World record staring at the sun
So, with Joe Viers engineering, we recorded most of the basic tracks with Steve and Ross at Steve's home studio in California, then returned to John Schwab Recording in Columbus to cut Stu and Robin's basics. We would record drums and bass at a proper studio, and then bring the tracks back to my home studio to cut guitars and everything else. He definitely laid it down thick, as did my other "dream team" rhythm section of Stu Hamm (bass) and Robin DiMaggio (drums), who both were featured on "Purple Rain" and "Rain."Īs for the recording process, we wound up taking an approach similar to the one used for Two Hands, One Heart. Rounding out the rhythm section chores for most of the disc was Steve's partner in crime from the Journey days, Ross Valory. The only thing more incredible than Steve's blistering, unedited performances on Staring is the fact that they were all captured in only one or two takes!
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(I'm sure this impression was formed when he had recently heard me on tour at a gig in Oregon with Bobby and The Buddha where it was shred heaven!) While he had no issue with the material, we did agree that he should "play all that he can and then throw in the kitchen sink." This was a mantra that we followed to great success on this recording. A few weeks later, I got a call from him while I was in Montreal and we talked about how he had assumed the CD was going to be heavier and more "chopsy" than the demo I had just sent him. Once Steve agreed to do the project, I sent him a rough demo of the arrangements so he could get a basic feel for the tunes. I was very fortunate to have somewhat of an all-star line-up on Staring at the Sun.beginning with the great Steve Smith on drums. And since we seldom ever work together in the same room, I always joke that we are like the Elton John/Bernie Taupin of instrumental guitar music! Working in this capacity has really served us well through the years. Then he would ping-pong it back to me and I would produce it to completion. Once I demoed something, I would send it to Tim, who would then "Bradfordize" it and take it to the next level. This project would solidify how keyboardist/arranger Tim Bradford and I work together.
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In fact, I recall walking over to Bobby Rock's hotel room and asking him about the time signature for the main riff of that tune. "Lost in Your Dream" was demoed in Florida, "Fargo" was written in (appropriately enough) Fargo, North Dakota, "Every Thought" was Houston, Texas, "I Spy" was back home in Cleveland, Ohio, and "New, New Math" was somewhere in New England during the World Series. Most of the ideas for Staring were written while I was out on a marathon tour in '97 with Bobby Rock and Bill "The Buddha" Dickens, and I can still remember exactly where I wrote each tune. You might even say that Staring at the Sun marks the beginning of my "modern era" direction. I'll let you in on a little secret: Out of all of my CDs, this one will always be the standard to which I compare all my latest works.