Tag Archives: guitar

20 Years of Wonder (Part 1)

Here’s what I remember… or what I think I remember.

In the Spring of 1998, I agreed to record guitar tracks for Katie Reider’s budding new album, “Wonder.” I was given maybe three songs to work on, and turned those out in about a week, casually, around my work schedule.

Summer happened, and no more progress was made on the record. I waited, but there was no deadline that I knew of, no money being talked about (I had agreed to record it as a favor), and so I didn’t press. In the meantime, I had named my little dank studio space, “The Coal Room,” and printed out track sheets to document my progress on assorted projects. I kept these in manila envelopes next to their respective studio tapes. That was how studios worked in the late 90′s, friends.

What of the 90′s studio technology? Well, I had an Alesis ADAT tape machine. It recorded 8 tracks of digital audio onto a Super VHS cassette. Yes, really. And they were modular, so you could link multiple machines together.

As was common practice with such gear, I was given a tape with a reduction mix of Katie’s scratch guitar & vocal, along with Josh’s drums. I had seven remaining tracks, so I put ideas onto each one. I made a point to put one stereo guitar-part (two tracks) on each song. I deliberately got slightly weirder than seemed appropriate, and I figured they would use what they liked, and dump the rest. They kept almost everything.

The MIDDLE of October arrived. Frantic, my old friends Josh and Tyler called me in a tizzy, desperate to see if I could hastily bang-out the remainder of an album’s worth of original guitar music in a few days. I agreed. They were mixing the first three songs when they handed the next tape over to me.

Three or four of the next songs were on that ADAT tape. I recorded those as they mixed the first three. Then I met Tyler in my employer’s parking lot one afternoon, and handed him the tape I had finished the previous night. He handed me the next one to start on. I think he was awake for three or four straight days. I imagine this was what he felt like.


I finished the next two or three songs that night and perhaps the next day. It must have been a Saturday. Or maybe I took a day off or something. Anyway, they were literally mixing songs 4,5 & 6 while I was recording 7,8 & (Row) 9. 

I remember Annette calling to me that it was time to take my little twin daughters out for their first Halloween Trick-Or-Treat. I was wrestling my way through one of the songs. I think it was “Show Your Love.” That would make sense, if it was one of the last ones.

At the time, I had no idea that I was going to end up in the band, nor did I know if the band was going to have a name. Assuming no one would ever see or care what these sheets said, I made up funny (to me) names for th band on each song.

I found the old track sheets a few years ago, in a stack of old music paperwork, and scanned them in. If you’re interested, you can take a look at what I was calling those parts as I was thinking them up.






If this sort of thing interests you, feel free to ask me what any of this stuff means.

It occurs to me that these track sheets are in perfect time sequence to all be on a single tape.  I wonder (pun intended) if they gave the tape back to me to work on. Maybe they added more stuff to it between Spring and October.

In any case…

Conspicuously absent are the track sheets for “Show Your Love” and “Shaken” (maybe I handed them off along with the tape, for the mixing process). Those were both difficult songs. I wanted to use a wah pedal on “Show Your Love,” but mine was broken, no one I knew had one to lend, and there weren’t any stores around for me to get one quickly. So I used an envelope filter, which does something similar, but automatically.
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I didn’t like it, and ended up changing how I played the song live. Much of my challenge was to keep the song from sounding like “Sweet Home Alabama.”

“Shaken” stumped me. I didn’t know Katie at all, and so I sent her a very hesitant and polite inquiry, asking if she could tell me about the feelings behind the song. I didn’t want to pry into anything too personal, but I had no musical ideas (which is unusual for me). She responded quite graciously by saying that she had been left feeling “sour” in the wake of a failed relationship. I really seized onto that word: SOUR. And so I becan constructing the arrangement of “Shaken” with lots of dissonance and tension and chaos.

I remember that I discovered a really cool tone by putting a microphone on the BACK on this old amplifier I had (which has now been broken since 2004). I recorded a bunch of parts for “Shaken” with that sound, and when I was finished, they all jumbled together into this sonic mess. The clock was ticking, and I couldn’t re-record. So I used my SansAmp pedal, and bounced some of the guitar-tracks through it, and re-recorded that changed tone. It worked!

Next: What the recording process looked like. Stay tuned!

I wish I’d had a camera

 

What follows is a true story.

In 2002ish, I was in a band called Gwendolyn Speaks, with some friends who were superb musicians and singers. We were booked to play the Columbus Arts Festival that summer.

Festival performances are a mixed bag. Organizers want live music all day long, but most people are only interested in seeing live music starting approximately at sunset, when the stage lights are on, and the alcohol is starting to flow. As the bigger names get the later slots, this means that you have to be pretty well known to play an evening set. Otherwise, your crowd looks like this:

Woot!

Well, Gwendolyn Speaks was not a big name in Cincinnati, much less in Columbus, so our set time was something like 1pm on a Sunday. Predictably, the area in front of the stage was pretty empty. There was a steady stream of, say, moms with kids, who would stroll by, listen for a few minutes, and then move on. But there were two guys who “looked like musicians,” sitting and watching our set. One was in black jeans, a black sleeveless shirt and black skullcap. The other had a Hawaiian shirt and very tall hair. I figured maybe they were playing on the same stage later.

On that same date, there was a guitar show scheduled on the opposite side of Columbus (these happen twice a year). Now, knowing that not many people were going to be present at our show, I was mostly hoping to finish the set and leave quickly, so I could find a cool bargain at that show.

It was also at this time that I was using a pretty complicated rig, though I may have been actively simplifyng it. In any case, I was almost certainly using two UK-made Vox AC15 amplifiers, running in stereo.

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[Two things: (1.) I believe I may have been a front-runner in the Cincinnati area for using AC15's. They weren't being used by many people. Then I got mine, and suddenly everyone started getting them. (2.) Yes, I know these aren't AC15's. ]

At the conclusion of our set, I went straight to work, tearing-down my gear, and loading it out to my car, which was conveniently parked right near the stage. As I was heading back to the stage for another armload of gear, our bassist said something like “Billy Bob Thornton is over there, and he wants to meet you.” I laughed, because, come to think of it, the guy in black DID look a lot like BBT. It was a good joke from Pete the Bassist, who was usually clever and understated like that. So I walked up to the stage front to meet the guy.

It was actually Billy Bob Thornton. The actor. The real guy.

I shook his hand and said hello. He had a tattoo on his right bicep that said “Angelina.” As you may remember, he and Angelina Jolie were married there for a bit. This meeting was like a month before they split up.

Anyway, turns ut that BBT is a musician (a drummer – make your own jokes), and he and his band were actually performing later, though on a different stage.

If you were a man, it was easy to watch a Gwendolyn Speaks set, because our two lady singers, Tara and Carrie, were quite lovely. And Pete and Scott and I were all music geeks, so we tended to infuse the catchy pop songs with some nice flourishes.

So, not surprisingly, BBT loved the show, and he and his guitarist (Hawaiian shirt guy) said they loved my tone and playing, and wanted to ask some questions about what I used. So, long before there were YouTube videos and guitar sites devoted to this sort of thing, I gave a “Rig Rundown” to Billy Bob Thornton and his guitarist.
Image result for billy bob thornton band[Note the amplifiers behind these guys]

After a pleasant chat, we all went our separate ways. I headed off to the guitar show, where nothing memorable happened. For the remainder of the day, several of us just called each other and screamed into the phone; “Aaaagh! Billy Bob Thornton! Aaaagh!

“Aaaagh!”

This was back when cell phones did NOT come with cameras. So of course no one took pictures. Who takes pictures at a Sunday afternoon gig? Well, the next day, I stopped at a gas station and bought a disposable camera to keep in the car, just in case. For you youngsters, a disposable camera cost a few dollars. You would take a bunch of pictures with it, then take the whole camera in to a place (say, a pharmacy or grocery store) to get the pictures developed. They would discard or recycle the camera, and you would get your pictures. I am surprised to learn that they are still around.

Also at this time, my wife had a tendency to steal whatever camera I owned, take photos with it, use up all the film, and then lose/ruin/misplace the camera. So a disposable camera seemed like a great idea for me. I kept one in my car until she found it, stole it, took a bunch of photos, and left me with no camera. This happened several times.

Thus, despite my best efforts, here’s another “big fish” story:

A year or two later I would find myself on stage with The Pointer Sisters.

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Yes, really.
Of course I had no camera. Of course.

 

REVIEW – Avid Eleven Rack

 

Guitarists, I have good news, and I have bad news,,,

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In early March of 2018, I bought an Avid Eleven Rack for my studio. I had been using my POD Pro 2.0 for quite some time, with results that fell mostly into the “I suppose that is OK” category, and I spent a lot of time processing tracks (EQ, etc) to get them there.

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I was headed into ankle-reconstruction surgery, and wanted something to inspire me back into music creation while I recovered (experimenting with new gear always helps). Yes, I knew I wasn’t going to be able to walk for a long time, but I was unprepared for how much NOT sitting upright I would be able to do (had to keep my foot elevated). I’ve done far less recording than I had planned to do this year, but I HAVE done some, and solely with the Eleven Rack (henceforth “11R” for brevity).

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The good news is that this has been a fantastic experience.

The first evidence I’d like to share is three songs I recorded for my friend Todd Gilbert in the Flint, Michigan area, for an album of covers. This seemed like a perfect test for the 11R- sending the product off to a collaborator., and comparing them to known, published works.

The three songs I recorded were Huey Lewis’ “Bad Is Bad,” Billy Joel’s “Laura,” and Hall & Oates’ “Out Of Touch.”

BAD IS BAD

“Bad Is Bad” was the first one I recorded. The original recording is an 80′s nod to a 50′s vibe, and the production (while pleasantly nostalgic) does not stand up well. So I built the whole thing around a swaggering Telecaster riff. The 11R transmitted my sound with both girth and clarity- clarity I always found lacking in the POD Pro. Through the whole song I recorded a lot of solo ad-libs on an old Electra Invicta, allowing Todd to pick and choose which of these he wanted to keep. Then, I recorded my Jazzmaster throught a Leslie patch I either found or edited-together on the 11R. It sounded as good as (if not better than) most good Leslie simulations I have heard. Finally, I played a slide solo with the Telecaster. Usually I reach for my old Marshall JCM800 combo for this task, but the 11R did the job exceptionally well.

 

LAURA

“Laura” is a pretty close approximation of the original arrangement. I’m not sure what was really used on the recording of the original solo to give it that sound… but I just double-tracked it. All those electric guitar licks are my Telecaster. Since Billy Joel was clearly channeling The Beatles, I donned my George Harrison cap, and played the chord-changes with an electric 12-string (a mid-2000′s Fender Stratocaster XII). All of this was done with the 11R, straight in to my interface, with one exception- there is a swirly modulation phrase at the end of the solo, where I ran out of the 11R through my old Quadraverb.

 

OUT OF TOUCH

Finally, “Out Of Touch” came across my desk. Todd had envisioned a straight-ahead rocker, so I played an 8th-note chugging rhythm on the Invicta, and then added a double-tracked arrangement of the Telecaster playing some Alex Lifeson type arpeggios and minor 7 stabs. I dialed-in an obvious Van Halen inspired patch for the solo (complete with phaser) and recorded that on the Invicta, as well as a double-tracked slide part (without phaser). Then to give it all some more growl, I added a fuzz track from my Jazzmaster.

The bad news is that I might not need all these amplifiers anymore.

Summary:

The 11R is a great comprehensive tool for guitarists in a studio setting. you can choose from a variety of classic amplifiers and speaker cabinets, a decent array of effects pedals, and even a small but respectable batch of standard top-shelf studio microphones. Each piece of the signal chain distinctively interacts with the next, and then responds accordingly. Once you understand the editing navigation, it is easy to bounce through settings and dial in a tone. It’s not the sort of thing I would use live (ask me again in a few years), so I cannot speak to that application.

I found it a little noisy, to my surprise. This may have something to do with how it’s connected to my rack, but then my POD Pro is comparably dead silent. To be fair, the noise is no more than the line noise of an old amplifier, but this may affect certain quiet passages of recordings. I was able to filter it out well enough with some standard DAW plugins.

Now that the 11R price has dropped to $299, it’s a safe and sensible investment. ProTools users can use it as a virtual instrument, record guitar tracks direct, and process them through the 11R afterward. I use Reaper, and I suppose there’s a way to do this, but it isn’t really how I like to work.

It has quickly become an easy go-to choice for me. I’m pleased with the purchase, nearly six months later, as well as with the end results of the handful of recordings it’s been featured on. Would definitely recommend it. Calling this one a strong 8/10, with the only complaints being noise (admittedly could be due to ignorance), and an interface that required reading the manual to be able to operate.

 

 

Rejuvenation

My family has had a small cabin in Mountainhome, Pennsylvania (in the Poconos) for decades. It may be my favorite place on Earth.
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Last week at this time, I was preparing to return home from there, During the last day or two, the rain decided to assert its dominance. On the cabin porch, surrounded by mountain rain in the trees, and with a rushing creek 100 feet away, I started working on a chord-melody version of Johnny Nash’s “I Can See Clearly Now.”
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It sounded like this:

Time in the woods, breathing clean air, and not having to deal with the assorted nonsense of city life reminded me of two very important things:

(1.) I definitely need to take more time off. I don’t mean the lazy disengaged sloth that passes for breaks. I mean regular planned breaks from routine. Nature, preferably, should be involved.
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(2.) If I’m not ACTIVELY creative, I’m like a plant withering from lack of water or sunlight. Sadly, my job, which used to be actively creative (I was a music director) is now merely passively creative. I lead the creative process of other people who ARE actively creative.

If I was older, bald, and surrounded by the most diverse-imaginable team, my time at work might look like this:
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So there’s this illusion that since I’m “working creatively,” I’m creating. Not really. It’s a fine point, but any artist who’s ever been promoted out of actively creating knows that there’s no substitute for making your own things.

Reflecting back on June and July, there’s some sense of  creative accomplishment. I finally recorded Led Zeppelin’s “Ten Years Gone” in memory of my friend Katie (though I have always wanted to play it). I recorded guitar and background vocal tracks for my friend Todd Gilbert’s new album “Guiding Light” (dropping July 31). And The Mood Rings (my acoustic duo) continues to play cover songs in local watering holes.
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But the most profound moment for me was when my fingers, on the fretboard of that guitar, started working out the melody and accompaniment of “I Can See Clearly Now.” Suddenly, while showering, or driving through the Pennsylvania and Ohio countrysides, the little poet who lives in my brain started calling out lyric ideas. He’s been quiet for a while. Rest and reflection seems to have woken him up. He’s downright chattery now.
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Five years ago, before taking that music director job, I was deeply enmeshed in working on acoustic chord melody arrangements. I was also writing and recording a solo album. These things are innate and important to who I am. Every day, I yearn to be creating music while I’m enmeshed in the blah-blah-blah (which disguises itself as important creative processes). I wilt a little more, and just let it slide along. Clearly, the disciplines of active rest and active creativity are important.

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I don’t have an answer to the dilemma today, other than to make the time to do the stuff. All I can tell you is that I’m driven to do the stuff… ACTIVELY.

What do you do to rejuvenate? Do you need creative rejuvenation? If so, What do you do to get that?

Ten Years Gone

Twenty years and a few months ago, some friends of mine asked if I might record some guitar tracks for a young girl named Katie Reider. She had about an album’s worth of material, and with their help, they gotten it to where it was a few electric guitars away from sounding like a real record. Well, I added those very guitars, and that record ended up being called Wonder.

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In just a few actual evenings (which were spread-out over the course of several months), I managed to record eight of Wonder’s ten songs. I never expected anything to happen with it, really. I thought, maybe, in a year or so, she might have sold enough CD’s that, if all went well, I might get $100.

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The album was a local smash. We won a bunch of awards, we were on the radio, and in the papers. My guitar students thought I was famous. Overnight, I became the guitarist in one of the most popular bands in town. I had arrived. Image result for yatta

 

There were highs and lows, but in fairly short order, I was the only original band member. Katie and I had no choice. We became the best of friends, confidants, and musical partners. The next couple of years were great. In 2006 everything suddenly caught fire. I was convinced we were just a few yards from the proverbial touchdown. Then she got a toothache.

Only, it wasn’t a toothache.

It was a horrible monster, and it destroyed my friend.

 

My first gig with Katie was at Taste Of Cincinnati in 1998. My last gig with Katie was at Taste Of Cincinnati in 2007. The next year, she was gone. That was July 14, 2008; ten years ago.  This was how she looked at our last show together.Image result for katie reider wonder

When 2018 started, I was aware that the ten year echo of her passing was coming. Led Zeppelin’s “Ten Years Gone” has always been one of my favorite songs, and I thought it would be a fitting tribute. Robert Plant wrote it about an old girlfriend, so it doesn’t quite fit, but the music captures the feelings, I think, of a yearning for a time in the past with someone dear. Also, no one knows this (until now). When I was recording Wonder, I felt a tremendous pressure to accomplish something special. When in doubt, I would ask myself, “WWJPD” (What Would Jimmy Page Do)?

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“Ten Years Gone” is a fantastic anthem. One of my favorite discoveries about it, once I dissected the guitar parts, is that, apparently, I record layered guitars rather a lot like Jimmy Page did on this song.

Fitting, right?

Anyway, I know Katie would love it, because she loved the music I made. This is for Katie. But also for me.

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Ankles, Aikido, and Amplification

So I had this lingering sore foot/ankle/leg thing…
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On March 9, a doctor cut into my ankle to repair what had turned out to be a pretty major injury. I spent a month (March-April) with no weight on my left foot, then started hobbling a bit. I’m now walking normally, mostly.  With the help of my physical therapist (a friend since 7th grade), that ankle getting noticeably stronger and more flexible every day. All of this is good… actually it’s better than normal, and I’m grateful. I now have an awesomely gross scar to horrify the squeamish.
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As a result of my ankle injury, I had become progressively less active, and not able to spend much time out and about with my family. I gained weight from being sedentary. Honestly, I gave up on taking care of myself. That has all changed. My diet is better. I’m sleeping normal hours. Last week, I even walked the dogs with my sweet little wife, twice. Life feels like “normal” is within sight.
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Wait, there’s more…

One of my great loves, aside from music, is the traditional martial arts of Japan. I’ve been an eager student of Aikido since I was 21, and started Iaido back in 2004ish. After my injury (which had nothing to do with martial arts), the first thing I had to stop doing was all the lateral movement in Aikido. Iaido stopped a few months later.

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This past week, I not only did some Aikido training, but I did a small demonstration of Aikido within a broader presentation at the church where I work. So not only am I physically active again, I was able to bring a thing I love into the job I do. The last time I did anything like that was back when I was still directing music there. I had to let the music role go, when I moved in to my creative “Production Director” job, last year.
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Well, one of the things about musicians is that, in the summer, they want to play all these festivals. I suppose the money is good (back when I did it, the money wasn’t great, and I didn’t like the heat and hassle). Anyway, because of that, there’s a need for a substitute guitarist. So I will be subbing in on guitar in a week-and-a-half.
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That’s June 9. Also on June 9, there’s a big event at the Aikido dojo. Also-also, my acoustic duo has a gig that night. I may have over-committed.
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So… as it pertains to June 9, I might be going too fast. But after a year-and-a-half of slow motion, I gotta believe this is all understandable.

Have you ever been sidelined for an illness or injury, and had to wait it out? How did you cope during the interim? Have you ever been sidelined because of a role-change, and had to watch others do what you started? What was that like? Finally, have you ever overcompensated by over-committing? What safeguards did you put in place to prevent it from happening again?

Sprich, mein volk!

The goings-on of May

There are several creative-type things I like to do.

It may have come up in conversation that I play guitar a little.

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I’m hilarious, aren’t I?

I also sing a little, write songs, record & music. I’m a decent audio engineer and editor too. Sometimes I do voice-over work, or commercial production. In the past, I have done some acting on stage and screen. I tinker, a tiny bit, with video and graphic design/presentation. I write, and I think I have two novels in me, but I’m reluctant to put any energy toward them.

So when I write, it’s usually in blog form, which takes us to this writ.
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Being a classic ADHD (not so much the H part) sufferer, it’s difficult to focus on something unless I can HYPERFOCUS. Get me working on any of these creative exercises, and I can lose a whole day.

At the end of 2017, I shared a fairly large pile of recordings with the world, which I put on my website, and called “The Sincerest Form of Flattery, Vol.1” These are just cover songs I recorded for fun, to share with friends. Obviously, the name implies that there are more to come, and I truly intend to do so.

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Ouch. Yeah.

Realistically, it’s May now, and I haven’t put much energy towards those new songs yet. Getting back into creative music mode in the studio has been a hard engine to start. I’ll blame ankle-surgery, but there has been a fair amount of binge-watching Netflix and Amazon Prime Video.

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So whilst I’ve been putzing around…

A friend of mine who lives afar had mentioned several times in the past, that it would be fun to work on a music project together. Well, he popped the question, and I accepted. So, even though this is a very busy (and tired) time, I forced myself to sit down and ride the music wave last night. The hardest part is swimming out into the proverbial ocean. So I swam, and I listened, and I thought a slide guitar might be a nice interpretation.

Two and a half hours later, I came up from the depths, to get a breath of air.

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Whoa.

It’s fun to be back in the saddle, making music for someone -even if it’s just one song- again. How nice to shake some of the rust off of my modest (at best) slide guitar skills! Of course I used my Telecaster. Of course I did! Well, the intonation on it is all out of sorts, the strings are old, the volume pot is busted, and the whole damn guitar is noisy. Of course I used it anyway.

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I finished a basic rhythm track (which may have been unnecessary) and a slide solo, and threw some ad-lib slide parts here and there. I will probably do some better ad-libs later. Then I get to do some studio singing, which I haven’t done in like six months.

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On the periphery of all of this, I’m now performing somewhat regularly in an acoustic duo called The Mood Rings. We keep getting gigs offered to us, and having great ease booking new ones.

A few years ago, I was frantically busy with music stuff just to keep my name recognizeable, and my income steady. Now I get to do it for fun and inspiration.

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I wouldn’t change a thing… except that I’d like to be performing with an electric guitar a little more.

We’ll see what the next half of the year brings.

What’s your creative outlet? Do you do it because you love it, or because it’s an obligation?  If you could do something else, what would it be? Do you create because you love creating, or because you want recognition/fame/money? ‘Fess up.

Small Steps, Stomps, and Stages

Greetings, Friends.

It’s been a bit since my last writ,
And I’m glad to be a-typing.
See, I hurt my ankle (tendons mangled!),
So to work I’ve been a-Skype-ing.

Yeah, I haven’t done much lately. I injured my ankle a while ago, and was foolish to think it would just get better on its own. Finally, at the recommendation of a trusted teacher, I visited his favorite podiatrist. Ill at ease about the whole thing, I expected a protracted process of “Hmmm… yeah, not sure what’s going on here. Let’s try anti-inflammatories and rest, and you pay me an exorbitant office visit fee… and see me again in 2 weeks.”

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Well, he walked into the room, and within seconds, knew from the angle of my foot, and the description of the injury, EXACTLY what had happened. To be sure, he ordered an MRI for me (my first!). He was right. It’s busted. Course of treatment: surgery. Heal with STEEL!!

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So several stitches, a couple of screws, and 24 staples later, my ankle is fixed, but it will be recovering for many more weeks. That hasn’t stopped the kid from trying out new gear, no, certainly not.

Prior to surgery, I knew I’d need motivation to get me moving and being productive again, so I ordered an ELEVEN Rack (without Pro Tools, because I’m an individual) to get me excited about recording guitars WITHOUT amps for a good long time (Can’t lift an amp on crutches!). It arrived fasted than expected, giving me about a day and a half to play with it. I still don’t really know how it works.

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I just started moving around again, and have recorded a few tracks with it. I will share some serious insights, once I get more familiar with it.

Not long afterwards, I went crazy and ordered the Superego+ pedal from Sweetwater. It arrived 30 hours later. I’m using it with my acoustic duo.

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Oh yeah, by the way, I’m now in an acoustic duo. We call ourselves The Mood Rings (this was a band name I was using back in the early 2000′s), and we have played one whole gig so far. It was so well received that we got two more gigs out of it, that same night.

As a result, we have a gig this Saturday night. I will still be one-footed, so my buddy Andy has to carry all the gear. I can’t believe he agreed to it.

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Breaking With Conventions

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We can call this the “Probable Last Blog of 2017.”

I used to get very serious around this time of year. Some of that was stress or cynicism, maybe part of a youthful desperation to be cool. That’s all long past. Now I simply enjoy the opportunities for merriment and lightness. So if you’re looking for something deep and/or meaningful. it ain’t here. :)

So…

Lately I have been busily replicating or re-inventing cover songs (the choice of song is pretty random). I enjoy the challenge of trying to exactly replicate an arrangement; finding the right sounds, playing the right notes, etc.

Changing a song is easier in some ways, since matching the original is already an ethic that has been discarded. However, changing a well-known song is a huge risk. Well, I like risks.  In fact, here I am with my brown pompadour and matching tie/pants emsemble, cheerfully hastening toward risk.

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As Christmas careens recklessly around the corner from Thanksgiving and heads straight at us like a windshield towards a bug, I start thinking about working on Christmas music. This of course, is way too late to achieve results.

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So I started earlier this year. Actually, I started LAST YEAR, and just casually refined and finished them this year.

The first is “Away In A Manger,” which was recently described to me as a boring carol that could never be redeemed. The next is “Children Go Where I Send Thee.” Over the years I have voiced my low opinion of turning hymns and Christmas carols into ROCK SONGS. So you may hereby enjoy my admitted hypocrisy.

This is approximately how I looked while recording, except that I have way better guitars, a taller tree, and my recording space may never be this tidy.
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For “Away In A Manger,” I wrote a chanting sort of chorus to break up the cloying verses. I had hoped that my church’s creative team might like to see the band work this up, but they just sorta sat there looking uncomfortable.

Me: “Hey guys, I worked up a rockin’ version of ‘Away In A Manger.’ I think the band could do it. What do you think?”

Them: …

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Had I known they were going to balk, I might have done it in a higher key (the music director is a baritone). That said, the guitar riff works a whole lot better in this key. Maybe it’s just not that good. In any case…
Here’s “Away In A Manger.”

Moving forward…

“Children Go Where I Send Thee” presented some challenges. First of all, it goes on FOREVER. So I abbreviated it, added a modulation, a Pink Floyd flavored guitar solo, some Queen-flavored harmonies, and threw in a little joke as the numbers count down. Enjoy the hilarious levity.

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Here’s “Children Go Where I Send Thee”

 

How do you break out of creative conventions? What do you think of my silly little Christmas experiments? How do you creatively cope with the assorted holiday vibes? Feel free to share your thoughts.
~See you in 2018~

 

End Of The Innocence

OK, It’s official. I’m getting old. If nothing else, I can tell by the aches and pains. I wasn’t always achy and slow-moving. That seems to have crept up rather suddenly. Well, it SEEMS sudden, then I start doing the math, counting the years, and considering the mileage this ol’ body of mine has endured. Hand me that bottle of Alleve.

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Back in 1989 (which seems like just a few years ago)I was working in a restaurant part-time, and plodding through school at the University of Cincinnati.  That summer, Don Henley (of The Eagles) had a big hit with End Of The Innocence, which I heard on the restaurant Muzak several times per day. I enjoyed the song, though I had trouble hearing the lyrics over people asking for drink refills and waitresses grabbing my ass (this was not okay).

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I honestly thought the whole song was a poignant recollection of when ol’ Don lost his virginity (remember, I couldn’t really hear the lyrics). Seriously, I thought he was singing, “Offer up your fancy dress” (it’s, offer up your best defense). Regardless, I liked the music, though I didn’t really care much for the presumed kiss-and-tell lyrics. Not classy, Don.

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Turns out, it’s some political gripe about Ronald Reagan, written by Bruce Hornsby (the guy who played piano in the 80′s like John Popper played harmonica in the 90′s). I jab, but I loves me some Bruce, and John, and Don.

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Nostalgia? Well, yes. I vividly recall driving out to Virginia Beach later that summer. Somewhere in the last 50 miles of the trip, the outside temperature cooled, and I turned off the AC in my silver 1985 Honda Civic hatchback (I had named it “Dennis”). I rolled down the window to enjoy the evening air, and ejected whatever cassette was in the stereo, to listen to some local radio. On came End Of The Innocence, without restaurant chatter, pinchy waitresses, or other distractions. I got the gist that it probably wasn’t solely about Don Henley getting laid. That moment with that song on the radio sticks with me to this day.

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^ Side note: This is exactly what “Dennis” looked like.  ^

Anyway, that’s a long-winded tale of yore. Years have passed, and I still like that song in spite of the fact that it’s complaining about a president who had already left office.

A few short years ago (really), I had a summer gig playing at a neighborhood pool. It was hot and brutal. No one cared that I was there, but I got paid pretty well for it. After a couple of abrupt cancellations (a thunderstorm and a community parade, respectively), I solicited Facebook for some acoustic requests. And then, for a month, I enjoyed recording and sharing acoustic renditions of popular songs with my friends. There were many of these, some of which have blown up into larger productions since.

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One such request came from my sweet wife. Strangely, she requested End Of The Innocence, not knowing anything about the grabby restaurant girls, the drive through Virginia, or my complete ignorance of the political subject matter. So what do I associate that song with, today?

Wife.

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So I dug up that song and tackled it again recently.

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Age? Nope. Restaurant? Nope. Waitresses? Nope. Virginia? Nope. 1989? Nope. Politics? NOPE.

Song for Nettie? Hell yes. Here ya’ go, Babe. I love you.

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