Okay, so today’s recording session is for a song we’re pitching for a project that revolves around a holiday. They’re accepting originals and covers, so we’ve picked a cover. This is my second time working with Ken Eros, and may I say, it’s fun! He seems to be my go-to guy for fun & creepy tracks. Doesn’t that sound pitch-worthy? (And I think I just gave away the holiday.)
Most recording these days doesn’t happen in a traditional recording studio but in someone’s house, and that’s the case today. Ken has a bitchen pro studio with a little vocal booth in the corner.
I wish I could say more about what he came up with, but I can’t talk about it until the song is accepted or rejected. But I will just say that I don’t really know where he gets these trippy ideas but I’m glad to be able to work with them!
Once upon a time (oh, about five years ago), I went to Austin to record the vocal tracks for Cinderblock Bookshelves. I was intimidated at the prospect of attempting to realize the vision I’d had in my head for so long, and relatively inexperienced at singing in an official studio. A common refrain from Mark Hallman was “Uh oh, Timid Girl is back.”
Deep breath. “I’m good enough, I’m smart enough…” Dig in. Luckily Mark is the voodoo master upon sensitive female singer-songwriters (and not in a creepy way).
But then Mark and I did Internal Combustion, and if I can sing “Let’s Get It On” in a studio full of guys (particularly the line “stop beating around the bush”), then I can do most anything, studio-wise (except maybe cover “Love to Love You, Baby”).
So I had to laugh when I did a few takes in Ken’s studio (which were going very well, btw), and then he said “Okay, now why don’t you do that line again, but a little less ‘sexy’ this time.”
Okay, okay. It’s just that I’ve spent the last four weeks in sweatpants driving a kid to basketball practice, so I’m breaking out a little.
And this is today’s dispatch from the exciting, glamorous world of an indie recording diva! Next post: everything you wanted to know about Synch!