| DR PAT'S JOURNAL NOW IN-HOUSE |
[Oct. 26th, 2006|03:29 pm] |
Just thought we should mention to all our Live Journal friends that we have moved Dr Pat's Journal "In-House". That means, sorry to say, that we won't be posting up on our Live Journal site for the moment. You can check out Dr Pat's recently added postings on the Journal page in our OFFICIAL website youthgroup.com.au
You can also read all the old entries there. Again, our apologies for any annoyance. |
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| Links |
[Jun. 29th, 2006|07:42 pm] |
This is Julia Wilson, YG photographer
http://www.riceisnice.com.au/
This is a flyer for a photo exhibition she's having in Melbourne, Sydney and Brisbane on our album tour in August |
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| In The Mind of a Spanish Journalist at Coachella Festival (Translation by Google) |
[Jun. 29th, 2006|02:06 pm] |
Censured Osama
One of the great advantages of the journalistic office is that, if properly you are credited, you can directly enter the festival by the press accesses and thus to avoid the long tails and the exhaustive revision which they put under to you in the doors of general entrance. The treatment and the attention to the press, it is necessary to say it, it is so warm and efficient that it puts to you of the very good humor.
O'clock of two and the twenty I am with Héctor Martinez, promoter in head of the record seal Epitaph, that presents/displays to Toby Martin and Danny to me Allen, vocalista and drummer of the Australian band Youth Group. “Ok, Robert, you have 20 minutes to platicar with Danny”, loose Héctor.
At the beginning of April Youth Group it headed the lists of popularity of Australia and its disc, Skeleton Jar, has been sold very well in the United States. Of char it with Danny I emphasize a passage that seems to me amused well, although for the members of the band he has been somewhat uncomfortable.
It is that they take more of a month in Los Angeles preparing his new disc, Casino Twilight Dogs, which will leave this summer on sale. In the Myspace of the band, the bear Patrick Matthews wrote that already they had the 14 songs of the new disc and that they had decided to eliminate, for obvious reasons, a called piece “Osama”.
In theory, this information was not due to have published, but apparently to Matthews it was themselves the wave and it raised the data to him Internet without the other members of the group knew it. Still memory the face of astonishment of Allen when it asks to him for “Osama”. “ How you know that? ”, perplex me reviró. “Simply I know it”. And I insisted “ What happened with Osama”. “What happens”, Danny explained, “is that to Toby (Martin) it seemed to him politically incorrect to include this song. It is a very sensible subject in this country, you know, and we do not want that it is misinterpreted to us”.
Moments later, while she took photos them, Danny commented something to him to the ear to Toby and this one directed to a flaming glance to Patrick Matthews. The thing was put tense when Toby demanded the imprudence to him to Matthews, who waned right away and she was limited to keep silence.
The best thing of everything is than that same night mysteriously disappeared the paragraph in which Matthews lamented itself by the decision to have discarded to “Osama” of the new disc. I ask myself if someday we will listen to it. According to Danny: “Yes, it is probable that we record it in the future, so that no”. According to Toby: “That song not even exists”. |
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| Perth |
[May. 21st, 2006|11:25 am] |
Sunday afternoon we had an in-store performance at '78 records on Hay St. Three hundred youngsters showed up, most of whom were under-eighteens unable to see the Rosemount show. We played them five songs in the peaked-roof & wooden-floored space and then, by my reckoning, we signed four hundred autographs afterwards. I wondered whether puberty is contagious after an hour of autograph-signing as I became increasingly tongue-tied and as nervous about eye contact as any one else there. I want to say, though, that it's heart-warming the response that YG is getting at the moment and that it's all very welcome.
Afterwards I discovered how hard it is to find somewhere to eat in Perth on a Sunday afternoon - like Melbourne in the fifties or so I've heard.
At the show, an early eight p.m.'er, we heard from the one of the Rosmeount's bar staff that the weekend before, Alex Lloyd was seen feverishly releasing his pent-ups by writing LAMO over the YOUTH on our posters. If this isn't true, and we've been mislead, I'm sorry. But it's quite "lamo" itself if it is true.
The Rosemount was our best show for ages. Cam's despondency had passed and he danced like he knew everyone was watching. Everyone had good mid-evening hi-jinks. Afterwards, which was at the supreme witching hour of 10pm, the Sleepy Jackson were kind enough to invite us to their Menora Palace for some beer and table-soccer.
The next day came the flight home from Perth, which on other occasions has been excruciatingly endless. This time I filled the five hours by attempting to write the YG press bio - the final record company version of which will end up on-line soon.
I was excited to spot Kate from Big Brother (that's BB05) across the aisle, a TV-crush of mine. A stewardess on the flight, recognising us as a band, had crouched down to tell us of how she was an old school friend of Powderfinger’s and to secretly give us a few mini-bottles of champagne smuggled down from business-class. I suggested to Cameron that we should send a baby-cham over to Kate. Cameron, never one to procastinate, immediately asked the stewardess to "send one over from that gentleman there". Well I never. I got so adolescently nervous that I demanded that the champagne would have to be sent from all three of us. But Danny didn't want that. So poor Kate got no champagne and probably thought that we were all a bunch of drunk pervs. |
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| Adelaide |
[May. 20th, 2006|01:25 pm] |
I'll always savour the fact that I was in Adelaide-town the very same day that Terry Wallace's Tigers broke the world record (!!) for most marks in a game. A game when they knocked the Crows off their perch at Football Park.
Youth Group on the other hand, tried to cover ourselves in glory at the Flinders Uni Bar; out in the sticks and up an Adelaide hill. We found ourselves in what appeared, from the walls and carpet, to be a minimally-converted teaching space. We had asked Little Ice Age, an Adelaide band we'd spied at the Adelaide Big Day Out, to play with us. As we enjoyed their set, I noted that someone had designed a light-show that perfectly suited the institutional atmosphere of the Tavern. As choruses swelled, one light-bulb above the audience's heads slowly glowed on and off, on and off. I was tickled to learn instead, that a dimmer-knob on the wall was being inadvertantly turned and that there was no light show.
Most of YG had a fun show in Adelaide. I got to write the set-list for a change - which was good. But Cameron didn't have a great one: he said that the whole time he was thinking that this was the worst show ever and that it was never ever going to get any better. His gloomy outlook has passed I assure you. Bon vivant Toby Martin got a bit drunk on sips of scotch whisky and, by the encore, managed to bust a bit of wood off his Thinline Tele when he let it fly. All in good humour and high spirits of course. Later Toby somehow got lost on Hindley Street and had to make do with only a couple of hours sleep as we had to catch an early flight to Perth. |
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| Manning Bar @ Sydney University |
[May. 17th, 2006|03:11 pm] |
We were booked to play this union-subsidised Wednesday night extravanganza by an old Youth Group friend called Sarah. It was a one-off in a few overwhelming ways. With the crowd numbering 900 white-teethed young people, it was our biggest headline yet. And falling as it did between Forever Young being number one and our record being released, and tickets costing the princely sum of $5, there was one song above all that a lot of people wanted to hear. But it was fun show and close to home.
A young (nameless?) band from the audience gave Cameron a CD they'd home-made; a version of every song on Skeleton Jar, done in sequence, made using scarily precise drum-machine programming. This drum programming was exact to the point of comedy - if only you could hear it.
There were pre-show dramas too when Michael Carpenter, the drummer for Jason Walker & The Last Drinks, collapsed back-stage with stomach flu and had to get an ambulance to RPAH. |
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| Brisbane: 11th & 12th May |
[May. 11th, 2006|01:10 pm] |
Two shows in Brisbane - our first shows since we touched down back in Australia on the 5th May.
We played in Fortitude Valley on Thursday and Friday nights at The Troubadour, upstairs in its brown, mock-bohemian surrounds, safe from the gargling psychosis of Brunswick Street below. Down on street level, five different kinds of four-on-the-floor house music are played at industrial volumes. And hundreds of bouncers curdle on the brick paving. The Valley is a site where all the sub-tribes of the town converge to drink; from pretty girls in stripey dresses to footballers out on the turps. Toby thought in this respect it is like Canberra’s Civic. And both seem to be notoriously easy (paved) places to get your teeth kicked in. Brisbane’s hot autumn weather may mean delirious nights but I found I could always escape the bedlam to walk across the Story Bridge, back to our hotel at Kangaroo Point. I crossed six times during our stay, all the while a soft, brown river flowed under a cloud-streaked sky between orange cliffs and the glass fronted sky-scrapers. Oh Brisbane!
On Thursday night, the first night, our favourite Brisbane band, The Gin Club, played before us. It was a “greatest hits” set for mine - all my favourites. They said that’s all they've been playing at the moment but there's another batch of songs newly written. Then afterwards there was a little drinking (as usual) and a few jacarandas (to make it a special Brisbane night).
The next morning I was attempting to come down by eating a bacon and egg roll down under the bridge while reading the Murdoch organ (a gall-bladder I think), The Courier Mail, the only newspaper in this city of a million. Far from calming, the paper sent me into a Fear & Loathing tail-spin as the grisly finds of the tabloid press were inventoried: severed heads and country-town crimes. Oh Brisbane!
The next day was Friday. La Huva supported on Friday night. Cool and brilliant. In the afternoon though, the rest of us dropped Cameron off at St. John’s Cathedral so he could attend The Go-Betweens’ Grant McLennan’s funeral, a solemn task indeed. We were heading off to do a few radio interviews. It was my first taste (but not Toby or Dan’s) of doing chart-radio for Youth Group. Danny had a contagious giggling fit when we had to do some liners (as they're known) for B103. You know: “hi this is patrick from youth group and you’re listening to B103 with the hits you can’t get out of your head. Like this one...” That acid flash back type giggling.
Later on some of the other attendees of the funeral wound up at the Troubadour via Rics toward the end of our set. A bit drunk Dave McCormack sprawled half on stage, half in the band room, and told Toby to “get out of my band room”. But he's getting his due credit on Casino Twilight Dogs for arranging the strings on our hit.
We had learnt the Grant McLennan song “The Clock” at rehearsal on Tuesday and played it in the encore this Friday night. That was good. But over all these two shows were unenjoyable, due to the on-stage sound consisting mainly of crash cymbals. As we played I told myself just to grin and bear it but I cracked after the Friday show and was a bit cranky afterwards.
While we were in America Forever Young's been a big hit and we’d been warned that having a radio-hit could change our audience. It was a very pleasant discovery at these Brisbane shows that our old-faithfuls were still around. I did have a few interesting conversations after the show as I grumbled around drunk. We have a band in-joke; we'll say "oh my god, did you actually go to the OC?!!?". Well wouldn't you know it - that night someone actually asked me this. |
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| Re-mixing, mastering & sequencing |
[May. 10th, 2006|06:45 pm] |
We landed back in Sydney early on Friday 5th and were back into Velvet Studios to re-mix the song “Underpass” on Wednesday 10th. It was hardly time to clear our heads but I musn't grumble - it's not the speed of sound schedule set by Epstein for The Beatles in "Day-by-Day".
Our re-mixing demand showed perhaps that we were finding hard to let go of our baby, the record, and finally say "it's finished". But we thought that that song could sound a little better. Maybe it's neurotic behaviour though: the hearing of dog-whistles etc.
After a trip to Brisbane to play a couple of shows we began mastering at 10am on Monday 15th at 301 Studios at the old EMI offices at 301 Castleraegh Street – a very Beatles-like address. The boys were guided through this by the venerable Don Bartley, a silver-pony-tailed boffin. I'd never been to a Vines mastering session, held as they were at the remote and famous Sterling Sound in NYC. I was fascinated to listen in. The EMI equipment used seemed to be a combination of analog and digital. The analog desk looked fantastically old, like it dated from the beginning of broadcast technology. Mastering is a bit of a polish for the sound; adding compression, bringing up the sides, brightening the guitars and tightening the low end, taking out some 45Hz - all phrases commonly in use. A few songs ("Underpass" and "Sorry") I was particularly happy with the results of. We took the record home to listen to and unfortunately discovered a few glitches (incl. several seconds of silence in the middle of “String”) so we took it back on Wednesday and got it fixed along with some more "tweaking of the hertz". Then Cameron was entrusted alone to be present at the final sequencing session a day after we got back from Adelaide and Perth. And this is it. The sequence. A few songs missed out (“19th Century”, “Late Last Night” & “Christmas Windows”) but the rest of the songs I've been talking about are here.
1. Catching & Killing
2. On A String
3. Let It Go
4. Start Today Tomorrow
5. Dead Zoo
6. Under The Underpass
7. Daisychains
8. Sorry
9. TJ
10. The Destruction of Laurel Canyon
11. Sicily
12. Forever Young |
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| Day 18 |
[Apr. 16th, 2006|05:48 pm] |
This was the last day of recording. An opportunity for all to have a go at backing vocals (BVs). All except Danny who’s away in Vegas witnessing his friend's drive-thru wedding; Danny Tulen from Gersey's married Trudy.
This is the half-inch tape machine arriving from the rental company, signifying the start of mixing
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| Day 17 |
[Apr. 15th, 2006|05:21 pm] |
We re-visited "Catching & Killing" today. We spent all day on it. We listened through Toby's drunken rave, all fifteen takes, found the bits we liked, played around with them on the computer, re-ordering etc. Toby sung doubles to some of these and also put down some new words.
Mark Wilson from Jet came over. They're all staying in the Hollywood Hills, near Cahuenga Pass on the Valley side, but he was the first of them back to LA after a break in recording so we kept him company. A well mannered Geelong boy he is.
So this is what Toby and I thought: as I said before, if Portland, Oregon is people serving coffee to each other, then NYC is people watching their friends DJ, and LA is people giving their business cards to each other. Where we live in LA is “The Valley” as I'm sure I've mentioned. The San Fernando Valley - otherwise known as the San Pornando Valley since it’s the porn capital of the world. The porn industry is hidden and the place is extremely suburban; every nearby street could be used as a movie stand-in for small town America. And it's kind of well-off; in the last ten years median house prices here have apparently gone up something like five times, maybe closer to ten-times, to almost a million dollars. It's also got it's own weird climate from being hemmed in by mountains and filled with millions of cars. In summer, deprived of a sea-breeze, the temperature soars five or ten degrees celcius above that of the LA-basin. What else? There's nowhere to go for a drink, except Pat's Cocktails. I like a gin and tonic at that place.
Toby reading the LA Times - Valley Edition
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| Day 16 |
[Apr. 14th, 2006|05:18 pm] |
These are the last days of recording. We’re running behind schedule at this stage; trying to add extra week after the first extra week that we added wasn't enough. We need to start mixing soon so we complete the record over here in America, with Coachella Festival (29/30 April) looming as one deadline, closely followed by the absolute time-limit of Wayne’s flight back to Australia on 2 May.
We did Danny’s song “Late Last Night” today with Danny on lead and Dan and Toby sharing the back ups. Danny did percussion at night on half a dozen songs. Atom thought his timing was so good he could be a session-percussionist. Nice compliment.
Also today, Cam worked out how to use Reason sampler/sequencer on the Mac to make use of a sample library that Justin Stanley gave us. Justin’s an Australian producer living in LA. Wayne and I know him separately but we got his number from Uncle Rico when we bumped into him at Burbank! I know Justin cause he produced "In The Jungle" on The Vines first record. He used to play in Noiseworks in the eighties but now he’s married to Nikka Costa and just finished playing on Beck’s latest record. Sounds impressive? Worth the digression? The library he kindly loaned us had samples of vibes, harpsichord and glockenspiel - all of which we used on our record. Thanks Justin. |
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| Day 15 |
[Apr. 13th, 2006|04:08 pm] |
This I found interesting: the first step in recording the vocal for "Dead Zoo" today (the first "keeper" idea) was to copy the vocal Toby had sung on the 8-track cassette demo and transfer it to the newer Velvet backing track. Then Toby doubled that. Toby had had the idea, which I quite liked, to sing this song a la Aaron "Cocoa-Butter" Neville (it’s a Saturday Night Live sketch), in a high effected voice, but, perhaps not surprisingly that direction didn't have wings.
Toby also did the "Sicily" vocal and the “Daisychains” vocal from yesterday was doubled. Then the yesterday’s original was discarded.
In the evening Andy Cassell (mgr.) had organised for us to have dinner with Alex Patsavas the music supervisor for the OC and her husband Brian, writer of books on serial killers. I suppose it depends on how cynical you are as to how you see this. It was great to meet her. She has a very interesting and influential job and a very broad musical-knowledge. The music on the OC is quite a feature.
On the way home we visited Sunset Sound Factory Studio to see Rob Schnapf and Doug Boehm and the Brooklyn-ite they were mixing called Kevin Devine. We drank a few Coronas with them got home at about 2am quite drunk. We got Toby on the mic doing 15 or so takes of “Catching & Killing”. Part of the lyrics he sung were place-holder lyrics that he’d been singing in the band-room (ie: compression sustain / impression remains) and part of the lyrics were a cut-up of Australian Shooter magazine prepared earlier. And then in front of the microphone this night the lyrics too became part drunken-rave (a man sits at his computer / and moves / infinitesimally). We kept every thing to listen back to the next day. |
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| Day 14 |
[Apr. 12th, 2006|02:30 pm] |
In the morning Dan and Toby went over the Hollwood Hills to the Channel 9 (Australia) studios to do a satellite interview with Richard Wilkins on the Today show in front of a green screen on which a hyper-real Hollywood sign is reproduced.
Back in The Valley, Cameron and Wayne worked on slide-guitar part for “Underpass” that sounded like early-“Suede” to me. Cam did at least 20 runs through and left the studio a shattered man. I saw him staggering around the garden later kicking at twigs. We'll end up using the part though.
In the afternoon Toby did a vocal for "Daisychains" that wasn’t too happy with itself; Toby finding it hard to lay-back on this strangely tempoed song.
Also, in the evening: Toby replaced guitar parts on "Underpass" and added some DI-guitar (straight into the desk) and some keyboard parts to "Daisychains" |
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| Day 13 |
[Apr. 11th, 2006|02:10 pm] |
Hello. It’s been quite a while since I wrote anything on Live Journal but I’m back and I’m going to finish off a back-dated Studio Diary.
This Tuesday the 11th of April was my day for re-taking the bass on three songs; some "delicious bass" as Toby would often pun.
Not to make YG appear like a board-meeting but we had a few recording “catch phrases” that we kept reaching for. For one, we wanted the new record to sound “hard” and “tough” as opposed to the “lusher” Skeleton Jar. I think eventually mine and Cam’s repetition of this company line during recording drove Wayne to complain: “what specifically do you mean?” because “they’re not exactly tough songs”. I’ll admit hard & tough may have verged on being hollow vogue words … but … we used less vocal harmonies and less double-tracking on this record and fewer guitar parts: usually just the two original live takes, Cam in one speaker, Toby in the other. All along our vision had been to record the band live-to-tape and keep as much of this as we could. We’re particularly taken with great live-sounding sixties records and the modern results of LA producer Ethan Johns who did Gerling’s latest record and both Kings of Leon records and also Ryan Adams’ “Gold” – all live, all fantastic. “Forever Young” was a live band take, except for one four-bar drum-edit and the bass which I did over (letting the team down there). In the studio we also took to saying: ‘every time you take it over, you lose a little something’ which is some between-song conversation on the Nitty Gritty Dirt Band's record "Will The Circle Be Unbroken?". As it turned out we got some songs quicker than others but never a first take, unfortunately. “Let It Go” may have been second take. Cameron would have won the “least overdubbed” trophy. I would have finished last in that count which is why in LA I felt that we needed to re-record the bass on three songs: “Sorry”, “Daisychains” and a doubled bass part on “On A String”. The latter was inspired by Wayne Connolly saying how Brian Wilson would have the bass parts on “Pet Sounds” played, in unison, by a bass, a 6-string bass and a double-bass. We didn’t go that far, although we gave it a shot. For all the overdubs in LA I used a guitar belonging to Atom our engineer. It was a really cool 6-string bass, a custom-made copy of a “Fender Bass VI” (otherwise known as a baritone guitar; as played by Harrison and Lennon on “The White Album” and The Cure on “Disintegration”).
Despite Atom the engineer’s assurances that a 6-string bass is an octave higher than a normal bass I’m positive we did a straight double on "On A String". Sounded great though. Then we straight out replaced the bass on the other two songs. |
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| Day 12 |
[Apr. 10th, 2006|06:20 am] |
Day off from recording.
In the morning we listened back to what we'd done on "Underpass" in the last few days. Then in the evening we had a show at Spaceland over in Silver Lake. We played with a band from Nuremburg called The Robocop Kraus and an L.A. band called Army Navy. |
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| Day 11 |
[Apr. 9th, 2006|06:17 pm] |
We spent all today working on the tune of “Underpass”. Toby sang it every which way he could. Halfway through this epic task Toby mentioned that he had a "sore front of the neck". Whether this was a superstitious way to refer to a hoarse throat, or a strange crick in his spine, we never found out. Speaking of superstitions, there's another one we follow: never ever say out loud "this is going to be easy" for it will not be.
And what is being in the studio like? I hear you ask. It's a very nice mid-budget studio apparently. Wayne is very taken with the API desk; bass is API's specialty. The Seedy Underbelly studio was relocated (desk, gear and name) from Minneapolis, Minnesota a couple of years ago. Wayne also informed me that with American studios, the most exclusive have the oldest and rarest analog gear. For example the holy grail of studio equipment (so-called on the internet) is a Fairchild 670 compressor which Ocean Way Studios would have. They are worth upwards of $30,000. A large sum. We had to hire a Fairchild 670 "emulator" for mixing because we are mid-budget.
And speaking of cool gear here, especially stuff that we've used frequently, there is; a sixties Ampeg B-15 N flip-top bass amp, a Sears Silvertone guitar amplifier (originally available on mail order in the fifties), a custom copy of a Fender-Six bass, 2 racks of seven Neve Pre-Amp thingoes, and a Neumann U-67 microphone. Very good stuff.
It's tight quarters in the control room. There’s only a limited space in front of the desk and only a small sweet spot where the mix sounds balanced. Plus if you are near the back wall there is the interesting (and sometimes confusing) phenomenon of the bass-less pocket, where the low-end disappears.
What else? There's a Mac computer which runs the program Pro-Tools. History lesson: Pro-Tools was released in 1987 as the first "tapeless recording studio" and these days it seems, to this non-expert, to be almost universal in professional recording studios. I say almost because I'm sure that people like Steve "Stupid Verb" Albini keep to analog recording. Our studio B in the house is Pro-Tools set up on Toby’s Mac using an M-Box which is sort of pre-amp/computer interface into which we (meaning Cameron) plug either microphone or a keyboard into. I obviously don't understand it at all. It's a credit to Cam that he can run it.
This is Toby taking care of the “front of is neck” with a Model-Tea
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| Day 10 |
[Apr. 8th, 2006|04:52 pm] |
Toby sang "TJ", the Redfern-song.
Cam tried out an idea in studio B where he re-overdubbed a piano idea on "TJ" using a dictaphone and pro-tools.
Then in the evening: started on the vocal for "Under the Underpass".
Wayne Connolly's track sheets on Seedy Underbelly's API desk
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| Day 9 - The beginning of the end of recording |
[Apr. 7th, 2006|04:15 pm] |
In the afternoon Toby sang the rousing "Let It Go" and got it down quick fast. Super-fast considering the tinkering in the chorus melody that happened. And in the evening he sang for "Christmas Windows". This song is the one on the album that we've been doing live the longest, right back to the Spectrum in March 2005.
Meanwhile in the house, in Studio B, Cameron and Patrick put a synth-thing on "Underpass".
I spent most of the day trying to write a short article for Socialism Magazine www.socialismmagazine.com on pop-psychology. You might like this site.
What else? We’ve been cooking meals a lot. Well Cameron has. Tonight’s meal was Pasta Pudenesca, pardon my Italian.
Cameron at work in "Studio B"
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| Day 8 - Julia's Birthday |
[Apr. 6th, 2006|02:24 am] |
We went shopping for percussion stuff today. Down to Guitar Centre on Sunset and then five different pawn brokers on Santa Monica and then Toys R Us on La Cienega. Like Mediterranean fishermen in a TV documentary, the net was depressingly bare when we hauled it in.
Toby did singing on "Start Today Tomorrow" + "Sorry", starting to get into a two song-a-day regime upon which Toby comments. We are all very relaxed here now. The street is so quiet and leafy, sleeping so late.
We had a late dinner at Lancer’s Diner in Burbank where we saw Uncle Rico!
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| Day 7 |
[Apr. 5th, 2006|02:02 am] |
So ... today the legendary session bass player Carol Kaye came to the studio. Refer to www.carolkaye.com for her discography.
It was cool. She littered the studio with 70's-muso-jive talk incl: chops, cut a hit, that’s how you cut a hit, etc.
She even played a nice bit of Glen Campbell-esque bass on "Start Today Tomorrow".
She managed to tell a thousand stories in her 3hr block. Truth be told we kept her back slightly longer than strict old-school union block of three hours. Stories incl: how she once called Phil Spector a c*** and how she once met Charles Manson in the company of Brian Wilson. There were many more besides.
In the evening Toby busted out his first LA vocal, for "On A String".
Dinner: Burritos at Poquito Ma’s
This is Carol Kaye with rapt audience: Toby, Ryan (assistant engineer) and Danny
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