Sometimes strange occurrences can be enlightening. Other times they can be frightening. They cannot be ignored as they may bury themselves deep in the subconscious only to surface at a later time. I believe these signs were quite evident during the period of several months of deliberations. Often, I felt as if I was in a dream. These sensations never spoke to me, but made their presence well known by freaky things happening in the studio. I had to focus more on cutting guitar tracks by feel. No more than a couple takes, or else there were forces to be reckoned with. When contacted by these unknown entities, I had to work quickly or else the whole rhythm track would be lost. I was, however, able to go back and change some arrangements with no objections anywhere. I guess they agreed with me on that aspect. The recording levels fluctuated, but managed to stay in the safe range. They kept pushing for more gain. One of these strange things happened during mixing. The fader on channel 8 was crapping out causing no sound - probably worn out. I was luckily able to remedy to problem without dismantling the recording deck. The fader did worked fine when pushed to the side of the channel. I glued a tiny strip of plastic in the channel to keep the fader on that one side and it did the trick. The council was pleased. The keyboard parts came very easy, as if, they dropped out of the air. I did have to work out most of the melodies and no one complained. If I spent too much time laboring on certain parts, lights would blink! Decisions were made as to when to stop. This helped tremendously because creating parts can be easily overdone. The best reception from these guided brain waves was the second part of the first track "Opening Arguments". The guitar melody was a gift which I was able to remember when the recording session begun! Another melody was conceived (with a bit of work) for the middle keyboard part of "Final Appeals". Majestic and precise, the riff conveys a boldness and firm statement augmented with crunchy rhythm electric guitar and the snap of the drums. The beginning has a descending chord progression with an emotive guitar part. The second track "Dance Plea" has four tracks of acoustic guitars and I thought that was all it needed. A high frequency whine came emulating out of the monitors for no reason. Or, maybe, to alert me that a synth part was needed. I played the part without much effort and thought it too simple. They did not agree and the recurring synth motif was left alone. I like it now. One of the most intriguing tracks is "Charmed Testimony" which I swear had a keyboard part that got erased. Doesn't matter now. The guitar part was played with an opening wah and later added some harmony to the keys. Nice riffing and I thank my unseen friends for the extra energy. The song "Decanting The Mix" has the most interesting keyboard sound which I had to play as the rhythm track was recording. So glad it was a simple part. The orchestration at the beginning was not my idea and I struggled to get it right. I was allowed a little more extra recess time for that one - like sorting through all the evidence. I also wanted to play some classical guitar parts on "Rumba vs. Tango". The song has a recurring melody played over each rhythm with a different instrument each time. No guitar needed. I didn't complain on that one. "Court Clowns" was fun. The organ part was played by Circio who stopped by with some snacks. He didn't stay long as I weirded him out with these accusations of the Unknowns. The snacks were good, though. The track "Waltz Witness" also has a melancholy melody. Simple and slow, but with an urgency complemented with flute. A second piano serves to double and intertwine the witness - sort of like a cross examination. My recording engineer assistant, Fred Lighthead, had some bright ideas. He adjusted the frequencies in the headphones so I could only hear the music and not the intruding sounds from the unknown origins. This helped. And, only during playback, did I allow the suggestions to be heard. Sometimes, nothing occurred and the unpredictability almost resulted in a hung jury - the tie breaker being the dance track "Synthesis Of Sin" - part Acid, part keyboard. The album needed another acoustic dance tune ala TK Wizard style. The track came together without a hitch and with the acoustic guitars improvising the jams. Again, no more than two attempts with those guitars. Sentence was pronounced and it was "Off To The Void" which is a bit of a jazzy track with some intense guitar work and cool improvising. My Connectors helped steer me through the maze of keyboard patterns with reckless abandonment of which I had little control . Somehow, the reverb on the guitar amp got turned up which gave the guitar a deep space sound. "Parole" has loose melodic passages over unexpected chord changes. The judges were very pleased with this effort and overruled any distractions. Perhaps, an emotional ballad to end this saga was part of their plan all along. I'll never know. I'm just glad it's finished. Enjoy, Terry Tech Notes: No compression used during mastering - only mid boost limiting - to insure real dynamic range. Music is copied onto CDrs, with high quality photo paper for the sleeves, and no shrink wrap. Recommend Playing Loud!