I know— I mean, with other music, too, I kind of know what his taste is, and that’s a pro and a con, getting to know someone’s taste well enough to know ahead of time what they’re going to like, what they’re not going to like, what sounds they like, what sounds they don’t like, what genre they like, what genre they don’t like… Like, what we would consider standard New Wave, he thought was the devil.
Yeah, but it’s like the way I feel, probably, about certain 70’s music or disco.
So, Chad got brought in to play guitar, and then I stole Jason Webley’s bassist Jherek Bischoff, and he ended up being an incredible choice for a lot of reasons, but one of the best reasons was that he and Michael— because Michael Mc Quilken is Jason’s touring drummer, too, so he and Jherek had toured together and played together for eight or nine years. It’s those three guys, and the chemistry is really incredible. Everyone plays at least three instruments, and everyone had a lot of great creative input in the arranging.
To have a bassist and a drummer who are already solid and already kind of have a psychic, musical language is really, really key. Jherek is an orchestral arranger and is doing all the strings on the record, and even recording them and sending them over to John, and Chad arranged all the horns and conducted the horns in the studio.
She's made a habit of jotting down her husband’s choicest somnambulistic mutterings.
One paperless night, she repaired to the bathroom to recreate his nocturnal statements on her i Phone’s voice recorder as best she could remember.
As someone who’s sorely tempted to get incontrovertible proof of her bedmate’s erratic snoring patterns, I wonder that Palmer wasn’t tempted to hit record mid-rant, and let him hoist himself on his own petard.