The Dan Workman Studio Log

Winter Wallace in print

2009-06-17T14:08:00.003-05:00

Notwithstanding the preponderance of dan-gush, this is a great article about a very very deserving young lady with whom I have had the amazing pleasure of working--Winter Wallace.

Winter's music began my intense collaboration with Recording the Beatles co-author, Kevin Ryan, and has continued through the current band lineup led by the amazing Nolan Burke. Check out the article, here.

Sometimes You Just Need To Talk

2009-06-15T07:07:00.004-05:00

The Blue Door

Weird. I've started to consider this blog simply a more producerboy-specific version of my Facebook Wall or Twitter post. The world is changing. Again.

Notes:

I went to Maui to attend a Grammy (NARAS) Board of Trustees meeting. Upon my return I found that lightning had hit our power transformer, taking out a bunch of computers and gear, most notably our Neotek Elite console in Studio A. My partner and the studio's designer, Rodney Meyers, pulled it off last night. We got the console up and running on newly delivered power supplies. I have to fix a few of the I/O modules, and a meter driver IC, but that's doable. I was totally out of my depth in battling the Great Power Supply Demon. All hail Rodney!

As a nice counterbalance to that drama swirl, I finished Girl Friday's songs. We mastered with Allen Corneau last Friday (yes,... very apt), and the songs turned out fantastic. Check out Dorothy here. That is the song that caught my imagination the first time I heard it. I unashamedly played all over it, and have no problem reporting to you, dear anonymous reader, that I loved the results.

Equally cool is the fact that I finished mixing Debbie Forrest's song, I'm Still Here, right before Rodney and I went in to do battle with the console. Max Dyer played cello, and Josh Moore played piano. Their performances magically support an impressive and inspired vocal performance by Debbie. I'll be posting that song (always with the artist's permission, I may add) later in the day.

I first heard the song when Debbie was playing around on the piano while we were tracking vocals for another song, You Picked Me. The second I heard it, I hoped that I would have a chance to record it. The song, and Debbie's performance, were already fantastic, and I immediately had a pretty good idea of the presentation and vibe that we should go for. I wanted to set up the tune with the right parts and players, and get the heck out of the way, and I feel like it went well. The gestation time was a bit longer than I thought it would be (we explored putting rock drums and acoustic guitar on it, and it took me FOREVER to mix it), but it was worth the wait.

Now, off to mix Three Kisses, prepare for a cool Halloween novelty song by Craig Squires, and post songs for a session with Trigger (Mike Trigg). Happy Monday, indeed.

Playing with Jandek

2009-05-11T14:33:00.002-05:00

I got to check off one of those 'life list' to do's last week. I played a show with Houston-Mysterioso-Avant-Garde legend, Jandek. You can click on the link for the review.

That's me, on the right side of the gigantic 'guy in front of the camera' head.

When you play with Jandek, you have to sign a contract saying that, in essence, it never happened. No credit, no royalty. You are listed as a 'technical advisor' for the show. It was one of the coolest things I have ever done, and it makes me miss playing in experimental/noise bands.

Here's a reprint of Creg Lovett's review from the most excellent Space City Rock website:

Live: Jandek at DiverseWorks

by Creg Lovett

(l to r) Jandek, Craig Hauschildt, & Angela Reed. Photo by Creg Lovett.

DIVERSEWORKS -- 5/3/2009: Jandek surfaced at DiverseWorks last Sunday for an hour and five minutes of improv chamber music. This was as unlike any of his other music as his other music is to everyone else's music. There were no vocals. Jandek remained seated throughout, and may never have looked in the direction of the audience. He sparsely played an electric five-string bass guitar with a pick and slide. To his left was Craig Hauschildt playing gongs using props ranging from buckets of water to brushes and rubber bands. When he removed and serenely threw a cymbal across the room, nobody acted surprised.

At center stage, and featured, was Angela Reed seated with a huge bass clarinet that often dominated the performance. Behind her, James Metcalfe operated several dozen wind chimes, most notably using a Big Gulp-type plastic cup full of water, in which he submerged chimes as he struck them.

(l to r) Craig Hauschildt, Angela Reed, & Dan Workman. Photo by Creg Lovett.

A highlight was the accessible guitar work of Dan Workman, who was seated, wearing all black, with an electric guitar, a very small Casio SK1 keyboard, and a laptop with which he interfaced constantly during the show. Most of the concert was the musical equivalent of a Jackson Pollock painting, but the guitar was often a very familiar shredding that reminded me of one of the 1980s Zappa disciples. It was weird, but not Jandek weird.

The mere sight of Jandek himself is a shock. Honestly, he looks like a star. The players sat below the audience in folding chairs on the floor, while we were on risers. Several large stage lights flooded the band in blue moonlight tones without shadow. This made Jandek, and Jandek only, appear ethereal. Like a gentleman ghost in fine bluesman clothing. END

Live From SugarHill Episode 5, John Ramirez and Los Skarnales

2009-05-09T09:28:00.001-05:00

Live From SugarHill Studios - Episode 5 from W. Ross Wells on Vimeo.

"No Photos--Please"

2009-04-09T07:23:00.003-05:00

Random:

I drove to Austin yesterday to attend a meeting of the Texas Board of Governors for the Recording Academy. That's a long drive for a mouth full of a meeting. The day was really beautiful, the meeting went well and a few smaller meetings parked around the main meeting were really excellent. I'm preparing for my second Board of Trustees meeting in Hawaii (Maui) in a couple of weeks. The thrill of being in Hawaii is somewhat offset by the weighty nature of being on the national B.o.T.o.t.R.Academy (another keyboard-full). I think I'm as prepared as I'm going to be.

Right before I left town, I met with Heather Wagner (Juice Consulting) and Joe Stallone (Bracewell & Giuliani) about forming a new company to provide production, promotion and legal services to artists--filling the hole left by the major labels in their race to extinction. Heather is at the top of her game having served as Beyonce's product manager for 4 years, and Joe is a sharp, honest attorney with a big heart. Quite a combination. I already have worked with them both. Joe is doing legal for Ross Wells' and my non-profit, The Houston Sound. This could be very cool. More Will Be Revealed on that front.

I was just in Austin for South By Southwest a few weeks ago. This year the weather was the best I can remember for the festival. The highlight for me was the Tape Op party, sitting at the table with Maureen Droney, George Massenburg, Ed Chereney, John Spencer, and Bob Ludwig. I won't even bother to hyperlink these gods and goddess of the industry. You either already know them, or you will be fine taking my word for it. These are the folks occupying the headiest realms in pro audio, and I was squealing like a schoolgirl inside as George, Ed, Maureen, John, and Bob called me by my first name and mentioned SugarHill.

Time to go to work. I will be playing guitar parts on Lisa Serice's project, and working on an arrangement for David Enriquez, and starting to mix 3 songs for 3 Kisses (or their side project, Six Mules for Sister Sarah).

Ok, maybe one photo: The Kaitlyn Knippers Production Team, Tyson Sheth (drums), Kaitlyn, Rich Whiting, Chris Longwood, and moi, producerboy. Not pictured: JJ Worthen.

Girl Friday

2009-03-28T16:44:00.006-05:00

Yesterday I cut basic tracks in SugarHill's Studio A for Girl Friday. The session was incredibly fun and worth an update. GF brought food which included an astonishingly good chocolate chip cookie (one of the giant pizza pan sized ones). It was amazing because it was cooked just right--about one minute past the raw cookie dough stage (danger!), but before the next chewy cook stage. She also brought each of us a chocolate easter bunny... along with Perrier, wine, banannas, veg tray, chips, picante' sauce,....

We did do more than eat. We got basics for two great songs, Storm, and Dorthy . Eric Jarvis played bass, Falcon Valdez was on the drums and percussion, and Josh Moore played piano and accordion. Steve Christensen engineered, and SugarHill Uber Intern Kevin assisted. This was the first time I worked with Josh, and I was suitably impressed. It was also the first time for me to work with this particular cutting crew. Eric, Steve and I have tons of hours logged in the studio together, and Falcon and Josh fit right in. As a matter of fact, the vibe on this session may have been one of the sweetest I have ever experienced, even though we were put to the test before the session even started. Andy Bradley's emergency mix session did not end until a few minutes after our slated start time. That was no problem at all for us as we all sat around the 'horn o' plenty' of snacks in the break room table. Way to go Girl Friday!

The highlight of the session was Falcon coming up with some great arrangement and percussion ideas. No. Wait a sec,... the highlight of the session was GF going into an unabashed girl-cry during the first take of the first song we tracked. She had warned me that it would happen, and U.I. Kevin was ready with the tissues. She was just so pumped to hear her song being realized by such generous and talented guys. I actually had some contact-cry emotions when I saw her break down. She was experiencing the joy that motivated us to work in the studio in the first place. It's always an honor to lead someone through the rite of passage of their first session working with magical players. The music was great, the vibe was beautiful, and the fellowship was wonderful. A really good day at the office. Now I get to play my parts!

Southern Backtones new video: Slumber Party

2009-03-06T13:11:00.002-06:00

The Southern Backtones (no strangers to this blog), just released their second video, Slumber Party. This is another mad collaboration between zenfilm's braintrust, Ross Wells, and SBT's lead singer, Hank Schyma.

The song was engineered and mixed by Steve Christensen, and I produced, sang backing vocals and played mucho SK-1. The song is a psycho-ballad about,... well,... sex. Ok. I know that this probably comes as a great surprise, and I apologize in advance for the subject matter.

The video is PG-13, however, and features a few fleeting glimpses of moi, producerboy, hammering it out on the SK-1.

Ross and Hank have made their (now usual) genius moves. I think that you will enjoy.

Southern Backtones "Slumber Party" Music Video from W. Ross Wells on Vimeo.

Bob Ezrin responds to Bob Lefsetz

2009-01-25T09:09:00.003-06:00

Bob Lefsetz writes a music industry newsletter that is regarded by many to be the one fresh breeze of rationality in the s***storm that is the current state of the business of music. One of the reasons that people read his blog, is that he often posts the responses of those that disagree with him, or elaborate on his points in a significant way.

Bob Ezrin is an ascended jedi master record producer who has a perspective on creating music, and achieving success in the business, that I agree with and could not articulate as well. You can read a reprint from Bob L's newsletter below. (Click on the title link of this blog to go to the archives).

I am often asked about how to make a song attractive to a certain market, or more often, what 'Radio', 'The Labels', 'A&R', managers, etc., are looking for. I've tried to counsel those who ask to create music for their 'inner fan' first and foremost. While I'm sure that there are musicians that create, very successfully, for a certain music market, I firmly believe that they are the exceptions that prove the rule.

The playing field has become fairly level, at least at the present time. The tools to make a great sounding recording are ubiquitous and relatively inexpensive. The traditional means of marketing and distribution are in a shambles, and our newfound ability to share digital music, (legally or not), has left the experts scratching their heads as to how to make money on the fruits of our recording efforts.

I have been preaching the gospel that Bob E. outlines below: 1) If your music is good enough, then an ever-increasing fan base will give you their money--even when they don't have to. 2) It's easy to tell if you are that good: more and more people come to see you live each time you play. They will call their friends and insist they come to your show (or buy your CD) with a passion that no clever marketing scheme could ever generate. If you even have to wonder if your performance or your music is that good, then you still have work to do.

If you are like me, then the work is it's own reward. I love music, and consider it to be the highest, and most ubiquitous and accessible art form. I am invigorated and excited by the challenge of writing, arranging, recording, and performing the next song--always reaching deeper inside the creative process to extract the purest version of the tune. My goal is to create something that transcends genre, and will connect with as many listeners as possible, hopefully fulfilling a longing that they never knew that they had for your musical story, while at the same time igniting their craving for the next installment.

Enough of my thoughts. Check out what Bob Ezrin has to say below. If you are like me, you'll be excited by his challenge to create excellence!

*****

(To) Bob (Lefsetz),

I usually sit on the sidelines and eat my popcorn as I enjoy the theater that is you and this wonderful newsletter. You're better than most movies and just about any music that's out there right now for entertainment. And even when I think you're being a stick in the mud, you do it so artfully and passionately that it's ok and I enjoy the performance for its own sake.

But this one has to be answered - with affection and the deepest respect of course. You start this with the word "Quality" and then you proceed to counsel struggling musicians to contort themselves and what they do to fit the market so that they can "make it in this business". But here's the true bottom line: This business of exploiting art and entertainment is built from it's very inception on creativity and quality, on special things made by special people that touch, inform, elevate, divert, soothe, numb, challenge or sometimes even drive other people enough so that they are drawn to it and want it to be a part of their lives - either for the moment or for a very long time. When they want it, they sometimes pay for it in one way or another and this special stuff sometimes accrues a value beyond the ephemeral and actual makes money for its creator and for the folks who help to support and market it. Sometimes it becomes more valuable than gold and stars are born.

But unless it is especially touching in some way (even if it's in a juvenile or prurient way), nobody will care and it will end up having no value at all. Which then goes to your title "Quality". If a thing lacks quality of some sort, it will not touch anyone. It will simply be a not so special thing in a world of not so special things. It will blend in and disappear. But if a work or performance is of high quality and special, then it has at least a shot at becoming valuable to someone - and the person who creates it has a shot at being appreciated and rewarded for it. If I were talking to "struggling musicians" I would say:

First, be special. Make something of such high quality that anyone would care. And that's not as easy as it sounds. Just because you can use a sequencer and play an instrument doesn't make you an artist. You have to create something that is special - unique and capable of moving others in a meaningful way. Once you are truly special, truly great at what you do, you may have a chance at finding an audience willing to reward you for your specialness. More than likely you will not, because special - by definition - belongs to the very few. But if you do, then someone somewhere might recognize that and show up to help you to take your creativity out to a wider audience.

How do you get recognized in the first place? Play to people as much as you can. They will let you know if and when you are truly special because they will either begin to pay you to do this, to be able to be close to you - or they will ignore you. Play: in your town; at your school; in the next town over; on the web (but that's a whole other and longer discussion); at parties - anywhere you can. If you have created something truly special someone will recognize this and the ball will start rolling.

But whatever you do, DO NOT pick a market and try to create for it. You may decide to do that later in life when you become so good at your craft that you can aim your creativity wherever you wish, even when it doesn't please you. But you cannot start there. No one is born a hack. Hacks are failed or jaded artists, each and every one. First you must be able to create for yourself and find the way in which you may be special, and then you have to work on becoming really great at that. Create from your heart and from your will. Your will is what you use to keep you practicing and trying and trying to get better at what you do. Your heart is where the inspiration comes from to use that ability to make something really truly special. But above all DO NOT listen to critics, pundits or "experts" who try to bend you to what is happening now. By the time you get there, now will be long gone.

Dedicate yourself to quality, to being the very best at what you do and then use that quality to create or be something truly great. Then you may have a shot at "making it". But whether you become a star or not, you will have become and will forever be someone very special. And others will know you for that.

End of lecture.

Thanks

Bob (Ezrin)

Live From SugarHill available on iTunes

2009-01-12T07:12:00.004-06:00

Live From SugarHill is now available as a subscription podcast on iTunes. It's also available on Vimeo.

And Crackle.

We're refining the show, and look forward to our next broadcast. We are going to incorporate some fun components into the show, as well as tweak the flow of the proceedings. The word from ecsLIVE is that login for the show should be GREATLY improved. We're still going to be audio-only for the February 5 broadcast, but the next show should be a full audio/video stream. For now, the video edit should be up in the week after the show.

By the way, ALL of what you are hearing about LFSH is being generated and orchestrated by Ross Wells of zenfilm. This is no small task. Ross playes the web like a fine instrument. We could not have a better webmeister than Ross. "Thank you" doesn't cut it, but Thank YOU, Ross' does get us started.

Live from SugarHill featuring Robert Ellis

2008-12-30T10:38:00.003-06:00

Live from SugarHill: Robert Ellis from Dan Workman on Vimeo.

We've started a new radio/television show, broadcast live on the internet from SugarHill's legendary Studio A. The show is built around how actual recording sessions are run, but with a live performance imperative. We had our first show last month. Here's a clip of Robert Ellis performing. Our next live broadcast will be on Feb. 5th. I'll post the link and times later in January.

Jennifer Grassman Video Release

2008-12-19T08:01:00.002-06:00

Many of you already know about Jennifer Grassman. She's my friend as well as one of the artists that I produce for TLM Productions. Ross Wells of Zenfilm, became interested in her song, Pretty Girls, after I started singing her praises. Mike Thompson of Ivory Tower Productions produced the song, and TLMP released the CD on which it appears: At the Back of the North Wind.

A legion of my friends and colleagues worked to make this happen. This includes Jennifer's family who sewed costumes, made props, and played parts in the film. There is a complete list of credits on the vimeo.com site that hosts the video. Major props to Jennifer for writing and performing such a compelling song, and to Ross who's vision and persistence brought the project to light.

Jennifer Grassman "Pretty Girls" Music Video from W. Ross Wells on Vimeo.

The Blue Hit & Debbie Forrest & The Southern Backtones

2008-12-15T13:47:00.005-06:00

I finally got to record The Blue Hit! We did a week in Studio B here at SugarHill. This was a long time coming. The band was brought to my attention by Brian Trafton of Wounded Rabbit Productions about a year and a half ago. We started talking, and we went through two different scenarios, but couldn't find a way to make it work. Fast forward to October 2008, and, BAM, we made it happen.

Grace Roland, Demo Moss, and John McGee joined me and engineer John Griffin in a cool, week-long, trip through their songs. Chris Couri assisted and provided for our every need--including an autoharp and a killer set of Musser vibes. The band's sound is minimal and delicate (voice, acoustic guitar, and cello), and yet has a finely modulated power behind it. John Griffin hooked us up with some amazing sounds, and the band's performances were generous, and magical. The photos below were taken by Demo's brother, Manny Moss.

John McGee, Dan Workman, Grace Rowland, Chris Couri, John Griffin and Demo Moss

Demo, John, Demo's brother and photographer Manny, and Grace

Now it's up to me to edit and mix. I hope that John Griffin will be helping on those chores as well. I'll probably report as the mixes progress over the holiday.

Another project that is finishing up right now is singer song writers, Debbie Forrest and Alex Anderson. Debbie and I began talks about a year ago. (Just change the names in paragraph one above, and you will get the picture on the time line quite nicely). I had the pleasure of working with Debbie and Alex on their song, You Picked Me. Debbie has strong country and bluegrass roots, but we took the song in more of a 'very modern pop song with folk tendencies'. This is my description and is not officially endorsed by the artists. Anyway, the mix is up for approval, and we are poised to master this week.

I spent last Saturday with Hank Schyma recording vocals for The Southern Backtone's next CD. Hank got himself a laptop with some recording software, and came in totally prepared. He just kept nailing part after part, and his arrangement ideas were cogent and well rehearsed. While we were working I suddenly realized that I had not been giving him any feedback or direction. Like none. At all. He didn't need it. So I got to stay in 'engineer mode' much more than usual. I had a blast, and so did he. Now I just have to edit, record some strings and horns, and pass the project along to Steve Christensen to mix. BTW: Steve is in Nashville as I type working with Steve Earl on his new record. Way to go, Steve!

More Blue Hit photos by Manny Moss:

Hurricane Ike Books Time at SugarHill

2008-09-17T11:58:00.004-05:00

First and foremost, all of the SugarHill family are ok. Each of us suffered some damage at our homes, but nothing that can't be repaired. Jimmy Jaymes got the worst of it with some roof and wall damage. While I have power restored at my house, SugarHill Studios is not yet on line.

SugarHill lost many of the beautiful trees surrounding the buildings, and one huge ash (?) that marked the entrance to our warehouse. Sadly, that tree did not survive the windy maelstrom , and fell in a mighty arc that took down all of our power lines, and ripped our electrical service from the building. (See detailed photos, below)

We had a bit of water damage in the hallway in front of Studio B, and in one of our famous reverb chambers. We will be replacing the roof over the hallway and reparing the fences that got crushed by the trees.

All in all, we were VERY lucky: none of the studios, instruments, microphones, other gear were harmed, and all of the tapes and data are dry and secure!!! We have to rebuild the electrical service, but as soon as that gets done, and the city gets power to our neighborhood, then we will be back at full operational capacity. Our best estimate on when that will be is sometime early next week (9/23-24).

Gina is manning the phones and email, offsite: (713 926 4431, gina@sugarhillstudios.com). Check out the pictures below, and marvel that we are standing to start year #68 having weathered one of the most powerful hurricanes to hit the Texas coast in over 25 years.

Limbs and branches down in the SugarHill park:

The Big Tree. " Tiiimmmbbeerr"

Tree 1, Fence 0:

When the wires came down, so did our electrical service:

A few spashes in the Studio A reverb chamber:

Gina Miller and Chris Longwood pull the saturated carpet out of the Studio B hall:

Just a bit of damage on the Studio A roof:

As you can tell from the photos

Sweet Surprise

2008-07-15T16:20:00.004-05:00

I'm mixing the second half of Sarah Sharp's CD, 'Flight or Flight', at The Treehouse with Steve Christensen. Sarah, and Buffalo Speedway show up, along with Alistair Sharp. So along with assistant, Stephen Davis, the gang is all here.

We're working on the songs, enjoying the company, and Sarah checks her email. Bam. The news comes in: Sarah's first half of the record (released in EP form for SXSW, 2008), is reviewed on NPR's All Songs Considered.

How very, very cool. The nice thing is that the review articulates just how I feel about our work. So strange that The Universe would be kind enough to send some validation our way right when the affirmation can do the most good.

Some days are sweet like that. Good for Sarah. Good for all of us at the Treehouse.

Getting Out of the House

2008-07-08T15:03:00.007-05:00

I'm working from the Caroline Collective today. Presently, I have set up my pro tools rig and keyboard at the table we are sponsoring at this amazing co-workspace. If you don't know what that is, hit the link above. CC reminds me of the energy of the mid 1980's (yes,... I was there with the dinosaurs), when all of the artists in Houston busted out of their studios and built spaces into the Commerce Street Warehouses.

I'm having my picture taken Jessica Grieves right now. I'm actually getting a TON of work done. Gina Miller just showed up from the studio leaving Stephen Davis in charge back at the shop. I feel like I'm getting away with something naughty by being here.....

I ducked out of the main work room to talk to Christi Chaos on the phone in the 'library'. I love checking out what books are on the shelves wherever I go, and the library of the Caroline Collective did not disappoint. Check out the Boyscout Handbook!

Mr. Workman Goes to Washington

2008-06-21T16:04:00.008-05:00

The Capital rotunda as seen from the floor of the United States Capital Building, between the House of Representatives, and the Sentate Chamber.

Where to start.

Since I last wrote, I've been the the Pot Luck Con in New Orleans, (formerly Tape Op Con), where I got to hang out with the many friends I've made in the industry over the years. I also hosted a panel on Urban Music. I met Raj Smoove and Billy Hume on that panel,... both extremely cool guys who have carved out quite a niche in their respective towns of New Orleans, and Atlanta.

While in New Orleans, I picked up the Voodoo Cold From Hell. The setting: I was at the closing event of the Pot Luck Conference, at the New Orleans Rock & Bowl, with Allen Corneau, Jeff Carrol, Mitch Easter, bowling it up and listening to some killer bands. Everybody was having a great time (read: half in the bag). I had this GIGANTIC SNEEZE, and Jeff ran over to me and asked, "Bro! What ball are you using???" I replied that it was the blue 12 pounder. He urgently replied, "Then stick out your hand!!" He then whipped out a pocket sized Purell bottle and squeezed a large dollop on my bowling (and sneeze-stopping) hand. We all laughed!!! Then next day, I had the full blown Voodoo Cold, and I just bet that Jeff did not. Bottom line, is that his paranoid, germaphobe, geek move most probably saved him from T.V.C.F.H. He most definitely had the last laugh.

Mr. Workman Goes to Washington.
I was asked by The Recording Academy to go to D.C. to take part in a lobby day in support of a national performance royalty for radio broadcasts (details can be found at the MusicFIRST Coalition's website). There I was (runny nose and all), walking the halls of the House of Representatives, meeting with congressmen and their staff to discuss a hearing that was taking place on the issue that afternoon.

The political process was fascinating, and the experience of talking to the lawmakers was pretty cool. Over the course of the day, I was whisked from office to office, from meeting to meeting, with congressmen and their aides. Talking to the lawmakers was interesting. In most cases, they did not understand the issue.

The smart ones, deferred to their aides to brief them--in front of us if necessary. The majority of those that we lobbied, tried to speak on our level of experience and expertise and, unfortunately, showed their true colors: that they were trying to appear informed and decisive when in fact, they didn't have a clue what was at stake. The political process was fascinating. The politicians, for the most part, were disappointing. It is interesting to note that even the least informed of the members of congress with whom we met, were surrounded by very smart people, telling them, basically, what to do and say. It is important for me to note that one of the members of congress from Houston was one smart cookie. I wonder if anyone caught my cold?

As for what I'm up to in the studio, I'm finishing edits on Sarah Sharp's new CD. We mix during the second week of July. Just a few more vocal edits and I'm done. Sarah's music always excites me, and I eagerly await the birth of the record (and her second child, soon-to-be daughter, Stella!). Sarah is really one of my heroes (heroines). She is always engaged in moving her career forward, and has become an extraordinary songwriter in the process of living a balanced life, and reporting her experiences and observations of the world in the form of compact, well told stories. Interesting note: I always mention Sarah, when people ask me who I'm working with, or what I'm liking. As of the past year or so, where ever I go in Texas, people have heard of Sarah. She's going to become one of the 'Texas Treasures' like Patti Griffin, and Towns Van Zant. You heard it (have been hearing it) here first.

I'm also winding up Winter Wallace's next three songs. Winter and I will be cutting vocals next weekend, and I am ready,... I've been listening to the songs over and over,... I'm ready to hear them in their final, and full vocal glory. Ross Wells is SUPER CONCERNED that Winter should be famous RIGHT NOW, and that her songs be FINISHED TODAY. I understand. What Ross doesn't know (and w0uld probably shock him), is that it's taken Winter about 5 years to get 7 songs done. Or almost done. Ok. Just about done.

Ross Wells, of Zenfilm, shot video on location at SugarHill's studio A for two projects: Jennifer's Grassman's song, Pretty Girls, and The Southern Backtones' song, Slumber Party. We are starting preproduction on The Backtone's fourth CD next week, and Jennifer and I have cut all of the piano performances for her 2009 CD. Jennifer continues to amaze me with her song writing, and is prolific to boot. Working with Hank, John and Todd is effortless in that we all seem to have complimentary visions for the songs. Look for a lot more about these two projects in the very near future.

Jake Dalton is gearing up to do the vocals for his first set of three songs, while at the same time, he and Rich Whiting and I are going to start working on arrangements for his next set.

I have arranged a song for David Enriquez. We are hoping to get together soon to get the final vocals and guitars on it. David's manager, Rolando Cuellar, and I have been wanting to work together for quite some time. Looks like it's finally going to happen.

Anne Loo's CD, Perfect Rainy Day, has finally undergone the final mastering/packaging revision and is on the streets. I written quite a bit about Anne and the Christensen, Jarvis, Workman, Loo production team in the past. I've said it before, and I'll say it again now, these are some of the best songs I have ever worked on. No qualifications. Do yourself a favor and see if you might agree, hit the link and actually buy a CD.

I'm still working like a mad man trying to keep up with the team at The Loft studios, helping to produce South Park Mexican's new CD. I know that the guy is controversial (check out the link, if you don't know what I'm talking about), but I'm here to tell you that his CD is going to be phenomenal. Think what you like about him, the man is in prison, but his music is going out in the world, and I'm here to tell you that his message, and his music, is unlike that of any rap album ever produced. There is a certain vulnerability, honesty, and purity of spirit--perhaps born from hubris--that is still in language that is straight from the street (or the pen). I'll only have one chance to work on art like this in my lifetime, and I'm going for it. Look out for some big changes in DHR in the very near future. In the meantime, Arthur Coy, Pain Ortiz, Slip, and Carolyn are busy putting Houston on the map with a ground breaking project.

Repurposing Old CD's

2008-05-09T07:10:00.006-05:00

Before I update, you need to click on this link (be sure and come back for you 'non-tabbed' browser folk!) and see how one enterprising soul is using a record cutting lathe to scribe music on old CD's--WHICH CAN THEN BE PLAYED AS 45's!!!!! I'm sure that the sound quality is not all that great, but this is just way too cool. Sort of the inverse of the little black CD's that are printed to look like a 45 RPM 7" single.

BIG NEWS: For those of you that know my work, you might be surprised to learn that I have been in cahoots with Jaime 'Pain' Ortiz, producing, engineering and playing for Dope House Records. Working with Pain, Slip, Shadow, Carolyn, and Arthur is shaping up to be an amazing experience. I'll post more about what, exactly, we're up to, but suffice it to say that all of my previous experiences working in the rap world (like, both of them) have been far surpassed by this amazing collaboration. More Will Be Revealed.

Rich Whiting and I finished our last two songs for Christian song writer, Susan Goforth. The songs, which were to be demos, have turned out to be full on finished product. Susan gave us a lot of latitude, and as a result, Rich and I had a blast arranging and performing the songs. In an uncanny twist of fate, I actually did a Zappa-esque RAP on the song, 'Spill It'. Is my world changing, or what??!!! Susan will be moving with her husband to the northeast. We hope to have some internet collaboration when she gets settled down.

I am involved in more than the rap scene. I've played Casio SK-1 parts for Eric Jarvis' client, Scott Spencer. Scott is a songwriter doing some innovative, rocking singer songwriter work. Eric trusted me to slather some SK-1 sauce on a few of Scott's songs. Eric claims to have been moved to the brink of tears by one of my parts--I hope that he regains his emotional balance soon, but appreciate the love-returned.

Rich Whiting and I will be recording vocals and some other overdubs on Jake Dalton's trio of tunes that we are currently working on. Jake is an amazing songwriter who, like Susan Goforth, has trusted us, mightily, to arrange and record his tunes. Seems like forever since our last arrangement meeting. I can't wait to get my hands on the tracks.

I've been mixing songs for LA songwriter/producer, Owen Thomas, on tunes for Mateo, and Pete Loughran. Owen has a penchant for infectious hooks and killer bridges. I've long admired his songs, and I'm honored to be playing parts and mixing for him.

Steve Christensen mixed Sarah Sharp's EP in time for an iTunes release during SXSW. Sarah was just at SugarHill doing the final vocals to complete the rest of the album. Sarah is pregnant with her daughter, Stella. She and Stella sang really well, and now I just need to comp the vocals and book a mix date. ALMOST DONE!

My work on Winter Wallace's CD continues. We have three, sweet songs in the bag. We are getting ready to cut violin and lead vocals. Everyone that knows of Winter's music, knows that she has something special going on. What I really need is about a week of continuous studio to finish her project. By the way, I got to play bass on these songs!!! I'm known as 'the bass monster' because my parts are all distorty-aggressive, but her songs are so freakin' beautiful. Beauty and the Beast. Sort of an inverse of my roll in my work with Pain Ortiz.

Today I start basic tracks on Jennifer Grassman's next CD. We'll be recording piano this afternoon. Jennifer has done well with our last effort, Keep Silent .
I don't plan to arrange and play on all of the songs on this next CD, but I'm sure that there is no way that I'm going to be able to pass on the opportunity to play on her songs. She is a magical performer, and I most definitely have the 'Jennifer Receptor Site' in my brain. I'm honored, as always, to be her producer and collaborator.

Marfa Run

2008-04-21T09:21:00.001-05:00

Cat's Paws

2008-01-26T14:45:00.000-06:00

My friend Leslie-Anne broke her nose yesterday in a tragic encounter with a heavy door,.... send her some love!

I'm working with classical pianist, Angela Johnson, from Canada, but most recently from the docks in Galveston Texas, where she disembarks from her cruise ship gig, flies up I45 to SHRS, plays for 4 hours, and scurries back to the boat for the next cruise cycle. Sounds exhausting, right? Well, she shows up and she brings it. Today we recorded in Studio A and were pretty productive. I'm just getting to know Angela and her music. The songs are solid, and she has the best attitude---superpro and a nice person to boot. She also has some amazing clothes:

Will Alderidge and I are still figuring out how theatrical poetry readings are supposed to be scored, performed and recorded. The trip is taking longer than I thought, but we're engaged and making progress.

We finished remixing Trystan Layne at The Treehouse with Steve and Chubs and Whitey.

So much more to report,... negotiating deals with The Blue Hit (see myspace), and a songwriter named Jake Dalton. Rich Whiting and I are working on a song for a very talented writer--Susan Goforth. Susan is a cool chick who's songs are an inspiration--Praise and Worship music meets U2 and Rush. Really. Christine Wu and I are negotiating a deal to play on a big rap record. More will be revealed on that!

Working very hard with Sarah Sharp to get her CD done. Must.....start.....editing...... Kevin Ryan is co-producing, arranging and playing, and will be there to help out with the mixes. Awesome!

I'm totally honored to be working with The Southern Backtones on a new song for Hank's movie,.... the song is has a new flavor now that John Griffin is playing bass and the band has become a badass trio.

Steve Christensen and I are going to be recording three new songs by Winter Wallace in a few weeks. I cannot wait. I've stuck my neck out and offered to play bass on one of the songs... hope I don't suck!

Christi and I will be married 13 years on 1/28/08. Time to go buy her a card and something nice.
Dan

Red Eye Special

2007-12-28T06:24:00.001-06:00

Well. THAT was hilarious/predictable. I just woke up (6:25am, CDT), and I'm listening to a piece on NPR about blogging. This week they ran a story on blogging every day in celebration of the tenth anniversary of the word 'weblog'.

I thought that I should update this neglected page, and I mused that would write something like, "it's way too early in the morning, but I'm going to try to write anyway since I have the time and inclination...". Well, I promptly opened the page, wrote the title, and posted a blank page. For the four or five folk who subscribe to this, well, they got a blank page.

I met with Ken Valentino and got pressed copies of the Contraband CD. When they told me that they were going to do a double CD, I thought that there would be two CD's in one package. Not so. We did record two sets, original songs and covers, which they put in two separate packages that look alike except for the color tint of the cover shots. The original CD, entitled 'Ours' and the cover song CD called 'Theirs'. The final effort looks great, and as usual for me, sounds even better with the art work and packaging done.

I also received finished packages from JJ Worthen and Anne Loo. Both CD's look beautiful. Anne's CD is a very 'high finish' piece of work with elaborate graphics, drawings by her children, Hannah and Peter, and a detailed book of liner notes. All three are digipacks (no plastic jewel cases to loose, break, and throw into a landfill. I'm having a real end of year moment looking at the physical manifestation of so much work. Excellent work, I might add. I've written extensively about how these three projects have been some of the best I have ever done (major label artists included in this assessment, btw). For some reason, I keep being blessed by incredible music and wonderful people showing up in my life wanting to do the work.

My current roster includes some more amazing artists. Will Aldrige is a poet. He's also the son of Melissa Cherry whom I've known from back when she worked at the Houston indie press paper, Public News. When Will came to me to talk about doing some songs, I thought that he is a rapper. Turns out that he's a poet whose performance experience is centered on readings and poetry slams. Will is unassuming, and has a literary, almost theatric style of writing. We are creating soundtracks to support his readings and I love it. What we are doing defies the normal music performance vocabulary, so I'm constantly asking him to sing, rap, speak or declaim. I can't settle on the worlds to describe his performance. In my mind, I'm writing and recording the music to a film soundtrack or theater musical (or track to a hip hop song, but I'm trying to stay away from that low hanging fruit only because I feel like that would be giving up too early). Yesterday, while we were working, we started to add orchestral elements to our 'beats' and the soundtrack idea was sealed in my mind. I can't wait to work on it some more.

Speaking of soundtracks, I got to mix another Jeff Walton movie soundtrack! Jeff scored an excellent film for Regent Entertainment, and as usual, I had a total blast just being with Jeff. There is something about my relationship with Jeff. As I've written before, he and I have a common reference point in music when I was playing in Culturcide, and his band, the Judy's were our contempories in the nascent punk/new wave scene here in Houston. Jeff and I never really knew each other back then, but I was a Judy's fan. When I got the opportunity to work with him in the mid '90's, he and I instantly hit it off. Jeff is one of those men in my life with whom I have an instant and deep connection each time I'm around him. I have the greatest respect for Jeff as a musician, and as a person. Besides working on his killer orchestral score, I got to play guitar and mix a separate project-- a cartoon theme song for an anime cartoon being pitched to a certain cartoon cable network, called Sgt. Frog. The song has the entire cast of the original Judy's playing the music,... and.... ME! This is an honor and a thrill. Hopefully, Sgt. Frog will get syndicated, and I'll get the chance to work on the series with Jeff. (Fingers crossed!).

This afternoon, I will be equally honored to return to the studio with The Southern Backtones. Hank (lead gtr., vocals) is a talented photographer/videographer. He's shot a movie, and of course, the Backtones have some music in the film. Today I get started with John, Hank and Todd on what is so far just called 'the movie song'. We're going to record bass, and some backing vocals. I'm changing the batteries in the SK1 as soon as I get to the office. Working with the Backtones, like working with Jeff Walton, is a day with some of my favorite people and dear friends who also just happen to be very talented. Awesome.

Well, I'm awake now. If I don't screw it up, this post should follow that blank page and make it safely to the net...

Trystan Layne, JJ Worthen, Anne Loo, Sarah Sharp, Maggie Walters,.... and,... me

2007-11-21T13:48:00.000-06:00

Steve Christensen mixed the bejesus out of Trystan Layne's last 3 songs. I produced Fade Away. Josh and Averille did an acoustic version of the same as well as a beautiful tune called Victims of the Way. I was really surprised at how quickly the tracking and production went on Fade Away. The guys stuck with some of their early, intuitive performances, which resulted in a track that is tight, focused, and rocks. I think that Averille and Adam were a bit freaked out when I kept telling them they had it nailed quickly on their parts. I KNOW that Josh Applebee was. We came in to track the drums and Josh had everything roughed in on mic ideas and preamps already. We spent an hour setting up, brought up the faders and the drum sound was just there. I believe we repositioned a hat mic, and that was it. Scared Josh to death---he's normally extremely meticulous in setting up the drum recording (read: slow as Christmas -- but worth it). Funny thing, I actually bitched out Josh because I thought he was late for the session,... when it turned out he already had everything done the night before. DOH!

Rich Whiting and finished our project with JJ Worthen. Look for a song or two to be on the Sound Board in the next few days. JJ's project was so good, that I'm left with that super empty feeling, "... certainly we have more stuff to track,... don't I have another part to play?..... Isn't Trystan Layne doing something with me today,...?" JJ, Rich and I are going to work on some new arrangements just so I don't slide into a black depression.

Anne Loo is threatening to get her juggernaut of project duplicated and done. I can't wait to post the art work. Team Jarvis/Workman/Loo/Christensen are meeting regularly to keep the torch lit.

I'm working on Sarah Sharp's next record with Kevin Ryan, and I met up with Maggie Walters to do some songwriting while I was in Austin. Working with Sarah is so natural that I forget that it's work. My connection with Maggie is still just as strong as when we last worked together. By the way, she has an album in the can produced by Paul Leary. I have heard one track from it and if the rest of the CD is as good as what I heard there will be a lot people talking about it. Check her out on her site for release info. It'll be one of those CD's that I wish that I did. Bam!

I'm playing another ambient music performance under the name 'Cautionary Tales', for a Wayne Gilbert curated art show. The first of the series was in Marfa, Tx. during the famous Chinati Weekend Open House in October. Next stop, Huntsville. The visual art alone is worth the trip.

Clarification on the SBT blog

2007-10-29T19:43:00.001-05:00

When I wrote that I was "...proud to have produced it,....." I meant the song, not this KILLER video.

*just making sure*
Dan

The Southern Backtones Video

2007-10-29T19:38:00.000-05:00

The Backtones have released a killer video of the song Forever. Hank, John, and Todd look awesome, and most important, the video looks like the song sounds. The imagery is so true to the guys' vision and attitude about music. I'm honored to have produced it with them and Steve Christensen.

There are some awesome cameo appearances by Logan Bosemer and Allen Corneau.

enjoy.

Release Date for Jennifer Grassman's: Keep Silent

2007-10-23T06:20:00.000-05:00

It took two years, but my Christmas CD with Jennifer Grassman is going to be released this week on the TLM Productions label. This was an ambitious project from the very beginning. Jennifer had an idea of doing a record that featured older and little known Christmas hymns. I asked her if she would be open to my producing and arranging the songs with a modern surreal twist. She agreed and work began in August of 2005.

Check out the review in That Texas Magazine by Howie Doyle.

trystan layne returns

2007-09-27T17:05:00.001-05:00

I'm really pumped because I started a new song with Trystan Layne this week. We've tracked drums and, today, guitars. Here are some shots of the session. The cute little girl is Averille's GF Tina. Oh, when she was a lot younger.

The song is amazing. We are a bit more stripped down in our approach to the instrumental arrangement, but the song sounds huge! Averille and Adam brought their A Game, as did my trusted engineer, Josh Applebee.

Back to the session