199 9 The Church Tapes
Most of the musicmaking in my life has been in nice places: in friends’ houses, on decks, in forecastles, meadows, and woods. Recording, however, usually seem to happen in not-so-kindly places. I enjoyed recording in Folk Legacy’s big barn room; Sandy Paton would set up two mikes and any number of musicians so that everyone could hear each other and sang (between cars, cardinals, wind etc) until the right things happened.
Remembering this, after many recording adventures in many places, in 1998 I negotiated with the local United Methodist Church to do a series of recordings in their sanctuary.
It was glorious, letting my voice loose in a big, warm, buttery-echoed room and lovely to have almost no mixing or editing to do in the studio thereafter. It was a joy to work with my friend Bruce Boege and the kind folks of that church.
So here it is, complete with traffic, breathing and pops; all a part of singing in that lovely room.
Recorded, engineered and mastered by Bruce Boege, Limin Music, Northport, ME
Recorded at United Methodist Church, Camden ME
Procduced by Anne Dodson and Gordon Bok
Mixed by Bruce Boege, Gordon Bok, and Anne Dodson
Nick Apollonio built the 12-string guitar, nylon 6-string guitars and the small 5-string viol da gamba
Ron Pinkham built the nylon 6-string guitar used on “Vidala la Comparasita”
Triplett built the 34-string Celtic Harp
Carol Rohl – harp and vocals
Lois Lyman – vocals
Bright Fine Gold
The Last Battle
The Stable Lad
Vidala la Comparsita
The Kind Land
Ledge-End of the Fiddler
The Bressay Lullaby
Lament for Owen Christy/Under the Wind