'An Overnight Low'
When the idea of doing a solo record first came up, I think the initial discussions centered around more of a "get some of these things out of your system" vibe than necessarily becoming invested in a full-blown production. Now, had I simply cherry-picked a dozen acoustic demos to recut in a proper studio, that tack might've worked out alright, but I honestly didn't see the hypothetical finished product appealing to many people, including myself, so I took a different approach.
I started sorting through all the material my band (The Great Affairs) had amassed in the 2 years since we released our last album, even going back to the stuff we'd shelved in favor of the songs that ultimately made the cut for that record, just in case there was something in the archives that might've been unfairly benched in the interest of observing the democratic process. I mean, let's face it, if I'm the only one with their wallet out this go 'round, I should be able to vote a few castaways back ONTO the island, right? Since there were no bandmates or label involved to veto my choices, I took full advantage of this newfound executive power, and rescued a few of these "lost" numbers for inclusion, along with 7 or 8 new ideas I'd been tinkering with.
In the process of liberating those overlooked selections though, the scope of the record expanded quite a bit, and any notion of it being a low-key acoustic outing pretty much took a hike. Instead, I had a batch of songs that ran the gamut from subtle, finger-picked balladry to caveman-fisted power chord chuggery(a word?), and all the stuff in between that makes up what I love about Rock n' Roll music, and that was just fine by me.
In my world, there's no good reason why The Raspberries and Jason Isbell can't get spun on the same radio station, or Cheap Trick can't break bread on E Street with the Boss. Butch Walker would be a millionaire (Well, he probably is, but he'd have a bunch of hits to go with his outstanding bank balance and an assumedly exemplary credit rating.), and John Hiatt would be a household name.
Stevie Nicks, Jellyfish, and Paul Stanley walk into a bar. Bartender says….
Anyway, you get the picture. This is a record I made for me, and if I'm lucky, people like me, who don't get too caught up in putting labels on everything, or making sure it's in the "correct" box. It ain't hip, or cool… at least I don't think it is, but then I'm not sure I'd be aware if it were, so I'll just assume it's not, and that's OK.
Still, I'm too old to have grown up in the Tee-Ball generation, and I believe in earning my trophies, so don't think for a second I didn't bust my ass on this thing, because I sure as hell did. I DO want people to like it. Cool or not cool, I know I made a good record, All I can do now is turn it loose, and hope it gets listened to…but I guess that part is up to you.
released October 21, 2016
All songs written and arranged by Denny Smith
Produced by Denny Smith with Michael Saint-Leon
Recorded, mixed, engineered, and mastered by Michael Saint-Leon at
The Switchyard, Antioch, TN
Additional recording at Pastry Park Audio Confectionery, Hermitage, TN
Denny Smith: All Vocals, Guitars, Ebow, Strings, and Programming
Criss Cheatham: Drums & Percussion
Dave Webb: Bass
Michael Webb: Piano
Kenny Wright: Percussion, Mandolin, and Mandola
Michael Saint-Leon: Slide Guitar
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