Ever since I acquired the ability to record overdubs twenty years ago, I’ve always enjoyed layering vocal harmonies. It’s come to feel like a pretty personal thing. Even with all the vocalists I’ve managed to involve in YEAR OF THE SLEEPWALK, most of their work has been limited to singing lead parts or contributing to group vocals.
I did try to get other people to sing harmony on a handful of songs, just to see what would happen. Only two of those people bothered to show up. One of them was Kaitlyn Kelly, who made time for me when she was in town for the holidays a few years ago and did some beautiful singing on a song that’s going on the album. The other was Leanna, who also sang a lead part on one of the “musical dialogues” I wrote.
The first session with Leanna was great. She came in and sang that part like she owned it. She said the song brought something special out of her. The second session was…not so great.
Five times we made plans. Five times she stood me up. The sixth time she managed to make it here. I was still doing my musical barter thing at the time. I offered to record a song of hers to thank her for singing on one of mine. She brought along her then-boyfriend, who I’ll call Chocolate Bar (his stage name is something pretty close to that), and an additional guitarist I wasn’t told was coming.
We attacked the harmony part on my song first. It was slow going. She hadn’t bothered to learn the song and didn’t seem to be nearly as into it as she was the first time. We recorded it piecemeal. I would sing her a line. She would sing it back until it was good enough to move on to the next line. After about an hour we were done.
The second guitarist asked to use the bathroom. After waiting a few minutes and not hearing a flush, I took a look to see if he was dropping off some kids or something. He never set foot in the bathroom. He was hiding around the corner, taking pictures of my gear with his phone.
If you’re over here working with me and you ask to take a picture of yourself singing into a microphone, playing an instrument, or giving me bunny ears, I have no problem with that. But to lie about having to take a piss so you can catalogue my equipment without my permission…that’s some sketchy shit. It makes me think you’re casing the place so you can decide whether or not it’s worth your while to try and break in at a later date.
Johnny Smith happened to be here when this was happening. When he saw what I saw, he told the budding photographer he could delete those pictures from his phone and sit where we could see him, or he could get the hell out of the house. He did as he was told, but he seemed to find the whole thing funny.
I recorded a song Leanna and Chocolate Bar took turns singing lead on. I let Chocolate Bar play my 1951 Gibson LG-2. He hammered on the guitar like he was trying to break all the strings. It was his passive-aggressive way of shoving a middle finger in my face.
I never mixed that song.
Leanna later apologized for what happened. As for Chocolate Bar, not too long after that he had a short-lived stint as a cashier at Remark Farms. One day he had to check us out and bag our groceries. I’m not sure I’ve ever seen someone look more uncomfortable. Funny how people who have no problem disrespecting you in private turn into cowards when you see them in a public place. I’ve seen it happen a number of times now. All their arrogance vanishes, they try to avoid making eye contact, and they look like they want to run away.
I enjoy those moments.
A year or so ago, Chocolate Bar sent me a Facebook friend request. I ignored it. I mean, are you kidding me?
Anyway. I had a lot of trouble working out the arrangement for my own song. I couldn’t quite duplicate what I liked about the demo’s piano part. I tried some soft brushed snare, Wurlitzer, and lap steel with a backwards delay effect. None of it felt right.
In late 2016 I took another crack at it. I got rid of everything aside from my acoustic guitar and the vocal tracks, added a bit of third-part harmony, recorded brand new lap steel and piano tracks, and started to like it a bit more. I made a rough mix of what I’d done.
It still didn’t feel finished, but I didn’t know what else to do with it.
A few days ago I thought it would be fun to give it another look. I dumped it back on the mixer, only to discover I erased most of the tracks without thinking. My only option was to use an earlier backup. Hearing those original lap steel and Wurlitzer parts again, I found myself liking them more than I thought I would. I ditched the acoustic piano, didn’t bother to sing the third-part harmony again, recorded a new drum track, and added electric and acoustic twelve-string guitar.
All at once, it felt like the whole thing came to life.
I almost never use a high-pass filter on anything unless I’ve got a vocal track with some plosive sounds that are a little too powerful. Here I broke with that tradition. There was some irritating mud in the lap steel and Wurlitzer tracks. A little filtering did a nice job of cleaning it up.
I haven’t decided if this one’s an outtake or not. I like it well enough. I just don’t know if there’s a place for it on the album. If nothing else, it’s another example of the crappy twelve-string I inherited working its strange magic. That guitar may be a hunk of junk, but every once in a while it’s exactly what a song needs.
Almost everyone can remember where they were and what they were doing when they first heard A-ha’s breathless pop classic “Take on Me”.
Post Malone was in his parents’ basement, tattooing a portrait of Louis Althusser on his left ass cheek with the aid of a stolen compact mirror. Willie Nelson was alone in the back of his tour bus, trying to smoke a breadstick after burning through his entire stash of pot. Britney Spears was giving her sister’s Barbie Doll the evil eye and contemplating drowning it in the bathtub.
Someone you might not expect to be a fan is Gordon Lightfoot. In a little-known interview with Canadian Tire Magazine, Gordon once opined, “It really is the quintessential love song. It grabs you by the throat and forces you to eat a pile of hummus, whether you’re hungry or not.”
Dive deep enough into the Dark Web, past the secret Fifth Harmony porn films and the failed standup comedy of Donald Trump, and you’ll find a bootleg recording of an intimate show Gordon played for a small but appreciative audience in the mid-1990s, backed only by a pianist. For the only time in the great man’s long and storied career, he chose to put his stamp on a number of obscure covers, from Sepultura’s “Ratamahatta” to Swing Out Sister’s “Breakout”. Tucked away at the very beginning of the show like a quiet prayer is a song that has touched the lives of so many, written by some very photogenic Norwegian dudes.
Most of this one was recorded over two days in April. Zara played my Gibson LG-2 for the first time since her first album and brought along her own ukulele. I tried recording her playing and singing at the same time for a song or two, but that approach was abandoned pretty fast. There was too much bleed. I still haven’t found a way to record someone playing acoustic guitar and singing live off the floor that satisfies me. The microphones I use now are too sensitive to get enough separation, and the dynamic mics I used to pull out for live guitar/vocal recordings sound a little too thin now that they’re not plugged into a low-end mic preamp.
Funny how that works.
There was a lot of laughter and joking around between the songs. I mixed one of the silly moments and included it in the WAV files I sent Zara just for fun. I had no idea she was going to keep it on the album, but I’m glad she did.
I also captured her playing a bit of an idea that wasn’t yet a proper song. There were a few ukulele chords, there was an improvised vocal melody, and that was it. Something about that little sixty-second sketch really grabbed me. I thought it was kind of perfect just as it was. I sent that one along too, and it’s also on the album.
I’ve grown so used to people stamping out anything that resembles a human or random moment in their music, it’s almost a shock when someone wants to hold onto these things as much as I do. It’s a good kind of shock, though. Like waking up to discover they’ve started making Choclairs chocolate bars again.
Damn you for discontinuing those sticks of deliciousness, Neilson.
At the top of this post is a video for one of the songs on the album. My plan was to open the blinds and flood the room with some nice natural light, but every time Zara came over it was a grey, rainy day, so it wouldn’t have done much good. Even in a less than ideal lighting situation, I’m enjoying how much better this camera makes everything look. There’s a lot less grain than I was getting with the Flip cameras, and everything feels more vivid and real somehow.
Imagine what I could do if I got some decent lighting happening in that room for a change…
Mixing these songs was a bit of a challenge, just because of how dynamic the performances were. I had to get creative with compression settings and riding some faders to control things without squashing them. I think I found the right balance in the end.
Who wants a “set it and forget it” mixing job anyway? That stuff’s no fun.
Things have been downright tumultuous around here.
I wanted to get in the habit of blogging more often so I could hold myself accountable on the recording side of things. I haven’t managed to do that. I havebeen making good progress with the album. I’ve also had to accept this sad truth: there’s no way to get it finished in time for the show. It’s turned into too tight a race. I can get it close, but not all the way there.
This is a handbill the wonderful Katie Schram designed for me.
Beautiful, isn’t it?
It would be great if I could print a bunch of these and start handing them out to people. I can’t. For the first time in my life I have promotional material I can’t use, because the show it’s supposed to promote isn’t going to happen.
First my trombonist pulled out after committing to the show. Then my cellist stopped talking to me with no explanation. Before long my drummer was out of commission and unreachable, the only person I could get to agree to show up for a rehearsal was the bassist, and many of the most important musicians either wouldn’t acknowledge me at all or were pretty vague about when and if they might grace me with their presence.
Sounds a bit like a lame comedy sketch.
You might say, “Well, the musicians involved in this are talented enough that they don’t need much preparation. They could turn up the night of the show with a single rehearsal under their belt and fake their way through it just fine.”
Even if that’s true, the whole “rehearse very little and pray for a miracle” approach doesn’t work for me. It never has. It would be one thing if we were a band with some history. We’re not. I’ve only worked with these people one-on-one in a recording situation. Playing live as a group is a very different beast. You need time to build chemistry and work out arrangements.
I’ve played as a supporting musician in bands that half-assed everything and hoped for the music to glue itself together in the ninth hour. None of those performances were anything to write home about, and I was always a nervous wreck onstage. Why would I want to put myself through that when the music is my own?
The last time I played at Mackenzie Hall I had a three-piece band. We only had six or seven songs we needed to learn as a group. The rest of the show was made up of me doing solo pieces. We must have rehearsed a dozen times over a period of three months. The idea was to get to a place where we were comfortable enough with one another to take off on an improvised tangent in the middle of a song and navigate whatever twists and turns it took with confidence — to be able to pick up on tiny physical cues and execute pin-point dynamic shifts.
We put the work in to toughen ourselves up until we were a real band, and it paid off big time at the show.
That isn’t going to happen this time. Even if every necessary piece of the musical puzzle showed up to rehearse for every Saturday that’s left between now and August 17th, I don’t think there would be enough time for us to get good. At best we would be okay. And that’s not going to cut it.
I may go out of my way to leave mistakes and human moments in my recordings, but I care a great deal about what I do. I’m not going to half-ass my first serious live performance in eight years and the biggest show of my life to accommodate the absent asses of others. If people can’t be bothered to show up and put in the work, there’s no point in losing my mind trying to salvage something out of the chaos. I won’t march into a public humiliation out of some misguided sense of duty, and I didn’t work to get that grant so I could pay people for being a bunch of fucking deadbeats.
I wouldn’t be able to rehearse now anyway. All the stress has caught up with me and made me sick. Ain’t that a kick in the nuts?
I already had my mind pretty much made up about cancelling the show before I got sick, but I took some time to think it over. During my thinking-it-over time, the ghostly cellist popped up to say she’d be available to rehearse about three weeks before the show. As if that would somehow be enough time to get up to speed when she’s never played any of these songs before. The person who was supposed to be my main backup vocalist and a fill-in lead singer for other absent vocalists said she wouldn’t have any time to rehearse with me until the end of July — this after telling me she’d be available to start getting together in early June. Better yet, after letting me believe for months that she was going to be an integral part of the show and one of the main performers, she changed her mind. Now I could only choose three songs I really wanted her to sing on. That was all the material she felt like learning.
There’s no putting a good face on this — she lied to me. She misled me about the role she was prepared to play and how much time she was willing to set aside for me. She’s second-billed on that handbill up there. Someone who’s a glorified walk-on guest doesn’t deserve to be second-billed. And I don’t care how busy you are. If you’re not going to be honest with me, I don’t want to know you.
Any doubts I had about cancelling the show died a violent death right there.
The singer who didn’t want to do much singing wasn’t the only person who was full of shit. Not by a long shot. It’s as if some of these people believed the simple act of attaching their names to my show should have been satisfaction enough for me, and whatever near-nonexistent amount of effort I could get out of them beyond that was supposed to be a bonus.
Someone told me, “You have to understand…most musicians don’t operate the way you do. They have their heads perpetually stuck up their own asses, and their main concern is themselves. That’s just the way they are. You can’t take it personally. It isn’t about you.”
How am I not supposed to take it personally? What other way is there to take it? “Laziness” is not a valid excuse to me. You don’t get to treat your so-called friends like dirt just because you’re talented.
Actually, let me correct that: in most cases you do get to treat your so-called friends like dirt. A lot of people get away with being pretty awful human beings because they have some amount of talent — or at least the ability to convince others they do — and they can be charming and ingratiating when they feel like it. I don’t swim in that ditch. A talented piece of shit is still a piece of shit.
You can make all the excuses you want. My music is who I am. You blow that off and you’re blowing me off. It doesn’t get much more personal than that.
I understand now that I made the tactical error of devising a show that relied on a large supporting cast of characters in order to succeed. Many of the most important players let me down. My dream was to give a multi-faceted gift to the community through music and visual art. The indifference of my peers has decimated that dream.
So I’ve cancelled the dates at Mackenzie Hall (dress rehearsal and performance), and a week ago I gave the grant money back to the city. I refuse to compromise my vision to the point that the show no longer resembles what it was supposed to be. This was going to be something special. It was the culmination of more than five years of work. I put it together a specific way and worked my ass off to make it a reality. Limping into Mackenzie Hall with some half-formed version of what could have been would feel even more like defeat than pulling the plug and walking away.
Could I have done something with just a rhythm section? Sure. Could I have done a one-man show? Yeah. But I’ve already done both of those things at Mackenzie Hall (and I think I did them pretty well). I have no desire to repeat myself.
Most of the people who were going to be my “special guests” were great at communicating with me. I didn’t have to chase them. I’m grateful for that. Darryl and Christy Litster, Ron Leary, Jess O’Neil, Jim Meloche, Dave Dubois, Natalie Westfall — all these folks have been wonderful every step of the way.
In the end, it just wasn’t enough. I felt like I had one big show left in me. This was it. Now it’s dead.
Lesson learned — I won’t try to do anything like this again. And if anyone accuses me of being a weirdo recluse who doesn’t play well with others after this, I will bite their head off and spit it back into their jagged blood-spurting neck hole.
You might think this is an extreme overreaction to a situation that wasn’t beyond help. Unless you’ve been through it, you have no idea what it’s like to put your heart and soul into something like this only to watch it collapse in slow-motion. You can’t force people to show up. You can’t force them to care.
I’m told I’m the first person in the history of the ACHF to refund their grant money. It felt like the right thing to do. The event as I pitched it to the jury ceased to exist, and I didn’t want to abuse the system. I know there are people who do that and get away with it. I would rather be honest.
Maybe someone else with better luck will be able to use the money to realize a dream that’s more realistic than mine was. I hope so.
I’m not as disheartened as all of this might make me sound. I’ve gone through the grieving process and more or less made my peace with things not working out. As a wise woman once said, “[You] can’t hug every cat.” I won’t pretend it isn’t disappointing, though. I was pretty proud of the set list and supporting cast I put together. I think it could have been a night to remember.
We’ll never know now.
On a lighter note, the J, K, and L keys on my MacBook stopped working a few weeks ago. Every once in a while I could mash the other keys around them and trick them into cooperating with me for a little bit. After a few days my subterfuge no longer did any good. I was hoping it was just some dirt on one of the contacts. Nope. Had to get the whole keyboard replaced. That was a $200 expense I could have done without. At least the people at Experimax were great to deal with and they fixed it the same day I brought it in.
You don’t notice how much you rely on certain letters until they’re no longer accessible to you. The S key on my crusty old video-editing laptop died years ago, but it’s easy to work around. All I have to do is copy an S from an existing document or file and paste it whenever I need it. When you have to do that with three different letters it becomes much more frustrating and time-consuming, turning what should be a two-minute email into fifteen minutes of tediousness. It’s nice to be able to type freely again.
It hasn’t all been janky laptop keys and crumbling dreams of ambitious live shows over here.
For the better part of twenty years I’ve been trying to track down video footage of my March 2000 performance at the Air Jam (Walkerville’s quirky name for a talent show). I’ve mentioned this a few times before.
I knew of two tapes — the one Gord’s high school girlfriend Amanda filmed, and the one the school filmed. I saw both of them in the summer of 2000. Then I never saw anything that was on either tape again.
I started trying to talk Amanda into letting me borrow her tape so I could make myself a copy when we were still in school. I kept trying after we graduated. Nothing happened. When Facebook came into our lives I started pestering her over there. I tried to get Gord to help. After a lot of false starts, in 2010 Amanda said she had the tape I was after. I rejoiced.
My rejoicing didn’t last long. I spent a month or two trying to arrange to get that tape from her. I offered to pay her just for showing up. It didn’t do any good. She was either noncommittal in her responses to my messages or she ignored me. She wouldn’t give me her phone number or her address, so I couldn’t go to her. I was stuck in limbo.
I nudged Gord into sending her some messages in 2014 and 2015 when we were working on STEW. He said he thought there might be some kinky business on the tape, explaining Amanda’s apparent reluctance to share it with either one of us. I told him to tell her I would give her the money to have a video place transfer the tape into a digital format herself, allowing her to snip out anything she didn’t want me to see. That didn’t do the trick either.
In 2017 I sent Amanda one last heartfelt message. I told her this was a piece of my musical history I felt incomplete without. I explained how much it would mean to me if I could somehow see it again. I also wanted to try and incorporate whatever archival material I could into the DIY documentary I was — and still am — making about YEAR OF THE SLEEPWALK. This stuff was the Holy Grail of archival material.
She wrote back and apologized for the long silence. She said she wasn’t sure what tapes I was on, but she was able to narrow it down to seven possibilities. Years ago she bought some equipment so she could transfer the tapes at home. Then her camera stopped working and she gave up. If I was willing to transfer the tapes myself, I could have all of them. All she asked for in return was that I make her copies of the digital files.
Gord was supposed to swing by her place and grab the tapes before bringing them to me. He couldn’t do a thing with them, and he sure as hell wasn’t going to help pay to have them transferred. He was just another barrier between them and me. It would have made a lot more sense for me to pick them up myself. I couldn’t do that. Amanda still wouldn’t give me her address or phone number.
I don’t like relying on other people for things like this, but I left it in Gord’s hands. He rewarded my trust by almost ruining what looked like my one real shot at a happy ending. The night he was supposed to pick up the tapes, he blew it off.
This is a guy who’s known me since I was fifteen years old. He knew how long I’d been trying to gain access to this material. He knew what it meant to me. And he couldn’t even take five minutes out of his beer-drinking time to make good on what he told me he was going to do. He didn’t care. It didn’t mean anything to him.
I was ready to end our friendship right there. Lucky for him, Amanda took time out of packing for a vacation to bring the tapes to his door, and he was forced to pass them on to me.
Victory at last? No. Not quite.
I paid Unique Video Systems to convert all those 8mm tapes into MP4 files. I found some great footage I didn’t know existed — some of it featuring a skinny, beardless teenage version of me. But the Air Jam footage wasn’t there.
I told Amanda. She dug up some more tapes. This time I wasn’t on any of them.
I was discouraged but not defeated. There was still the matter of the second tape — the one filmed by the school.
I emailed John Vacratsis. He was a teacher involved in all kinds of art and media-related things at Walkerville during my time there. If anyone was going to know anything about the tape or its whereabouts, it was probably going to be him.
This was the crappiest of crapshoots. I didn’t have a great relationship with Vacratsis when I was a student. He seemed to resent me for not taking any of the music classes he taught, going my own way instead of letting him develop me into another talent Walkerville could be proud of, and he once chewed me out for some material he found offensive on a collage I made for grade twelve English class.
(That our English teacher, who was really a transplanted drama teacher, would have us making collages like children and answering questions about movies untethered to anything in the curriculum so he would have something to base our grades on without having to teach anything that resembled an English class — that was the more alarming issue to me than some goofy thing I put on a collage. But never mind.)
I expected Mr. V to remember me as a troublemaker if he remembered me at all. It didn’t matter. I would play nice in an email and see if it got me anywhere.
To my amazement, it did. He sent me a very kind response and tried to help as much as he could. He gave me the names of media students who might have been operating cameras on that day, he gave me the name of a media teacher who was still teaching at Walkerville, and he wished me luck in my epic quest.
I felt a renewed sense of purpose. Now I had something solid to work with.
One film student said he remembered my performance but didn’t know where the tape might be. The others ignored me. I wrote a letter to the media teacher outlining my plight, with a few albums included as thanks, and left it for him at the front desk.
Stepping inside my high school for the first time in almost nineteen years was a bizarre experience. I was happy to see they now had an upright piano in the hall and anyone was welcome to play it. I sat down and noodled a little. There wasn’t much volume or tone there, but hey, a real piano is a real piano.
Something about being there made me angry. No one was unpleasant. No one ogled at the long-haired bearded guy who was way too old to be a student. I don’t even have that many bad memories from high school, so it wasn’t a matter of old hurts coming back to haunt me. Believe it or not, I wasn’t an outcast or a loner. I was one of those odd students who managed to become popular and well-liked by refusing to be anything other than myself.
Maybe it was just one of those days.
Mr. Allison — the media teacher — sent a very thoughtful email in response to my letter. A lot of people probably would have blown me off, but he did some detective work on my behalf. What he found out wasn’t encouraging. In the days before they had digital video equipment, the school would routinely reuse and record over existing tapes instead of buying new stock. Everything pointed to the Air Jam tape being one of many victims of this recycling program.
This was it. The end of the road. There was no one left to talk to, no lead left to follow, and there were no tapes left to digitize. I was a few hundred bucks poorer and no closer to that Holy Grail footage. There was no reason left to believe it still existed. I had to accept that maybe I just wasn’t meant to ever see it again. Maybe all my efforts had been for nothing.
A few weeks ago I got a message from Amanda. She told me some things that did a lot to explain her apparent standoffishness over the years (I always assumed she never liked me; turns out it had nothing to do with me). She also told me she found three more tapes while going through some things in her basement. She didn’t know what was on them, and she thought it was mostly personal stuff, but she figured it was worth sharing them with me just in case.
I brought those tapes to Unique Video Systems and got my MP4 files. I went through them at home. The first tape had footage from Amanda’s trip to visit a post-high school boyfriend in 2002. The second tape was full of video messages she made for that same boyfriend and some bits of her hanging out with a few friends. I took a look at what was on the third tape and braced myself for more disappointment.
I saw some chunks of what looked like high school performances. I jumped to a random place in the video and landed on an image of myself seated at a digital piano, wearing a black t-shirt and blue jeans, and I knew at once what this was.
The 2000 Air Jam. The Holy Grail.
This is what I’ve been chasing for my entire adult life. There was no reason to believe I would ever find it. Now I have it on my hard drive. The absurdity of it all is still sinking in.
I’d chalk that up to the best $61 I’ve ever spent.
Some backstory might help explain why this footage means so much to me, and why unearthing it feels a bit like winning the lottery.
Gord and I tried out for the Air Jam for the first time when we were in grade ten. The “brain” of my very tiny home studio was a Roland VS-880 digital mixer/hard disk recorder. I didn’t have a CD burner that was compatible with the mixer. We recorded a few passes at John Lennon’s “How Do You Sleep?” and the Clash’s “Should I Stay or Should I Go?” and I dubbed the best takes onto a cassette tape. A friend’s sister was part of the group of students organizing the show. I gave the tape to him to give to her.
We didn’t get in.
Later that same school year, a few other students announced they were putting together something they called an Arts Night. It was really just an after-hours Air Jam. Gord and I auditioned in the music room. We did a rowdy version of “Sweet Jane” (the original Velvet Underground arrangement, not the Cowboy Junkies remake) and I did John Cale’s “Paris 1919” alone at the upright piano.
In those days I had this idea that playing cover songs was a better bet than playing my own material live. I’m not sure why. At least I had good taste in covers (I think). Before settling on those two songs, the Talking Heads track “Drugs” was another consideration.
We passed the audition with flying colours, but the students in charge didn’t feel like putting in the necessary work to make the show happen (sounds familiar, doesn’t it?). It died before it even got off the ground.
In grade eleven, Christian Masotti was one of the head organizers of the Air Jam. We were good friends. We respected each other as musicians. This time I knew I would make the cut. Auditioning would be little more than a formality.
My idea was to flesh Papa Ghostface out with another member or two. I had some classes with a guy named Isaac Osmer. I got the chance to jam with him a little when I played another John Cale song in the music room one day before the morning bell. Mr. Ross kicked me out before the song could really get going, but Isaac seemed like a solid drummer and a nice person. When I suggested we do something together sometime, he said he was into it.
Then Christian and my pal Jesse almost sabotaged the whole thing.
Jesse wanted to put a band of his own together for the Air Jam. He wanted Adam Cohen on drums, Max Marshall on lead guitar, and me on bass. He had a song about a young boy losing his mind called “Something in the Attic”. After recording a whole slew of songs with Jesse that didn’t stray far from acoustic love song territory, I was kind of looking forward to being his bassist and rocking out a little on something dark and moody.
Jesse wanted more time to prepare. He had friends on Agora — Walkerville’s student council, named for the public square built in Athens in 500 BC. He pulled some strings and convinced Christian and the other Air Jam organizers to put on two shows instead of one. He claimed he needed the extra time to study and get some of his grades up.
No one believed that story for a second, but he got what he wanted.
Two shows didn’t sound like such a bad idea at first. Christian told me the plan was to have the first show at the end of March. The focus would be on solo performers — students strumming acoustic guitars and wailing cover songs, Faith Hill clones singing to pre-recorded country music on cassette tape, and the like. Two months down the road, the second show would be for full bands and performers who wrote original material. This way everyone would have a chance to shine.
With that kind of structure, it seemed to me the first show would be boring beyond belief and all the good stuff would land in the second one. I told Christian I was putting a band together and had no problem pulling double duty in the second show, backing Jesse up in his band before stepping into the spotlight with mine. Even if we didn’t get anyone aside from Isaac to play with us, Gord could move over to bass and I could play guitar or keyboard. I thought a drummer would give our music a whole new punch.
When the lineups for both shows were posted on the bulletin board in the hall, I did a mental double-take. It wasn’t at all what Christian told me to expect. Neither show had any real theme or focus. Bands, karaoke singers, and solo acoustic performers were thrown together with no apparent thought given to who went where.
Jesse was in the second show. I got bumped to the first one against my will. I didn’t have Jesse’s connections. There were no strings for me to pull. And it was March already, so there would be no time to get tight with Isaac now.
Hot on the heels of that foul-smelling revelation, I learned I wasn’t going to be playing bass with Jesse anymore. Max never showed up for rehearsals. Instead of moving forward with a three-piece band, Jesse decided he would go it alone with an acoustic guitar.
My first impulse was to drop out of the Air Jam as an act of protest. Between Jesse’s machinations and Christian’s shitty organizational skills, I felt like I’d been painted into a corner for no good reason. Then I got a better idea. I would repurpose my frustration and blow it out of my system during our performance. Maybe it would just be the two of us on the stage, but that didn’t mean we couldn’t pull out all the stops.
“Fuck ‘em,” I said to Gord. “If they’re going to screw up our plans, we’ll give them something to remember us by.”
The song we chose to perform was “Pacing the Cage”. It was the first song Gord and I ever wrote together. We ran through it once and knew we wouldn’t have to run through it again. It was in our blood.
There was one mini-rehearsal at school. Everyone played truncated versions of the songs they were going to play at the show. They cut us off halfway through “Pacing the Cage”, just as I was starting to ramp up my voice.
The day of the first Air Jam show, Gord and I slipped into the auditorium after lunch to see how things were going. There was only one mic stand on the stage. I asked Christian if they had any more. He said no. That wasn’t going to work with Gord playing acoustic guitar and me singing at the same time, and I was pretty sure there were other performers who would need more than one mic stand. I walked home and grabbed a few SM57s and mic stands of my own to lend to the cause. It was one of the many times living a two-minute walk away from school came in handy. I also grabbed my acoustic guitar, my harmonica, and my harmonica holder, though I had no idea what I might need them for.
There was no keyboard on the stage. Christian told me I would probably be able to borrow one from one of the music classes. A few teachers turned me away before someone told me I could use one of the two keyboards collecting dust in the back of their classroom. Jesse saw me and wished me luck in the show. Then he asked me what I was doing in his class. I told him I needed a digital piano for my performance.
“One of those is no good,” he said. “It’s got sticky keys.”
I thought I’d try them both. Neither keyboard had any internal speakers, so Jesse grabbed one, I grabbed the other, and we carried them to the auditorium along with a keyboard stand.
The one with sticky keys wouldn’t make a sound. The other one worked, but it only had sixty-one keys. It felt like a toy. The piano sound was thin and one-dimensional.
I tried to set it at a good volume so I wouldn’t have to mess with it later. Jesse climbed up on the stage, sat down at a drum kit that was set up behind me, and started playing. He noticed my harmonica.
“Can you play that thing?”
“Sort of,” I said. “I just play chords on it most of the time.”
“Play something, man!”
I blew a few chords into a microphone. Jesse laughed. “Is that all you can play?”
“It makes more sense when I’m playing the guitar or the piano at the same time.”
“Is it just you and Gord playing?” he asked me.
“Yeah, just the two of us. We were gonna get a drummer to play with us, but we were moved from the second show to the first. That threw things off a little.”
“I could have played drums for you. Why didn’t you ask me?”
“I never even thought to ask.”
“What’s your song like?”
I played a bit of “Pacing the Cage” for him. He hammered out a steady 4/4 rhythm. It was all wrong for the song. I tried to explain how I needed something more along the lines of a polyrhythmic funk beat, where the snare didn’t fall on the two and the four. He asked me to give him an example. I took his place behind the drums for a minute and showed him what I meant.
I moved back over to the keyboard. Jesse started playing the same 4/4 beat again.
“The song’s okay without drums,” I said. “It’s way too late to figure it out now anyway, and it wouldn’t sound right without bass. But thanks for the offer.”
When it was time for the show to start, I met up with Gord in a hallway that led to the stage wings. It dawned on me that I left my leather jacket on one of the chairs in the front row of the auditorium. I waited until Cerah Steele’s band finished their three-song set and made my move during the brief lull between acts.
Then this happened.
I’m almost positive that’s Matt Strukelj screaming, “John West!”
What you don’t see, because the camera didn’t catch it, is me approaching a guy who was sitting on my jacket and asking him if he could stand up for a second so I could grab it. He didn’t move. I asked him again. He looked at me like he didn’t know what words were. The people around him had to liberate it from beneath his uncomprehending body.
Back out in the hall, Christian was trying to get a handle on the chaos swirling around him. No one knew when they were going to get their turn to perform. A tentative list was taped to the door, but it was incomplete and subject to revision. First we were supposed to be the third-last act. Then we got pushed to second-last. We would have been dead last, but Steve Mitchell was slated to close the show.
All along we were told to prepare one song. Now Christian was telling me we might have five minutes, and we might have ten. He couldn’t offer a definitive answer one way or another.
“Pacing the Cage” was good for four or five minutes. There was no way to stretch it out to ten. Gord and I took our acoustic guitars to the outside of the front entrance of the auditorium where things were quieter, tuned up, and tried to figure something out. We had four full-length Papa Ghostface albums to draw from by now, plus the in-progress SHOEBOX PARADISE, but a lot of our songs were improvisations that were never revisited after we recorded them, and nothing jumped out at me as being appropriate for a school performance. What could we pull off with no time to practice?
We could do “Fatties”. That would be a hit with all the pot-smokers. But the vicious impressions of a few well-known teachers wouldn’t go over so well, nor would the sex talk. We’d be remembered for all the wrong reasons.
There was “Ballad of Bob and Marie”. It was simple enough. Just a few chords. I wasn’t sure how many students would appreciate a song that was little more than a vehicle for my Bob Dylan impression, but I thought I remembered most of the words from the initial improvisation.
We recorded this song for the double-CD HORSEMOUTH (AND OTHER BEDTIME STORIES) on August 17, 1999. It was the day after my sixteenth birthday, and twenty years to the day before the doomed Mackenzie Hall show was supposed to happen. We started out with a little live instrumental improv. I got a drum loop going on the Yamaha W-5, ran it through a distortion effect built into the synth, and played synth bass with my left hand and an atmospheric synth pad with my right. Gord made barking dog sounds with his electric guitar and a wah pedal. He brought over an old harmonica he had in the key of C, so I strapped it on and blew into it a little.
My grandfather was supposed to call me to wish me a happy belated birthday. I kept thinking I heard the phone ringing, so we would stop recording mid-improv only for me to discover it was the sound of the harmonica’s wheeze tricking my ears. After the third or fourth fake-out he really did call. Once our conversation was over, I thought it would be fun to treat the little instrumental jam as an intro and cut straight to a song that had nothing to do with it. I swapped out Gord’s harmonica for my own and did my best shouty young Bob Dylan impression. After we got down a live performance with me on acoustic guitar and Gord on electric, I overdubbed some shaker and shouted some distant backup vocals. Gord overdubbed acoustic bass.
I remixed this song about a week ago, just before I got sick. It had some serious issues, and if I was going to post it here I wanted it to sound as good as possible. Twenty years ago I knew almost nothing about mic placement, and I knew less than nothing about things like EQ and compression. I would stick an SM57 in front of anything with strings and hope for the best. No surprise then that the acoustic guitar and acoustic bass tracks were muddier than mud, and my vocal track got pretty out of control during some of the more forceful passages with nothing to tame it.
It’s pretty amazing what you can do with a VS-1680 to fix up a mediocre recording. “Ballad of Bob and Marie” was recorded on a VS-880-EX before I upgraded to the sixteen-track machine, so I had to import it into the 1680. Everything past that was smooth sailing. I was able to carve out all the low end mud with EQ. Some limiting got the acoustic guitar and bass sounding pretty crisp and controlled. A little EQ and compression on the vocal and it was sitting right in the pocket.
Everything was done “in the box”, and I left all the original effects intact. The chorus and delay on the lead vocal felt essential. I didn’t want to do anything to alter the spirit or soul of the song. I just wanted to undo some old mistakes.
I can hardly believe how good I was able to make the acoustic guitar sound. It was a crappy instrument to begin with, even before my half-assed recording job. But the real shocker for me is the electric guitar. That’s not a real amp you’re hearing, and this was before the Digitech guitar effects box came into the picture. I plugged Gord’s B.C. Rich Virgin straight into the mixer and used one of the 1680’s built-in guitar amp modelling effects called “Vin.Tweed” (it’s supposed to emulate an overdriven 1950s tube amp). Everyone will tell you Roland’s speaker-modelling technology is beyond outdated now, but to me it sounds a lot more realistic than anything I ever got out of a POD.
I wish I’d thought to start backing up whole albums earlier in the game. I could give some of the early solo and Papa Ghostface CDs a whole new lease on life with just a little tasteful remixing. I did at least back up a few other songs from HORSEMOUTH. Though some of them are things I considered borderline filler at the time, it might be fun to revisit them and see if I can clean them up in a similar way.
I digress. We decided “Ballad of Bob and Marie” would be our second song if we needed one. Just in time, too, because few minutes later Christian told me we were up next. We walked through the wings. Christian asked if we had enough material for ten minutes. I told him we did. We made our way onto the stage. I laid my guitar on the floor and sat down at the crummy keyboard I was stuck with. Gord sat down beside me. Christian helped us both set up our microphones. After making sure my vocal mic was working, I went off.
“All right!” I screamed. The audience screamed back. I felt like a psychotic low-rent preacher.
“I’d like to tell you something before we start,” I said. “Originally we wanted to put a band together, but because of time constraints and being shifted around and shifted around, we weren’t able to do so. That makes me angry! But maybe I’m not the only person in here who’s angry right now. Maybe some of you are angry. Maybe your boyfriend left you. Maybe your girlfriend left you. Maybe things aren’t going too well for you in general, ’cause ain’t life stink? And so, I want you to scream when I tell you to let it out at the end of this song. All right?”
We launched into a version of “Pacing the Cage” that made the original recording sound like a lullaby. I slipped into the skin of the character narrating the song — an unrepentant killer who murders his unfaithful wife and her lover, relating the tale from prison not with pride or remorse, but with the belief that he was hardwired from birth to do something horrible and in committing these crimes he found his true purpose in life. My hands were shaking. Every time I hit a bad note, I mashed the keys and went out of my way to hit every bad note I could. I twisted my voice into a guttural groan when I wasn’t screaming, pounding on the keyboard I hated until I was punching it more than I was playing it. In the absence of a music stand I balanced my lyric sheet on top of the keyboard. All the turbulence sent it flying to the floor.
When the lyrics ran out I addressed the audience again. “LET IT OUT!” I screamed, and a sea of voices screamed back at me. The song dissolved into dissonance and everyone went nuts. We got a standing ovation.
The Bob Dylan piss-take was a little anticlimactic after that, but I felt invincible even with my voice half-shot from the vocal cord brutality of the first song. If anything, the diminished vocal range probably helped my Dylan impression. I lost my pick inside the sound hole of my guitar mid-song and kept going, improvising new lyrics when the adrenaline wiped my brain clean. We got another standing ovation (well, half of one this time) and left the stage to thunderous applause.
Jesse appeared in the wings with a look of bewilderment on his face.
“THAT WAS FUCKING AMAZING!” he shouted at me, giving me a bear hug, my harmonica holder coming between our chests. “I love the way you play guitar! I love it!”
This was almost as shocking as the audience’s response to our performance, coming from someone who just a few months earlier was belittling my “fucking lap guitar” playing as if it was the lowest form of musical expression. For all of our musical differences and the tug-of-war we waged as collaborators (with Jesse trying to get me to write more conventional songs like him, and me trying to get him to let go and get a little weird), it felt like he finally got what I was doing and I managed to bring him over to the dark side, even if it was only for an afternoon.
“I gotta go,” Jesse said. “I just wanted to come back here and see you guys. Fuckin’ amazing.”
Then he was gone, and I was left with a buzz that wouldn’t go away. The afterglow seemed to extend throughout the entire school. Even Steve Mitchell got on board. He closed the show with Steph Sarafianos backing him up on guitar for a version of Van Morrison’s “Brown-Eyed Girl” that was rewritten as “Blue-Eyed Girl” in Steph’s honour.
The first thing he said when got onstage was, “How about that John West?” and everyone went crazy all over again.
The rest of that day is a bit of a blur to me now. I remember jumping up and down like a manic kangaroo in the hallway with Max and Paul Clairmont (at least I think it was them), feeling a natural high I didn’t know what to do with. I remember walking back to my house with Gord and talking for a minute to Amber Hughes, who was sitting cross-legged on the grass. I remember Gord saying, “She digs you, man.” I don’t think she did. She was just friendly.
That’s about it. The rest is gone, including the weekend that followed.
I wasn’t unpopular before that performance, but it seemed to catapult me once and for all into the realm of “those who are considered cool”. The thing that strikes me now is what an out-there performance it was. There’s no guarantee an audience is going to stick with you when you do something that confrontational and unconventional. It wasn’t even a great musical display from a technical standpoint. It was more about the energy. And to the great credit of that group of students, they were with me every step of the way. I could feel it. Maybe I tapped into some universal angst pretty much everyone feels at that age. I don’t know.
Even some of the teachers got into it. On the Monday after the show, Mr. Zawadski — my math teacher in grades nine and ten — pulled me aside on my way to society class and said, “I have to tell you, John, I really enjoyed your performance. There’s a market for that, you know. It’s avant-garde!”
Along with the grade eight talent show, it was one of the formative musical events of my life. To play your own material live, to do nothing to compromise it or make it more palatable for an audience, and to have a bunch of teenagers — in some ways the most difficult age group to impress — respond like that…there’s nothing quite like it.
I see now that everything going wrong was a blessing in disguise. If things had gone my way and we’d been able to put a larger band together, I’m sure we would have given a good performance. But it probably wouldn’t have turned into interactive musical theatre. It took a perfect storm of inconveniences and injustices to get me pissed off enough to take command of the room the way I did. People still remember that Air Jam performance to this day, which is insane to me.
The second Air Jam show in May was a complete disaster. Half the scheduled performers skipped out on the event, forcing the few who did show up to stretch themselves pretty thin as the emcees improvised lame banter to fill up time. It made the March show look like the best-organized event in the universe. The audience got bored, with a lot of students shuffling out of the auditorium while the show was still going on. Best of all, Jesse — the guy who pressured the organizers into putting on a second show in the first place — didn’t even show up.
I was able to put a full band together for the 2001 Air Jam, but that’s another story for another time.
Now, I know what you’re thinking. You’re thinking, “If you can see the value of turning adversity to your advantage in a situation like that, why didn’t you do the same thing with the Mackenzie Hall show?”
I’m not the same person I was in March of 2000. I watch that footage now and the raw energy on the screen almost scares me. I had a lot of anger taking up space inside of me, most of which stemmed from hearing what a piece of shit I was all the time from certain family members who have been dead to me for a number of years now. I used it as creative fuel on a regular basis. And I was fearless on a stage. You could have chopped off one of my fingers and I would have kept on going and incorporated it into the performance.
I don’t have that wellspring of boundless energy anymore. I also feel like I’ve been fighting against one form of bullshit or another in this city’s music scene ever since I got out of high school, from complete indifference, to being treated as a novelty, to being misrepresented, misunderstood, and lied about by talentless coattail-riding douchebags with agendas.
Even this album I’ve been working on forever has had its share of setbacks. Sure, it’s been a grand adventure. It’s also been another thing: a profound test of my patience, my resilience, and my ability to absorb one rejection after another. You know how many people in this city ignored me, blew me off, flaked out on me, or stood me up on my way to getting almost thirty singers/musicians and a dozen visual artists to contribute to the album?
Many of those eighty-two people claim to have an immense amount of respect for me and what I do. And that’s just Windsor people. I tried to bend my own self-imposed rule and involve some talented folks from Detroit and other not-so-far-flung places, with disastrous results.
For every singer I got to show up and sing on something, another ten either never acknowledged me or made a commitment to work with me only to come up with some bogus excuse to use as a last-minute escape clause. My favourite, though it’s hard to choose, is probably the singer who spent more than half a year sitting with a song and telling me it was right in her wheelhouse, only to claim she forgot her own vocal range the day we were supposed to record. It takes a special kind of idiot to come up with a story like that. It must have taken me twenty horn players to find two or three who would talk to me. And I lost count of how many visual artists said they were enthusiastic about contributing to the lyric booklet and then never spoke to me again no matter how many times I tried to follow up with them.
Maybe it isn’t surprising that for all the guests appearing on the album, more than half the songs still feature me doing everything on my own. If I’d been crazy enough to put an actual band together to play on every song, there wouldn’t be an album. You can’t work with people who won’t show up.
I’m proud of the songs I’ve written and the performances I’ve been able to get out of a colourful cast of characters. It might end up being one of my best albums when all is played and sung. And I won’t ever do anything like it again. I can’t tell you how much I’m looking forward to banging out a guest-free album inside of a few months, the way I used to do it, once this thing is out of the way.
Really, it comes down to a very simple thing — I’m tired. Tired of fighting an uphill battle against a music community that, for the most part, never wanted me around in the first place. Tired of eating shit. Tired of a lifetime of rejection from people who are too apathetic or self-important to have a conversation with someone who isn’t already a part of their selective inner circle.
I want to make music and live my life. That’s it. I don’t have any energy left for the other garbage.
I hope cancelling the show sends a message to the musicians who forced my hand. I take this stuff seriously. I always have. I always will. If you can’t come to the table with at least some degree of reverence, you have no business pulling up a chair.
Note: if you’re wondering why I didn’t post the Air Jam footage, it’s because I feel I’ve already shared more bits than I should have from the SLEEPWALK documentary thing and I’d like to keep at least a few surprises up my sleeve. I’ll probably come back and put it up here once that’s done.
Zara was back in the studio this past week to record the songs that will make up her third album. We got started on Monday and wrapped up on Friday.
This time there was a pretty even division between guitar songs and ukulele songs. Zara brought her own uke but gave my wizened Gibson LG-2 some more run after playing it on UNCERTAIN ASSERTIONS way back in 2014. One new wrinkle: we double-tracked her voice on a few songs. I always enjoy hearing the way a voice almost morphs into something new when it’s doubled or tripled to become an exaggerated version of itself.
As intense as Zara’s music is, she’s great fun to work with. There’s a lot of laughing, and it doesn’t feel much like work. All I really do is move a few microphones around and try to capture the way she sounds in the room, and then mix the results in such a way that the dynamics are left intact.
It feels good that she would want to keep coming back here five years after we recorded her first album. Makes me think I must be doing something right.
I should have everything mixed by the end of the month, or early May at the latest. There’s a bit of video footage to share as well. This time I used the Canon T5i instead of one of my little Flip friends. We’ll see what impact that has on the quality. The lighting in the room on the day wasn’t great, so it might still be a little grainy.
Most exciting for me — I asked Zara if she would be up for singing on another song of mine. She said yes. The trick now is writing the right song. I tried to get something ready for Friday. In a rerun of what happened with Tara, a bunch of ideas came tumbling out, and none of them quite felt like “the one”.
I would love to drape her voice over some weird ambient electronic ballad. Knowing the way my brain works, I’ll probably end up with something folky and acoustic guitar-based instead. She’s in town for another four weeks (she moved to British Columbia a while back), so there’s a bit of time to play with.
Oh yeah — yesterday was 420, the day of celebrating all things marijuana-related. To mark the occasion, here’s a grainy video still of me taking a drag from a joint in 2002.
Most of the time 420 doesn’t register for me. I haven’t smoked pot in more than twelve years now. Even if I had a debilitating illness and marijuana was the only thing that would alleviate my symptoms, I don’t think I would touch it again.
Don’t get me wrong. I used to smoke. I caught a buzz for the first time in late 2001 while working on SUBLIMINAL BILE, and it became a fun weekend thing for a while. I appreciated the way it made every conversation feel profound. Stupid things became hilarious. Music I already liked seemed to develop new dimensions, and music I had no interest in became almost tolerable.
I cut out everything a year later after getting a good amount of self-destructive energy out of my system. I tried smoking again in 2005, found it was still fun, and started using it as a substitute for going downtown and getting drunk on the weekend. Why waste my money on an aching bladder and a hangover when I could stay home, light up, and watch a Werner Herzog movie or listen to Miles Davis, waking up the next day without feeling like I got hit by a bread truck?
The first mistake I made was turning it into a solitary thing, and not something I only did once in a while in a social setting. Now that I had a consistent hookup and could smoke pot whenever I wanted, I found I liked it a little too much. It also made me lazy. It was a way to have a good time without having to do anything. Why work on music when I could sit around thinking about how great my ideas were? Why flatten them out into finished things when they were doing just fine floating around in my head?
My second mistake was buying a bong from a friend in the summer of 2006. I thought it would be an easy way to make my stash last longer. Since no one told me one toke from the bong was all I needed, I treated it like it was a pipe, got way too high, and found myself singing for my soul to two different higher powers. It was one of the most horrifying experiences of my life. The sound of a street cleaner set me off on a dissociative loop from hell, and I became convinced I was dying and stuck in some sort of limbo.
I couldn’t make anything that sounded like music happen on a guitar, but I still had my voice. Music became my weapon and my one hope for salvation. Over the next two hours I sang almost nonstop, improvising an entire a cappella concept album in which I bartered with both Satan (arguing I could be of some use to him if he allowed me to spread his message through my music) and God (promising to be a good Christian if he would save me). I felt the strong presence of both good and evil higher powers at different moments, and I felt myself being judged by both of them. As long as I kept singing, I knew I could at least buy myself more time. Being judged was better than being taken.
Right around the time my high wore off, I saw some sunlight filtering through my bedroom window. Instead of hearing a choir of angels singing and ascending to some heavenly afterlife, I went downstairs to get myself something to drink — my throat was killing me — and then came back upstairs and watched Millennium Actress.
To this day, part of me regrets not hitting the record button on my camcorder and capturing at least some of the madness. I remember some of the bits I sang. There were some pretty catchy song fragments in there. Whenever I was singing to Satan I would slip into this exaggerated James Hetfield voice. At one point I got into some beatboxing and borderline throat singing, coming up with some pretty strange vocal sounds. A much sweeter voice came out when I sang to God.
I stopped believing in most of the Christian ideology I was taught right around the time I went through puberty, so I thought it was odd how things split themselves into such clear divisions between good and evil. The whole thing fascinated me. I found I could laugh about it. More than that, I felt a swell of something resembling joy. It was as if I’d come through some dark night of the soul and emerged a better, happier version of myself.
Reluctant to cut my strong-smelling friend out of my life altogether, I chalked up the bad experience to smoking some stuff I bought from an untested source. It must have been cut with something nasty. A week later I tried smoking some of my “normal” supply out of the bong. I should have just gone back to joints and pipes, but I was confident I knew what I was doing.
The high that followed was much more frightening than my first bong experience. This time I felt no higher powers judging me. I lost control of my body — or my mind convinced me I did — and became a vegetable trapped in my bed, unable to move, knowing I really was going to die this time and there was nowhere for me to go. No sunlight was going to save me. There was nothing waiting for me on the other side but a vast expanse of oblivion.
I like to believe there’s something beyond this level of existence after we die. There are too many preternatural happenings that can’t be explained away as simple coincidences. I don’t pretend to know what comes next, but it gives me some comfort to think there’s some kind of afterlife, and that we go on in some way. Some atheists find comfort in the idea that there’s nothing more than this, and once we die it all goes dark. That scares me more than I can tell you. I don’t even know why. I think it’s something about the finality of it all that unnerves me.
The high wore off after a while, I was able to move again, and life went on. But this time there were after-effects. I felt disconnected from myself. I developed issues with stairs. I felt anxiety that didn’t exist for me before, and there were some borderline panic attacks — though they were nothing compared to the fun I experienced after the break-in of late 2008.
After a while I felt more or less like myself again. I’m not sure if my brain eventually got rid of whatever lingering weirdness was hanging on there, or if I accepted the new normal and adjusted to it. One thing was clear: I couldn’t smoke pot anymore. It was toxic to me now.
There was one more little adventure a year later when someone I thought was a friend pressured me into smoking one last time. I should have told him to get out of my house, but I didn’t have the guts. My reward for that bit of cowardice was locking myself out of my own house a few minutes after getting high. This time the universe decided to cut me a break, and an ex-con friend who just happened to be passing by took it upon himself to help me break back in. Which we proceeded to do. In the middle of the afternoon.
You can’t make stuff like this up.
The high wasn’t as bad this last time, but there was none of the euphoria or false sense of heightened mental acuity I got from marijuana in the past. All it gave me now was a feeling of dread that fanned out over everything like a filthy blanket.
I thought I would miss it. After that last hurrah, I didn’t have any trouble leaving it behind.
I bring this up because a few weeks ago someone was over at the house to get down some piano and vocal tracks. My name might not carry much currency in the local music scene anymore (thank God for small miracles), but apparently I’ve become known as “the guy in Windsor who has a real piano in his studio that isn’t a hunk of junk and will maybe let you use it if you ask politely”. I got a message from a guy who also has a home studio, asking me what I would charge to record him playing piano and getting down some vocal tracks so I could then send those raw tracks to him and he could build around them in his own studio.
It struck me as a somewhat convoluted way of going about it — wouldn’t it be easier to record the tracks onto his rig and then have his way with them? — but I have this impulse to help people in situations like these, when what I should probably say to them is, “If you want the sound of a real piano in your songs, do what I did and buy a real piano.”
I told him if he wanted to throw me twenty bucks to put toward my next piano tuning it would be appreciated. Other than that, I felt funny charging anything. I looked at it as one producer helping out another.
I won’t get into the specifics of the recording session. The one bit I want to mention is this. Before we got started, the guy asked me if I smoked. He said when he mentioned he was paying me a visit he was told to bring a joint as a peace offering.
It seems there are still some people out there who assume I’m this massive pothead based on the amount of music I’ve made and its refusal to stay in one place. Here’s the thing about that. If I hadn’t stopped smoking pot more than a decade ago, none of the music I’ve made from 2008 to date would exist, and what little work I might have done in its place wouldn’t be any good.
Drugs inspire some artists and open them up to different ways of thinking. They never did that for me. At least not in any way that had a positive impact on my music. Pot didn’t just sap my motivation, leaving me content to brainstorm forever — the few times I did try writing or recording while under the influence, the results were unusable. When I was high I thought all my bad ideas were good and all my good ideas were great.
I would try to record a miserable song about a dying relationship with Gord and Tyson and laugh my way through the whole thing after forgetting the lyrics that were right in front of me. Like so.
Fun? You bet. Album material? Not on your life. Compare this to the version recorded two months later for BEAUTIFULLY STUPID and it’s not even a fair fight.
My point, if I have one, is this: I don’t judge anyone who smokes pot or puts any other foreign substance into their body. Their life, their choice. But I never got one good song out of being high, and I feel it does something of a disservice to the body of work I’ve built when someone assumes it’s the product of an altered state of consciousness.
Life is bizarre and maddening and inspiring enough as it is when viewed through the prism of a clear mind. If you need a drug to help you come up with your ideas, I’m not sure you’re trying hard enough.
Here’s the song Tara came by to lend her vocal magic to. I’ve spent the last few mornings picking away at editing the recording footage I grabbed along the way, and as much as I’m trying to keep things under wraps until the album is finished, I can’t resist putting this one out there as something resembling an advance single.
The thing I can’t get over is how catchy it is. I didn’t go out of my way to make that happen…it just happened. Must be the groove. I blame the djembe and the shaker that almost looks like an edible pepper. They’re always up to no good.
Editing this was a bit of a pain in the posterior, with everything I had to find a way to fit in there. It was rewarding to see it all come together, though, and I think it’s one of the better editing jobs I’ve done along these lines. It’s always fun when your cuts move in rhythm with the music. It’s a subtle thing, but I find it makes for a video that feels like it breathes a little better.
Also, dig those pyjama pants. Lately I find myself doing a fair bit of recording in the morning, before I’ve put on normal people clothes for the day. When you’re recording drums at 9:43 a.m. the last thing on your mind is throwing on some jeans. Me wearing boxer pants in a video is nothing new, but I don’t think any pair has ever been given quite this much screen time. Maybe these ones are special.
While I’m proud of all the elements that make up the thick soup of this song’s sound, the real secret sauce is the Yamaha VSS-30. I swear it keeps finding new ways to sneak its way into a song and add the texture that’s needed. It’s ridiculous how useful and versatile a little “toy” keyboard from the 1980s can be. You can get so many different sounds just out of sampling a bit of Wurlitzer and warping it (which is what I did here).
In less pleasant news, here are some words I never thought I would type, say, or even think: I won’t ever do business with Minuteman Press again. I won’t even recommend them for the simplest of jobs. If you’re in Windsor and you have any printing needs beyond what you can do yourself at home, I urge you to go somewhere — anywhere — else.
Here’s the deal. In early 2003, when I first thought it would be worthwhile to try giving my CDs a somewhat professional appearance, Johnny Smith said, “I’ll take you to Minuteman Press. That’s where I get my business cards done. I bet they’ll be able to help.” And they did help, printing a two-sided insert I slipped like an embarrassed apology into the abomination that was the initial album art for OH YOU THIS.
In short order, Minuteman Press became my go-to place for all things related to album packaging. Over a period of sixteen years they printed the booklets and inserts for fifty different albums (that’s not a typo), along with two posters and a handful of redesigns when I decided I wanted to “reissue” something or print the lyrics for an album that got slighted the first time around.
In the beginning it was pretty clear they’d never done this kind of work before. The initial inserts (or “tray cards”, if you like) for NUDGE YOU ALIVE had only one tab with the album’s name on the spine instead of the traditional two, leaving one side of the CD jewel case bereft. For my part, I had no idea what I was doing when it came to arranging text and images. We both got better in a hurry. They started producing more professional-looking results with more experience, and I taught myself how to handle the layout side of things.
By 2010 we were a well-oiled machine. I started handing in polished image files with proper bleed lines instead of asking them to set things up for me, and Heather and I almost had our own verbal shorthand. She was always great to work with. If I still sometimes got inserts that were a hair too tall to fit into a jewel case and I had to take a little off the top with my own cutting board to compensate, it was a small price to pay for being able to give my albums the visual presentation I wanted on a DIY budget.
Heather left a few years ago. The people who stayed on still did pretty reliable work. Then the ownership changed altogether in late 2017, and every familiar face was gone.
The woman who took over the business was a great surprise. Her attention to detail was incredible, and the packaging for both the long-overdue remaster of YOU’RE A NATION and the Papa Ghostface sign-off WHAT WE LOST IN THE FLOOD came out looking better than I thought possible. It seemed safe to assume I could keep giving Minuteman Press my business forever.
Everything changed when I swung by a few weeks ago to have the booklets and inserts for MEDIUM-FI MUSIC reprinted. The woman with the great attention to detail was gone. Another woman she once referred to as her “colleague” was now running the show. I’ll call her Esmerelda, because it’s a world away from her real name and it sounds a little evil.
There was a disgruntled customer ahead of me in line, and she was giving Esmerelda the business. The conversation went something like this:
I paid a professional designer to put this flyer together. The printing is all wrong. The bleed lines are off, and there’s all this white space.
Yes. It’s like because the format we were like given. We can only like play with it so much.
No…this was done by a professional. There’s nothing wrong with it. Something went wrong with the way it was sized after I gave it to you. You’re the ones who made the mistake.
Yes. Like when you give it to us, like we can do almost nothing. You have to like give it to us in a different format.
My event is a few days away. I can’t use this. This is no good.
If you want to like give it to me in a different format maybe we can like fix it, but the way you gave it to me there’s nothing we can do.
Put that on a loop for about ten minutes and you get the idea. The Smithster and I got tired of waiting after a while and turned to leave.
“No, no,” Esmerelda said.
“We’ll come back tomorrow,” I said.
“No, I can wait on you.”
She slid a smiling man with grey hair into her place and took my order. I gave her my original materials and asked for another thirty copies of each. She said she’d call me in a day or two to come look at a proof, and then she’d print it. Easy as cake.
More than a week went by. There was no phone call. I called and got Esmerelda’s son on the line. He talked to me as if he was the new graphic designer of the operation. He told me my file of sixteen years — once a monster of a thing — was now all but empty, and almost none of the work any of the previous employees had done for me was in there. I would have to give him the art files for these booklets and inserts, and they would have to be printed from scratch.
I dug up the old art files from early 2011, dumped them onto a flash drive, and brought them in. Son of Esmerelda told me he would email me a proof later that day. He did no such thing. The next day I popped in to see my proof. It wasn’t ready.
“Oh, he had some car trouble,” Esmerelda said. “He told me he’s going to send you an email tonight. Like a hundred percent, for sure he’ll do it tonight.”
He did not, like a hundred percent, for sure, email me anything.
I came back the next day.
“I was just going to call you,” Esmerelda lied.
She printed up a proof for me. The insert looked fine. The smiling man stood there staring at the song titles, looking bewildered. I like to think “Taylor Swift Sings Death Metal in My Dreams” gave him a brain cramp.
The booklet wasn’t fine. It was a mess. The image and text on the cover were both too small. Inside, the size of the font increased and decreased five or six points at a time from one page to another. I always make sure to keep the font size consistent through all my image files, so it was a bit of shock to see things looking so out of whack.
Esmerelda’s explanation: “Yes. You gave us JPEG, and like we can do almost nothing. If you give it to me in like a Word document, then I can like size it myself and everything will be like perfect.”
For nine years JPEG files were never an issue. All Son of Esmerelda had to do was drag and drop the image files into whatever program he was using and make sure they were the right size. Instead, he took it upon himself to increase the size of the text on every page that had any appreciable amount of white space. Of course, Esmerelda wasn’t about to admit it, and he wasn’t around to answer for his screw-up.
She said she would email me a proof once I sent her the lyrics in a Word document. I sighed, went home, and put together what she said she needed. I emailed it to her the next morning. She didn’t email me back.
Thursday was the day of reckoning. I showed up to ask what the hell was going on. Son of Esmerelda looked horrified when he saw me walk in the door. He ducked into an office as fast as he could, where I assume he watched videos of dogs slobbering in slow motion while contemplating the nature of existence.
“Our server has been down all day,” Esmerelda said. “We haven’t been able to like do anything. But we almost have it like fixed now. If you come back at 12:30, I’ll have it for you. You don’t need to call. Just come back around 2:00 and it will be ready.”
Not just anyone can make an hour-and-a-half leap like that almost in the middle of a sentence without even acknowledging it. I had to genuflect in respect.
I should pause to tell you Johnny Smith was with me for each of these visits, and he noticed Esmerelda had a habit of looking at him instead of me when we were talking to each other. It was weird.
A little after 2:00, we came back.
“I just printed it,” she said. “I’ll have it for you in a moment.”
In a virtuoso display of lying to someone’s face and assuming they’re too stupid to notice, she walked a few feet to a printer and proceeded to print what she told me was already printed.
She brought the pages over, and I saw my body text in the booklet had morphed from Bookman Old Style into Arial.
“You changed the font,” I said.
“Yes. It’s much clearer now.”
“No,” I said, opening the original booklet to show her. “This is the font I used. See? I used the same font in the Word document I sent you, because that’s the font I want.”
“Yes,” she said. “It was Times New Roman. I changed it to Arial, but I can just like change it back. I just thought it looked better like this.”
“It wasn’t Times New Roman. But you know what…let’s do this. The other part that’s fine — the insert? Let’s go ahead and print that, and forget about the booklet.”
“No,” she said. “I can change the font back.”
“I’d like my original booklet back please, and we’ll just print the one piece that doesn’t have any problems.”
“I’ll just change the font back.”
“No. It’s been one thing after another. I don’t want to do this anymore.”
“Yes, but I’ll just change the font.”
Right here is where Johnny Smith took it upon himself to break the loop of stupidity, slipping into what I can only call “Punisher Mode”. He told Esmerelda we were done. She tried to come up with some bullshit. He told her to give me back my original booklet and insert. She wouldn’t budge. He had to cut her off at least ten times before it sunk in for her that this was one person she wasn’t going to be able to wear down with smiling condescension. She gave me my booklet and insert back, said, “Well, I’m very sorry to hear it,” and we walked out.
I’ll never set foot in that place again. I wouldn’t be surprised if they’re out of business a few months from now. Word spreads fast, and awe-inspiring incompetence is not something most people look for when they need something printed.
It’s a shame. Once upon a time there were some good, honest people working there who did fine work. Not anymore.
We made a list of about half a dozen other local printing businesses to try. I brought the packaging for STEW to A&A Printing so I’d have something to offer as a sample. The manager came out to talk to us and I asked a bunch of questions. He told me they had a lot of experience doing CD-related work. PDF files were the best format for them. They would have a proof for me the same day I brought in my art files, the job would be finished the day after that, and for fifty each of these two pieces of packaging I could expect to pay a little over a hundred bucks.
Sounds almost too good to be true, doesn’t it?
He said all the right things. There didn’t seem to be any need to check out any of the other places on our list. On Friday, around noon, I spoke with a woman at the front desk. I asked if I could have a lyric booklet and a separate insert made, and presented her with samples of the original pieces (again for MEDIUM-FI MUSIC) and the relevant PDF files on a flash drive. She told me she would have a proof ready for me in two hours and she would call when it was finished.
Something I’ve learned: when someone tells you they’re going to call you for anything business-related, they’re almost always lying. We came back at 4:00 and a different woman claimed she’d called us to let us know the files I provided didn’t work. When we told her we never received a phone call, she said, “Well, I was trying to call you.” That made for two lies in less than ten seconds, unless in her mind “trying” meant “thinking about maybe doing something and then not actually doing it”.
She invited us into the work area and brought me over to her computer, where she showed me the files wouldn’t work when she tried to open them.
“I don’t understand,” I said. “I saved them all as PDF files. That’s what the manager told me to do. He told me that was the best format for you. Everything worked fine on my computer.”
She started laughing.
“Why are you laughing?” Johnny Smith asked her.
“Because the manager told you to do that, and the files don’t work.”
“What about that is funny?”
She didn’t have an answer.
Laughing at your customer’s misfortune isn’t a great way to get their return business. Just throwing that out there.
The woman who took my order earlier in the day tried the flash drive on her computer. She had no problem opening the files. Way to troubleshoot, people! She told us if we could wait five minutes in the other room she would print up a proof.
Half an hour later she had a sheet printed out to show me the paper stock they were going to use for the booklet. She said the binding would take three hours to do and she didn’t realize there were so many pages.
Johnny Smith told her we’d just left a printing business after sixteen years because of mishaps and miscommunications like this. She apologized and let loose with a stream of excuses. They had a lot of unexpected cutting work that day. There was more work involved in putting the proof together than she thought there would be. The printer jammed. She thought the booklet was a flyer with no pages in it (the second you touch or even look at the booklet, it becomes clear it isn’t a flyer).
She said she would work on it over the weekend and call us on Monday whether the work was done or not.
Believe it or not, on Monday there was a phone call. We came in to look at the proof with some sneaky feelings of optimism. Those feelings were dispelled soon enough.
The woman who showed me the initial printout wasn’t around. The one who laughed at us was there instead. She showed me a booklet that had the font at the right size throughout, but the print quality left something to be desired. The printout I was shown on Friday made the text look nice and smooth. Now it was bleeding all over the place. The text on both spines of the insert was way out of alignment, and instead of fixing it themselves she and the manager told me it was my job to edit the image file, guessing at where they needed it to be. I’ve been doing this long enough to know where the text is supposed to go. This was their mistake, not mine.
Worst of all was the cost. Because there were a few extra pages in this booklet, the price I was quoted on Thursday tripled.
The woman asked for a 50% deposit. I gave it to her and left feeling defeated. Over the next few minutes my attitude shifted from just wanting to get the booklets and inserts reprinted, to thinking this was more of the same garbage and I didn’t want to stand for it anymore.
We went back. When I brought up the bleeding, the laughing lady said she could try lightening the text to see if that helped. I told her the price was another sticking point. She disappeared into the back of the work area for a while, and when she came back she said the manager was willing to come down almost a hundred bucks. If you can afford to do that, either your profit margin is sickening and you’re cheating people out of their money, or your business isn’t as prosperous as you’d like your customers to believe it is. Either way, it wasn’t good enough.
I asked for my money back and we left. They still have my memory stick and original lyric booklet. I need to get those back sometime this week.
Instead of trying more local printing places I thought I’d contact a business that makes album packaging full-time. I sent an email to someone at Duplium, which is where Ron got Tobacco Fields manufactured. The lyric booklet for that album came out looking great. While I’m waiting to hear back from them, I might email another place in Canada that does similar work. I prefer to be able to go in and see a proof in person, but if I have to go through something like this again on my way to finding someone in Windsor who knows what they’re doing, I think I’m going to tear my own face off.
Hopefully something good shakes loose. I’m running low on booklets and inserts for a good half a dozen albums, and I’d like to be able to get more of them printed somewhere.
Damn it, man. First Mark Hollis, and now this? The year is already gunning for a failing grade in its stunning lack of preservation of the artists who have been mainstays on the soundtrack of my life.
If you want to know a bit about what Scott Walker’s music did for me (and to me), I wrote about that once over here. If his album Tilt hadn’t blown my brain apart when I was fourteen, I’m convinced my musical vocabulary would be very different. Maybe another album would have performed a similar mind-expanding role for me, but the experience and its aftershocks wouldn’t have been the same. Tilt upended all of my ideas about what a song could be, and after wrestling with that music to the point that I was able to understand and appreciate it, nothing ever sounded inaccessible again, no matter how far-out it went.
And then there’s that voice. There’s never been another quite like it.
Scott’s four self-titled albums from the late 1960s are chamber pop of the highest order, approachable without surrendering their twisted sense of humour and pessimistic worldview. His work from 1978’s Bizarro World Walker Brothers reunion album Nite Flights forward, on the other hand, is not for everyone. It makes for a musical journey into some pretty dark places (including the mind of Mussolini’s mistress as she faces her execution). The man seemed to delight in setting fire to his former pop persona and poking around inside of its charred husk to see what kind of reverb chamber it made. Some have found the results pretentious. I find a lot of the music thrilling. Even his obligatory “80s-sounding album” Climate of Hunter, with its period-correct drum sound and fretless bass groans, is like nothing else anyone released in the 1980s, with the weirdest Billy Ocean cameo of all time.
The whole idea of the maverick artist seems to be slowly turning into just that — an idea. It doesn’t help that we just lost two of the greats in the space of a month.
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.
It’s an odd feeling when you get old enough that the deaths of your musical heroes are no longer isolated events.
I’ve loved a lot of music over the years, but I can’t say there are many artists who have had a profound impact on what I do. Mark Hollis belongs on the short list of those who have. As the main songwriter and voice of Talk Talk he helped to create some of the most glorious pop music of the 1980s. Then, at the peak of his success, he turned around and committed commercial suicide with music that played a large role in paving the way for what we now call post-rock, as his lyrics took on a new depth and left things like rhyming and conventional metric ideas in the dust.
I mean, how do you get from this (pre-Talk Talk, with a short-lived band called The Reaction)…
They’re all great songs, but all three of them live on different planets. Few musicians are open to allowing this kind of artistic evolution to happen, let alone capable of pulling it off in a way that feels not only natural, but inevitable.
Random thing: “New Grass” features what may be my all-time favourite recording of an electric guitar. There’s something so beautiful and pure about it — a sound in constant bloom.
There’s also evidence that Mark had this kind of music in him before Talk Talk existed. Maybe he needed the right people and resources to do justice to the sound in his head, and he was biding his time until everything lined up the way he wanted.
Spirit of Eden and Laughing Stock are albums that create an endlessly evolving world of sound for you to get lost in. They achieve this not with synthesizers or sonic trickery, but with real instruments recorded in the most organic, dynamic way possible, and with silence treated as an instrument in itself. Weaving in and out of the sounds and the spaces between them is Mark’s voice — one of the most unique in all of “pop/rock”. I don’t think I’ll ever be able to understand much of what he’s singing in a given song without looking at the lyric sheet. It doesn’t matter. It’s a voice that can move you even if you don’t know what it’s saying.
Those last two Talk Talk albums, along with Mark’s lone self-titled solo album, form a triptych of uncommon power. Each one grows quieter and more minimal, until there’s silence and nothing else. Few bodies of work have trailed off with such grace.
This music has taken me places little else has, moving me near to tears one minute only to scare the bejesus out of me the next. Years ago I was listening to Mark Hollis late at night. During one of the more turbulent instrumental passages I noticed a tree branch flailing against my bedroom window as if it was having a visceral reaction to something only I could hear. The song sounded like a storm, and here it was storming outside, the wind shaking that tree’s arm with almost enough force to pry it loose.
“This is music that knows the world,” I thought.
Then I wrote the thought down, because I don’t often think things that sound so poetic.
I think Mark felt he’d said all he had to say after his solo album was finished. It’s difficult to fathom where else he might have gone after those half-whispered tone poems. What was there left to strip away? He even explained his vanishing act in the songs themselves, singing about his family and the joy it gave him. He wanted to step away from the music industry and dedicate himself to being a good father and husband, making his life his art instead of the other way around. There’s a great nobility in that.
The one bit of new material to surface in recent years was a brief instrumental piece heard over the end credits of an episode of Boss. It sounded like the soundtrack to a made-for-TV horror film that had been disassembled and reinterpreted by curious robots. Whether it was the beginning of a beguiling new direction or just a one-off, we’ll probably never know. Maybe it was only a wink meant to say, “I’m still here.”
Now the man who fell off the face of the earth is gone for good. I doubt we’ll get the usual deluge of reissues and biographies to cash in on the renewed interest in his work, and that’s as it should be. In a strange way, the permanence of his absence feels like it’s brought him closer. When he sang he sounded like a fallen angel, but it turns out he was one of us after all.
My introduction to Mark Hollis and Talk Talk came in 1994. MuchMusic played the music video for “Life’s What You Make It” one Saturday morning. It wasn’t like anything I’d seen or heard before. I picked out the song’s insistent piano line on a rented keyboard, feeling proud of myself for being able to figure it out at a time when getting my fingers to play anything that sounded like music was a challenge.
You might think I’m going to start bragging about how I was hip to The Colour of Spring and Spirit of Eden when I was ten or eleven years old. I’m not. Because I wasn’t. I didn’t even catch the name of the band on the TV screen that day. I would read about Talk Talk a little later on when I found the book that would become my musical Bible for a while. It still took me much longer than it should have to go out and buy one of their albums. I didn’t get my hands on Spirit of Eden and Laughing Stock until I was in my early twenties. The first time I heard “The Rainbow” and that overdriven harmonica solo kicked in, I wanted to scream with happiness.
If there’s such a thing as perfect music, I think this stuff is about as close as it gets, but I’ve rarely tried to emulate it in any direct way. I think that would be a mistake. From the time I started banging on a tape case with a drum stick and singing in the absence of an instrument to play, my goal was always to develop my own voice without taking cues from anyone else. Besides, to take a real, honest stab at tapping into the specific magic of late-period Talk Talk would be…difficult. In a number of articles and interviews that are available online, you can read about how a lot of the songs started as nothing but a man-made click track of light percussion or a drum pattern and were then built piecemeal over a painstaking period of time. While the songs sound like continuous performances with all the musicians playing together in one space, that’s an illusion created through a lot of creative editing. A trumpet player might come into the studio to record ten improvised takes only to find what was used in the final mix was two seconds of them clearing their spit valve. Or a performance meant to sit in a certain space might find itself moved out of context to a different part of the song.
In a lot of ways it’s music as meticulous collage. That it sounds so spontaneous and untethered from time is a testament to the brilliance of all involved. The contributions of producer/co-writer Tim Friese-Green and recording engineer Phill Brown can’t be overstated here.
It might have taken me five years to finish an album I’m still not quite finished yet, and I might build things a piece at a time out of necessity (and a lack of Johnny clones), but I don’t have the patience or the technology to work the way those guys did in the studio. I don’t think I’d want to even if I could.
The inspiration I’ve taken from these albums lives somewhere deeper than the desire for mimicry, though I’m sure the way Phill Brown recorded Lee Harris’s drums on Laughing Stock — a great example of the “drums in a room being played by a human” sound we don’t hear too much of anymore — had as much to do with my decision to start recording my own drum kit in a more minimal way as laziness did.
A confession: there was this one time, in early 2008, when I did go out of my way to do something that sounded like a poor man’s version of a song that might have been recorded for Laughing Stock, just to see if I could pull it off. I played some unresolved chords on an electric guitar and gave them a lot of room to linger, without using a click track. I added a second guitar part, bouncing a pencil on the strings before playing in a more conventional way. Bass and drums followed. The vocals came last. Each part was improvised and recorded in one take without any preparation. I sang without knowing what the vocal melody was supposed to be, feeling it out along the way.
I didn’t have the assortment of instruments or the musician friends I do now. I couldn’t add piano because I didn’t yet have a real one, and it was clear something digital wasn’t going to cut it. I thought about buying a violin and trying to get something out of it before finding a cheap melodica at Belle Air Music. The melodica was the secret sauce I was looking for, and it felt like it tied everything together.
The freakout section a little over two minutes into the song is more me than Talk Talk. And I didn’t begin to try and sound like Mark Hollis. No one else can sing like that. But as homages go, I felt it was pretty successful. Eleven years later I still like it and believe there’s a place for it on THE ANGLE OF BEST DISTANCE. Given the circumstances, it seems appropriate to share it here.
Apparently Bob Dylan accepted a big smelly bag of money so Budweiser could use “Blowin’ in the Wind” in a new commercial they debuted during the most boring Super Bowl of all time. Somewhere someone who once believed Bob was the voice of their generation is vomiting up a winter scarf.
I’ve reached a point in my life where I can understand why a young or struggling artist would allow their song to be used in a stupid commercial. If they’re offered a life-altering amount of money, they can tell themselves the payday will enable them to make the art they want to make and get it into the ears of more people. That’s not a bad thing, assuming they’re not making bad music. I’m not going to tell you I wouldn’t at least be a little tempted if a good offer came my way, and I don’t even want my music to reach a lot of ears.
With Bobby, I just don’t get it. You can’t tell me the guy needs the money. If there was any doubt, at least we now know the man doesn’t hold any of his songs sacred.
Let us remember better times.
Worse than this weirdness — far worse — is the news that Disney is releasing a live action remake of Aladdin. Are they really that bereft of ideas? In the right hands it might not have been horrible. Guy Ritchie does not have those hands. His hands are wrong. Very wrong.
From what I can tell, he handed CGI duties over to a blind mouse with a drinking problem. A lot of what’s in the trailer looks less realistic than the animated film did. Hell, this looks more true-to-life than some of the backgrounds in the new movie:
Will Smith is playing the Genie. Nothing against Will, but his character looks like the most hilariously half-assed green screen creation in the history of film. Think “The Fresh Prince in blueface with the body of a random beer-swilling amateur wrestler Photoshopped beneath his head” and you’re most of the way there.
Enough about that.
My grant proposal went off into cyberspace about two weeks ago. It’s in the hands of four strangers now. I should get an answer in a month or two. Fingers, toes, and earlobes crossed.
WHAT WE LOST IN THE FLOOD has finally slipped off of the CJAM charts after nine weeks straight in the top thirty. That has to be a new record for me. I have no idea who was giving it airplay for such an insane length of time, but I bow before them in gratitude.
I’d like to be able to tell you I’ve been recording up a storm since my last post. That would be a lie. It’s been slow going so far in 2019.
I got my little replacement effects-generating red kidney, the piano was tuned for the fifty-third time, I was all set to get back down to business, and then I got sick. Again. At least this time it wasn’t so bad (I started eating zinc and vitamin D the second I knew something was coming, which seemed to cut my usual symptoms in half), but I still lost some time when I don’t have a wealth of it left to work with.
Motivation has been a problem. Even now that I’m not trembling beneath the covers with an upset stomach and angry elbows, it continues to be a problem. But you know what hasn’t been a problem? Writing songs.
The well kind of ran dry for a little bit. Well, that’s not quite right. It only felt like it did. See, I’m used to writing all the time. Musical ideas show up on a daily basis, pretty much, even when I’m asleep. Some of them turn into songs. Some don’t. And then the words show up when they feel like showing up.
For a while nothing much was showing up at all. I didn’t sit down and try to force it. I don’t work that way. Nothing good has ever happened when I’ve tried. It just wasn’t happening, and there wasn’t much I could do about it.
I started to think it was my first real brush with writer’s block. Then I looked at how much writing I was doing in the run-up to the supposed dry spell.
I started writing for YEAR OF THE SLEEPWALK in March of 2014. Not counting the latest batch of songs, and not taking into account any of the sketches that haven’t yet been fully fleshed-out, in that time I’ve written six songs with Adam (Mr. Shimmer Demolition himself), eleven with Steven, twenty-eight with Gord, and two hundred and thirty-six on my own. A dozen of those two hundred and thirty-six songs were meant for either AFTERTHOUGHTS or FLOOD. The rest were written specifically with SLEEPWALK in mind, even if a few ended up on STEW and a few more ended up on FLOOD because they made sense there.
Two hundred and twenty-four songs written by one person for one album might not seem like a whole lot when it’s spread out over a period of five years. That only averages out to forty-five songs a year. But consider: about a hundred of those songs were written in the last ten months of 2014, and the vast majority of the rest were written in 2015 and 2016. Things slowed down a lot after that. I wouldn’t be surprised if I only finished a dozen new songs last year. By my standards, that’s downright anemic.
What happened was, I went on a real tear for a while there. The sketches and undeveloped ideas from 2014 to 2016 might even outnumber the finished songs. I’ve been pretty prolific for a pretty long time, even if I haven’t released a lot of albums in recent years, but I don’t think I’ve written with a sustained fury like that since I was in high school and had to resort to writing lyrics in the middle of most of my classes to save my brain from atrophy.
When I look at the bigger picture, it makes sense that things would taper off at some point. You can’t keep writing like that without your brain exploding. And I think on some subconscious level the songwriting part of my mind probably said, “Maybe it’s time to take a bit of a break. You’ve got some serious catching up to do in the recording department.”
Still, going too long without writing has never been good for me.
Just as I was starting to get worried, I picked up a guitar and a new song happened. Then I sat down at the piano and wrote another one. And another one. And it snowballed from there. In the past week I’ve written eight new songs. Three of them still need some more words, but other than that they’re done.
There was no feeling of a switch being flicked. Songs just started coming again. You know what they say: visions come to prepared spirits.
I’m not sure how many of these most recent songs will end up on the album. I think at least a few of them are worth tackling. I’ve already recorded piano and a vocal track for one of them.