The idea for this project was to try to capture some original live music, leaving it fairly raw, with all the chatting, clinking, ringing, whirring and sundry noises you might expect at a pub. In addition, an attempt was made to leave recorded parts rather dry, with minimal post processing. This leaves a certain unfinished intimacy, which sort of reveals the work for what it is; at least that's my story, and I'm sticking with it. Technically, there were microphones on everybody and everything, including the pub itself, for "ambience". Later mixing involved tradeoffs between the sometimes all too live and, well, dead sound. This was further complicated by different set-ups (sound characters), performers and crowds, on each of the three recording days; August 3 (Tuesday evening), August 28 and October 16 (Saturday afternoons). Anyway, aside from musicians asking for more reverb during mix-down (we'll try to get some of them recorded with that fuzzy warm studio sound a little later), the main battle was with the refrigerators. These adversaries had plenty of training, and the home turf advantage, so a compromise was reached - we got a bunch of great takes, and the fridges got cameos on the CD. Be sure to applaud if you hear them.
Design and execution of this project was encouraged by many, whether they know it or not. I can't name them all, but Dan, Gerry, Shelly, Colleen and Sandy come to mind. A catch-all might be to thank all the musicians mentioned up above, as well as all those who played at the pub but weren't mentioned up there. Oh, we shouldn't forget to mention Peter and Jaan, who were the up-front faces of the Tuesday Open Stage evenings from which some of the fodder (uh, musicians) came. Finally, thanks to all the tolerant folk who ate, drank, or worked at the Alexander Pub. If you weren't that tolerant, no one noticed, so thanks anyway.