A collision of early Todd Rundgren, Holland-era Beach Boys and of course the relaxed swagger of classic Grand Mal-style r’n’r.

After the 1995 dissolution of Hartford, CT’s mess-rock poster children St. Johnny, who Sonic Youth signed to Geffen in 1992, bandleader Bill Whitten, with only an Epiphone Les Paul Jr. copy and a notebook full of rough edged hits to his name, found himself in New York. Informed by New York Dolls, T-Rex, and Mott the Hoople instead of his previously slack, droning St. Johnny work, Whitten introduced Grand Mal later that year. Whitten has spent the last decade since writing brilliant off-kilter rock’n’roll gems about first round K.O.’s. bail-jumping ex-wives, disaster films, mustachioed fascists and endless misadventures. Continuing work with St. Johnny producer Dave Fridmann, including studio appearances by friends like the Flaming Lips Stephen Drozd and Mercury Rev’s Grasshopper, Grand Mal released a slew of albums on Number 6, Slash/London, and Arena Rock before calling it quits after 2003’s critically acclaimed Bad Timing. Whitten quietly returned to home recording, and, out of nowhere, delivered his most realized, relaxed album to date: Love Is The Best Con In Town.

The first Grand Mal record Dave Fridmann did not produce, Love is the Best Con in Town was created in Whitten’s apartment over a seven-month period. He explains, “It was all done in a casual yet unrelenting way. My girlfriend had just moved out and I used that as an opportunity to get some real work done. Shaggy-headed young men were coming in and out of my apartment day after day, week after week. I think my neighbors were deeply gratified when I finally decided to take what I had up to Tarbox Studios and have Dave Fridmann master it.” The list of Whitten’s collaborators on the record includeJoan Wasser (AKA Joan as Policewoman), current members of The Gnomes, The Silent League, Hopewell, Adam Green, Antony and the Johnsons, Antony and the Johnsons, and a cast of many more.

Simmering with homegrown soul, the piano-based album is more stripped down and less bombastic than previous Grand Mal efforts – think of a collision of early Todd Rundgren, Holland-era Beach Boys and of course the relaxed swagger of classic Grand Mal-style r’n’r. Loaded with some of the best songs of Bill Whitten’s career.

Produced and engineered by Bill Whitten, except "Cold as the Stars" and "Count Me IN!" engineered by Mark Ephraim and produced by Mark and Bill. "Cold as the Stars" mixed by Max Avery Lichtenstein. Mastered by Dave Fridmann.

PERSONNEL
Bill Whitten: guitars, piano, organ, percussion, but mainly vocals
Mike Fadem: drums and percussion
Ryan Smith: piano
Kevin Thaxton: bass
Michael Robertson: lead guitar
Dave Sherman: piano and organ
Rich Meyer: bass guitar, lots and lots and lots of back-up vocals
Reno Bo: bass guitar, lead and rhthm guitar
Chris Isom: lead guitar, Phantom guitar
Phil Williams: drums
Steve Mertens: bass
Joan Wasser: viola/violin
nate Brown: wurlitzer
Mark Ephraim: lead guitar, engineer, co-production**
J. Russo: keyboards, lo ha prestato la sua orchestra
Jon Natchez: baritone sax, tenor sax, flute, lap steel guitar
Ari Surdoval: lead guitar, accoustic guitar
Lisa Hany: cello
James Beaudreau: lead and rhythm guitar
Amy Miles: back-up vocals
Charles Hughes: organ

All songs by Bill Whiteen 2006 Asthmatic Music except "His Baleful Eye" - words Whitten/music Dave Sherman, "Not a Penny to My Name" - words Whitten/music Dave Sherman, "World I Thought you Turned Your Back" - words Whitten/music Whitten and Dave Sherman
Graphic design: Sarah Press
Photography: Mykal Stout
Coordination: Stacy Hall

Reno Bo appears courtesy of THE FAME, Mark Ephraim appears courtesy of THE SHOREBIRDS, J. Russo appears courtesy of HOPEWELL, Dave Sherman appears courtesy of JOAN AS POLICE WOMAN, Phil WIlliams appears courtesy of EVIL TWINS, Justin Russo, Mike Fadem, Kevin Thaxton, Jon Natchez, Ryan Smith appear courtesy of THE SILENT LEAGUE, Ryan Smith is A MILLION BILLION, Michael Robertson, Mike Fadem, and Ryan Smith also appear courtesy of MASON DIXON.

Drums recorded in the respective drummers' rehearsal spaces.
All piano recorded at the Rhet Lorens Academy of Music Theater, Room 804B. God bless you, Rhett Lorens.
Everything else recorded in Bill's apartment on his Oswald 15 Track recording unit.

Thank you - Jonathan Toubin, Dave and Mary Fridmann, Peter Shershin