'I Wanna Be Alone' is just another story that wound itself smack in the middle of my music. It is about your typical Hollywood Suicide/Possible Homicide."

"The focal point centers on the lesbian live-in lover/roommate who finds the body, wants only to be left alone in her sorrow, but has to endure the wrath of everything negative from Police to Paparazzi. We are now working on the storyboard to the video and will be fundraising on Kickstarter.com with some auditions and fun extras as rewards for pledging. It's gonna be very cool! Keep an eye open for it..."

I WANNA BE ALONE (Suicide / Possible Homicide) unmastered

The story is about a woman who is clearly not in touch with reality. But that is ok, because she is the only one who does not know it...and life to her is perfection. 

SUNDAY (Run Run Away) unmastered


STUDIO JOURNAL for SHANNON and her B.A.M.F.s

Song 1: “Tomorrow Never Knows (Again)” 7:40 minutes

The song, written by John Lennon for the 1966 release of the album Revolver, takes on a new movie soundtrack aura complete with orchestra, double drummers, massive guitars, Entwistle-esque bass guitar and Queen-like harmonies. The song, with so many influences from a montage of talented individuals, echoes ghosts of The Who, Cheap Trick, Ravi Shankar, Led Zeppelin, Pink Floyd, U2, and Hans Zimmer with today’s technology and sounds. Although the track is a vibrant 7 minutes and 40 seconds long, it seems to go by in a blink.

"Shannon has hit it out of the park and into the stratosphere with this track. She deserves all the credit for putting this vision and the musicians together. We just ran with it." __Jimmy Mack

"Shannon, a million people have done covers of Beatles songs. Most of them cannot even approach the same level as the originals much less add anything to them. At best some artists replicate note for note, they become soul-less shells, what's the point? I can only think of 2 artists that did something to pay homage as well as enhance, Harry Nilsson and Rufus Wainwright come to mind. And now I would add you to this, this is absolutely amazing. You have reinvented this song. Oh my god I cannot wait to hear this album. I'm on my third listen, this is blowing my mind" ___Dan Zelinsky

Producer/Arranger: SHANNON
Lou Pucci: Guitar/Backing Vocals
Jimmy Mack: E-bow Guitar
Steve Holley: Drums
Jon Ihle: Drums
Tony Anzivino: Backing Vocals
SHANNON: Lead Vocal, Bass Guitar, Lead Guitar, Keyboards, Backing Vocals

April 24th, 5PM-7PM: Shannon lays down 18 beginning tracks.

16 multi-track keyboard parts arranged and written at her home-studio and 2 bass guitar cuts (the second is selected as the keeper)
Keyboard: Roland Phantom X
Bass Guitar: Shannon’s Cherry Red 1981 Charvel

April 25th, 6PM-1AM: Shannon and her B.A.M.F.s set up for the basic rhythm track.

Steve Holley and Jon Ihle/Double Drummers:
Steve Holley, bringing in his Rockestra Theme (Paul McCartney - http://www.youtube.com/watch?v=zeeTlfbsKL8) experience headed-up the drum chants between himself and Jon Ihle. When speaking to Shannon about getting the best and biggest drum sound Steve’s suggestions were straight from his triple drum set up with John Bonham and Kenney Jones. The drummers faced off without seclusion from each other so the tonal vibrations “jelled”. It worked quite awesomely. Jon and Steve carried the drums, as Shannon calls it, ala “invocational incantation”.

Jimmy Mack/2 Guitar Tracks:
The rhythm track carried his haunting saturated guitar with Electronic Bow technique, also known as an E-bow. His second track was overdubbed with a dripping guitar picking “No Quarter” Jimmy Page sound.

Lou Pucci/4 Guitar Tracks:
The rhythm track was another chanting style echo guitar syncopated with the drums and bass guitar. Lou’s second and third guitar, with a tight echo, had an ultra heavy crunch sound doubled electronically with a true Line 6 and a digital Pro Tools Line 6. The fourth guitar track was pure power guitar chords.

Shannon, Lou Pucci, Tony Anzivino/Backing Vocals: All three singers sang each part in unison and then doubled them. One extra track was done and doubled by Anzivino who took an octave low to get more timber in the backing vocals. The final word: Thick!

Shannon/Conductor, Lead Vocal and Backing Vocals: Before the rhythm track was recorded a lead vocal track was put down as a dummy track. It will be re-cut at a later time. Shannon conducted the band through many stops, starts, and major dynamics. Backing vocals started around midnight.

Once Shannon agreed with the drum and guitar sounds, the rhythm track was recorded at 9PM and was finished in two takes, the second being “the keeper”.

Guitar 1: Lou’s 2003 PRS CE24 with classic HFS pickups through a Line 6 floor POD Plus.
Guitar 2: Jimmy's 2003 Gibson ES 333 - essentially a stripped down ES335...Hot-rodded & heavily custom-by-Jimmy Mack with Gibson '57 Classic pickups, custom extended bridge posts, RS Guitarworks Vintage wiring kit, Tonepros aluminum bridge and Grover tuners. Amp- '65 Fender Deluxe Reverb Reissue w/custom Weber speaker. Strymon "El Capistan" Echo Unit & Ebow. ZVEX Distortron (distortion pedal).
Drums: Steve and Jon both used YAMAHA.

April 26th, 3PM-6PM: Shannon lays down final tracks.

Lead vocal is recorded - then doubled.
One track of lead guitar (ala David Gilmore) is recorded.
One last string track is recorded behind the orchestra to thicken it just a tad more.

Lead Guitar: Shannon’s 1991 Fender Strat through a PEAVEY NYPYR cranked to 13 (no lie – this amp goes to 13)
Keyboard: Roland Phantom X

May 2nd, 5PM-9:30PM: Mix Down #1

May 5th, 4PM - 6PM Final Mix Down #2

May 9th - Permission/License granted to distribute

June 2011 - Mastering, Short Version/Mastered, Release both to public


Shannon MacDonald 2