"Love That Shine"

Style: Roots Pop, with folk/Americana Overtones

Limited release Dec. '07

Recorded at The Clubhouse, Rhinebeck, N.Y. between March and October, '07. Produced by Paul Antonell and Dean Batstone, sequence editing by Michael Pillot and artwork/photography by Kenneth R. Cooke.

Musicians: Dean Batstone  Vocals and Acoustic Guitar, Jim Weider  Electric Guitar and Acoustic Guitar ["We Will Not Be Broken"] John Platania  Acoustic Guitar ["'Til I Die"], Al Bragg  Keyboards, Pedal Steel and Dobro, Grant Tomkinson  Bass, Gary Burke  Drums.

Dean's Notes: I’ve been fortunate to have recorded 6 records in my career, "Love That Shine" being the 7^th. I believe things happen for a reason and though sometimes I’ve no clue what the reason is, in this case I’ve got a good idea it was my selfishness. I wanted to do an album [can I still call it that?] of songs that I picked for reasons that matter to me and record it as straight and true as I could. As with most artists, there have been people and obligations pushing and pulling me at one time or another and albeit well meaning, it’s affected the musical outcome. This is a selfish record, I guess, ‘cause I’ve done just what I wanted – no apologies – and the result is a collection of songs that I’m proud of and close to.

 Part of our philosophy was to record as ‘live’ as possible, which in this case meant most of the players on the floor in the ‘big room’ [see 'Studio Tour' on main page] and most of the vocals recorded with the tracks. Most of the tracks are first takes and the few that aren’t were second passes. As a result you get a record that’s both intimate and imperfect – two things I like……I hope you appreciate it too ‘cause on close listen you’ll hear unedited  human noises, wrong words and raw vocals – a little like my live show……

I’ve also been blessed to have had some friends play on this record that happen to be some of the best musicians anywhere. Drummer Gary Burke has been the foundation of four of my CD’s to date [yes, my first two records were vinyl] and I love the man as much as I love his rare talent. With a backbeat that cuts to the bone and a musical feel that gives me goose bumps every time I play with him, it’s no surprise his long list of credits include Bob Dylan, Joe Jackson and Shania Twain.  Jimmy Weider, considered by many the ‘Master of the Telecaster’ and one of the top rated guitarists in the world,  really did make this record ‘shine’ and is a pleasure to share time with both in the studio and over some fine reds and single malts. He’s played with Bob Dylan, The Band and Keith Richards, to name a few. John Platania, who played on my previous CD’s more extensively, was able to fly in and lend his trademark sound to ‘Til I Die’. John tours regularly with Van Morrison and played on many of his early records and his other credits include Don McLean, Chip Taylor and Nathalie Merchant.I brought a couple friends from home to play on the record as well. Canadian Grant Tomkinson  plays bass and Al Bragg plays pedal steel and Keyboards.

I also have to say that although I always enjoy recording, no previous project was as painless to record, due in large part to my friend and co-producer Paul Antonell. Over the years, Paul’s philosophy for recording has influenced me tremendously, but none so much as with this record. Musically wise beyond his years yet truly ‘old school,’ Paul’s ‘Clubhouse’ is a musician’s paradise. For those of you who may be musicians or tech heads, or just appreciate the details of the recording process, I’ll add that although the Clubhouse is fully wired for high end digital recording and mixing, it is also completely compatible and equipped for conventional analog recording, or any combination you can imagine. For this album, Paul and I decided to record all the tracks live to 2 inch analog, using a Studor 827 with a ‘CCIR’ alignment [that’s the flat response alignment used by The Beatles on most of their recordings in the ‘60’s] through a vintage [1976] Neve 8058 Mark II console. We then bounced to the digital world for editing and then mixed back onto analog on a mid ‘70’s Studor A-80 ¼ inch machine. Tube technology was used throughout, both when amplifying the instruments [including the Hammond B3 through a Leslie] and all tube pre-amps and compressors. We think you’ll hear the difference…:)

Lastly, some words of thanks. I couldn’t have done this record without some heartfelt support from Heather Smith, from my immediate family [especially my Mom and Dad] and from longtime friend Barry Keetch. It wouldn’t sound the way it does without the instincts and commitment of Paul Antonell and you probably wouldn’t be listening to it right now but for the sincere efforts of friend and personal manager Michael Pillot. Thanks to Kenneth R. Cooke for making me look better than my years and thanks to all my musical family and friends for love and support through these and the early years.

Keep the shiny side up!  Dean Batstone.

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