Swamp Noir | Junkyard Swing | Broken Down Blues
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The Fillmore Poster Room @ 6:00 PM
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Amnesia Bar @ 9:00 PM
$5 before 10pm, $10 After
San Francisco, CA (Map)
The Fillmore Poster Room @ 7:00 PM
$32.50 Jamey Johnson Headlines
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For Booking & Licensing:
wesley@thewesleymorgan.com
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wesley@thewesleymorgan.com
Backroom Recording Sessions
It seems forever-ago, but last Monday through Wednesday I went into the studio to record two tracks for my upcoming EP Backroom In Tulsa. I gathered up four musicians, a top-rate engineer, and a big old set of ears; and, dragged them over the fantastic Tiny Telephone studio in San Francisco. We proceeded to lay down two songs and some wonderful sounds onto 2" analogue, reel-to-reel tape. "Backroom In Tulsa" and "Flesh and Bone" are recorded and mixed. The next step is mastering and manufacturing.
Check out photographs from the session below. These images are taken by the fabulous LissaIvy Tiegel. She really knows how to capture the magic in a moment.
Photos ::..
So who was this motley crew of musicians, engineers, and producers? First off, I feel extremely lucky to have had Oz Fritz engineer and mix the two songs. Oz has worked on two of my most favorite albums, Mule Variations by Tom Waits and Wicked Grin John Hammond Jr. I use Wicked Grin as a template for a large chunk of the music I make. Working with Oz was a blast. I had the utmost confidence that he could help me realize the sounds in my head. And you know what? He did it beautifully. The recordings have depth and presence. I feel like I now have recordings that really capture my energy.
All the sound engineering talent in the world wasn't going to help a mediocre performance, so I brought in some talented players. We had Aaron Kierbel on drums, Daniel Fabricant on bass, David Phillips on pedal steel, and Finn Kelly on piano and accordion. Residing up in the control room with Oz was a giant pair of ears belonging to Jazz Mafia Don Adam Theis. I had rehearsed with each player individually, but this was the first time we had played as a unit. The going was a little slow at first, but we got progressively better. By the 7th or 8th take, we had nailed the basic rhythm for "Backroom." We did one more live pass for that has been captured on video then moved on to "Flesh and Bone."
Flesh and Bone was a similar process, and we got the take we needed after the 6th or 7th time. Consider for a moment that this song is 5:30 minutes long, and we are all pouring our hearts into every take. It becomes exhausting after awhile. Part of the key to working in the studio is to somehow keep everyone inspired. These are professional musicians, so they are inspired by the quality of their work, but sometimes they need a word of encouragement or some direction. Thankfully I had Adam Theis to help with that somewhat so I could focus on the performance.
So tracking with the band was on Monday. On Tuesday we tackled guitar and vocal overdubs. Guitar was easy. Oz and I spent more time getting the sound then I spent playing the parts. The vocals, on the other hand, is a whole other ball of wax. Trying to be consistent with my voice is a weak point. Pitch, timbre, energy, and flair all fluctuate from take to take. I ended up capturing vocals I really like, except for a line or two here and there. But overall the vocals sound great and really contribute to the vibe of the songs.
Wednesday was for mixing, and let me tell you that Oz Fritz is a master in this regard. He took these raw performances and sculpted them into something that transcends what I imagine possible. By the end of the mix session I was feeling a little overwhelmed and inspired by the tunes, and I've lived and breathed these songs for over a year now. That is something special. I can't wait to share them with you all
Speaking of sharing them with you, expect an EP released in May. I still need to finish up production and mixing on two other songs, then mastering, and finally manufacturing. After that I will be knocking down your door, forcing you to listen, and making sure you are spreading the word.
Till next time,
Wesley Morgan