In the fall of 2018, all I had was a book of songs, a guitar and some amazing friends who also happen to be amazing musicians. We had never performed together, some had never met one another, yet when we hunkered down in the Union Sound Studio in Toronto I felt like I was home. Over three days we crafted each song into what they are today. Everyone was extremely supportive, patient, and creative during the entire process. I do want to apologize to everyone for never practicing to a click track or any kind of percussion, and I would also like to apologize for belching several times into Union Sound's extremely expensive condenser microphone. . . Mistakes were made and lessons were learned.
Mike Dempster, thank you for taking your first flight on a plane to come play bass. Your energy was palpable in the studio and your contribution to the project was very much appreciated. Hillary, thank you for taking care of your army of children while Mike was away, you are both wonderful human beings.
Chris Bennett, big thanks for lending your guitar wizardry to the album. Watching you play boggles my mind. Mostly because my fingers can't move that fast and secondly I cannot fathom playing along to a song I have heard a couple of times before. You are a master at your craft and I am so happy with everything you compiled.
Brendan Beresford, big thanks for driving in from Newmarket on a lazy Sunday morning. You asked me what I was thinking of in regards to tone and I did not even know what that meant. So thank you for going ahead and figuring out my "tone". You are a brilliant guitarist and a beauty of a person.
Sarah Fazackerley, thank you for helping me navigate through this entire recording process. Your contribution on piano and vocals was very much appreciated. You have an ear for subtle nuances and have always voiced your opinion kindly even when I am off tempo or off key.
Stephen Stanley, thanks for coming into this with an open mind and open arms. I started out thinking I would be nervous or be disappointing, but your presence in the studio relieved these stresses. You were always calm, cool, and collected. Thank you for playing rhythm guitar at Union, your wicked lead track at Chandelier and lending your voice on Great Lake.
Alex McMaster, holy cow! You came in out of the woodwork laid down some amazing pieces of ear candy and then like a shooting star you were gone. I want to thank you for coming in without ever hearing of me or my music and on extremely short notice. Your cello playing was a highlight of the recording process at Union. Thank you, thank you, thank you.
Darren McGill, I knew we were in good hands when you didn't kick us out of the studio within the first five minutes of terrible jokes, awful puns, and really really bad impersonations. You were a dream to work with and always had positive energy and great suggestions through the entire time at Union. You deserve a raise. Thank you.
Kevin Ker, I am not sure where to start. I would not be here without your words of encouragement and the opportunities you have presented me along the way. I never imagined creating an album let alone creating songs I actually love playing. You are an amazing human with as much talent as heart. Thank you for making me play my songs, even though I did not want to, engineering this album, being a great bandmate and an amazing friend.
Yours truly,
Sagen Pearse