Well, one more dream realized. Yesterday we cut at Abbey Road Studios in jolly olde London. I have to say it was rather surreal. So many records that helped form the artist I am now were cut in the very room we used – Studio Two. The walls are adorned with exclusive photos of the artists and prints of the record covers. Many I was clueless that they had been recorded there. The magic is palpable. Everyone was extremely hospitable and professional, making the process a complete joy. It puts a fitting bow on the recording part of the project…which has been effortless and exhilarating. These tracks have far surpassed anything I could have imagined. Hopefully once we finish the mix and mastering stage you'll enjoy them half as much as I do.


abbey road studio 2 tracking room


abbey road studio 2 control room


abbey road staircase to control room

We began rehearsals on December 27 at EMI Publishing Studios in Nashville, TN. Spent 5 days with the likes of Paul Moak (guitar, piano, kitchen sink), Ilya Toshinsky (guitar), Victor Broden (bass), Will Sayles (drums), Jason Cupp (engineer), Adam Hatley (engineer), and the illustrious Mike Hedges manning the helm. After 5 days of slicing, dicing, and rearranging, we took the weekend off and traveled to the metropolis of Muscle Shoals, Alabama and Fame Studios (see blog) to begin tracking (sans Hatley, alas). My good friend Jimmy Nutt was second engineer, bringing his vast knowledge of the studio and its gear, along with his alter ego 'Johnny Napp'. For three days we recorded with the entire band in the room together. Sixteen songs later we had our basic tracks! Paul and Ilya hung around for a little while longer to do overdubs. Paul brought his unbelievably vast array of instruments to Fame (acoustic and electric guitars, high string, acoustic and electric mandolin, vibes, glockenspiel, synth) to compliment their wurlis, b3, piano, and harpsichord (yes harpsichord). Later we spent some time at Paul's studio in Nashville, the Smoakstack (clever, eh?). A few percussion overdubs by Will (tympani, shakers, concert drum, etc.), a pump organ track by Paul, and we were ready for vocals. Two days later we wrapped. Mike headed to France, Cupp to LA, and I was Alabama bound.

There's no way to express how blown away I was by the players. I feel extremely close to these guys, and I think it's evident in the recordings. We sound like a freaking band (what a novel concept). I can't fathom doing this record without them. They each brought a level of expertise, professionalism, and insight to the project that made the music what it is. Thanks for that. Thanks for being my brothers-in-arms. Thanks for the long hours and going above and beyond so many times. And thanks for making me look good.

Jason Cupp was the last piece of the puzzle. He was added to the project sight unseen on a recommendation by Jon Brion (google Jon; ridiculous). This guy got tossed into the middle of our project (rehearsals) not knowing us, the room, the music .. and won our respect, admiration, and friendship in one fell swoop. He says, "I just turn the knobs," but I know better. People at Fame (who will go unnamed) commented that "nothing has come out of that room that sounds that good." I couldn't be more happy sonically, and the guy is a dancing fool. Add PBR and stand back. Much love, Rico.

I'm the world's worst when it comes to demo love, or hate. I've been secretly terrified that I'm never going to dig anything more than my demos. Safe to say that's been cleared up. Mike Hedges has helped me put that in the past, and create something concrete from my dreams. I sound rather happy, don't I? Oh god..

I recently recorded a cover version of the ELO song "Can't Get it Out of My Head" for the OC Soundtrack that comes out tomorrow Dec. 5th. The song will also appear on the show in an as yet to be determined episode - I will let you know as soon as we hear which episode. In the meantime, you can hear an excerpt of the song at http://www.musicfromtheoc.com/