I also noticed that I had a large amount of “opening” numbers... as I had struggled long and hard to come up with suitable tune.  This is ultimately what drove this collection into being a long player, as opposed to being a two EP affair.  The leftovers seemed to fit better together as an LP rather than two confusing EP’s.  

So for anyone who is interested, here is a breakdown of the songs and what was done to bring them to you in the final mixes:

FROSTED OVER:

Originally intended to be the first tune on the record, I had already collected the drums, acoustic guitar, bass and Jason Socci’s flute.  This was one of the oldest tracks, and the drums were rather stark and a bit harsh.  I had yet to really figure out my own playing and as you can hear on this tune, decided to go for maximum dynamics.  After some EQ’ing and selective reverb, it all worked out to being usable.  Jason’s flute actually was tracked during the verses of the song, but after it was noticed that it completely stepped on the vocal of the song, it was moved to become the “chorus”, filing in nicely for the ditched vocals. 

The vocals are mostly old, with a few extras tossed in at the end.  The song originally had a rather out of tune flute solo at the end, but as I only ever had one chance to track Jason Socci, we were unable to fix it.  The piano and multi layered ending are recent additions.

MARKET FOR HB

Now this was a real twisted tune.  Much of this was tracked over and over again, and somewhere in the line I added some electric Rhodes piano, and some rather distorted scratch vocals.  The scratch vocals were in tune (surprisingly) but had a very odd quality due to their being tracked through a haphazardly amped SM57.  I cannot recall tracking these, or why they had the weird sound, but I decide to keep them because I didn’t feel like doing it all again.  This song really suffered big time from a lack of compression on the drums, causing them to be incredibly spiky, which has an effect on how loud you can get them without hitting the red.  Also the acoustic guitar had a similar problem to the previous track, as it was just as old.  I have done my best to get the most from these in this mix.  I added a simple organ solo in place of a proposed guitar section which really just added more static to this incredibly dense sounding tune already. 


PLUGS AND BARENDS

One of the many “all acoustic” numbers written and recorded for the record.  I never really was happy with the guitar sound, and always felt the vocal was a bit raw.  I opted in favor of the far newer Birds Around Yr Head” that appears on the completed album.  I combined several vocal takes together here, so when you hear the background vox they sound a bit more like a chorus of swede’s letin you have it.  Other than that, this was as it has always been.

THE TABLEDANCE

A song that just would not die.  This one just plays on and on, and for the most part never really made me happy enough.  The vocals heard here are very old, and were done at some point to test out a newly acquired mic, forcing my wife to get involved to give it a proper work out.  These are neither of our proudest moments.  Nothing really new was added to this song, other than the strange backwards lap steel you hear in the middle, but much time was spent mixing this mess to get it respectable.

 
SOUND MORNINGS

This was by far the oldest tune even considered for this record, dating back to 2002 or so.  I found a blank cdr with some version of a guitar track on it, which must be incredibly old as I used three tracks to record a sing acoustic and have not done that in ages.  There was a simple hushed vocal also included, which I tried my best to preserve.  After having this tune sit on my hardrive for a few weeks I said what the hell and tracked some drums to it on the fly with two mics and in two takes.  I liked the results enough to take the song seriously again and added the extra vocals, piano tracks and a new lap steel solo.  This actually turned out really well, and was the determining factor in deciding to create this full length.


THE HARMLESS TUNE

This was finished a rather long time ago, including the mix and master.  I merely added it to this album as it fits the bill nicely.  This was the “B-side”of sorts to the album.  I am told it was featured on a European compilation which I may actually get confirmation on someday.

WEDDING SONG

This was a strange track that received it’s name as I wrote it on the day I actually got married.  While this tune was seriously considered for a long time to be a part of the record, I lost my patience with the drums and the layers of crap piled on top of it.  While I did track some vocals here (randomly grabbing lines from multiple songs that were never even recorded in an old notebook) the real trick was finding the right balance in the mix.  This is one of those songs that may never seem right to me, but I am glad I finished it.

REPLACEMENTS

This was a short detour while making the record.  As all musicians should do at some point, I went through a “Neil Young phase” that lasted a few months.  I had been working so damn hard on the record for the last two years that I lost it and decided I would “start over” and take it somewhere else entirely.  So I dragged everything into the basement and recorded the electric guitar in what I felt was the “Tonight’s the Night” fashion and attempted to follow suit with the drums and bass.  I tracked the vocals in some demented impression of what I thought might be a NY style and the lyrics were actually written about that law suit that Neil’s record company attempted to sue him over the fact that more or less, his record sucked in the eighties (“your shocking Pinks I suppose is Fine, But Can’t you Do That On Yer Own Time?).

I have decided to face the music and leave it as it is, even with the cringe worthy lyrics and haphazard attempts to, god willing, become Crazy Horse (minus the heroin).  This song notably features the same parts (though played much louder) as the song “They hate this where I am from” on the finished record.


ROSEWINE

This was to be the last song on the record, and you can tell by the incredibly long ending on this tune.  I did a similar stunt with roughly the same chords on the finished album as well.  Here though the entire song is primarily electric piano and vocals.  The vocals and their arrangement is new, as a previous draft of the song featured wordless la-la-la except for the random line “Sweeter than Rosewine”, which had no significance to any lyrical motif I had written at the time, but fit the syllabic needs perfectly.

I had added new piano parts to the end, as the original ones were desperately out of tune and sloppy and some new guitar parts.   I attempted to heal the drum sound, which was very harsh with some gentle EQ and reverb.  



In the end, the record represents some older ideas, and there logical conclusions.  My songwriting I feel has progressed pretty far from what is represented here.  Still, it is nice to see these tunes in some form of existence, if only as a proper record of the process one goes through to make an album such as “and the Swede”.  I tried to remain in the spirit of these tunes, even if I have drifted from the places where they come from.  I hope you enjoy them.  
Recording 
“finish what you Started”
vol. 1 May 11th, 2009 Revisiting old recordings that were never completed is always weird.  If it has been a while, I will always see things that I like about them, and probably begin thinking about finishing them.  Often the reasons I stopped working on the tracks initially were hastily decided, or unfounded.  Of course, often times, these decisions were made for very good reasons, say for artistic virtue, or because you finally figured out whay you hate the song after playing the fuggin bass part sixty-five times in a sweltering bedroom.  

Recently, I came across a pile of old CDR’s of audio files that were back-up discs from my now defunct Fostex 16 track.  They contained the tracks used to create 2006’s “And the Swede”, my first album.  That album was created over a two or three year period, and along the way, many songs were started and left for dead.  Some getting as far as being mixed, yet lost the battle to be included on the finished cd.  Most however were in tatters, missing key instrumentation.  The finished record was quite an undertaking for me.  It was the first “album” that I had ever recorded, never mind performed entirely.  While I had some degree of familiarity with the recording process, having been around it for multiple projects and having been a cassette 4 track warrior in my teen years, I was not experienced with all of the new equipment I acquired for the album.  Needless to say, there was a steep learning curve.

So clearly, things would go from terrible to slightly less terrible, and so on in regards to audio quality as I learned what the hell I was doing.  Well, as it took several years to get this record together, I would write new material constantly, and begin to want to record that as well.  So, the first tunes I recorded were obviously flawed in certain areas.  As a result, I would just plain ditch entire songs and move on.  This leaves a big back log, and since these songs were tracked on a stand alone 16 track digital recorder, that meant burning cdr’s for back ups.  They sat on a spindle in my drawer here for years, collecting dust out of site and mind. Now, things are different.  My recording set up is quite a bit more advanced than it was then, especially with the addition of the computer (which was not used for tracking “and the Swede” but was used for mixing).   I had previously backed up and wiped out the hardrive of the Fostex machine months back, so nothing remained other than the cdr files.  It was often confusing and a bit of a guess to locate the best takes, as many of the discs were not labeled, and I had backed up often, meaning I may have a few cdrs of multiple takes of something.  I found that often I would be working on a vocal or a guitar part that was not actually the most recently recorded while mixing this thing, causing me to audition literally 40 or so discs over the last few months.  

Once the tracks were identified and added to the computer, I had to start the process of figuring out what the hell I had, or more importantly, what I did not have.  I would make lists and see if things still made sense, or if my memory was good enough to recall what the hell was going on.  Ethically, I was constantly wondering if this was a good idea in the first place... I mean if I abandoned these songs and didn’t feel they were good enough for the album, why bother with them now?
I decided to review the songs, and not judge them too harshly, or second guess them too much.  I did not want to bog this project down with all of the usual mental loop de loops and self doubt.  No sir, let the damn things come out and exist without all of the usual cruel and unusual self inflicted punishment.  Forgive and merely try to improve the mistakes of my early attempts at engineering.  First and foremost, the drum tracks.  On this record I had to really work at getting the drums in order.  Many of the tracks were from day one of this record, and I had some rather odd mic set ups at work.  I also had no compressors, or EQ for that matter, so much of the basic tracks had massive spikes in volume with little to no headroom.  I tamed some of this by simply combining the 6 to 8 tracks of drums together on a bus and forge ahead with EQ. The acoustic guitars were also an issue.  I really didn’t want this project to become more work than it needed to be, but there were some glaring holes in production on many of these tracks.  If the drums were early tracks, the guitars on most of these were even older and even less able-bodied.
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