I have been playing around with some themes, grooves, melodies lately. I have written a number of instrumentals over the years that are destined to have no lyrics. Sometimes the pieces are simple riffs and other times they can be full blown productions. I have a few I would like to share with you in the near future. Here is one I am still working on but I like where it is going.
This one I call “Another Dimension”
© MSK 10-2017
This song has taken a while to finalize the arrangement. It is only part of the song it started out as. Diced, sliced, edited and rewritten, I hope this first mix sounds like it belongs! Sometimes you are guided.
I will play other sections in the future.
Please enjoy “Deep Inside”
Deep Inside me, Deep inside the eye of the storm
Deep Inside you. Deep Inside the eye of the storm.
Deep Inside me, Deep Inside.
Sometimes you are guided
And sometimes you are not.
The road is long; it never ends
No matter what you thought.
The place you are standing
Was never meant to be.
Lost when your memories
Created what you see.
Pound after pound
Life gets laid upon you hard.
Sound after sound
As the dealer plays his cards.
Sometimes you are guided
And sometimes you are not.
The road is long; it never ends
No matter what you thought.
Deep Inside me, Deep Inside the eye of the storm
Deep Inside you. Deep Inside.
The songs in this session are simple two-channel recordings. These are not multi-tracks of isolated instruments to be mixed down later. This is down and dirty history. I enjoyed recording and listening to each of the gigs. The rest of the band were ok with it, but they were really into the performance and live audience vibe. As a result, I did not get much assistance or cooperation with my projects. We never did a sound check for recording levels. We did not set up differently or use additional gear. I usually taped separate mixes from their sound board or by using a combination of mono mix and single hi-quality microphone up on stage. See my LSR series for recording configurations.
Unlike the other players I have jammed with, I had not been playing in bands since I was a teenager. I did not start playing in front of a ‘real’ audience until I was probably 31 or older. I started playing keyboards (technically different than playing a piano or organ) when I was 30. Before that I wrote songs and played my 12 string guitar for parties and such but that was about it.
Lacking confidence and years to sharpen my skills, I tried to make up for it in other ways. I practiced a lot compared to the other players.
I helped in tech – light – sound – marketing. The recordings were for me, LOL!
This is a live recording of a medley we came up with. None of us really liked disco, but no rocket science to keeping guys in the club is to keep the girls on the dance floor! We smashed together popular dance songs and other select songs toward the end of the 2nd set. Enjoy.
Here is another live recording from my band, The Chase. Those were good times. This is a cover tune from The Beatles – “She’s So Heavy”. I remember when I first heard this song on the radio. It absolutely blew me away. What fun to play this one out live.
Here is another song my brother David recorded at a studio years ago as part of his Studio Way project. My brother wrote the lyrics and is the vocalist on these tracks. Terry Boehm played keyboards. Tom Collier wrote the music and played guitar. This one is called, “Focus On Your Feet”. A fun toe-tapping song that sticks in your head!
The songs were being finalized in the studio as each came up to record. The rhythm tracks were recorded first, with lead instruments and vocals added later that day. A lot of people ‘freeze up’ their first time in a studio with the tape rolling (yes, this was back in the days when they used tape!) so recording can be very stressful – but with a bit of focus you can come out with great memories.
I have live recordings of almost every band I have in. I record a lot of practice sessions but mostly live performances in front of audiences. Many recordings are less than ideal situations and often I experiment with unusual techniques searching for a method that will get great results in almost any stage setting. I threatened to share some of these with you and this is a good a time as any to start! Some will sound better than others, and some performances will be better, but all should give you a little blast from my past! Please check out my Live Sound Reinforcement series for the big picture, or if you are interested in learning about LSR.
This one is “Run Like Hell” From Pink Floyd.
MSK Studio
Part of the challenge in writing songs is how difficult it might be to convey a particular feeling or message to studio musicians. All players should be heading in the same direction, playing the same tune, moving at the same tempo and so on. Creating soundscapes must be a lot like painting. Drawing the lines and forms are one thing, but which color is best? There are so many available yet each one conveys a unique mood or feeling. Sounds can be like that. We asked a guitar player/friend of ours to come up with guitar tracks for a project I was working on. This was for a cable TV project looking for sound tracks for an automotive enthusiast series. We wanted to give the guitar parts a bit of mood setting so we asked him to create tracks that would generate the feeling of …
an engine or racing car, crunchy, powerful
drive – movement – acceleration, fast, fluid
Using basically no more than the above “instructions” he gathered toys and used the word imagery to shape the sound and the playing style for these tracks. We used the same list to come up with the basic tracks for the song. This song is an adaptation of a song I wrote a long time ago and we called it The Big D Jam. I originally composed this song using the Arp Odyssey synthesizer. I programmed a pretty cool sounding bass patch and came up with the bass line and skeleton of the song. This song in its original version was performed when I was with The Personal Touch years ago. If it was a rockin’ crowd we would let Ric Ahlers jam a bit on the solo parts. I put some simple lyrics to it and it was a really fun song to play out. Recently I pulled it out of the song closet and re-wrote the chorus. I also used new software plug-ins from my computer for all the sounds. This was amazing for me because I have all this fancy gear with cool sounds and I am not using them at all. In this post, I wanted to give you an idea how the song progressed. The new sounds are just amazingly clear and natural. I will post in the near future the complete mix with vocals and effects. When the sounds and the performance match the request or target, the song seems like it was made to order.
Some of you may notice right away that this song is a little different. The beat is not the same as many other songs. I enjoy playing in different time signatures. Not too weird, but I like different beats and even tempo changes if done right. This song is played in 3/4 time rather than the more traditional 4/4 time. It gives it more of a waltz kind of feel to the measures. This is a straight forward recording with me and my Ovation 12 string guitar. There is a hint of a long reverb.
To me, this is a rather sad song. I have seen many relationships that should last forever crumble in front of me. People that were dedicated and adored each other turned to bitter enemies. Mutual friends and family stuck with unpleasant decisions. Broken hearts and lives. Sometimes there are innocent and guilty, but not as often as you would think. The rooms themselves seem to whisper a sad tale. Even the pictures are affected by the loneliness and help tell the tragic but all too familiar tale. Using common excuses as cliche’s the chorus sums it up fairly well while the verses bounce from past to present.
This is not about the relationships that start out with lies or Jekyll/Hyde waiting for you. This is more about someone wanting to mold you. Over powering or just with persistence. These extreme situations would quickly spin out of control. Some that begin with love turn vicious. And as a reminder these are people that professed they loved each other not long ago. I don’t know how that is possible, frankly. Best wishes to you if you have ever had to deal with this situation.
I kept hearing a melody line while reading the poem “Hearts Of Stone” I posted earlier. It is a haunting melody in many ways. The music behind it is sparse and supports the vocals with open space and fluid timing. The music seems out of place at first as the lyrics are happy, hopeful and even loving. On the other side of the chorus the lyrics take a darker look at the conditions many people live with. The minor key and slow progression of the instruments come into play and help paint a portrait of dismal human experiences.
As with a number of my original recordings, I wish I could sing the piece with power and passion the way it needs to be sung to convey the ideas in my head, but this is probably the best I can do. Close your eyes and pretend your favorite vocalist is singing. That MIGHT help lol. Comments suggested a rock song for the lyrics and I agree. I am playing with the idea and may have another version in the future. For now, here is my eerie version of “Hearts Of Stone”.
I have been planning to pull out songs I wrote years ago that have never been recorded before (other than live jams in living room sessions…) and record them. I have been doing a bit of that lately and here is a song I posted the lyrics to earlier called “The Wrong Reply”
For a number of these songs it is difficult for me to imagine hearing the songs in any other way than with acoustic guitars and vocalists. I often think of harmonies, but adding instrumentation really opens up the choices of how the song is transformed. Many people are not aware that the popular Jimi Hendrix song, “All Along The Watch Tower”, was written by Bob Dylan! If you listen to both versions you can see how much the instrumentation and interpretation of the song can change it dramatically. There are many other examples, of course, but this is a good one as I appreciate both artists. This also demonstrates the power of doing a ‘cover tune’ someone else wrote, but that is a subject for a different article.
As with many of my recordings I play all the instruments – sometimes performing in the studio and sometimes using sounds stored on my computer. The drums are usually triggered sounds using MIDI controllers (like my keyboard or drum pads). Sometimes I will use drum loops that are pre-recorded drum patterns that you can pick and choose to match your song. My songs usually have a twist or odd groove to them and do not always lend themselves well to existing drum beats. I wanted something other than the standard drum kit sounds for this song and used other familiar percussion instruments. The bass guitar is recorded using the keyboard as MIDI triggers.
I made up the instrumental part as I forgot what I usually play there and may add a solo instrument of kind in the future.
