As production winds down on Curriculum and we swiftly approach the mixing/mastering phase, there are many a loose end to tie.  I am busting at the seams with anticipation, but trying not to blow my load too early as there is still much work to be completed.  However, the biggest question mark to recently be answered was deciding which song would earn its place as the 10th and final track included on the album. 

Not Even Niagara is a song very dear to me.  It was the first song composed after my move to NYC and marked the end of a year and a half writer's block that had me questioning if I had the artistic stamina to endure a career in music.  I had experienced bouts of verbal constipation in the past, but never to this severe a degree.  Niagara documents the agony of separation, the uncertainty of new transitions, the effects, both physical and emotional, of a distanced love: certifying my position as a card-carrying member of the insomniac club.  While this piece is a bit of an epic (clocking in at nearly 7 minutes) it has been extremely well received.

We experienced several starts and stops with this song from the beginning.  It was actually the first tune demoed for this project (back when the plan was to make an EP).  It underwent cosmetic surgery at THREE different studios and still showed visible scars.  When the EP crossed over to full-length status, we saw an opportunity to start from scratch.

Our new concept was to create a bluegrass-gone-evil essence.  The song is a bit of a twisted lullaby and the combination of severe and sensitive would serve it well.  However, as months passed by, progress on the track fell to the wayside as we were experiencing difficulty deciding how exactly to execute the idea.  Time and budget were getting tight and a few weeks ago we made the painful decision that despite our best efforts, perhaps this little baby just wasn't meant to be. 

Which brought a new dilemma: What should take it's place?  I had about 8 unfinished songs in my arsenal which I had been attempting to complete in time for potential inclusion.  Looming deadlines are sometimes exactly what I need to finish a task, however, in this case it only garnered more frustration.

So instead of pushing forward I decided to turn back.  (Interesting, considering that loitering in the past is my most highly criticized vice.)  I considered my back-log of songs and tried to find something appropriate (both musically and metaphorically) that would fit the tracks showcased on Curriculum.

I wrote the song Habit back in 2001.  It's a dirty, kitschy, no-apologies rock tune that has become a bonafide fan favorite.  (Not to mention, one of mine.) The trepidation I had with Habit is that it has suffered from the same symptoms as Niagara when it came to doing justice in the studio.  I released this song on two of my ancient EPs and both productions were lacking.  The grit and intensity seemed to get lost in translation.  I optioned it for The Rearview, but the idea was canned before we even began fleshing it out.

I concluded that it was worth taking a shot and presented Habit to Mark and Nathan a few weeks ago.  After it passed with flying colors, we brainstormed about how we could prevent it from veering off into generic pop-rock anthem land. Our solution was to record the track live, which was somewhat of a departure for this project. 

The line up was myself on guitar/vocals, Mark on bass, and the amazing Sean Dixon on drums.  We felt it best that Sean had no prior knowledge of the tune before coming in.  It was important to have a truly organic approach and to arrange and record the track collaboratively.   It was a huge risk, but the payoff was major.  Sean's musical sensitivity and stylistic range was key.  He was able to balance the nonstop flow of ideas being hurled at him compliments of the boys and I and translated them in a completely unique and innovative manner.  We plowed through a marathon 7-hour session despite head colds, back spasms, and finger cramps and emerged with a track oozing with gritty vitality.  The energy captured in a live session recording is simply unrivaled.  The blood, sweat, and tears that streamed into the production elevated it to another level. 

The old gal has been revitalized.  And no Botox necessary!