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MP3 The Breetles - Sound Recordings 2011
16 MP3 Songs in this album (62:19) !
Related styles: Pop: Power Pop, Rock: Rock & Roll, Mood: Quirky
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The Breetles SOUND RECORDINGS 2011
Producer’s Note-My dear listeners:
The Breetles mission is to take music back from the computers, the sequencers, the drum machines, the squeaky clean, auto-tuned, quantized, over-compressed, human-free “product” that so many producers and artists seem to strive for – “perfect” production. Well, us scientists here at NoFault Records want to bring human beings back into rock’n’roll – an honest presentation of what got us senior rockers going in the first place – the garage/ basement experience. You picked up an instrument and played your heart out with your pals or musicians met through newspaper ads or postings on music store walls. Some of the greatest records sound like they were taped in a garage or back room at some very modest studios.
My particular problem is no one likes playing with me because I am such an unpredictable wanker, writing songs with too many chord changes. Over time, I learned to play the other guys’ instruments so I didn’t have to depend on anyone else to show up. This began when I was about 16, in a band we actually did call: Jumpin’ Jack Jazz and the Fabulous Grasshoppers -spring 1969, sophomore year high school, practicing and recording at Jim Parker’s house in the Little Rocky Hill part of South Brunswick. We did our “Theme” song and “Robert Cobb”, not too cleverly perhaps, but we had the Farfisa organ, a groovy light show in big wooden boxes and Jim’s 1964 red Chevy station wagon to get us to gigs. But it was always easier to play Chicago’s version of “I’m A Man” and let Rob Dickson do a 20 minute drum solo. Even then, I had a small backlog of songs (“Under LsD”, “2 Million Leagues Under the Sea”, “You Got Me Broken Hearted”, “Please Somebody”, etc.). No matter what band I played with, The RoadApples, Shot In The Head, the Rockin’ Bricks, there were always more songs then any band ever needed. Throughout the 20+ year existence of The Breetles, I always tried to include a “golden oldie” on each record to try to flush out the pantry to make room for new compositions. Some songs were part of never-released albums like Breet To The Beat (1979) and Chris Breetveld Goes Too Far (1990). CBGTF had virtually all tracks re-recorded in 1993 for the Pop Go! The Breetles release, three others were re-recorded here with one coming on board as it was (this still leaves one…). SOUND RECORDINGS 2011 is my closet spring cleaner, even though a few more still remain unrecorded (v.2 anyone?), some of these tunes have been buzzing in the brain for ages, and I thought it would be fun to get them the hell out of the house.
In the early days, a recording would start with a guitar or piano track first then add drums to establish the groove then layer on the rest. This technique tends to restrain the drummer’s natural sense of pocket, or groove, and I always found it hard to sound natural while being tethered to a pre-recorded basic track. Then somewhere along the line, I tried doing drums first, letting the lead the band. Everything changed from then on; the only trick is that the drummer (you) has to know the song inside out in your head, then do a performance with an imaginary band. So now, after miking up the drums (or rather FatJogger-Steve doing it), I hit “record” in the control room then get behind the kit without headphones and imagine my personal garage band in the room ready to rock. I always tend to go with the first take unless something truly heinous occurs. If the drummer makes it through with maybe one and a half “tiny” mistakes, then I bring in the other guys and each of “them” gives it their best first take and so on. This method may make for more unprofessionalism but to me it’s the heart of garage-rock: slap it on and make a joyous noise. And fuck the computers.
The instruments listed are in order of when they joined the song, to give you a sense of construction on each track. No click tracks were used at any time. horns, strings and a lot of sounds were made on keyboard / sampler workstations, so a small amount of computer was used and the multitracks were recorded onto a MacG4 with DigitalPerformer4 software – but it was used merely as a recorder / mixer. The recorders were real.
My humble thanks to the guest musicians who contributed so brilliantly and to my studio host, FatJogger.
-Breetsky Korsikov February 2011
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