![]() ![]() So when you go back now and listen to this, do you hear the ghosts? It had a lot of influence and I think it shaped a bit of the records, certainly lyrically and vocally.īaltin: I'm a big believer in the fact that good writing is subconscious. And we were actually looking for a place to buy together to actually go and write and record and to be in Savannah. But the beach was there and we fell in love with it in a lot of ways. It is a another very energetic place to be, especially when you're walking around at night and you fall into a bar somewhere and then you've got a bunch of art students from like SCAD (Savannah College of Art and Design) and you have deeper conversations about more interesting things than some shallow conversation you might have in some s**t dive somewhere else. Did you feel like Savannah was a great place for you to write a lot of the lyrics? And it was such an inspiring place to be. We're recording with Dave Cobb." And it was that long ago but you knew. And you said, "Oh, the only guy I know that records in Savannah is Dave Cobb." And I was like, "Okay, well, cover's blown, now's a good time to spill the beans. ![]() Sam: And Steve, when you, Daniel and myself all spoke at the All Within My Hands function, I said we were recording in Savannah and this was months and months ago, obviously. And since Dave is up and relocated back to Savannah, Georgia where he was born and we recorded a lot of the vocals in Savannah, Georgia, actually. He was entrusted with it by the owner who bought it, saved it from decimation. And it was interesting that we were recording there with Dave when Dave was overseeing or curating that space. It feels like a chapel or something in a way. Josh: Well, it does almost a bit of what a church might achieve. And of course it's on Music Row, it's like downtown Nashville, so they could have just as easily cut the whole place down and made it apartments and made a f**k load of money but it's still there. ![]() But yes, it is very blessed and haunted in many ways. ![]() Sam: There's one light in the corner that you are not supposed to turn off because if you turn it off, Chet will become upset. There is some unexplainable energy that runs through the building, whether that is something that literally or physically is happening or if it's something that you've trained your brain to sort of acknowledge but something in there feels special and it is almost a bit eerie when you're by yourself wandering the hallways of that building. And so for you guys just being in that environment, do you feel these different things? So do you feel the ghost when you're in RCA and all of a sudden you start wanting to twang like Chet Atkins? So using the sound of that room on the record, what I feel is very important to the sonic quality of what's going on.īaltin: I got to talk to Slash when he worked with Dave and he and I talked about the fact that especially for him who is one of the quintessential LA musicians, going to Nashville brings up all these different influences. Dolly Parton cut a bunch of stuff there and Chet Atkins and all these very revered players, artists, all kinds of stuff. Sam: We also used a lot of the room sound from historic air quotes, RCA Studio A. Josh: We feel that it's the best sounding record we've made. ![]()
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