"Two Birds" is almost ready to fly the coop! 

ALL THE LATEST ALBUM NEWS, INCLUDING:
Recording News, Photos and Artwork News, Release Tour (!!) Information and All About My New Band!  Read on:

THE ALBUM IS RIGHT ON SCHEDULE and we're getting closer and closer to the finish line!  Months of recording, a meticulous and talented producer, and an all-star ensemble of players.  I can promise you: This album will be well worth the wait.  The first thing I should mention is that I've finally settled on a title.  

1. The title of the album is TWO BIRDS!  That title will make a lot more sense when you see the artwork and hear the songs.  

2. We've just finished the last few recording sessions- Colin Brooks on the resonator guitar and Robby Hecht adding his beautiful voice to the project.  And just last weekend, my bandmate Taylor Powell (more about the band- yet another new development- in a few paragraphs) is lending his lovely pipes to some background vocals.  I've got a couple photos of Robby in the studio to share with you guys, courtesy of Mr. Billy Crockett.

Now that all the recording is done, Billy and Bradley Prakope are hard at work mixing.  While all that's going on, we've also been working on the cover art and liner notes.  Here's the latest on the design front:

4. Photos- I had the most incredible photo shoot with Rodney Bursiel, the same photographer who took photos for my first album.  Rodney's work has been featured in numerous publications and been album art for artists like Billy Crockett, Beth Wood, Cliff Eberhardt, and Shawn Colvin, to name a few.  I'm really excited to have him on board for this project.  The photos he took for the album are beautiful.

I'm going to resist the temptation to post those photos for a little while longer- at least until the album artwork is finished.  We're currently trying on different photos for the cover.  I will let you know as soon as we know which ones made the cut!  

In the meantime, here's a little teaser to give you some idea of what to expect: Rodney had the brilliant idea of taking photos at a boutique in Wimberley, TX called Brocante.  Brocante's this funky little shop full of the quaint and quirky.  Everything from modern designer dresses to old fashioned bloomers and corsets.  There were silk hats and suitcases, umbrellas and earrings, and a store mascot: a little black dog with a bejeweled collar.  It was like being in the attic of a cool old aunt.  Everywhere we looked, there was something we wanted to play with.  "Curious goods," just like their website says.  It was a goldmine for Rodney and me.  We had SO MUCH FUN.  And we got some great photos out of it.  Many thanks to Brocante and to owner Angela Battaglia.  

All and all, Rodney sent me about 400 photos to sort through.  They are all beautiful.  It's been tough deciding on which ones to use for the album!  

5. Design- But the photos are just the beginning.  I'm excited to announce that we've got artist and designer Wayne Brezinka on board to take it from here.  Wayne's past clients include folks like, oh... The New York Times, The Boston Globe, The Country Music Hall of Fame, Willie Nelson, Sarah Jarosz, Matthew Perryman Jones, and about a million other impressive publications, organizations, and people. Producer Charlie Peacock (The Civil Wars, Holly Williams) calls Wayne "...a spring-loaded artist who blends serious skill and whimsy with the ease of breathing..."
Here's a little sample of Wayne's work (Matthew Perryman Jones, Sarah Jarosz, and Willie Nelson):


And his current project, which he's working on as I'm typing this, is my new album!!!  I'm a little excited.  Can you tell?  I really resonate with Wayne's artwork.  Wayne's work plus Rodney's photos and these songs... It's a match made in indie album heaven.  Watch out- this is going to be a cool looking digipak, guys.  Which leads me to the next obvious question:

6. So when does this thing come out already???  I've got good news.  Those of you who contributed to the Kickstarter campaign could have your pre-released, signed copy in your hands as early as mid-August.  You'll be getting your copy and any other Kickstarter rewards you haven't received yet, weeks before anyone else can buy theirs.  As for everybody else:

7. Official release and radio campaign- I'm officially releasing the album in September.  That's when you'll (hopefully) start hearing it on the radio and that's when it will be available through my website.  Cris and I will be doing a DIY radio campaign, packaging and shipping our own handmade mailers to a large number of radio stations.  Then, we'll be following up with those stations ourselves.  In addition to the radio campaign, we've got a few other promo irons in the fire.  We're still deciding how much of what's left of the budget to allocate to each of these promo ideas, so I'm not quite ready to announce our other tactics yet.  But know that we will be working very hard to get this album heard and that we've got some great ideas on how to do it.

8. Release Tour!!- I'll be touring from the end of September through the end of October to promote the album.  We've already got a lot of great venues lined up- 10 so far.  And my husband Cris (who's also my booking agent, God bless him) is finalizing another 5 or 10.  It's going to be a whirlwind of crazy awesomeness.  We're going to wait until everything is finalized to announce the actual dates of the release tour.  But all the information should be coming your way soon.  One thing I can tell you is that I'll be bringing a band with me.  You heard me right.  An honest to God B-A-N-D.

I'm thrilled to be able to say that I won't be playing these release shows by myself.  Keeping me company are my friends Blake and Taylor Powell.  A little bit about the Powell brothers: Blake is 22 and Taylor is 20.  Blake and Taylor BOTH went to Berklee.  They're BOTH multi-instrumentalists and are both in high demand as sidemen.  They BOTH sing.  They BOTH write.  

Blake plays anything with strings, but especially guitars.  (He also plays a number of instruments that don't have strings, like keyboards and drums, if I'm not mistaken.)  Last month, Blake decided to learn the pedal steel for my release tour.  He's already getting work as a pedal steel player, which tells you something about how quick of a study he is.  You can expect to hear pedal steel and probably some other instruments in October...

Taylor went to Berklee on a drum scholarship but he plays a bunch of other instruments too: guitar, keys, bass, you name it.  He's a particularly fine singer.  I could listen to him sing all day long.  We've been working on a lot of beautiful harmonies.  I should also mention that Taylor just put out his first EP of original songs.

We're calling our little trio Fourteen Hundred Miles, since that's the distance between Harrisonburg, Virginia (where I live) and Austin, Texas (where they live).  I'm honored to have them as my sidemen for this release tour, considering the fact that unlike a lot of young musicians, they are not hurting for work.  They add so much to these songs.  They're also just great guys.  I know you will love them.

Taylor and Blake will be sidemen for this release tour, but I will tell you that the three of us have been writing new songs together.  So who knows where that may lead...  Right now, my focus is this album.  I'm so excited to have the boys on board, helping me get TWO BIRDS out there in the world.  

9. End of Summer Shows- I've got a few more dates before the BIG RELEASE TOUR.  Some highlights: July 19th, I'm doing an in-the-round with BettySoo and Colby Miller at the new location of the Dosey Doe near Houston.  I love the Dosey Doe and am so glad to be able to play this show.  The name of the new "Little Doe" is The Music Cafe.  Later that weekend on Saturday, July 21st, I'll be opening for Bruce Robison and Kelly Williams at the Kessler Theatre in Dallas!  It's my first time at the Kessler.  I'm really excited to be there.  So those are two great last minute Texas shows.

I'm also doing a handful of shows with my dad (Pierce Pettis) in August- Fiddle and Bow in Winston-Salem, NC; Monkey House Concerts in Blacksburg, VA; and Historic Cooper's House of Oakland Mills in Columbia, MD.  If you're in the area we'd love to see you!

Two more great shows in August- Lakehouse Concerts with Sally Barris in Montclair, VA and The Stone Room with Chatham Street in Falls Church, VA- and then I'm on to a busy September!  

My website has all the details and up to date information.

Thanks so much for all of your support.  I'm so excited to be nearing the finish line with this album and I can't wait to come to your area and play you these songs.  Thanks for letting me share this journey with you.  Thanks for walking it with me.

I'm grateful for you!

grace 

Confession: I did not do any journaling over my last two weeks at Blue Rock.  Things were just too fast paced and hectic to fit it in.  We got a LOT done, over a short period of time.

Saw Bradley for a day!  (We played some basketball with Billy... really badly.)  

Here are the latest album developments!:

Tania Elizabeth, who plays with Mary Gauthier brought some really killer fiddle tracks to the album.  I wasn't able to be there the day she was in the studio, so we still haven't met.  But I like her already.  :-)  What a talent!

I may have missed Tania's day, but I was there for Dirje Smith (cello).  Dirje played on my first album too- she's a good friend and we've done some touring together as part of a trio with my producer Billy Crockett. 

Here's a little story about how Dirje and I met.  I was halfway through college, writing about a million new songs and was slowly but surely getting better.  Good enough to start thinking about playing out.  

Up to that point in time, I'd always heard harmony lines in my head when I was writing songs and since I was learning to play the guitar, I started hearing guitar chords too.  But this particular summer I started hearing cello.  Every song in my head came with cello lines attached.  It was weird, because I don't play the cello or listen to classical music.  But I'd be lying in bed, nodding off, and these new songs would come into my head with these swelling cello lines underneath.

Then, I was asked to play my first gig- A house concert in Wylie, TX.  My dad sent me an email and told me that a good friend of his named Dirje Smith was going to come and that I should be on the lookout for her.  

Dirje did come, and she brought her cello.  There's always an after-show song circle at this house concert where anyone can lend their instrument, Kerrville-style, to the song, and Dirje came prepared for that.  I liked Dirje right away (but then, who doesn't like Dirje- she's about the sweetest person on the planet.)  On a whim, and because I didn't know any better, I asked if she'd like to play the show with me.  We'd never rehearsed and I didn't know things like the names of chords or keys but Dirje, on a whim of her own and because she's very sweet, said yes.  

And it was great!  Of course, we fumbled a bit.  I wasn't as well rehearsed or as good of a guitar player as I should have been.  I was often sharp or flat and I messed up a lot of chords.  And Dirje slipped here and there with all the songs she'd never heard before.  But all in all, it was an amazing experience.  

There was the cello, out of my head and in the flesh!  It was like magic.  It's not just that I was hearing cello and then met a cellist.  It's that I was hearing cello and met Dirje.  There may be better cellists in the world, but nobody plays the way Dirje does.  It's like the sound of my soul, or her soul, or the human soul in general.  Maybe it's Dirje's experience as a therapist or her kindness that gives her this ability, but she understands the language of the music and the emotion in the song like no one else.  That night I played a new song for Dirje- "Speak Tenderly"- and she knew just what it meant and how to play it.  I was sold on Dirje Smith.

When the time came to make my first album, I didn't know anything about how to sing into a mic or chart a song.  I didn't know what instrumentation my songs needed or what genre I should claim for myself.  But I knew I wanted Dirje.  She was the only musician I insisted on having.  

Billy hadn't met her or heard her play, but it didn't hurt that she'd offered her services for free to help a starving college kid out.  We were operating on a shoestring budget and Dirje came highly recommended by me and by my dad.  Billy decided to give it a try.

The rest is, as they say, history.  Since that first album, Dirje's become a part of my life and Billy's life too and a part of Blue Rock.  She's played on many other Blue Rock projects and tours with the two of us occasionally.  We're actually playing a few dates this summer.

When Billy and I began talking about a second album, we both knew we wanted Dirje.

She brought her usual heart, joy, soul to the project.  She brought out the best in the songs she played on, just like she brings out the best in me.  That's about all I can say about it.  You'll just have to hear it to know what I mean.

We also brought in percussionist Mike Meadows, who's one of the co-founders of Swan Percussion.  Mike is a wizard.  He showed up at the studio with bags and bags of all kinds of cool toys.  Mike's been all over the world.  He's got everything from instruments made out of welded African scrap metal to beer cans filled with beads and wrapped up in duct tape.  

In Mike's world, if it makes a cool sound- it's an instrument.  Nothing's off the table when it comes to what sounds he considers.  He brought two African brushes, that women in Ghana and in Zimbabwe presumably use to sweep their dusty huts.  He paid something ridiculous for each- 25¢?  Something like that.

First time Billy's ever had to mic the floor at Blue Rock Studio.  But we did- and Mike played these brushes on the floor.  It made this incredible organic sound.  The floor made music!  When we'd finished tracking the brooms Mike joked that we'd successfully united Africa, right there on the studio floor.

Here are some other cool things Mike played: a djembe with an antelope skin head (covered with a sheepskin chamois).  It sounded like a heartbeat.

These little Indian bells, sitting on thin cords.  You could hardly hear them but when you did they sounded like fairies.  Which is an appropriate sound, given the classic J.M Barrie/Cottingley fairies concept: Some people believe in them and some don't.  Some hear them and some can't.  I could.  But just barely.  Another thing they sound like: stars.

A pie-shaped container full of little tiny metal beads.  It sounds like the ocean, or a gusty wind in the trees.  

Also: The Cygnet cajon and the Black Swan.  I might as well just show you these.  No need to describe them.  Here are a couple youtube videos: Mike Meadows plays the Cygnet cajon. Black Swan drum introduction.

At one point in the Mike session, we had to silence a choir of guitars that decided to reverberate with the percussion.  Something Mike was playing made them hum along happily.  We slipped some paper towels under their strings so they'd be quiet while Mike was recording.  

What else did we do this last session?  Well, we worked all day long and all night long, on lead vocals and background vocals.  I spent a good deal of time reconsidering one or two lyrics in one or two songs.  Billy and I carefully crafted and executed a lot of harmony parts.  Sometimes standard fare, sometimes quirky and different, depending on the needs of the song.

Billy spent a lot of time mixing, arranging, and "comp-ing," which is where the producer listens to the 20 odd vocal takes we got of that one song, and creates a composite of the best moments in each take.  In general, this has to be done before we can work on harmonies, because we want the harmonies to complement the feel and the notes of the lead vocal.

It was meticulous, painstaking, focused work.  It's going really, really well.  We are about 90% there, in terms of having all the recording material we need to work with (there's still a lot to be done in the way of mixing).  We may add a few final touches in May.

I'm now shifting gears from the fun stuff to the necessary stuff.  It's time to get ready for stage 2:  Post-production.  This is when I make a decision about whether or not to go for an all-out independent release, when I decide on a title, get album artwork and photos squared away, hire a graphic designer, hire a publicist and/or radio promotor.  And, of course, fulfill the last of my Kickstarter rewards.

The gears are turning and the machine is whirring to life.  I'm really excited about what these next few months will bring.  I will keep you posted as the details emerge and the story unfolds.  

Hope I see some of you down the road- get a chance to give you a preview these new album songs.

Sending you love!

grace

2012 Spring Newsletter

2012 SPRING NEWSLETTER

I've decided to repost my email campaigns on my blog- So even if you don't like getting emails, you can get the information here. If you'd like to subscribe to my mailing list, there's a sign-up box on my website: www.gracepettis.com

Tour Highlights

1. Music City Roots Every Wednesday at 7pm, Music City Roots broadcasts live from Nashville with some of the best music around. My dad and I are excited about being on the show- Wednesday, May 2nd! We're in good company: Joining us are Ben Sollee, Pieta Brown, Grant Farm, and Erin McDermott. Visit Music City Roots' website at 8pm ET on May 2nd to see and hear the show live. Here's the link:

http://musiccityroots.com/live-stream

2. Trio Shows! I'm playing just a few shows with Billy Crockett and Dirje Smith this May. It's one of my favorite things I get to do- And I only get to do it a couple times a year. This time we're playing at two of our favorite venues: Uncle Calvin's in Dallas and at Dosey Doe in Houston. We'd love to see you there!

3. Kerrville Folk Festival! Ever since I was a little girl, I've wanted to play at Kerrville Folk Festival. I went to the Festival for the first time when I was a freshman in college, and it felt like a homecoming. I started entering the songwriting contest every year, hoping for an excuse to get back there and of course, a chance to actually play at Kerrville. Last year, I was picked as one of the winners, along with Megan Burtt, AJ Roach, Cassie Peterson, Mai Bloomfield, David Moss. You may know that my dad, Pierce Pettis, was picked as a winner too years ago. What I found out last summer was that my dad won in 1987, the year I was born. That makes us the first father and daughter to win, which is pretty cool. My dad and I are playing together at Kerrville on the first Saturday of the festival, May 26th! Promises to be a big moment in my life. My dad's also playing on the 27th, with the New Agrarians- Kate Campbell and Tom Kimmell. I'm also excited to be reunited for an in-the-round set with my New Folk buddies on Thursday, May 31st. Hope some of you will be at Kerrville this year. I. Can't. Wait.

Album Update

1. Introducing: The band! I've filled in the names of the main players on the new album. There are still some surprises- a few players to come. But this is the main band- Rick Richards on drums, Chris Maresh on bass, Daran DeShazo on guitar, and Kevin Lovejoy on keys. I'm SO EXCITED about what they did for the album, which is evident in the journal I am keeping about all this:

http://gpsophomorealbum.blogspot.com/

2. Management: Some of you may know that I was in talks with a new manager and negotiating a contract. Until recently, I was very sure that this person was the right manager to quarterback the release of the new album. Unfortunately, I've decided that working with this person is not what's best for this project or for me. Although I decided not to take things further, this person and I are still on good terms. The process was not a negative one for me, but it's definitely been a learning experience. It just goes to show- This journey has been unpredictable. Just when I think I know how things are going to unfold, circumstances change and I have to change direction accordingly. But, rolling with the punches and moving forward-

3. What's Next?: I've got two tentative timelines- A production timeline and a promotion timeline. Because of all the unknowns and variables that come with being where we are in the process, I'm keeping the actual dates on my timeline to myself for right now. But here's a look ahead at what's next:

Next steps- Production: So far, we've recorded virtually all of the main band tracks (rhythm guitar, lead guitar, vox, drums, bass, keys). So, we're making great progress. What's next on the production end of things are a few final recording sessions with several more players in April. I will, of course, keep a journal and share that part of the process with you. Once we've got those tracks recorded, and we've decided more or less which takes to keep, I'll share the names of the last few players. I hate to hold out on you with the names of the players involved, but I promise to tell you everything I can, as soon as I can. I will fill in every blank when the pieces fall into place.

After recording, we will be mixing and mastering. Some mixing is already happening. After that comes manufacturing. That's when the artwork, photography, and final masters come together to make the physical product. Deciding on an artistic direction will happen when we decide to be independent or alternatively, to sign with a label. And of course, label involvment would affect our release date. Knowing for sure that this is an independent release would mean being able to announce a release date soon. We're working hard to answer these questions. We will keep you posted.

Next steps- Promotion: Although in the last few months, I have been intensely pursuing a management contract, I have also been working hard to put together an independent course of action for releasing this album. Cris (my husband and agent- www.redcranepromotions.com) and I are not without options for an independent release. We're strategizing and researching everything from radio promotion to publicity to merch and I'm confident that whether or not we have label involvement or management in place, we'll be able to give this album the promotion it deserves. After all, thanks to you guys, we have a budget this time. We're in a very good place. Of course, we are still open to the idea of label involvement but we're working hard, taking this one day at a time, and making sure we have a solid independent plan.

We do have a third team member to announce: Kevin Nordlie is our new Media Relations guy! He's taking a lot of the weight off our shoulders by helping us promote the tours, contacting media outlets on my behalf (newspapers, radio, tv, blogs, etc.) This helps bring more people to the shows. Cris and I are so excited to have Kevin's help. He's already been an invaluable resource to us.

4. Why the secrecy? This is one question I've been getting a lot lately. I know my method of making this album is a little odd. I've been keeping a lot of details to myself- the title of the album, for one, and the names of the songs- until I'm really sure of them. It's hard not to give you every detail that I've got, as soon as I get it- about the recording process, creative decisions like the title of the album, and where we are with things like management and labels. But I've got my reasons:

1. I like the artistic license that the discretion gives me- I like that I have the ability to change my mind when it comes to creative decisions. For one thing, we can't keep everything that gets recorded- Billy's job now is to pick and choose, to whittle the tracks down to just the essential parts. That creative process works best when Billy and I both feel like we have freedom and permission. It's a little harder when there are expectations as to what musical choices we make. I've already been grateful for the ability to change my mind: I've gone through several titles already for this album. I may change my mind again, after we bring in the last few players. Billy and I have also changed our minds several times, about which songs will make the cut and about the musical approach we're taking. This album sounds like me, but it's different from the last one. I'm taking some bold new creative steps.

Billy and I weren't sure of what these songs needed when we first dived into recording. Rather than just capturing a sound that's already been created, Billy and I are actually in the middle of creating something new- Even we don't know exactly where it wants to go. But we know we're on to something great. I can't even believe how good it already sounds. But I want to make sure I get this album right before I share it with you.

2. Practically, being really sure before I tell you guys stuff means that I can avoid embarrassing retractions. It means that I can let this whole experience unfold the way it unfolds. Am I making plans? Yes. I am making a LOT of plans. But, as I've learned, circumstances change and I've got to be able to change accordingly. It's good to be able to know that when Plan A doesn't work out, I can go with Plan B and not feel like I'm having to take back any promises to you guys.

That said, when this thing is over, I promise to fill in every blank. I'm an open book. Once this chapter is written, that is.

Thank you, a million times over, for being a part of this, for caring about it, for bringing it to life, for seeing it through. I am so grateful for the support that surrounds me. I feel so affirmed by you guys- And that affirmation gives me the confidence and energy I need to give my best to this project.

I know we're making something special.

THANK YOU and much love,

grace


Thanks to Rodney Bursiel for use of his beautiful photography.

Introducing... The band! (So far)

As promised, here are the names of the guys who played on the record: Chris Maresh, Rick Richards, Daran DeShazo, and Kevin Lovejoy.

I've gone back and added all their names to my previous posts, but I haven't yet filled in the blanks for the names of the songs on the album.

I know this has got to be frustrating, but I've got my reasons.

For one thing, there is a song in the list that doesn't have a name yet. Not kidding. Also, Billy and I want to feel free to change our minds about any or all of the songs on our list.

Also, there are some REALLY NEW songs on the list- songs that I wrote as recently as January. I don't want to let the cat out of the bag too soon. It's going to be nice to save some surprises for the album release. It wouldn't be a new CD if there wasn't something new on it.

I thought it was time to give you the names of the core band because we've tracked everything we're going to track for each of these guys. They all did amazing work. I can't believe how good this is sounding. We won't keep everything we got from them. Right now we're whittling down the tracks to just the essentials. We've got a ton to work with.

We're not done recording yet. There are a few more musicians coming in to add their magic next month and we haven't recorded harmonies yet. But what we've got so far is wonderful. And we're well on our way to an album I'm already so proud of.

Here are some more random photos from the Blue Rock sessions. Thanks for all your support in making this happen.

2nd Blue Rock Session, DAY 7

Encouraging morning! The guys killed it on "Little Blue Bird." For a song with as many emotional facets as it has, it turned out to be easy for the guys to play.

They kept it small, simple. Confident but contained. Left plenty of room for the vocal and the constant mouthful of lyrics.

We didn't overthink it. The one-take wonders gave it just a few passes and called it a day.

Daran was the only one with a difficult assignment for "Little Blue Bird." We asked him to give the song a modern feel with his instrument to keep it from being overwhelmingly Nashville. Just enough Nashville to remember that this is an homage to the Bluebird Cafe.  Daran pulled it off, successfully integrating this song into our canon.

...

"Lighthouse": Played the scratch vocal and guitar for the guys a few times and gave them an emotional layout of the land. What the verses do, how the dynamics tell the story as much as (more than?) the lyrics. Sensitivity on the part of the guys to the emotional narrative is paramount. This song has so many verses and no bridge, so it runs the risk of becoming monotonous unless the instrumentation can divide each emotion from its neighbors.

Well, they got "Lighthouse" right too. Months spent figuring out how to sing that song and they figured it out in minutes.

Makes me want to write something for a choir of didgeridoos in 5 different keys and time signatures - just to give them something that's a challenge. :-)

Lunch was leftover heaven. Everything we ate this week- buffet style.

Today was the first really nice day since winter started. Warm and sunny enough to eat lunch outside. It felt like a perfect summer day. Birds chirping, fluffy clouds in bright blue skies, a hint of a breeze whispering in the trees and sunlight. Was a treat for me after cold drizzly days in New York.

Sitting outside on the deck, with Hill Country splendor in every direction, warm sun on my back, eating Chris M.'s birthday cake from yesterday, I thought to myself- This must be the most perfect moment in human existence.

2nd Blue Rock Session, DAY 6

Started off the day the way I usually do- 8AM groggy shuffle into the warm kitchen where Dodee's already up and has a fresh pot of coffee waiting. Grab coffee and say hi to Chris M., who's surprisingly a morning person (he gets up and makes himself an omelet every morning).

Back to the bathroom, where I call my Cris with Google Talk, answer the one or two really pressing emails, take a shower, get dressed, do something with my massive wad of hair.

Then back to the kitchen for a quick bowl of Lucky Charms before we get started.

We spent the morning working on "Moving On," a train song that I co-wrote with none other than the undeniable Miss Megan Burtt.

It's incredible how well the guys are getting this song. Before Billy plays each scratch guitar and vocal for the guys for the first time, and hands out the charts, he asks "Grace, do you want to say anything about this one?" I usually say no- not because I don't have anything to say, but because I think usually the song says it better (that's why I write songs) and also because I want these guys' pure, unfiltered first impressions and ideas.

Billy and I didn't just bring them in to be players- like those hot shots in Nashville who crack their knuckles, assemble your songs into 1s, 4s, and 5s and proceed to lay down the expertly executed and expected.

Nope. Not at Blue Rock. We don't just want these guys for their skills- we want their ideas. Every one of them has creativity coming out of his ears.

Kevin reminds me of my brother George. And by that, I mean he reminds me of every man in the Pettis family, to the nth degree. He's a ball of fire! So many, many ideas rolling through his head like a river. The hard part is knowing which one to pick, grooming it, giving it room to take root. I love every single thing he plays.

Chris M. is steady but soulful. He never overplays. Every note is needed. Every one is vital. I don't what else to say. It's that simple and awesome. Like a heartbeat.

Rick's a machine. Sometimes I think I could just listen to his drums groove for hours. He's 100% in the pocket, 100% of the time. You can just fall into those grooves and stay there all day. And you have the feeling that if the song didn't have an ending, he'd just go on and on indefinitely.

And he's funny! Good Lord. This morning he relayed a road trip anecdote from his travels with Slaid Cleaves to Daran and me. The Scottish tour manager wants them to take the highway but Slaid has a GPS. He insists on taking the seemingly quicker route, through the winding backroads. They do, and soon come across a herd of sheep stretched out leisurely across the road. They can't get through and they can't turn around. All the sudden, it gets worse. It's some kind of harvest fest or something similar and the local men (probably sheep herders) come out of a nearby building, completely blitzed. The herd of herders swarms the van like something out of a zombie movie, eyes glazed, skin sweaty, unintelligible sounds issuing from drooling lips. (That's what I pictured when Rick was telling this story.) They're trying to get in to the van but the band's keeping seatbelts on, doors locked.

The route via highway and main roads have taken 1 and 1/2 hours. "How long did the backroads route end up taking?" asked Daran. "4 and 1/2 hours," says Rick. And then when they got to the venue, the promoter was standing by the door, tapping his watch. Promoter says indignantly to the Scottish tour manager: "What happened to you guys?" Scottish tour manager: "Yank had a GPS."

Hilarious. Rick should really start writing this stuff down, so the rest of us don't have to. It's way better when he tells it.

Got waylaid from my original intention for this entry - little character sketches of each of the guys. Onward-

Daran: Daran's so articulate on his instrument. Every line song's like a melody, like a voice. Even if it's not really bringing attention to itself. I'm really glad Daran's playing on this album. We're going for a pop sound in so many of these tracks, but not a cliche pop sound. We need an electric guitar player that does something slightly out of the ordinary with the instrument because it's a sound that's so familiar. Daran does that. He rocks hard, or wails, or grooves, but never becomes a cartoon of himself. Always something original.

Billy and Bradley man the control room. Bradley's got a knack for hearing little details that turn out to be vitally important. Billy's got the ears for the big picture. He knows who should be playing the groove and who should be adding the personality- whether it's sweetness, meanness, sadness, or whimsy. He gets me, gets the song, gets the feeling that the vocal implies and knows how to meet its needs with the other instruments, with the tempo, the dynamics, etc. He knows what the songs need before I do, usually.

They relate all that stuff to each other in a funny language of ism, acronyms, letters and numbers. "Goose necks," "figure 8s," "echo boy," etc. They rattle off names of mics and other gadgets - they sound like the names of automatic weapons.

I feel as if I'm in a country with a language I only have a limited proficiency in. I hang back, listening, wanting to participate and communicate, but not willing to show off my obvious ignorance to do it.

...

"Murder of Crows": This may be the best song we've recorded so far. The arrangement is perfect. I'm really happy with it.

You won't be shocked to hear that it's another Team Burpettis song. Something about writing with Megan Burtt brings out a brashness in my writing that I don't seem to be able or willing to explore on my own. It's so fun writing with Megan.

Singing this song is fun too. I get to be another person for three and 1/2 minutes.

The band is sounding amazing. Everyone knows just what to play, where to put it and when. They've given this song an incredible groove, mood, feel, whatever you want to call it. Makes me wonder if I'm going to like playing these songs alone anymore. I am addicted to having a band.

Billy says, "You play all the gigs between here and the sold out stadium by yourself and we'll meet you there."

Yep. Makes me bound and determined to get better at this - to get heard. I want to play with a band that's this good.

I only get them for 3 days this time. I've got to earn the privilege of playing with guys like this more often than that.

Did I mention that I love everything about the way "Murder of Crows" is sounding? Too many things I like to list them all but especially - the chords of the bridge w/ all the instruments.

One idea for an intro: Those chords played just in the high register of the keys. Sounds like an Edward Gorey cartoon looks (creepy as all get out) and leaves the listener completely unprepared when the first verse comes sauntering in.

I'm trying to use my voice to this song's advantage. It's really written for a gruff, whiskey and gravel kind of guy (at least in my head, it is). I've got these sweet, clear tones to work with instead. So we're trying to juxtapose that with the grittiness and badassness of the other instruments. If I can keep the vocal breathy, even, indifferent sounding, it's almost creepier than a harsh vocal. It's like the difference between how a shark attack is scary and how a sociopath is scary. I can't make my voice do shark, but I can make it sound sociopathic. Weird to go there. But getting in character is really important when it comes to telling the story. And I have to admit - it's a lot of fun being someone else for a song.

...

We just recorded "Here in My Heart," which is in critical need of a new title. I don't even say the title line that way anymore. I leave out the 1st word - "here" - and without that word it's an insipid title ("In My Heart"). Can you say, painfully cliche? Maybe I should just call it that. :-)

The problem is, without the context of the cool intricate lyrics in the verses, the chorus is nothing but cliche. So, no phrases from the chorus really work as titles. I don't know what to do about it. Billy says he has some ideas... [This song was eventually retitled- "Love You Staked Your Claim." I never was totally happy with any title we came up with.]

Anyway, back to recording. This one really surprised us all by how uniquely beautiful it became. I was thinking it was going to sound like just your average run-of-the-mill love song.

Switching gears from "Murder of Crows" turned out to be easy as pie for the guys, who instantly went into delicate, sweet, pretty mode. LIke they changed into their Sunday bests. I couldn't believe the same instruments could sound so different.

The real gem happened when Daran and Kevin found a beautiful descending melodic line. The keys and electric guitar both playing in a high register, similar long, warm resonating tones so they melded together into one thing. It was liquid lovely - sounded to me like drops of gold making ripples. (I know that metaphor is beyond cheesy. Yes, I do put words on paper for a living. I mean, geez. I apologize. But it's the only thing I can think of to describe the sound. I guess this is why you really need to hear it.)

I think I'll dedicate this one to Cris on the album, since he was so much in my mind when I was writing it. It's also a lot about Jesus, actually. (Funny how those two loves sort of become one feeling in me.)

Had a nightmare last night, speaking of The Boy. I somehow got separated from him in vast, underground mall in Germany or Austria or somewhere similar. I was frantically begging teenage shoppers for their cell phones so that I could call him and find out where he was. But everyone was mean to me - no one would give me a cell phone. Finally, someone relented. I was able to reach him and find out where he was.

Looking at the "You Are Here" map mounted on the hallway wall, I realized that I was miles away from him. I would have to walk. In a security video monitor on the wall that showed different parts of the mall, I could see a video feed of Cris slumped against the wall, crying. It was heartbreaking.

I walked miles and miles until I did manage to get to him. (Glad I made it before I woke up) "Did you think I'd stand you up?" I asked him when we'd reunited, because all the sudden it was our wedding day. "No," he said, and smiled. "I knew you'd never do that to me."

17 days until I get to see my Boy.

(I'm pretty sure this dream is a manifestation of separation anxiety and guilt.)

...

Last song of the evening - "Halley's Comet." This song almost didn't make the cut. Not because we don't love it.

But it's so intensely personal that Billy and I were initially afraid that there wouldn't be room for any creative modifications. After spending twenty odd years writing and rewriting this song until it said exactly what I wanted it to say, exactly the way I need to say it, I wasn't prepared for any major modifications.

But eventually, Billy and I both decided that we needed to record it. It's one of the best songs I've ever written: seems to be consistently universal in ways that surprise me, given how personal it is.

So we decided it was worth diving into. High maintenance as it is, it feels essential.

...

I should mention- day was Chris M.'s birthday! Dodee made him a cake and we all sang "Happy Birthday." But I don't need to describe it to you. I've got it all on video. Chris got a birthday boy sized portion, which hopefully won't make him lethargic for the rest of the night. :-)

Dodee's dark chocolate cake with almond cream cheese frosting = deadly for late night recording sessions. But worth it. Totally worth it.

...

Update: The guys have totally figured out "Halley's Comet." Billy had the genius idea of getting rid of my jangly guitar part and replacing it with an elegant, soft, dark, spare acoustic piano part. Suddenly, the whole song has opened up. So much room now for the vocal to soar.

So much room now for the vocal to soar, if you'll pardon the metaphor.  Pun unintended.  The guys are currently "painting the night sky," as Billy puts it.  A little twinkly high notes here and there, like stars.  A whole lot of dark grey blue twilight with moody, brooding chords.  And space- endless space.  Celestial comet noises from Daran's guitar. 

I love the ending they've put together - soft understated chords fall steady into the groove of the progression, getting louder/stronger.  Comet noises sail over it all and then the whole thing dissapates into the Comet's tail, trailing off and ending the song.