In 1997, acclaimed producer Jim Scott—who produced Neal Casal’s seminal albums Fade Away Diamond Time (1995) and Anytime Tomorrow (1999)—gifted the 27-year-old singer-songwriter an Otari 8-track analog tape recorder, along with essential mics and gear. Over long winter nights in Hope, New Jersey, between 1998 and 2000, and later upon relocating to Los Angeles in 2001, Casal taught himself home recording. He captured a vast body of intimate, fully realized solo songs that comprise Book Of Stories (Home Recordings 1998-2003), the latest release exploring the archives left behind by the late artist following his death by suicide in 2019.

“Neal became really adept at playing all the instruments on his songs and making these lovely recordings,” explains Casal’s friend and longtime manager Gary Waldman, who co-produced the collection. “Although none of these songs ever appeared on any of his official albums, there are many highlights here; these are not just throwaway tracks.”
Brought back to the East Coast by Waldman after surviving multiple relocations over two decades, the original 12 analog reels were played back on Casal's original Otari machine—now housed in bassist Jeff Hill’s Connecticut studio. The result is an essential, hauntingly present listening experience for longtime fans and newcomers alike.

"We weren’t sure if these tapes would still work, having not been played in 25 years or so, but we put the first reel up and out came Neal’s voice like he was sitting right there with us,” continues Waldman. "It blew our minds! Listening to these tunes all these years later reminded me of how great he was at not only layering guitar parts, but how good he was on bass and even his primitive drumming. These songs are essential listening for longtime Neal fans and hopefully for some new fans, too.”

Highlights across the 12-track collection include “Down With A Friend,” “Leave My Loving Cup Behind,” and “Where Does The Time Go,” all sparse and primarily acoustic performances. There are also a handful of more developed standouts with Casal multi-tracking guitar, bass, and drums, including the Harvest-era Neil Young-inspired “Muscatine” and the fully electrified dirge “In My Mind.” In addition to the album's 11 Casal originals, there is a reading of Tom T. Hall’s “Joe, Don’t Let Your Music Kill You,” a stark warning of the treacherous road musicians traverse. Unearthed all these years later, it’s a poignant foreshadowing of what would ultimately be Casal’s own fate.