Sunday, February 15, 2009

The hard part

Most depressing part of canceling this tour: How long it took to book it -- and how short it took to cancel it.

For perspective, I started putting this together in late November, got slightly busy in December, and then really hit it hard in January. I was making calls and sending emails as recently as earlier this week. But it only took about 10 minutes to draft an apology to all the clubs and send it out. Dang.

Anyhow, on to sunnier matters, tomorrow I'm working an EARLY shift (OK, that's not a sunny matter), then going straight to Todd's place to finish some vocal recording. Wednesday through Friday we are finishing the initial mixes, so it's really the last minute. I'm still dealing with a brutal cold that made singing nearly impossible on Thursday and Friday at The Atwoods and The Dive, so it might be a struggle. I'm going to sleep soon to the All-Star game, so hopefully I can beat this thing before recording some vocals. Otherwise you might hear some flemmy hacking on the record. It'll be "experimental."

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Saturday, February 14, 2009

Big, logical bummer

Well, so much for the tour. For the last few days, I've been taking the temperature on whether it's actually feasible for us to go down to Texas next month (hell, I already have it off work, so it looked pretty darn certain). But it's just not. We can't afford it. And it's smarter to stay put and really make sure this record is everything that it can be.

Without a product to push and a guaranteed SXSW showcase (we still may get one, though we'll likely withdraw soon), it's fairly pointless to me. Yes, it would be cool to play a giant venue in Nashville with our idols Superdrag (but then again, we're playing back to back dates with them in April). Yes, it would be cool to play a huge hometown show in Dallas (that's really the biggest show I'll miss). And it would be good to see all those friends and family, of course. But it's not fiscally responsible. I can't find a way to rationalize going on this tour, especially with us being knee-deep in this record, me personally now being ridiculously in debt from this record and my project (everyone's hurting), and with only two shows that would really be worth playing at this point. It just doesn't add up. Plus, the van probably needs work before we hit the road and put 5,000-7,500 more miles on it, which obviously I can't afford. Everyone's hard up for cash. Matt's strung so thin, he hasn't been able to put in a dime for the record yet. How's he (how would any of us?) going to live for a month on the road, especially when we're not making guaranteed money or have anything in reserve? After conversations with Creamer, Todd, and Jeremy, I figure it's best to just stay here, and finish this record the RIGHT WAY, which is what those three have been preaching all along. It just seems foolish to rush it now, especially with it being such a huge (and currently uncertain) financial commitment. So, that's how we reached this decision. Luckily, everyone took it pretty well, and actually there was a sense of relief in the band, since I think everyone has been quietly scratching their heads as to how this was going to go down.

We'll stay here and keep playing Worcester (played there last night, just doesn't seem right to talk about it when this is a far bigger issue), Boston, and other areas to build up some cash, and really make sure this record puts us over the top. When we have a product to push, and are in the right place to do it, we'll hit the road in earnest. In the meantime, we'll keep building on the homefront.

I'm sorry we won't be able to see you all back in Texas, Nashville, DC, Kansas City, and more next month. I was really looking forward to seeing Shaela's newborn baby, to playing Rubber Gloves, and to Nashville. But unfortunately, we can't afford it. This tour would have been more about fun than about the future, when touring is really supposed to be about the future and building an audience. Those things will come, as we do this right. It's coming. I promise, as best I can.

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Friday, February 13, 2009

Rough and tumble

Tough set last night. It was our first time at the Atwoods, and it wasn't even supposed to be our gig, actually. I was supposed to do the solo thing, but working in a new guitar player and a new bass player, both of whom I'd never played with, was just too challenging. So, when the club wanted three hours of music (which would have been tough for the solo thing to pull off without a lot of acoustic stuff), I asked the guys in Cassavettes to play. All of them were free, and honestly, we need the money. BAD. So, anyway, stepping in at the last second, Cassavettes played the Atwoods, which is one of my favorite places to see music, but one of the more difficult for us to play. For one thing, we can't rock. And that's a problem. Matt did a good job keeping his volume down until we played "Seek Cover" and then when I tried to let him know he was creeping up louder, he got upset. So, it was that kind of night. It's hard to get the crowd into it when you can't get into it. I am having trouble singing with a huge cold, my guitar pedals are all messed up (both things need solutions before tonight at The Dive), and to make matters worse, the Mavericks blew a big lead over the Celtics -- although we couldn't watch it anyway.

SET LIST 1: The Nadir / Carolyn, Don't Leave Like This / Research Blvd / Debts / The Devil's Arms / On the Lam / Whitewashed / Trouble From the Start / Madeline / Seek Cover / Golden Fleece / Valley of Gold

SET LIST 2: A Hard Rain / St. Anthony / Don't Get Me Wrong / Like Secrets Beneath / Someday Darling / Lights On / Six Hours / Shine A Light

Long weekend ahead, too: Show tonight until late. Band meeting tomorrow with Creamer, in which we'll clean out the space and go over some stuff in regards to the record and what not. Valentine's Day. Recording on Monday. It never ends, and why should it?

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Thursday, February 12, 2009

Get groovy

Per Barron of GrooveStone, this YouTube video of "Shine a Light" at Rodfest. It features Eric of Three Day Threshold on dueling drums with Matt. Quality isn't great though, but hey, we'll take it.

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Wednesday, February 11, 2009

Going wild

I'm still just finding reviews from my solo CD (which is definitely a good thing). This one I stumbled across this morning, at Wildy's World. He spends a great deal of the review talking about licensing. I wonder if that's how people judge music these days: no longer is it radio-friendly, but is it TV and movie licensing-friendly? Very odd.
Originally from Dallas, Texas, Boston-based Glenn Yoder carries his influences with him like memories. They infuse his musical choices as seamlessly as breathing. The singer/guitarist of Boston's Cassavettes heads out on his own with the release of Okono Road. Trimming a list of fifty songs down to twelve, Yoder leads with his best foot on his solo debut, mixing radio anthems with ballads and some old fashioned Rock N Roll in a highly commercial yet likable debut.

Yoder opens with the radio-friendly anthem Broken, Beaten & Blue. It's an incredibly tuneful song that fits neatly into several demographics. Yoder's voice is pleasant and easy on the ears, and the arrangement is as smooth as silk. That polished feel carries over to Okono Road in a very accessible acoustic pop tune. A Thousand Ways looks to be a mix-tape favorite, mixing balladry and soul in a moving performance. Til The Wheels Fall Off is a great acoustic pop tune, very likely to end up in licensing or on the radio if offered in those venues.

Just Like is the best pure pop song on the record and likely to be a crowd favorite at shows. It's Gonna Take Time is a very close second. Yoder reminds me very much of Canada's The Waltons on several songs, but nowhere more so than on It's Gonna Take Time. Other songs of note are Home, Give Me A Moment and You Led Me Into Your Love.

Glenn Yoder infuses pop-savvy acoustic rock with elements of country and soul to full effect on Okono Road. At times he sounds a great deal like Jason Plumb of The Waltons (I consider this a supreme compliment). Yoder is a very polished songwriter who will appeal heavily to several demographics, and is probably one of the more likely artists to end up with songs licensed for prime time shows you'll come across. Okono Road is a smooth and accessible recording with significant commercial legs.

Rating 3.5 Stars (Out of 5)

All in all, pretty nice review, eh? Speaking of my solo thing, I'm doing a full-band show at Atwoods in Cambridge tomorrow night, with a new guitar player and bass player. Should be...interesting. Come see the fireworks.

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Sunday, February 08, 2009

How's it hit your ears?

Back in the studio. Today's songs: Lights On, Madeline, and Golden Fleece. Everything strikes me as pretty damn good. I also shoveled out the basketball court next door and got to shoot some hoops for the first time in a month or two. So, all in all, a pretty good day.

As far as the music, I'm really surprised how much everything is rocking me. I think that oftentimes when you're in the studio, you get excited at the prospect of the songs sounding better than normal, and being close to the end. Then only later does the warm and fuzzy feeling wear off and you start to despise the work. Surprisingly, that's already happening with my solo CD, which I was pumped up about longer than any recording I'd ever done previously. But most musicians I talk to have only a few of their old albums that they can truly be proud of, or even listen to. I know Cassavettes has yet to make one of those, at least for me personally. But this may be it, unless my ears deceive me, which is always a possibility in the studio.

Either way, I think my prevailing thoughts on the record so far is that this rock sound is just so much more comfortable for us than our previous attempts at alt-country or what have you. It's really crazy. I mean, yes, individually we've gotten better musically (hopefully) and are better at listening to each other (big hopeful), but this is just such a natural, comfortable place for our music that it sometimes feels too easy. Not that this record has been easy; it's been a lot of work. And a lot of money. We are running far over budget now, and I lost my beans yesterday over some lack of reliability to get the cash after a forewarning, which means I'll have to find some more money somewhere. Where that is, I don't know. Perhaps just squeeze my paycheck big time. Empty a savings account I've had since I was little (already emptied most of it). That kind of thing. But truth is, it sounds to me like it's worth it.

I've also tried to finish the booking of this tour. It's pretty tough, but if I can just get Norman, OK, Chicago, and possibly State College, PA, I think we'll be in fine shape. The rest takes care of itself. Still need a couple openers for tentative gigs, but I asked Mike to handle that and he's doing a fine job, even if most of the bands don't respond.

Let's see, other news: Last-minute gig at The Dive on Friday. It went well enough, a little light in the loafers through the first set, but a fairly rock-solid (no pun intended) second set. If only I could remember the sets.

SET 1: Ordinary Girls / You'll Be Crying Soon / Madeline / Don't Get Me Wrong / Lights On / The Devil's Arms / Marie / The Nadir / Research Blvd / St. Anthony / Seek Cover / Debts / Carolyn, Don't Leave Like This / Nothing From You / Whitewashed / On the Lam

SET 2: A Hard Rain / Valley of Gold / Golden Fleece / Trouble From the Start / Someday Darling (extended jam) / Cedar / Shotgun Wedding / I Come From the Water / Shine a Light (feat. PJ on guitar)

Finally, if you feel like nominating us for your favorite local rock band in the Boston Phoenix readers' poll (which we won a few years back), here's your chance. Click here and go to the arts & entertainment category for best rock band. There, type Cassavettes. Watch your spelling now, you hear?

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Friday, February 06, 2009

Rodfest in review

Well, you know we had fun at Rodfest. I'm glad to hear that the fine folks at Boston Music Spotlight did, too. In this review, they give us (and MOST of the other bands) some nice wordage.
Cassavettes were the first to take the stage and had the audience engaged from the first notes. The upbeat tempo and strong vocals of Glenn Yoder and Mike McCullagh had people dancing and singing along throughout their thirty-five minute set. The set featured new song "Seek Cover" which began with an interesting bassline from Scott Jones and later featured some impressive dancing from the bass player. The Cassavettes kept their energy high and didn't waste a lot of time between songs, which was a welcome change from the last time we saw them at the Paradise. They seemed to have an extra good time celebrating the birthday of the band that night and it made for a somewhat messy show but this time they turned things around and definitely brought their A-game to RodFest, transitioning seamlessly between songs and still managing to have fun. Closing out their set with songs like The Toadies' "I Come From The Water" and "Shine A Light" featuring Eric Austin of Three Day Threshold joining Matt Snow on dueling drum sets showed that while they are often categorized as "alt-country", these guys can certainly rock.

They make mention of having come to our July 5 Three-Year-Anniversary at The Paradise, which was pretty sloppy from a performance standpoint. We feel the same way, and I'm glad we were able to do it right this time. I still feel like I have to justify that performance to people sometimes, since so many folks came out that night that have never seen us before, and may never again. At least the BMS folks came back!

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Back to work, boys

All four of us are in the studio for the first time in weeks and we are...not working. There's not much to do as Dave and Jeff work out the kinks with the mix. We've been here for four hours already and we haven't finished the drums on the first song. Hopefully these sounds will set the template for the rest of the record.

We have high hopes that the weather will warm up enough that we can shovel out the basketball court next door and shoot some hoops tomorrow. That one is iffy, at best, since it's supposed to reach a high of 50ish over the next couple days. To entertain ourselves in the meantime, we're coming up with album artwork, ranging from a naked Todd Thibaud holding a mini naked Matt, to this photo of Todd with the four of us superimposed in as snot flying from his nose. The back photo would be a dirty tissue with a tiny Matt curled up, like when the Snuggle bear falls into the towels. Obviously, important stuff that warranted missing work. But the job will grow more important over the next few hours/days.

It feels strange to be mixing already. I really hope we're not rushing. There are things to be done still, and Todd is working simultaneously on his laptop to edit some tracks that aren't ready for mixing yet. Should we wait a little bit and let the songs air out? It's a tricky issue. But, we have the time booked this weekend, we have it off work, and we're here. So, we'll use it for what's ready, tune-wise.

Anyhow, last night was a late one. I went to Todd's to do some harmonies, and then rushed to pick up TD before my show at The High Street Grill in North Andover. The food was awesome. The crowd was a bit thin, and uninterested, but that's what I expected. I got to try some new, unfinished, just-written material, and fake my way through them. Hey, it was fun. I even just started playing a riff at one point and ended up faking an entire song off of it. That was not as cool as it may sound -- it was really bad, and oddly enough, I did it like right away and was wondering, "Am I out of material already?" But I did get to try some stuff I've never done before "Oh Maria," "16 Days," "Only The Rain," "Old Town" (an alternate version of "Green & White's" riff), and other songs that may never surface again. Plus, I did a few fun covers -- Todd's "Three Words," Three Day Threshold's "Chicken Shack," and The Jayhawks "Angelyne." Why the hell not?
SET LIST (probably wrong, but I'll give it my best shot): Okono Road / Angelyne / Made-up song / Set Free / You Led Me Into Your Love / A Thousand Ways / Oh Maria / Broken Beaten & Blue / Rainy Days / Til The Wheels Fall Off / The Rain's Not Far Behind / Three Words / Alone / Only The Rain / Chicken Shack / Someday Darling / Golden Fleece / Old Town / The Nadir / Bad Luck / 16 Days / Ambivalent Farewells

Anyhow, to take you out, this is the full-text of an interview I did with Spare Change, which is running next week. Check 'er out:
7 Questions with Glenn Yoder
Spare Change News

Q. What inspired the move to go solo? Are the Cassavettes done?

A. It's funny, there's this perceived notion that "going solo" must signal the demise of the band. When people hear about the record, that's the first question I get asked (for example, this is the first question you asked me!). In the liner notes of the disc, I wrote a short paragraph hoping to dispel this idea. When I first told the band that I was planning on doing this, I said that I felt the more you do in music, the more attention all of your projects get. It's all circular. So I don't think my solo disc precludes the band from getting recognition -- in fact, it increases it. Look, we're talking about Cassavettes right now. This is press the band wouldn't have had otherwise. So, the solo thing is in ADDITION to Cassavettes; it's not a death-knell at all. Everybody wins.

Q. Whats the difference between Glenn Yoder solo versus Glenn Yoder as a Cassavette?

A. The music is more open, and that's not a knock on Cassavettes. As bands evolve, I think, they kind of start to realize what works and what doesn't for their group of players. They hopefully learn to play to their strengths. Cassavettes started out trying to be this americana/rootsy sort of thing, with pianos and banjos and stuff that didn't really make sense for us. We took pride in NOT using distortion, or pedals of any kind. But in actuality, we all grew up playing garage rock. That's the kind of music we are the most comfortable playing. When we started stepping on the distortion and allowing Matt to dig in to the drums (he, by the way, is a VERY hard-hitting drummer, who possibly struggled with and sacrificed for the americana identity more than anyone), it felt very natural. At the same time, I had a stockpile of songs that didn't fit with this new sound and new direction for Cassavettes, and I just wanted to shed some daylight on them. I think that with a lot of songwriters, when you write a lot of material, if you don't get to air it out once in a while, it starts piling on your brain, like dirty laundry. You have to get it out some way in order to make room for new, fresh material. I was sort of going through that, and had a lot of songs getting backed up, and I just needed an outlet. So, they're different stylistically than Cassavettes -- maybe more "rootsy" and acoustic guitar-based than the band's new rock sound -- and they're just some songs I wanted to get out into the open.

Q. Is going solo harder because there are less people contributing or easier as there are less egos to deal with?

A. It's both. A lot of folks I've known who have gone the solo route go that way because they want complete control, and are tired of relying on a system with shared input. But while being in total creative control has its benefits, it can also be very isolating. The way I made this record, down at Lakewest Studios in West Greenwich, R.I., I was driving myself down from Somerville five nights a week. It's only an hour and a half down, but going both ways, that's three hours of alone time a day. You drive back after a session and think, "Man, I'd sure like someone to talk to about these songs," and that's natural. I found myself missing one of the core joys of being in a band: Having people to share successes with. And at the same time, band members also have folks to share failures with, which in turn, makes the solo thing all the more daunting. Instead of people going to see a show and thinking, "This band sucks," they'll put all the blame on your shoulders. It's my name on the record -- so all the glory and all the pain that come of this release are mine to bear, for better or worse. And that can be a very empowering -- albeit scary -- thing.

Q. Who (or what) were some of your inspirations when you were writing and recording these songs?

A. Thinking about the concept of a solo record, I looked back at what some of my favorite songwriters did when they went in a new direction. Did they try to sound different than their main band? That can be hard, because your writing style is still the same. And you shouldn't try to be something that you're not -- that's a recipe for disaster. So, I looked toward Bruce Springsteen's work outside the E Street Band, the early Neil Young stuff after he left Buffalo Springfield, the first few post-Beatles records (of which "All Things Must Pass" is clearly number one), Paul Westerberg's post-Replacements stuff -- that kind of thing. But I was also listening to a lot of music by Alejandro Escovedo at the time, Tom Waits, Ron Sexsmith, and the fantastic gentleman who produced the record, Todd Thibaud. Those records sort of gave me perspective of what vibe we were looking for with this collection of songs and where we should take them.

Q. You recently released your album at The Lizard Lounge. How was it playing music with your bandmates looking on?

A. The guys in Cassavettes are my three best friends. I can't think of any other people I'd rather be doing taking this bizarre sojourn into music with. They have been extraordinarily supportive throughout this process, and they've been involved, too. Mike played and sang on my solo record, and came up and jammed with the band on a number of tunes at the Lizard Lounge. Scott was one of the earliest cheerleaders of the solo idea. And Matt doesn't really care because he plays in 50,000 bands anyway. Ideally, this solo project is less "solo" -- I want it to be a collaborative effort, where everyone joins in when they feel it and people feel a part of the music. At the show, we had Todd up to sing songs, some of my friends from Girls Guns & Glory, and some other members of the musical family. Matt, for his part, distributed shakers and percussion to the entire audience during the last song, which was great to get everyone involved. It took that collaborative idea to a whole new level. So, really, there is no awkwardness playing in front of these guys -- they are part of it, as well.

Q. What are your top three songs on your solo album and why?

A. Early on, Todd and I identified "Okono Road" as perhaps the linchpin song on this record. We knew the album would likely be called that, and that lyrically, the song summed up a lot of what was going on throughout the record. Sometimes, when you put so much pressure on a song out of the gate, you're hard to please with the final results. But the guys playing on this record, which included drummer Milt Sutton and bassist Jeff St. Pierre, were such pros that they got a good take almost every time. It was me who was messing things up. "Til the Wheels Fall Off" is probably my all-around favorite track, which is bizarre, because it really came from nowhere. It's a very simple song, but sometimes it's the little background noises or sounds on records that you truly come to love. On that track, we had Adam Steinberg, this dynamite guitarist who plays with The Dixie Chicks and is an all-around pro, lay down some organ and slide guitar. During the bridge, his slide soars and it may be my favorite moment of the record. It's one of those things I listen to and say, "Man, I wish I did that!" Thankfully, it's on my record, so maybe that'll fool a few folks into think I did! Finally, "You Led Me Into Your Love" is the single biggest surprise of this record. We laid down 16 songs, and only kept 12. This song was close to my top choice to be cut, but Todd and Jack Gauthier, who owns Lakewest and engineered the record, kept saying how special the vocal interaction was between myself and MK Fabila. She is a great singer, and it really shines on that track. Plus, we got some amazing folk instrumentation from Mat Davidson, and the cut really took off. Lo and behold, the few folks that have had the record for a month or two almost unanimously have called that song their favorite. Guess I was wrong -- but it's the good kind of wrong. It always feels good to hear you have another good song, especially one you didn't realize was good in the first place.

Q. What lies ahead for Glenn Yoder, solo artist?

A. Well, Cassavettes is in the studio now, so my concentration is back on the band full-time. I'll keep playing in support of this record, and hopefully I'll be able to license a few of the tracks. Apparently, that's the name of the game these days, as far as making money back on your investment. I'm not sure if I'll be cutting another solo record anytime soon -- I certainly don't have the cash to do it now -- but if the dirty laundry starts piling up in my head again, I just may be back in the studio sooner than I think.

I'll let you know if we're able to shoot some hoops soon. That's what we're looking forward to.

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Thursday, February 05, 2009

Two compliments I don't want to soon forget

Both are sort of quirky to me, they are rebuttals of what could otherwise be perceived as a compliment -- or a knock on the music.

The first one comes from my friend/college roommate Tim. I was telling him how an old acquaintance we both know came out to the show on Saturday night. The guy was all about it, really enthusiastic, and said to me, "You guys have come a long way!" I took this as a compliment. Tim, being the conspiracy theorist he is, thought this might have been an unintentional dig, like "Wow, you guys actually can play, I thought you sucked for the longest time." Tim's reasoning, and where his compliment comes in, is this: "You guys are always good, so I don't think of it as you coming a long way. I think, 'Wow, you were able to top the last effort, and keep writing good songs.'" This is why I love Tim.

The second compliment comes from a co-worker named Corey, who came out to see me play for the first time at my solo CD release show. His mere presence was astonishing, but I really like his review, which sounded quite genuine. "The CD is good, but for me, I was all about the live show," he said. Now, this is important for two reasons: 1) our live show is a work-in-progress with the solo band, so to hear that it was actually good, and better than an expensive CD process, is quite reassuring and 2) I usually feel the same way about acts I like. Especially when the live show is a little dirty, and there's hiccups that add to it -- not necessarily detract. "There was something about it," he said. "The spontaneity?" I offered. "Yeah, man," he said, with a huge smile. "I dig that stuff. It sounds real." That just about made my day.

After work, I head to Todd's to finish some overdubs (hopefully) before playing a solo acoustic show for the dinner crowd at the High Street Grill in North Andover. Wish me luck, on both fronts.

And while we're reminiscing about Tim and college, for old time's sake, check out these photos TD just dug up from the archives. These are from December 2006, when "It's Gonna Change" was released. If you don't think the four of us (though Mike is curiously absent from these photos) have changed in the interim between albums, the proof is in the pudding. No lie.

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Tuesday, February 03, 2009

Visualize it

Photos are now posted for the last couple months of shows, including time in the studio the first weekend and the second weekend, The Dive Bar (where we'll be playing again this Friday and next Friday), my solo CD release party, Rodfest, and a whole lot more. Check them out, foolz.

Cassavettes is back in the studio for mixing (fingers crossed) this weekend, and playing at The Dive, as mentioned, on Friday. It was a last minute, do a favor kind-of-thing as of moments ago, and I haven't run it by the dudes yet. But considering I know that everyone has work off to mix this weekend, I figured it wouldn't be an issue. I am also doing a solo thing Thursday night at The High Street Grill in North Andover. Possibly a Todd Thibaud appearance? We'll see.

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Monday, February 02, 2009

Landing on our feet

Oh my, Rodfest. Our third year was like those that preceded it -- filled with fun and wild antics. None wilder than a scene at the end of the night where Three Day Threshold closed with "It's Alright Now" and invited Mike and I to split a verse (video available via Exploit Boston). We did it, but Scott climbed on my shoulders onstage, where we proceeded to sway. However, he swayed the wrong way (forward) and flipped over my head into the drums. Nonetheless, after such a nasty spill and the room collectively holding its breath, he stood back up and gave a thumbs up and a HUGE smile.

Our set was well-received for the most part. Oddly enough, most of the comments I got were about how tight we sounded, when, in reality, we haven't practiced much as of late. I think the reason for this anomaly is two-fold: 1) We've been in the studio where you hear the individual parts better, and understand the songs more thoroughly -- and we've listened to the roughs a lot, and 2) We have been doing long sets at places like The Dive, which are intended to, and very well may be, tightening us up. Either way, I'll take it. We had a couple rough moments, like when Scott unplugged me, or when I started "I Come From the Water" and no one followed, or when my mic turned around, or, when we brought 3DT drummer Eric onstage to play a second drumset in a duel of the drums during "Shine a Light," and he was still adjusting to the song. But he got it, and the crowd loved it. They only got ear-splitting twice: After the dueling drum solos and during an earlier chant of "Matt Snow, Matt Snow, Matt Snow." They love the Big Red.

SET LIST: Lights On / Don't Get Me Wrong / Ordinary Girls / Golden Fleece / Seek Cover / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

After a late night, I flew solo in the studio yesterday. The other guys may have been a bit partied out from Rodfest, plus Mike and Matt had to work that evening. It actually was fairly productive. We had an incredible organ player stop by, who teaches at Berklee, and he laid down a few tracks. The key here is to make sure that anything he does isn't TOO good, really. We want it to still sound like the band, and not have another sound really stealing the show. But it definitely added a nice texture to a few of the tracks, and was well worth the reasonable price tag.

The real question from here on out is: Can we finish on time? It's looking fairly bleak at the moment, but we really just need to see what Todd can do at his home studio in the span of a few short days. Mixing starts (or is supposed to start) Friday and run through Monday. However, we've still got about nine harmony tracks to do (Mike will be doing most of his today, hopefully, and I'll try to get up there after work and knock mine out, too), some acoustic guitar (Todd will handle this, actually, as it is his "forte"), and some general adjustments. Most of the main vocals are in good shape, with the exception of "Nothing From You," which I gave an entire re-write since the original vocal was cut. The words were too, too bad (hey, it happens). I couldn't live with them. So, now it's more to the point and fits the music. I wrote them all in the studio yesterday and cut a fresh track, but might take another pass when the words sink in a bit more. But again, it all begs the question: Will we finish on time? I think it's still possible.

I'll take you out with some pre-Rodfest-related press clips...
Boston Music Spotlight (and again here): "Cassavettes, also good friends of ours who have had tons of success," continues Kier. ... Great bands for a great cause. Catch all of Boston's alt/country/bluegrass/honky tonk/rock favorites in one place as Three Day Threshold, Rogue Heroes, Girls Guns and Glory, Cassavettes and more take to the Paradise stage to raise money for scholarships in honor of Gregory Rodney Moynahan. A no-brainer pick for just $15 in advance or $20 at the door.
The Patriot Ledger/Taunton Gazette: The year’s Rodfest lineup will include Three Day Threshold – just back from another boffo European tour; Scituate’s own gift to country-rock, Girls Guns and Glory; that half-Boston, half-Texas band of alt-country dudes The Cassavettes; the South Shore-based rockers Rogue Heroes playing their last show ever; popular local club rockers Forgetful Jones; and an opening acoustic segment featuring South Shore rockers Shay’s Rebellion; hot young Scituate band 16 On Center; and the Hingham duo of Colin and Kyle Toomey.
Exploit Boston: Cassavettes' Texas folk? (Do they mean, we are Texan or the music is? Also, they call GGG, Girls Guns & GORY, which should be their Halloween name)
Boston Band Crush
The Phoenix
The Boston Globe

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