The writing ~ November 2nd of 2010 was a blue day for me, and for many surfers and others who personally knew or knew of the young Kauai surfing phenom Andy Irons. The thirty-two year old three-time world champion, husband, and expectant father, had just passed away in a Dallas hotel en route to his home and family on Kauai. Later they found that he'd had a massive heart attack due to undiagnosed heart disease. A shockwave could be felt the world over by his many admirers, friends and fellow athletes at this devastating and surprising loss.

I'd seen Andy over the twenty-eight years I'd lived on Kauai, and he'd always nod hello and proceed to shred whatever wave happened to roll in. So no, I didn't know him that well, but somehow I too felt a deep sadness descend on me over his untimely departure. It hit me hard, viscerally. That next day I wrote down a song title - 'This Ones For Andy', and started working on this A minor groove that just up and jumped into my fingers while playing my Yamaha nylon string beach guitar that lives in the van. I couldn't help myself with the A minor thing, as lately when first picking up my guitar I'd automatically play an A minor chord, like a magnet drawing my fingers right to it. Also, I'd already written a couple of other songs for this album in A minor for some odd reason. I didn't want to turn the record into a suite in A minor, but I couldn't fight it either, and instead, ran with it. After spending 15 or so years writing songs in alternate or open slack-key tunings, I guess I was finally ready to write some tunes in regular tuning, and the key of A minor just plain felt good every time. After about ten days of working with the melody and chord changes, some lyrics started tugging at my sleeve, and so began the lyric phase, all this taking place in my favorite writing spot in my van while parked at the Hanalei river mouth. Besides a great view of Hanalei Bay and the surrounding mountains, one can see the surf going off. You need a break from writing, you tilt your head upwards a few degrees and voila... fresh inspiration for this song.

People were always saying "rest in peace" or writing R.I.P. in their comments on line, not to mention all the commemorative hand painted signs and surfboards that sprang up overnight on the sides of the roads. Over time I began to think of R.I.P. as "Rip In Peace", it seemed more appropriate for the legendary surfer. So 'Rip In Peace' became the working title and a line in the main body of the chorus. It came to me that I would work here at the river mouth every single day on this budding composition till it was finished, and then immediately go right into the studio and record whatever it turned out to be. A momentum was building, and unfortunately and fortunately I did not have many gigs or students to distract this flow.

While working away in the van after a surf session, my friend, the noted surfer/shaper Billy Hamilton, stopped by and asked if I was writing a surf song. Hmm, I wondered, "could this tune be considered a surf song?" Well, who better to answer that than Bill Hamilton his own bad self. So after singing and playing what I'd written up to that point, I asked him if he thought it was a surf song. He replied without hesitation "yes, I'd definitely call that a surf song, keep it going man". While hunting for inspiration and direction for the lyrics, I wear the hat of an observer, ears wide open, listening for truths. I noted the reactions to Andy's passing with surfers here on the island who knew him, and also on the internet in the various comments sections, written by people who didn't know him personally. All were deeply moved by his loss. I realized pretty quick that songwriting about someones passing - especially someone as iconic and loved as Andy - was not going to be an easy task, nor could it be taken lightly. But in my bones I knew I had to forge ahead and express whatever needed expressing, and maybe, in so doing, speak for what others might also be feeling. Five weeks later the lyrics and music had gone as far as they were going to go.

The recording ~ It was now time to get up into my studio and begin layering it all down. Shifting my workplace from the Hanalei rivermouth to my home studio, I found the right tempo and recorded a stereo drum loop from one of the many sampled real player loops in my RMX sound library. Real drums would be recorded last. Next came recording my Sadowsky electric nylon string guitar tracks, but rather than take the time to mic my Carr amp - like I'd done for the rest of the electric guitars on the record thus far - I opted to just plug the guitar directly into the Neve pre-amp knowing that I, or Mike Shipley, could find a more desirable sound for it later if need be. Getting this rhythm guitar part right, both tuning and rhythm-wise is crucial, as all the other instruments follow and build upon it's foundation, so I worked on it till it was just right. Post guitar, I discovered and recorded some excellent Tibetan temple bells and tablas for the chorus. For me they brought to the song a taste of Eastern transcendentalism - and it's possibility of a life afterward philosophy. The lead vocals came next, and quite by accident I'd recorded some good takes with words that would work well for doubling. After editing the vocals, it became clear that some backing vocals on the chorus' would be ideal. A seed was planted, it's fruit to be harvested later.

Next up was Bryan Kessler, my dear friend and long long time musical collaborationist, who flew in from Oahu to play electric guitar on the track. We wasted no time in getting to work - only stopping for some caffeinated fuel en-route from the airport - knowing we would be at our endeavor deep into the night, until we were ready to drop. Such is the usual case when working on our music together. BK worked up his parts using my Sadowsky Tele Standard, which has a nice pallet of sounds with it's two humbuckers, one single-coil and active electronics. As usual Bryan came up with some really tasty, melodic, and unusual parts which further defined where the arrangement was going. I never try to plan ahead as to what the arrangement of a song will sound like later after all the instruments are recorded, preferring to let each successive musicians part create and define the direction and arrangement. It's way more fun, fluid and surprising that way. There's still plenty of lee-way for me to shape things in the editing stage. I'd written this pretty dynamic but out-there instrumental bridge which Bryan really couldn't wrap his head around. We stopped recording momentarily. He said he wasn't sure that this bridge worked. I wasn't sure it worked either, but had written it for some reason, and though I knew it was a stretch harmonically, I told him just try a few takes anyway and hopefully I'll find something in these takes to use later, that is if I didn't ditch that bridge altogether. We recorded a number of passes on this section, and moved on till we felt like we had the best of his parts for the song covered. After he flew home I spent a few days reviewing all the fun stuff we'd recorded, and created two tracks of the best of BK - one for the left and one for the right.

At this stage of the game keyboard master Michael Ruff would be on tap to add his irresistible and unpredictable chops to the growing track. But as it would turn out Mr. Ruff was super busy for the next two weeks. Normally I'd wait the two weeks, find something else to work on, but I really wanted to keep the momentum on this song going. My next choice was David Crosby's eldest son James Raymond. I'd met James here on Kauai at least ten years ago. He's a very respected songwriter and keyboardist in his own write, had previously been one-third of the trio Crosby Pevar and Raymond, and was currently playing keys with Crosby Stills and Nash. The major bonus with James besides his righteous playing, is that he also has his own home studio and a real acoustic piano. I explained the story and sentiments of the song to James, and sent him a rough mix mp3 of the track. He replied in the affirmative, saying to count him in. As has been the case many times on this album project, the tracks were sent via internet, and after a break in the CSN tour Mr. Raymond found time to learn the song and record his parts. After receiving his new tracks and dropping them into the song I was pleasantly stunned, as James had added to the brew tremendously with a great sounding track just bursting with restraint and dynamics. His parts worked seamlessly with my guitar and Bryan's guitar parts, while adding yet a whole new dimension to the song. James' playing on the instrumental section that I had been questioning now worked really well with what had been chosen for Brian's part, and that whole section just jelled. There was now no question of keeping that section or not; it was there to stay, and my harmonic gamble had paid off. So had my intuition that James was the right man for the job at hand! Whoa, I was thrilled to see the song growing exponentially and had a wild thought: Would James ask David Crosby if he would like to sing some backing vocals on the chorus? Why not ask, what had I to lose? David's voice would fit perfectly under my own, and yeah while I'm dreaming why not have Nash sing on top too? Its true that I've had the gift of having Graham voice on two of my previous CD's, but having these two iconic voices together with AT in the middle would be immediate creation of CTN, and what singer songwriter hasn't dreamed of being in a Crosby Nash sandwich? James thought it was a good idea too, and played the song for David. A lot of dreams came true on this record, and one of them was when David said he wanted to sing on the track. You wanna talk about serendipity - Turns out he would be vacationing on Kauai in a week or so. Nash too.

Jimmy Johnson had already played bass on five tracks on the album, and we had a nice working groove established, even though I worked from my home studio on Kauai, and he from his home studio in Los Angeles. I had first heard his mighty playing in the early eighties in Santa Monica CA, backing up Michael Ruff on once-a-month gigs at the At My Place venue on Wilshire and 11th. Loved his playing then, and also loved his contributions to James Taylor's gigs and records. Jimmy understands what to play, and more importantly, what not to play. His tracks could always be counted upon to be clean sounding, not to mention solid, deep in the pocket, inventive, and candy to the ears. Need I say more? Only that he did not disappoint, and once again his part meshed perfectly with the other instruments previously recorded. His playing also influenced the arrangement to a huge degree, and once again I found myself in awe at how the track was morphing and finding its shape with each successive player's stellar part. It was coming together right before my ears!

Graham Nash had previously told me that if I wanted him to sing on a track on the 'Deep Water' record, just e-mail him an mp3 of the song. If he didn't get back to me it meant negatory on the rest of the story. I had already sent him at least three different songs for possibilities, but as he never got back to me I gathered he wasn't interested in singing on any of them. Cool enough. But he hadn't heard this one yet, and as Crosby was slated to sing on it, maybe, just maybe, he would want to add his singular voice to the track.

My cellphone rings, I don't recognize the number. It's the Croz. We make arrangements for a recording date for two days hence, and he asks if I have an acoustic guitar he can borrow? Uhh, I say of course, and set a time for me to come down to Hanalei and drop off the guitar. He doesn't know this, but I would NEVER loan my one and only acoustic guitar, my baby - a Collings OM3 cutaway - to anyone, well anyone other than David Crosby. I had complete trust that my precious axe would be in really good hands, and as I was deep into recording and editing other instruments, I didn't need it now anyway. In fact I felt quite honored for him to play it; couldn't hurt to have some of that Croz mojo DNA on it! Dave said he needed a guitar to practice for some upcoming shows on the mainland and didn't bring one of his own because Nash had told him he could use the one from up at Camp Nash. Turned out the one from Camp Nash had fallen victim to the vicissitudes of however many years on the north shore with it's attendant moisture and corrosion factor, and was thus unplayable. I made sure the Collings had new strings, and drove on over.

After greetings with Jan and Django, David opens the case, takes the guitar, sits down and begins playing a tune he had just written. I drop down on the couch just across from him and get lost in the song; my guitar never sounding better. After the song, silence, then he says "I have your song 'Rip In Peace' down, no problem." He follows with "you should ask Nash to sing the high part". I had been thinking the same thing for weeks, and it was all I needed to get me up for sending Mr. Nash an mp3 of the song, with a note explaining how great it would be to have him sing on it. Nash e-mailed back that he liked the song but felt the chorus' should be doubled, making no mention of singing on it. Hmm, I sat down and listened to the song yet again, but could not hear the chorus doubled. So I e-mail him back that I didn't hear the chorus being doubled, but, it could always edited in later if I changed my mind, after the backing vocals, hint hint. And I went on about how I would really love for you to join us in the studio and represent Kauai etc etc. Well in no time I get a return e-mail reiterating that he really felt the chorus' should be doubled, and again no mention of wanting to sing on it. Oh well, I guess it's just me and David. I really cannot complain.

It's the morning of the backing vocal session, I'm due to pick up the Croz in an hour and still no word from Nash, so I figure it ain't gonna happen. Once again the phone rings and its a number I don't recognize. But the voice I do - It's Nash, he's saying "Allan, where the eff are you? We're at Davids, come on already". He was joking of course, and this was his way of telling me he was in. I cracked a massive smile, said I was on my way, jumped in the van and headed to Hanalei to meet the boys and set the stage for one of the most memorable days in my recording life.

Being as I didn't want to engineer and produce the backing vocal session with David and Graham, I had asked Kauai resident and recording engineer Ron Pendragon, if he could fit us in at his Fat Tuesday recording studio up in the Wailua Homesteads. Ron is the go-to guy on Kauai for great engineering and a cool head in demanding situations. He had previously recorded Tris Imboden's drums for me on the 'Making Up For Lost Time' record, plus he did all the backing vocal work on that record with Graham, Anjela, Mike Ruff and myself. I certainly don't mind recording my own vocals but it's nice to hand someone else the reigns when there is a lot going on. One possible snag: there happened to be a group of Italian musicians in residence at Ron's studio. The band; Quartetto Desueto, had booked and were camped out there for two weeks. The good news: they were big fans of CSN and were more than willing to let us use the studio for a couple of hours.

The session passed in a blur. A snapshot: Graham would record his high part first, over my already recorded melody. Then he'd double it. David would then walk up to the mic and follow the same routine, as if they had been doing this for years! At times we three rehearsed the parts a cappella, standing inches from each others faces, and I have to say, this was a major high-point for me. Have thought about how it would be to sing with these brothers since the first CSN record, and here it was happing some 40 years later. Wild to say the least, and the irony did not escape me. In passing, between takes Nash mentioned that the line in the tag "the longest ride" might make a good title for the song. After letting that sink in for a few days I tended to agree, it did work better on a lot of levels, so the new title became 'The Longest Ride'.

Looking back, the session almost seems more dream-like than reality. But it happened, and I just feel very very lucky and blessed. While walking David and Graham to their car, I asked how I could ever repay them for this act of kindness, besides my first born? David laughed and said "we only do this kind of thing for friends whose music we love. As for payment, pay it forward."

A few days later David called to ask if I could come pick up my guitar. Told me he'd just written a new song on it.

There was only one missing piece to the puzzle of this track and that was real drums. The great Rick Shlosser had played drums on three tracks on the record, and LA based groove-master Joel Taylor had played on four. There remained four more songs to go at this time and I thought it might be cool to let someone else have a go. I discussed who might be best for the remaining drum parts with Mike Ruff, Jeff Richman, and Bryan Kessler; all brothers who played on the record and whose opinions I value highly. Speaking for myself, I always loved The Yellowjackets music and their particular brand of jazz. Their keyboardist/composer Russell Ferrante had played on my 'The Island' CD back in 1987, and their drummer William Kennedy's work on their records has always just knocked me out. Ruff had said something like "AT you need someone who can play your style of elastic music". After conferring,we all agreed Will Kennedy would be ideal. As Jeff had worked with Will on different occasions, he agreed to contact Will and ask if he might be interested. Mr. Kennedy was on tour in Brazil, but contacted me within days, saying he'd be back in LA in a week, and would love to play on the tracks. It just steamrolled from there, all coming together very smoothly as Jeff recommended Paul Tavenner's Big City Recording Studio in the valley, where both Jeff and Will had worked before. Paul had a date available that would work for William, and we were set. Being as I didn't want to fly to the mainland for any sessions, I had to trust that the parts a particular player was recording would fit the tune. And it was all by instinct and trust in the players abilities that I could let go of being there in the physical, and know that these guys would deliver the goods, and always they did, and in spades! Jeff dropped by the studio while they worked and called me to check in and say it was going great. They sent me mp3's of a quick mix or two of the songs and I was ecstatic. William had brought out the dynamics of the tune as if he had written it himself. His parts were just what the song wanted and there was nothing for me to say except freaking' WOW!