Suges & Nadine ~ Falling In Love Again

I’m pleased to announce my first original production in three years!

If you’re a real fan, throw us a couple bucks here:

Buy Suges & Nadine ~ Falling In Love Again on Traxsource

(and thanks to everyone who’s bought it thus far; seriously: thank you)

Or listen to it on Apple Music? We get paid a bit for that:

Suges & Nadine ~ Falling In Love Again on Apple Music

(There used to be some YouTube videos of this I was linking to but looks like they all got taken down.)

Writing and execution

I’ve been wanting to work with Nadine for a long time. Seems like this highly talented singer has worked with damn near everyone in Toronto except the Northern Lord of the Deep?!?! Hahah. I’m playing; we’re good friends going back years.

I had the production on the song specifically for her done for some time, but I was blocked on the lyrics. So this song is unique in it’s my first original that I actually co-wrote with the vocalist! Quite pleased with the results; we stuck to the “book” motif consistently without, I think, stretching it too far just to stay in theme.

Suges & Nadine working out vocal harmonies

Nadine insisted we record this in a real studio, which normally–at least when it comes to house music–I’m against, since the profit margin on these releases is so low. What I didn’t realize was how much cheaper studio time’s gotten over the years, and how much just being in the studio environment adds to the vibe and emotions of everyone involved, resulting in a much better vocal delivery and heightened creativity to develop things (such as vocal harmonies and maybe even new lyrics) on the fly.

Lance working the console at Imprint Music

Production notes

This particular production was composed in Reason and finished in Logic. I used Reason for the drums (Kong), the two Rhodes’ (Radical Keys), the piano (Radical Piano), the quasi-vocal pad (Predator), the bassline (Antidote), the secondary synth-horn (PX7), and the secondary pads (Parsec).

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Look at that rack!

Rounding out the production with outboard gear, the synth-flute was provided by a Moog Little Phatty, the arpeggiator pattern played on an Arturia Minibrute, and the main silky, smarmy, synth-horn type thing (that follows Nadine’s melody on the pre-choruses) brought to you by the Novation Bass Station II.

All the stems were bounced out of Reason and imported into Logic so I could use my Universal Audio plugins to finish up the mix, sweetening it and warming it up a bit with some Neve EQ and Ampex tape action.

Working with Harley & Muscle again

It was nice to work with the label I started on again. We haven’t done records together in years! They were supportive of the project, gave good feedback, and didn’t waste any time getting the record out to the people.

Speaking about shelved albums…

Weren’t we? No? Let’s talk about them anyway. I was reading about (and listening to HA!) Prince’s veritable treasure chest of shelved albums (such as Dream Factory, Camille, Crystal Ball, etc.), lamenting how I wish I had time to record enough music to say I had a shelved album, when I suddenly remembered: I do!

In 2004 I was commissioned to–and thus recorded–an album called Lust, Love, and Loss for an international label that will remain nameless, since we’re still friends. If I remember correctly, I had a fierce deadline and it took me four months, two singers, and three studios to make its 11 tracks.

I presented this album to the label to have it summarily rejected a few days later, but they told me to try again. So I spent another three weeks rewriting and remixing and gave them Lust, Love, and Loss 2.0 (a slightly weaker version in my opinion, looking back), only to have it rejected again. They told me to try again, but by this time I told them there was no point so we might as well cancel it.

The problem was I saw no point in doing a Suges album that was all house.

I’ve been into house since I was a teenager and have been making it professionally for ten years, and I would never listen to an album that was pure house music for 80 minutes, unless it was a DJ set. I don’t think the genre works in your typical album concept (with 10 songs or so separated by silent gaps) and, since I was capable of producing other styles of music, I felt they should be on there if you really want a Suges album.

In any case, that was six years ago and I’m actually glad it happened. In order to keep my release schedule up to its current frequency I have been releasing singles off of it in between fresh productions. I’m only bringing this up now because I’ve run out of material from that album! So now you know.

The obvious question: what songs were on it that this label rejected?

  • Do With You ~ released on Plusgroove Records and then re-released on Soulstream
  • I’ll Be There ~ released on Iwanai Records and then re-released on Soulstream
  • Someone Else ~ released on Soulstream and BBB Records
  • Without Me ~ released on Soulstream

and, of course…

  • We Belong To The Night ~ which, of course, became Party Hard by Donae’o