After Gaucho
'90-'91,
Recorded at Harrell Lane house
Most of the lyrics mean nothing in particular. S. and I had been
talking about the importance or unimportance of art. She believed
that life was art, therefore art as most people understand it wasn't
really important. She probably still feels the same way. I
disagree.
Featuring Todd Minehardt on fretless J-Bass and Jet
Brown on all other instruments and voice.
About The Studio:
I always referred to it as Doma Studio because 'doma' means 'home' in Russian.
It consisted of, in its final configuration, an Ampex A440 ½"
4 track (c. 1972), 2 Ampex 351 ¼" 2 track decks (c. 1955 but with
solid state amplifiers), a Tascam 6 in/ 4 out mixer that I had rigged for
stereo effects, an ART reverb/effects unit, an Akai sampler, Gibson Les Paul
electric and Martin acoustic guitars, Fender bass and Sequential Circuits
Prophet 5 synthesizer. At various times it also included a Teac ¼"
4 track, a Tascam cassette 4 track and a Moog synthesizer. The rhythm composers
('drum machines') were Rolands. The piano track for Zoon's was recorded with
the cassette 4 track in a practice room at school. I believe that Works on
Paper was partially recorded on the Teac ¼" 4 track.
When
we dubbed the master tapes to CD we didn't have the idiosyncratic and temperamental
dbx noise reduction unit that all this stuff had been recorded with(actually,
we had it but, typically, it refused to function) so we dubbed without noise
reduction. Thus there is more noise on these tracks than there should be.
The fact that all this stuff was recorded using the ping-pong multitrack technique
accounts for other noise and density issues. The studio was recently given
away after spending almost 7 years in a friend's shed.