1. Le Lac
4. Hands Of A Better Man
7. To Live In Fire
8. A Break
9. Don’t You Worry
10. Pitter Pat
11. For You
13. The Departure
“The Lake Sessions” – Bryan Breaux
“Le Lac” is the first and title track of the album.
This instrumental tune began with a chord progression that I recorded with two acoustic guitars in stereo on two tracks. The melody interweaves between two more tracks of acoustic guitars. Finally an electric bass track was added to polish it all off. Being half Acadian French, I had to name one song in French.
“Love” is the second tune on the album. This song has to be a record for me in that it was the fastest that I have ever composed, written, recorded, mixed and released… A total of 17 days. The opening is two acoustic guitars panned left and right. Next, the simple drum tracks were recorded in stereo. An electric bass guitar was added. The piano track sits just left of center. There is two electric guitars panned both left and right as well. The electric guitar solo is centered. There are three vocal tracks that work together making it a full doubled like vocal sound. This song came really fast like all the good ones usually do. It was composed on a piano initially. The lyrics were written in less than 15 minutes. This one happens to be a favorite amongst many fans… so popular, that I recently remixed it into a dance mix.
“Wish” is the third song of the album. First, I recorded the acoustic guitar track. Next, I laid down a drum loop. Another acoustic guitar was then added. An electric bass guitar came next. The electric guitar solos throughout the entire song complementing the vocals. The piano track is just right of center. The vocal track is actually two tracks working together. This song was composed and written before I started recording it. However, once it was recorded, it went through an editing process that gave it all it’s form. It really is a cool tune. I am happy with the way that this one has turned out.
“Hands Of A Better Man” is next in at number four. This is an older song of mine that I brought back out from the shelves. The song opens with a very dry drum set playing a simple beat that I recorded then looped. Next, is an acoustic guitar track. I also have two acoustic guitars panned left and right working together making a layered sound. I then added an electric bass. There are two vocal tracks complementing each other. Finally, I added the multiple electric guitar tracks for the solos. I truly love the guitar work in this tune. I have to say that I’m pretty proud of the layered sound.
“Drifting” is the fifth tune of the album. This song began as a chordal progression that I recorded with an acoustic guitar. The melody is actually four tracks of acoustic guitars working together making this instrumental the most layered guitar tune that I have ever done. An electric bass guitar running adjacent with a sub channel signal was then added. Finally. I shaked an egg shaker to bring a little rymthm into the tune. Living at the lake duing the sessions was awesome. One of my favorite things to do was to simply lay on a floatable raft and fall asleep under the stars… hence, the name of the song.
“Cougarville” is the sixth tune of the record. This song was inspired by a local bar / restaurant where I enjoyed playing jazz for a few weeks. After our set of jazz, the D.J. would then play dance music all night long until closing time. Meeting all the ladies in their forty’s and fifty’s and watching them all hanging out and hooking up with all the gentleman in there twentles and thirties…WOW! Spencer Geibenrath is co writer of the lyrics. The song was written back in 2013.
First, I recorded an acoustic guitar track. Next, I laid down the drums. The muted electric bass was next. Then a tambourine was added. An electric guitar solo throughout the song was then recorded. Finally, I kept the original demo vocal track… The first take is alwíays the best. It is a quirky tune. It is a funny tune.
“To Live In Fire” comes in as the seventh tune of the album. First, I recorded an acoustic guitar track. Next, I laid down a train beat onto two tracks in stereo . Then, I recorded a country bass track with a muted electric bass guitar. Another acoustic guitar was then added. Next, I added an upbeat strumming madolin. A clean electric guitar solo is also in the mix. A baritone electric guitar melodic line came next. The vocals are actually two tracks doubling each other. This song was written many years ago. The lyrics are rather silly… regardless, I felt that it had to be recorded and released. It is just another facet of my personality and my music.
“A Break” follows as number eight. This is a large file with a total of twenty one tracks… twenty one Bryans! An acoustic guitar is played twice on two tracks panned hard left and right. Distorted drums were recorded live onto two tracks . The distorted electric bass is also there. There are four Electric rhythm guitars crunching throughout the entire time. The hand claps are panned left and are multiple tracks as well. An electric guitar solo was then added onto two tracks
There are also electric guitar ‘zooms’ here and there throughout the song. Finally, I laid the vocal track which is actually two tracks melted together. The harmony vocals are also laid down in two tracks. Written and composed years ago, this song has always been a special one to me… a funny story.
“Don’t You Worry” is next as the ninth song of the album. This one begin with an acoustic track doubled left and right on two tracks. Next, came the drums that I recorded in stereo also onto two tracks. An electric bass guitar is also there. The electric guitars were all recorded next. One of the electric guitars has a distorted sound as it strums power chords.
There is also two electric guitars panned hard left and right playing complimentary rhythms. The vocals are two tracks for the lead. There’s also two tracks of harmony vocals. Finally, I added a tambourine to a track. I guess I was a little bitter when I wrote and composed this tune.
“Pitter Pat” is the tenth track. This is a simple piano tune that I recorded on the upright piano that I used on this entire album. I paid $400 to buy it and never tuned it. I wanted that sound… That honky tonk piano sound. This is actually a jazz / blues composition that I composed and even charted. It shows a side of me that most rarely see. My Southeast Texas roots , my piano style, etc.. I could have added more and even thought about bringing in other musicians and recording it all live… like a live jazz combo. However, in the end, I went with the simple piano and left it as it is… a solo piano composition.
“For You” is the eleventh tune of the album. First, I laid down the piano track. Next, I recorded an acoustic guitar track. The vocal track was then recorded. The guitar and piano are out of tune slightly from one another… on purpose. It gives the song a constant conflicting vibe. This is exactly what I wanted… A constant battle to one’s ears. If you can’t handle it, then simply turn the balance to one way or another.
“The Forest” is the twelfth song of the album. This happens to be the one tune that I would bet is one of my best. It is a waltz with two acoustic guitars panned hard left and right. An electric bass track was then added. Cymbal crescendo rolls are also there. There are two vocal tracks working together. Finally, I added two tracks of a stereo in-field recording of the small forest across the street from the lake cottage that I was living in during these sessions. The recording of the forest was recorded early in the morning once the birds all began to sing. This gives the tune a whole different feeling.
“The Departure” closes out the album as the thirteenth and final tune. This is a mono track recording of a piano piece that I improvised. The recording was never meant to be released… it was a demo. However, I cleaned it up a tad bit… Split the track into a few different frequencies to give it an artificial stereo effect. I then went down to the water’s edge of Lake Travis early one morning and recorded the sound of the lake onto two tracks in stereo. This sound of the lake was added to the end of this instrumental tune to close out the tune and the album. It turned out to be a fine fit ending to “The Lake Sessions”.
Bryan Breaux – vocals, acoustic guitar, electric guitar, mandolin, bass, piano, drums, percussion.
Recorded at the Lake Cottage Studio in Volente, Texas on Lake Travis in 2014 and 2015.
Recorded, Mixed and Produced by Bryan Breaux.
All songs Composed and Written by Bryan Breaux / B.M.I..
Cover Art Photo by Bryan Breaux.
©2015 Bryan Breaux