So yeah, we were in the studio Monday & Tuesday. So super great. Our engineer, Jason Powers, at Type Foundry was great, as usual. For those of you who have not been involved with recording in a studio situation, the engineer isn’t just a mic setter upper and a button pusher and slider. He or she has to deal with all of the insecurities and issues brought on by the mental and physical stress of being in the studio for 12 straight hours. Engineer/Occupational Psychiatrist? Anyway, Jason was great.

Timothy Young! We met Tim when we were lucky enough to play with Sweeter Than The Day (Wayne Horvitz’s band) in Portland. He liked us and set up a show for us in Los Angeles on one of our tours. I drunkenly asked him if he would be interested in recording with us and by some miracle (and a lot of work by Reed), it happened. He came in on the second day and was super professional and totally awesome. And he likes us! I don’t have the proper vocabulary to express how great of a guitar player he is. You’ll hear it on the record.

The great Timothy Young
I/We learned a few things: 1. Don’t spend 12 straight hours in the studio (you want to get your money’s worth but after you cross that tired line, you’re pretty much useless) 2. Be prepared (don’t show up with 3 songs you have only played once, the night before and 2 songs you have NEVER played) 3. Wait as long as possible to take that first shot of tequila.
We ended up recording keepers of 7 songs (in reverse alphabetical order):
Yellow Ochre – A beautiful ballad by Reed. We experimented with the form a little and by the time we settled on an arrangement, Tim was playing it like he wrote it 10 years ago. One of my favorite performances by Ji on drums.
Ritchie Bros. – A super mathy thing by Reed that goes into a cool three part melody and then into a bitchin bass solo by Keith. A future crowd pleaser for sure. String overdubs to come.
Maddie Mae (was a good girl) – A song I wrote for Chamber of Commerce which is a band comprised of Blue Cranes and Portland jazzers Paxselin Quartet. Chad Hensel from PQ came in to play the Bass Clarinet part and did a great job. Tim played an amazing solo and overdubbed some tasty background nuggets.
Love, Love, Love – An amazing song by one of our heroes, Wayne Horvitz. Already a crowd favorite. Tim told us Wayne’s Father, Wayne Sr., died last week so we were sending our love, love, love his way. Tim played on the original recording and Reed said he had a surreal moment watching the guy who played one of the best guitar solos he has ever heard (on the original) play the same song with us.
Happy Days – A song I wrote in response to all the slow and melancholy songs I had been writing. A poppy little number with a Reed/Ji freakout in the middle. Came out pretty cool. Percussion and toy piano overdubs to come.
Freee Birdd – A little jazz ditty I wrote at the bar one night. I wanted it to be a Charlie Parker (Bird) style melody in an Ornette Coleman style free jazz setting, hence Free Bird. I wanted it to be more free than Bird, but I think it came out more Bird than free. This is one of the songs we have never played for anyone. Turns out it is really hard to play. It was driving us all crazy the first night so we waited to do it first on the second day. Nailed it.
Broken Windmills – A song of mine that we have been playing for a while now. We have already made a recording of this that made the PDX Pop Now 2009 compilation but I wanted to do it with Tim. String overdubs to come

More photos to come.