ing me to come over and do an acoustic recording with him for a couple of years and we could never get it together. But then, finally, it was time to do a new
Hittin’ the Note record so we finally did a full bang-out thing. Some of it was acoustic and some of it wasn’t. He reminded me the other day how we had everything recorded, and we were down to the mixing of the project - you know how far along that is, the last stages - right before mastering. We were listening to something and all of a sudden his computer and his board went berserk and all the han- dles started going crazy and flying up and down and the sound went berserk and it was like a hurricane was hitting all the digital zeros and ones and throwing them out of kil- ter and I said, “well, push that button and fix it!” and David said, “Man, I don’t know what’s happening. We were just blown away. We thought we’d lost all this work we’d put into this - all the magical moments. We spent the next four hours trying to fix it. The next day, after not much sleep, we went back at it and we turned it around - it all came back, but it caused us to listen to it a little more closely - if that had not happened, we would have put all the wrong EQ on the entire project - suffice it to say if the comput- er hadn’t gone berserk and told us something was wrong, we would have put out a product that was not up to par. It was screaming at us.
Well, that’s intervention, for sure. That’s a great story. It’d probably scared me to death if I’d witnessed it. Tell me a little about where you recorded Let’s Get Outta Here, who were your producers, engineers and who played on it with you.
Well, we did it over at David’s house - pretty much the whole house is the studio. It’s not like you go back in the bedroom to record.
He has a real fine room built from his former garage. Everything is up to par. It’s a good sounding room with double walls and the control room is
the living room - very comfortable. So we did the whole thing there and recorded guitars in the kitchen. And my vocal booth was - we had to turn the dryer off - actually we left it on a couple times for percussion purposes (Laughs) - if you hear some strange percus- sion on the album, it’s David’s sheets drying in the background. I’m kidding. It’s a good sounding room and David has really gotten to know it. He did a fine job. So actually, you asked about who produced it - well I did, with David’s help. He was a percussionist every once in a while and I was the go-fer and the bassist and the guitar and the singer and producer. And we also brought in some won- derful friends of mine - Kelvin Holly and NC Thurman and Scott Boyer.
All the Decoys...
Yeah, the Decoys Boys. Chuck Leavell, of course, played some piano on a few tunes, of course, and Paul Hornsby added some organ on a tune or two. A guy named Red Young, who Rick Hirsch formerly from Wet Willie turned me on to - Red is a great keyboard player from Austin, Texas. Originally, he met him out in L.A. where Red was playing with Gregg and Cher - Red was the piano player who was in Sonny and Cher’s band and later went on to work with Nelson Riddle’s orches- tra. Because of his background he has a dynamic approach, real theatrical, cool approach to his playing that I really liked a lot. He’s the keyboardist on cut “You Can’t Argue With Love.” Which, by the way, is Rick Hirsch and I are credited with writing. He e- mailed me about a year ago that he had an acoustic guitar thing going down - he’d recorded it in his bedroom or something and he had an idea. So he sent it to me and said,
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