snapshots digital booklet

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    P E R F E C TS T R A N G E R

    T I M E

    WATER TO THEW A V E

    R O S A L Y N

    ROCK SONG

    L E M O N

    C H I F F O N

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    PERFECT STRANGERWe remember sitting at the kitchen table writing lyrics for this song, and just coming up with an idea forit. We wanted to write something fast and simple. Mostly because this song was written as a ploy to tryand get the main title spot for a tv show that at the time we had been hired to score. The show was aDavid Kelly show called "Snoops," and they were using Blondie's "One Way or Another" as the theme.We thought, "why even TRY to compete with Blondie!? Composers are always put up against the Hal-lelujah Chorus and asked to ''beat it'' or ''rip it off'' and you only have one day!

    We had been working with Tchad Blake on our GIRL BROS record and thought it would be fun to try outsome adventurous drum and guitar sounds. Wendy hadn't played drums for a little while and she workedreally hard on this song. I think she stripped a layer of clothes off with each take! She was also dealingwith the loss of her brother, Jonathan, who was an awesome drummer and played fast and hard withpunk bands for years. So she felt like she was channeling her brother's talent to play like that on thistrack.

    The show did get the Blondie song and we were left in post production where we belong. Hahahaaaa.That was, by the way, the first TV show we scored! Wendy and I played all the instruments. The initialidea was recorded at our engineer, Andrew Scheps, garage studio and finished at the Sound Factory withTchad Blake. Allan Arkush was the man who hired us on the show and would go on to be one of the mostimportant figures in our development as film and television composers. Writing lyrics about being PrivateEyes, under covers, etc. was a challenge to not be cheesy or overtly sexual.

    TIMEThis track was recorded at our house by Carmen Rizzo. We had been working up at the house withSEAL and on a couple of Projects of our own. We had a 24 track STUDER machine brought into thehouse, which is a hillside house with probably more than a hundred stairs from the street to the studio.Our cartage guys were NOT happy with us. Oh, and it was summer in Los Angeles. Thank you againguys!

    So, there we were with our analogue STUDER, which in those days was about the best it could get,and we were in a creative sprint to do as much as we could before we had to return the gear we rented.The drums were programmed on an MPC-60 by Carmen Rizzo and Wendy Melvoin. Everything elsewas played by the two of us (Wendy and Lisa). We tried to write lyrics and put vocals to it, but we justkept tuning in to the groove and feeling like a melody was getting in the way. We just had fun with it asan instrumental track and left it at that.

    WATER TO THE WAVEWendy recalls, "I think I bullied you into letting me sing the lead vocal"!?......yes, Wendy you did! I wantedto sing this song but Wendy wanted to sing it too and she won the arm wrestling match. DAMMIT! Yeah,I remember writing this song in my living room at the piano. I had been reading Pablo Neruda poems.Very romantic. He had a poem that said something about stringing the stars together to make a braceletfor his love. . . and that stuck with me and inspired me to write lyrics based on elements. I like to do thatanyway, but the line "I would trade the stars for you, paint the sunrise on the moon," was directly inspiredby that poem.

    We recorded it all at our engineer, Andrew Scheps' garage studio (PUNKER PAD WEST). We were work-ing on Soul Food at the time and we played the song for Kenny "Babyface'' Edmunds who was executiveproducer on the film. He had heard "IGABBO Cherries" and asked for a song ,but when he heard this hethought it was too experimental. I guess it is at the end! I'm proud to say that this was pretty avant gardeat the time. Now... it's like mild, old ''jungle/drum and bass.'' Anyway, hope you enjoy it.

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    ROSALYNRosalyn was recorded in the late 90s by Carmen Rizzo at the Record Plant in West Hollywood. Eu-phonics had asked Carmen to do a demo of a console at one of the electronic conventions here in LA.They paid for a couple of days of studio time for us to record something to get Carmen's chops on theboard up to optimum expert status, and then have something to play through the console to see howgood it sounds. I think we intentionally recorded an extreme range of sounds, i.e. there are more thanone kick sound playing and low end is a big deal for ANY sound device.

    It was great to work at the Record Plant which is a legendary studio and had a lot of big bands workingthere. The studio had a jacuzzi room that would often be filled with rockin' rockers and peroxide blondes,and there should have been one of those bumper stickers on the door, "If this van is a'rockin' . . . . "

    GROSS! Ok you didn't hear it from me. . and I didn't mention any names!

    We did come back to work there many times on memorable sessions including a day with TRICKY jam-ming and recording. I wonder what happened to those tapes!?

    ROCK SONGOK, THIS song is called "Rock Song because we had to write something on the track sheets and DATsthat would describe the song. Compared to all the other songs we were recording this was the only RockSong amid funky grooves, ballads, and experimental trip jazz. We weren't recording with midi or timecode, so those delays were just played by hand and we played in time with it! A great testament to lis-tening and good musicians! Also, Susan Rogers recorded this and should be considered an associateproducer on some things we did in our early career.

    LEMON CHIFFONThis was recorded at home during a very creative and emotional timeright around the same time thatthe GIRL BROS record was written. Chris Bruce was living with us and co-wrote this song. We said weshould write something every day, so for a week we named everything after FOOD because we wouldonly stop to make dinner and eat. So we had songs like "What's for Dinner?," "Tofutie Cuties," and"Lemon Chiffon"!

    The master tapes with those songs on them were lost, but we found a DAT with this on it so we are ableto share it with you. We are very fond of this song and were always wondering what happened to it.Were happy to include it on this special release.

    Thats about it for now. Thank you for reading and listening to ourmusic. You have been a great support system to us. We are excitedto be able to release this EP and have it be completely homemade. Itis without question the most personal package we have ever put out.

    with love,

    Wendy & Lisa

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    1 RECORDED BY TCHAD BLAKE AT THE SOUND FACTORY2 RECORDED BY CARMEN RIZZO AT OUR HOME STUDIO

    3 RECORDED BY ANDREW SCHEPS IN HIS GARAGE

    4 RECORDED BY CARMEN RIZZO AT THE RECORD PLANT

    5 RECORDED BY SUSAN ROGERS AT SUNSET SOUND

    Drums: Carla Azar. Additional Guitar: Chris Bruce.

    6 RECORDED BY WENDY & LISA AT OUR HOME STUDIOAdditional Guitar: Chris Bruce.

    MASTERED BY PAUL DU GRE

    PHOTOS BY WENDY (PANELS 1, 3, 7)PHOTOS BY LISA (PANELS 2, 4, 6, 8)

    ALL SONGS WRITTEN BY LISACOLEMAN &WENDY MELVOIN C2011

    Augusteena Seventeena Publishing (ASCAP) / Calderlicious Music (ASCAP)

    except LEMONCHIFFON *Wendy &Lisa with CHRISBRUCE Herbs Lounge Music (ASCAP)

    WRITTEN, PERFORMED AND PRODUCED BY WENDY & LISA

    EXECUTIVE PRODUCER RENATA KANCLERZ

    AD, LD +PD = RK DIY

    WENDYANDLISA.COM

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    P &C 2011 W. MELVOIN/L. COLEMAN ALLRIGHTSRESERVED.9171 WILSHIRE BLVD. SUITE 300 BEVERLY HILLS, CA 90210

    UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE

    LAWS. 897262002046 WM/LC EP-01 WENDYANDLISA.COM

    GIRLBROS.