Life Lessons From Songs

TSP bought the DVD of Love Actually on Ebay last week. I’d seen it before, but watched it again. I quite like Richard Curtis, despite thinking Four Weddings was largely nonsense, and Notting Hill suffered from the much-publicised lack of black people in a very heavily black part of London. I like the fact that he wrote Blackadder – that’s a good thing. And I like his commitment to the Make Poverty History campaign.

Anyway, this isn’t meant as a review of the film (though it must be said, the scene where Hugh Grant disses the American president is a blinder… sad that he had to be inspired to do it by the pres. hitting on his tea-lady, rather than just out of some kind of moral response to the evil horse-shit that American presidents are so often involved with, but viewers can’t be choosers, and it’s a sweet moment, nonetheless). the interesting bit of the film is in the extras.

Richard Curtis does a little talking head slot about each of the featured songs in the film, and makes the comment that he’s spent his life learning about emotions and being instructed in human relationships by female singer/songwriters. And it was a point that struck home. Particularly because two of those he picked were Joni Mitchell and Mary Chapin Carpenter – two of my favourite singer/songwriters, and also lyricists that I’ve learnt loads from.

So I’ve just been listening to ‘Come On Come On’ by MCC, which features the first song I ever heard by her, ‘He Thinks He’ll Keep Her’, which I bought on single when I was 18 or 19, and played to death. I think the album was one of the first CD albums I ever bought, and I’ve been collecting her stuff ever since. But I was struck by the lyrics, about bored housewives in loveless marriages finally having enough and leaving, and the husbands being all surprised at the end of the relationship. And it made me think, made me aware to some degree of how things are. As did so many other songs by her, and a whole host of other great female songwriters – Tracy Chapman, Suzanne Vega, the Indigo Girls, Jonatha Brooke. Some times the lessons were political, like ‘War’ by Jonatha Brooke. Sometimes just about feeling alive, like Gallileo or Watershed by the Indigo Girls. But all of them vital lessons.

And then it got me thinking about what happens when that isn’t there. Where instead of strong, intelligent female figures, you’ve got faux-feisty soft-porn-alikes, telling us that a man ain’t no man if he ain’t buying me bling, or coming out with imbecilic horse shit like the Pussycat Dolls. ‘Don’t You Wish Your Girlfriend Was Hot Like Me?’ – no, you moronic, corporatised, tragic shell of a human being, I don’t wish my girlfriend was anything like you at all.

Lads are growing up with this as their lessons from women. was it much better in the 80s? Who were the equivalents of these totems of fuckwittage that parade across top of the pops? Mel And Kim, the Bangles, Janet Jackson before she apparently went on the game, Salt And Pepper, Kylie, Bananarama… a mixed bag, for sure, but not half as bad as the genetic detritus that passes for celebrity today. Who is there to save the day? KT Tunstall, at least. She’s fab.

So if you’ve got kids, get them into singer/songwriters. Buy them some Joni CDs, and Mary Chapin Carpenter, James Taylor and Paul Simon, Carly Simon, Bruce Cockburn, KT Tunstall, Suzanne Vega, Jonatha Brooke, Kelly Joe Phelps – story tellers not clothes horses, observers of the human condition not shills for the corporate dollar.

In a world where the bardic tradition is all but lost, we need surrogate poets and story-tellers, mythic historians and reflectors of who we are, who we want to be and who we can be if we get it together. And it’s not even about them being amazing people – John Martyn’s a disaster as a human being, but a great weaver of poetic magic. James Taylor was a violent smack-head when he wrote ‘Shower The People You Love With Love’. We just need story tellers to show us the way.

So, a comment thread – favourite songs for telling how it is, should be or could be? at least one from each of you, dear bloglings, thankyou. ;o)

Is it just me…

…or do ‘Dirty Pretty Things’ sound like McFly ripping off the Clash? When is this lame-assed Libertines implosion going to go away? Doherty is a talentless loser, and Babyshambles are indeed childish and shambolic as well as devoid of all musical merit. Go away you drugged-out, imbeciles!!!

grrrrr.

Some MySpace Props…

as they say in the hood.

A few MySpace links to various coconspirators –

BJ Cole – genius of the pedal steel, plays on one track on my new album.
Cleveland Watkiss – Recycle Collective regular, one of the greatest singers I’ve ever heard, let alone worked with.
Calamateur – Scottish singer/songwriter and found-sound experimentalist. Writes really beautiful songs, and we’ve got a duet album coming out some time in the next few months.
Theo Travis – Saxophonist… you know who Theo is by now, right?
Leo Abrahams – guitarist at the last Recycle Collective gig. Bloomin’ marvellous.
Orphy Robinson – vibes/percussion/trumpet/weirdness. An amazing musician and composer.
Trip Wamsley – solo bassist, composer, player and writer of gorgeous music. New album coming out soon.
Jeff Taylor – played at the first Recycle Collective gig. Great singer/songwriter.

There you go, I’ll add some more soon. Click on those, have a listen, if you’re on myspace already then leave a comment, buy the CDs of the stuff you like, and check out their gig lists!

Recording again…

Back to recording today… Why? Well, on this album adventure I’ve had a remote co-pilot, the Shark. It just started by me sending MP3s over for her to hear, but her comments were (usually) well placed and useful, and she’s become a very valuable sounding board. So album was finished, and Shark drops into IM conversation ‘is that the version of Behind Every Word that you’re having on the album’. The evil lady sows seeds of doubt in my mind, and I head back to try a new version, coming up with a new (trickier) arrangement, so I’m back recording again… The new version is sounding fab though… so that’s one thing, I guess!

If you want an easy life, don’t listen to anyone else!

Recycle Collective gig 5

Another fine ‘n’ fun Recycle gig last night. The run up to it wasn’t good at all – thanks to Arsenal playing at home, we got there 45 minutes later than we needed to, and even then I’d left my laptop at home which I’d planned to set up and record it.

Eventually got set up, but didn’t do a proper soundcheck, so it wasn’t til I started playing that I realised something was wrong somewhere in the system – the problem being that when I’m recording, I use all 6 of the Mic channels on my desk ‘cos those are the ones with insert/sends. When I’m doing a gig like this, I need to free up the mic channels for other things (like mics), and somewhere in the process, I’d managed to unplug one channel of the Looperlative from the back of the machine.

Much sonic struggling ensued through my first couple of tunes – the combination of trying out new tunes and malfunctioning gear was a tricky one – but the improvs with Cleveland and then the trio section went really well, so no worries there.

Leo Abrahams was up next, and play three amazing solo tunes (one called Slippery Jack was particularly amazing). we then did ‘My Song Is Love Unknown’ together, which was fine, but would’ve been better if I’d worked out what that weird minor chord was in the middle (!), and then onto the trio, which was really interesting. Leo introduced it as one of his own tunes, and played the progression from the tune (with a beautiful delay and filter guitar sound that I want to steal!), Cleveland and I responded to it in the way we would any improv, and it soon morphed away from whatever Leo had initially intended, as his first loop faded out, and we transitioned into some amazing space. Cleveland is quite possible the most intuitive musician I’ve ever performed with – his instinct for reacting so clearly to whatever is going on, and taking it to new heights is remarkable.

Third set was Cleveland solo to start – he’s got some new Echoplex tricks up his sleeve, and really knows his Lexicon processor now and put on a really great show. Followed by an equally marvellous duo set with Leo, that went to some very strange places in a beautiful and beguiling way.

The last of the trio sets comprised two beatbox-related tracks, with similar grooves but very different textures, the second of which ended up with some crazy double-time swing section that really ended the gig on a high.

All-in, much fun. ‘Twas nice to try out a couple of the new tunes in front of a friendly audience – need to get them down a lot tighter before next week.

For those of you asking for recordings, i’ve got some of it on the laptop, but it crashed three times (my guess is that trying to run a firewire powered soundcard and the laptop itself off the same battery is a bit much for the machine) – so I’ve got a few bits, and I’ll fire it up later to find out what. But the distraction of faffing with it reminded me that if we are going to record these things, I really need to a) get there a lot earlier (like we’d planned to without the Arsenal traffice) and b) DELEGATE.

Next RC gig is May 18th – see you there!

How hard can it be to find three expression pedals???

I’m just trying to find three M-Audio expression pedals. Has anywhere got any in stock? Have they shite. Studio spares has one, but are charging a fiver more than anywhere else for them.

Anyone got any suggestions? And no, i’m not going to buy three EV-5s – they’re double the cost of the M-Audio ones, and do exactly the same job…

Giving Birth

is a bit like making a new album. Well, I’m not having morning sickness, haven’t had to buy maternity wear, don’t get a seat on the tube, and haven’t at the moment got lactating mammaries, but there are bits of it that are a lot like pregnancy… There’s a fair amount of anxiety early on, not knowing how it will turn out, will everything be ok, will something go horribly wrong… early scans are a bit formless and lacking in definition – you can see a bit of a blob, and as time goes on it starts to riggle a bit, but it’ll be a while yet before you start to feel it inside you.

But when you do, and you get that feeling that things are going to be OK, you start planning. For babies, you decorate and think of names. For albums, you design the artwork and come up with a title and track names. the more you know about the forthcoming arrival, the more you are able to shape such things ahead of time. Is it a boy or a girl? Is it a mellow album or an up-tempo jolly album? etc. etc.

Well, my new album is taking shape, tracks are being added to the ‘definite’ list, the artwork is progressing, the title is at the ‘I think this is right, but we’ll wait and see’ stage, and I’m making final decisions about whether or not to have any special guests on the album (at the moment it looks like there’ll be one for one track… more on that at a later date).

Every now and then I flick across to another window on this computer and have a look at the proposed front cover. Does it work? I try to catch myself by surprise and see if I’m pleasantly surprised or not.

I love this process. As I said a few days ago, I’m slightly apprehensive due to how much I love Grace And Gratitude, but these tracks are taking on their own identity, such that I’ll be able to play quite a few of them on the upcoming gigs (yet more reasons not to miss the gigs!)

Buying cheap basses…

I know, you’re on a limited budget and the offer of a new bass for £85 is just too tempting. So you hit buy it now, and hope it’s playable when it arrives. That’s if you’ve got any notion of what ‘playable’ is anyway.

The proliferation of cheap import basses from the far east has led to loads of them turning up on internet shopping sites, lots of them shipped from outside the UK at prices that no high street retailer can match. And why? Because your local music shop has a legal obligation to guarantee that the bass works, that it’s OK, and that it’ll still work in a few months time.

The first thing to go when the price of manufacturing instruments drops that low is quality control. The parts are sourced cheaply in massive bulk, assembled in an OK way, but very few are ever taken out of the process for being faulty – they’re just patched up and put through with the rest of them. Quality varies massively, and if you buy online, you’ve no way on earth of knowing what you’re getting. If you go to any music shop and try out all their cheap basses, they’ll vary a lot in sound and feel. Some will play like a bass worth double the price on the headstock, others like they aren’t fit for firewood.

If you go to your local music shop and spend an extra few quid, try a few basses out, and check what your guarantee is, in the long run I GUARANTEE you’ll save money. No question. You’ll also benefit by buying a reputable make – not only in quality but resale value should you ever get rid of it. Go to The Bass Centre, or The Gallery, or even Sound Control/Musical Xchanges etc. – any well stocked shop, try a few out, and ask as many questions as you like, but don’t get hung up on the extra £25 you spend in the shop. It’s all about the Value Added.

Naming tunes…

The process of naming tracks is always a tricky one. A lot of tracks start of with descriptive names… it’d be fun to actually release it with those – ‘the bluesy one’ ‘the miserable sounding one’ ‘harmoniser and delay thingie’ etc.

I usually have a list of possible track titles, cribbed from books I’ve been reading and ideas that have come to me, and sometimes the songs just have their own title that has to be there… Other times, people suggest titles that work. i always ask for people’s title suggestions after improvs on gigs, and occasionally get them. I haven’t used any yet, but it’s really interesting to see how certain tracks connect with people…

Right, back to the process of recording the music… slightly higher up the priority list than the names…

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