ALBUM (&C.) UPDATE...

Listening—repeatedly, which is a good sign—to the two “final” (thus far) tracks from the Deathgrass album, “Armadillo on the Interstate” and “She Ain’t Starvin’ Herself.” It strikes one partway through the latter that “OMG, this was recorded LIVE?” Yes, and in one take, too. Good musicians, good sound engineer—what can I say?

I know a number of other writers who will have an album out this year. I’ve suggested that the Southern Oregon Songwriters Assn. do a seminar at which the album-putter-outers could describe what they did, and how, and why. I could use the pointers myself. I don’t know what’s “right”—I only know what I did. And some of what I’ve done I did because it made sense, or because it saved money, or both.

First off, it’s not me, it’s me and the band, so no studio musicians. Our band are not only good, they’re tight—and we’ve practiced and played together a lot. Local studio and engineer, too. What’s important for us is them being local (the band does not travel well—everyone’s too busy), and the engineer having a good ear for arrangements and knowing what he’s doing. Got all three. Mike Simpson (Calden West Studios in Rockaway) is great.

The recording was done “Patsy Cline style”—live and in (mostly) one take. It’s simply necessary for the band to be practiced—and we are. The “live feel” comes across on the recording, too, even if what you’re doing is perfect (which it mostly was). And I want the live feel because we do perform, and I want folks to know this is what we sound like. That’s why some of the songs will have Raps—that’s how we do them live.

And there are some things I think I do better than anybody else can, and I will do those things myself. So I’ve done, or am doing, the CD label, cover, and liner notes (ex-graphic designer, after all), and I’ll print my own if I can’t find somebody who’ll do it as good and as cheap as I can.

What I don’t have—what few independent musicians have, I think—is the mass-marketing machine that the big record companies have. Deathgrass does have a local reputation as a good and entertaining band, though, and that should help sell CDs—and the CDs themselves should generate more business for the band. The two feed on each other. I know some media folks—not many—and maybe even a handful of DJs who’d play some of the material on the air. That may be a bit more than a lot of independent musicians have.

I have postponed the CD release party—following the experts’ advice that one should wait until one has the CDs in hand before trying to set a date. Sometime in April, perhaps. I can use the intervening time to set up the Website and suchlike marketing things.

Elsewhere, the music video of “50 Ways to Cure the Depression” is done; it didn’t come out exactly the way I’d planned, but it is okay—and the music turned out excellent. Used Bob Lichner on the baritone saw, me on the Electric Banjo; and tasteful lead guitar work by Charlie. I got a better mix on the Tascam than on the computer (which I think means only that I’m less familiar with the Audacity program than I am with the Tascam). Just a fun (and educational) exercise. Link is http://www.youtube.com/watch?v=n5X-zIcwp2Y.

And I’ve seen footage from one of the two cameras that filmed the puppet show. There are a few problems. The sound is not good (so hanging a microphone overhead to reduce crowding behind stage was not a good idea, I guess), and there’s one point at which a couple of latecomers walk directly in front of the camera while the puppet show is going on. Maybe the other camera footage is better. I can fix the song audio by substituting the tracks off the computer, but I’m not sure about the rest. Another opportunity, I guess, to learn new stuff.

Joe