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The Rumor (2022)

by BEFORE BRAILLE

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1.
SECRET NO.7 We feel just like Two criminals With unknown crimes It's not your fault It's always mine It’s always mine.
2.
THE SPANISH DAGGER Well stop cashing me in for a thin line You're right on track to know what it feels like To lose more than you've ever gained Charges pending further investigation You've got to expect that you're falling from graces Rehearsing all your persona will need When you're front-page fighting for your dignity I almost taste the the irony How fiction replaces history Use daunted glow to light your page You say those feelings of doubt Will never cut across your mouth I know that Socrates and impurities Are getting you down You'll take all they've got to get your fill Your time is running out You're getting carried away No one cares about your fame I see the dagger in your name Deny your roots for future rain For future reign Add one more kill to raise your worth It's so sad Because it's all the truth you have Trade breath For gold There's no Armageddon When pranks are there to relieve you Why prevent yourself Take wealth from someone else Dare to incite yourself When you're your only foe You're carried away Nothing's real about your fame I can see you drown in your own wake So pale, so thin you'd float away I see you trying so hard So no one will ever take your place When you feel the dagger brush your face I deny myself what I can take When I can wait (and expect the same) Incriminated Your teeth still shine over the suffering Deceiving trade But the blade will shine.
3.
A CINEMA SPINE Just a little bit of feeling in your stories And I'm ready rearing to go Just a little bit of grieving in the words you relate And I'm alright Crash land, insist Can't exist on frailty I always crash land and Resist exaggerated authority Just a little bit of bleeding in your stories And I'd be really wanting to know How they treat internal bleeding When they're dying to be The future glow All attacks come two by two We've been gliding so far Just spinning our wheels When all the bodies fall Do they face the sky To choose which star To make it home When all the bodies fall Is it finally quiet Or does their last heartbeat Echo till they're gold Crash land, resist Redefine a dire need Crash land In this unassuming reality When all the bodies fall Will they shun the light And dust their feet On brittle stone And all this time Is wasted on an assembly line To keep things plain enough To be sold Tell me something to ease my worry Tell me something to calm me down Tell me something to prove your story With a shot of sodium pentathol Tell me something that's not too late To deny Deny Why would anybody treat your right Why would anybody treat you right And we already know how the actors feel And we already know how the actors feel And we already know how the actors feel And we already know how the actors feel And we already know how the actors feel This time Tell me something to prove your story Tell me something before I get home This romance This romance Tell me something to prove your story Tell me something ‘fore alcohol This moment Is this romance?
4.
MIRACLE MILE I'm ready to blow I’m ready to blow It's not my fault My fault You know I’m ready to blow Don't waste a four-leaf clover I’m ready to blow Good happens to the owner Just wait When the leaves fall They go below your faults Now you're just boring me to death I've got a catacomb underneath The same place I lay my head I've gotta bury them blind And then control what they find I'm hanging on a thread You know I'm ready to blow Like I've told you I would Out of nothing you find your own authority Cleanse the water to send your holy blessings I'm flying solo I'm falling so low Where do we go Out of nothing you find your own authority Forbidden honor will go as far as atrophy I'm flying solo I'll go, I’ll go, I’ll go, yeah Now you're just boring me to death I've got a cataract focused on A shaky, shaky Conscience at best Shaky breath I've got to make up my mind And try to make up some time I'm hanging on a thread You know I'm ready to blow But not quite yet You know I'm ready to fold Can't count my cards yet You know I'm ready to forget All we've been through You know I'm ready for you The shaken are desperate For new sounds on old ground To bury reflections Infections From strong hands And weak glands And when they're awakened Their vision will fade It ain't a bit of my fault Man, I'm gonna miss her It ain't a bit of my fault Man, I'm gonna miss her It ain't a bit of my fault Man, I'm gonna miss her Miss her It ain't a bit of my fault Man, I'm gonna miss her.
5.
TWENTY FOUR MINUS EIGHTEEN Confidence Coming clean Ambivalent To everything 24 minus 18 Find a problem for everything Don't try to tell me what I mean Don't try to build yourself From the outside Don't try to make yourself You'll break every time Don't try to take your guilt And leave it behind I carry mine I carry mine This lust Will defeat us I've learned too many times You cuss When you see us I'm taking all this in stride I breathe too hard My lungs are scarred Have you tried to arrest yourself Arrested in time Why change If you can't find the time Gotta make the most of this Or get left behind Everything comes at a price You trust us when you need us Why do I feel there's nothing inside (Do I mean anything) This crutch Will relieve us How can I fix this if I haven't tried I want to send you roses Before your death is staged When understanding violence Suspects know their fate I want another reason Why I never help myself I waste my days regretting why Celebrate, Semper fi Sic Transit Gloria Sic Transit Gloria Celebrate, Semper fi Celebrate, Semper fi Sic Transit Gloria Sic Transit Gloria If you don't intend to go Never say that you want to Stay home until you know Life’s short, but a hell of a ride (When you) got 8 months to go A tightened grip will get you through Don't forget your goals Time is on your side As long as you're alive You want some closure You almost finished But couldn't fool your pride Out of nothing Fake forgiveness Never satisfied What if I'd lied?
6.
JAWS OF LIFE I'm caught up In the jaws of life What can heal can also Tear you up inside Writing down your own anthem You don't like the older one I would stand at attention For less than minimum Wage your own forgotten wars Trade honor for canker sores Ghostly pride with matching tours You're childish without the joy I know that I said I would change I know that I haven't changed A shoulder to lean on And then break I'm barely breathing With my status day to day I’m caught off guard By innocence I cross my heart Your influences pull you down I swear it's not The fault of mine Or of the fault of anyone So tell me what the guilt feels like Are you swallowed in your jaws of life When you strip people down You'll see how They don't need their cover Is it clear and defined When fists from a simple conflict rise (I could tell you things to shock you) And we turn into monsters We thought were once extinct.
7.
GOODNIGHT QUIET NOISE You're full of spite (you fooled the spy) And I know the reason why But your alibi Will never hold up to mine Standing up when paralyzed Pull the cloak over your eyes It ain’t enough to be a mountain tall Out of luck So name the price Spent your lot To turn on a dime Remove your mask To make a curtain call Something's calling me Out to the boulevard My thoughts need cages Till the morning When night, it rises Like the tide I feel I'm underneath I'm drowning in Nothing at all Standing up when paralyzed Pulled the cloak over your eyes Ain't enough to be a mountain tall Make amends before you start the fight Finding out why you should sleep at night The blood will boil then solidify You better see this You won't believe it You can't avoid The way they perceive you to be They're still behind you They're catching up They’re catching up To hold you to the back of the line There’s something's calling me Out to the boulevard My thoughts need cages Till the morning When night, it rises Like the tide I feel I'm underneath I'm drowning in nothing at all.
8.
SPLIT LIP ENVY I'm just a token of your flirtation Nothing more than a description I’m just a guy, just a kid From a place where Your philosophy is a catastrophe Wake up —Split lip You're not that cool Put your words in quotes and Call yourself vegan Turn up, off, on Your stupid song and sing Words about the things you know And what you think you have to show her Myself, I think it's obvious That I'm envious of you Tell me now what you've got to look forward to I hear they're hiring at the Dairy Queen Your whole story’s been a disappointment And your poetry is just a joke to me Anything and everything’s about the affection That you get when That you got Then, 10 times 42 What's that got to do With anything this song's about This jealousy I'll do without As for myself I think it’s obvious That I’m envious of you Can’t decide If this fairytale and nightingale Counters what I had in mind Who am I The fairytale and nightingale Leaves me depressed and despised.
9.
PARANOIA PAYS OFF I'll try and get your attention So I can clear my name I know you don't care ‘Cause I've seen my picture On your dartboard Bleed without pain You're always so violent La la despite your face I'll try to Understand the words You yell at me I've simply become Someone you abhor Have you discovered You need to change your ways When out in the open A sense of direction Just fades away You've never been sorry for a thing you've said Never been sorry for a thing you've said Never been sorry for a thing you've said Never been sorry for a thing you've said Never been sorry for a thing you've said You’ve never been sorry for a thing you've said No, you’ve never been sorry for a thing you've said At all, et al (Have I told you there something I can take from you, will take from you) It's just decent to wait a while Before you go and make a fool of me You break through with a crescent smile Gotta plan ahead for broken teeth It's too late to defend yourself I saw you laying down Beside the things we'd never talk about But go on believing So my paranoia’s paying off My paranoia. —-Segue (extended) version—- I've been to all the places I never felt I’d ever be calling home I’ve stayed at all the places I never felt I'd ever be calling home Calling home.
10.
WHEN THE FEELING FADES It ain't over But it feels like it is done Getting older And dignified Thought we could go Go out for a ride Look at grave sites And pretend that we're inside Trade headstones for the night Relax and just settle down This hesitation will not be wasted We can't cross hidden lines You know it helps Like nothing else To taste the wind When you prepare to fly Alle, alle, auch sind frei If you can't find a victim Then you're hunting for me So if the legs I have won't move I've got a good place to hide Under cover, I'm hating All the things you say but don't mean You're an imposter And I've seen you changing sides You're a dictator and we all drink to your pride We'll get this right We'll leave all the talking for another night It's never kind But we don't mind You can't inspect a soul After it dies Relax and just settle down This hesitation Is not complacent It's clear We can't defend these lines You know it helps You know it helps Like nothing else Like nothing else Lean through the windowsill Within your mind Alle, alle, auch sind frei If you can't find a victim Then you're hunting for me So if the legs I have won't move I've got a good place to hide Under cover I'm hating All the things you say But don't mean You're a dictator And we all drink to your pride You give of yourself now You think for yourself now You cry by yourself now ‘Cause you gotta be let down You're a martyr with guest lists Never make a birthday wish Well, you can't be without gifts ‘Cause you need to be glorified I can’t see I can see Why you're mortified Why you’re mortified When the feeling fades Time won't be Time won’t be Ever on your side Ever on your side Are your feelings mine Are your feelings mine?
11.
ABRACADAVER So you see yourself holding the knife Though it seems you're more terrified Than the faces you practice at night So you can watch your tongue sympathize We all know it's wrong Pretend that it's innocent We all know it's wrong Pretend that it's innocent Get out of the way You say that you can't move We'll drag you away To rot in your test tube Congratulate me Just when you need to So captivating I rot in place Hey What would you say now Innocence fools you Cuts you into pieces Try to find a way to live Or way to die The decadence coerces you In zines & books & movies I know I'm right this time Get out of the way You say that you can't move And threaten to stay Well, chalk up a new bruise Like a thief in the night So planned and deliberate No use for a knife If you can't hide it Right? Slaughter, bury alive Slaughtered, buried alive You fall out of photographs And skin up your knees Pulled under the undertow I'm so sorry you're sorry We all know it's wrong Here we go, here we We all know it’s wrong Here we go, here we We all know it’s so wrong Here we go, here we go We'll all get along Here we go, here we Get out of the way It's clear I can't trust you You gamble with fate A downfall for refuge You reciprocate While plotting your next move It's not fair to complain From miles away Right? Right.
12.
LOW END OF LUXURY Waiting, stalemate Collect all your things For what they're worth You've got me leaving messages all night Wedding presents Postmarked: eternity Will you return to the sender You're paced too slow The price of life Save a collapsed lung Take long distance shrugs Leave a light on Not a siren So what's your story Have you change that too The ring slipped through your fingers But still you can't let it go I'm lost and found In some low end of luxury I'll start my packing when you start to fall asleep It's just the same As it's always been I've lost my will for anything It's not rational Why you'll go You wasted life Hear it in her voice She regrets her choice Giving up by nomination So what’s your story Have you changed that too Once more just say it softly The ring slipped through your fingers But still you can't let go It’s a waste of time It’s a waste of time It’s a waste of time Waste of time Awaits us It's hard to know what makes us fall apart It's hard to want to stop it when it starts It's hard to tell what makes us fall apart Scars jump at a chance to make a mark.
13.
ARRIVE ALIVE You try to make this last But your candles burn too fast Divided before you’re born Were you divided from your former you You'll never make it far Well it's time, let go of my arm You're dying north of 40 You were destined for its solitude Just pull the cover over your eyes Or do what just feels good Easy to be content about your life Until it's over Why does this feel so good Won't somebody tell me while I'm alive Why can't I withstand My lust is so much stronger than my love for life It's just fate to play Braden The competition’s Hans And Braden The competition’s Hans And Braden The competition’s Hans So you’ll take over When I'm bleeding Watch me squeeze out every pint I've got Well, It's over And I can feel it Well-rehearsed the accidents prepare to stop Know what you want before you start I gotta tell ya…I read your diary To get to know you I skipped right to the end I don't feel guilty Empty pages Of untold stories For days you didn't want to live Oh well, you're giving up Too late Is this what you want, Dave? To decide your page Is this what you want, Dave? Or re-write autobiographies Is this what you want, Dave? And though I just woke up Is this how you wanted it? I feel I’m washed up Is this how you wanted it? You're always fake You fear the worst You've been betrayed So well rehearsed It's your fault I can believe handshakes Wouldn’t be the first I've gone far enough Is this how you wanted it? That’s why I'm washed up Is this how you wanted it? “It's over.” “I mean it.” It’s over I believe it now So, I’m washed up Well, I'm washed up Yeah, I’m washed up.
14.
AFTER ARGUMENTS Death threats and guarded borders Bedpans and doctors orders Move on and leave the weak behind Back stabs and painted on smiles It's easier to die admired From here there is no turning back Fall out of focus Arguments end where you leave them What's it take to be satisfied You battle your progress Arguments fend for themselves And no one else I've been shot down too many times I guess I blame myself For targets I can't defend Punishment will never fit the crime Well should I go ahead with this If I could go ahead at all I'd be more confident If you'd admit you're wrong Do I need to chalk your lines Victims precede the crime You're blaming yourself next time We'll take turns to cover the tracks that we leave behind You use me to waste your time Your grudges carry themselves just fine Regrets, I take yours if you'll take mine A fair trade for lightning bolts, landmines and genocide Unplug the phone I need it quiet All you have left Is all you’ve held on to Don’t care anymore No reason to fight I'll scream with my last breath “I’m all, I’m all I'm alright" I’m alright I’m alright I’m alright “We’re all here waiting, where should we go?” White boy start your own KKK You look like you're good for nothing anyway Just like your parents before you And just like your faceless neighborhood I know that I'm the one I feel just like Chaka Khan If it's not for me, it can't be right for anyone I blame the cynics and the sun Goodnight Goodnight Goodnight Goodnight Goodnight.
15.
Unfit (2022) 07:15
UNFIT I'm just not fit to go on And neither is anyone I've always needed a crowd Just like an orphan I don't deserve this at all Strike that I deserve all I get I could be walking on water And complain that my feet get wet But I'd be fine If you'd let go If you’d let go If you’d let go I'm just not fit to go on And neither is anyone I've always needed a crowd A crowd Just like an orphan And I'd be fine If you'd let go If you’d let go If you’d let go I've always known the places Of those who run for cover The camera angle I’ve taken is wrong I'll let it be, I'll let it go I’ll let it be, I’ll let it go If you say so I’ll let it be, I’ll let it go If you say so I’ll let it be, I’ll let it go If you say so I’ll just let it be, just let it go Oh, you gotta let it go You gotta let it Ahh, let it be I’ll let it go You make me feel like I'm a salesman Somehow I'm caught with red hands You tightrope over reason Like a skeptic with plans You look at me for your desire I'm using all I have If you get off on your placement Then get off my back Just say the words Then fall into these arms Just say the words I know this feeling can't be right Just say the words Then fall into these arms Just say the words I know this feeling isn’t right.

about

BEFORE BRAILLE
THE RUMOR 20TH ANNIVERSARY REISSUE
JAMIE WOOLFORD REMIXES

Before Braille’s debut LP, “The Rumor” was released September 10, 2002 on Aezra Records. The band quarreled with the label about choosing a date on the eve of the 1-year anniversary of the September 11th attacks.

20 years later, it seems many turned from the rallying cry “Never Forget,” which seemed outrageous at the time. Of course Americans would never forget. How could we?

Well, a lot has changed in 20 years. The United States is unrecognizable in many ways. It’s like the elites in the country haven’t stayed true to its core values, the essentials of a constitutional republic. E Pluribus Unum, “Out of many, ONE.”

Well, those are the principles Before Braille always strived to achieve. We were all less that the sum of our parts. We were important individually and we all played our roles to try to make the whole, well, whole. Unfortunately, we too eventual lost sight of our core values; and like our beautiful country, faith and trust was lost and we disintegrated quickly and painfully.

Having all this in our rear view, David collaborated with Jamie Woolford to tackle the album remix. We first had to locate the 2” reel to reel tape. Then, we had to transfer the tape to a more reliable file type. With the help of Spencer L’Roy, we went to Studio City Sound to digitize the files. Spencer worked there. With the help of Tom Weir, we were able to bake the old tape and transfer the files successfully. (It was a little touch-and-go for a while)

From there, Spencer created a Pro Tools session and labeled all the tracks. (A very selfless and generous act. A lot of tedious work.)

The files were finally sent to Jamie Woolford where he could start work in his home studio, broadcasting sessions remotely to David for input.

Jamie could write a book with all the steps he took to bring out the best in these old analog recordings. Technically, he did. The book is titled “The Rumor 2022.”

Jamie and David shared a nice long conversation about the approach he would take in these remixes. We were not trying to make the album sound like it was recorded in 2022. For heavens sake, the songs certainly don’t sound like they were written in this time. Long gone are the post-grunge, post-hardcore, pre-popular-emo days! Before Braille were on a steady diet of Piebald, Lazycain, Braid, No Knife, Cursive, The Shins and so on… I mean, “The Shape of Punk To Come” and “Clarity” still felt new at the time.

We simply wanted to make the record sound the way we wanted it to when we started the initial recording sessions that came to be named “The Rumor Sessions” in October, 2001. (A title given to the record inadvertently by the president of Aezra Records after the band refused Madonna’s ex-manager as a consultant. The fight produced the phrase: “I will end you. No one will have ever heard of Before Braille. You will only be ‘a rumor.’”

So, because of Jamie’s sweet, cherry-cola core, The Rumor 2022 has probably come out a little sweeter than it might have been intended in 2002, but that would have been the case then as well, with the demands of the label prognosticator and the Madonna-remains by his side. (To be fair, Aezra Records basically left Before Braille alone in the studio. They leveled no influence on the recordings at all.) Nevertheless, this record will feel so fresh to both the dullest and keenest ear!

You see, the original mix was done without automation on an analog console that we bought Bob Hoag in preparation of the album. And each and every EQ (other than those meant to be static), panning move, mutes and unmutes, fader level boost and decrease, and ever other move had to be done in a single pass, in real time. Because Bob only has 2 hands, each member of Before Braille took their turns at the board memorizing the move that had to be made on each song and exactly when to make it. If a mistake a simple as clicking a single button was forgotten, or not done in or on time, we’d have to stop and start over.

We did this for 15 songs, over a period of 28 hours, only breaking for pit stops (likely a power bar and energy drink).

This was required of us to deliver the album on time. Of course we assumed the label would accept the delivery and pay Bob the rest of the recording advance so that studio bills could be paid, but we never thought they would refuse to let Bob remix it, as he offered to do, for free, as many times as necessary until the label was happy.

Before Braille was screwed because we gave our entire recording advance to Bob so that he could have better gear to make a better record, so we we all kept our day jobs, putting in 8-10 hours at work each day and at least that many in the studio each day. Probably the most story-worthy impact of our ‘unpaid’ efforts in the studio relates to point-of-pride for Kelly Reed. You see, Bob scheduled drum tracking at a time when no one else could be in the studio. (Odd choice, but I’m sure there the timing was arrived at with a number of other considerations and conflicts.) So, Kelly actually played drums to nothingness. Thin air. He only had his memory and a metronome to guide him. Do you know what a rare feat this is? How incredible an accomplishment?? 15 songs! Well over an hour of music with nothing to guide him?! No scratch track. No bandmate for cues. Nothing to play along with at all! Yet, the songs still maintain Kelly’s patented ‘swing’ and feel, despite the white-walled robot conditions!!

It’s well documented that relations between Kelly and I (this is David Jensen narrating) went ‘North of 40,’ but I have never and could never deny this greatness. This is probably the greatest musical achievement I have ever(not) witnessed! Let’s all take a moment, pause our reading and our lives and just think about what it would take to play The Rumor in its entirety which only a ‘clickity-clack’ in your ears. And instead of being frustrated by the situation, playing joyfully and getting the most out of it.

Drummers are nuts. This is pure genius. Pure insanity. And pure love for the songs, which is the golden trifecta for tracking a record. It is my firm belief that no band and no album can be good without a great drummer. And this just goes to show that it did not matter what the circumstances were, Before Braille was going to will ourselves into making a great record—and thanks to Kelly, the foundation was laid, against all odds. (Hans’s version of this story is a little different. He is a perfectionist, and all his strumming patterns—no matter how subtle and unheard by the listener—are very intentional; and there were a couple instances where he was required to adjust. I know it caused him great stress, and without any computers or software to edit a kick drum or snare hit, Hans was forced to match the rare ‘misfire’ that was left on the tape from Kelly’s solo-sesh.

(Today, and even that that time, the engineer would just cut and past drum hits in the (ProTools) session to fit every whim of the band. But that’s not the way Bob—or the band—rolled. We were all-in on the analog experience. We were all in agreement that the increasing digitization of music was sucking the life out of the medium.)

This is another reason why it was a great regret that we were not album to track the album live, with each member contributing their parts in real time, as we recorded the demos, and each subsequent album, where possible.
*For example: The Retaliation For What They Have Done To Us session was all done live, in 1-take (sans “Trans Add Panic” which took 3 takes.) And the record took 2.5 days to track and mix. Of course, I’m speaking theoretically, because no member of Before Braille has ever admitted to being a part of that project.

One moment in particular that I remember gave Hans the greatest heartburn was the transition in “Jaws of Life” (@2:58 leading into “So, tell me what the guilt feels like…”). Hans had envisioned a different percussive pattern to bring in the next part. Something more precise and dramatic, but as this narrative continues to support—the wishful patterns of each individual has to ultimately blend into the same tapestry. At some point the thread must pass through the universal eye of the needle.

OK, enough side-tracking. That was the story of the drums. Now, back to the problem of delivering the final masters to the label, getting Bob paid, and hopefully getting another crack at mixing the songs…

We could have simply taken the masters and given them to the label to allow us to finish our recording elsewhere, but that wouldn’t get Bob paid the 2nd half of his money. We are loyal to a fault. It was more important to us that Bob be taken care of than we even have a finished record. (Remember the “I will end you,” comment before? Well, the catalyst for that was our refusal to finish the record somewhere other than Flying Blanket Recording. It was taking too long and the label wanted to go with a more established producer and studio. We figured: no matter what happens with this record; if it sucks, no one buys it, or whatever, at least there will be something to show for it. We can build a studio for our community. So, that’s what we did. Our futures be damned. Ask anyone around at that time and they will say the same thing. Before Braille sacrificed themselves for their community, 480 area core.)

Fortunately, we believe both things were accomplished. The record turned out great (sans the final mix), and Bob’s studio was built.

Now, the story is much longer than this. After the label took the mixes and the reels, they tried to remix the songs in Florida with some old guys who produced a hit Bee Gees track. Good guys. Good studio. Bad fit.

Without incriminating anyone, let’s just say those mixes done in Florida may or may not have made it to the final master that became CDs y’all purchased or iTunes downloads or Napster files you traded.

So it’s likely, 2 months of work in the studio came down an ear-bleeding session where no one was listing to the snare or cymbals or bass by hour 8, or able to discern really anything at all by hour 14, and that would have only had us halfway through the track list.

Thankfully, Jamie is a professional chap. Organized. Pensive. Exact. And over the course of a few revisions, he was able to provide what is as close to possible the original intent of the album. The Rumor in its finished form.

Notwithstanding all of that, this is a new mix. We felt it important to not take all the identify from the first. There were moves we like from the original that we chose not to make, but we do believe it was in the best interest of the songs, which ultimate matter most. Really, that’s all that matters. Each individual song.

You will ask yourself: did they record new guitar or keys or vocal parts? I’ve never heard this before, this has to be new?! Nope. It’s old. It’s original. It’s just clearly defined now and tucked into the mix in a way you can pick it out now. It’s math. It’s science. It’s ears, nose and throat stuff. Brain games. There is ONE exception. Let’s see if you can pick it out. Hint: Split Lip Envy. Reason: something annoyed Dave too much. He wrote a string synth part that Jamie played for a couple seconds. It covered up the annoyance. And now Dave likes the song again.

So that it. Everything else is Jamie Woolford mixing genius and a great mastering partner Dan Coutant, Sun Room Audio.
No, that’s really it.
You’re wrong.
I promise.
Every friend and musician (who has been given a sneak peek into the new sessions) has said the same thing: “That wasn’t there before.” “I love that part, is it new?” “What did you change?”
Nothing.
It’s’ the same record. Same songs. Same recordings. Everything tracked by Robert Dean Hoag, III.
Nothing new.
Jamie is very good at what he does.
This is why great producers get paid so much and deserve so much.


So, to the diehards out there… There might be a couple of moments that your are like “man, I kinda miss this one [guitar part] that sounded a little more like [this], or that [vocal harmony] was so loud before that I thought it was the lead vocal, and I miss it.

Well, you don’t have to miss it. It’s still available. Dust the CD off, or hop an any streaming platform in the world. It’s there.

But you know what you’ll say when you do? “Oh damn, this sounds like sh*t!”

And what you’ll realize if you’ve spent any amount of time in a studio, not only are artistic or aesthetic choices made, but usually they are sonically required in order to do what this entire explanation as inspired by: the idea that the whole is greater than the sum of its parts. And sometimes brief sacrifices are made, or compromises in collaborative efforts for the betterment of all. So yeah, that guitar lead isn’t as loud in the 3rd verse as it was in the first, but that’s why you can hear the Hammond organ now, and guess what…. Since your brain already heard that part and ‘knows’ it, and your heart loves that part and has ‘stored’ it, you can quiet it and still hear it & feel it. (when the science suggests)

But it’s not science. Everything comes down to choices and actions. Literally millions of them in this case, nay, hundreds of millions were made in the process of remixing this album. And trillions prior to that by each and every member of the band preceding and during the recording session; and those who inspired these decisions.

We thank all of you. If you’re reading this you likely played a roll, big or small in the making of this album. And if you came late, well now you’re taking part, and that matters a great deal to us. We wouldn’t have made the effort or paid the price if it didn’t matter a whole lot. You help make us whole.

So now, please enjoy the whole album, in its entirety, and its most complete, intended and appreciated form.

Love,
David Jensen, for and on behalf of Before Braille & Sunset Alliance.

P.S. Thank you to Aezra Records for letting the band out of its contract when we saw that it was mutually agreeable to do so, rather than shelving us (we know would have been emotionally gratifying for you). And thank you for allowing David Jensen/Sunset Alliance to acquire the masters and rights to the record shortly thereafter. If we could go back to that time with the wisdom gained over the last 20 years…, well…, we can’t, so let’s shut up, start the record, and just listen. Peace.

credits

released September 10, 2022

The Rumor was written and performed by
David Paul Jensen
Hans Louis Ringger
Braden Duane McCall
Brandon Jacob Smith
Dan Kelly Reed

Special appearances by
Robert Dean Hoag, III
Rajiv Divyang Patel
J. McKane Davis
Daniel Hargest
Greg Naylor

Updated album cover for the 20th Anniversary reissue, The Rumor (2022) by Brandon Smith.

THE RUMOR (WOOLFORD REMIXES) is accompanied by a compilation of artists who have covered every song on The Rumor. It’s called V/A The Rumor: “Under the Covers.” It will be likely be released the same day 10 SEPT 2022.

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We are comprising a list of those who wish to order a vinyl copy of the album. If interested email label at sunsetalliance dot com and put “Rumor Vinyl” in the subject heading.


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