In the late ’80s and early ’90s, my journey through the local alternative and punk music scene introduced me to the talented drummer Sam West. Sam and I shared a passion for music, and together in these bands we embarked on tours across the United States, creating cherished memories along the way. Our musical paths converged when we became the backing band for H.R. of Bad Brains for touring on his west coast for the “Charge” record.
Fast forward to 2016, Sam reached out to reconnect over a beer at a gastropub on Wilshire. Our reunion sparked a conversation about my work at Sound City and as a freelance engineer, leading Sam to propose an exciting opportunity: producing the new Stavesacre record. I eagerly accepted the challenge, seeing it as a chance to elevate my skills in the production space I shared with Jim Rota at Angel City Drum Works in Burbank, affectionately dubbed Underbrow.
Underbrow warehouse: Drum overdubs with Sam West
Meeting with Ryan Dennee and Jeff Bellew, we collaborated on demos and arrangements at Sam’s out-of-town retreat before transitioning to Underbrow to begin recording. Equipped with my trusty 32-channel Sound Workshop Series 34b recording console and a selection of outboard gear including Shadow Hill and Aurora GT2Q mic pres, we meticulously crafted each track, starting with drums and then moving on to guitars.
For the guitar sessions, I had the pleasure of utilizing the Bogner Goldfinger 45 amp, which added a unique flavor reminiscent of a Vox AC30, alongside my vintage Marshall JMP. With Ryan and Jeff experimenting with different tones and textures, we sculpted the sonic landscape of the record.
Despite bassist Dirk residing in Atlanta, we kept him involved by sending rough mixes, allowing him to prepare for his recording sessions in Los Angeles. Over four intense days, Dirk laid down bass tracks for all twelve songs, including covers of SIA’s “Breathe Me” and Radiohead’s “Burn the Witch.”
The final piece of the puzzle was recording vocals with Mark Salomon, whom I hadn’t seen since his days in the thrash band The Crucified. Though tracking vocals for a pile of songs can be daunting, Mark rose to the occasion, delivering captivating performances over eight consecutive days.
Throughout the recording process, we welcomed guest musicians, including Sam’s son Cameron West on French horns and Mark’s niece Hayley Brownell contributing vocals, adding depth and richness to the album’s sound.
As the record took shape, we experimented with new guitar melodies and flavors, with each member of the band stepping up to deliver their best performances. Despite the challenges, the camaraderie, laughter, and shared passion for music made the experience unforgettable.
The culmination of our efforts resulted in the release of “MCMXCV (1995)” on vinyl, a testament to the dedication and creativity of everyone involved. I am immensely proud of this record and grateful for the friendships forged during its creation.
