Making Sweetkorn Sweetkorn was recorded by the Bellemeade Phonics remote unit, beginning in May '01 and ending in August. Most of the recording was done in Brighton, MA, which is one of the burgs of Boston, reachable by that city's rapid transit train system. Snog stayed in that area for 2 months, with the album the project. He dwelled in the burgs of Arlington, Brighton, Cambridge, and Somerville respectively. Respectively. The banjo instrumental, "Edinburgh Lag" was recorded at Snog's flat in Ohio before he came east to work with Scott Shetler and Jill Gross. They are husband and wife and dwell in Brighton, which is a pretty lively place and also features some pretty nice breakfast spas. Snog tried a lot of the breakfast joints while he was in Brighton, but recurred most at The Mirror, where they had the politest people who ran it. There were also more than a couuple of Irish pubs where Irish is spoken. You can get good Chinese and Thai food there as well.

A recording studio was installed in Scott and Jill's living room and pals and associates were invited in to help. The rock group, "The Celestials" was assembled with a chorus of Jill Gross and Dana Kletter singing, the horn work of Scott, the violin work of Olga Kouznetsova, and a couple of different bass players, Mitch Nelin and One String Robbie Phillips. So Jill sometimes cooked some food for different groups who were there, or they made a run to some "to go" place, or Snog would just go out and roam the restaurants of Brighton's "strip", or he would immerse himself in a pub. Sometimes Scott and Snog and Robbie would all be together at this one pub, The Castle Bar. They would work out their differences but mostly what these guys had was an easy harmonic and they shined everywhere. Finding Olga Kouznetsova, the violinist, was a stroke of luck. Kevin Maul plays Dobro on "The End of the Road" and the Tom T. Hall song, "Negatory Romance." Kevin is also heard on Snog's album "Weatherhole" and has performed live with Snog at Tonic in New York City as well as other venues. Snog picked songs that suited the people he was recording with and sometimes had the musicians hoose the songs they liked to play on, rather than assigning them to the songs.
Michael Hurley