On this week’s mini-music-monday, I played an acoustic version of a song called Father’s Day. I recorded the ‘real’ electric version with Dale Crover (drums), Imaad Wasif (guitar) and Nate Mendel (bass) on Father’s Day weekend 2013. Paired with another tune, A Lot To Maintain, 500 7” singles were made. I was given a few copies and then, never heard anything more about it. It was never released. Presumably 400+ of them are sitting somewhere, probably Glendale, California.
(self-made vid with cover images and fotos from the session)
This 7” marked the third time Dale had helped me out. The first time, in 2008-9 I asked him to add drums to my Goodnight Unknown L.P.. He nailed it though it felt wrong constraining him to pre-recorded tracks. It was apparent that recording Dale live and unhindered would be even better.
The second time I called on him was 2011, when I was working on my requisite 2 or 3 songs for the next Dinosaur Jr. LP. The third reunion record that became I Bet On Sky.
My biggest challenge then was giving Murph and J a demo to sink their teeth into. I got lucky for the maiden reunion L.P. Beyond. Somehow my songs came together quickly and without the need for demos or much directive on my part. For Beyond’s follow-up in 2009 (Farm) though, I hit the wall. Not having the innate ability for percussion nor a talent for programming drum machines, I’m reliant on a drummer to write their own parts. If the songs don’t engage them, I’m kinda fucked. At that point I was still puzzling the dynamic of the newly reunited Dinosaur Jr. Could I ask J to help Murph write the drum parts? He delivered his songs as complete (minus the bass) instrumentals. Did he expect the same from me? Was it O.K. to ask the guys to do extra work for my songs? I wasn’t sure and decided not to push my luck.
I got anxious as the sessions approached. I had songs ready but no drum parts.
A few weeks before I was meant to travel to Massachusetts (from California) to start the LP, I had a vivid dream in which I asked Dale to help me record the demos. In the dream he said yes. I woke up, called him within the day and he said yes in real life! What a wonderful example of how the subconscious can work around insecurity and procrastination! It hadn’t even occurred to me to reach out to Dale (which is odd considering how amenable he was to working on Goodnight Unknown). Thanks brain!
Soon Dale was in my studio space and within 2 hours I had proper demos. Playing to his drumming, opposed to watching him match a pre-existing track, was revelatory. He made even my weakest song feel mighty. Good drumming elevates everything around it. It creates space and makes it easier to play. We laid down the skeletal songs live: guitar, drums and a scratch/nonsense vocal. Then I added bass. I then felt prepared for the Dinosaur Jr sessions. I was feeling downright cocky. I’m not a total stranger to confidence but I eye it warily. Confidence can lead to disappointment. It can be embarrassing. But, the more I listened to what I had done with Dale, the more relaxed I felt. That’s a good kinda confidence, chill.
When I delivered the tunes, I knew having Dale attached would keep my Dino bros interested. “This is Dale Crover?” “Yep!”. And, yea, everything went smoother, the songs came together quicker: Recognition, Rude and a b-side, Ricochet. I had turned a corner and all the successive Dinosaur Jr LPs have felt easier. On Sweep It In To Space, Murph and J wrote drum parts for my songs together. That’s what I wanted from the beginning but couldn’t articulate.
( check out my video art! )
So, back to the Father’s Day sessions! I was offered 2 free days (June 15 +16, 2013) in the Foo Fighters studio, 606, to concoct a 7” that would be sold for charity. Also, the session would be documented on video. How exciting! Maybe it would end up in something! I immediately called Dale and Imaad Wasif and they agreed to help out. We had one rehearsal in the Melvins practice space to map out the two songs I brought. Then we convened at 606 and knocked ‘em out. Dale wandered through the hall of platinum Nirvana LPs and pointed out the ones he played on. The Melvins were the architects of the grunge Nirvana popularized. But Dale is much more that that, he’s versatile, open-minded and a great listener. He should be constantly hired for all kindsa studio work.
Like I said, neither the 7” or the video saw the light of day. As much as I loved the sessions and reveling in hearing my voice and melodies mingle with Dale’s beats and Imaad’s riffage, I realized the songs weren’t so hot. Possibly too earnest, too fresh during a tumultuous time. Listening to the songs now makes me feel like I’m standing in the hallway of my high school in tighty whities. It’s always tough to be in love with something but gradually understand why the world won’t fall in line. It’s humbling.
Anyone who participated in my Artist Enabler Series (the 18 month long, 186 song subscription from 2019-20) might remember that we (Joyful Noise Recordings and myself) did a small pressing 7” of the 2 songs from 606 (as Tres Padres) and 2 of the Dinosaur Jr demos. I’m not sure how many of you BFG Substackers got into the AES thing, if you didn’t lemme know in the comments. All the Dale related tunes plus the original acoustic demo of Father’s Day are right here, right now, available to paid subscribers below this new version I did for the podcast.