If it came from a bull, and it smells like a bull…

There’s this thing called the RPM Challenge. It started back in 2006. Participants record a full-length album that’s ten songs or thirty-five minutes long, and they do it inside the month of February.

I’ve never done this. I used to record albums in a matter of days all the time, but for whatever reason I don’t think any of them were started and finished in February. Not since I started working in the digital domain twenty years ago, anyway.

My friend Joshua Jesty, on the other hand, has been a proponent of the RPM Challenge for about as long as it’s existed. He hasn’t made a “February record” every single year, but I think his latest instalment is his sixth. That’s some serious commitment to the cause right there.

This time around he asked a bunch of different friends to contribute to the album. I was one of those people. The thing is, he didn’t just ask me to play on one of the songs. He asked me to make the cover art too. And if you know me, you know I’m not someone who’s ever asked by anyone to do that sort of thing, because I’m not really a visual artist.

I am, however, a little bit nuts. I like to make up for my inability to draw freehand by tracing on top of existing pictures in a computer program that wasn’t designed with that in mind and then warping the context. In this case I took a photo of Josh holding a bowling ball in front of his face and turned the bowling ball into a massive mound of crap. Then I added a gloating bull to make the album title Nonstop Bullshit literal.

He used that image for the cover art, unmodified.

The song he asked me to play on is a pretty, atmospheric ballad called “Endless”. Josh felt it needed some dobro at the end, so I pulled out this guy, who’s been feeling a little neglected.

I’m not one of those crazy bluegrass pickers who can play frenetic, brain-melting slide solos. I tend to gravitate toward simple, melody-based things. I sat with Josh’s song for a bit until I felt I’d figured something out, recorded a handful of takes with a single Pearlman TM-250, and picked the second-last one. It wasn’t the best technical take, but it felt the most like me. Then I sent it off as a WAV file and Josh stuck it in his song.

Check it out.

I feel pretty good about that solo, I have to say. It isn’t flashy, but it works.

Elsewhere, things are getting back on track. My pseudo-vampire sleep schedule, while workable, drifted to the point that I wasn’t seeing a whole lot of daylight anymore, I didn’t have a lot of energy, and I couldn’t get much done. After not having to go a night without sleep to reboot my sleep cycle for more than a year — a pretty monumental accomplishment when I used to have to do it every few weeks — I admitted defeat and did it again. I’ve now been back on days for almost two weeks, and though readjusting to eating meals at normal times was a little strange at first, it’s nice to be reminded just how much time a proper day gives you to accomplish things.

My goal now is to pick a song every day and either evolve it in some significant way or finish it. So far, so good. Guest-related fun is starting to pick up steam again as well. Tara Watts is supposed to swing by in a little over a week to sing on something (remember her? I used to play in her band six million years ago!), and a few days after that a flautist is supposed to come over to record magic flute things.

I just might manage to reach my goal of thirty musical contributors on YEAR OF THE SLEEPWALK after all.

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