Things post-laptop problems are starting to get back to normal a little bit. I still don't have my laptop back, but the initial shock of what I did to it (another time) has worn off. Again, I credit Irene for keeping me sane. However, my IPOD took a dive on Friday, which now makes me feel quite jinxed. This led to some time back at Apple in Soho, but the situation was saved by "the IPod genius". Also, thanks to Brandt, I was able to get 1500 or so songs, including some very rare ones BACK into my Ipod within a few hours. A minor crisis saved. Frustrated, Irene and I spoiled ourselves with an evening at Jules, a wonderful French place on St. Marks.
Post dinner, we spent some brief face to face time with Peter Saintface, who was in good spirits and certainly enjoyable to chat with. He now has his songs for this album and I expect we're going to get some greatness out of him!
The next morning, I was feeling refreshed, so I ran to the studio early to work on more bass and surprisingly, Ash was only an hour and a half late. He had issues with the basslines in MORNING AFTER THE LIFE BEFORE. His belief was that while what I played in the song worked for it, it was more of my typical "hook style" bass playing than it was rythmic. Repeated listenings to the song confirmed this to me. Instead of me doing it myself, I suggested Ash record it as he was the one who pointed it out and obviously had been thinking about it. Also, my other motive, no pun intended, was to get him more invested in the song from the bass side, as he will be the live bassist.
Needless to say, it was interesting to watch him work. I've only jammed with him on songs as opposed to putting him in front of me, as a producer, and having him work out a part. Instead of full sections, he worked the chorus out a few measures at a time; eventually writing one longer piece. It's very mathmatical, very detailed, very technical and very successful. It was totally fascinating. I've worked with the guy for years and he still comes up with new ways to puzzle me. After I left, I believe the two of the laid down the rest of that song.
Then, Ash, Brandt and I reworked the bridge to CREATION PHASE, a section that had been troubling everyone in the group, except me of course. Brandt had a vision for this and even tracked Robin playing some random drums based on what he had heard in his head. When I heard the drums earlier in the week, I dismissed it as being too MARCH OF THE PIGS, but when he edited them into the song and presented a guitar part, it was very obvious that this was more akin to The Who. And this is NOT a bad thing. Ash played bass and I played a quick Hook-style lead over this bridge and we hammered it out in what seemed like 3 minutes. It's awesome. I dream of it. I'm happy. In my old age, I've gotten good at letting my collaborators push the songs a bit to make things better. I've become less stubborn and am going to have a much better album because of it.
Later, while shopping on 5th Avenue with Irene and Dan Hamill, we ran into Robin and her man Damon. It was a birthday, so Happy Birthday to the best bandmate I've ever had! We discussed the real band name for ass cobra, which led to Mr. Hamill making a wisecrack that we will get tons of mileage out of. See you at Golden Unicorn, bitch!
The evening was capped off with a screening of THE GIRL NEXT DOOR, which should be huge, but won't be, but was nonetheless enjoyable. The kids in the movie, in particular one of the sidekicks (who Irene has dubbed the new John Cusak), really carried it. And the presence of AJAX from the Warriors, James Remar, never hurts.
I spent Easter immersed in all things Clone Wars. And speaking of Jedi, I ran into the star of my NYU senior thesis film, SUBURBAN JEDI, this morning. HIs name is Kosak, I love him and it was good to see him. He is strong with the force, still, especially if he moves to France. So jealous.
Note to self: Plan vacation!
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