Frank Gutch Jr: Behind the Sweet Relief III Album with Sheldon Gomberg; Janie Jones (It’s a Movie), Eef Barzelay, and Gemma Hayes; It’s A Beautiful Day, Today

FrankJr2I have written about Sheldon Gomberg and his support of Sweet Relief before.  For those who don’t know, Sweet Relief is a charity organization dedicated to helping musicians in need.  It was founded by musician Victoria Williams to help her meet the financial challenges of a serious illness and gained a life of its own shortly thereafter, the funds going to a wider expanse and eventually going to all musicians, if they qualify.  Yes, it is a business (though nonprofit) and has to have guidelines to exist and survive.

gomberg2Sheldon, in return for aid presented by Sweet Relief, decided to do something to help them and came up with the idea of a compilation album, all proceeds beyond costs going to SR.  Two had been done before.  This was the third.  It wasn’t easy setting it up in the first place, but Sheldon took his idea to the organization and to friends and, eventually, was given a green light.  You might think it easy, gathering friends for a cause, but even a good cause is hard to organize.  It took months just finding people to help.  It took months getting the people on the same page(s).  Sheldon did it.  I covered a lot of the story in a previous column (click here) and wrote a track-by-track review of the album (click here).

I knew a little bit about how the whole thing came together, but I wondered about the musicians.  Just how do you go about getting that many musicians in the studio to record songs for which they know they will not be paid (outside of the feeling of doing a good thing)?  After a bit of prodding (not much, really), Sheldon sent me some notes.  This is a companion piece to the track-by-track review linked above.  This is a how and sometimes why behind the connections between Sheldon and the musicians, pretty much in Sheldon’s own words.  This is the personal side of the music.

sexsmithRon SexsmithRon was the first person to record for the project. His attitude, cooperation and enthusiasm really set a nice tone for the whole thing. Ron came to L.A., we picked him up at his hotel, brought him to the studio, and thus began Pennies From Heaven, both the song and the album. We treated the song as two different parts— the intro being more orchestrated and tipping its hat towards the original, then breaking down to Ron’s vocal and guitar with Pete Thomas accompanying and building from there, the strings returning at the bridge. Ron and Will Gramling played the intro together, pump organ/vocal, and then Will dropped out and Ron took over on guitar at the main body of the song. We got the take and Ron went off to a songwriting appointment he had scheduled. I had Pete come in, and he gave us an emulation of ‘thunder and rain.’ Then I added strings and bass to the stew, and had Will come back to add some B3 organ. I kept it fairly sparse as I just wanted an intimate song with ‘that voice’ that I love so much!!

shelby-lynne1Shelby LynneShelby used Jack Shit as her band— Pete Thomas, Davey Faragher, and Val McCallum. The band came in and set up before Shelby, and we got sounds, all set up in the same room— vocals, backgrounds, and all. We put up a mic where Shelby would be and I had someone test it to get a basic level and pre-settings. Got it set where I figured it would be about right. Shelby arrived after her long drive and there were five or ten minutes of greetings and pleasantries before she said, ‘well, let’s run through this.’ Everyone manned their battle stations and I headed for the control room. By the time I got to my chair, they were starting up. I looked at Jason Gossman and said, ‘hit tape,’ just in case. I reached for the mic pre to adjust. Shelby looked up and asked, ‘are we rolling?’ I nodded yes. You hear the tape start up, and Pete counted them in. I’m making little adjustments and all’s going well. They’re killing it, so it’s a little stressful as this could be it and I have one chance to get it right, on the fly. I do NOT want to be the one to say, ‘um, sorry, we didn’t get it!!’ When she hit the chorus and dug in a little more, there was a little overloading, just a hair, and I jumped to react as quick as I could while making as subtle of moves as possible. The whole rest of the take I’m praying we’re okay, or I that I can fix any problem. They got to the end of the take, and everyone knew that was it, but I had to ask, ‘um, can I get one more, just in case?’ thinking I might get pieces if I need them. They ran it again and came in to listen. I was dreading that first chorus, just in case, but it sounded great.  You can hear it heating up a touch on the vocal on a few words in that chorus, but I’m glad it’s there. Adds to the attitude. We didn’t even bother listening to the second take! I did later and it was great, but the first one was the one. A little more chit-chat and she was gone. She spent more time getting there than she did at the studio!! She’s so dang talented!! One take, everything, top to bottom, live in the same room!!

samphillipsSam PhillipsSam was excited about doing the Cy Coleman song, Big Spender. Sam is with Notable Music and they have the Cy Coleman catalog as well. Nice tie-in! Sam and her band, which consists of Eric Gorfain, Jennifer Condos, and Jay Bellerose, came in and knocked out what you hear in one live performance— No overdubs, just as Shelby had done and just as a few others on this record. That’s the way I like it!! 🙂 These guys have played together a bunch, and it shows! Jay always has the most interesting drums, sounds, and, hell, style!!

k.d. LangA number of my friends have been in k.d.’s band over the last 10 years or so— Greg Leisz, David Piltch, Danny Frankel, Sebastian Steinberg, Ian Walker, and in this case, Josh Grange, (who still plays with her) who arranged for her to come in and do a song. She chose the Merle Haggard song How Did You Find Me Here.  k.d., Don Heffington, Josh (on keys), and myself played the live track. Man, what a voice(!!), and she had definite ideas of things she wanted/wanted to hear. We got the track and k.d. rode off into the sunset (or a prior commitment) and Josh, Tony Gilkyson, Eric Heywood and I finished off the song. Eric and Josh played the two pedal steels live together, trading solos. Tony played that great old gold Kay guitar that sounds so dang good in his hands! Josh did a background vocal, and voila!

Ben_HarperBen HarperBen was actually, I believe, the first person to say he’d do the record. When I asked him, I didn’t even get to finish my sentence and he jumped in and said, ‘what-ever you need!’ Choked me up inside! 🙂 But schedules being what they are and Ben being insanely busy, we were never able to make it happen.  After I had finished the record, Ben had me booked for about 4 months and he and I were sitting around yakking one night and Ben said something to the effect that ‘it’s probably too late now…’ and I said, ‘well, no, I’ll push everything back to have you on!’  I said, ‘let me play you a little of the record’ and he was flipping out over it.  ‘Can I do Crazy Love?’ he asked and I’m thinking, ‘you can do whatever the hell you want.  Are you kidding?!!’ 🙂 So we set up the date.  Ben got his band— Jesse Ingalls, Jordan Richardson, and Jason Mozersky, as well as background singers C.C. White, Pebbles Phillips and Marti Walker to come in and we cut the whole thing live. When we were done, I asked Ben, ‘What would you think about putting vibes on, like on the original Van Morrison record?’ He said, yeah, let’s do it!!’ So I called up Gary Mallaber, who played on the original Van Morrison classic, and asked if he’d be into it! He said, ‘yes, definitely!’ and he told me a great story about the original session. When they were going to put the vibes on, Gary couldn’t find his mallets, so they found some screwdrivers with those rubber grips on the handles, and that’s what he used. Necessity is the mother of invention!  I told Ben I had the guy from the original song playing vibes and he was ecstatic, and that’s what you hear— the live band, all in one performance, with Gary added to it.

Genevieve ToupinI had been asked if I would be interested in mixing Genevieve’s record, The Ocean Pictures Project, and upon hearing one song, the answer was an emphatic ‘Yes!’ She and her co-producer, Benoit Morier and the head of her label (DisquesNomade) Eric Blachard flew down from Montreal for the gala event! They had me booked for X amount of days, but we finished a day or two early and since we were having so much fun and I was so into her and her music, I said, ‘Why don’t we have some fun and spend the day tomorrow recording?’ She was excited by that, and then later she told me she wanted to record Heart Of Gold, amongst a few others. We set her up at this great old piano I have circa 1916 or ’17 and put a nice old RCA ribbon mic in front of her, and she did….THAT!! Wow! I said, ‘Lemme put down this idea I have’ and grabbed my upright and bow and put down a pizz track and some arco stuff. (Ed. Note: That’s shop talk, folks!)  I set up a rough mix and played it and said, ‘I don’t think it needs anything else. That kinda says everything it needs to’ and that was it. I was originally going to use this on a follow up record, as I was done and full up on Pennies From Heaven, but I kept listening to the song over, and over (and over, and over again… ’cause she’s so damn mesmerizing) and finally decided the record wouldn’t be complete without this song.  So Ben & Gen got added at the last minute. Actually, after the fact. We had to remaster, but it was so worth it. If you even love this track 1/100th of the amount I do, go check out her fantastic record The Ocean Pictures Project.

Joseph ArthurJoe’s my bro’! I met Joe from working on Rickie Lee Jones‘ record, Balm In Gilead. One of her managers, Peter Wark, also manages Joseph. Peter and I got on so well during the process of recording Balm, so when he was on the road with Joe coming through L.A., he called me and said, ‘I want to bring Joseph by to meet you. He’s got something he might want to record (like that’s a surprise!!), but I can’t tell you what it is.’  When they got into town, Peter brought him by and we vibed, and the space worked. Next thing you know, we’re making Fistful Of Mercy with Joseph, Dhani Harrison, and Ben Harper. It was a blast!  I’ve worked on a bunch of stuff with Joseph since then. That guy is a machine!! He makes ME look lazy!! Anyway, having Joe on this record was a no-brainer! I mean, duh!! 🙂 He picked If I Needed You from my list and brought his friend Russell Simins in on drums and I called David Piltch, Will Gramling and Ben Peeler.  The song was cut live with Joseph in the main room right in front of the drums and next to Ben. Once we got the take, Joe added a background vocal or two and that was it. Joe, Russell and Peter then went off in search of Mexican food!  I mixed the song while Joe was in China and sent it over to him to make sure he was happy with it. He said, ‘You nailed it! It’s perfect.’ Coming from Joe, whose mind works so fast and hears so many things, that was huge!

gombergrickieleeRickie Lee JonesRickie and I have a long history, even longer than she may be aware of. I was such a huge fan since ’79 or ’80. I learned so much from her and those records and probably shed many tears to them. Yes, I’m a big pussy, but she and her music are so deep! I got to play bass with her in the 90’s, and was making a record with her with Jim Keltner and Rami Jaffee. Unfortunately, right before it was done she went a different direction. (One song that did come out of it was Sunshine Superman on the Party Of Five soundtrack.)  We reconnected around 2010 and have done a ton of recording together since then and have become good friends. We did a few songs in search of the right one for this record. For this one, we got Pete Thomas to stop by, and Rickie and Pete laid down the basic track. Rickie is so intuitive and, like a jazz musician, can adapt and change on a dime to what’s happening in the room. She’s putting it out there and driving, but also responding just as much. It was fun to watch and listen to them work, and they had fun together. Then I added the bass and got Tim Young to come play the guitar.  DJ Bonebrake added the vibraphone and then Penelope Fortier sang those beautiful angelic background vocals.

tina-schlieskeTina SchlieskeTina and I go back a bit, too. I played with her for a while in the early 2000’s and have produced a couple of records for her since then. There was actually a song we had recorded that I thought would be great for this but she was over one day and we were talking about the record and I don’t remember if she looked at my song suggestion list or I was naming songs, but when With A Little Help From My Friends came up, she said, ‘I do that song live.’  So I said, ‘let’s do that, then!’ I put together the band, calling Don Heffington, who we had used on one of the records we did, so there was history for her there. I played bass. I called Brian Ray, who is the great guitarist that just happens to play with Sir Paul McCartney, so we knew he’d know what to do!! The great keyboardists, Jeff Young and Chris Joyner, on B3 and piano, respectively. Jerry Peterson, who had played on Tina’s Slow Burn record, too, played tenor and alto axes, both at the same time!!  He’s fantastic at that! Great player! Chris Bautista on trumpet, and Tina’s sister Laura Schlieske, Lisa Bourne, and C.C. White on those fantastic background vocals. Everyone cut live together, except C.C., who couldn’t make it at that time and came in afterwords. I love Tina’s voice. Tina was a big fan of the original Sweet Relief records, so she was pretty stoked to be a part of this one.

Victoria WilliamsMy list of friends in the Vic alumni is long.  We finally met many years back though Don Heffington and Danny Frankel. Vic was a no-brainer for this record. First of all, she started Sweet Relief around 1993 when she was diagnosed with MS, a friendly little nuisance which both her and I share. That, among other reasons. Rickie had told me to call Vic and invite her to the session for the first song Rickie cut for this, Sunny Side Of The Street, possibly to sing or to just hang out. Vic loved the song and kept saying how she wished she could have done it. Rickie decided she wanted to do something else so I asked her if Vic could have it and she said,’Yes, give it to my friend Victoria!’ So Vic came and replaced Rickie’s vocal (if you ever get to hear this version, you can hear Rickie’s voice spill into the room mics in a few places. Pretty cool!) and when we finished, Vic started playing Change Is Gonna Come, which is the song she was going to play originally before Rickie ceded Sunny Side. It was fantastic, and I said, ‘this is what we have to do!’ So she played guitar and sang the song. I added upright bass and then had an idea to have Don Heffington, Danny Frankel and Dave Raven all come in and I spaced them about the room. My idea was for each of them to take a simple part I had in mind and act like a Swiss watch, each one doing their simple task, reacting to the others and acting as one ‘precision unit.’ Then DJ Bonebrake came and added vibes. I played it for Vic and her comment was, ‘It needs tympani!!’ Okay, it needs tympani!! I called Scott Babcock and he came in and laid some great tympani down, and, doggone it, she was right! A very unique reading of that classic!

She++HimShe & HimI had worked with Zooey (Deschanel) on a bunch of things and on a few things with Matt (Ward) and Zooey. I think they’re great and they’re really nice so I asked if they would want to be part of this and  they said yes. They came in and I set them up in the same room. Matt played my Les Paul Jr. through one of my amps. They’ve worked together so much and know each other so well that it didn’t take long once we had chosen their locations. It was all done together in one live take, except we overdubbed the finger snaps, and we were done. This one was cut to tape, too.

Eleni MandellEleni and I have a long history.  I played bass on two of her records, Thrill and Snakebite, toured with her, recorded most of Miracle Of Five, and smaller bits on Artificial Fire, I Can See The Future, and even a touch on her upcoming record, as well as produced, recorded and mixed two of her side bands— The Grabs and The Living Sisters.  Eleni found a few minutes to slip away from her twins (they were supervised, of course) and sneak in to the studio with (The Grab’s bandmate) Steve Gregoropoulos, where they laid down this piano/vocal take of the Randy Newman song, I’ll Be Home. Steve added the kick drum played with a mallet and a touch of B3 and Eleni and Penelope Fortier added the background vocals. There is a Vanguard promo video of this song, ‘live in the studio,’ floating around somewhere with Eleni and Penelope.

Jackson-Browne-37516-1-402Jackson BrowneHaving Jackson be a part of this is pretty dang cool for me, if for no other reasons than he’s such a great artist, and I’ve been listening to and have known so many of his iconic songs since I was a teenager.  But add to that that he chose a Warren Zevon song, Don’t Let Us Get Sick. Why does that mean anything? Well, Jackson pretty much launched Warren’s solo career, producing his first major label record, and also was there with him on his last album, The Wind, as well as all the years between. I was Warren’s last touring bassist, and played bass on My Ride’s Here, the album before The Wind, and also sat ‘with’ Jackson at WZ’s memorial so I guess it has special meaning to me. Jackson always seems to be helping people in some way. Anyway, recording it was a blast and I love his version. It was fun emailing mixes and comments back and forth with him while he was on tour, getting it ‘just right!’

There you go.  Track-by-track comments from the man who put the whole thing together.  A little behind-the-scenes action, if you will, to give you an idea of how these things sometimes work.

Sweet Relief III is presently available on CD and in digital form from a variety of vendors.  I have contacted Vanguard Records a few times and have asked about a vinyl release.  They were not forthcoming on when or if that will happen.

Abigail Breslin, Alessandro Nivola, Eef Barzelay, & Gemma Hayes:  Janie Jones— the Music

janiejonesIf you listen to music long enough, when you watch movies you find yourself isolating the music from the soundtrack and that is what I found myself doing this past week when I watched a movie titled Janie Jones on Showtime.  I normally do not watch Showtime nor HBO nor any of those other premium channels (can’t afford it) but somehow found myself intrigued by the plot and was sucked into the universe of music-on-film or maybe film-as-music.  While I could possibly find a few faults with Janie Jones as a movie, I cannot find any faults with the music and how it was used and, thus, I give it two thumbs up for that alone.  Movies utilizing music properly are very rare and in that world, this should be given an Oscar or whatever the equivalent to Oscar is in this Bizzarro World I seem to inhabit.

The plot line is simple enough:  A young girl who has been abandoned by her former-groupie mother informs a fading rock star that she is his daughter.   The young girl is young Abigail Breslin.  She was the daughter in Definitely, Maybe alongside Ryan Reynolds.  She was on Nim’s Island with Jodie Foster.  As Janie, she is a young thirteen year-old who finds her father and watches him almost self-destruct right before her eyes.  She picks up a guitar about two-thirds of the way through the movie.  She sings.  A big pat on the back to those in charge for having her strum elementarily during her songs.  Whether it was her playing guitar or not, it seemed so.  Yes, it was her singing, in a high and stretched thirteen year-old voice.

Nivola Breslin 1011

The father is played by Alessandro Nivola, who has been in a number of films but whom I did not recognize as character Paul Rice in the old  AMC-driven series Remember WENN, a series I followed as closely as Who-nuts follow Dr. Who.  As a struggling musician who had a semblance of success with bandmates of six years, he destroys the band onstage one night, though the buildup had lasted far longer.  With no money, he leans on the band’s manager for enough to stay on the road, tries to unload daughter Janie through the agency who brought her to his attention (he had no idea he had a daughter until…) and later to the girl’s mother (Elizabeth Shue), a druggie with a propensity for bikers.  He has strong second thoughts after leaving Janie behind and returns to whisk her away, both ending up onstage at South By Southwest, the one gig that he had begged his manager not to cancel.

eefbarzelayTrue, it sounds very Hollywood in written form, but the actors and crew do an excellent job of making it real.  The venues are spot on (I ought to know, I’ve spent enough time in them), the situations are credible and, most of all, the music is solid and the performances portrayed accurately.  No fingers dancing across fretboard in abstract pattern nor cello bow aimlessly drawn across strings.  The guitars look as if they, if they weren’t, were actually played and the instruments handled correctly.  And the voices were authentic.  Breslin singing Janie, Nivola singing Ethan Brand, his musician character.

The music itself?  Written by one Eef Barzelay and one Gemma Hayes.  Good songs sounding very authentic (the movie was released in 2010).  Turns out the ol’ Eef (short for Ifar) has a band called Clem Snide, released a few solo projects and has a bandcamp page on which he has posted many of his songs (click here).  I checked.  He’s pretty good.  In places, better than good, which is what captivated me about the movie.  The songs were dark but well-delivered and had something about them which made me begin my search.  Lots to hear.

gemmahayesGemma Hayes?  Don’t ask me how I missed her but I did.  From Ireland she is and has released a number of albums since her first in 2001.  Pretty good stuff, too.  The songs provided for Breslin, Just a Game, Fight For Me, and Hurricane fit Breslin to a T, bringing more of a sense of reality to the movie.  When Breslin was singing, I was watching and listening hard.  All cylinders have to click to turn songs like this into film.  They did it.  If you have neither heard nor heard of Hayes, I suggest a quick visit to her Wiki page (click here) before moving on to her music pages.  Very impressive.

It Is a Beautiful Day, Indeed…..

iabdBoy, do I remember It’s a Beautiful Day!  Not the band.  Never had the pleasure of seeing them live, but I remember the albums.  The “White Bird” album, actually titled It’s a Beautiful DayMarrying Maiden, which I call the great lost album because I never really could figure out what they were trying to do on it.  Choice Quality Stuff/Anytime, smokin’ hot on one side and smooth as a baby’s butt on the other (and oh, that great cover with the camel and all).  At Carnegie Hall, a collector’s item practically from the get-go thanks to the label (Columbia) and possibly legal problems as well, courtesy of manager Matthew Katz, who also managed and had legal problems with Jefferson Airplane and Moby GrapeIt’s a Beautiful Day… Today, the album without bandleader David LaFlamme but a viable band within themselves.  Then there was the hits compilation— 1001 Nights… (ostensibly followed by With It’s a Beautiful Day, but I’m not sure because I have never seen a copy.  Indeed, thanks to the Matthew Katz Legal Parade, the band’s albums have rarely been available all at one time, Katz having sued to keep product off of the market unless marketed by himself.  He did, in fact, through some legal wranglings, end up with the product for all intents and purposes.  The band?  They fought for awhile and then split.  Their history is a legal quagmire.  I tried researching it but it began to make me crazy.  I finally decided to opt for mental health rather than knowledge.  I communicated with David LaFlamme back in the early 2000’s.  He had to get away from it too.  Eventually, he stepped back in, having regained the rights to the name of the band.  He never left, really.  He was always out there playing as David LaFlamme, and sometimes with The David LaFlamme Band.  He skirted the legalities for concerts by billing the band as that and adding, “formerly of It’s a Beautiful Day.”  The music business has not been kind to him.  Luckily, the music has.

iabdlivefillmoreSee, not too long ago I ran headlong into a new/old album titled Live at the Fillmore and right there on the page was also listed every album LaFlamme had recorded with IABD, and more.  Of course, the IABD album he did not play on isn’t there nor is the hits compilation, but the others are.  He has released a few others also— Original Demos 1968 (parts of which you can download for free by clicking here), The Best of It’s A Beautiful Day, It’s A Beautiful Day Live in Seattle, Creed of Love, Beyond Dreams, and Misery Loves Company.  All extremely well-recorded and many tracks and some albums live.

I saw LaFlamme and band in 1978 or ’79 during The David LaFlamme Band‘s Inside Out tour.  Seattle’s Rainbow Tavern was packed and the band smoked, especially the little lady playing bass.  Unfortunately, the lady had trouble finding her way back to the stage after the first break, causing a bit of a delay for the second set.  LaFlamme wasn’t happy.  Rumor has it that she was fired around Denver.  If it was true, I couldn’t blame him.  He had a contract.  No doubt it contained mention of set length and break times.  The things we remember, eh?  Oh, LaFlamme told the story behind White Bird, the song.  He was evidently living in Seattle at the time he wrote it, not far from the old Russian Embassy.  Of course, that stoked the Seattle crowd to the tune of a few more beers.  Nothing like cheering on the home team.

its_a_beautiful_dayWhat I remember most about the band was that “White Bird” album, which really dented my head.  It sounded like nothing else I heard then or have heard since.  I mean Wasted Union Blues and Bulgaria and Time Is  Amazing stuff!  A couple of years later, a friend turned me on to Choice Quality Stuff/Anytime, an album I had passed on due to apathy toward Marrying Maiden.  I never looked back.

What can I say?  This is one of those bands, alongside early Jethro Tull (which I learned to hate after my favorite album of theirs, Benefit) and Neil Young, which defined my musical boundaries.  Partially because of them, I became the treasure hunter old friends still see me as.

Ladies and Gentlemen, I give you It’s A Beautiful Day playing White Bird with commentary by the legendary Bill Graham, from The Last Days of the Fillmore West.

And, no, the tempo is usually not that fast.  I can only assume a new shipment of speed had made its way into the Bay Area.  Those were the days.


Frank’s column appears every Tuesday

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DBAWIS_ButtonFrank Gutch Jr. looks like Cary Grant, writes like Hemingway and smells like Pepe Le Pew. He has been thrown out of more hotels than Keith Moon, is only slightly less pompous than Garth Brooks and at one time got laid at least once a year (one year in a row). He has written for various publications, all of which have threatened to sue if mentioned in any of his columns, and takes pride in the fact that he has never been quoted. Read at your own peril.” 

2 Responses to “Frank Gutch Jr: Behind the Sweet Relief III Album with Sheldon Gomberg; Janie Jones (It’s a Movie), Eef Barzelay, and Gemma Hayes; It’s A Beautiful Day, Today”

  1. […] Click here to read a column I wrote relating to the Sweet Relief III album.  There are three available, by the way— I, II, and III, each packed with songs you will have trouble finding anywhere else.  And remember, it is all for the musicians. […]

  2. […] I know from personal experience.  I sent a chunk of time working with recording engineer/producer Sheldon Gomberg helping to get the word out about Sweet Relief III: Pennies From Heaven.  Like many of you, I thought it would mainly be a matter of scheduling musicians and getting their song recorded.  Not even close.  Scheduling, it turned out, was a nightmare and, as a result, spread out over a period of over a year and longer.  Even though it was a matter of one song per musician/musicians, dealing with the song involved dealing with numerous musicians with varying schedules.  And, hell, even before the recording there were the legalities— the meetings with individuals who controlled the use of individual songs.  Listening to Gomberg over the period of the year we worked together gave me chills.  Even with all of the help he was afforded, I could see the toll it took.  As exciting and cool as it had to have been working with the likes of Ron Sexsmith, Ben Harper, Genevieve Toupin, Eleni Mandell, Victoria Williams,  Rickie Lee Jones, Tina Schlieske, Rickie Lee Jones, She & Him, Joseph Arthur, k.d. Lang, Sam Phillips, Shelby Lynne, and Jackson Browne, it had to be daunting if nothing else.  As the album was recorded, I could not help but think of the pressure, because these are class musicians and the one thing you don’t want to do is let them down.  I’m sure when it was in the can, Gomberg breathed a deep sigh of relief.  I am sure it was a good feeling, but my God, the exhaustion!  Click here to see what Sheldon Gomberg had to say about the experience. […]

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