and requested a "backwards drum beat," which Marshall then recorded on top of. The sample is uncredited on Moon Pix. Voigt recalls that Marshall was "a lovely lady. Very emotional. We would do takes and she'd just start crying in the middle of a take. And she'd say 'Stop, stop, I'm sorry, I'm sorry' and I'm like "'It sounded great!'" According to Voigt, the Dirty Three members joined the studio most likely on the second day. White played drums over vocals and guitar already recorded by Marshall, while all three musicians recorded two songs live with bassist Andrew Entsch on double bass. In a 1998 interview with Marcus Maida for Hotel Discipline, Marshall recalled that Turner was late to the studio, which led to "American Flag" being worked on for an estimated five hours, becoming by default the album's most "produced" song. Upon Turner's arrival, the band recorded "Metal Heart," "Moonshiner," "Say" and "No Sense," after which Turner left. They were soon joined by Belinda Woods, who added flute to "He Turns Down." Marshall recalled encouraging Woods, who had never heard her music, to stop "holding back" after hearing her initial attempts, after which she delivered the master performance in a single take. "She was fucking great," Marshall remembered, "she was so amazing." The thunder samples on "Say" were Marshall's idea, and taken from one of the studio's sample library CD. As Voight recounted, "we laid some thunder all over the song and then mixed in the bits that we thought were appropriate." The album's only piano-driven song, "Colors and the Kids," was recorded spontaneously near the end of the session. As with most of the other songs, Marshall and her instrument were recorded live. "Peking Saint" and "You May Know Him" were recorded by Turner at Scuzz Studios. "Back of your Head" was recorded for the VPRO Radio 5 show, De Avonden. Album cover The album cover of Moon Pix was taken by American photographer Roe Ethridge at his apartment in Williamsburg, Brooklyn. According to the 33 1/3 entry on Moon Pix by Donna Kozloskie, Marshall called Ethridge, who had been a friend of hers when they both lived in Atlanta, in September or October 1998 and suggested they "take a picture," potentially for the album cover. Ethridge shot Marshall with a Polaroid Type 64. Marshall wore a slightly oversized denim jacket from a pile of clothes in Ethridge's