In order to give you a peek behind the curtain at my songwriting process, I'd like to tell you about my second attempt at the 5 in 5 Song Challenge.  I have written about this challenge in a previous blog entry, so this time, I'll skip explaining the big idea and get straight to the songs.

Day 1, 14th October 2019.  Prompt was to use at least five of these ten words: creek, orange, cider, make, gather, cotton, oak, spinning, poured, without.  Amplifier bonus (which I don't recall being part of the challenge the last time I participated) was to use the chord progression Dbm, Fm, Eb7.

I'm proud of what I managed to write for this one.  I started with the chord progression, as I figured that would be the hardest part.  It was.  If you're not a musician, let me tell you that those three chords are kind of creepy and ominous sounding when used in sequence.  I structured my verses for the song around them, and managed to use all ten (!) of the words, which I believe is a first for me.  Here's the thing... using those specific words, but making it seem natural and not forced... that was tough.  All told, there is one part here that I will re-write.  I didn't like the melody I used in the bridge, so will go back to work on that.  Other than that, I think the rest of the song will stay as-is, and I'll be adding it to my live repertoire next month.  

Day 2, 15th October 2019.  Prompt was to use the following idea as a starting point:  It has to come to an end, before it can begin.  What is it?  (If that sounds to you like something Seneca might have said, well, you're not the only person who thought so.)  Amplifier bonus was to use a minor 4 chord.

For this one, I did not write fresh lyrics.  Rather, I used lyrics from my collaborator, Ruth.  She had lyrics that needed music, and when I saw the prompt, I remembered these specific ones, as I thought they fit.  Lyrics in hand, I wrote the music, which I found to be rather easy this time.  I mostly write in minor keys, and if you write in a minor key, your 4 chord is automatically minor.  Easy as pie.  From reading some of the comments in the group, I might be the only person who understood the amplifier this way, as a few folks asked for clarification, and the clarification was to take a major 4 chord and change it to minor... but that's not what the prompt said.  Maybe the default assumption is that people only write in major keys?  

Day 3, 16th October 2019.  Prompt was to use "Harvest Moon" as a song title.  Ick.  Amplifier bonus is to write in a key you're not comfortable in.  

Well, I'm not really comfortable in any key that requires me to use more than just the white keys on a piano.  I'm not a competent pianist by any means, so I feel all warm and fuzzy writing in A minor.  For this one, I wrote the song on bass instead of piano... and I wrote the verses in G minor, but the chorus in B flat major.  I leaned toward snarky and humorous for the lyrical content.  I think this song is the best one I wrote all week, and I plan to record it next year and get it ready to release in time for fall.  I'll be playing it in public starting next month.

Day 4, 17th October 2019.  Prompt was to use at least five of ten given words.  Now, I don't have the complete word list (oops), but here are the ones that I used: older, settle, calling, pocket, strong, resist.   That's six.   Amplifier bonus was to use this chord progression: F, G, Cmaj7, Am.

That chord progression basically told me to write the song in A minor, which as I mentioned above, is my warm & fuzzy key.  Ok.  I wasn't too thrilled with the list of words, but no matter, I got to work.  I used the fantastic closer from the album The Blinding White Of Nothing At All, "All You Really Want Is Love", as inspiration.  The main songwriter, John Davis, is a strong influence on my songwriting.  Now, the song in question (please listen to it) sounds like it was written in a major key, and I wasn't about to do that, but I did write the B part of the song to have a slight major key feel.  I wrote it in second person.  I also followed a similar structure. A B A B outro.  

I wanted to write a song that I love as much as I love most everything on that record, and I fell short of that goal.  However, I like what I came up with enough to add it to my live setlist starting next month.  It needs some light editing, but there is potential here.  I also feel that this is a good song for We Met In Paris, so I sent it over to Ruth.

Day 5, 18th October 2019.  Prompt was to use the following idea as a starting point:  she is strong as an old fallen tree, but hollow inside.  Amplifier bonus was to change key during the song.

This time, let's start with my overall goal.  I wanted to write a Guided By Voices style song.  I did that just a little bit on one of the songs from the last time I did this challenge, and after editing, it ended up being called "Huns of Doubt", and you will be able to get your hands on it soon.  This time though, I didn't want to use any non-sequitur chords or a crazy time signature.

Beyond GBV, I think of the Wright Brothers and aviation when I think of Dayton.  Transportation terms popped into my head.  I thought about calling it "Propeller", but that's the name of an early GBV album, so no, can't do that.  I thought about the airplane imagery in some of their songs and album artwork... then I decided to call the song "Submarine".  Boats are called "she" by sailors, right?  Submarines are strong, and hollow inside.  Ok, title achieved.  For the lyrics, I used terminology related to submarines as a metaphor for a break up.

Musically, well, doing a key change is not new to me.  For Prompt 2 during this challenge, I wrote the verses in minor and the chorus in major.  If you remember "Harvest Moon", I used relative minor/major keys.  For this one though, I did something I've never done before... I just moved the entire thing a whole step up.  I tried to be clever doing this... I have some harmony vocals in it, and one of the harmony vocal lines, I keep it droning on the same note, before AND after the key change.  I think there is some potential here, and I might go to the studio with it next year sometime.

***

Summary.  Five days, five songs.  Three songs added to my live rotation, just as soon as I learn them well enough to play them from memory.  All of the songs will need to undergo a little bit of editing, but I don't foresee a major re-write on any of them.  I felt more comfortable doing this challenge than the previous one.  It would seem that all of the songwriting work I have been doing is paying off... I'm getting better at my craft.  That said, there is always always always room for improvement, and I'll probably jump on future challenges like this in an effort to do just that.

If you would like to hear these songs, I encourage you to sign up for my mailing list on the homepage of this website.  At some point, I'll be sending them as gifts to the folks who are subscribed.

I've been working hard in the studio, supported by Patrick Himes and a rotating cast of other Dayton musicians.  I've already mentioned that I have a split album coming out on Local Music Day.  I have five songs on that compact disc.  That left 20 songs.

20 is a lot of songs.  From that group, I've decided not to do any tracking at the moment on 3 of them.  I either want to give more consideration to the arrangement (looking at you, "Podiacide") or try to improve the lyrics (this means you, "Let's Go"), or perhaps even do a complete re-write (this could be you, "Rock Show").  Ok.  20 minus 3 is 17.  

This is the group of songs from which I will attempt to put together an album that will take you, the potential listener, on an adventure.  Some of them are finished... mixed and everything.  Some of them have drums and bass tracked, but need the rest of the instruments.  Just three of them are still waiting on me to record a bassline.

I won't pretend to know when I'll have this ready for release... but it certainly won't be this year.  More updates to come.

Welcome to a very special edition of the Ohio Spotlight.  November 9th is Local Music Day in Dayton.  This idea comes from Daryl (Derl) Robbins, who you might know from such bands as the widely-praised Motel Beds,  and corporate lackeys Company Man. 

Why is Local Music Day special?  Here's Derl's explanation from the event's official website:

What it is 

Think of it like record store day but instead of you buying that one Eagles record again, you’ll be buying exclusive releases from local artists made especially for this event. You need this. 

There will also be bands. Stay tuned.

That sounds good to me.   I am pleased to be able to participate in this event, alongside several other local artists.

Would you like to know what releases will be exclusively available beginning on November 9th?  Well, click right here for the list.

if you live within an easy drive of Dayton, why not head down to Yellow Cab (on 4th Street downtown) for Local Music Day?  You'll be able to discover some great music, all made by hard-working local musicians.  As you can see on the page describing the releases, some are available on compact disc, some on cassette, and some on vinyl.  Sure, I would love it if you would pick up the split album that contains some of my songs,but even if that doesn't interest you, this will be a nice community event... and surely you will find something to enjoy.  Personally, I am looking forward to getting my hands on that Me & Mountains disc.  I already have the Human Cannonball album on compact disc, but hey, it is being issued on vinyl for the first time, so if you don't have it yet, or happen to collect vinyl, that's something you should definitely buy.

Here's a brief progress update on album #2. I have the first mixes back for two of the songs, "Bright Ideas" and "She Speaks in Metaphor". At this point, I'm not sure if either one of them will even make the album, but I love the way these sound. Patrick Himes continues to do great work.

We are almost finished tracking the drums for all of the songs that are in consideration... I expect to get that done this week. As usual, Brian Hoeflich has been professional and brilliant at that task.

Between now and the end of the month, I have 4 studio sessions scheduled. The plan is for a great deal of bass to be played, and some guitar/keyboard parts to be added. Hopefully by the time July begins, I'll have a handful of other songs ready to be mixed.

As far as naming the album is concerned... well, I have some ideas on that. I'm not ready to share them yet, but maybe I'll make a poll and get some feedback?

I mentioned in a previous blog post that I am working on my second album.  I figured I would provide a brief update to current progress.

There are drums tracked so far for 13 songs.  Now, not all of these are destined for this album... in fact, two of them are for a different project.

I have tracked bass on 6 songs so far, and 3 of those have some guitar work done, but there is always room for more.

So far, I feel like this is progressing in a somewhat more organized manner than my first album.  Part of that is due to me being just a bit more experienced now.  A major contributing factor is also the pre-production session that happened before we started tracking... and I'm trying to be careful with making sure I document everything that happens and note all of the little ideas that come to mind during the sessions.  I can almost see the outlines of an album beginning to take shape.

Of course, I have many many more songs than will fit on one album, but this is a bridge to be crossed later.  For now, please be assured, dear reader, that I am satisfied with the current progress, and that some very nifty sounds have been recorded.  I think you'll enjoy this one, whenever I can get it to you.

How many of you remember the year 2000?  It was a simpler time. (Looking at you, Kent Montgomery.)  You didn’t have to take your shoes off to get past airport security.  As I recall, you didn’t have to pack your liquids in a clear plastic bag either.  Twitter wasn’t a thing. Facebook wasn’t a thing. Fountains Of Wayne were still a thing… they had been a band for five years and had already put out two albums, but were somehow still three years away from getting nominated for a Best New Artist Grammy. (?) 

I went to Paris in December 2000.  I had been before, and wanted to go back to spend time with the friends I had made on my initial trip… and also to do touristy things and drink wine and eat baguettes… as one does.  Paris in December is rainy and chilly (for them) and perhaps a bit dreary at times, but it’s still, you know, PARIS. 

One evening, my friends invited me along to drink at TGI Fridays.  That’s not what I understood at first… upon receiving the invitation, I was perplexed as to why any French person would set foot in an American fast casual joint, let alone wish to eat food that was frozen and shipped and microwaved.  “On ne mange pas là-bas”, I was told - “we don’t eat there”. No, apparently, this place had a happy hour with cheap drinks, and since it’s quite expensive to drink in Paris, some of the young locals liked to stop by for what we might call “pre-gaming” these days.  With that explanation in hand, I was more than willing to go along. 

We get to TGI Fridays.  We head to the bar. At the bar, there is a friend of my friends.  We greet each other, cheeks are kissed. This particular friend (who is still a friend and whose name is still Greg) has two English speakers with him… an Aussie and a Brit.  Their names are Cerys and Ruth, and they are cousins. Ruth has red hair. Now, I hadn’t spoken English in a few days, and while I could manage just fine in French, it was nice to get a little mental break and spend some time with fellow anglophones.  By the time I left the bar, I had new friends. 

I just looked at the neighborhood where this took place thanks to the bird’s eye view of Google Maps.  That TGI Fridays isn’t there anymore… it would appear that good happy hour prices do not make up for American fast casual cuisine… or, I’m probably wrong, because in the same location there appears to now be a Chipotle and a Starbucks.  Grumble. Things change. What has not changed is that Ruth and I are still friends and she still has red hair. What is more, it turns out that she is an extremely talented musician. 

I was thinking that it would be nice to have Ruth sing on my upcoming solo record, so I started sending her my home demos.  Eventually, I sent her a home demo that I had completed without lyrics or melody… couldn’t manage to put anything I liked to it… imagine… a completed song structure-wise… chord progression, bass line, verse, chorus, bridge, all of the parts… but no lyrics and no melody.  Shortly, she sends the demo back with great lyrics and a great melody and all right - now we HAVE to write together. So now we write together, despite living on opposite sides of the Atlantic Ocean. As of now we have 14 songs in varying stages of life from “demo complete and ready to track” to “idea so nascent that it can’t even be considered half-baked”.  What matters here is that it feels good. It’s nice to write with another person, as that can take a song to a place that otherwise it would not have been. It’s even nicer to write with someone who has been your friend for nearly 20 years. We are making art that I believe in. I can’t wait for you to hear it. 

Our band is called We Met In Paris.  It works because it’s true.

Yesterday I took 24 songs with me to Reel Love Recording Studio and laid them at the feet of engineer par excellence Patrick Himes.  Two of these songs were co-written with a friend from Ipswich. (The one in Suffolk, not the one in Massachusetts.) One of them was co-written with a fine gentleman by the name of Greg Owens, and you should really check out his work here: https://www.gregowensmusic.com/.  One of them is an anagram;  well, many of them are probably anagrams, but one of them is intentionally an anagram.  (Here’s a random thought: “Anna Graham” would be a pretty cool character name for a book.)  One of them has a French title, but English lyrics. One of them has a Spanish title with Spanish lyrics.  None of them have any reference to opera, Manitoba, apricots, or Tuvok. 

In addition to Mister Himes, I invited some talented local musicians and songwriters to talk through the songs with me.  I found their input and experience to be very valuable. You see, this was a pre-production session. The idea here was to have a plan of attack for how to approach recording these songs in order to squeeze the very best out of them.  Now, for the most part, I handle the arrangement at home shortly after writing a song… I also plan out the instrumentation and personnel that I might wish to use. However, this was an opportunity to get outside opinions on these decisions, and since most of the time I write on my own, it was nice to put these songs in front of other folks. 

Today I head back to Reel Love to begin tracking my second album.  Yesterday and today… these are the first two steps on a long journey.  I will probably write this next line several times over the next year or so, but that’s only because it’s true: I feel like some of these songs are the best I have ever written.  I can’t draw.  I can’t paint. I can’t sculpt.  I am a very un-talented photographer.  I don’t knit or crochet. I don’t know how to create anything with my hands out of wood… or metal… or ceramic.  I write songs. This is my art.  This is what I create with my hands, either by clumsily mashing some keys, or by caressing my Fender Jazz bass.  Instead of creating a picture or a statue or a scarf or a bookshelf, I create recordings, with the kind assistance of others.  This is how I share my art. 

I believe in these songs.  I want to share them with you.  I want to share them with everyone.  Yesterday and today… these are the first two steps.  It will be a long trip. It will be an adventure. There probably won’t be any peril.  Come with me. 

To quote my dad’s favorite band, “Only the beginning / Only just the start”.

I haven’t been very regular in keeping this blog updated, so it’s time to start a new habit. I am going to do this weekly. That’s right folks, I plan to post every Monday morning going forward. This will be a challenge at times… vacation, business trips, and other general life distractions may very well get in the way… but I’m going to try to stick to it.

Why in the world the sudden focus on regularity? I can think of three main reasons.

1. I always wanted to be a writer. No, really. From the time I was in elementary school, I was always interested in writing. If you look at my Twitter bio (https://twitter.com/mbankheadmusic), you’ll see that I’ve had the phrase “aspiring writer” in there from the beginning. The problem here is that I don’t have a good brain for fiction. I enjoy reading fiction, particularly science fiction… but am not that kind of creative. Ok, so a novel isn’t going to happen, let’s do this instead.

2. It’s probably good from a music business standpoint. Think about the musicians that you enjoy listening to… isn’t it interesting to get a little peek into their thought process and their life? I hope to give everyone an authentic look at my personality here, the kind of access that social media doesn’t quite reach due to its brevity. Also, maybe what I write here will help people to understand my music better, and don’t all artists really just want to be understood?

3. It will help with my mental health. Did you know I had a blog years ago? I’m not going to give the link here, but if someone were really interested, they could probably find it. This was in my early twenties. I wrote about some interesting things, I wrote about some mundane things… some of these posts were awful, and some of these posts might have been inspiring. In any case, I truly believe that writing a blog helped me to work through some of my issues at the time. Looking back with the additional experience of years of life, I see that I was probably anxious and depressed then as well. Now, I am indeed taking medication for this now, and if I can stop procrastinating, I’ll go to therapy too… but listening to and especially making music helps. It’s like a very talented Dayton musician sings, “that’s the solace that we keep”. So, just like songwriting, keeping this blog will probably help keep me on the saner side of deranged.

I know what you’re thinking… “Nobody wants to read this”. You know, you’re probably right. I’m probably talking to the Internet ether… but you know what? That’s just like making music. I make art that I’m proud of, and it’s hard to get anyone to listen to it. That’s ok, “l’art pour l’art, right?

The weekly journey begins this coming Monday 18th February. You’re invited.

This is going to give everyone a good idea about my age, but when I was first getting into discovering music on my own, I loved opening the cassette and pulling out the folded up liner notes.  I would read the lyrics without the music playing, I would read the lyrics with the music playing, I would read the lyrics and sing along.  When cassettes got replaced by compact discs, I would do the same thing... in fact, I would be disappointed if I bought an album that didn't have the lyrics included.

Fast forward to now, where music lives mostly in digital form.  It feels like modern music listeners may not be as concerned or interested in the lyrics as I was in my youth.  My intent here is not to sound curmudgeonly, nor to yell "get off my lawn" at folks younger than me... they love their music, but with the decline of music as a physical thing, it seems to be a bit harder to find the lyrics.

With that in mind, I have added a lyric page to my website.  If you wanted to know how to spell all of those French words in "Le soldat" or you were curious as to what exactly I am saying in "North of Sixteen", or if you didn't know whether I am saying "write away" or "right away" in "Soul of an Ode"... well, head on over to the lyric page and read away.  Please sing along.

Echo in the Crevices has been out for one year and two months.  I have been working on songs for the next album.  Some are complete, but many remain in pieces... it is up to me to pick up the pieces and put them together.

Recently, I've been working with a cowriter for the first time.  I had a song that was complete, but it wasn't good enough... I didn't like the melody, the chords, or the lyrics in the verse... but I thought I had something with the chorus.  I discarded the verses entirely and asked a talented songwriter for help.  What we have at this point is not yet finished, but it's already much better than the version I had written on my own.  I am looking forward to sharing it with the world.