12 Sleepnovox Harriet Old into Young Falling Up Soon Cigarette

2004 Journal

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01/01/04 - Worked on selling the Lucky Man ending for Two Pale Blackberries. I think they are softening.

01/08/04 - Did a lot of editing on TPB. Shortened two sections from the end. Talked at length about mixing strategies, track listing, name and title on cover, why Patty thinks that Penny Lane is too campy, how to proceed with the next album and enlarging the studio space.

01/16/04 - Worked on the track listing. Newest order is:

Terry The Pirate
Peteena Says
Little Joe and Rosalie
Hey Paul
Two Pale Blackberries

Talked about marketing, sales, the cover and again - how to start writing songs together again. Remember, we have been recording exclusively for years now and have only been developing new songs in outside projects.

Pat spent 8 hours converting Two Pale Blackberries to wav files for John to mix.

We're getting together this Saturday to re-record some of the vocals in Always. Steve still has some bass parts to re-record on Two Pale Blackberries but may do that where we are mixing.

01/17/04 - Patty resang the choruses in Always. Added some crunchy and jangly guitars. Patty then resang the verses. I added a fretless bass part to the bridge.

01/19/04 - Put up some fresh pictures of yesterday's recording session.

01/22/04 - Rerecorded some bass parts in Always and talked about mixing, mastering and financial strategies.

01/27/04 - Put up some new walls on one side of the studio.

01/29/04 - Whacked the bass parts recorded last week and re-recorded the original lines all though the song. Searched for another instrument to use the melody from the part last week. Gave John a proper version of Two Pale Blackberries to start mixing.

02/12/04 - Loaded the newest version of Sonar and arranged the studio since it had been dismantled to put up new walls.

02/19/04 - Reassembled the studio. Taught the boys about William Hung. Patty taught us about the Gray Album. Had enough time after running cables to play Flap live. Next week we start on new songs.

02/23/04 - Worked on a song that I came up with on an acoustic last year while waiting for the boys to finish fiddling with the console. Patty took the horns and came up with some words and melody and tada. Also worked on Wrong Star and a new song of Steven's.

03/04/04 - Added How Do You Sleep? to the possible list for the next project. We have a ditty of Steve's and a ditty of mine that Patty came up with melody's for. We also have a couple of songs that we half started during the recording process - MarBeck and Coming Back.

03/11/04 - Added End of Summer and a new song of Patrick's to the list.

03/18/04 - Worked on the new list of 6 songs.

Wrong Star
How Do You Sleep?
Very Well
End Of Summer
Gary The Fisherman

03/25/04 - Worked on the arrangements for Willaby, Very Well, Mark-Beck and Gary The Fisherman.

04/01/04 - Pat talked to some different studios about mixing. The tricky, thing besides picking someone who's good, is picking someone who can accomodate the format that the tracks are in. That's the tricky part. Worked on new songs. Pat married some of his and my words for Mar-beck.

04/08/04 - Decided to mix the CD ourselves. Pat's gonna take care of some legal stuff next week and I'm going to start bugging friends to find someone to help us finish up the artwork.

04/22/04 - Worked on arrangements for new songs.

04/29/04 - Listened to a mix of Always Something. Worked on new stuff.

05/06/04 - Pat played us mixes of Babble, Delirious, Flap and Always Something. Suggested vocal fades on the outro of Flap. Ran through the set. Decided to start recording in June.

Pat's Notes:

- Fade out the last 6 “I found you’s” with a slowly increasing reverb…like a boat drifting off to see
- Beef up the toms; perhaps with samples

- “carry on” vocal is too prominent in the mix
- Kill the drums in the bridge or make snare stand out

- Don’s vocal during bridge needs to come up
- Make the bridge build more; right now it is 8 measures of the same thing; or, alternatively, find a way to make the 8 measures sound more interesting

05/10/04 - Sparky Design is going to marry up our artwork ideas. Printing, duplication, shrink-wrapping etc. will be done by Media Services.

05/11/04 - Sent Sarah the template from Media Service.

05/13/04 - Pat played us mixes of Babble, Delirious, Flap and Noggin.

Notes from artwork discussion:
Some debate over whether to have band pictures or not on the inside cover. Discussed a variety of poses including heads in pond and infinity.
decided against lyrics and individual credits
all songs and performances by Girl for Samson
front - girl, bird, Girl for Samson, 12
back - hag, song listing:

Terry The Pirate
Peteena Says
Little Joe and Rosalie
Hey Paul
Two Pale Blackberries

inside - sky-water blue, pictures, website link, sparky link, legal
cd - bird, Girl for Samson, 12

05/20/04 - Listened to new mixes. Relistened to some old mixes. Little Joe is the only song that hasn't been mixed yet. Brother John may be the first new song recorded when we start again in June. Begged Pat for mp3 updates for the website.

Pat's Notes:

– Steve says Pat’s post chorus guitar interlude is missing; find it and re-insert it

– The new, “I found you” fade out has too much reverb and mid range resonance…but it’s on the right track

Hey Paul
- Reverb on Don’s lead vocal sounds “boxy”
- Toms are lost during “dododos”
- Kick is missing, needs to be brought up

05/27/04 - Listened to semi-final mixes today. Listened in an automobile and on a old home stereo for perspective. Found a couple of little changes and rearranged the track listing. New list:

Peteena Says
Hey Paul
Two Pale Blackberries
Terry The Pirate
Little Joe and Rosalie

Pat's Notes:

- The new, “I found you” reverb is close but still sounds too mid-rangy; each one needs to fade out incrementally

Hey Paul
- Vocals are too hot
- There is too much 5k on the “hey paul” phrase; sounds shrill in Steve’s car

Terry the Pirate
- Acoustic guitar after 1st chorus is too loud, hits you over the head when it enters
- Toms are missing during verses, need some beefing up
- The last vocal line “waiting, waiting, waiting, waiting for you to say” is painful; needs to be resung

- Guitar line after bridge is missing, put it back in bitch
- Froggies at end need to be fixed, they sound “off”
- Drench the new, backwards Don vocal during the bridge with massive amounts of reverb and lower it in the mix, make it watery (perhaps a cheap reverb)

Peteena Says
- “Up stroke” guitar bits during verses sound off, fix them, also, some strokes are too loud, others too soft

Little Joe
- Add a palm mute guitar to first or second verse (Steve recommended Pat to listen to a Tool song as a reference)

Two Pale Blackberries
- Bass on Ending needs more volume
- Make the sustaining, high pitched drone louder and try starting the song with it
- Keyboard part during chorus should be louder

- Don’s “ba ba” vocal needs to come up
- Ending drums are too bass heavy
- Ending seems too long now, shorten it so that it proceeds to the final section sooner
End with just the Juno bass note droning

06/10/04 - My notes to Patty about the final mix:

1) I would like to hear your lalalalas better in Peteena.
2) The electronic rhythmic HISS HISS during the end of Delirious bothers me. Steve agrees with me for once. Not sure who championed it initially but I don't think it works any longer.
3) Parade needs more bass.
4) The transition in 12 from the song to the dream section needs some sexing up. I'm referring to the echoing voice. The dream part still needs some love too. Sorry that I can't be more specific about that. Will listen to it some more today.

06/11/04 - Steven's notes to Patty about the final mix:

Hey Patrick. I would like to get two tracks to you before hearing mixes on Tues. One is the little guitar bit in delirious and the other is a crunch guitar for lil Joe. I think my crunch guitar adds some crunch under Don's crunch and certainly helps with the authority of the guitar track.

06/14/04 - Took the images to a graphic artist for the CD cover. Here are my notes to her for your amusement:

front cover:
use some part of the gull for text color
in upper right hand corner - Girl for Samson in a circle with 12 in the center - open to suggestions

inside cover:
background either #274D8E or a section of the sky (with or without bird) from 12_front_light.jpg
use some part of the gull for text color

text for inside cover:
all songs by Girl for Samson
recorded and mixed by Girl for Samson at Aquasound
additional recording at Guttersnipe Studio
mastered at (forthcoming)
salute to Bara, Bone, Cooder, Evans, Mani, Stemmerman, World For Ransom
vintage images from
artwork compiled by
band info at
(c) & (p) 2004 Girl for Samson

back cover:
centered track listing with #D4D7E0 as possible color?

text for back cover:
1. Peteena Says
2. Flap
3. Hey Paul
4. Always
5. Two Pale Blackberries
6. Terry The Pirate
7. Noggin
8. Parade
9. Babble
10. Delirious
11. Little Joe and Rosalie
12. 12
(c) & (p) 2004 Girl for Samson

background #274D8E or if this seems redundant perhaps a piece from 12_back_light.jpg
maybe a gull from 12_front_light.jpg?
same circular Girl for Samson as front cover
(c) & (p) 2004 Girl for Samson

Girl for Samson 12
perhaps different fonts to separate band name from cd title?

06/15/04 - Listened to mixes. Pat implemented many of the changes dicussed over the past few days. Also added a tougher guitar during parts of Little Joe and Rosalie and resang part of Terry The Pirate.

Pat's Notes:

- Remove the cabbassa at the end, it has been deemed unnecessary

Little Joe
- Make the chorus “guitar build up” at the end of each phrase more prominent; try lowering overall guitar volume so there is still room to build (dynamics)
- Chorus vocal is too loud

- The “In the motorcade” transition to the psychedelic ending is very jarring, needs to be more subtle or moved
- The drenching reverb on the ending does not sound right, experiment with something else

Two Pale Blackberries
- The new “phasing,” “mushrooming” synth sound needs to come up
- Turn up bass on the first hit of “don’t let it get you down”

- The whole song is still lacking bass

06/24/04 - Decided to go with Tom Garneau at Audioactive for mastering. Tom's credits including work (producing, recording and/or mixing) on recordings by Prince, Sting, Matt Wilson, The Breeders, Moody Blues, Big Head Todd, George Clinton, Donny Osmond, Chicago, The Bodeans, The Time and more.

Listened to mixes. Decided to re-embed laughter in Peteena and leave a note sustaining at the end of the 2nd verse. Also discussed having the echoing "in a motorcade" line re-appear in the 2nd part of 12. Adding more Thank Yous to the cover - aimee, ray hildebrand and little larry.

Should have new song samples in the next day or two.

Pat's Notes:

Peteena Says
- The gap between the chorus and last verse is missing a vital guitar bend making the transition very rough; put the bend back in
- Put the demonic “laugh” back in the 3rd verse after the vocal line “the sun demands your body back in heaven”

Two Pale Blackberries
- Try adding Don’s original vocal to the Mrs. Miller choir

Terry the Pirate
- Vocals still sound nasally and off; might need to be resung

- Right “ping pong” guitar needs to come up
- Don’s main vocal is a bit too loud

- The song “fade out” sounds strange, fix it

Little Joe
- Remove second “frozen moon” from first verse

- Sprinkle Don’s “in the motorcade” vocal throughout the ending so it ties into the rest of the song

07/03/04 - Patty uploaded new and much improved samples of all of the songs for 12. While these are still unmastered they are pretty close to how the CD is going to sound.

He also sent me some demos for Little Joe and Flap which I'll link in a few days.

07/06/04 - Modified the Sounds page to accomodate our new found enthusiasim for vintage Girl for Samson. Added an early demo of Parade, the bridge for Noggin and the end of Two Pale Blackberries. Steven found a live version of the jungley ending to 12 and some other goodies that he will be sending over the next few days.

07/07/04 - Added the early ending for 12 to the Sounds page.

07/07/04 - Added Steve's original vision for Noggin to the sounds page.

07/08/04 - Listened to mixes. Patty added laughter again to Peteena. Added my voice back to the Mrs. Miller chorus during the outro of Two Pale Blackberries. Worked some more on the outro of 12. Gave a copy of the CD to John Evans to listen to. I believe this is the first copy to slip out of a band member's hand.

Pat's Notes:

Little Joe
- Fade out the ending military drums early or fix the drumming hic-up

- Song should end like a train wreck to juxtapose the rest of the smooth endings on the album

- Add harmony (like the one on the demo) to the end

07/15/04 - You know what we did? We listened to mixes. Afterwards we played a little bit - Brother John, Terry The Pirate, Flap, Wrong Star, The New John Doe and Dingus.

Pat's Notes:

Little Joe
- The ending military drums still noticeably slow down, fix it if possible

- New vocals are too prominent
- Music bedding has lost it’s sparkle, find out what happened

Notes from John Evans (from an E-MAIL to Steve)

As for the drums, my suggestion is to drop the overall volume of the toms and inside kickdrum mic and bring up the room mics. i'd even experiment with eliminating all close mics except kick and rolling off the highs out of the kick. JUST for the sake of trial and error.

again i keep coming back to checking the main out buss. the mixes have this kind of distortion over them that sounds like either (1) sending too much signal from each individual track to the main output buss or (2) there is a compressor or limiter strapped across the main output buss.

to fix (1): this is a common problem in the summing buss of DAW mixers. the math starts to get fuzzy when you sum all those tracks together and the computer is bound to have math errors. Those errors come in the form of mathematical clipping. You can try to help this by lowering each individual fader by 3-6 db. If you lower each one the same amount you will keep the same mix by lower the overall volume. Also, if you can eliminate as many tracks that you don't need as possible. Less math

to fix (2): take the compression or limiting off the 2-mix buss. if the mains clip, drop the volume back.

If it's neither of these then it's something in the way the vocal track is recorded/mixed. It just sounds like there are a lot of digital compression/eq artifacts in the mix and particularly on the vocal. When we listened at your house I thought maybe it was that i wasn't used to the monitors but it's more pronounced here. In the end, i don't know what summing buss your using to mix. it could just be the sound of that DAW's math which i'm not used to. (what poetry! the sound of math)

This DAW summing buss is a big hot button now among engineers. there are a lot of solutions to solve them. When we did the St. Jude record, we A/Bed between the DAW summing buss and the exact mix done on the Mackie and everyone (even non-musicians/engineers) chose the mixes on the Mackie. I guess bits won't replace iron any time soon.

07/16/04 - Added Pat's mixing "to do" notes from the last few months.

07/19/04 - Got first draft of cover artwork back. Sent pdf to the boys for consideration.

07/22/04 - Sending the mixed CD off for mastering tomorrow. Submitted all 12 songs to BMI. Pat's note to Audioactive:

We really tried to make a classic feeling record. It is our hope that it will be difficult, 
just by listening, to tell when the thing was made (that any of the last 5 decades would be 
possible). However, please understand that when we say classic we do not mean classic rock 
like Styx and Stones (although there is a 10 year period of Stones music that we mutually 
respect/love). Now that being said, we don’t have unrealistic expectations. The album was 
recorded almost entirely in the digital realm so it obviously suffers from more than a few 
sonic limitations. We don’t expect a miracle, we just ask that you remove some of the 
sterility, balance the levels between tracks, clean up the low end and bring up the volume 
level. This would make us very happy.

Song Fade-ins and Fade-outs:
We attempted to fade out the songs ourselves but the software application we’re using 
imparted an unnatural zippering sound to the fades. So, instead we left the songs unfaded 
and included a red book CD to demonstrate the fades we had in mind.

-	Fade in: The song begins with the sounds of a symphony warming up. The samples we 
used conveniently faded up on their own so only a miniscule fade in is required.
-	Fade out: We intend for the song to fade out with the music still playing. On the 
included CD, we have the song ending start to fade on the 2nd “she won’t say” until the 
4th is barely audible.
-	Fade in: No fade in required, song starts right off with bass and guitar.
-	Fade out: The song ends on an acoustic guitar pluck, all that is required is a gentle 
fade out.
Hey Paul: 
-	Fade in: No fade in required, song starts right off with kick/bass/electric guitar.
-	Fade out: All that is required is a gentle fade out of the sustaining guitar chord.
-	Fade in: No fade in required, song starts right off with acoustic guitar.
-	Fade out: We would like for the song to slowly fade out with the acoustic guitar 
still playing. Please reference the included CD for the timing of the fade.
Two Pale Blackberries: 
-	Fade in: No fade in required, song starts out right off with a sustaining synth note.
-	Fade out: All that is required is a gentle fade out of the guitar chord and theramin 
Terry The Pirate: 
-	Fade in: No fade in required, song starts right off with acoustic guitar.
-	Fade out: All that is required is a gentle fade out of sustaining guitar and ambient 
background noise.
-	Fade in: No fade in required, song begins with a 4 beat drum- stick intro.
-	Fade out: We envision this song ending abruptly so no fade out is required. 
-	Fade in: The song begins with a melodic, backward drum phrase that we envisioned slowly 
fading up. Please reference the included CD for the timing of the fade.
-	Fade out: All that is required is a gentle fade out after the last drum beat/chord.
-	Fade in: No fade in required, song starts right off with bass guitar.
-	Fade out: All that is required is a gentle fade out of the babbling brook.
-	Fade in: No fade in required, song begins immediately with drums, guitar and bass.
-	Fade out: All that is required is a gentle fade out after the last beat/chord.
Little Joe and Rosalie: 
-	Fade in: Once again, we used a sample that faded up on it’s own so there is very little 
fade in required.
-	Fade out: The song ends with an upbeat bass line playing over a military drum cadence. 
We envisioned the song slowly fading out before the section ends. Please reference the 
included CD for the timing of the fade.
-	Fade in: No fade in required, song starts off with guitar harmonics/cymbals.
-	Fade out: We envision the song slowly trailing off at the end, just until you can hear 
the reverb ring after the bass note stops.

Pauses between tracks:
We experimented with 2 second, 1 second, 0 second pauses between tracks using 
CD Architect and found we liked how the songs sounded stacked closely together. 
So if you could have each song run into the next one with as little a break as 
possible that would be tremendous.

Thank you for taking on this project Tom, we look forward to hearing your work. 
Please free to call or e-mail Patrick, no matter what time of the day, if you have 
any questions.

Patrick Meagher

07/23/04 - Sent CD art revisions to Sarah and the promise of a shiny new gold piece if she can get it put together before the begining of August.

07/26/04 - Tom e-mailed Pat to let him know that he has the CD in his hands.

07/27/04 - Registration with BMI complete.

07/29/04 - Played live. Ran through Brother John, Wrong Star and Willaby. Came up with 2 more changes for Sarah. We want to change the color of the CD to yellow and add our first names.

07/30/04 - Got 2nd draft of CD artwork from Sarah. Sent her more changes.

08/04/04 - Ran through 3 songs and then set up mics for recording the drums live tomorrow. Going with an overhead and a mic on the kick and snare. The last CD was recorded with a click track/drum machine.

Pat just got the mastered disc and is giddy. We'll listen together tomorrow morning. Should be getting final draft of artwork from Sarah soon.

08/05/04 - John Evans e-mailed some thoughts about the pre-mastered CD:

Subject: Re: 12

Hey Steve.

Sorry it's taken so long to get back to you on this.

For my money, the "Hey Paul" song (#3) is the one where the drums sound the most separate. I think it's because of the bass drum more than anything. It just needs more natural room ambience. The toms have this huge, spread out thing and on a song that's more "jazz" I'd like to hear the kit more centered up. Panning the toms more on center would help.

That "Carry On" thing still drives me crazy. But the drums sound better on that song. That BIGASS reverb works for that one.

keep me posted on how its progressing.


Subject: add #6 to that list

Hey, I forgot, he could also stand to look at #6 for bringing the drums together. On that one I would just bring down some of the low-end on the bass drum. It's has nice ambience but it's really belied by the low freq.


Listened to the master CD today. It seemed that the sound was less muddy than our mix and certainly less cluttered. I feel like we lost a little bit on some of the drums but overall it was a very positive experience. Tom changed the track order towards the end and we like it so now I have to face Sarah with yet another change to the CD cover. New track listing:

1. Pateena Says
2. Flap
3. Hey Paul
4. Always
5. Two Pale Blackberries
6. Terry the Pirate
7. Noggin
8. Babble
9. Parade
10. Delirious
11. Little Joe and Rosalie
12. 12

Recorded a live version of a little ditty that I had messing with lately.

08/06/04 - Met with Sarah and made the final revisions to the artwork. Just need to figure out how to get it to the printer now.

CD Cover
CD Inner Cover
CD Back

Pat did some work on the ditty that we recorded yesterday. It's now called Spider's Last Stand.

08/09/04 - Today I learned the difference between 2 panel CD covers and 4 panel. We are going with 2 panel which is a piece of cardboard for the front and a piece for the back. We still need to decide if we are going with a color behind the CD or a piece of plastic.

Talked to Pat about some color for the chorus on Spider's Last Stand.

08/10/04 - Recorded live performances of Brother John and Spider's Last Stand.

08/12/04 - Recorded live performances of Brother John and Spider's Last Stand. Worked On Willaby.

08/13/04 - Picked up the artwork CD from Sarah. Pat got the master CD from Tom so we're going to put it in the mail to be printed tomorrow.

production master cd index

08/14/04 - PMCD, artwork CD, artwork samples and money off to printers.

Cleaned up the website. Patrick didn't like the picture of Samson's girl so she was kicked off the team. Tidied up a lot of things that should have been tidied up years ago.

08/16/04 - Media Services has the PMCD and artwork so we should have online samples tomorrow. Researching registering the barcode with SoundScan.

08/17/04 - Spent the first hour repairing Pat's headphones and dealing with an issue with the GP100. After the dust settled we recorded new versions of the holy trio. Cleaned up a few rough spots.

Artwork is online for proofing.

08/18/04 - Moved the barcode from the top right of the back of the CD to the bottom and we are now ready to print. Should have a box of 1000 CDs in our hands before the end of August.

08/19/04 - Worked on some changes for Brother John. Made the C part a solo rather than a vocal melody. The GP100 died again and then Pat's headphones fell apart so we stopped for the day.

08/20/04 - Add live mp3s of the 3 songs we're working on to the Sounds page. Spider doesn't have words yet so Patrick is just sayin' stuff.

08/24/04 - Added How Do You Sleep to the rotation. Brought the Isle of Wight concert DVD to circulate amongst the fellows. Recent DVDs that have made the rounds include The Who's The Kids Are Alright and the making of Elton John's Goodbye Yellow Brick Road.

08/31/04 - Ran through the four songs. Experiemented with the bass plaing the alt vocal line in the chorus of Spider and with singing the alt words to the chorus melody during the last verse of Willaby.

09/02/04 - CDs arrived today. That marks the official end of this monster.

Steven and I worked on bass/drum parts for the new songs.

09/07/04 - Steven and I wroked on drum/bass arrangements.

09/09/09 - Full band workout. Added Mar-Beck to the set list.

09/16/04 - Added Mr. Dingus to the list. Still haven't sent any CDs to CDBaby or Amazon.

09/23/04 - CD Baby now has CDs and we should be online in about a week.

09/24/04 - Mailed a large pile of CDs to college radio stations across the US.

09/29/04 - Sent out a 2nd wave of CDs to newspapers and college radio stations.

09/30/04 - CDs are now up at

Ran through the song list which now includes Dingus, Wrong Star, Brother John, Spider's Last Stand, How Do You Sleep?, Willaby and Mar-beck.

10/09/04 - Flap gets a play on The Electric Love Blanket. Thank you DJ Lynn.

10/14/04 - Added a new song of Pat's and my Hey Ma to the list. Reviewed strategies for the next album.

10/21/04 - Sent out a 3rd wave of CDs to newspapers and college radio stations.

Plan to record the next album in 2 waves. First wave will include:

Brother John
Hey Ma
How Do You Sleep?
Spider's Last Stand
Wrong Star

10/28/04 - Ran throught the set. Should have some new sound samples for the site. Going to record Hey Ma on the 13th of November at UMKC.

11/04/04 - Worked on Hey Ma for the 13th.

11/11/04 - Added an instrumental section between verses. Played around with some backing vocals and percussion ideas for recording this Saturday.

11/14/04 - Had use of the local university studio for the day so we recorded Hey Ma and the drums for Brother John. Pictures from the session are on the pictures page.


We were looking for a 1971 feel on the first half of Hey Ma and a Sergio Mendes Brasil 66 feel for the outro.

Recorded both songs live as opposed to using a click track.

I borrowed a vintage Slingerland kit for drums. We foolishly forgot the pedal, stool and crash cymbal stand so that created a frustrating delay.

I used Patrick's Alvarez (oft used on "12") for the acoustic part. It was recently polished and nearly destroyed my bar-chording finger as I am used to playing skinny-necked electric guitars.. This same finger was further abused by being bashed against the tambourine for 5 minutes.

Patrick played a great 1971 AM radio guitar solo using the Rickenbacker 360 through a Crate during the first interlude.

I noodled with Steve's Japanese 335 copy during the outro. It's a wonderful green sunburst and I am determined to own it.

Steven used his Eko Hofner copy for both sections. I would use this bass in every song if I had my say.

Aimee Sheffler drifted in to help out at the console and was promptly employed for game show vocals and a bouncy piano and organ on the Juno 106 during the outro - the first appearance of a grand piano and a grand dame on a Girl for Samson recording.

11/18/04 - Determined that we can use last week's recordings of Hey Ma and Brother John on the next record. The potential issue is transposing the stuff from Pro Tools.

12/03/04 - Pat's been involved with a lengthy project but Steven and I are still getting together twice a week to run through the list and adding some new things. One of the new bits is based on a possibly unspectacular line I came up with while playing one of Steven's newly set up 12 strings. The other is a 3rd of a song that I have been carrying in my belly for too long.

An interesting note: We discovered that my drums eat Steven's Steinberger bass in certain areas on the neck but his Fender Jazz yields nothing. She thumps right over the kit where the Steinberger timidly hides amongst the cymbals and snare.

Another decidedly less interesting note: Steven has an old Magnatone amp that we use for working out songs on guitar and it shocks him mightily whenever he touches the casing with his bass strapped on and plugged into his bass rig. As promised, this is not all that interesting except that the Magnatone sits right in front of my drums so I get to witness virtually every occurrence of Steve's short dance when he becomes part of this mysterious circuit, which is about once a session.

12/09/04 - Full band rehearsal. Worked on two new ditties and a new song of Pat's. Listened to a mix of Hey Ma for Patrick's project. Steven commanded me to kill a cricket and I refused.

12/16/04 - Worked on arranging the new songs. Planning on recording drums after Christmas. Saw an ad from last year for a Randy Bachman album that claimed that he wrote 2 of the greatest songs in rock history. It didn't indicate what they were. We're guessing that they are American Woman and Taking Care of Business.

12/21/04 - "12" makes CIUT's top 30 albums.

12/23/04 - Two hours of Patrick rewiring gear so that we could record live again and 2 hours of running through the songs. My hands were so dry (it's in the single digits here) that I had to put olive oil on them to keep the sticks from slipping out.

12/30/04 - Dandy rehearsal. We decided to record drums at UMKC on the 7th, 8th and 9th. The current list consists of:

Hey Ma (done) Brother John (done) Dingus
How Do You Sleep?
Spider's Last Stand
Shaking Off The Sand
Wrong Star
The Great John Doe

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