If you don't feel like reading the story, but are curious to hear the song, please scroll WAY down to the end of this entry, and there will be a link for you.

The Who & Why & What

Some very dear friends were going to move away.  This wasn't the kind of move where the prospect of never seeing them for the rest of my life was a possibility (although in the midst of a pandemic now, who knows), but this move was far enough away that visits would be few and far between.  So, as one does, I was considering a gift.  Here's the problem... gift giving is hard for me, more so in a situation where distance is involved.  Food/drink gifts, while delicious, don't last very long.  I don't have the wherewithal to come up with practical household gifts, and besides, they were already settled in a home, they were just going to a different home and ostensibly bringing their stuff with them.  Not being able to turn my brain off at night is a nearly quotidian issue for me, and many nights the question of what kind of gift to give was the source of my insomnia.  What could I - a generally useless and insignificant being - possibly give someone without it being hackneyed or trite?  Hey, I write songs.  How about a bespoke song?  That's unique and that's sincere, which means the proper sentiment gets across no matter how awful it ends up being.  Ok, problem solved, now to work...

 

The Where

I knew the destination of the move.  That being the case, I did more reading about the location than I'd like to admit, looking for extra details that I might be able to shoehorn into a song.  Relevant lyrics from the song:

Say hello to the Badlands
Prairie dogs and Minuteman
Needles in the Black Hills
Porcupines with their quills

Say hello to the Big Bird

I'm not going to spell the place out to you, I'm going to depend on your profound knowledge of geography and history - or conversely, your Google skills - to tell you The Where.

 

The How

Brainstorming sessions. Writing text.  Editing text into lyrics.  

Deciding on a mood.  Well, it's somewhat melancholy, but hey, they're not dying - at least not any faster than the rest of us are - and we very well might cross paths again.  Ok then, minor key for the verse, then have a pre-chorus that modulates from minor to major, then major key in the chorus in order to give that optimistic and hopeful feeling.  Settled.  Pick the chords.  No, not that one.  Yes, that one.  Ok.  Chords.... find a melody.  Agonize over the piano at finding a melody.  Have a look at those lyrics.  Oh, that's not good enough, and that won't work with the melody.  Edit the lyrics again.  Gently massage the lyrics and the melody until they are able to combine.

Back to the lyrics.  How do I say "I love you and I will miss you" without explicitly saying those words?  We're writing songs here, need to be artistic and just a tiny bit oblique.  Ok, well, the general purpose of the song is as a goodbye present, how about making that the theme?  Enter my interest in etymology.  (If you think that word should contain an "n", well, that really bugs me.)  The word "Goodbye" literally means "God be with you"... over the centuries English has shortened that four word farewell into one seven letter word.  Ok now I have my chorus hook.

Goodbye means God be with you
God be with you as you go
Goodbye is temporary
Just until the next hello

 

The When

There is more than one When.

The first... well, there was a moving day.  I wanted to have the song finished, recorded, and gifted by moving day.  I finished the song probably a week before the departure, as far as the final first draft.... then spent time messing around with the arrangement or the lyrics, not liking the edits, revising back to the original idea, pruning here and there again... yeah, it's a process.  By no means am I an engineer, but I recorded the song at home the way I do all of my demos... I even threw on some vocal harmonies.  I bounced it to mp3, and emailed it to my friends on the day they left.  Mission accomplished.

The other When.

I was putting songs together to take to Patrick Himes at Reel Love Recording Company in February 2019, in preparation for tracking on my second solo album.  "Goodbye", well, I didn't hate it.  It kept growing on me.  I thought it had potential given the right instrumentation and production.  I brought it with me, along with a bunch of other songs on pre-production day.  It survived the initial cut down... and as tracking started on a few songs and an album began to take shape, I ended up thinking that this one absolutely HAD to be on it.

There were obstacles.  I wrote this song on piano, but I do not have the piano chops to do it justice.  Patrick plays piano - because Patrick plays everything - but he had done that previously on "Convalesce" (from Defacing the Moon), was already playing acoustic guitar and pump organ on this one, and I wanted the chance to work with another talented musician who I admire.  I decided to ask Nathan Peters.  You might know him from such bands as Vinyl Dies,  Lioness, TV Queens, and the legendary Captain Of Industry. Nathan so kindly said yes, and between the chord chart and my very very low quality home recording, was able to figure out what the song needed from the piano part.

Ah, the bass part.  Well, I wrote the song on piano, and was unable to come up with an accompanying bass part that I thought was good enough.  I reached out to Eric Cassidy for ideas.  He had a great idea, and was kind enough to record a video of himself playing the idea slowly enough that I could learn it.  One problem, it involved a quick note change that required holding a chord shape for the change... this type of thing is baby easy for guitarists - and for bass players that are much more talented than me - but I don't often play chords, and when I do, I certainly don't slide around from chord to chord.  Great idea, how to execute cleanly?  It turns out that I couldn't execute it cleanly.  Every time I would play it, I'd either mess up the chord shape on the slide, or make too much fret noise, or not have all of the notes held well enough so that one of them wouldn't sound muddy.  Here's where the studio magic comes in... I played the root note of the chords, then we used overdubs for the harmony notes.  I'm not ashamed to admit it, I'm just not good enough to do it another way, it is what it is.  We got the sound we needed to get.

The vocals.  Take after take after take.  When flat, try again.  When sharp, try again.  My verse harmonies worked out ok.  Patrick had a fantastic idea for an additional harmony in the verse that I hadn't considered... after he sang it for me a few times so I could get it, I went and recorded that as well.  What we have now are really nice harmonies in the verse with three parts, and all of the parts are me.

(I feel I should mention and thank community drummer Brian Hoeflich here, but make clear that there was no obstacle whatsoever as far as his part is concerned.  He did - as per usual - excellent work.)

 

The Summary

"Goodbye" is track 3 on Anxious Inventions & Fictions.  (If you have the Deluxe Version on CD, it is track 11.)  I am proud of it.  I said what I needed to say, which is the main point of writing songs.  The recording sounds clean, and makes me seem like a much more talented musician than I actually am.  Sure, I didn't actually HAVE to professionally record this song... but I thought the song was good enough to deserve it, and the folks I gifted it to deserve to hear it at its full potential instead of only the horrible version I did at home.

 

Click here to listen to "Goodbye" on the platform of your choice.

What?

The album title is Anxious Inventions & Fictions, which is a lyric taken from the piano ballad "Insomnia".  The album art looks something like this:

 

Megan Fiely, "Insomnia", 24" X 24", acrylic on canvas, 2020.

This album exists in two versions. 

First, there is a ten song digital version.  Do you remember my crowdfunding campaign in order to press vinyl from earlier this year?  That did not get funded, so the ten song digital version is what the album would have been on vinyl.  In order to duplicate the vinyl experience, after the fifth song finishes playing, press pause on your device, get up and walk around the room for thirty seconds to simulate flipping the record over, and then continue. 

Second, there is a twelve song deluxe version on compact disc.  This contains two additional songs, an alternate mix of the opening track "Your Anthem", and a different track order, for a custom listening experience. The CD also comes with a twelve page booklet, containing lyrics, liner notes, and art.  For both versions, the album is sequenced carefully, and the listener is meant to listen to all of the songs in order.

 

Who?

Mike Bankhead.  That's the name/logo on the cover.  I wrote and arranged the songs for the most part.  I say "for the most part", because TINO wrote lyrics and is featured on one song (you might remember a blog post about him), and Greg Owens co-wrote another song (you might remember a blog post about him as well).  Also, two songs feature string arrangements by the outrageously talented Blair Breitreiter.  But wait, there is more...

Here is a list of the wonderful folks who lent their time and talents to this album:

Eli Alban
Dustin Booher 
Blair Breitreiter 
Thad Brittain  
Chris Corn 
Ken Hall
Valentino Halton
Patrick Himes 
Brian Hoeflich
Chad Middleton
Kent Montgomery
David Payne 
Nathan Peters 
Tim Pritchard 
Tod Weidner 
Heather York

This album sounds good, mostly because of this list of humans.  For those of you who are not familiar with independent music in Dayton, you'll just have to trust me when I say that some of the finest musicians in our area are represented here.  

Also, a tip of the hat to Megan Fiely for the beautiful painting, and to Spencer Williams for the photography, layout, and design.

 

When?

There are some different answers to this question.  Let's start with making the album.  Tracking and mixing took place between February 2019 and February 2020.  That's a year of hard work, not just my own efforts, but also the people listed above, and specifically Patrick Himes as the recording and mixing engineer and David Payne as assistant engineer.

You can order this album on September 4th.  That happens to be Bandcamp Friday, when Bandcamp forgoes their customary cut of artist sales.  That means that all of the funds spent on Anxious Inventions & Fictions on that specific date go to me, and contribute to my ability to continue making art for you to enjoy.  If perchance you don't know where to find me on Bandcamp, here's the link for you to bookmark:

https://mikebankhead.bandcamp.com/

The official release date for this album is September 12th.  That is the day that you will be able to listen to it on the Bandcamp page I just mentioned.  That's also the day for which a safe, socially distanced, outdoors release celebration is planned.

For those of you who only listen to music via streaming services, you will find Anxious Inventions & Fictions available there on September 15th.

 

 

Where?

The album was recorded and mixed at Reel Love Recording Company in Dayton, Ohio.  Blair handled some additional recording of string arrangements at Bohemian Trash Studios in Albuquerque, New Mexico.  The album was mastered at True East Mastering in Nashville, Tennessee.

The socially distanced release celebration will happen at Yellow Cab Tavern on 4th Street in downtown Dayton.  Please note that the owners and staff at Yellow Cab care deeply about the health of our community, and require all visitors to wear a mask.  If you do not wear a mask, they will kindly ask you to leave.  Yellow Cab also has social distancing guidelines in place.  If you wish to know more about the precautions they are taking and how you can cooperate, please give them a call.  

 

Why?

There are those who think that music doesn't need a reason, because "l'art pour l'art", right?  I haven't thought about that particular worldview all that much.  I certainly have my reasons for making art.  

Songwriting is how I deal with stress and anxiety and depression.  Songwriting helps me to work through all sorts of emotional turmoil, and the catharsis that it provides is probably a net benefit to my mental health.  Songwriting is a way for me to say what I want or need to say, especially when nobody is listening.  Not all of those songs get recorded as demos at home, and even fewer of them make it all the way to the studio... but some of them do, and this is what  happens when they do.

I still believe in the idea of the album as an art form. That's not popular these days, as music is seen as a resource, a commodity, a value-less product, both by the companies who use it to make profit, and by the vast majority of music listeners.  I don't make pop music, so of course, I'm not making music for these people.  I make music first of all for me, because it's something I'm driven to do... and all of you other musicians out there, I see you nodding along.  Of course, I wish to share my art... well, the subset of it that I get around to thinking is of enough quality to warrant sharing... but if I write something I don't personally like, you won't be hearing it.  I won't write in a genre or in a certain way because it's popular, because I'm trying to get rich, or because I think it's what someone wants to hear.  You'll only be getting authenticity from me, thank you very much.

The above said, music is also a means of communication.  Thoughts, feelings, ideas, the concrete, the abstract, and just about everyone wishes to be heard, yes?  Maybe music is kind of a cry for help?  Tell you what, as soon as I get a therapist, I'll be sure to discuss this with them.

 

How?

You know, ever since I was a teenager, if I see that particular word all on it's own, I can't help but sing it.  I mean, I sing it inside my own head where nobody is listening, but it has to be sung.  How, you said you never would leave me alone....

So, how did this happen?  Lots of hard work.  I'm not exactly a gifted musician or songwriter, but I work at it, and I have some perfectionist tendencies, which means lots of editing and re-writing. A great deal of singing practice.  A great deal of singing the same parts over and over again, until Patrick would tell me that it's no longer pitchy.  All sorts of patience from Patrick Himes and the musicians who agreed to play for me.  Even more patience from my wife when I would be in the studio for long hours and obsess over details in mixes at home.

How? Time. Pain. Self-Doubt. Frustration. Tears. Stress. Study. Thought. Experimentation. Explanation. Sleeplessness. 

 

Anxious Inventions & Fictions is my best work.  That's what I think, anyway.  I hope you think so, too.

Making an album is a long journey.  The time spent writing and re-writing, then re-writing again at home.  The arranging, which often requires another re-write.  The demos.  The gathering in the studio to discuss and plan.  Session after session after session with a whole bunch of really talented people.  Take after take after take of singing, repeating the process if you're a little sharp or a little flat.  The listening to studio bounces over and over and over and over.  The mixing.  That's my process and my journey at least.  Many musicians probably have it easier.  For me, it's a long journey, and it's hard work, and I wouldn't be able to do it without the help of a great many people.

I'd like to celebrate a little more than a year spent working on Anxious Inventions & Fictions by means of a photo blog entry.   

 

Let's begin:

This is engineer extraordinaire Patrick Himes adjusting the boom for Eric Cassidy on June 2, 2019.  Eric sang harmonies on "Bright Ideas".  Ultimately, that song didn't make it to Anxious Inventions & Fictions, but it is out right now as a stand-alone single.  Please click here to listen to it.

Here's Eric Cassidy again, this time holding an accordion.  He played this on June 30, 2019, during the outro on "Pauline".  You can hear this song on Defacing the Moon, as the songs from that album were chosen from these sessions.

 

 

This is Dustin Booher, with me on June 29,2019.  He is a fellow Xenian, and we have known each other since we were five years old.  He sang on "Sunday (That Pill)", which is on Defacing the Moon.  He also lent outstanding vocals to "Never Let Go", which is the 4th song on Anxious Inventions & Fictions.

 

 

 

There is Dustin in the background... and here is Tim Pritchard on July 27, 2019, playing guitar.  You can hear his fine work on "I Am a Number" and "Promise".

 

 

 

This is Jackie and Brandon, who are half of Westerly Station. I met them in Austin at the CD Baby DIY Musician Conference.  (I wrote about that before.)  Brandon is a fellow Ohioan, and we even grew up in the same county.  It was quite convenient that they came from their Texas home to Ohio when I was in the studio, and they had the time to stop by.  Brandon played mandolin on "Sunday (That Pill)", and it sounds great.  

 

Hello there, Ken Hall.  Normally, you can find him seated behind a piano, a task he performs in Shrug and Human Cannonball.  I invited him to play a little trombone.  You can hear Ken play for about a second and a half on "Your Anthem", which is the first track on Anxious Inventions & Fictions.

 

This handsome fella is Kent Montgomery.  He is the lead guitarist from The New Old Fashioned.   He was kind enough to play guitar on "Never Let Go", "Won't Love You Anymore", "Run To You", and "Wapakoneta".  That last song didn't make the album, but I will release it at some point.  

 

 

Here I am with Nathan Peters, who I've known over 20 years.  You might recognize him as the lead singer and keyboardist from legendary Dayton band Captain of Industry.  These days, he fronts Lioness.  He was kind enough to come to the studio and play piano on "Goodbye".  I wrote the song on piano, but I don't have the chops to give it the recorded performance that it deserves.  Thanks to Nathan's work, it sounds so very good.

 

The most recent photo.  January 23, 2020.  As you can see from the wood floors and the walls, this photo was taken after the great Reel Love flood and subsequent remodel.  (Scroll up to the first picture for the old school look of the main room in the studio.)  This was my last day in the studio for work on the album.  There was a mixing session after this, so the official end date was in February, but I didn't need to head down for that.  Patrick's steady hand guided me through this process, as he has done so many times for so many other musicians.  He has a fantastic ability to hear the song behind my low-quality home demos.  I can tell him what I am trying to accomplish as far as the sound I hear in my head is concerned, and he can figure out how to get me there.  This gentleman is a multi-instrumentalist, great singer, and true professional.  

I hope you have enjoyed this brief photo journey through a year's worth of work.  There are plenty of behind-the-scenes photos that I haven't even seen.  I have 5 disposable cameras that came to the studio with me, and they are filled with photos.  If you are curious as to what might be on them, they are available as one of the rewards on my Kickstarter campaign to crowdfund pressing Anxious Inventions & Fictions to vinyl.  Why not head over to the campaign and help me press some vinyl?