No More Waiting
No More Waiting (2003) is a collection of mostly upbeat rock-pop reminiscent of maybe Matchbox Twenty with a hint of Dire Straits and Tom Petty.
With the exception of Forty Winks, Sorry and Far Away, No More Waiting was recorded in a super cramped 6 foot by 12 foot studio with a furnace right in the next room. A door helped, but during recording sessions I would just turn the heat off and put a sweater on.
The project was mastered on a pair of cheap headphones during lunch breaks at work. I guess I’m lucky it turned out as okay as it did. I played the mastered tracks through various speakers, and in the car, just to make sure it sounded decent in a wide variety of listening experiences. If anything sounded off I’d go back and tweak it.
The songs were written over the course of a few years while I was gigging around northern New Jersey in a two-man band with friend and keyboardist/saxophonist John Frawley. We played a lot of Tom Petty, Bob Seger, Matchbox Twenty, Pink Floyd and even Rush, so many of those styles shaped the sound of my music on this project. Not that my music sounds anything like Floyd or Rush, but those bands inspired many moments in my songs.
Far Away had been recorded much earlier, in ’92 or ’93, at a friends’ basement studio, for inclusion on a compilation of local Northern New Jersey bands called Local Color which someone has for sale at Amazon for $70. It is rare I guess. I still have a cassette version lying around in a box somewhere.
Portions of the vocals for Sorry were recorded at a friends house, a small place tucked into the hillside of a little lake community in Sussex County. Can’t believe we actually got such decent takes, so I kept portions of them because they sounded “right.”
Forty Winks, which is the first and so far only song I’ve recorded that includes talk box, was recorded and mixed on a Fostex FD-8 hard disk recorder in a small apartment in Butler, NJ. Had to record on weekends when I knew the people downstairs were out for the day.
All instruments were performed or programmed by myself, except Sorry which featured piano by John Frawley, and So Right which included a guitar performance by Jay Baney.
Guitar effects processing was done through a Digitech GSP21 which then ran into the audio interface. All recording was done on a PC computer running Cakewalk Pro Audio 9. Bass guitar was borrowed from John F. and ran direct, all drum sequencing was done on a Roland XP-80 keyboard workstation, which was the keyboard John used live during our gigs.