Thumping right along… That’s what I’ve been up to with getting these singles done and finished with my co-producing friend George Leger III. We put the final touches on yet another song called “Thump Thump Thump”.
That put’s the count at 3 songs completely finished.
The excitement is building as the impending release of single #1 draws nearer. Amazing and magical is how I describe it. The word that those few who have heard it is: Wow!!!
Pretty cool responses. Most of the time, music doesn’t make people say “Wow!!!” Now it does.
Thumping
How do I contain the restraint to releasing it? Good question. This is by far the absolute longest I’ve had to sit on a finished product. Main reason is not for building hype. No, it’s more simple than that. I really want to make sure the song gets the best possible launch it can have. That unfortunately takes time. Time, that a lot of people don’t have the patience to control.
Heck, I’ve had moments where I’m like, Fuck It! Lets do this!
Then the moment passes and I remember that there’s a plan. It’s a good plan. A winning plan based on those who have been asking and talking with me about it.
At this point we’re on to single #4, it’s so close to finish I can practically taste it…
What are 5 things that happened during the recording sessions for Thump Thump Thump? Come watch a video clip that showcases 5 things that happened or were observed while we were in the studio recording. Huffington Post, eat your heart out! I only write that because they weren’t privy to the sessions, nor would I give them the exclusive that I’m giving you.
What goes into the making of a hit song? This is a curious question. If there was one true answer, everyone would be doing it, and nothing would actually end up being a hit. Right? Conspiracy theorists like to believe that the major labels have some sort of computer algorithm that can predict if a song is a hit or not. As the British say: Bullocks. They don’t know any better than any one else, the different is, they’re in a position of power to sell something.
Not long ago I came across a new form of capos. In galaxy very close by. Actually it was this galaxy. More specifically it was in a town known as Anaheim. The Anaheim that sits in the California region of the planet earth. Capos are a funny business. Lots of musicians use the cheapest products they can find without thinking about how they affect the sound. I always look for the thing that will get the great sound. Oddly enough capos and the kind you use can make a difference. Which is why on such a faithful day where I found out about a company called G7th and their capos, I instantly made the switch. Why? Because they’re awesome. Actually it had a couple of better reasons. First their weight. They have a good solid weight to them. Second, their ease of use. They work on some kind of engineering magic where you can set the tension as simply as closing your fingers. That way it doesn’t clamp down too hard on the strings and push them out of tune. It’s a love thing.
We all like to talk shop in the studio, especially if it involves name players. Talking about amazing musicians we’ve had the pleasure or displeasure of working with, playing with, or meeting. Come on inside Utopia Parkway as George Leger III, Jesse Stern and I talk about some people we’ve met. Ok, mostly George talking about some amazing players. But still step inside, walk this way, you and me…
I’m usually a hermit in the studio, but I’ve opened up a little and had a little episode of backseat producing that led to a discussion that involved Manolo Blahnik shoes. In the past, I rarely let people in the studio while I’d be singing. Hence the reason why I’d produce them myself. I’m changing things around. Especially since I’ve been having George Leger III producing vocals for me.
Come with me as we give the 
Come with me inside RA Audio studios as we set up a Taylor Guitar’s K4 EQ. Here’s an outtake from the recording of my upcoming single called “Till We Meet Again” as Robert Navarro and I go through the pre-production of my Taylor 615ce. The amazing thing is that it didn’t take a very long time to plug in the guitar, plug in the K4, wire it to the pre-amp. Of course Robert and I spent a bit of time listening to several settings then proceeded to make a few minor tweaks. Then it was off the race, or rather off to the recording track.
One of the things an artist will discuss during the recording is how they will go about singing a breakdown. Which is exactly where I’m about to take you in the following video. George Leger III (co-producer), Jesse Stern (co-writer) and I take a moment to figure out the correct way for me to be singing the breakdown in Till We Meet Again. Jesse takes charge to give a mental picture of an example that should give the right vibe.