On the shine is a hand-picked selection of the songs I recorded between 2008 and 2012. Also known as the long awaited B.B.Q. Album, the album is a purposeful venture into positive lyrical and musical territory with a few dark exceptions. Recorded mostly in a method I call "leap frog." A self-applied, consciously unprofessional term I use to imply the lack of trickery or, more accurately, a stern anti-drum machine sentiment. A rule I break wholeheartedly in at least one song. The differentiating factor that begs a new production term is this. The "correct" way to record a song since the advent of multitrack recording was to either cut the whole thing live or break it down into parts for the sake of audio quality and time management. The norm is to consider the drums a concrete foundation with which to build your song, adding tracks accordingly, rejecting and re recording the"scratch tracks" to achieve a layer cake of perfection along the way. It makes perfect sense for a full band with the meter running in an expensive studio environment in say 1989. My home studio is, as they say, "all that" and the lack of time constraints coupled with the "army of one mentality" opens a creative door that resolves itself without argument or discussion for the betterment of the songs. My songs are usually a guitar centric affair and for the sake of the song and my sanity, I record the guitar first ( a total no-no in the shrinking professional recording universe). I thump out a solid acoustic take with mumbling unfinished lyrics, spontanious chord changes that come from outer space, and add drums and bass with reckless abandon. Then I mute the original take and apply a more precise guitar and possibly add some electric stuff. Then I mute the drums and redo them entirely with the new attitude of the electric guitar or bass considered, including nuance changes or stops that spontaneously show up out of nowhere. Then I let it simmer in the pot till the steam clears out, add butter and serve hot. These songs are generally not prewritten and all along the way, I keep a live vocal mic around to constantly toss in lyrical pieces that occur to me honestly and on the fly in that very moment. By the end of the day, I usually know what the song is trying to become and I can have it to near completion by that night if I get the entire day to myself in the studio. In the end, I sometimes have an admittedly sloppy sounding song, but in my opinion, all of the soul and spirit of the piece gets left intact and the whole grain goodness resides in the cosmic slop. It is extremely satisfying to produce music, lyrics and recordings this way, warts and all. Most musicians are trying to recreate some magic they came up with on the back porch in the studio and it comes off like bad acting. My philosophy is to have the mics live and ready and roll tape (or click a mouse..tape ain't cheap) every time I sit down to play. The end results are as true and honest as I can make them. I hope the end results of my efforts are something people will find interesting enough to play on their road trip in the summer or who knows, perhaps pump it out the boom box at the backyard B.B.Q. As always, peace, love, and pass the guacamole.
Sincerely, Brandon Earl Bristow
released October 2, 2012
All this noise came from Brandon E. Bristow with a little help from the pond frogs and the moon.
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