In attendance: Jen, Lexi, Rod, Steve. Engineer: Joe
Still more good progress - Jen knocked out all her remaining keyboard parts on Wednesday night. We're getting close to the finish line now. We tracked keyboards for four songs: "Catch and Release," "Don't Look Down," "Pretend," and "Edge of Forever." Jen was well rehearsed and played with a lot of focus and energy. Now the songs really sound like the Aviation Blondes.
Jason decided to stay home drinking with Lucy again this week, so engineering duties were in the capable hands of Joe Stile.
Joe set things up so that we could record audio and midi simultaneously. For the layman, that means we recorded the literal sound of what Jen was playing like any other audio track you'd record, but at the same time we also captured the neutral digital information of the notes she played, velocity and other data, so that if we want to use a different sound - any sound at all - we can change the parts she played to any sound we want when we mix. We haven't decided yet whether we're going to take a more purist attitude, i.e. that the CD should sound as much like the live band as possible, therefore we should use exactly the same keyboard sound Jen would play live; or whether we should take advantage of the ability to use some other sound, for example a really lush piano or strings. It's sort of hard to explain if you're not familiar with the digital music world, but basically, on the computer we have access to samples and sounds that aren't programmed into Jen's actual keyboard, if that makes any sense. Anyway, we'll save that debate for another day. In the meantime, we got really good performances out of Jen and that's the important thing.
Sorry this entry is a little short - I think I burned myself out writing some of those super-long ones.
So at this stage we're going to take a little break from recording so we can rehearse for our show on March 14. We recently booked two more shows - April 24 at the Doublewide and May 23 at the Thunderbird. So we're about to become a fully active band again, FINALLY. Freakin' hallelujah.
Saturday, February 28, 2009
Thursday, February 19, 2009
Recording report: 2/18/09
A workmanlike session last night. Got stuff done. We re-recorded the bass for “Edge of Forever” in the new key, finished the lead vocal on “Edge” and did a couple miscellaneous backup-vocal parts. Now we just have to do keyboards on four songs, all of Daryl’s vocals, and a few other odds and ends. We’ve stuck to the schedule pretty well so I’m pleased.
One drawback to this blog is that I started writing it after we had already recorded rhythm tracks (drums and bass) for all the songs, so Dave and Rod haven’t figured into the narrative much. So it was a nice change of pace last night to get Rod in to finish up his one loose end. He did a good job on a pretty tricky part. It’s a high melodic bass line sort of in the style of Peter Hook of New Order. Once he conquered the main part, Rod also added a second, lower, bass part to fill out those frequencies and give us more options in the mix. That was a head’s up idea. I had done that in the demo but probably wouldn’t have remembered to suggest it now.
Next I did a couple backup vocals for “Pretend” and “Catch and Release.” Easy enough. I only sing a little bit at the end of “Pretend” so that didn’t take long, and “Catch and Release” is also pretty easy when I remember the words. Every chorus is different on that song so I had to stop a bunch of times to refresh my memory.
Finally, Lexi did the lead vocal for the choruses of “Edge of Forever.” She had recorded all the verses in a previous session. As we decided a few weeks ago, we broke the chorus into two parts to allow for easier breath control. Got it done and now that the bass is finished too, that song is really starting to come into focus.
Big thanks once again to Joe for taking over at the board while Jason took a well-earned break.
Next Wednesday will be Keyboard Night, Jen’s schedule permitting. Can’t wait to add that very important ingredient to the four newer songs.
One drawback to this blog is that I started writing it after we had already recorded rhythm tracks (drums and bass) for all the songs, so Dave and Rod haven’t figured into the narrative much. So it was a nice change of pace last night to get Rod in to finish up his one loose end. He did a good job on a pretty tricky part. It’s a high melodic bass line sort of in the style of Peter Hook of New Order. Once he conquered the main part, Rod also added a second, lower, bass part to fill out those frequencies and give us more options in the mix. That was a head’s up idea. I had done that in the demo but probably wouldn’t have remembered to suggest it now.
Next I did a couple backup vocals for “Pretend” and “Catch and Release.” Easy enough. I only sing a little bit at the end of “Pretend” so that didn’t take long, and “Catch and Release” is also pretty easy when I remember the words. Every chorus is different on that song so I had to stop a bunch of times to refresh my memory.
Finally, Lexi did the lead vocal for the choruses of “Edge of Forever.” She had recorded all the verses in a previous session. As we decided a few weeks ago, we broke the chorus into two parts to allow for easier breath control. Got it done and now that the bass is finished too, that song is really starting to come into focus.
Big thanks once again to Joe for taking over at the board while Jason took a well-earned break.
Next Wednesday will be Keyboard Night, Jen’s schedule permitting. Can’t wait to add that very important ingredient to the four newer songs.
Thursday, February 12, 2009
Recording report: 2/11/09
It was the Daryl and Steve show at stately Stile Manor last night, with the two of us recording guitars for “Don’t Look Down” and backup vocals for “Crash and Burn” and Daryl doing his solos on “The Edge of Forever.”
Very pleased with our progress. At this point we only need three more sessions to complete all the basic recording work. Then it will just be a few miscellaneous overdubs and on to the mix. We’re on pace to wrap this up in April.
After 2/25 we’ll be putting recording aside for a couple weeks to start rehearsing for our gig on March 14th, when we will be opening up for Seven Color Sky at Club Café. I can’t even tell you how excited I am to play a show after all this time. No actually, I can tell you: I’m excited to play a show after all this time.
Now for you diehard recording geeks, what you've all been waiting for, the agonizingly detailed rundown on last night’s session:
Daryl started off with his octave guitar part on “Don’t Look Down.” He kept it simple and played the part straight, no frills. That means it will just be a solid, useful track that will serve its purpose in the song and we won’t have to fuss with it. Then he recorded a second, more improvisational, part with some nice fills and licks, the idea being that we won’t use all of it but we can go to it here and there when we’re mixing the song and hit a place where a little guitar fill is needed. We’ll probably use some of it on the final chorus where the songs opens up a bit.
While the amp was still warm (Daryl brought the Mesa Boogie this time – sounded great), I went over and did my rhythm guitar part for the same song. I’m not actually sure how much of my guitar will make it into the final mix. I’ve always heard this song as being entirely keyboard and horn-led, with the only important guitar part being Daryl’s octave thing. But I recorded my part anyway just because I always play it live...we’ll see when we mix.
Then it was time for Daryl to lay down his solos on “Edge of Forever.” He set his amp for a bit of growl and he used his wah pedal to get that wild, slightly-out-of-control sound that the youngsters of today love. After doing a couple takes that I thought were solid but a little restrained, I encouraged Daryl to really open it up and let fly. He didn’t need to be told twice, as every take after that was more intense than the last. It was normal pentatonic blues-based lead guitar (which is what I like), just really good and really fast. Some of what he played sounded like Jimi Hendrix at his wildest. We’re going to have fun when we mix and use two or more tracks of Daryl’s solos, panning them left and right to get a kind of psychotic hard-rock meltdown feel as the song climaxes. It’s a long song and was built to have plenty of guitar improvisation, especially toward the end. Daryl really rose to the occasion and did some impressive work.
After that it was on to backup vocals. We had about an hour left, which was just enough time to do both of our parts for “Crash and Burn.” Daryl did two tracks, one where he sings the same melody as Lexi but an octave lower, and another where he just sings the low A note in a kind of drone. It adds an interesting effect and should make the whole vocal mix more fully rounded. I did my usual harmony part and got through it pretty quickly. It’s one of our older songs, written in the spring of 2006 shortly after the band got together, so singing it is second nature by now.
We listened to the playback of “Crash” with all the vocal tracks up, including all the doubled parts, and it was a kind of funny. There are a lot of vocals on this song! We will have to mix carefully. With all the vocal tracks up full-blast the chorus has an unintended Gregorian-chant quality. Pretty sure that is not what we were going for! It’s gonna sound good though, once we get it mixed.
Jason did his usual stellar work behind the board, i.e. behind Joe’s Mac-based digital audio workstation running Logic 8, a truly amazing program. I have a program on my PC called Sonar, which I love and am very loyal to, but I have to admit the latest version of Logic beats Sonar easily. This program can do things that are simply astonishing. And of course it helps to have a smart engineer/producer who knows how to run everything at maximum efficiency.
Next week: Rod plays bass on “Edge of Forever,” Lexi wraps up her vocal parts, and Steve warbles into the mic and tries to stay on key!
Very pleased with our progress. At this point we only need three more sessions to complete all the basic recording work. Then it will just be a few miscellaneous overdubs and on to the mix. We’re on pace to wrap this up in April.
After 2/25 we’ll be putting recording aside for a couple weeks to start rehearsing for our gig on March 14th, when we will be opening up for Seven Color Sky at Club Café. I can’t even tell you how excited I am to play a show after all this time. No actually, I can tell you: I’m excited to play a show after all this time.
Now for you diehard recording geeks, what you've all been waiting for, the agonizingly detailed rundown on last night’s session:
Daryl started off with his octave guitar part on “Don’t Look Down.” He kept it simple and played the part straight, no frills. That means it will just be a solid, useful track that will serve its purpose in the song and we won’t have to fuss with it. Then he recorded a second, more improvisational, part with some nice fills and licks, the idea being that we won’t use all of it but we can go to it here and there when we’re mixing the song and hit a place where a little guitar fill is needed. We’ll probably use some of it on the final chorus where the songs opens up a bit.
While the amp was still warm (Daryl brought the Mesa Boogie this time – sounded great), I went over and did my rhythm guitar part for the same song. I’m not actually sure how much of my guitar will make it into the final mix. I’ve always heard this song as being entirely keyboard and horn-led, with the only important guitar part being Daryl’s octave thing. But I recorded my part anyway just because I always play it live...we’ll see when we mix.
Then it was time for Daryl to lay down his solos on “Edge of Forever.” He set his amp for a bit of growl and he used his wah pedal to get that wild, slightly-out-of-control sound that the youngsters of today love. After doing a couple takes that I thought were solid but a little restrained, I encouraged Daryl to really open it up and let fly. He didn’t need to be told twice, as every take after that was more intense than the last. It was normal pentatonic blues-based lead guitar (which is what I like), just really good and really fast. Some of what he played sounded like Jimi Hendrix at his wildest. We’re going to have fun when we mix and use two or more tracks of Daryl’s solos, panning them left and right to get a kind of psychotic hard-rock meltdown feel as the song climaxes. It’s a long song and was built to have plenty of guitar improvisation, especially toward the end. Daryl really rose to the occasion and did some impressive work.
After that it was on to backup vocals. We had about an hour left, which was just enough time to do both of our parts for “Crash and Burn.” Daryl did two tracks, one where he sings the same melody as Lexi but an octave lower, and another where he just sings the low A note in a kind of drone. It adds an interesting effect and should make the whole vocal mix more fully rounded. I did my usual harmony part and got through it pretty quickly. It’s one of our older songs, written in the spring of 2006 shortly after the band got together, so singing it is second nature by now.
We listened to the playback of “Crash” with all the vocal tracks up, including all the doubled parts, and it was a kind of funny. There are a lot of vocals on this song! We will have to mix carefully. With all the vocal tracks up full-blast the chorus has an unintended Gregorian-chant quality. Pretty sure that is not what we were going for! It’s gonna sound good though, once we get it mixed.
Jason did his usual stellar work behind the board, i.e. behind Joe’s Mac-based digital audio workstation running Logic 8, a truly amazing program. I have a program on my PC called Sonar, which I love and am very loyal to, but I have to admit the latest version of Logic beats Sonar easily. This program can do things that are simply astonishing. And of course it helps to have a smart engineer/producer who knows how to run everything at maximum efficiency.
Next week: Rod plays bass on “Edge of Forever,” Lexi wraps up her vocal parts, and Steve warbles into the mic and tries to stay on key!
Thursday, February 5, 2009
Recording report: 2/4/09
Great session last night starring Jen and Lexi, both of whom got a lot of good work done.
Have I mentioned what a joy it is to be in a band with these two women? Apart from being not hard to look at, they are both talented musicians and have great instincts for what to bring to a song. As I think I’ve mentioned before, the two of them have a strong connection when they sing that comes from having played in bands together for years, and their voices blend in a way that’s very distinctive and cool. Just a great sound.
Engineering/production duties were ably handled by Joe Stile while Jason was at home hanging out with Lucy Fisher. Joe recorded The Borderless Puzzle’s new CD (which is excellent, by the way) on this equipment so he was able to step in without a hitch. Like Jason, Joe has a knack for working with singers in a way that coaxes out the best performance without exhausting them. He got great work out of both of them last night.
Jen warmed up by laying down her backup vocal part for “Catch and Release.” It came quickly and she was able to match the phrasing of the lead vocal exactly. The only trouble spot came with the bridge – Jen was hitting the long trailing notes at the end of each line just fine, but something sounded off. We listened back to her track by itself, and her pitch was right on. We finally figured out that while both Lexi’s lead vocal and Jen’s backup part were on key, Lexi had used vibrato on the trailing notes and Jen was singing them straight-on. Normally that would be potentially a big problem – but Jen said, “OK, I’ll just vibrato it,” and she sang it again, exactly the same way but with just a little wiggle of vibrato at the end of each line. Now it matched Lexi’s vocal exactly and that slight oddness vanished – now it sounded great. Not many singers could do that so easily. Jen just shrugged and said, “I know how to channel Lexi.”
Her voice warmed up, Jen moved on to the lead vocal of “Don’t Look Down.” This song will be her biggest vocal showcase on the CD but that fact didn’t seem to rattle her at all – in fact she sang it in a very relaxed, easygoing manner that is perfect for the mood of the song. We talked about “groovy” soul records from the early 70s such as The Fifth Dimension, which is the general ballpark I was aiming for with this song. (I was thinking more Stylistics actually, but everybody keeps saying Fifth Dimension. Close enough.) Jen definitely “gets” this song and knocked the whole thing out in just a couple of takes. I think we worked on it for about 30 minutes start to finish, which is really quick for an entire lead vocal track. It sounds great and now we can start layering on the production. This is the one that I’m charting a horn section out for. I need to get on the ball and finish the charts because the time to schedule the horn players will be coming up soon and they’ll want some time to get familiar with the song before they come in.
Jen was on a roll now so we surged ahead to her co-lead vocal for “Pretend.” Completely different song than “Don’t Look Down” – this is a fast, clanging punk-pop song that sounds kind of like the early Jam. Just a fun blast of rock ’n roll. I’m really happy with the way the basic tracks have turned out. The guitars, bass and drums really have a raw, punky late-70s feel, which pleases me no end. (Kudos to Rod for writing this one.) By way of contrast with the backing tracks, the vocals have a sweet, girl-group quality. Lexi and Jen share the lead on this one, singing most of it in unison à la Bananarama, if Bananarama were better singers. Or maybe it sounds a little like Blondie…or a more rocking Pipettes. I don’t know. I just like it, whatever it sounds like. Jen banged this one out in about ½ hour as well, finishing it up just as Lexi arrived, so the timing was perfect.
At the session a couple weeks ago Lexi had requested that she not record her part for “Pretend” until she and Jen were there together. As she started working on her part I could see why – it was much easier to get the two performances in sync if they were both physically present in the room. With Jen’s track already laid down and in good shape, Lexi was able to match the phrasing exactly and we once again had a finished track very quickly.
“Pretend” got Lexi’s voice warmed up for “Edge of Forever,” which we had to start over on the lead vocal because we all forgot we changed the key after we did basic tracks. (I should say all of us forgot except Rod, but Rod hasn’t been to any of the recent sessions because he’s been busy at work.) At a vocal rehearsal at Jen’s house in November we raised the key up to B and all agreed that it sounded much stronger. The basic tracks were recorded at Rick’s in October in the key of A. We’d forgotten about that two weeks ago, and so we lost about an hour of Lexi’s work on the song from Jan. 21st. Not the end of the world, but I feel bad about wasting anybody’s time – we have to do so much schedule juggling to get together that every minute counts. At any rate, Lexi took the news like a soldier and got to work on singing it in the new key.
I could hear right away that the new key lends itself to a stronger vocal. Lexi had hit all the notes just fine when we had been recording in the lower key, but the lowest point of the melody went all the way down to the very bottom of her range and she wasn’t able to put much oomph into those notes. In the higher key, the whole melody is shifted more to the center of her range and just sounds better all-around. We stuck with the plan of recording the verses and choruses separately, and once again Lexi sang the verses very sweetly, with a lot of feeling. I can’t remember if she did just one take or two, but it wasn’t more than two. She did a really lovely job, as evidenced by how you could hear a pin drop in a room full of wisecracking smartasses. Everyone was moved.
Jen felt inspired to record her harmony on the verses while the right mood was still hanging in the air, so she jumped up and got behind the mic as soon as Lexi was finished. It was a good idea – Jen sang like an angel and hit her harmonies perfectly, not just in terms of pitch but emotionally in the way she matched the essence of Lexi’s performance and sang in total sympathy with it. They’re her harmonies, too, of her own invention, and they’re very creative and spot on. This is a song I was already proud of as a songwriter but Lexi and Jen have both added to it immeasurably. I know I gush over them too much, but I just can’t explain how happy it makes me to hear my songs being brought to greater life than I could ever give them myself – and it’s not just Jen and Lexi, of course, it’s the whole band. Even with many overdubs still to record, I already like the band version of this song way more than my demo. And I really worked on that demo, too! But I couldn’t be happier to hear it being rendered obsolete.
On a band unity note, we got a surprise guest appearance by none other than Rod Schwartz! Haven't seen Rod since December so that was a great surprise. He's back in the fold now after a hectic winter and plans to be at most, if not all, of the sessions from this point on - all to the good.
I think because we were jazzed from getting so much work done in one night, we were still raring to go at 10:00 PM and probably overplayed our hand (and maybe overstayed our welcome!) by trying to squeeze in still more work, this time on “Don’t Look Down.” So we spent another hour on work that was doomed. Lexi recorded her chorus harmony and sounded fine, but I let her get all the way through the song before suggesting she change the melody to something subtly different. I got up and tried to sing it myself, but my voice wasn’t warmed up and I sounded like a frog. It was late and I wasn’t communicating well, and everyone was all sung out and had had a couple glasses of wine. So the evening kind of ended with a whimper with everyone slightly frustrated and cranky because of the “Don’t Look Down” downer. We agreed to leave it alone for now and come back to it later. Should have quit while we were ahead. I take the blame!
Even though the hour had gotten really late, Joe was still nice enough to do a mixdown of a few of the songs so Rod can work on “Edge” at home and Lexi can play “Pretend” for her dad. Quite a guy, that Joe Stile. I hope he lets us back in his house after that long night! Joe, if you’re reading this – you are the best. Thanks for being such a good friend to the Aviation Blondes.
Have I mentioned what a joy it is to be in a band with these two women? Apart from being not hard to look at, they are both talented musicians and have great instincts for what to bring to a song. As I think I’ve mentioned before, the two of them have a strong connection when they sing that comes from having played in bands together for years, and their voices blend in a way that’s very distinctive and cool. Just a great sound.
Engineering/production duties were ably handled by Joe Stile while Jason was at home hanging out with Lucy Fisher. Joe recorded The Borderless Puzzle’s new CD (which is excellent, by the way) on this equipment so he was able to step in without a hitch. Like Jason, Joe has a knack for working with singers in a way that coaxes out the best performance without exhausting them. He got great work out of both of them last night.
Jen warmed up by laying down her backup vocal part for “Catch and Release.” It came quickly and she was able to match the phrasing of the lead vocal exactly. The only trouble spot came with the bridge – Jen was hitting the long trailing notes at the end of each line just fine, but something sounded off. We listened back to her track by itself, and her pitch was right on. We finally figured out that while both Lexi’s lead vocal and Jen’s backup part were on key, Lexi had used vibrato on the trailing notes and Jen was singing them straight-on. Normally that would be potentially a big problem – but Jen said, “OK, I’ll just vibrato it,” and she sang it again, exactly the same way but with just a little wiggle of vibrato at the end of each line. Now it matched Lexi’s vocal exactly and that slight oddness vanished – now it sounded great. Not many singers could do that so easily. Jen just shrugged and said, “I know how to channel Lexi.”
Her voice warmed up, Jen moved on to the lead vocal of “Don’t Look Down.” This song will be her biggest vocal showcase on the CD but that fact didn’t seem to rattle her at all – in fact she sang it in a very relaxed, easygoing manner that is perfect for the mood of the song. We talked about “groovy” soul records from the early 70s such as The Fifth Dimension, which is the general ballpark I was aiming for with this song. (I was thinking more Stylistics actually, but everybody keeps saying Fifth Dimension. Close enough.) Jen definitely “gets” this song and knocked the whole thing out in just a couple of takes. I think we worked on it for about 30 minutes start to finish, which is really quick for an entire lead vocal track. It sounds great and now we can start layering on the production. This is the one that I’m charting a horn section out for. I need to get on the ball and finish the charts because the time to schedule the horn players will be coming up soon and they’ll want some time to get familiar with the song before they come in.
Jen was on a roll now so we surged ahead to her co-lead vocal for “Pretend.” Completely different song than “Don’t Look Down” – this is a fast, clanging punk-pop song that sounds kind of like the early Jam. Just a fun blast of rock ’n roll. I’m really happy with the way the basic tracks have turned out. The guitars, bass and drums really have a raw, punky late-70s feel, which pleases me no end. (Kudos to Rod for writing this one.) By way of contrast with the backing tracks, the vocals have a sweet, girl-group quality. Lexi and Jen share the lead on this one, singing most of it in unison à la Bananarama, if Bananarama were better singers. Or maybe it sounds a little like Blondie…or a more rocking Pipettes. I don’t know. I just like it, whatever it sounds like. Jen banged this one out in about ½ hour as well, finishing it up just as Lexi arrived, so the timing was perfect.
At the session a couple weeks ago Lexi had requested that she not record her part for “Pretend” until she and Jen were there together. As she started working on her part I could see why – it was much easier to get the two performances in sync if they were both physically present in the room. With Jen’s track already laid down and in good shape, Lexi was able to match the phrasing exactly and we once again had a finished track very quickly.
“Pretend” got Lexi’s voice warmed up for “Edge of Forever,” which we had to start over on the lead vocal because we all forgot we changed the key after we did basic tracks. (I should say all of us forgot except Rod, but Rod hasn’t been to any of the recent sessions because he’s been busy at work.) At a vocal rehearsal at Jen’s house in November we raised the key up to B and all agreed that it sounded much stronger. The basic tracks were recorded at Rick’s in October in the key of A. We’d forgotten about that two weeks ago, and so we lost about an hour of Lexi’s work on the song from Jan. 21st. Not the end of the world, but I feel bad about wasting anybody’s time – we have to do so much schedule juggling to get together that every minute counts. At any rate, Lexi took the news like a soldier and got to work on singing it in the new key.
I could hear right away that the new key lends itself to a stronger vocal. Lexi had hit all the notes just fine when we had been recording in the lower key, but the lowest point of the melody went all the way down to the very bottom of her range and she wasn’t able to put much oomph into those notes. In the higher key, the whole melody is shifted more to the center of her range and just sounds better all-around. We stuck with the plan of recording the verses and choruses separately, and once again Lexi sang the verses very sweetly, with a lot of feeling. I can’t remember if she did just one take or two, but it wasn’t more than two. She did a really lovely job, as evidenced by how you could hear a pin drop in a room full of wisecracking smartasses. Everyone was moved.
Jen felt inspired to record her harmony on the verses while the right mood was still hanging in the air, so she jumped up and got behind the mic as soon as Lexi was finished. It was a good idea – Jen sang like an angel and hit her harmonies perfectly, not just in terms of pitch but emotionally in the way she matched the essence of Lexi’s performance and sang in total sympathy with it. They’re her harmonies, too, of her own invention, and they’re very creative and spot on. This is a song I was already proud of as a songwriter but Lexi and Jen have both added to it immeasurably. I know I gush over them too much, but I just can’t explain how happy it makes me to hear my songs being brought to greater life than I could ever give them myself – and it’s not just Jen and Lexi, of course, it’s the whole band. Even with many overdubs still to record, I already like the band version of this song way more than my demo. And I really worked on that demo, too! But I couldn’t be happier to hear it being rendered obsolete.
On a band unity note, we got a surprise guest appearance by none other than Rod Schwartz! Haven't seen Rod since December so that was a great surprise. He's back in the fold now after a hectic winter and plans to be at most, if not all, of the sessions from this point on - all to the good.
I think because we were jazzed from getting so much work done in one night, we were still raring to go at 10:00 PM and probably overplayed our hand (and maybe overstayed our welcome!) by trying to squeeze in still more work, this time on “Don’t Look Down.” So we spent another hour on work that was doomed. Lexi recorded her chorus harmony and sounded fine, but I let her get all the way through the song before suggesting she change the melody to something subtly different. I got up and tried to sing it myself, but my voice wasn’t warmed up and I sounded like a frog. It was late and I wasn’t communicating well, and everyone was all sung out and had had a couple glasses of wine. So the evening kind of ended with a whimper with everyone slightly frustrated and cranky because of the “Don’t Look Down” downer. We agreed to leave it alone for now and come back to it later. Should have quit while we were ahead. I take the blame!
Even though the hour had gotten really late, Joe was still nice enough to do a mixdown of a few of the songs so Rod can work on “Edge” at home and Lexi can play “Pretend” for her dad. Quite a guy, that Joe Stile. I hope he lets us back in his house after that long night! Joe, if you’re reading this – you are the best. Thanks for being such a good friend to the Aviation Blondes.
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