CD. The stretch of time alone is misleading; it’s been under 200 hours total, including the mastering, so less than a month of normal days, all told. Just spread out over almost two years.

Thursday I spent the whole day mastering the CD at Southern Living At It’s Finest. Rob was there, too, something he usually charges for, but I think after this much time (and the rush at the end to finish it) he wanted to make sure it survived intact.

There aren’t any useful details to really bore you with. Alex Lowe, who did the mastering, did a great job, particularly at working in the extra little incidental bits, and tweaking the sound occasionally when the mix suffered a bit from the aforementioned rush.

The process itself was pretty light-hearted, a lot of joking going on. A good lunch from some French sandwich shop. The studio is a high-class affair, Shawn Mullins does work there, and it’s right next to the studio where Outkast work, so a lot of work flows between the two. It’s all very swank.

When we got to the point where we started burning the CDs, I had a really stupid grin on my face. You know how it felt, when you were a kid, and you spent all of December waiting for Christmas, and everything you did; school, being at home, playing with friends, good or bad; couldn’t escape from the association with what month it was and what was coming. The gnawing of waiting for that morning to finally come.

Imagine that feeling stretched out over a year and a half, and then add it to the feeling you had once you woke up Christmas morning and first saw the tree and the gifts. That should give you some idea.

When I left I still had the same stupid grin. Not so much from the result of the effort, but just from the effort finally ending. I still hadn’t really listened to it from start to finish yet, I mean, I heard each song multiple times during mastering, but never finally laid out, in order, with everything in place. But I felt good.

And, since sometimes days are just good to you, I put my hand in my pocket and my keys were gone. I looked in the car and they were in the ignition. I knew I was screwed. But for the hell of it, I tried the passenger door. It was, of course, unlocked. Something I NEVER do.

Which would make a fine literary ending to a good day. But this is reality, and there is more, of course. I finally listened. Start to finish, for the first time, late last night. The shine has worn off and I feel slightly less confident. There are a few things I need to listen to again later today; things that I’m not sure might be problems. It’s hard to tell with my stereo, which has one speaker slowly going out.

Plus, I’m still in a vacuum, I have the finished CD, but no way of knowing if it works, if it does what I want it to, if it will translate for everyone else the way I wanted it to. There are odd little things going on, that could be seen as good or bad, depending on how they strike someone.

For three months, I won’t have a clue, really, whether it worked. I still feel good, but the goofiness is gone. Bear with me while I wait. And wait.

27 Mar: studio

HEY, CALIFORNIA
Geoff Melkonian – strings

JEFF LYNNE
Geoff Melkonian – strings

SHERMAN
me – backing vocals

Today there was less accomplished, though more from lack of time spent than time wasted. We only really worked about four hours today, for some reason there was a cavalcade of guests through the studio, mostly I think to say goodbye to Rob before he goes off to New York. However, what was accomplished was important. Geoff Melkonian (Josh Joplin Group) came in to play on HEY, CALIFORNIA. He played an upright bass with a bow during the bridge-like portion of the song, three tracks of complementary lines. Two low and one higher, sort of a cello sound. This, of course, set my mind to work. Once he was finished I asked him if he’d be interested in playing on another song, which is why JEFF LYNNE has returned to the list above. I knew there was still no way to get the ELO sound I was really shooting for, but I had him do a part during the choruses and the build at the very end, up in the cello range of his instrument. Hopefully it will at least give the illusion of more strings being involved. It sounded great to me, even if it isn’t quite what I had originally hoped for. One thing I did notice, in hearing it again today, is that the backing vocal parts we did a couple of days ago, the trademark ELO chorus vocals we did by mixing myself with the Mellotron, sound great. At the time I wasn’t sure it worked exactly. Anyway, this is the song that I will have completely finished by Friday, mixed and ready to be mastered and sent to David at IPO. I think it works.

We did some backing vocals for SHERMAN. I didn’t have any ideas, so Rob suggested doing the same sort of build up I did in parts of “Jeff Lynne.” We started in and he suddenly suggested I do them in my 1930’s singer voice. Most of you won’t have heard this before, but there’s a particular way that second-rate movie stars sang in the thirties… I first started doing it after I saw the Marx Brothers’ Animal Crackers for the first time, years ago. The romantic lead in that movie does it and it’s hilarious to me, you sort of sing from the back of your throat in a very warbly sort of way. So I did a four-part harmony in that voice, but we stopped before really sitting to listen to it, so whether we keep it or not I have no idea at this point. This is one of those moments where I just trust Rob’s idea until I hear it in action. We also did some work on the mystery song.

Tomorrow I’ll be there from 10am until late in the evening. “Hitchcock Blonde” and “King Sham” aren’t finished, but all they need are some keyboards, which we can do just before mixing. So all that’s left at this point is “Sherman” and the mystery song. I think it’s a safe bet that “Fall Down” will not be recorded, we may decide to give it a go, but at this point I’d rather finish up everything, give every song a listen to and make sure nothing has slipped by, rather than rush to complete one more song. So off the list it goes. Ten songs plus a bonus track doesn’t seem too bad. After Friday I should have “Jeff Lynne” in mixed form, plus rough mixes of everything else, and I can try to work out the track order.

It will feel so good to have them done.

26 Mar: studio

HEY, CALIFORNIA
me – vocals, mandolin

OVERTURE
Rob – guitar, baritone guitar
me – piano, tambourine

Things seem back on track. I did backing vocals for the end of HEY, CALIFORNIA. A small struggle at first, since it was early in the day for me and my voice is always a bit rough then. They were these atypical three part harmonies, that Rob kept making “the Mamas and the Papas” jokes about. He came up with them, though, so who’s to blame? I ask you. I also played mandolin during the bridge-like portion of the song. The song is very sparse up until the end, it should really stand out on the CD.

Rob added another electric guitar to OVERTURE, the Les Paul, and a solo. He also did a track playing my baritone guitar with a lot of fuzz on the sound. The baritone was in the studio throughout Slumberland, as well, but was never used. I did a piano track, the same method as the original version of this song that was scrapped, with the piano mic’d and run through the rotating leslie. That’s a fun sentence if you don’t know what the hell I’m talking about. I also played a really jazzy tambourine, in honor of my friend Scott (who isn’t dead).

We’ve added time this week, which is good. I’ll be there tomorrow during the day again, then Thursday day and night, and then Friday during the day. So I feel a lot more confident about getting the recording finished and getting “Jeff Lynne” mixed by Friday.