Wyld - Take Flight
Detailshttps://www.fye.com/wyld---take-flight-aec.cdb5638208623.2.html aec.cdb5638208623.2 11/7/13 New
Review Text In many respects, this album shouldn't exist. San Diego natives Shane Blafield and Megan Mosley have lead worship together for the past six years, but 'Take Flight' is their first effort as 'Wyld'. Plans to release their music in a public way was little more than a pipe dream just 2 months before recording commenced. In the summer of 2013, a series of accidental connections and fortunate coincidences suddenly brought their dreams within arms-length. One successful crowd-funding campaign later, Blafield and Mosley were on plane headed to Nashville, TN to work with producer and long-time friend Ryan Poole. As Blafield, Mosley, & Poole began discussing the production of 'Take Flight' a common philosophy emerged that guided the entire recording process. Although the three respected and enjoyed the music of the many talented worship artists who had come before them; this album was not going to be 'more of the same'. The way they saw it: the world of music doesn't need more clones of great artists-- it just needs more great artists. One of the ways they tackled this formidable challenge was by enlisting the help of a team of masterful musicians. Rather, than ask the players to 'play a lead that sounds like _________' or 'lay down a groove like that new ________record'; the players on 'Take fight' were asked to: 'Play whatever you want; whatever you think would be awesome'. This 'hands-off' approach may not have faired well under ordinary circumstances, but the musicians on 'Take Flight' were anything but ordinary, some of the players included Stephen Keech (Haste the Day, As Cities Burn), Ryan Mohr (Kim Walker, Michael W. Smith, Justin Bieber), Kevin Terry (Martina McBride), Dennis Gowder (Wooten trio), Josh Parsons (Chris McClarney, Brady Troops), Joshua Edwards (Xy Beatz) & more. The diverse talents of this eclectic group of musician, coalesced to create a sound both 'fresh' and 'accessible'. In just 10 songs, 'Take Flight' manages to capture the essences of folk, indie, alternative and even a little bit of country flare. Most of the 10 tracks on 'Take Flight' were little more than acoustic/vocal rough drafts before tracking began. These were intimate songs-- private devotionals, never intended to be packaged and sold -- they were made for worship. In the space of 7 days, all 10 songs were recorded top-to-bottom with full arrangements--including acoustic and electric guitars, drums, bass, vocals, harmonies, keys, cello, and violin. 7 days may seem like a short time to record an entire album -- because it is-- but to everyone's surprise and delight, the rushed timeline actually became a partner in creativity; adding a sense of urgency and raw authenticity to the project. Take for instance, the vocals of Track 5, 'I need you'. The lead vocal was recorded in less than 5 minutes, just moments before Shane & Megan rushed off to the airport. The song was almost cut from the record, because the two had simply run out of time-- but at the last minute Blafield ran into the recording booth and gave it 2 quick passes. The final song is urgent, raw, and entrancing. This is just one of many similar stories of the 'all-night recording sessions', 'last minute takes', and 'in the nick-of-time' surprises that went into the making of 'Take Flight'. It is an album of discovery, inventiveness, and most importantly of all: worship.