When it’s good, the recording process is one of experimentation, thought, trial-and-error, and work.  All these things combine to make recording a creative endeavor, different from going in and playing songs like  you did in rehearsal.  Working on this record mostly alone has the “benefit” of never having performed these songs in rehearsal.  So, I get to try new instrumentations, new melodies, and different tones overall.

Most of the songs on this record were written in the studio.  Some a while ago, only seeing the light of an audience in a very stripped down, acoustic performance.  Of the rest some are several years old, getting a chance to be re-worked through the benefit of time, better ability, and new instrumentation.  One is a cover and a couple were in the Mendoza Lie repertoire for a few months.

So, in the past few weeks, with the help of some great folks, a majority of the tracking is done.  Ms. Abigail Henderson of the amazing band Tiny Horse came in and lent her voice to a couple songs, including a super secret cover tune.  There are a few more parts to iron out, re-cut, and honestly, thanks to a new song yesterday, there are lyrics still to be written.   Some songs that were favorites a few months ago have been trashed.  Replaced with new ones that came up during the recording process.

I’m hoping to start mixing in a couple weeks.  Then mastering, then maybe pressing or Drop Carding or whatever comes in the year 2010 after that point in the process when you are genuinely sick of the record and just want it out of your life.

All this means is that, hopefully, amid all the guitars, pianos, drums, accordions, tambourines, and Rhodeses – some risks have been taken.  Not the kinds of life-and-limb risks people take every day, but the kinds of risks that will make people either love or hate your work.

All this to say it’s pretty much your standard recording project.  It has a beginning, a middle and an end and this one is somewhere in there.