I'm not a journalist or professional writer, but I like to write, so my blog is a way to scratch that particular itch. To some extent, my Twitter feed also serves this purpose. I learned this year of a music writing exercise that is conveniently called "Music Writing Exercise", and is represented by the #MWE hashtag on Twitter. The idea is to listen to one album every day that you have never listened to before, then write some thoughts on it... but the thoughts need to be the length of exactly one tweet.  Now, I started the challenge a few days late, which required listening to multiple albums on some days this month, but I just now finished the Music Writing Exercise. I'd like to share with you the albums I listened to, and my thoughts on them, as written on Twitter.  Who knows, you might find something you like.

I'd link to all of these albums, but it would take me FOREVER to look up all of the appropriate links to websites and such, and besides, you know how to use Google, right? 

• #MWE1. Yep, late getting started. Ben Decca's 2021 album Dévotion is my first exposure to Makossa music. The songs in Ben's native language (I assume Douala), well, I don't understand, but dig the music. Some latin-sounding flavors, great vocals & harmonies, grooving bass.

• #MWE2. Carolyn Shulman's Grenadine & Kerosene, which came out in 2021. The title track is excellent. There are a couple of songs that lean a little close to country for my tastes, but overall, solid lyrics & well performed musically. Go get this one.
• #MWE3. Yes, still behind. California outfit The Sometimes Island has a new EP out called Beverly & Barbara. It's got a creative take an a 70s song, along with some tasty indie pop. Not too saccharine for me, care paid to songcraft and instrumental choices to properly deliver melody.

• #MWE4. Willie Nelson's ...And Then I Wrote. Well, it's noticeably derivative, with blues & gospel/soul music filtered through his vocal approach. Simple lyrics, going for obvious rhymes. Piano sprinkles are lovely, background singers lovely, album reminiscent of elevator music.
• #MWE5. Melissa Carper gives us a live tracked album with Daddy's Country Gold. A unique voice, & an interesting take on a mix of some very old types of music. Yes, the word "country" is in the title, but there are other sounds here, notably strong jazz influence. I think I dig.
• #MWE6. The Late Great Townes Van Zandt. "Great" is doing heavy lifting, as I disagree. My favorite song is "Snow Don't Fall", followed by "Poncho & Lefty", but there isn't much going on musically and the songs here don't speak to me. The strings are nice when they show up.
• #MWE7. Music City USA, by Charlie Crockett. I don't like this one. I think I liked three songs, maybe. I'm beginning to think that this genre might not be my thing.
• #MWE8. Still way behind schedule. I never heard anything from Betty Davis, and her recent death caused me to go check out her work. Her self-titled debut is funky, sultry, and will make you want to get up and dance.

• #MWE9. This is the first Zola Jesus album, The Spoils. Vocals mixed low & ALSO sound like they have a ton of reverb, which makes them sound distant & mostly unintelligible. There are some catchy instrumental hooks, & tasty shoegaze sounds, but I won't come back to this one.
• #MWE10. Back to Betty Davis for this one, her second album. It's just as funky and sultry and full of attitude as the first one.
• #MWE11. Shame on me for taking so long to get around to listening to a Bad Brains album front to back. This is their debut & it is chaotic & fast & loud, except for when they branch off into reggae, & then right back in to furious punk. As good as advertised.
• #MWE12. Adria Kain, When Flowers Bloom. An R&B album featuring what sounds like mostly in-the-box production, which really isn't my thing. I like "Melt Into You" best here, and the album is not bad, just not all that memorable. Really good vocals though.
• #MWE13. Jay Wheeler's latest El Amor y Yo. Good vocals. Heavy use of pitch correction for artistic reasons. I'm old, it's not my thing. Interesting variety of Spanish language urban music. Plenty of nice grooves, and one can dance to most of it.
• #MWE14. Wiki tells me that this Ricky Nelson album is rock and roll. It sounds like the kind of thing you would hear on an oldies station, the songs are quite slow, and use rudimentary chord progressions. The perfect soundtrack to a movie set in the 50s, but not for much else.

• #MWE15. More Betty Davis, more funk on Nasty Gal. Interesting how this sounds like the era it is from, but still somehow fresh. It's good. A song called "F.U.N.K." on it has Betty name dropping a bunch of her musical contemporaries, and I wonder if she was the first to do that.
• #MWE16. Introduced to Nija here on Twitter by @djboothEIC.  Lots of emotion carried in the lyrics on these tracks, notably for me "Rare" & "You Don't Love Her". That said, I think modern R&B with in-the-box production & heavily pitch shifted vocals isn't for me. That's ok.
• #MWE17. Revival, Rissi Palmer. I've followed @RissiPalmer #onhere for awhile, & finally got around to listening. This is as soulful as you'd expect given the album name, also meanders around country & americana sounds. Excellent album. Hello Hammond B3 on stompin' title track!

• #MWE18. Hard Won by Lizzie No has lovely songs. Lizzie plays harp. HARP!!! Lizzie also plays guitar. Folk music here, well recorded. I dig it.
• #MWE19. I listened to this because Paul Monnin told me to. Other than the bass on "Do Right Woman", including a couple of sweet fills, I don't like it. Sorry, Paul. (Ok, I guess I dig the way the different vocals are panned as well.)

• #MWE20. Fellow Midwesterners Urge Overkill are back. Say "oui" to this album. If you remember and like this band, you'll like this album. If not, you might still like it, I certainly do. I dig Nash Kato's voice. The songwriting is good.

• #MWE21. I discovered Joslyn & The Sweet Compression because they are stopping by Dayton on tour. I have a ticket. Solid album here. Funky, with some characteristics of that classic 70s Dayton sound. Soulful. Dig it very much.
• #MWE22. Bubblegum, by Mark Lanegan. I really should have gotten to this earlier. Great songs. Having PJ Harvey on a couple of them certainly doesn't hurt. Mark's voice sounds broken in and familiar like old leather. Solid rock and roll album.
• #MWE23. Spoon's latest album is Lucifer on the Sofa, and is the first Spoon album I have listened to in its entirety. What took me so long? This is a rather solid rock album. I think my favorite song is "Satellite", but that may change with future listens.
• #MWE24. Built To Spill's album Keep It Like A Secret came out in 1999. I like all of this. Some of the guitar work is a bit more meandering than most of what I listen to, but the hooks are good, and there is some big rock and roll sound when there needs to be.
• #MWE25. Kären McCormick's EP Retro. It's pop country, not my thing at all. Well produced and executed, sure. Here's hoping more artists/songwriters of color bust through that glass ceiling in the Nashville part of the industry though.

• #MWE26. heard Momma's new single, which sounds exactly like Veruca Salt to me, so I went to check out their older work. That's not quite the feeling you get on Two Of Me, their 2020 album, it's much more subdued. That said, it's perfectly fine, but I'm ready for the next one.
• #MWE27. Eddie Vedder's latest solo album, Earthling, is much better than I expected, containing a variety of styles, sonic textures, and approaches to song construction. I need a few more listens before I throw too many superlatives at it, but my first take is it's quite solid.
• #MWE28. Pollen, the 2021 album from Superbloom, is my favorite album out of all the ones I listened to this month. It sounds like 90s rock, and I mean that as a compliment. I will probably be listening to this over and over and over again.

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This was an enjoyable exercise. I listened to several albums that I otherwise might not have listened to at all, or might have taken awhile to get around to. There ended up being a reasonably diverse group of genres represented, though it could be argued that I need more hip hop or pop music in this February collection.  Maybe I'll concentrate a bit harder on those areas next year.  (Though it could be said that discovering a new-to-me genre in Makossa more than makes up for that.) Yes, I definitely plan to do this exercise again.

If you are familiar with my musical tastes, you know that there is a very special place in my heart for Fountains Of Wayne.  I listen to them and I think "this is what pop music is supposed to sound like"... plenty of hooks, vocal harmonies, solid songwriting.  A bonus with them is many of their lyrics are clearly meant to be a little humorous.  Back in the day, I don't think I associated Columbus, Ohio's rock band Go Robot Go with Fountains Of Wayne, but I really should have.  I listen to a GRG song, and I think to myself "this is what pop music is supposed to sound like"... there are plenty of hooks, solid songwriting, and plenty of light lyrics.  Let's talk about this band for a moment.

Something unique about Go Robot Go is their use of the vocoder.  On many of their songs, the vocal harmonies are sung through the vocoder.  The opening song to their album Convertible, called "see you on the radio", is a great example... Neal Havener's lead vocals are clean, and the harmony vocals sound robotic.  Sometimes they would change it up and put the vocoder up front in the song.  Have a listen to "shy (ee ii)" from the same album, and notice that the distorted vocals are there right at the beginning.  Of course, the frequent use of a vocoder might seem like a gimmick if the band members weren't actually talented musicians and songwriters... but they are, so while the vocoder is heavily used, I never found it to be distracting.

Some two decades ago, GRG was gigging around the state fairly often, and they played a lot of shows in Dayton.  I can think of at least three different Dayton venues at the time where I certainly saw them play, and if I think hard enough, I might come up with some more.  

The last album of theirs that I am familiar with is Wait 3 Days... Then Attack!   The cover looks something like this.

You might be thinking that the video game looks like it belongs in an arcade, and you'd be right.... they have a song on the album appropriately entitled "At The Arcade".   (The high score spells YOU.)  As an aside, it looks like there is some Arabic text on the video game, and I never noticed that before.  I wonder if Neal and the boys would be willing to tell us what that means.

Sadly, I kind of lost touch with this band in the early 2000s.  They released an album in 2007 called LIVE at the Zig Zag.  I am pretty sure that's a self-referential allusion to "marmalade 99".  There is also an album from 2014 called Good Vibes in Fashion Swimwear, and that one has a song about a certain intelligent cartoon lady in an orange sweater called "Ode to Velma in C Major".

I miss this band.  I've taken the opportunity recently to dip back into their catalog, and I am falling in love with them all over again.

Grab some beer, grab some snacks, and discover Go Robot, Go... warning though, these songs will get stuck in your head.

Our interview subject this week recently released her first EP, called Sense of Self.   Listen to it here.   She does her own arranging, engineering, mixing, and production.  She is based in Boston.

1.  Let's hear the elevator pitch for your skill set and genre. 

I'm an a cappella looper artist. I perform solo vocal arrangements of covers and originals using a loop pedal. 

2.  Your song "Sense of Self" shows some vulnerability.  How long did it take before you were comfortable singing out those feelings in public? 

Honestly, I try not to think about it. When singing in front of an audience, I treat it like any cover I would sing. The song already exists, and my job is to perform it to the best of my ability. It's not about me, anyway. Each person projects their own feelings onto a song, or at least that's my goal - to have a song resonate with them personally. 

3.  What was the first album you can remember buying with your own money? 

Believe it or not, it was the soundtrack to the Broadway musical Next to Normal. It's my favorite musical. The sound is all in the rock genre, and it's about a family dealing with mental illness and loss. 

4.  Tell me about the last concert you saw. 

My most recent concert was Ingrid Michelson at the House of Blues in Boston. I think my favorite moment was when she forgot the words to one of her songs. She just started laughing, and started the song over with the band, but then the whole place, band included, got the giggles so badly at that point, that they weren't even able to finish the song. She was like "Who forgets the lyrics to their own song??" But we've all been there. I love those moments of imperfection at a show. 

5.  What artists do you consider to be your biggest influences? 

As far as a cappella looping goes, I draw most of my inspiration from a jazz singer named Cyrille Aimée. I bought my looper because of her. The first song I learned on the looper was hers - "Nuit Blanche". My new album is more in the vein of singer-songwriters like Sarah Bareilles, Ingrid Michelson, and John Mayer. I have lots of experience in jazz, musical theater, classical, and popular music, so my influences are vast, but that's where I'm living musically at the moment. 

6. Based on your background, when you write songs, I imagine your process is very different than most other songwriters.  Would you be so kind as to describe how you approach songwriting? 

I've been writing poetry since I was very young, about 10 or 11 years old, so the lyrics almost always come first. I recently learned that most people have an "inner monologue" of thoughts. I actually don't. It's more of a sensation than complete sentences in my head. Writing, talking, singing, and sketching come naturally when I'm simply trying to organize my thoughts. Then, use those ideas to write the lyrics in a more structured format. I edit so that the accents fall in the right place, and I break out a rhyming dictionary. Sometimes, I'll just write down a group of words that rhyme that I feel resonate with the emotion or mood, and I'll write an entire verse around those words. When I'm happy with that, I'll write it in musical notation so I don't forget it. From there, I can analyze the implied chord structure of the song and add those to make a lead sheet for myself. Sometimes I'll borrow chord substitutions from other songs that I like at the time. 

7, You have some experience on the engineering side of the business as well.  Can you tell me about how you got in to that, and about what you try to get done in the studio for your clients? 

Before considering myself an engineer, I'm an arranger. I create arrangements of songs for live performance using sheet music. I was able to break down the different elements of a song to create memorable moments within a song. Recording and producing is just another way that I can do that. 

I primarily work in a cappella, so I focus on vocal arrangement and production. Typically, the song is already arranged by the group, so my job with a musician in the studio is to get the best performance possible out of them. Notes and rhythms are second to the emotive energy you need behind a vocal. As a vocalist myself, I also have the pedagogical skills to coach singers on getting a stronger sound, or a completely different vocal technique. Everything I do after that is to honor that performance. 

8,  What is your biggest challenge when it comes to making music? 

Creating the music isn't really challenging at all. I think the challenging part of being a musician is taking the thing that you created and sharing it with the world in a way that they're going to love. People don't realize how many grueling hours and meticulous planning go into an hour-long show or an album release. I love the marketing and management side of music, but it's very hard to do it for yourself. It feels very weird to put yourself out there and promote yourself. I wish there were two of me!

***

Did you notice that Nina actually writes in musical notation?  I find that most impressive, and also very much enjoy the way she builds songs with only her voice.  Why not visit her official website?  You can also connect with Nina on Instagram or on her Facebook page.

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.

Boyz II Men - Cooleyhighharmony

This album came out in 1991.  I was in junior high school.  I remember that you couldn't get away from the two hit singles on this record.  The more upbeat of them, "Motownphilly", had a video that was on MTV all of the time... you know, back when MTV played videos.  Four young black men, well-dressed, and singing some tight harmonies over a hip hop beat.  I don't remember having heard anything like it.  The other ubiquitous single, "It's So Hard to Say Goodbye to Yesterday", was sung a cappella in four part harmony, with finger snaps being the only percussion.  I didn't know at the time that this was a cover.  What a fantastic choice to do a rendition of this song like this and put it on the album.  Maybe the album doesn't go nine times platinum without this song.

To do my due diligence for this blog post, I went back and listened to this album again.  It sounds very much of the time period from where it came, but it still sounds good.  

Those of you who remember this album might think that I have forgotten to mention "End of the Road", which was another single that you couldn't escape from hearing.  Well, it wasn't originally on this album.  It was a single produced for a movie soundtrack, and it did so well, that the label put it on the re-issue of Cooleyhighharmony that came out in 1993.  (The re-issue contains a fantastic a cappella rendition of "In the Still of the Night", and I remember wishing I could sing like that.  I mean, check out the glory of the nineties in this video.)

Listening these songs again takes me back to wandering the halls of Central Junior High.  I am also reminded of my younger brother, who loved this group and this album.