April 19th Post - Love, Lust and Rock n' Roll
Posted by Double Barrel on 4/19/2006, 12:45 pm
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So the homepage posting got a little too long with photos and all, plus my memory from that time is a bit hazy. I remember a lot of little disjointed things about the recording:
- At some point, I can't recall if it was before or after Domino's, we attempted to record with Mark Lindquist at the Ballyhaus recording studio in downtown. I remember feeling particularily upset because Mark used the $80 tape we purchased for our session for recording some Keep Aways tracks without asking our permission. The next time we entered the studio with him we couldn't complete one of our tracks because of them being on our tape. That certainly solidified our decision to not record with him any further. Man, that still makes me kinda pissed off ...
- Sacred Heart was rather new and unnamed at the time of our recording, and we favored the name The Crying Room because the control room was actually the sealed-off space where mothers would take their crying babies during a church service so as not to distract the other worshippers.
- The drums were recorded in the entryway of the church because the cavernous space caused too much reverb, this had the effect of isolating me from the rest of the band which kind of sucked.
- The guitar amps were actually placed and mic'd in the bathrooms for the same reason, only Hot Rod's vocal takes really utilized the acoustics of the church.
- I don't recall leaving any songs on the cutting room floor save for "Smile, I'm Gonna Cut You" which we (I) kept speeding up too much. It was decided that the song was old and not important enough to warrant inclusion.
- Johnny Heartless' guitar parts were overdubbed by Richie on day after his dismissal, however he can still be heard singing backup vocals on "That's Rock n' Roll".
- We smoked a ton in-between takes in that little courtyard off of the control room. I believe we also found a pair of underpants out there one day.
- Richie played a p.o.s. tambourine we borrowed from Sarah Heimer on the recording of "In My Arms Tonight" that barely makes it into the final mix.
- The album cover was meant to be an homage to the No Limit rap albums from the 90's where there would be cars and bling and a picture of the artist looking bad-ass. The hope was originally to have two Duluth cop cars in the bottom left and right corners, as well as a photo of Rick Boo smirking and chomping on a cigar while counting a thick stack of bills. Unfortunately I didn't work hard enough to secure the assets before we went to press.
- The album cover was a Photoshop job of all the best poses from the photo shoot. I remember specifically replacing Richie's and my faces. I had hung that red blanket on the wall behind us to make the outlines around our heads easier to blend in with the background used on the cover.
- The disc art was designed as an homage to when albums were first being released on CD, before all the fancy on disc color printing they have today. I think we looked at Use Your Illusion II and The Replacement's Tim for a reference.
- I personally printed, hand-cut and packaged all 100 copies of the CD that we made and sold. I printed them on my work's $15,000+ color laser printer after-hours.
- The CD Release party was the first (and I believe only) time when the stage was moved to face the stairs of the Norshor Mezzanine. It made for some traffic problems but it did put us right up close to the fans that showed up. Doogla had brought that massive skull and made awesome looking foam cutouts of our band logo and placed it behind us. I have some photos of the show but none that really showcase how awesome that thing looked.
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