This song is on my upcoming album, Anxious Inventions & Fictions. It is the result of a songwriting exercise meant to combat writer's block... but strangely enough, I wasn't actually suffering from writer's block when I wrote this song. Let's set the scene... come to Nashville with me, to the CD Baby DIY Musician Conference in the summer of 2018.

One of the most useful sessions I attended was conducted by Shane Adams.  This gentleman is on the faculty at Berklee Online.  I had seen him speak the previous year, and he is humorous and engaging, energetic and open, and clearly quite knowledgeable.  This year, he was talking about a proven method of defeating writer's block.  At the time I sat through this seminar, I wasn't suffering from writer's block... I wasn't really trying to write songs at the conference... but in order to get the most out of the session, if there is an audience participation exercise, you need to participate.

I don't want to explain all of the things that were covered here, but let's briefly say that the method consisted of a series of letters.  No, not the twenty-six characters that make up the English alphabet, the method of communication before email, telephones, and telegraphs.  When I was much younger, I used to write letters often.  I would write to my friends both here in Ohio, in other parts of the United States, and overseas.  I couldn't even tell you how many scores of letters I've probably written.  That being the case, I took to this exercise rather well.

The phrase "she speaks in metaphor" came out of this exercise.  Wanna see?  Here it is:

 

 

At some point, I thought this would make an excellent song title.  Once I decided that, I needed a musical approach.  I decided to write this one on my bass instead of on the piano.  Further, as the song title seemed to me at the time that it would lend itself to a rather complicated idea, I wanted to make the song simple, and I wanted the bass to carry it.  For that reason, the verses consist of only one chord.  A minor.  That's it.  The bass line that carries the verses is moving through several of the notes in the A minor scale.  There is a bit more motion in the chorus parts as far as the harmony is concerned.  That settled, I used the piano to help me pick out a melody.  After I had a melody, then came the work to write lyrics to fit the melody and the theme.

This needed to be a rock song.  Ok, not just rock.  RAWK.  To that end, I recruited one of the finest bass players in Dayton, Chirs Corn.  (He has other talents as well.)  He used to play in a very loud, chaotic, experimental, post-punk outfit called My Latex Brain... and in this band, he would surround himself and his bass with what seemed like a hundred different pedals, and make the bass sound like a legion of guitars.  That's the sound I wanted on this song.  I also recruited Thad Brittain for more high frequency guitar work.  For the percussion end, I asked Brian Hoeflich to do his best Jimmy Chamberlain impersonation, and he obliged.

I am extremely pleased with the result.  If my Kickstarter campaign is successful and we get vinyl pressed, you'll be able to find it as the first song on Side Two of the album.  I can't wait for you to hear it.

February 17th, 2019.  That was the first day of tracking for my second solo full-length album.  A quick aside... it's awfully strange to call it a "solo" album, as I certainly couldn't have gotten it done without a great deal of help.  Patrick Himes, the engineer/producer.  Brian Hoeflich, professional drummer extraordinaire.  The other guitarists, vocalists, pianists, violinists, etc who are on the album: Eli Alban, Dustin Booher, Blair Breitreiter, Thad Brittain, Chris Corn, Ken Hall, Kent Montgomery, David Payne, Nathan Peters, Tim Pritchard, TINO, Tod Weidner, Heather York.  That's an awful lot of help for a "solo" album.

(I digress again.  This doesn't count the folks who helped out on songs that didn't make the album, but that I still plan on releasing.  I'll be thanking them all by name in the future, you can take it to the proverbial bank.)

Where was I?  Oh yes.  February 17th,2019.  Notice how in that first paragraph, I wrote the words "gotten it done"?  Yes, February 5, 2020 was the last mixing session.  The album is tracked.  The album is mixed.  A release date is in the future.  It is without a doubt my best work to date.  Wanna know what it's called?

 

Anxious Inventions & Fictions

 

That's a lyric from one of the songs.  Would you like to hear it on vinyl?  I would surely LOVE to press it to vinyl.

It turns out that you, yes you, can help to get this album pressed to vinyl.  I am launching a Kickstarter campaign to offset the expense of pressing vinyl.  It essentially functions as a pre-order... if you are interested in hearing my new album on vinyl, by all means, select a campaign reward that includes your very own copy of Anxious Inventions & Fictions.  There are a few different rewards that include the physical record.  For one of the rewards, I'll list your name in the liner notes expressing my deep gratitude for all the world to see.  I have five disposable cameras (remember those?) full of exclusive behind-the-scenes photos of the recording process... I haven't even seen these photos... those are possible rewards as well.

What if you don't have a turntable, but still want to help?  Well, one of the rewards is for a digital download of the album.  What if you just want to wait until the album is on Spotify or Pandora or Apple Music or YouTube?  Well, if you would like to support the effort of getting the album pressed to vinyl for other folks out of the kindness of your heart, there is a donation level for that.  Every little bit helps, you know.

Kickstarter is an all-or-nothing crowdfunding platform.  If we reach the funding goal, then I'll be able to get Anxious Inventions & Fictions pressed to vinyl.  If we do not reach the funding goal, nobody will be charged for any of the pre-orders, and the album will not be pressed to vinyl.  

If you didn't already click on the link above to go to the Kickstarter campaign, why not click it here to visit my pre-launch page?  The campaign goes live on Wednesday, March 25.  Please share with all of your music-loving friends.  Let's press some records!!!

 

Usually, I write these concert memories posts about a show from at least a year ago, and this one just happened in January.  However, it was such a fantastic couple of days that I couldn't help myself.

If perchance you have read my blog before, you know I have seen Elbow live before.  You also know I love them very much, ever since their first album came out. They released a new album recently, Giants of All Sizes, and are out playing shows to support it... as one does.  They only scheduled four (4!) shows in the United States, and quite sadly for me, they were all on the West Coast.  After careful consideration, I decided that this was something my wife and I could not miss, so we flew out to San Diego on a Friday.

San Diego.  What a lovely city!  Let's put that aside for the moment though.  We land rather late, and we get to our hotel.  We are in need of drinks and snacks, so we set out on foot to procure these things.  While walking down one of the streets, I see a gentleman who bears a strong resemblance to Craig Potter.  (Craig Potter plays keyboards and sings harmonies in Elbow.)  As we get within a few meters of this gentleman, I say "Hey, you're Craig Potter."  Call me captain obvious.  Just a few steps behind him, well, there was lead singer and lyricist Guy Garvey.  I had missed Craig's brother Mark, he was a bit ahead of them, and had managed to walk by us without me noticing.  We had a very nice chat with the Elboys.  (Pete was in the hotel trying to sleep off some of the jet lag.) 

If you're wondering if it was cool to meet them, I assure you that is most certainly was.  My wife and I couldn't stop giggling about it the rest of the night.

You see, over in Europe, these guys are rock stars.  They routinely sell out arenas.  They play before thousands of people at festivals.  They even played at the 2012 London Olympics.  Now, here in the United States, yeah, not so much.  For whatever reason, they aren't famous... which is fine, as it means they can walk through the streets of an American city without being mobbed.  (Craig told me that he and his brother and Pete can usually walk around without being recognized, but Guy can hardly be outdoors without people noticing him.)  The other benefit that we have in the United States to Elbow not being overwhelmingly popular is that they play rather small venues, which is really the best way to experience live music.

House of Blues.  That's where they played in San Diego. It's a small room.  The Internet tells me that the capacity there is 1000.  Yeah, that's a small room.  For you Ohioans, that's smaller than Newport Music Hall on High Street in Columbus, and it's smaller than Bogart's on Vine Street in Cincinnati.  Yeah, that's a small room.  That's where Elbow played.  

We showed up early to queue for entry.  We met some lovely people who also made a trek for the show. Cricket was the first person in line.  She's quite ebullient, and is from Seattle.  I don't even remember how many times she said she has seen Elbow, it was 14 or 15 or something insane. Cricket also coincidentally managed to pick the same hotel for her San Diego stay as the band did, and had breakfast with Guy Garvey that morning.  We also met a wonderful couple from New York, the tastefully named Mike and his wife Christine, who were there with a local friend of theirs also named Christine.  It became apparent that although the people who enjoy Elbow in the United States are not numerous, they tend to be passionate about the band and their music.

The show.  The show was great.  Jesca Hoop opened. She was wonderful.  She also contributes some harmony vocals to the first track from Giants of All Sizes, so she came back out to sing those after her set.  In case you are wondering what exactly Elbow played... well, here's a picture of their setlist, which California Christine was kind enough to let me take.

 

It's not every day you get to see some of your favorite musicians up close.

 

 

 

After the show, we're hanging out and chatting with the folks around us... talking about how great the show was, talking about music in general.  Our new acquaintances from New York tell us that the gentleman who is lead singer for The Verve Pipe was in attendance, and how they had seen him and talked to him at a New York show.  I asked to clarify... "you mean Brian Vander Ark is here"?   See, I love his voice.  Love.  He's a great songwriter, having written one of my favorite songs of the entire nineties.  I also went to a few Verve Pipe shows back in the day.  Christine was kind enough to introduce me.  Again, being captain obvious, I start off by saying "so... I am told you're Brian Vander Ark".... I've really got to get better at opening lines when I meet a musician I respect.  So, I officially meet Brian and his wife Luz.  They came out for the show all the way from Michigan... and Brian was surprised that so many people flew such great lengths to see Elbow.  (Once I learned he was there, I thought to myself that it made perfect sense.  As the kids say, game recognize game.)

All told, yeah, a pretty great weekend.

So, if you post this kind of a list after everyone else has already posted theirs, folks might actually pay attention to it?  Yes?  No?  At any rate, here are my favorites, in narrative order (not so much in order of which I like more or less):

 

Shrug - Easy is the New Hard 

Shrug are stalwarts of the Dayton music scene, having been around for 25 years.  This is their first album to be released on vinyl, and as if that’s not enough, it’s a double.  Some of the songs on the track list that showed up in their sets 15 years ago (“New Amsterdam” and “Bender” being the oldest if memory serves) coexist beautifully with new music that didn’t get played live until the album release show (“Powder” and “Follow the Captain”).  The result is probably the best, most eclectic work of their tenure, and certainly my favorite since 2002’s self-titled release. 

• Favorite Songs: “Powder”, “New Amsterdam”, “Follow the Captain”, “Blue Blanket” 

 

 

Sleater-Kinney - The Center Won’t Hold 

About the same time that Shrug was getting going here in Dayton, this band started up in Olympia, Washington.  This is their 9th album, and it heads off in a different sonic direction from everything else in their catalog. This new direction cost them the powerful services of drummer Janet Weiss, as she departed the band just before they went on tour to support the album.  There is synth here, extra slick production, and pop sensibility, but it still sounds like a Sleater-Kinney album. That’s enough for me. 

• Favorite Songs: “Reach Out”, “Bad Dance” 

 

Big Wreck - ... but for the sun 

Here’s a third band that formed in 1994.  Ian Thornley’s voice is the closest I have ever heard to Chris Cornell’s, and it’s still as powerful now as it was when I first discovered this band.  If you enjoyed Soundgarden in the past, I think you would like Big Wreck as well. This new effort is a big, loud, swaggering rock and roll record. You want guitar solos?  There are plenty of them here. You want riffage? There is plenty of that here. You like shouting along whilst driving? These songs are perfect for that.   

• Favorite Songs: “In My Head”, “Give Us a Smile”,  “Alibi”  

 

Guided By Voices - Sweating the Plague 

How about a band that was already more than ten years old in 1994?  Indie rock royals Guided By Voices released three albums this year, because of course they did.  This is the last of the three. I have had a hard time keeping up on all of Bob Pollard’s music over the years, and would only consider myself somewhat well-versed on the albums that came out between 1994 and 2004.  With that caveat in mind, this album isn’t what I was expecting. I heard tempo changes, a brief Boston-esque lead guitar harmony, a song that starts a capella, all paired up with the usual amount of fantastic hooks. 

• Favorite Songs: “Street Party”,  “Your Cricket Is Rather Unique”, “Immortals” 

 

Elbow - Giants of All Sizes 

Apologies to Oasis, but Elbow are now my favo(u)rite Manchester band.  This is their 8th studio album. Lyrically, it’s darker than what we normally get from them, but personal tragedies and these modern times will have that effect.  Guy Garvey’s pristine voice, the band’s orchestral use of dynamics, and at least one song with massive audience sing-along potential on the hook… those things are still here.  Also, Pete Turner continues to bring interesting choices to the bottom end, along with solid grooves from which most of the other instruments hang. 

• Favorite Songs: “Empires”, “White Noise White Heat”, “Weightless” 

 

Idlewild - Interview Music 

Let’s stay on the island of Great Britain for a moment, but head up north to Scotland.  I have five of this band’s first six albums on CD (I don’t have the first one). There was a time when I would listen to something from Idlewild just about every day.  Somewhere around 2008, I completely lost track of them. It wasn’t them, it was me. I’ve missed a couple of their albums, and nearly missed this one, only having discovered that it came out in 2019 in December.  Other than the vocals (not the high ones), this doesn’t sound like the Idlewild I remember… there are plenty of atmospheric additions here, strings and reverb-drenched guitar and piano, and it’s all quite lovely. I need to spend more time with this album, but I know that I’ll like it more with each listen. 

• Favorite Songs: “Dream Variations”, “I Almost Didn’t Notice”, “Forever New” 

 

The Cranberries - In the End 

A short hop West across the Irish Sea brings us to the home of The Cranberries.  This mention is kind of like a career achievement mention, as the band decided not to continue after frontwoman Dolores O’Riordan died in January 2018.  This is their final album, released this year. The vocals come from demos instead of normal studio takes, but if I hadn’t read that online, I wouldn’t have known.  Some of the music would easily fit in among the songs on their first two albums. I feel like most folks probably don’t know this band beyond their hit singles, and that’s too bad, there is some songwriting brilliance in their career, and this is a satisfying final statement. 

• Favorite Songs:  “Lost”, “Wake Me When It’s Over”, “Illusion”, “In the End” 

 

Charly Bliss - Young Enough 

Back much farther West across the Atlantic, Brooklyn’s Charly Bliss dropped their second full-length album this year.  Full disclosure, I really wanted to like this album because I have met the members of this band, and they were pleasant and engaging young folks.  I like them as people.  (They also put on a very energetic live show.) My first couple of listens to this album, well, I wasn’t enthused… lots of synth, some drum machine sounds, the guitars and rock had taken a back seat to sugary pop.  Then I paid attention to the lyrics, listened closer to the songwriting, and focused on the harmonic choices. These songs are painfully confessional and personal, and I wonder how Eva manages to sing them on tour night after night without bursting into tears.  Further, this band’s gift for arrangement and hooks persists behind the pop sheen… and these songs sound excellent live, right alongside their older guitar-heavy work. Go get this album. 

• Favorite Songs: “Capacity”, “Camera”, “Young Enough”, “Chatroom” 

 

John Dubuc’s Guilty Pleasures - Where Have I Been All Your Life? 

Don’t let John Dubuc’s “aw shucks”, self-effacing demeanor fool you.  He is one of the best songwriters in Dayton. His lyrics oscillate between witty and silly, pointless and profound. He doesn’t feel the need to be constrained by the idea of genre, as there are sounds borrowed from reggae and country and fifties rock and power pop and folk.  Several songs from this album will absolutely get stuck in your head.  You have been warned.

• Favorite Songs: “It Ain’t That Far”, “Crazy Days”, “By the Ocean”, “Peace Love and Hamburger Helper” 

 

Me & Mountains - Dream Sequence Volume One 

This a very brief EP, so I feel like my comments here have to also be very brief.  I love everything this band does, their sound is right up my alley, and I want them to give me more music ASAP. 

• Favorite Song: “Demolish Me” 

 

Amber Hargett - Paper Trail 

Amber is lovely and genuine and sweet, comes armed with a powerful voice and a knack for songwriting, and once told a story that will ensure I never look at a submarine hatch the same way again.  Oh, and her album is great. 

• Favorite Song: "Church Mouse", but that isn't on this albums, so let's go with “Broke”, “Carolina Blue”, “Stay” 

 

I suffer from terrible insomnia.  Unless I am really jet lagged or physically worn out, getting to sleep is a struggle.  Simply, I can't turn my brain off.  I think about this, about that, about things that matter, about things that really don't matter, over and over and over and over.  When I am eventually able to sleep, my brain keeps right on churning. Enter dreams.

You might think this topic is just an excuse to reference songs about dreams... and well, you wouldn't be 100% wrong...

 

Let's keep this first installment musical.  Sometimes, I dream lyrics.  Here are some that I wrote down after waking up at a crazy early hour:

wrap me up in the rabble of the crowd that's had enough

I have no idea what that means.  I am certain there were other words around these, but when I woke up in that not-quite-coherent state, these are the only ones I could focus on enough to actually write down.  Good enough to keep, yes.  Good enough to write around, maybe.  Maybe another dream will bring me more lyrics to finish out this idea.

Sometimes I dream complete songs.  I mean, completely written and arranged.  Intro, verse, chorus, bridge, chord progressions, cool bass lines.  The conscious version of me who is typing this blog entry right now wonders how many of these are just popular songs that we all know, but recycled.  There is a part of me that thinks there might actually be something in there though.  Sadly, I generally never remember enough of the music upon waking to do anything with it... I say "generally", because there is an exception.  It's a song that is now called "Never Let Go".  I'll hold back additional commentary on that for a future blog post.

When I think about this further, I think that I might actually write better songs in my sleep than I do when I'm awake.  Yeah, that sounds like a pithy hyperbole, but I am afraid it may be true.  That part of me that is overly self-critical, the part of me that never thinks anything is ever good enough, the part of me that writes with chord charts handy... those parts aren't there when I'm sleeping.  Maybe the music I hear in my dreams is where my true creativity is?

 

 

 

 

For three reasons, the subject of this Ohio Spotlight would probably surprise people that know me.  First, much of the music is country or country-adjacent, and that's not a genre I particularly enjoy.  (More on this later.)  Second, Lydia no longer lives in Ohio, having left us for North Carolina, and unlike Orville and Wilbur, her relationship with North Carolina does not appear to be solely for dunes and wind.  Third, she is famous.  Well, maybe not the kind of famous that means she can't leave her home for fear of paparazzi, but famous enough to have been the subject of a documentary, and successful enough of a musician to have been on Tiny Desk. If these are thoughts you might have had, I assure you that I get it... but when I first discovered the music of Lydia Loveless, she still lived in Ohio,... also, my blog, my rules, yes?

 

The first Lydia Loveless song I heard was "Same to You". Doctor Jipson played it on his Tuesday show on WUDR.  I think everyone can probably guess what I noticed first... yes, the bass.  Before the vocal starts, in the instrumental vamp intro, that bass line moves around and the groove had me right away.  Then the loud/quiet dynamics of the verse and chorus... the big voice... the harmony vocals in the chorus... the interesting panning of the electric guitars.  One listen, and this song blew me away.  I remember not having any idea who this was... but thanks to Dr. J's habit of tweeting about the songs he is playing, I quickly found out.  (Keep that up Dr. J!)  "Same to You" was the lead single from the 2016 album Real.  I loved this song so much, listened to it nearly on repeat for a few days... also enjoyed the rest of the album.  I never got a chance to see the band live, but you know, there are plenty of good examples on YouTube.  Here's one. How great is that performance?  

Does that sound like a country song to you?  Me neither.  This song was very much right up my alley... so much so, that I started digging into Lydia's earlier albums... and yep, there's a lot of country there, and it was surprising to me.  I did end up listening to her entire catalog, but Real ended up being my favorite collection of songs.  That said, genre aside, there is some great songwriting on all of her albums.  (Also, how many country artists write love songs using 19th century French poets as a point of reference?)

Back to "Same to You" briefly... and we'll use this as an example of why I feel like I have a great deal to learn from Lydia Loveless, and also why I feel like we have a great deal in common as songwriters.  Check out this solo performance. The verse is only two chords.  For the full band version, that gets kind of obscured in all the cool stuff going on... but this... with just an acoustic guitar and that powerful voice... this is how the song was probably born.  Simple song, but outstanding lyrics, the bridge is in a perfect spot and does a perfect thing, and the melody is brilliant.  Now, I don't play guitar, and I don't have that voice of course, but I write on a piano with the end goal in mind of having full-band renditions of my songs, so there are many things I can learn from Lydia's approach.  Craft your lyrics. Craft your melody.  Simple is ok.  Pay attention to arrangement. Write from the heart. (Another thing we have in common is we both love Chris Cornell's Euphoria Mourning album, which was the subject of an earlier blog entry.)

Go listen to this songwriter's music.  If you enjoy country music, maybe start with The Only Man or Indestructible Machine and work your way forward through her catalog. If not, start with Real, which is where I started.  

What's this?  It's not Monday.  Yes, I'm a day late.  I got sick on Sunday with the beginnings of a nasty cold, and it hit me full bore yesterday.  Ok, with that out of the way, welcome to a "Songwriting Story" edition of my blog... oh, but there is a twist.

I want to tell you the stories behind the songs on Defacing the Moon, which is the split album out on Local Music Day from me and The Paint Splats. However, I wrote five of the songs on this split album.  That would be an awfully long blog entry, and even the three people that read this every week probably aren't going to sign up for several thousand words, right?  

Here is what I will do... I will verbally tell you stories about writing these songs.  In fact, I will do one song a day beginning with Monday 4th November.  That day, by the time the evening of Friday the 8th rolls around (this is the +1 bonus day for "Local Music Day), you'll have a story for all five songs.  I'm going to use my Instagram page to do this, specifically the stories section.  If you're not following me over there, please do so.  You can click the link in the previous sentence, or the one at the bottom of the screen on my website here.

To quote a Mel Brooks movie, "Everybody got that?  Good."

MOIRA is Aaron Hardy, Alicia Grodecki, and Patrick Hague, if you list them alphabetically by first name.  These are three musicians whose relative youth belies their experience.  Punk, metal, pop, extensive touring... these are the things you'll find as you look into their past.  All of that experience combines to produce art that is greater than the sum of its parts.

Inventive rhythms from Patrick behind the drum kit, including the occasional drum pad being triggered.  Thick synth and sturdy bass lines from Aaron, on the audience's right.  More synth, Rhodes, and vocals that oscillate between delicate and strong from Alicia, over there on the left.  Songs that are carefully constructed and given time and space to develop, to breathe, to surround you.  

MOIRA is one of my favorite artists around these parts right now, and the only thing I would ask of them is to get us more records.  Please.

Their first EP, Asleep/Repeat/Awake, came out in 2015.  They have a brand new release that just came out a couple of weeks ago.

You can catch them playing shows around Dayton, and also around the Midwest.  If you haven't gotten a chance to see them yet, and wonder what they are like live, well, I recommend their excellent performance at the Paste Magazine studios in New York.  Watch it here.

 

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.

Loud as a jet engine being fired up, while also dropping incredibly catchy earworms.  That was Mondolux.

I saw them many times... at Canal Street Tavern, at El Diablo (anyone remember that spot), in a tiny room upstairs at Southgate House.  They were my first live experience with punk-adjacent music.  I say "punk-adjacent" because the songs were generally hooky rock and roll with all kinds of pop sensibilities... just played really really loud and usually rather fast.  Also, recently, I was watching a video of The Clash playing live, and recognized many of the musician stances and mannerisms as something I had seen at Mondolux shows... these guys must have loved The Clash.

Alas, this band is no more... and you can't find a great deal of their music online.  Here is one of my favorite of their songs, called "Memphis Lung".  What's not to like here?  This one has a nifty little swagger to it, a fantastic groove, and Eric Purtle's charisma comes across just fine in this recording... but that's nothing compared to what it was like to see them do this live.

Here's a video taken from one of their live shows.

 

 

This song is "TJ Swann", and is on their last album.  A pop song.  Catchy, with the volume cranked.  That was Mondolux.