Gigoloaunts.net - Pacific Ocean Blues

What’s this I hear about a new Gigolo Aunts album? I, Steve Hurley am here to answer you, my friends. What’s so special about Steve, you might ask? Well, I’ve been in the band (along with Dave) since Gigolo Aunts Day 1 (some place between 1979 and 1986. depending on who’s counting), so I feel pretty qualified to comment. The new album is called Pacific Ocean Blues, and the road to finishing this album is a story in itself.

After touring for a very long time in support of Minor Chords and Major Themes, we Gigolos were exhausted. The band was in disarray. Somehow in the midst of all the touring Dave had moved to Los Angeles. After a few months, I packed up my bags and joined him. Jon was living in New York (as much as anywhere) and Fred was still kicking in Boston. By the time Dave and I started gathering songs for a new album, Jon and Fred were both out touring with Juliana Hatfield, so rehearsing was out of the question. At first, Dave and I thought the new record would possibly be all acoustic since the first batch of tunes we came up with was kind of quiet. After awhile though, the urge to rock (and roll) came back and we recorded a few numbers with my brother Phil on guitar and former Cavedog Mark Rivers on drums that came out very well. We continued to write.

In the summer of 2001 a series of events came together that helped to get Pacific Ocean Blues rolling. First, Bittersweet records kept after us to make another record; Secondly, Counting Crows offered us the use of their studio for a few weeks. Most importantly, Fred and Jon both finished touring and moved to Los Angeles. Dave and I played them the new material we had been working on, and they were eager to play. We had a festive time up in the Crow’s studio set up in the Hollywood Hills. We drank beer. We swam in the pool. We ate Mexican food. We watched the sunset over the San Fernando Valley. Oh yeah, and we recorded as well (with Boston pal Bruce McFarland engineering). However, we didn’t record enough. The Crows came home from tour and needed their studio back and we still hadn’t finished. We had some nice pieces down, but the record was far from complete.

At this juncture multi-talented producer Chris Horvath entered the picture. Dave and Chris had worked together on a variety of projects. Somehow Dave persuaded Chris to listen to the tracks we recorded and help turn them into a record. We began work at Chris’s studio in Venice (Mar Vista, actually). Here we drank beer, ate almonds, and recorded all kinds of things, horn sections, strings, vocals, cocktail drum kits, you name it. Dave, Chris and I were doing most of the playing at this point (with the occasional special guest). Jon and Fred would come by now and then to add their flavors to the stew and make sure we weren’t getting too carried away. Finally we mixed the thing with Talley Sherwood’s help and breathed a sigh of relief. Somehow we succeeding in turning this at times chaotic project into a record we really enjoy.

Pacific Ocean Blues was a very fun record to make. Most of the songs kind of came alive as we were recording them. Everything from somber acoustic ballad to balls out rocker was recorded in an upbeat atmosphere. There was no record company pressure. We just stretched out and enjoyed ourselves. This record was made just for the joy of making good music. I really hope it shows.

And now Steve Hurley’s track by track analysis of Pacific Ocean Blues

HELLO: We start the record off with a little ditty I came up with just after moving to LA. I was having one of those “what have I done with my life?” days. I didn’t think much of the song at first, but Dave saw possibilities. He had a vision, which was crank it out loud and fast! I think Fred heard the song once before laying down the drums. We first jammed on this song with me on guitar and Dave on bass, so Senor Gibbs rocked the bass on the recording. My electric guitar skills didn’t quite make it to the final version, I did get to play a little acoustic on the choruses. We had to put this one first. Where else do you put a song named hello?

MR TOMORROW: This recording comes from our supergroup session with Phil Hurley and Mark Rivers. Chris Joyner added the piano and his feel really gives the track bounce. This was my attempt to write a sort of Zen Buddhist type song, but happily it came out as classic Gigolo sounding pop. Don’t Dave and Phil’s voiced blend nicely?

EVEN THOUGH (THE ONE BEFORE THE LAST): This phrase is a Spanish saying according to our pal Breadface.. He usually says this in reference to having a drink, but we thought it would make a great song title-and a great metaphor for love (and life!). This song also features Mark on drums and Brother Phil’s tasty guitar solo. Sorry about any confusion caused by this song and the “One Before the Last” album of a few years ago. The title was too good to use only once.

LET GO: This song started out as an exercise in using only three chords. By the time we finished it somehow grew a minor key bridge, a horn section, and a rock and roll freak out ending that features vintage Skibic high octave riffing. Chris H played those lovely organ swells. Dave supplied the rocking intro riff, the snaky bass line and the nifty semi distorto vocal. That’s my voice the comes in for the bridge, which is a vocal approach we used on a few other songs (can you guess which ones?)

PACIFIC OCEAN BLUES: This is a tune I started a few years back when Jon showed me this particular fingerpicking pattern on the guitar. Over time it morphed into a song about moving to California and wondering about those left behind. Somehow I twisted that picking pattern into something that none of us could play very well. So, we brought in Mike Lennon, the fingerpicking expert who really nailed the guitar part. After Mr. Gibbs supplied the aching vocal, David Immergluck added the beautiful pedal steel. Part. Then we all went out for Mexican food.

LAY YOUR WEARY BODY DOWN: started as an acoustic number of Dave’s that we hadn’t planned to put drums and bass on until the moment we tracked it. Listening to it now, I can’t imagine the track being as moving without Fred’s epic drum fills, Dave’s melodic electric guitar arpeggios and the sweeping strings that we so beautifully arranged by Chris H. There’s so much nice feel on this track.

STAY: I made up the original riff for this song sitting on the edge of my bed thinking about someone special I had just met. By the time the band played through a few times in a makeshift rehearsal in Adam Duritz’ basement, everyone added a little something. Skibbo cranked out those angular riffs. Fred came up with the anticipated breaks. Dave and I wrote the lyrics for the bridge about five minutes before laying down the vocal. Chris H supplied the Hammond organ and our old pal/mentor Alex Vangellow flew all the way out from Potsdam, NY to help supply the “woo hoo hoos.”

ONLY YOU: Dave wrote this one and originally saw it as a total 60’s romp, but it somehow settled into a slightly countrified groove. I really like Dave uncharacteristically low vocal and Jon’s tremolo leads. This one really came together towards the end of the recording. Yes, Pretenders fans, we know about the solo. Consider it a homage.

ONCE IN AWHILE: This one features my trademark wobbly vocal stylings. Sort of like “Residue” from “Minor Chords,” it is my only lead vocal on the record. Fred and Dave arranged the drum and guitar parts in a rush of inspiration. Chris J. played some great swirly Wurlitzer piano that really sets the mood. Did you ever wish that a failed romance didn’t have to drag you so far down? Why can’t a slightly broken heart be enough? That’s what I was wondering when this song came about.

MY FAVORITE REGRET: I remember Dave working on an early version of this song in sound check way back in ’99. Sometimes songs fall by the wayside, but Dave stuck with this one and polished it to perfection. This is an almost solo Gibbs recording. Fred played a tiny bit of drums and Chris H played the organ (I think). The rest is Dave. I sat back and listened.

MAYBE THE CHANGE WILL DO US GOOD: I have been playing this guitar riff for years and I finally succeeded in making into a song. I had a fully written version of this song with lyrics that really reflected living in Boston. We decided to revamp the words so they reflect our vague California theme. We build this song up little by little from a drum track that Fred recorded. I put on the bass. Dave played all those rhythm guitars and the distorted riff. Jon came in and nailed the solo in a minimum of attempts. The track really came to life when we got Mark Rivers to come in and help sing the backing vocals. Dave, Mark and I spent a whole day doing all those vocals. We put this song last because it’s about living with change, something we have all done since we left Boston (in so many different ways).

LAY YOUR WEARY BODY DOWN (REPRISE): Oh yes, the hidden track! This time we will even discuss it. Chris Joyner played this is one take while learning the chords for the other version of the song. Pretty impressive. I must at first I wasn’t sure about this as an addition to the record, but I must admit it does sit in there nicely after the waves.