Did it again… I was trying to learn “Georgia on My Mind” (the band wants to do it), and I couldn’t remember the words. So it grew new ones. (Sleazy ones, in this case.) This has happened before—“The World Enquirer” happened because I was trying to learn that old bluegrass turkey about Jimmy Brown the newsboy and couldn’t remember the words. (“The World Enquirer” isn’t performable in a lot of places, either.)
On the assumption it’d need new music (that happened with “The World Enquirer”), it got some of that, too. The original “Georgia” was chock full of fruity jazz chords which I assumed were probably unnecessary; I simplified it a lot, using standard country-music chords, and think it still sounds close enough so the original music is reconizable. Mine has more of a beat, though.
Without new music, “Georgia, Slightly Revised” would be just a parody, and that’s got its own limitations: according to “Weird Al” Yankovic (who’s rather a parody expert), you can’t record or perform a parody without the permission of the original author (and there’s at least one instance in recent years where an author refused to give Yankovic permission to parody his song). New music for the new lyrics avoids that problem. The song becomes a thoroughgoing original.
I wonder periodically if I know too much—or rather, if what I know is getting in the way of my being effective. The above trivia tidbit about parodies is a case in point—I never used to worry about that but now that I know, I do. In the same vein, I won’t perform any covers at a show where I’m getting paid. I know everybody else does, and that neither performers nor venues care, but I know what the law says and I won’t do it. I won’t record covers without permission, either. There was a Civil War general, William Tecumseh Sherman (the guy who burned Atlanta), who said, “I’d rather be right than be President.” And he never did get to be President. Am I in the same boat?
Recorded “The Resurrection Blues” at the Rainbow Lotus Sunday night, with two flutes, fiddle, trumpet, and harmonica all playing lead, plus three guitars (including me) and cello. Used Michael’s mixer and omnidirectional mike, fed into the “line in” port on the Tascam. It turned out not bad, but I’d like to re-do it. The first couple of verses had the sound levels too loud (Michael reduced them later), and both the vocal and instruments “peaked” in static, and I wasn’t able to entirely eliminate the static in Audacity. It’s an okay recording, but it’s not professional quality. I think I can do better. I posted it anyway, primarily as evidence that I did write the thing—when it’s archived in Soundclick (or another OMD), it’s “date-stamped” and can’t be easily claimed by somebody else later. (Another instance of knowing too much.)
Now, if this were a studio recording situation I would limit—or at least focus—the number of lead players. The trumpet, fiddle, harmonica and flute players were all good but it’s hard to hear what they’re doing individually when they’re all together. If one could have the trumpet up front on one lead break, the fiddle on another and so forth, it’d sound better. Those are also all “whiny” leads, and it’d be good to have a “non-whiny” lead in the mix, too—guitar, perhaps, or mandolin. They’d need to be either plugged in direct to the mixer or recorded separately. And it’d be good to have a bass, too.
Tillamook County Arts Network (TCAN) got sent their Deathgrass CD. I applied for a new job I’m sure I won’t get (a city of 10,000 people is unlikely to hire me as their city manager, no matter how dysfunctional they are, but I threw ‘em my name anyway) and have four more to apply for. Meeting to cover for the paper, column to write early, caller class tomorrow and caller practice with my guinea pigs Wednesday. Yes, busy. I should record “Georgia, Slightly Revised” while I’m at it.
Joe
Monday, April 16, 2012
Friday, April 13, 2012
RECORDING AT THE TSUNAMI...
Jim brought his recording equipment to the Tsunami last night, and recorded basically everybody who played. Of mine, he got “The Resurrection Blues” (the new one), and (because people requested them) “Pole Dancing for Jesus” and (after Jane arrived with her fiddle) “Can I Have Your Car When the Rapture Comes?” and “The Abomination Two-Step.”
The recording setup was simply one of those fancy omnidirectional mikes in the center of the room, wired into Jim’s mixer and computer, so the sound is whatever the sound was. I am curious to see how it turned out. Jim’s recordings in his shop tend to be a little heavy on the guitar and light on the vocals (the opposite of what I’ve learned to do), but in this case he didn’t have any control over that. Everybody was amplified, but the bass, harmonica and my guitar were being played through their own amps; fiddle, vocals and everything else were through the main PA system, but the big overhead speakers were projecting out into the bar, not at the omnidirectional mike. We’ll see.
Jim would like to produce a “Live at the Tsunami” CD, and that may be possible (got to watch out for those cover songs, though—most of the musicians there, like most musicians everywhere, are doing covers, and if you’re going to put those on a CD that’s for sale, the authors are supposed to be paid their 9.1 cents per song per record manufactured, and it’s a bit of a pain if you don’t know the authors). That probably means I don’t get to have the recordings of my songs for me to sell as part of the Song-a-Month Experiment, which is too bad—assuming the recordings came out decent, of course.
Could I do something like that myself? Not easily; the musical talent at the Tsunami is mostly great, but I doubt I could have recorded in a situation like that. (I did try it once: the original recording of “Me and Rufus, and Burning Down the House” was done live, at the library, with maybe half a dozen musicians playing—all in a line—and I recorded it all with my singing mike on the Tascam. And the quality was pretty poor. I ended up re-recording the song solo for the video.)
Might could try it at the Rapture Room, using Michael and Sedona’s mikes in lieu of an omnidirectional to pick up sound from the room (their mikes are better at that), and my singing mike for the vocals, and run all that through the 5-channel mixer. I don’t know if the mixer can simultaneously feed both an amp and the Tascam, and there may be no way to tell without trying it.
Video thought: if “The Resurrection Blues” is a “keeper” (and it seems to be), then one should on principle try to make a video of it, as well as recording it. Envision: bearded youngish fellow standing alternately inside and just outside a primitive tomb, that’s empty inside except for the stone platform he was obviously sleeping on. He’s wearing a robe and lip-synchs the song with and without a guitar. And in the breaks? Doesn’t the Bible talk about a “band of angels”? That would be cool…
Of course, not having any money for that kind of videography, the question becomes what can I do that would be appropriate (using the term “appropriate” loosely, of course) and affordably possible. I do know some actors, and I bet some of them would have access to some choir-type robes. Need to get a good recording of the song first. I don’t know if last night’s is it.
Joe
The recording setup was simply one of those fancy omnidirectional mikes in the center of the room, wired into Jim’s mixer and computer, so the sound is whatever the sound was. I am curious to see how it turned out. Jim’s recordings in his shop tend to be a little heavy on the guitar and light on the vocals (the opposite of what I’ve learned to do), but in this case he didn’t have any control over that. Everybody was amplified, but the bass, harmonica and my guitar were being played through their own amps; fiddle, vocals and everything else were through the main PA system, but the big overhead speakers were projecting out into the bar, not at the omnidirectional mike. We’ll see.
Jim would like to produce a “Live at the Tsunami” CD, and that may be possible (got to watch out for those cover songs, though—most of the musicians there, like most musicians everywhere, are doing covers, and if you’re going to put those on a CD that’s for sale, the authors are supposed to be paid their 9.1 cents per song per record manufactured, and it’s a bit of a pain if you don’t know the authors). That probably means I don’t get to have the recordings of my songs for me to sell as part of the Song-a-Month Experiment, which is too bad—assuming the recordings came out decent, of course.
Could I do something like that myself? Not easily; the musical talent at the Tsunami is mostly great, but I doubt I could have recorded in a situation like that. (I did try it once: the original recording of “Me and Rufus, and Burning Down the House” was done live, at the library, with maybe half a dozen musicians playing—all in a line—and I recorded it all with my singing mike on the Tascam. And the quality was pretty poor. I ended up re-recording the song solo for the video.)
Might could try it at the Rapture Room, using Michael and Sedona’s mikes in lieu of an omnidirectional to pick up sound from the room (their mikes are better at that), and my singing mike for the vocals, and run all that through the 5-channel mixer. I don’t know if the mixer can simultaneously feed both an amp and the Tascam, and there may be no way to tell without trying it.
Video thought: if “The Resurrection Blues” is a “keeper” (and it seems to be), then one should on principle try to make a video of it, as well as recording it. Envision: bearded youngish fellow standing alternately inside and just outside a primitive tomb, that’s empty inside except for the stone platform he was obviously sleeping on. He’s wearing a robe and lip-synchs the song with and without a guitar. And in the breaks? Doesn’t the Bible talk about a “band of angels”? That would be cool…
Of course, not having any money for that kind of videography, the question becomes what can I do that would be appropriate (using the term “appropriate” loosely, of course) and affordably possible. I do know some actors, and I bet some of them would have access to some choir-type robes. Need to get a good recording of the song first. I don’t know if last night’s is it.
Joe
Wednesday, April 11, 2012
"THE RESURRECTED BLUES"?
“The Resurrected Blues” (sounded more down home than “Resurrection Blues”) has six pretty good verses now. It needs a seventh, for closure—to wrap everything up, and make the song feel “finished.” Seven verses also allows for three lead breaks, which would be nice. Since this is a pretty standard blues, musicians pick up on it really easily and can have a lot of fun with it.
It’s short, too (so there’s room for a lot of breaks, which musicians like, too). No choruses: instead, the last two lines are the same in every verse, providing the framework for the (hopefully memorable) hook. Same thing I did with “She Ain’t Starvin’ Herself.” The “no [insert Easter image], no [insert Easter image]” every other verse is an Elvis reference, from an old Mavericks song. Don’t know if anyone will notice.
I’ll plan on playing “The Resurrected Blues” at the Tsunami Thursday night (at least one person who’ll be there has heard about it, and two more have heard the song, and somebody will probably request it). Would be nice to record it. At practice tonight, I could try the trick of running everything—my guitar, Ken’s guitar, Jane’s fiddle, and the vocal—through the 5-channel mixer, and thence to the Tascam (I’ve been carrying all that stuff around in the truck), and see how it comes out. Won’t have bass player Clint there (he’s out of town), but might could add him later.
I don’t know if it’d be better to record the vocal live with the band; I could just turn the volume off to that track (so the Tascam would pick up just the instruments), and add the vocal later. I will have two extra tracks I can work with—the Tascam will record to a maximum of two tracks at a time, and I have four available—so I could put the bass on one, and my vocal on t’other.
If I can get it recorded decently, “The Resurrected Blues” might be a good kickoff for the Song-a-Month Experiment. It’s new, it can rock, and people seem to like it. And of course it’s irreverent. It could go on the “12 Reasons Why Joe’s Going to Hell” album (but I’d have to change the title to “13”).
The Tillamook County Arts Network is looking for music submissions for a “Biennial Prospectus”—they wanted CDs done in the last five years—and I’ll give them a copy of the Deathgrass album. Also gave them the names of some other local musicians I know who have put albums out recently, and passed on their invitation to one group that has been trying to record an album. TCAN’s deadline isn’t until August, so they may have a chance. This “Biennial Prospectus” might as well include everybody possible who’s any good. There’s a lot of good talent in this area.
Caught Denise Drake’s set at the Thirsty Lion Tuesday night, after caller class (drug Sandee and Carolyn along, too); not only was the show good (I knew it would be), between us and the other folks who came to hear her play, she got enough of those “votes” to win. She’ll be back on stage there May 1, with a shot at getting the day-in-the-recording-studio grand prize. Glad this voting thing finally worked. Denise has raised the idea of her and me doing sets there on the same night, and carpooling in together. That’d be good. I wonder if we could back each other up? A “Denise and Joe Show” followed by a “Joe and Denise Show” could be kinda epic.
Bunch of upcoming stuff: meeting at the Arts Center tonight, followed by practice; music tomorrow at the Tsunami, and maybe Friday at City Hall; “The Resurrected Blues” to record.
Joe
It’s short, too (so there’s room for a lot of breaks, which musicians like, too). No choruses: instead, the last two lines are the same in every verse, providing the framework for the (hopefully memorable) hook. Same thing I did with “She Ain’t Starvin’ Herself.” The “no [insert Easter image], no [insert Easter image]” every other verse is an Elvis reference, from an old Mavericks song. Don’t know if anyone will notice.
I’ll plan on playing “The Resurrected Blues” at the Tsunami Thursday night (at least one person who’ll be there has heard about it, and two more have heard the song, and somebody will probably request it). Would be nice to record it. At practice tonight, I could try the trick of running everything—my guitar, Ken’s guitar, Jane’s fiddle, and the vocal—through the 5-channel mixer, and thence to the Tascam (I’ve been carrying all that stuff around in the truck), and see how it comes out. Won’t have bass player Clint there (he’s out of town), but might could add him later.
I don’t know if it’d be better to record the vocal live with the band; I could just turn the volume off to that track (so the Tascam would pick up just the instruments), and add the vocal later. I will have two extra tracks I can work with—the Tascam will record to a maximum of two tracks at a time, and I have four available—so I could put the bass on one, and my vocal on t’other.
If I can get it recorded decently, “The Resurrected Blues” might be a good kickoff for the Song-a-Month Experiment. It’s new, it can rock, and people seem to like it. And of course it’s irreverent. It could go on the “12 Reasons Why Joe’s Going to Hell” album (but I’d have to change the title to “13”).
The Tillamook County Arts Network is looking for music submissions for a “Biennial Prospectus”—they wanted CDs done in the last five years—and I’ll give them a copy of the Deathgrass album. Also gave them the names of some other local musicians I know who have put albums out recently, and passed on their invitation to one group that has been trying to record an album. TCAN’s deadline isn’t until August, so they may have a chance. This “Biennial Prospectus” might as well include everybody possible who’s any good. There’s a lot of good talent in this area.
Caught Denise Drake’s set at the Thirsty Lion Tuesday night, after caller class (drug Sandee and Carolyn along, too); not only was the show good (I knew it would be), between us and the other folks who came to hear her play, she got enough of those “votes” to win. She’ll be back on stage there May 1, with a shot at getting the day-in-the-recording-studio grand prize. Glad this voting thing finally worked. Denise has raised the idea of her and me doing sets there on the same night, and carpooling in together. That’d be good. I wonder if we could back each other up? A “Denise and Joe Show” followed by a “Joe and Denise Show” could be kinda epic.
Bunch of upcoming stuff: meeting at the Arts Center tonight, followed by practice; music tomorrow at the Tsunami, and maybe Friday at City Hall; “The Resurrected Blues” to record.
Joe
Friday, April 6, 2012
UPDATES...
Well, I did it all: the interview (still need to write the story) with photos, the Relay for Life meeting, the photo shoot with the Community Chorus and the GOP Central Committee meeting. Wasn’t really late for any of it. Today: a moving sale (at which I’ll be looking for furnishings for the Cascade Locks house), looking over the Garibaldi Pub with Denise as an a-la-Thirsty-Lion “showcase” venue, a meeting on the library tax levy (and a news story if it gets nasty), and music.
Last night, I watched the candidates make their presentations to the Central Committee with an eye toward critiquing technique; something daughter had mentioned is most new candidates don’t have public speaking experience, and she’s right—and it shows. Makes it difficult for a newbie candidate, because the incumbent they’re running against usually does have some public speaking experience. So the newbie starts off with an additional disadvantage besides the incumbent’s possession of what Teddy Roosevelt called the “bully pulpit.”
One service the political party organizations could provide is training in how to work a crowd: how to be organized, how to get and hold their attention, how to use inflections, gestures and eye contact—the same sort of stuff I used to critique the high school kids on in speech and debate tournaments. And practice: the party organization could arrange for candidates to practice first on each other (at Central Committee meetings, say), then on presumably friendly audiences (to build up confidence), and finally on audiences guaranteed to be hostile (to give them a good baptism by fire), before turning them loose on the campaign trail.
I’ll suggest the idea after I get elected to the Central Committee. I think the party organization(s) should be providing a service to candidates in order to justify the candidates paying them any attention, and giving candidates tools to help them win elections is a good service. As I recall, all the political parties did this for candidates when I was a kid back in New York—but the parties there controlled candidates to a much greater degree than they do in Oregon.
I found in an old notebook an old setlist; it was for a 3-hour show, and I haven’t done many of those. I think this may have been the big show I did at the Wild Goose in Ashland in April 2008, just before I left southern Oregon; I didn’t see any songs later than that on the setlist. (And the list does have “The Abomination Two-Step,” “Dirty Deeds We Done to Sheep,” and “Sam & Melinda” on it, so I know it was for a bar gig. Those are pretty sleazy songs.) There’s a few on the list I hadn’t done in a long time, that might be good Deathgrass material (“The Termite Song” and “Born Again Barbie,” for instance), as well as some that Deathgrass haven’t done in a while (“When I Jump Off the Cliff I’ll Think of You,” “Bluebird on My Windshield,” and “Hank’s Song”). Diane Ewing’s “Alabama Blues” is on the list, too.
Got an invitation (through Mike Simpson) to contribute to an exhibition being organized by the Tillamook County Arts Network (TCAN); as this is written, I still haven’t gotten their entry form, but the Arts Center had one, and I copied it. Yes, they’ll get a Deathgrass CD. They were asking for CDs from people who had produced albums within the past five years. I passed on to TCAN’s person-in-charge names of other musicians I either knew or was pretty sure had CDs less than five years old (Michael and Sedona, and Doc Wagner, for example, have CDs out this year)—and we’ll see what develops.
Upcoming: band practice Monday and Wednesday nights, caller class Tuesday night, plus a meeting to attend Wednesday and meeting with the vacation rental guy in Cascade Locks Tuesday before class. Denise got a slot at Eric John Kaiser’s Songwriter Showcase (yay!) and I want to go see (and vote for) her after class. Happy Easter, everybody. May the Bunny bring you something edible.
Joe
Last night, I watched the candidates make their presentations to the Central Committee with an eye toward critiquing technique; something daughter had mentioned is most new candidates don’t have public speaking experience, and she’s right—and it shows. Makes it difficult for a newbie candidate, because the incumbent they’re running against usually does have some public speaking experience. So the newbie starts off with an additional disadvantage besides the incumbent’s possession of what Teddy Roosevelt called the “bully pulpit.”
One service the political party organizations could provide is training in how to work a crowd: how to be organized, how to get and hold their attention, how to use inflections, gestures and eye contact—the same sort of stuff I used to critique the high school kids on in speech and debate tournaments. And practice: the party organization could arrange for candidates to practice first on each other (at Central Committee meetings, say), then on presumably friendly audiences (to build up confidence), and finally on audiences guaranteed to be hostile (to give them a good baptism by fire), before turning them loose on the campaign trail.
I’ll suggest the idea after I get elected to the Central Committee. I think the party organization(s) should be providing a service to candidates in order to justify the candidates paying them any attention, and giving candidates tools to help them win elections is a good service. As I recall, all the political parties did this for candidates when I was a kid back in New York—but the parties there controlled candidates to a much greater degree than they do in Oregon.
I found in an old notebook an old setlist; it was for a 3-hour show, and I haven’t done many of those. I think this may have been the big show I did at the Wild Goose in Ashland in April 2008, just before I left southern Oregon; I didn’t see any songs later than that on the setlist. (And the list does have “The Abomination Two-Step,” “Dirty Deeds We Done to Sheep,” and “Sam & Melinda” on it, so I know it was for a bar gig. Those are pretty sleazy songs.) There’s a few on the list I hadn’t done in a long time, that might be good Deathgrass material (“The Termite Song” and “Born Again Barbie,” for instance), as well as some that Deathgrass haven’t done in a while (“When I Jump Off the Cliff I’ll Think of You,” “Bluebird on My Windshield,” and “Hank’s Song”). Diane Ewing’s “Alabama Blues” is on the list, too.
Got an invitation (through Mike Simpson) to contribute to an exhibition being organized by the Tillamook County Arts Network (TCAN); as this is written, I still haven’t gotten their entry form, but the Arts Center had one, and I copied it. Yes, they’ll get a Deathgrass CD. They were asking for CDs from people who had produced albums within the past five years. I passed on to TCAN’s person-in-charge names of other musicians I either knew or was pretty sure had CDs less than five years old (Michael and Sedona, and Doc Wagner, for example, have CDs out this year)—and we’ll see what develops.
Upcoming: band practice Monday and Wednesday nights, caller class Tuesday night, plus a meeting to attend Wednesday and meeting with the vacation rental guy in Cascade Locks Tuesday before class. Denise got a slot at Eric John Kaiser’s Songwriter Showcase (yay!) and I want to go see (and vote for) her after class. Happy Easter, everybody. May the Bunny bring you something edible.
Joe
Wednesday, April 4, 2012
SINKING DE MAYO, AND OTHER STORIES...
Well, I didn’t get the Museum job. Couple other irons in the fire but really, despite the governmental protestations about “recovery,” I don’t see things getting any better. There is (as usual) a reflection in my private life: I’ve talked a lot about “reinventing myself,” but I haven’t—I’m still doing the same things I have been. And they’re not working, either. It is time to do something different. What? Does it matter?
Caller class last night was the first one I’ve managed to attend in three weeks. Yes, I am getting better (and people told me I’m getting better, too)—I’m just not getting better fast enough to suit me. Locally, I won’t get to work with my square of guinea pig dancers again until April 18—a 3-week break there, too. It would be good to attend some square dances and watch how the callers manage their crowds. It is just hard to get to those things. They all seem very far away with gasoline headed for $5 a gallon.
This week is shaping up a little different, which is good. (Shaking things up a little is good.) Practice with the New Band tonight (because I don’t have my square dancers). Tomorrow afternoon, I have an interview to do for the paper—and tomorrow night, instead of playing music, I’ll be going to a Relay for Life meeting, taking photos for an Arts Center promotional poster, and attending my first Republican Central Committee meeting (I haven’t been officially elected yet, so I don’t get to vote—it’s just an opportunity to meet everybody). Friday, I can play music in Garibaldi—after I attend a meeting that maybe might get argumentative enough to turn into a news story for the paper. I have as many as three news items for the paper this week, and at least one of them will turn into a real story.
Some promotional work, too (unpaid of course). The Arts Center’s going to host a candiates’ forum, with the contestants for county assessor and the two (of three) county commissioner seats; that’ll be Sunday, April 15. Radio and newspaper announcements, posters—it’ll be fun. And cookies for Show Day of course. What would an event at the Arts Center be without cookies? (When we celebrate Marie Antoinette’s birthday, though—it’s on a Friday this year—we will have to have cake.)
For the Community Chorus concert at the Arts Center May 5, I’d like to do something different if possible. Normally, they’d be the “featured performer” followed by an open mike—but the open mikes haven’t been drawing much of an audience, and I’d like to change that.
I’d like to imitate a tactic of The Mercantile, and invite performers—and then publicize heavily the fact that these performers are coming. For the performers it’d be an opportunity to publicize upcoming gigs, as well as to try out new material. I’m pretty sure The New Band would want to do it (and we have a gig coming up at the 2nd Street Market May 11). Songwriter Eric Sappington’s got an upcoming gig at the Market, too. Roger MacDonald, Michael and Sedona, the Ocean Bottom Blues Band… Yes, there might be enough performers. And two to three weeks might be sufficient for a lot of promotion.
(An idea for the Promotional Poster. The concert will be May 5—that “Cinco de Mayo” beloved of advertisers in recent years. What about a tastefully arranged photo of a jar of salad dressing floating in Tillamook Bay? I suppose the politically correct folks would have fits…)
Joe
Caller class last night was the first one I’ve managed to attend in three weeks. Yes, I am getting better (and people told me I’m getting better, too)—I’m just not getting better fast enough to suit me. Locally, I won’t get to work with my square of guinea pig dancers again until April 18—a 3-week break there, too. It would be good to attend some square dances and watch how the callers manage their crowds. It is just hard to get to those things. They all seem very far away with gasoline headed for $5 a gallon.
This week is shaping up a little different, which is good. (Shaking things up a little is good.) Practice with the New Band tonight (because I don’t have my square dancers). Tomorrow afternoon, I have an interview to do for the paper—and tomorrow night, instead of playing music, I’ll be going to a Relay for Life meeting, taking photos for an Arts Center promotional poster, and attending my first Republican Central Committee meeting (I haven’t been officially elected yet, so I don’t get to vote—it’s just an opportunity to meet everybody). Friday, I can play music in Garibaldi—after I attend a meeting that maybe might get argumentative enough to turn into a news story for the paper. I have as many as three news items for the paper this week, and at least one of them will turn into a real story.
Some promotional work, too (unpaid of course). The Arts Center’s going to host a candiates’ forum, with the contestants for county assessor and the two (of three) county commissioner seats; that’ll be Sunday, April 15. Radio and newspaper announcements, posters—it’ll be fun. And cookies for Show Day of course. What would an event at the Arts Center be without cookies? (When we celebrate Marie Antoinette’s birthday, though—it’s on a Friday this year—we will have to have cake.)
For the Community Chorus concert at the Arts Center May 5, I’d like to do something different if possible. Normally, they’d be the “featured performer” followed by an open mike—but the open mikes haven’t been drawing much of an audience, and I’d like to change that.
I’d like to imitate a tactic of The Mercantile, and invite performers—and then publicize heavily the fact that these performers are coming. For the performers it’d be an opportunity to publicize upcoming gigs, as well as to try out new material. I’m pretty sure The New Band would want to do it (and we have a gig coming up at the 2nd Street Market May 11). Songwriter Eric Sappington’s got an upcoming gig at the Market, too. Roger MacDonald, Michael and Sedona, the Ocean Bottom Blues Band… Yes, there might be enough performers. And two to three weeks might be sufficient for a lot of promotion.
(An idea for the Promotional Poster. The concert will be May 5—that “Cinco de Mayo” beloved of advertisers in recent years. What about a tastefully arranged photo of a jar of salad dressing floating in Tillamook Bay? I suppose the politically correct folks would have fits…)
Joe
Monday, April 2, 2012
NCRD POST-MORTEM--AND A VIDEO IDEA...
NCRD Comedy Show went good, I think; sound was perfect, and Jane and Ken were very good. Practicing both songs repeatedly the night before definitely helped. I think the audience liked “When They Die, I Put Them in the Cookies” better (but they still ate all the cookies that had been laid out for refreshments).
A lot of good standup, slapstick and improvisational comedy at the show; some of these folks were quite good. Ours was probably the tamest of the acts on stage; I’m inclined to be straight on stage, and just let the words carry the comedy, and hopefully they did.
Just two of us—myself and fellow songwriter Roger MacDonald—at the Rapture Room the following night (I guess everbody else was tuckered out from the show). Was good, too: Roger and I got to trade originals back and forth for two hours (I’d never heard a lot of his stuff, and it’s quite good), and also got to talk about our writing styles, which are rather similar—though he tends to write more sad songs than I do (might have something to do with the number of ex-wives). He includes cover songs in his repertoire so he’ll have some happy songs to sing, and I include co-writes in mine so I’ll have something serious.
Up next: the marimba band has a gig in early May—need to have at least three songs down for that—and the New Band plays the 2nd Street Market Friday, May 11. Need two hours of music for that one—24 songs.
And an idea. I’d pretty much discounted the “One Gas Station” song until I played it at the Tsunami last week, and people not only listened, but applauded. Could it be music video material? I think I know how I’d do it. Slightly up north are most of the “icons” needed for the song—a lonely gas station (at Bayside Gardens), an old folks’ home (also at Bayside Gardens) a little coffee shop (there’s a couple in Wheeler), a “Welcome” sign big enough to hide a police car (Wheeler), maybe a few other things. Finding a yard sale for the “couple of ladies selling things on the lawn” might be a little problematic—but Rick, who owns the thrift store in Wheeler, has his classic St. Joseph statue with the “Really Neat Stuff” sign that he sets up by the side of the road, and that might work as a substitute.
I would film the entire first verse without people in it, then introduce a singer somewhere in the first chorus—maybe me, but it wouldn’t have to be—and gradually increase the number of people as the song progressed. In the final chorus we could have as many as 20 (no more than that, because the song talks about one visitor raising the population by 5%). And I’d have ‘em all lip-synching along with the song. The only voice on the recording, I think, would be mine.
What makes it a possible idea is I just might know where I could get 20 people who’d be willing to act in this. That’s the improv troupe and the folks who were in the other acts at the Comedy Show. As noted above, they’re very good—and don’t mind being outrageous on occasion. I’ll ask if they’d be interested. Could be good publicity for them, and also for that NCRD Theatre they’re trying to renovate.
During the lead break—we’d have to have a lead break—I could list everbody who helped. I could also have a band on hand: fiddle, guitar and standup bass at least, and maybe some others. (And I’d film them, too, and use that footage in the break.) The song mentions a saxophone, and I know a sax player too. It’d be an opportunity to try a recording trick with the Tascam that I think is possible: running everything through the old 5-channel mixer (thereby controlling the levels) and thence into either the “line in” or “microphone in” port on the Tascam. Alternatively, if Michael (say) were interested in doing the sound engineering on his computer, we could do it that way. He’s a much better sound person than I am.
Garibaldi Days meeting tonight, caller class tomorrow night; band might practice Wednesday (I have this Wednesday night free). A Republican Central Committee meeting Thursday night may preclude my going to the Tsunami.
Joe
A lot of good standup, slapstick and improvisational comedy at the show; some of these folks were quite good. Ours was probably the tamest of the acts on stage; I’m inclined to be straight on stage, and just let the words carry the comedy, and hopefully they did.
Just two of us—myself and fellow songwriter Roger MacDonald—at the Rapture Room the following night (I guess everbody else was tuckered out from the show). Was good, too: Roger and I got to trade originals back and forth for two hours (I’d never heard a lot of his stuff, and it’s quite good), and also got to talk about our writing styles, which are rather similar—though he tends to write more sad songs than I do (might have something to do with the number of ex-wives). He includes cover songs in his repertoire so he’ll have some happy songs to sing, and I include co-writes in mine so I’ll have something serious.
Up next: the marimba band has a gig in early May—need to have at least three songs down for that—and the New Band plays the 2nd Street Market Friday, May 11. Need two hours of music for that one—24 songs.
And an idea. I’d pretty much discounted the “One Gas Station” song until I played it at the Tsunami last week, and people not only listened, but applauded. Could it be music video material? I think I know how I’d do it. Slightly up north are most of the “icons” needed for the song—a lonely gas station (at Bayside Gardens), an old folks’ home (also at Bayside Gardens) a little coffee shop (there’s a couple in Wheeler), a “Welcome” sign big enough to hide a police car (Wheeler), maybe a few other things. Finding a yard sale for the “couple of ladies selling things on the lawn” might be a little problematic—but Rick, who owns the thrift store in Wheeler, has his classic St. Joseph statue with the “Really Neat Stuff” sign that he sets up by the side of the road, and that might work as a substitute.
I would film the entire first verse without people in it, then introduce a singer somewhere in the first chorus—maybe me, but it wouldn’t have to be—and gradually increase the number of people as the song progressed. In the final chorus we could have as many as 20 (no more than that, because the song talks about one visitor raising the population by 5%). And I’d have ‘em all lip-synching along with the song. The only voice on the recording, I think, would be mine.
What makes it a possible idea is I just might know where I could get 20 people who’d be willing to act in this. That’s the improv troupe and the folks who were in the other acts at the Comedy Show. As noted above, they’re very good—and don’t mind being outrageous on occasion. I’ll ask if they’d be interested. Could be good publicity for them, and also for that NCRD Theatre they’re trying to renovate.
During the lead break—we’d have to have a lead break—I could list everbody who helped. I could also have a band on hand: fiddle, guitar and standup bass at least, and maybe some others. (And I’d film them, too, and use that footage in the break.) The song mentions a saxophone, and I know a sax player too. It’d be an opportunity to try a recording trick with the Tascam that I think is possible: running everything through the old 5-channel mixer (thereby controlling the levels) and thence into either the “line in” or “microphone in” port on the Tascam. Alternatively, if Michael (say) were interested in doing the sound engineering on his computer, we could do it that way. He’s a much better sound person than I am.
Garibaldi Days meeting tonight, caller class tomorrow night; band might practice Wednesday (I have this Wednesday night free). A Republican Central Committee meeting Thursday night may preclude my going to the Tsunami.
Joe
Friday, March 30, 2012
POTPOURRI...
After all the musicians bailed out early from the Tsunami jam session, I let myself be persuaded to play some songs by myself. So I did a few that come off well solo, and that I didn’t care whether anybody heard or liked. I played “One Gas Station”—and people applauded. I think they listened. So they also got “Leavin’ It to Beaver” (which Jane now wants to do in the NCRD comedy show), “The Strange Saga of Quoth, the Parrot,” “Song for Charity (and Faith, and Hope)” and for a finale, “Meet Me at the Stairs.” All words-heavy (but I did remember the words). And it appeared the audience listened to all of them.
The lesson? (There’s always a lesson.) Don’t pass up an opportunity to play. There’s always hope someone might hire you later on. I’ve been known at the Tsunami primarily as a lead guitarist—something I’m not particularly good at, but am at least enthusiastic about. Yes, there are a couple of country-music songs of mine the other musicians know and can play, and we always do play them. Maybe some of them now know I can write other stuff.
The New Band’s got a gig May 11 at the 2nd Street Market. Unpaid, but I know how to parlay that into a little attention and maybe some tips so it ain’t a total loss. 2-hour show and we need to provide our own PA (the Market should really get its own PA system).
First invite of Concert Season for Deathgrass—and that one’s a paying gig (yay!). I’ve been pondering a new setlist for 2012. We’ve done basically the same songs the last two years, and I don’t want us to get boring (or bored). I don’t want to change everything; we should continue to do what I think are the best of our “standards”:
Dead Things in the Shower—fast two-step
Tillamook Railroad Blues—deliberate blues
For Their Own Ends (Southern Pigfish)—folk-rock
Things Are Getting Better Now That Things Are Getting Worse (Gene Burnett)—fast two-step
The train song because it’s “local color”; the Pigfish song because the band enjoys it so much (they like rock ‘n’ roll, and this does rock); and ditto for Gene’s song. “Dead Things” has become our standard opening number, and I see no reason to change that.
And beyond that? I’m really not sure. The New Band wants to do “Spend the End of the World with Me,” “Pole Dancing for Jesus,” “Armadillo on the Interstate,” and Odd Vindatad’s “Simple Questions,” so I don’t want them in Deathgrass’ set; there are going to be some opportunities this summer when both bands are going to be playing the same venue, and they shouldn’t be playing the same songs. The only other new one that’d be appropriate for a band would be “Selling Off My Body Parts,” which is bluegrass (but won’t come out that was when Deathgrass plays it). We could do a few older songs we haven’t done in a long time:
Hey, Little Chicken—slow, sleazy quasi-blues
Angel in Chains—country death metal (played at the Rocktoberfest)
Bluebird on My Windshield—fast bluegrass (with trucker rhythm)
--and one we’ve never done, Diane Ewing’s “Alabama Blues” (which is actually a two-step). That still leaves quite a few to come up with; we need 12 songs for an hour-long show, 18 for an hour-and-a-half show.
New Band practices Friday night; comedy show Saturday night; marimba practice Sunday afternoon and (hopefully) the Rapture Room Sunday night. I am staying busy. Wish there was an income in it.
Joe
The lesson? (There’s always a lesson.) Don’t pass up an opportunity to play. There’s always hope someone might hire you later on. I’ve been known at the Tsunami primarily as a lead guitarist—something I’m not particularly good at, but am at least enthusiastic about. Yes, there are a couple of country-music songs of mine the other musicians know and can play, and we always do play them. Maybe some of them now know I can write other stuff.
The New Band’s got a gig May 11 at the 2nd Street Market. Unpaid, but I know how to parlay that into a little attention and maybe some tips so it ain’t a total loss. 2-hour show and we need to provide our own PA (the Market should really get its own PA system).
First invite of Concert Season for Deathgrass—and that one’s a paying gig (yay!). I’ve been pondering a new setlist for 2012. We’ve done basically the same songs the last two years, and I don’t want us to get boring (or bored). I don’t want to change everything; we should continue to do what I think are the best of our “standards”:
Dead Things in the Shower—fast two-step
Tillamook Railroad Blues—deliberate blues
For Their Own Ends (Southern Pigfish)—folk-rock
Things Are Getting Better Now That Things Are Getting Worse (Gene Burnett)—fast two-step
The train song because it’s “local color”; the Pigfish song because the band enjoys it so much (they like rock ‘n’ roll, and this does rock); and ditto for Gene’s song. “Dead Things” has become our standard opening number, and I see no reason to change that.
And beyond that? I’m really not sure. The New Band wants to do “Spend the End of the World with Me,” “Pole Dancing for Jesus,” “Armadillo on the Interstate,” and Odd Vindatad’s “Simple Questions,” so I don’t want them in Deathgrass’ set; there are going to be some opportunities this summer when both bands are going to be playing the same venue, and they shouldn’t be playing the same songs. The only other new one that’d be appropriate for a band would be “Selling Off My Body Parts,” which is bluegrass (but won’t come out that was when Deathgrass plays it). We could do a few older songs we haven’t done in a long time:
Hey, Little Chicken—slow, sleazy quasi-blues
Angel in Chains—country death metal (played at the Rocktoberfest)
Bluebird on My Windshield—fast bluegrass (with trucker rhythm)
--and one we’ve never done, Diane Ewing’s “Alabama Blues” (which is actually a two-step). That still leaves quite a few to come up with; we need 12 songs for an hour-long show, 18 for an hour-and-a-half show.
New Band practices Friday night; comedy show Saturday night; marimba practice Sunday afternoon and (hopefully) the Rapture Room Sunday night. I am staying busy. Wish there was an income in it.
Joe
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