Truck Stop Troubadour Volume 3- The Logic Behind "Back To Busking"

A couple of years ago I fell victim to one of these Facebook posts that went something like this:

World renowned musician will record your songs at my home studio. Produced and mastered complete
$75 /song..


So four months worth of days off and $750 later, I wound up with what could best be described as a very expensive beverage coaster. It would have been ridiculous to put this dog turd next to two albums that were produced by Garrett Uhlenbrock--it would've hurt me and the world renowned musician. I decided to take the high road and chalk it up to an expensive lesson.
This was not easy, by the way,  because not only was the master downright awful but the raw tracks were all completely clipped and saturated with second rate reverb (ie:unsalvageable).  Add to this the fact that this paradigm of contemporary music reneged on the whole original deal when I was waiting for my master and you'll get the point.
"Mastering is a very expensive and arduous process..." I think his e-mail began, "I usually get $500 to do a full length."  I had to send him a screenshot of our original correspondence before he relented.
That brings me to this winter when I began my motivational work.  As you may remember if you read the first blog, the instructions were to make an immediate decision to do at least one action toward the achievement of my goal.  I decided that action would be to record the slickest gig getting CD ever.  My friend Megan-who actually is a world renowned musician--suggested I talk to Jazz great, Jamie Saft.  She explained that he had an incredible project studio in his house and if I really wanted the best demo on earth, this was the guy.
What made this one of the most incredible twists of fate ever was that not only was he one of the most innovative avant-garde pianists in the jazz world, he loved Bob Dylan as much or maybe even more than me.
The results of that demo can be heard on Soundcloud.  I was blissed out about the way he captured my solo acoustic style.
Try to imagine, for twenty years I would pass by radios playing "The Redemption Song" and I would constantly ask whoever was in earshot
"Why can't I get this sound?"  and the retorts would range from "it's the pre-amp" to "it's the mic" to "it's the mastering" to "you're not Bob Marley".
 But Saft knew how to do it.
For three weeks I listened to that three song demo and the wheels were turning.  I had to find the money to make my own version of one of my favorite Dylan records "Another Side of Bob Dylan." Not that I thought I had anything in the league of "Chimes of Freedom" or "To Ramona" but you get the point.
And just like everything I have set my mind to over these past six months, it came to fruition.  The box of CD's arrived in mid-April and I went through a three week period where I listened to it everyday.
I listened to it so much that I began to second guess it.  I have two really full sounding CD's and then this very thin one. I began to even think I may have made a mistake in judgement.  Maybe it should've been a Billy Manas record and not a Frankenstein Dog record, or maybe I should try to track other parts---and then I saw this interview with David Bowie that gave me a lump in my throat.  
     ​ "...if you feel safe in the area you're working in, you're not working in the right area.  Always go further into the water than you feel you're capable of being in.  Go a little bit out of your depth, and when you don't feel as though your feet are able to touch the bottom, you're just about in the right place to do something exciting."

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