On Recording the Song "Scene in San Francisco"

Originally from Facebook:
Yes, this is true, re Fernando Perdomo's comments above. And it speaks volumes about the often misunderstood and under-rated SoFlo/Miami music scene. Although slightly and temporarily misplaced and displaced geographically and/or demographically, the Miami music scene harbors some of the greatest undiscovered talent in the US. (I am now, sometimes sadly I admit, much less a part of any 'one' specific local music scene, but they're still an important element to a musician no matter how national or "successful" they become) And I know. Because I strangely & happily belong to three: Miami, New York, and Seattle -- all of which are uniquely special and amazing in their own right. When I start recording a new album, I still handpick the majority of the players from the old gang, down in Miami. If they've winced moved from Miami, we fly them back in. Maybe it's just nostalgia, or sentimentality... But I'd say that the love that we're basking in right now from all over the world based on the Ballad On Third Avenue and All Your Heroes Become Villains albums proves that it's gotta be more than just sentimental familiarity. Truth is, miami's music scene is as vibrant behind the scenes as its ever been. Thousands of brilliant musicians filled with passion and exploding with a love and knowledge of music from all over the globe. It just happens to be in the wrong place geographically right "now", now being the operating word; for there was a time when the Mismi music scene was all the rage and every weekend you could hop into at least ten different rock clubs after midnight on South Beach, listen to more than a handful of incredible bands and bump into any and every major record label talent scout in America, all of whom were down there for that exact reason, Miami music was smokin hot and they were down there to grab some. Ironically it was soon eclipsed by Seattle's scene. And then entirely replaced by dance music and the Latin music scene that dominates it now. But it still didn't kill off all the poppers and rockers. Me and the guys could have recorded the "Ballad..." album -- where the songs "I Walk Alone", "New Orleans Dreams" and "Scene in San Francisco" come from -- anywhere. But we chose Fernando's garage. It's home. It's meatloaf comfort food. With some Nerds sprinkled on top and a handful of Twizzlers on the side. And it also happens to be home to some of the greatest musicians I know. Greg Byers, Tony Medina, Roger Houdaille, Zach Ziskin, Mazzi Ricardo, Matthew Sabatella, Jorge Moreno, Enrique', Amanda Green, Tony Antonio Landa, Oski, Big Brooklyn Red, Jim Camacho, Derek Cintron, Sean 'birdman' Gould, Nil Lara, the list is obviously endless...
Now of course, things are getting a bit crazy. Apple and iTunes called US yesterday. ...
Along with Microsoft, Amazon, Sirius XM, Yahoo Music, Billboard etc. And that's all really really groovy. All because of one or two magnificent little songs recorded on a beat up old PC running a hacked copy of Protools in a dusty garage covered in old food and candy wrappers and plastic cups that once held cafe' con leches, with musicians who were willing to come in at all hours of the day and night and lay down their tracks most of the time for free while Fernando's mom (God bless her) incessantly texted us to "please keep it down boys". And why? We weren't making any money. And God knows we didnt expect to, because we never have in any real measurable sense of the word. But instead it was because we are all addicted to making music. With each other. With anyone. It's the highest high I know of, watching Zach or Fern pull out a blazing guitar solo from nowhere, watching Roger hunched over a bass too big for his small frame weild magic bouncing booming notes that bring solidity to everything above it, or Derek or Ricky bash their drums like rock-gods, or stepping in front of the microphone with Matt and hearing him create and pull off a beautifully perfect vocal harmony right in front of my eyes. It's like magic. Real magic. Because there isn't any "gotcha" at the end of the show. What comes out is real. There's no illusion or trick. Just really dedicated musicians who've sacrificed everything else in their lives to become really great at what they do. That's the ah ha. The payoff. Everything else from here on out is like extra whip cream. It's awesome. Keep it coming. But it's the making of the music that really juices us in the end I think. And yeah, for Miami music, hell yeah this is great. For indie musicians working on a shoestring budget and a prayer in every city... That dream is real. Remember that.