Back in my Amen days (somewhere around 1999-2000), I met Chris Lewis. He was incredibly young and had great energy. He was an Amen fan and we met after a show we played in Sauget, Illinois. He handed our singer a demo tape of his band, The Kinison. The visceral, bombastic sound captured on that tape told us the band had real potential.
I remember helping record early Kinison songs at Amen’s rehearsal space. It was a carpeted garage deep in Van Nuys and that’s where Chris and his band worked out their tunes. Their demo “I Hate Black Sabbath” was recorded at Sound City, and it led Chris and The Kinison through a series of showcases and ultimately a record deal.
Chris and The Kinison were on their way, and they toured relentlessly in the early 2000s.
Many years later, we reconnected when The Kinison wanted to record a couple of tunes with me at Dave’s Room. This became the EP “Oh, the Guilt”
A few years later, Chris started to write on his own. He tracked 5 songs with a talented friend of ours, Manny Nieto, at his Suplex Studio in Los Angeles. Not long after that, Manny decided to move his studio to Hawaii and I mixed an EP from those 5 songs; it’s called, eponymously, “LEWIS”.
Chris was excited to have these tunes realized, and given our history and how comfortable we are working together, he asked if I would record his album. Over several weeks Chris sent me dozens of songs for “LEWIS”. His new music has a more singer-songwriter feel; jangly and grungy, but at the same time poetic and personal. Chris is both relentless and prolific and while I was listening to the first group, he sent more and more songs. We decided on a recording date and he was still sending me music! Each tune was better than the last and out of the final group came “Tobi”, and “I’m Nervous Too” – two tracks that I knew had to be on the record.
We worked hard and fast tracking live with Sam West on drums, and Frank Figueroa and Brian Duke on bass. After 4 days of tracking and overdubs Chris had his first album recorded, “Son on the Floor”.
Mixing was fun – I kept the raw, honest performances and made sure Chris’ writing and intent really shone through. I am extremely proud of Chris and his new record. I am sure there will be more to come from LEWIS.
As Jedd Beaudoin from Pop Matters says: “the infectious single “Bathe Clean”, three minutes and six seconds that spotlight Lewis’ particular blend of humor, incisive observation and ability to create an unlikely but undeniable hook. Think of a sweeter Guided By Voices or songs where power-punk clichés are muted for the sake of the song and that’s some of what Lewis gets up to on” — PopMatters
Please enjoy The 4 singles leading up to LEWIS full length release August 21 “Son On The Floor” on Sona Baby Records with these lyric videos.
Son On The Floor will be available on LP and download on August 21st, 2020 via Sona Baby Records. Pre-orders are available HERE.
I am so excited to have engineered this recording with Slipknot. We have history from back in 1998-99 when I was playing guitar in Amen touring the U.S. with Machine Head and Coal Chamber. Then life put me at a crossroads. I gave up touring and being a recording artist to sit at the runner desk at Sound City, where I started my life over on the other side of the glass, so to speak. Since 2001 Slipknot hasn’t stopped. They’ve overcome so many tragedies and obstacles and shown true resilience in the face of the universe trying to slow them down. Now here we are together in the studio with Greg Fidelman at the helm as producer, corralling all their energy into this crushing recording. I am so excited for everyone in Slipknot for this release. Enjoy!
Produced by Greg Fidelman, Engineered by Paul Fig and Mixed by Joe Barresi (All, Sound City guys)
As Tom Connick from NME
‘AllOut Life’, the Iowa nine-piece’s surprise new single, was released yesterday amidst countless claims from the band that their new album would be “‘Iowa’ levels of heavy” – a call-back to their genre-defining 2001 second LP. You’d be forgiven for rolling your eyes at those claims. The band are a full 18 years older than when they recorded ‘Iowa’– they’re now fathers and husbands, and have full bank accounts and back problems. Such things don’t typically lend themselves to the kind of nihilistic rage that ‘Iowa’ thrived upon (back problems aside). It takes just seconds of ‘All Out Life’ to burn away those doubts. An explosion of twisted riffs and the clattering, marching drums that defined their early years, it’s as searing and immediate as a shot of acid to the veins. The pace is unrelenting, even that oh-so-Slipknot percussive middle-eight surging forward. It’s the return to bruising form that they promised, and then some, with Corey Taylor’s rottweiler vocals perfectly summing up the sentiment: “Old does not mean dead,” he bellows, “New does not mean best.” Read more at https://www.nme.com/blogs/nme-blogs/slipknot-new-song-all-out-life-review-2395781#sP5xWF6riT6ZfzPJ.99
These guys got in touch with me after reaching out to Jim Rota of Fireball Ministry. They were looking for someone to produce their band Fuzz Evil and Jim mentioned me.
After a few emails and phone calls while I was in Seattle tracking Alice in Chains’ new album, we made a plan. There was some great rough material in the early demos they sent and I knew that together we could mold those tunes into something crushing.
We made plans for the trio to drive through the Arizona desert to Burbank, CA where we slaved for two days on pre-production at my space, Underbrow. Then we were off to Studio 606 (the Foo Fighters studio owned by Dave Grohl) to track live on Sound City’s famed Neve 8028, the recording console that Grohl rescued from the failing studio. We tracked for two more days then were back in Underbrow for three days to wrap up solos, vocals, and a shaker track.
These guys stepped up and delivered some of the most fun stoner, desert rock ever. They hilarious and a blast to spend time with, and they worked their asses off. We crossed the finish line in five days. I enjoyed every second of their energy and work ethic as I pushed them to deliver. The fun and the hard work show in the music we produced. I look forward to hear more from these three.
Robert Pasbani of Metal Injection says,
“Fuzz Evil have been doing one thing since their formation in 2014- bringing sweet jams to the masses.We are pumped to showcase the opening track “Get it Together” which features some sweet licks and an epic solo that will make you feel like you are on a rocket on another planet”