Here is a sampling of a bunch of recording projects, dating back to 1975! This is not complete, but a representation of previous work. Sessions with other bands or musicians (like the time I played 4 bars on a Diane Shuur album) are not included here. I've been fortunate to work with some friends who turned into great musicians, producers, and sound and lighting directors.
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Paul Brownlow Band, 2009. We made a drumming change in the band and added my former Cowboys and Lonesome City Kings bandmate and Seattle Disc Mastering production whiz Mark Guenther and Jim Keller has gone full time. The band has had a chance to turn into a band (if you're a musician, this makes absolute sense!) as we've played several more shows. Here are a few songs from a show we did at the Skylark Cafe in Seattle in July. We'll be embarking on a new studio project shortly. |
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Paul Brownlow Band, 2008. Finally got the band together to play the new album. This picture and video clip is from the Bite of Seattle at the Seattle Center in July 2008. Kent Caldwell is on bass, David Goodman on drums, and long time KNDD assistant program director Jim Keller is on guitar - he's been splitting time with Eric Olson. |
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The Road Is Waiting, 2007-2008. I took the Southbound Train sessions and reworked them a bit in preparation for launching my band. I rebuilt my studio and it also gave me an opportunity to break it in. The CD was released July 19, 2008 and is available at CD Baby here or on iTunes over here. Pop on over to MySpace or paulbrownlow.com for more info. |
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Southbound Train, 2005-2006. I had been itching to get something out from my new studio and to start playing shows again. I've wanted something with a "full band" sound, so that's what I did. At left, I'm playing at my daughter's second grade class. I was the subject of "show and tell" in late 2005. |
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Off Center Studio, 2005. I upgraded my studio in mid-2005 to a ProTools LE / Digi002 Rack system. Thanks to some loaned microphones from my friend David Goodman, I was able to get started on my first project, a nine-song sampler to learn the ins and outs of the new setup. At right, I'm playing in Hope, Alaska, July 2005. |
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Off Center Studio, 2003-2004. Always writing, I'm constantly creating reference versions of my songs in preparation for more work and also so I don't forget them! I am in the process of updating the equipment in my home studio. More details will become available when the upgrades are complete. Again, it will be fully digital. For a more complete listing of songs from Off Center Studio, look in the basement. At left, I'm playing in Bavaria, Germany, October 2004. |
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The Long Road, 2002-2003. This was recorded at Jared Vogt's Trillium Lane Studios on Bainbridge Island by Drew Bateman. All the recording was done in November 2002, and mixing took place during the first four months of 2003. At right, I'm playing in Stevenson, Washington, July 2003.
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Trillium Lane Demos, 1999-2002. These songs were my first fully digital recordings. The first was done at my friend Jared's studio in the loft of his house, and the second two at his newly-opened pro studio with 192 ProTools tracks available. Fell In Love, Couldn't Get Out (recorded June 1, 1999) Elvis Lives (recorded June 2, 2002) Isabel's Lullaby (recorded June 2, 2002) |
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The Swine, 1995. Recorded at Conrad Uno's world famous Egg Studios by Mark Guenther on a Tascam 16-track. The entire project, entitled "Slop", was never released, although a few songs made an appearance on the Swine Before Pearls CD companion to our Public Access cable television program. I got to play a Clinton-esque sax on one song. The band played yearly at Seattle's Folklife festival from 1990-1999. |
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Egg Studio Sessions, 1991. Also recorded at Egg, these are from a nine-song project titled "Endless Highway". Mostly done on a Tascam 8-track, Mark Guenther and I did amazing things to get the big sound on the title track - five guitars, organ, synthesizer, mandolin, melodica, handclaps, bass, drums, and probably a few things I'm forgetting. Lots of great friends helped on this project, including Rick Dean who played guitar. I learned a LOT about music production on this project. |
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Reckless X, 1990. This band featured three writers, three singers, and three styles of music. This was challenging, but we had fun and had great speakeasy gigs. We recorded at Egg and Tom Dyer's Green Monkey Studios on Tascam 8-tracks. This was my first crack at being producer. No Way Out (Paul Brownlow) Stop Talkin', Start Walkin' (Mark Bushbeck) My Soul's On Fire (Recorded at Green Monkey) |
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The Cowboys, 1985. This band sat at the top of the Northwest original indie punk / new wave / rock circuit from 1979-1986. I joined the band in 1984 and the following year we recorded an LP, "How The West Was Rocked" on a 24-track at Steve Lawson Productions with our former sound man Terry Date producing. Keith Wissmar, our lighting guy, works for Neil Young and Pearl Jam as lighting director. In 1998, Chuckie Boy issued a compilation called "Jet City Rockers" and we had a reunion with Dave Dederer of The Presidents of the United States of America on guitar and in December 2007 we played a tribute to Ian Fisher (far right) who passed away at age 51. |
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Lonesome City Kings, 1981-1982. While punk and power pop were taking off, we had a strong R&B influence and strong songwriting from Rick Smith. Jerry Dennon, who broke "Louie, Louie" and produced the Sonics in the '60s, signed us to his First American Records. We recorded at Second Sun (8-track), Egg South (4-track), and Northwest Recording (16-track). I've Got A Bullet (Egg South) No Sleep Tonight (Egg South) Lady Fingers (Northwest Recording) Why'd They Have To Shoot Him Down (Second Sun) |
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New Flamingos, 1979. This was my first foray into the club scene, which I entered at the age of 18. We rehearsed for MONTHS before we played a gig, but finally got steady work. Brothers David and Jim Keller did most of the writing. We made a bunch of 4-track recordings in the basement of the house we shared. |
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D.O.A. / Euphoria, 1975. My very first rock band. We couldn't decide on a name (so we alternated between two), couldn't decide on a drummer (so we kept two), but we played to a packed, screaming gymnasium on our last day of junior high school (ninth grade). We played three covers and were stars for a day and owned Ringdall Junior High long before High School Musical taught kids of this generation how to do it. This was recorded 2-track off of the mixing board. |
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