Day 6 of 10!
The first half of yesterday's fun and smooth, laying down overdubs on a largely programmed tune, creating a sorta updated Paul Simon's Graceland jam. Jamie calls it Cleveland meets Nigeria, which sounds weird but is actually spot-on. I’m happy there’s cool guitar on this record. You know, not the twinkly, over-done neo-soul/white guy blues stuff, but actual badass guitar, the kinda shit I can picture my teenage self nerding out over. I’m grateful Jamie’s given me the greenlight to play how I play.
The second half of yesterday's our first kinda sorta roadblock. We’re recording the basic tracks for a more John Mayer Continuum vibe song. I really dig it, and we play well, but it’s not quite there. Something’s missing. Jamie’s not thrilled. We almost call it a night, but I’m like no, come on fellas, let’s have fun. We're doing awesome work, let’s make it weird, let’s make it us.
Jamie takes over and goes full mad scientist. The track’s slowed way down, and Swatty and I record some playfully meandering pentatonic noodles. When brought up to the original tempo, the result’s crystalline, harp-like, cascading atmospheric trippiness. It’s exciting and new. Swatty lays down a few tasty weedly-wees on the Moog, and all of a sudden the song sounds like it belongs on the record. Still pop, still radio vibes, but us rather than a blindfolded, pin-the-tale-on-the-donkey attempt at songwriting.
Everyone’s pushing their comfort zones, and no one’s mad at it. Three more basics to cut, then three full days of overdubs.