1. Face by DB2
(Bill McDowell): I wrote this song about my girlfriend's (now
fiancee) face. The "refrain" that runs through the song actually had words in my head when I wrote it
("No matter what its doing I love your face") but the band thought this one
was more powerful as an instrumental. The song also features Ben Byrne on Bass and
Dean Kolesar on Drums
We recording this at the cheapest studio I have ever seen, run by a group of
Rastafarians. Apparently their Rastafarian engineer would rewire the console every time they recorded, which cost our engineer mucho time in
setting it back to standard every time. Also the studio was often filled with 3 inch thick ganja smoke, so we would choke and wheeze while recording.
Also - these guys loved to allow children and animals into the studio - you
get the picture.
I actually blew a speaker in my 4x12 slant mesa boogie (loaded with
Celestion 90 watters) the night before at practice. I therefore had to use
my 4x12 straight, which was loaded with 10 year old Celestions - that's why
the sound is more "buzzy" than I would have normally used. We recorded this
song as a 3 piece, live in the studio - twice - and then picked the best one.
I was using my Mesa Mark IV head, and private stock #58. It was the first time I had been in a recording studio in 15 years, so I was
enjoying it, wishing that I could do this every day AND make money at it.
2. Rock of Ages by Cryin
Licks: (Forum member David Zeitlin) - guitar is 94 PRS CU24.
3. Are You Ready by
Mark Ray: Mark Ray-Guitar, Harmony Vocal ('95 CU22, Marshall Artist 30 watt head w/Marshall 1922 2x12 cabinet) The only "effect" I used was a BOSS 7-band eq.
Drew Carpenter-Bass (5-String Peavey, straight into the board) He's just 15 years old!
Joey Carpenter-Drums, Lead Vocal (A mixture of acoustic and triggered drums) He's also Drew's Uncle.
We recorded all the music in one pass, using the second take. It was recorded at Kenny James Studio in Clinton, TN. The only overdubs were the vocal tracks. The board was a 32x8 Mackie. SM57's were used for guitar and drums. The vocal mike was an Audio Technia. I used the Dragon 1 treble pickup for the entire song, except the lead was on the Dragon 1 bass pickup. Any reverb was added at the board.
4. Train Song II by
Fishbowl: Personnel: Lara Johnson - vocals; Jim Collins - guitar; Will Driscoll - drums; Mark Fenny - harmonica; Treena D - bass. This is an older incarnation of the band Fishbowl Effect. The band still lives, but the only current members that were also on this recording are Lara and Jim. The bassist, on this tune, is a studio musician -- our regular bass player could not make this date. Date recorded: 3/19/98.
Guitar/amp used: The single guitar on this track is a PRS Custom 22 stoptail, with the semi-hollow option. The guitar was loaded with Seymour Duncan pickups: an Alnico II Pro in the neck position, and a Custom Custom in the bridge position. The bridge position was the only position used on this track. The amp was a Mesa Maverick 2x12 combo. Only the clean channel was used on this track.
Lara wrote this tune. Like all her tunes, the lyrics draw from personal experience -- dues she has paid. This particular tune was introduced to the band in the studio. We ran through it maybe one time, then gave it a shot. This effort was the second take. It was recorded live, with a harp overdub. The studio we used had two recording rooms. The small one was used for vocals, and the larger one for everything else. The larger room was a bit on the cluttered side -- a piano, several studio guitars, and a wall of studio amps took up valuable real estate. A corner of the room was taken up by a permanent bass recording rig. That left fairly cramped quarters to set up the drums and the guitar amp. Even though baffles were used, the guitar would still bleed into the drum track. Because of that, I was playing at rather low volume. I never really intended to keep the track -- it was really only going to be a reference track. However, we liked how this throwaway track sounded, so we kept it. It was just what Lara had in mind when she introduced the tune. We overdubbed a harp solo onto it, but nothing else was done to it. Of all of our studio efforts, this was the only real minimalist effort. Everything else featured several guitar overdubs, but this one is just the way it sounded, live. Sometimes, simple is best.
Song by Ariel Pozzo: I wrote this song for Kathryn, Bluesdoc's wife. I had just learned of her
illness, and the melody just came out of my head. I composed it and recorded
the whole thing in less than an hour. All the backing tracks were done on Cakewalk via MIDI, and then I overdubbed the guitars using a Godin
Acousticaster for the acoustic solo thing, and my '87 PRS Standard into a Marshall 8040 combo for the electric parts. one take, no fixing of any kind.
6. All Our Lives by
Michael Kates: Helene Kates, vocals. Michael Kates, all instruments.
Background choral vocals by The Greenfield Hebrettes (Rachel Franklyn, Stephanie
Franklyn, Sarah Kates, Lindsay Quinones).
There are seven guitar tracks using four guitars. They are (in order of appearance): Santa Cruz OM/PW, PRS CE24 MT, G&L ASAT Semihollow, G&L
Legacy. Amp modeling by Pod Pro.
Recorded at Peradam Productions, December 2000.
7. Apart of Me by
Dread Motif: This song features two Forum members, Carl Clarino and Ken Hudak, both on PRS guitars.
Carls gear- 94 PRS Cu22 B-Stock, Boss NS-2, Line6 HD, Marshall 1960B 4x12
Kens gear- 99 PRS CE22, Peavey Ultra, Marshall 1960B 4x12
Recorded and mixed at Clearcut Studios, Saddle Brook, NJ.
8. October Falls by
George Kirchwey: Written and performed by George Kirchwey,
including drum and bass programming. Recorded with a 1999 PRS Hollowbody
II, amp simulations by Line6 POD. Recorded at Heatstroke Studios in
9. Here Today by
Graham Sloan: The song was developed way back in 91-92 shortly after I got my PRS
Custom 24 - I used this with a Mesa Boogie Mark III and DI via a Palmer
Simulator into a four track. I'm sure I used the VB PU for the melody and HFS for the solo. I think I did the solo in the first or second take.
10. Design Desire by
Passive: I used my PRS Custom 22 to record most of the guitar parts.
11. Rainshine by
Scott Peterson: I had been working on this for a few weeks, trying to capture the thought
and communicate the feeling you have when all is gray and stormy outside, but you just know that it will be all right. Hope in the face of darkness.
Expressed in a alt-rock pop song instrumental, that isn't easy. Right when I was about done, my good friend Jon Sterngold aka
"BluesDoc" posted on the PRS Guitars Internet Forum about his wife Kathryn being
diagnosed with breast cancer. That sent me spinning. Jon has emailed me some
of his work that he has written about his experience as a ER Doc. It is really some heavy stuff, very personal, very
touching, very tough. The way those stories and his presence on the PRS Forum has affected my life is more
than I would have imagined. He has much to teach us all. It seemed to me that the song I was working on fit in with what I would do
as a tribute to Kathryn, the exact kind of person that I had in mind when I
composed the song. Ariel Pozzo again delivered the goods here, what a great
player and a great guy. He is a master of many styles and just makes it sing on this one. My
only suggestion before hand was to, "...let go and just play." He did that
Song stuff: I wrote, composed, and recorded the whole thing except Ariel's parts - he
did them and sent them to me, I just mixed from there. I do the first verse
solo and the first part of the second verse solo (up until the volume swells - that is Ariel). I did all the rhythm guitars - Ariel did the slide
guitar and the solos from the volume swells in verse 2 until the end. For electric guitars, I used my PRS CE22 stoptail and PRS SAS into a Line 6
POD for most of the rhythm guitars. I used Vox, Matchless and Marshall tones
throughout from the POD. My solos were with my PRS Custom 22 with the POD on
a Soldano setting with some delay. The acoustic is the Taylor 810S I always
brag about to everyone. To record yourself on acoustic is not an easy thing.
What I had to do was pretty funny - I used my Shure KSM 32SL condenser mic
feeding the ART Tube preamp. I was set up in the hall outside my office door. Due to the amount of noise two running computers make it was too loud
to track in my office. So, I would have my headphones on, hit the keyboard
to start recording, run out into the hall, slam the door, sit down and get
setup and JUST make the front of the song recording wise. I am very happy with the results.
The drums were not your normal samples, they are from Steve Smith - drummer
for Journey and Vital Tech Tones (with Scott Henderson and Victor Wooten) among others. As usual, I work really hard to achieve realism in the drums.
This is a super collection of recorded drums to work with, just outstanding
sounds and playing. The groove and tone are care of Steve; arrangement and
mix are care of about 15+ hours of hard work from me. The bass is my really cool Fender Marcus Miller Jazz bass (thanks Brian!)
into a Bass POD set with a Eden tone. I also mixed in the direct signal to fill it out. Slight compression applied on tracking.
The sampled stuff included some American Indian stuff and thunder, a running
brook and rain. All care of Acid and lots of work tweaking. This is my tribute to Kathryn and it is my deepest hope for a speedy and
full recovery. She has since made a full and complete recovery and I cannot
express how happy that makes me. Thanks to Ariel for lending his vast talents again.
12. Table For One by
13. Getdown by
14. Samba Suomi by
Jim Juntunen: The inspiration for this instrumental came during a trip to Finland
(Suomi in Finnish) in 1994. Many Finns have a love for Tango and other Latin
music and during the Helsinki Days Festival I enjoyed watching the Tango clubs in the parade.
Although I intentionally used the bridge pickup in my McCarty through a Marshall Bluesbreaker amp to avoid sounding like Carlos Santana, many people
say, "Oh, that sounds like Santana". This is understandable with a Latin-rock type of song. However, a Mexican friend of mine, upon listening
to this song astutely observed, "It has a Latin rhythm, but the lead guitar
doesn't sound Latino enough to be Santana, it sounds more like the Allman Brothers or something". I tend to agree. This wasn't intentional, but if I
had to say the guitar resembled anyone, I'd have to say Duane Allman. Not claiming to sound like Duane, but showing a definite influence. I certainly
have listened to Duane and Dickey enough to be influenced. At any rate, I take it as an extreme
compliment to have someone say they hear a resemblance to them.
Lead guitar-Jim Juntunen--PRS McCarty- Marshall Bluesbreaker ri amp
Rhythm guitar-Jim Juntunen--Fender Telecaster- Fender Blues Jr. amp
Drums- Christopher Yoerks
15. Philadelphia by
J.R. McCarthy: Written by Rick Braun a trumpet player, a nice melody
with a city sound. Equipment used to record: a Roland Digital recorder 880, a
Roland composer 50 and a GR 1 guitar synth. Guitars - all rhythm wa wa
and solos were done with a '92 CU24 into a 74 Fender Twin Reverb and into a
Rocktron Paranna rack for slight break up of the guitar . Produced by my friend,
Dr. Ken Sternbeger, who is just fantastic at recording digital stuff.