Album Notes

MUSICIANS:

Pete Pidgeon: electric & acoustic guitars, lead & harmony vocals
Adam Beamer: piano, Hammond B-3, Wurlitzer, Chamberlain, harmony vocals
Seth Rivers: 5-string electric bass, upright bass, harmony vocals
Jeremy Gustin: drumset, percussion

Special Guests (in order of appearance):
Paul Wolstencroft: organ on Tracks 4, 6
Levon Helm: drumset on Tracks 5, 6, 7; mandolin on Track 5
Tim Kelly: dobro on Tracks 5, 7
Ben Groppe: tenor saxophone on Tracks 9, 10, 11
Brian Thomas: trombone on Tracks 9, 10
Dave Szebeda: trumpet on Tracks 9, 10
Rich Labedz: baritone sax on Tracks 9, 10
Nate Albert: lead guitar on Track 9


CREDITS:

Production: Craig Welsch
Engineering: Brian Brown, Rob Ignazio, David Rizzuti, Erik Kilburn
Assistant Engineer: Matt Tahaney
Recording: Wellspring Sound in Acton, MA (9/02 – 10/02)
and Q Division in Sommerville, MA (11/02 – 3/03)
Mixing: Brian Brown and Craig Welsch at Q Division Studio
Mastering: Alex Perialas at Pyramid Sound in Ithaca, NY
Cover: John Heinrich and Chrystie Hopkins
Layout: Adam Beamer and Pete Pidgeon


LINER NOTES (by Jon Heinrich):

A chandelier of rhythm hung over the studio, supported by The Band’s Levon Helm, casting light into unknown recesses of melody, only to be found and captured here. Pete’s concentration during “But It Don’t Worry Me” defined the attention to detail displayed during the recording as all ears counted beats and measures from the mixing booth. This song was nurtured most of the night with the assistance of Helm who provided his authority over the mandolin. The impressive sixteenth-note plucking session furnished proverbial water to the song’s deep folk roots.
Arcoda and engineer Craig Welsh meticulously inspected the music like airport security personnel looking for sharps. Along with the other in-house engineers, they examined nuances that no civilian ear could hold anything against.
While the harmonic integrity was intensively honed, the rhythm exhibited a noticeably free flowing nature. Levon preferred not to use beat tracks, expressing that it didn’t allow the music to breathe. The resulting rhythm swayed as a tree moving gently in the wind alongside a western highway. This living, vivacious beat depicts the song’s lyrical journey through expansive open skies and spacious western prairies. In an angular blend, the sweet strumming of the mandolin unites perfectly with the rich tube-warmed blend of Pete’s acoustic guitar.
Jeremy, Adam, and Seth created a vast contrast between the two initial recording sessions. The first session was pop/ rock-oriented and focused on songwriting and high energy; the other elicited bluegrass and folk sounds reminiscent of Beat Generation blues, content with sorrow.
The elegant simplicity inherent in Arcoda’s music is what allows them to retain their own distinct niche, with emphasis placed on the melody. Today the band has been in Boston for nearly one-and-a-half years and continues to add fuel to their creative fire. Let’s hope life keeps throwing them twists and turns so we can hear about them on their next studio album.