BY MICHAEL KAC

W e had planned to produce nothing more than a three song demo to shop around to record companies. But things went so smoothly and quickly that Craig began to prod us to do more. A week later we had enough in the can for a full length recording.

Considering the logistics, it's amazing that the project got off the ground at all.

Since the three of us live in different cities -- Linda in Philadelphia, Craig in Florida and myself in Minneapolis -- getting together in one place to create an album required some careful planning. Since the music required a harpsichord and I wanted, if possible, to use one of my own instruments, gathering on my turf seemed easiest.

Without the Internet, I doubt it would have been possible.

T wo other people deserve mention for their help with this project. The first is our engineer, Rob Hilstrom, of The Bryte Spot, a wonderful little studio in South Minneapolis where we did the recording. Watching the interaction between Rob and Craig, who meshed perfectly in the booth even though they had never met before, made the work even more fun.

The second person is Douglas Randall, whose artwork on the booklet and tray liner created a visual effect so in keeping with the spirit of the music that it had to have been done by magic.

To Craig, Rob and Douglas -- and everyone else who helped to make this such a rewarding experience for us -- our deepest and most heartfelt thanks!

-- MICHAEL KAC
-- LINDA COHEN

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One of the reasons for our choice was that we particularly liked The Bryte Spot's owner, Rob Hilstrom, who also served as the engineer for our sessions. He and Craig established an immediate rapport, which contributed immeasurably to the relaxed atmosphere, and he also helped out in all kinds of ways outside the control room. We think of him as a member of the family now, and I hope he does too.

So much happened during that amazing week we all worked together -- the intensity of the long sessions eased only by occasional breaks to step outside for a few minutes to enjoy the beautiful spring weather -- that I couldn't possibly put everything I remember about it into this space. But here are some of the memories that stand out:

• Linda putting together a guitar part for "Escape Velocity" from scratch in twenty-four hours, and then recording it flawlessly;
   
  
• Craig's Peter Lorre imitation (which nearly backfired -- I was laughing so hard, I almost couldn't go on);
   
  
• being jealous of everyone else having a good time doing nothing while I was putting the harpsichord through yet another tuning;
   
  
• the takeout sushi dinner that almost never got there (believe me, you don't want to hear the details on  that one ...);
   
  
• nearly OD-ing on Altoids and Hall's Mentholyptus drops;
   
  
• Craig and Linda urging me on as I struggled to get the "Devils" movement of "Earth Dances" back in my fingers after not having played it in years;
   
  
• the quality of the late night conversation around my dining room table after the sessions, with all four cats in attendance;
   
  
• wondering what to make of the neo-sixties fashions in the tie-die shop next door to the studio;
   
  
• realizing that maybe you  can go home again.