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THREE
SHEETS TO THE WIND WAS IDAHO'S FIRST FULL LENGTH RELEASE AS A FULL BAND. ALTHOUGH DAN
SETA (GUITAR), MARK LEWIS (DRUMS), AND TERRENCE BORDEN (BASS) HAD APPEARED ON THE
BAYONET E.P. AND DAN AND MARK HAD APPEARED ON EARLIER RELEASES AND IN LIVE INCARNATIONS OF
IDAHO IN THE THIS WAY OUT-ERA, THE RECORDING OF THREE SHEETS WAS WHEN IDAHO FIRST CAME
TOGETHER AS A COLLECTIVE WHOLE. JEFF MARTIN, WHO IS THE CORE OF IDAHO, TOLD CHRIS
DOURIDAS OF KCRW'S
THE MORNING BECOMES ECLECTIC THAT EVERYONE HAD "WRITTEN THEIR
OWN PARTS AND YOU GET THIS SYMBIOSES THAT DOESN'T HAPPEN WHEN YOU'RE SHOWING PEOPLE
WHAT TO PLAY... A RELIEF FOR ME - I DON'T WANT TO DO EVERYTHING."
AFTER THE RECORDING OF THREE SHEETS, THE BAND WAS WORKING SO WELL TOGETHER THAT THEY
CONTINUED "RECORDING 4 OR 5 SONGS," ONE OF WHICH WAS SHOULDER BACK. "WHEN YOU FINISH
A RECORD, JUST WHEN YOU ARE DONE YOU FIGURE OUT WHAT YOU ARE DOING."
TO ACCOMODATE A FULL BAND, MARTIN'S PIERCING SOUND STUDIO WAS MOVED FROM THE SMALL ROOM
UNDERNEATH HIS PARENT'S HILLSIDE HOME "TO ONE OF THE OLD MASTERING ROOMS OF KENDON
RECORDING STUDIOS IN BURBANK. IN THE 70'S KENDON WAS ONE OF THE PREMIER RECORDING
FACILITIES IN LOS ANGELES... HIGH CEILINGS, AN OPEN STEP STAIRCASE, LAVA ROCK, AND A
WATERFALL ARE SET AMONG A SOOTHING BROWN AND ORANGE COLOR SCHEME. THIS TURNED OUT TO BE
THE PERFECT SETTING FOR THE WRITING AND RECORDING" OF THREE SHEETS TO THE WIND. THE
COMPLETE PRESS RELEASE ABOUT THE BURBANK STUDIOS CAN BE FOUND AT
MARTIN
BRUMBACH'S WEB PAGE.
THREE SHEETS WAS "ONLY THE FOURTH ROCK RELEASE" MASTERED IN HDCD ACCORDING TO THE
THE BADGER HERALD.
ELABORATING ON WHY HDCD WAS USED, DAN SETA SAID, "THE FIRST ONE, I THINK, WAS NEIL YOUNG'S
MIRROR BALL. HE'S ALWAYS HATED CDS AND HE HATED THE FACT THAT HE HAD TO PUT THINGS OUT ON CDS,
BECAUSE HE HATED THE SOUND OF THEM, AND THIS IS THE FIRST CD FORMAT HE ACTUALLY LIKED."
THE ALBUM IS ARGUABLY IDAHO'S MOST DIVERSE, COVERING SOME OF THE SOMBER GROUND THAT IDAHO
HAD DEALT WITH BEFORE BUT ALSO SOME NEW TERRITORY WITH THE "UPBEAT
CATAPULT,
THE ROCKING AND TRIUMPHANT"
SINGLE
"POMEGRANATE
BLEEDING, THE IMPRESSIONISTIC PIANO-BASED
ALIVE AGAIN,
THE ROLLING STARE
AT THE SKY, [AND] THE BAROQUE
GLASS BOTTOM."
THE WEB PAGES AT CAROLINE RECORDS ADDS
THAT "NO LONGER CAN THE BAND BE PAINTED INTO THE SAD-CORE/SLOW-CORE CUL-DE-SAC."
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"WHEN I WAS GROWING UP, A BUNCH OF KIDS FROM AROUND THE NIEGHBORHOOD BUILT A SECRET UNDERGROUND
FORT. WE BURROWED INTO THE GROUND IN A NEARBY VACANT LOT, ALL WORKING TOGETHER ON A MAIN
CHAMBER AND COVERING IT ALL WITH PLYWOOD AND DIRT. THEN WE WOULD EACH DIG LITTLE CUBBY HOLES
FOR OURSELVES WHERE WE WOULD STASH THINGS WHICH REFLECTED OUR INDIVIDUAL INTERESTS
(MAGAZINES, STICKERS, POSTERS, TRADING CARDS, HOT WHEELS, ETC.) AT FIRST WE SPENT MOST OF
OUR TIME FIXING UP OUR CUBBY HOLES, OR HANGING OUT IN THE CENTER WHERE WE WOULD BUILD A FIRE.
PRETTY SOON WE TIRED OF OUR OWN STUFF AND STARTED HANGING OUT IN EVERYONE ELSE'S CUBBY AND
SOON WE STARTED THROWING ALL OUR STUFF INTO THE FIRE. THAT WAS THE POINT AT WHICH THINGS
WERE MOST FREE AND EXCITING; WHEN THE CUBBY HOLES DIMINISHED AND THE FIRE INCREASED. THAT
IS THE POINT WE REACHED ON
THREE
SHEETS TO THE WIND THE STUDIO BECAME OUR CLUBHOUSE.
EVERYONE BROUGHT THEIR INDIVIDUAL TALENTS AND PASSIONS TO THE PROJECT AND IN THE END THE
INDIVIDUAL TALENTS MATTERED ONLY IN SO FAR AS THEY FEED THE COLLECTIVE FIRE."
- MARTIN BRUMBACH
FROM A CAROLINE RECORDS
PRESS RELEASE
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