An Americana and Brit-Rock Mix
Lay This Burden Down
Imagine The Beatles’ ‘White Album’ crashing head-on with Wilco’s ‘Summerteeth.’ It’s an electric folk, Americana, and brit-rock mix influenced by the likes of Tom Petty, John Lennon, Bob Dylan, and Neil Young. Singer/songwriter Steve Shaw has put together an array of instruments and musicians to create this 20-song vision, ‘Lay This Burden Down’.
Released in 2006, the album offers an abundance of guitars mixed with flute, mandolin, melodica, harmonica, banjo, piano, organ, fiddle, and dobro. It creates a variety and flexibility to this recording that reminds one of the pop rock of The Beatles to the acoustical folk quaintness of Damien Rice. The album is not only Shaw’s debut solo album, but it represents a definitive change in the feel and style of his songwriting. After writing two albums with his alternative rock band Freeze the Hopper, Shaw conceptualized a vision of a collection of music that mirrored more of the American roots style.
Shaw realized much more creative freedom as he set out to make this vision of his a reality without the constraints of a ‘band’ album. “Being solo, you don’t have to compromise. In a band, you do compromise or you deal with the guilt and conflict of not compromising.”
With most of the songs written on acoustic guitar, Shaw began writing and arranging all the other instrument parts using a keyboard and an 8-track recorder. “I locked myself in my basement and just took my time until the parts were right. It was a pretty cool experience - no pressure, no band-mates trying to change things, just me being all up in my head, creating. I took the songs into the studio and everything seemed to work real well. All the musicians that I asked to be a part of this were real supportive.”
After recruiting drummer friends, the recording started ‘for real.’ Freeze the Hopper band-mate and Shaw’s cousin, Jim Fowler Jr. tracked three songs at Oliver Studios in St. Louis, Dan Kathriner of the band Wagon and Road House Ramblers tracked a song at Probst Studio in St. Louis and Toby Mechem, formally of Sugar Sticky Girl, tracked 12 songs at Sallee Studio in Cahokia Illinois. “I’m very fortunate that these guys were available and willing to help me out,” Shaw said. “It was important that they play to a click and also capture the feel I was going for and they all did a great job.”
“Things all started falling into place once the drums were down and I had all the parts written and arranged on tape. All I had to do was recruit a few more players to add color and dynamics.” Most all of the acoustic guitars were tracked by Shaw. He also laid down all of the mandolin, keyboard, organ and most of the piano, bass, and electric guitar. He even went out and bought a four-string banjo to play on ‘Living in a Box’. Stacie Missey, who still appears occasionally to perform live shows with Shaw, recorded the numerous flute parts on the album along with the far majority of backing vocals.
Shaw felt one of the most important aspects to recording the disc the way he wanted was when he decided to hire Ron Sallee to engineer and co-produce the project at Sallee Studio. Shaw said, “Dave Probst was very busy at the time that I wanted to really start hitting it hard so he recommended going with Ron. Ron was great because he’s a fantastic guitar player plus he can find his way around on the keys for some production techniques he used.” Sallee is a veteran on the St. Louis music scene and has toured nationally with various bands throughout the years. “He helped me so much. He played a dobro slide part, added some tasty riffs on electric guitar and even sang a little backup,” Shaw added, “he also introduced me to Diana.”
Diana Starr, another area veteran musician who has toured the country playing piano, singing, and recording came aboard to help arrange backing vocals and sing backup on four songs. She also arranged and played piano on the intro to ‘So This Is Me’. “I describe Diana’s talent as breathtaking. She was great to work with. We hit it off immediately.” Other players included Shaw’s other Freeze the Hopper band-mate and cousin, Steve Fowler, who played bass on ‘Slow Fade’ and fiddle player, Colin Blair, who was named St. Louis Folk Artist of the year in 2007. Roger Mitchell played melodica, and added two acoustic guitar tracks to the disc.
All in all, the album took over a year and a half, from start to finish, including over 130 hours of studio time. “I really feel good about this record,” said Shaw. “There are no regrets. We left no stone unturned. I didn’t compromise. There really is nothing on the disc that I feel ‘I have to live with’. I recorded the best album I could at this point in my life. It is what it is and I hope many people are turned on to it. The people who were involved in this with me are all very special people and I still enjoy their company and enjoy listening to this record even after it’s all over and finished – now that’s saying something!”
With the many long and hard hours that have been devoted to creating a disc of twenty songs, is there a favorite of his? “‘Let it Be High’. I’m proud of the instrumental arrangement. It’s about the feeling of letting go and recognizing the dark side of life.”
