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To play, press and hold the enter key. He immediately booked time at Scott Bomar's studio Electraphonic. They have eight-track analog tape, which is how Greg likes to work. We had the studio for the whole month of August — two weeks of rehearsing, two weeks of recording and mixing. It was done by Labor Day. Do the current sets feature any songs Greg wrote with other Reigning Sound lineups?
We have played several Oblivians and Gamblers songs over the years, but at this point it's not as many due to the depth and breadth of Reigning Sound material there is. Not with the caliber of material Greg has got. He's able to consistently tap into a style and aesthetic and write quality songs within it.
That's unique. Not a lot of people get the opportunity to play with somebody who has that. Alex is the professor. He has a Ph. Roberson is a driving force in terms of understanding the material and bringing a stomp to it. He's trading off on drums with Graham Winchester, who is also intuitive at pushing the songs forward and making them even better. Together we bring a good amount of experience to the material Greg gives us.
I think of the new record as a little more reserved, like an older brother to Time Bomb High School. We played Springwater in ' I believe he got inspired to write it that very night.
I'm not sure how sane I stayed. For the whole month of August, the Reigning Sound record was our lives.
It was a lot of work, but I'm glad we did it and had the time to do it. My other band Toy Trucks recently recorded some new things. Spooner is living musical history, having played with everyone from Bob Dylan and Neil Young to Linda Ronstadt and Liberace, for crying out loud.
One of my quarantine projects after getting home was going back to Moby Dick and actually finishing it for once, and I was amused to encounter early on the retelling of the story of Jonah. We only had Spooner for two afternoons, though, and Will for just one, which accounts for one of the big differences between this album and the one we made in Memphis, where our core was rounded out with guitarist Chris Boerner and pianist Bram Gielen. Here it was just the four of us: John playing acoustic guitar and occasional piano, the rhythm section of drummer Jon Wurster and myself, and our jack-of-all-trades utility man Matt Douglas master of woodwinds, as it happens picking up everything else.
The result is something more stripped down and intimate than the rather more lush arrangements of Getting Into Knives. John concedes that the song is an autobiographical one.
This theme—feeling at once conspicuous and invisible, the frustrated craving for acceptance—is echoed elsewhere cf. There was, of course, calamity unfolding all around us as we made the album. Like, the day after the guy jokingly wiped all the pressroom microphones with his hand? I drove back home on Sunday, March But wild in the sense of something undomesticated, untamable.
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