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Greg: Of the two tracks done at BigNote, this was actually recorded first. The guitar picking in Part I was done first in one take. The piano accompaniment in Part II was done in about three takes (due to fingering and timing mistakes) against a click track. The keyboard feeds directly into the mix, so you CAN have an “open-air” metronome with no danger of the sounds leaking into the mix. I then played in the piano melody against the accompaniment and then returned to the booth to strum the guitar against the piano tracks. Listening to that mix I started singing what I thought would be a good bass line and asked Adrian if he’d like to have a go (he plays bass and standard guitar professionally). He’s no shrinking violet and reckoned he could nail it in one. He nailed it in three (which is damn good considering he’d only heard it a few times that evening) once he backed off trying to do too much and playing too many notes. The (electric) bass really lifts the production a notch and provides a special contrast as it is the only track with bass. While mixing we noticed a few problems. My breathing is obvious in the quieter section (but as the guitar is mic’d, nothing much can be done). This part also had a couple of dead-string picks. Again, no time to re-record (and no guarantee I wouldn’t fluff the same or another part!). I also actually played a wrong chord in Part II. Adrian said it was either re-record or drop that note. I listened several times and decided to drop out two whole bars for both the guitar AND the piano accompaniment, leaving just the bass and the melody. The result sounds purposeful rather than the papering over of a mistake. As I was afraid that I might never again have the opportunity to write/record music, I couldn’t bear to be left with 2 “unreleased” songs. I weaselled an agreement from Mike to include these tracks on the CD as “bonus tracks” (the original order had already been decided). The instrumental was placed last as its upbeat last part mirrors the ending of Gonna Get You.