back to the studio - february 9, 2005
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The news from the Tad Robinson Band is that we have just recorded a new disc for the Severn Records label. We hope to have it in stores and at gigs by spring or early summer 2006.
The follow up to my disc, Did You Ever Wonder?, was recorded at Severn Studios in Severn, Maryland. David Earl, the president of Severn produced and engineered the project. The band included: Alex Schultz on guitar; Kevin Anker on keys; Steve Gomes on bass guitar; and Robb Stupka on drums. Paul Holdman also played guitar on three of the thirteen tracks that we recorded. The rhythm section of Robb and Steve has become kind of like the "house" rhythm section at Severn, having recorded on discs released by Severn artists: Lou Pride, Darrell Nulisch, Benjie Porecki and now me. They were magnificent, soulful, creative and always on the money. Kevin's playing was nothing short of inspired, bold and often times exquisite. Alex produced his earthy and inimitable fat tone on all of the material and never played three notes where two would do.
Alex 'never played three notes where two would do.'
I am so grateful to have his astounding creativity and musical intelligence as part of my sound. Paul added wonderfully intuitive rhythm work throughout, and, on Johnnie Taylor's Ain't That Lovin' You( For More Reasons Than One), one of the covers we recorded, he seemed to summon the spirit of Curtis Mayfield, playing elegant, lyrical lines and artful, arpeggiated passages.
I am so glad and grateful for the fact that I record for Severn. I feel blessed that they believe in me as an artist enough to make another record on me, particularly in these economically tricky times for the music industry. The creative team at Severn, led by David Earl, is imbued with big ideas and big dreams. During the session, David Earl was a commanding presence and a musical mentor to me. He often had a unique vantage point in his approach to the material and he was, more often than not, proven right in his musical theories. His approach sometimes involves using a 'scalpel' to remove debris from grooves and chord progressions, leaving in tact a soulful and strong musical statement that thrives in its simplicity.
For this project, I co-wrote more than half of the tracks with several different creative teams. Lyricist John Bean collaborated on five songs. Severn artist and soul great, Lou Pride, co-authored a couple of lyrics. Steve Gomes submitted a tune. Keyboardist, Kevin Anker, wrote music for two of the songs. Alex Schultz wrote a compostion. In addition, David Earl co-composed a couple of the songs. So far, we don't have a working title for the disc. But you will be the first to know when we have one! Please check back here to my website at your leisure so we can update you about the disc.
The session was a week-long affair at the suburban ranch house that doubles as the Severn offices and studios. We spent most of the week holed up in the studio, retreating to the hotel rooms only to sleep and get cleaned up for another go at the music.
The studio has a great sounding room, and state-of-the-art gear. It is truly a great facility. It is large enough to spread out and get comfortable, but intimate enough for the ensemble to gel and make good eye contact while recording. We arrived at the studio with some songs in completed form and other songs as mere sketches.
The players brought their ideas, grooves, signature styles and instincts along with open minds and we were able to pull together our ideas and come up with a record that I think we can be proud of. I hope.
What will the critics hear?
Sometimes, early in the process it is hard to be objective. One moment you can be excited about the sounds and believe that you have hit a home run; the next moment, you can experience regrets and the fear that you missed the point and basically came up with nothing more than a foul tip. We, of course, can be our harshest critics. Also, it's easy to fall into the trap of trying to out-think yourself and others with regard to "making people happy" with the results. For instance, you might start thinking that you should aim the project in such a way to make the "blues purists" happy. Or, perhaps one should think only of the dozen or so writers who submit reviews to the blues journals, such as, Living Blues or Blues Revue. Afterall, I have seen some of these writers destroy in a few paragraphs what an artist worked on for a couple of years.
But in the end, most people, musicians and lay people alike, tell me that with art, you have to make yourself happy first. A singer should go out and try to make a record of songs that speak to him, or her, and that come from the heart. In the long run, I believe that, at the very least, we accomplished that, this time out. But, too much talk about the music; I look forward to sharing the new songs with you very soon. I will begin to incorporate the material into my live shows immediately and look forward to your feedback.
I hope that good things are happening for you and yours. And I hope to see you at a blues club real soon.
Peace always,
Tad Robinson
