Saturday, March 20, 2021

Discography and Production

     My first paying project as a composer was for a corporate video. I wasn't really prepared when the opportunity came along and went out and bought a keyboard, a mixer and a MIDI program so I could record on my Mac SE. It was definitely a "earn while you learn" situation and after a couple of all-nighters I was able to record a simple track. I did a ZZ Top style blues rock song to accompany a Silicon Valley company rally that used a vintage Cadillac as a prop, and it was a success. I was on my way.
     Over the next decade I produced tracks for other videos, including Silicon Graphics, Hewlett Packard, Visa, Apple and others as well as starting to record some songs of my own. With each project I expanded my capabilities and equipment until I had a commercial recording studio. In Nashville I used the equipment to record my song demos in a home studio. At first I didn't seek out projects with others but eventually I started working with friends and over time built up a clientele, including other songwriters, did some tracks for cable tv and a couple of projects with the local PBS station that earned regional EMMY nominations.
      My time in Nashville was rewarding, even though I didn't place any songs with established acts, which was my main goal professionally. I'm glad I went if only so I could be sure I tried my best to break into what is arguably one of the hardest aspects of the music business: songwriting. It's a small group who can consistently make a living at it and there are many obstacles that must be overcome to achieve success. As I learned about the business I became better and found my voice, something I'm not sure would have happened had I stayed in California. Now on the West Coast I'm coming back to playing and performing again after a long, long break, as well as making some new music. 

        The latest  project is "Loveland" which was just released. Here's the Spotify link:

            My discography consists of three other albums of original songs:



"homemade" (2000) is an EP with 6 songs that are commercial country song demos for other artists. These tracks are the first ones I recorded that feature pedal steel guitar which opened up a whole new world for my sound. These are some of the first songs I felt expressed a personal style with an ear for what I heard on the radio.  






"Limited Edition"(2013) is a six song EP, each having a special meaning as representing milestones in my songwriting development, in particular "Baby Don't Cry". It came from direct experience, written in the moment and resonates deeply for me.
It's available on Spotify and is also the last record that I put out on CD, with a few in a "limited edition" metal case.





"Home for Good" (2016) has 10 songs that fall solidly into the Americana genre. They all explore themes that look at our culture from a personal point of view and is somewhat confessional and opinionated. It's on Spotify and other 
platforms as well.





    So those are the "official" releases. I've done three other records that weren't put out formally. Some of those songs made it onto later albums, and some are still "in progress".  In addition I have others that are reserved for pitching to country artists. They follow the radio format and don't quite reflect my personal style, though I do play them live sometimes just to showcase that side of my writing. It's a real challenge to write in the commercial radio format, and the competition is inspiring. 






Wednesday, February 10, 2021

A Fateful Turning Point


    There are rare moments in life when an event changes your future. One for me was when by chance I saw a newspaper ad looking for "musicians with construction experience wanted to build a recording studio"

    In 1979, I had been playing in bar bands for several years, but even though I was living in the Bay Area, a music mecca at the time, and had been in a a couple of promising groups I hadn't reached the level of success I had hoped for, and, frankly, I was getting burned out-too many nights in smoky bars.

    When my latest band broke up, I was at a low point. I thought I wanted to "go solo", but I didn't have the resources to put together my own act and was working as a dishwasher to pay rent. Then I saw the ad in the classifieds. One of my "day gigs" had been as a carpenter's helper and I had learned some skills. I had also played with tape recorders for years, but at that point hadn't worked in a professional studio.

    This was to be an experience that would last three years and completely change the course of my career in two main areas. First, I became an expert in recording studio building techniques and sharpened my carpentry skills, something that would be valuable to me later, but more importantly I learned the basics of studio recording. which was to became my primary occupation. Although I put performing aside I was able to make my first recordings in the newly completed studio. It was a beautiful facility that is still in business and I will forever marvel at my good fortune to have been part of the team that built it. 

    I recorded 10 songs there which were to become my first record. It was called "The Dolphin and the Rose", with cover art on that theme. It was not released, mainly due to my complete lack of understanding of the "business" part of the "music business...a long story for another time. Nevertheless, I still have the tracks, transferred to digital from the long gone tape, and still enjoy listening now and then to my earlier self. 



    What's really interesting to me is that at that point I really hadn't settled on a personal style, and the individual recordings reflect several influences; Beatles, Jackson Brown, Doobies, folk rock, Steely Dan,  r&b, and even country. The one I've included here is called "Standing In One Place", which is one I still perform. I'm going to do an updated recording soon. I'm curious to see what I'd do different now.

    I can hear that developing artist in my most recent album, "Loveland". This record still wanders around in what I call "genre fluid" styles, but is certainly more focused. The big difference is that back then I was unconsciously reflecting all my influences rather than deliberately choosing a personal style. I had only written a handful of songs at that point and was just beginning to master that craft, something that continues to this day.  

    What this really brings home though, is the concept of fate. The definition is "a power beyond human control that is believed to determine events"

    The "beyond human control" is the part that really gets me. The fact is we only have one path to follow in a universe of infinite possibility. How any one person's experience unfolds is the result of how their path winds through this infinite wilderness and though we may believe we know our way, the truth is that it is truly, "beyond human control". 

     I'm not prone to nostalgia, particularly about my career though it's been an amazing journey, but I can only guess at what would have happened had I missed that ad. It's not an exaggeration to say that the universe opened up for me at that moment and ever since has led me to this one.


































Thursday, January 21, 2021

Loveland "Liner Notes"

"Loveland" is a concept album in the sense that there is an intentional theme that all of the songs express in one way or another. 

   This came about when I realized that all the tracks are about some aspect of romantic love, from the sublime to the bittersweet. Further, these songs have a point of view that's a bit world weary and down to earth, not the intoxication of a crush or immature love, but more the emotions you feel after some of the experiences we all have looking for that connection. 

   That abstract concept is the theme of "Prelude", the track that sets the mood for the entire album. It's an aural flight through the void towards Loveland, One doesn't quite complete the trip. Instead it pauses at "Storm". "Storm" was first written over 20 years ago, inspired by a driving bass line, and has had several sets of lyrics as it evolved. It's one of those songs that never quite felt finished and now it's clear that it needed more time to find its full meaning.  As much as any other song in "Loveland" it expresses the longing and desire for an overpowering experience; of love, spiritual and complete. The message of "Storm" is that longing to open oneself to infinite possibilities and be lifted up to find "the power of eternal love" through the turmoil of life. "If Everybody Loved" is also an older song that has gone through several iterations. Over the years it has become a song I always play when I perform and in that sense my theme song. I first recorded it as an acoustic folk song, then redid it as country, adding drums and electric guitar. At that point I decided to take it one step farther and enlisted Chris Bauer to add some pedal steel licks. It's followed by the mildly suggestive "Rockin' U",  a track that takes me back to when I first heard a live rock band. The Fabulous Wailers were a popular regional act and they did a show at our local armory. I could hear the rumble of the bass from a block away, and I'll never forget the blast of sound that hit us when we walked in. "Rockin' U" is my homage to that experience. Next up is "Hold Me", that's about how our loved ones give us the strength to get through the struggles and disappointments of daily life. "Stowaway" was an unfinished song with a hook lyric and little else for a long time. It wasn't until I left Nashville and was in Oregon that the inspiration for the verses broke through a writer's block that also led to the next songs, "No Reason" and "Dead End Road", which are the newest in this collection.  These tracks are highlighted by the contributions of Paul Sandberg on saxophone and Nicole Dahl and Tiffany Hilliker singing backup.
 

 “No Reason” is a slightly different take on the age old dilemma of the newly single person finding the courage to take a chance on something new. This track features my friend and singing partner Nicole Dahl.

 

“Dead End Road”

True story? I ain’t sayin’. On my last record I had “Trouble Road” which paints a picture of the darker side of town, where people are up to no good, and this song is a sequel. It’s also in the vein of “Runnin’ Like Me” from the “Limited Edition” record, where life is reduced to a man, a fast car, and a long road with no certain destination. I’m joined by Nicole who plays the role of the femme fatale in the story.

   Perhaps the most meaningful song for me is "Looking Back",  which is a reminiscence of first love and how time changes our feelings about those left behind. It's also produced with a ear toward what I think of as classic production with a big sound and a soaring pedal steel solo by Chris. "Loveland" is the track that reflects the overall theme and is a bit different in style for me, with a R&B riff propelling the track as it builds to a finale with a driving sax solo from Paul. On a more abstract level, "Loveland" is a place, the destination of your journey, one that doesn't exist in physical space, but in another dimension beyond our senses. "Come along, someone is waiting for you" is the call that promises companionship for that journey. "Loveland" may be at the center of the Universe, or deep inside our souls. We may never reach it, or we may have been there all along. The last song, “Precious Days” is purposefully simple, just vocal and guitar. I wanted to end with something that reveals how a song begins, before making decisions about how to produce a recording and this song really lends itself to this approach.
   
   Each of these tracks also reflects my interpretation of the Americana genre. I see it as music rooted in the tradition of folk music, which has at the core a simple structure and straightforward message. In this way the songs can stand alone as a solo acoustic performance, and in fact that's where each of them began, but from there they branch out and embrace several different genres and eras as well. For instance, "Rockn' U" has a 50's rockabilly feel, and "No Reason" and "Dead End Road" gives a nod to roadhouse blues rock. "Loveland" is the most contemporary track structurally, it even flirts with hip hop a little, but even as it does I hear 80s pop and r&b too. It wasn't a necessarily conscious choice on my part but I do hear each track in the context of a particular time and the influence that period had on my music, including my time in Nashville immersed in country music. 

The image for "Loveland" reflects the idea of a journey and was taken on a road trip through the high desert in the Pacific Northwest near where I spent my childhood. 

Credits:
"Loveland" is a self produced and recorded project except for the following stellar contributions:

Background 
and Duet vocals:    Nicole Dahl (Storm, No Reason, Dead End Road)
                      Tiffany Hilliker (Stowaway)
                      Lindsay Millward (Hold Me, Looking Back")
                      Jamie White (Looking Back)

Pedal Steel :          Chris Bauer (If Everybody Loved, Looking Back)

Saxophone:           Paul Sandberg (Stowaway, Loveland)

 

Wednesday, December 16, 2020

Listening With Intention

My latest album "Loveland" is a "concept album".

Some records are simply collections of songs, but others are produced with the intention to be listened to as a whole complete experience.

One of the first ones was "Sgt. Pepper", and around the same time, "Pet Sounds" and "Dark Side of the Moon. Not only did these albums have songs that developed a particular theme, but they also were crafted with attention to how they sounded. 
Technology has changed how we listen. Radio had a lot of influence on modern pop music; for instance the emergence of the "single" and shorter songs with musical "hooks" to engage listeners. The first records were single songs and then in 1948 the LP was introduced. Forty years later the CD made it obsolete, and in 2001 iTunes, downloads, and streaming became the new radio. 
Now these days, and it's not a good or bad thing, the idea of an album is often more about packaging than concept. Playlists, an extension of the "mix tape", became a way listeners could arrange their music any way they pleased. Although vinyl has made a comeback, CDs are pretty much obsolete, most music is now strictly online.

What's this?
What's this?
It also seems like that music has now become more of a soundtrack, just playing in the background while we do other things, while a movie or TV show may get our undivided attention for its entire time. We watch these shows because they tell a story and we want to follow it to the end. 

Music affects us in many ways, and I think of it as first eliciting pleasure though sound and rhythm, which is a the physical effect, and then by eliciting emotion, which for me is the primary challenge of songwriting, and where a certain magic can be found if one finds the perfect combination of lyrics, composition, and production.

So I would hope listeners will put on a good set of headphones and listen with intention. For one thing, all these tracks have nuance and detail that comes out best when listened with headphones, but also they allow you to focus without distraction. 

All these songs were inspired by personal experiences but I believe they have a universal message as well. "Loveland" is about a journey, and the concept is to travel along with each song and create your own narrative based on the feelings they evoke. I hope if you do you will enjoy the experience of listening to "Loveland" as much as I had creating it.





There are now dozens of online streaming services and "Loveland" will be distributed to all of them, including Apple Music, Spotify, Pandora and Amazon Music, in January.




Monday, November 16, 2020

2020!

A Challenging Year

     Back in February I was looking forward to a busy year. As I began my third season as a performing songwriter in the Rogue Valley I had already booked out dates through December and was hosting a monthly open mic and Songwriter "In The Round" events at Roxyann winery. On the eve of the March open mic I had the realization that we were facing a dangerous epidemic and the first inkling of concern. At that time I wasn't sure how serious the situation was going to be, so just to be prudent I decided to cancel the event for the month. Shortly the Governor closed the state, and after that I canceled everything I had booked for the rest of the year.

     As March progressed the full impact of the epidemic became a reality, and we observed a strict quarantine, and I mean we didn't go out at all, even having groceries delivered. Lockdown. We watched as Europe struggled through its wave of infections, then New York. We only had a handful of cases locally and that was somewhat comforting, but we still were very anxious about what was happening. As we head into the end of the year, the situation is worsening and all signs point to many more months of waiting for the epidemic to come to an end. It's been a test of our patience and resilience, but also offered opportunities for growth. 

     What I soon realized was that over the last three years performing and practicing had taken up all my energy to the detriment of developing new material. I had a continuing writer's block that began when we moved to Oregon. I just didn't seem to be motivated, I think mainly because I was now distant from Nashville and the competitive environment, but for other reasons as well, like the distraction of exploring a new place and meeting new people. Not only that, but rekindling being a live performer necessitated mastering a new song list and many hours of rehearsal to prepare for gigs. All of that was put aside and as the time passed I fell into a more reflective state. My creative process returned. Ideas started trickling in.

    Also, I started working on some unfinished recordings that were left over from my last album, "Home For Good" (available on Spotify). What I discovered was that after two years of gigging, my singing had gotten better, and some of the melodies that were eluding me were now within reach. My guitar playing had evolved as well, and I enjoyed applying improvements to these tracks. The result is "Loveland", 10 songs that I will be releasing soon.

     If it hadn't been for the epidemic I wouldn't have taken the time to work on this project, and that's kind of a mixed blessing; I'm really happy with the tracks, but wish the circumstances weren't so tragic. This is the paradox of life, when events beyond our control take over and we are compelled to make the changes needed to adapt.


     2020 has been a retreat, where we have been obliged to take a step back from all our busy lives and hopefully used the downtime to meditate on and evaluate our paths for ourselves and for our society in the future. 







Sunday, August 26, 2018

Loved To Death

"Money, too, remains a problem. The parks have endured a history marked more by congressional indifference and occasional hostility than by generosity. A $12 billion backlog for maintenance and improvements awaits funding. Fewer permanent employees now work for the park service than in 2002, even as it administers more parks and deals with record numbers of visitors.”


This article was written two years ago and has facts about the park system and the issues I witnessed firsthand during my recent visit to Grand Teton National Park. 

We got up at 5 am with an hour’s drive from our overnight stay to the camp site we were hoping to get. We hit a traffic jam at the park entrance and I became apprehensive about a crush at the “first come first served” campground. Are all these people going for the "tents only" site we wanted? Should we have spent the night in the parking lot? My nervousness alternated with my awe at seeing the mountains towering above us lit by the sunrise.

    At our campground/trailhead, Jenny Lake, which is the most popular spot for camping and sightseeing, the parking lot held about 50 cars. By 9 am every day the lot filled and spilled out onto the highway entrance, with cars and RVs coming and going all day. Work was being done on the facility, which I assume was to enlarge it.

    
We went to the park to hike, and once one got past the trailheads the crowds did lessen, because the trails are steep and rocky. Even so there was a steady stream of people, speed hikers charging up the hill, families with small children, couples chattering in a variety of languages, and guided groups of teenagers. A short distance up the trail, usually past the first overlook, it thinned out and by the time we got up to a lake three miles in we were virtually alone. Along the way we passed side trails that were closed so they could recover, blocked with large rocks and tree branches and posted with “loved to death” signs.









My personal peeve: the bathroom at our campsite was gross. It’s managed by a private company and to their credit it was evident that staff was doing their best to keep it reasonably clean, but it was in disrepair with broken doors and a bare concrete floor. The fee was $30/night so the 50 sites at this campground generate about $50,000 a month. I wondered what impression international visitors were getting. It was amusing to see a sign in one restroom that showed an awareness that it’s just not U.S. citizens coming to see our natural wonders. 







At the heart of all this is a consideration of infrastructure politics.The current administration is cutting the budget when most agree that the funding is insufficient to maintain and upgrade the system as it exists. Moreover, allowing even more people into these fragile ecosystems increases the cost to keep them healthy. Personally, I would like to see “tent only” camping and a reduction of traffic by using shuttles for day visitors. RVs are another problem. How anyone can call it “camping” when they are pulling a house behind them is a mystery to me, but they now compromise the majority of those in the campgrounds and are a constant presence on the roads.

Publicly held natural resources are vulnerable to mismanagement and exploitation for personal and political gain. By all accounts this is what we are facing now. Officials from the cabinet on down and some legislators are of the mindset that “too much” is being withheld from development. At best they may hold the mistaken belief that making these lands available to drillers, loggers and miners will add needed revenue to the treasury. At worst we may be the victims of backroom dealing and corruption; it is difficult to know the facts, but the risk of permanent damage from overuse and uncontrolled development is a real and present danger.

So let’s take a moment to look at the current Secretary of the Interior, Ryan Zinke.
(Note: The following is cut and paste from Wikipedia, New York Magazine, ThinkProgress and Vanity Fair articles)

He’s an ex-Navy Seal, from Montana, has businesses and property worth over a million dollars, impoverished by Trump cabinet standards, and has been a politician since 2009.

In 2013, Zinke hosted a radio show in which he engaged with and promoted fringe conspiratorial views, including birtherism (the myth that Barack Obama was not born in the United States). Zinke said on the radio show that he was not sure whether Obama was a foreign citizen and called on Obama to release his college transcripts. Later, in 2016, as a congressman, Zinke appeared on the radio show “Where's Obama's Birth Certificate”, known for its promotion of birther conspiracy theories

During his Senate confirmation hearing he stated:
“Climate is changing; man has had influence,” Zinke said, differing himself from Trump's position on climate change. “I don’t believe it’s a hoax…I believe we must be prudent.”

The former Montana congressman said he was "absolutely against the transfer or sale of public land."

He also said he would be open to reviewing and expanding oil drilling, stating:

“The president-elect has said, we want to be energy independent. As a former Navy SEAL, I think I have been to 63 countries in my lifetime. I can guarantee you it is better to produce energy domestically under reasonable regulation, than watch it be produced overseas with no regulation."

One of Zinke’s first acts after confirmation was to overturn a moratorium on new leases for coal mines on public land. He subsequently recommended slashing the size of several national monuments, including Bears Ears, in Utah, and Gold Butte, in Nevada, and lifting restrictions at others to allow more development. (In December, acting on these recommendations, President Donald Trump announced that he was cutting the area of the Bears Ears monument by more than three-quarters and shrinking the Grand Staircase-Escalante monument, also in Utah, by almost half.) Zinke has also proposed gutting a plan, years in the making, to save the endangered sage grouse; instead of protecting ten million acres in the West that had been set aside for the bird’s preservation, he’d like to see them given over to mining. And he’s moved to scrap Obama-era regulations that would have set more stringent standards for fracking on federal property.

Perhaps the most cynical thing they are doing is in regards to the National Parks Funding Bill (S.751 - National Park Service Legacy Act of 2017) which Zinke came out and supported after it was introduced in March of 2017 but has been sitting in committee since. All while the president’s budget proposes a drastic 16% to the Department of the Interior, which houses the National Park Service, and a cut of 7% to the park service itself. It’s been reported they are also proposing a hefty increase to admission fees.

“They’re determined to lease and develop every acre they possibly can, which will minimize the potential for conserving these landscapes in the future,” Jim Lyons, who was a Deputy Assistant Secretary at the Interior Department during the Obama Administration, told the Washington Post. “They’re quite efficient, and they know exactly what they want to do.”






Despite the crush, our trip was great. We just had to look past the crowds the same way you do at a theme park, concert or mall and make the effort to go farther in where most of them feared to tread, bear spray at the ready. It's my hope that this one part of our shared experience was geared more towards a concern for long term conservation rather than unfettered use and development and I wonder if those farsighted patriots who first aspired to set aside these unique treasures would be approving of what has transpired. 





  

Thursday, September 21, 2017

Coincidence?

I'm going to take a break from political commentary to share a story that raises, for me, some fascinating notions about coincidence and serendipity. Some believe there are no coincidences, which implies that there are unseen forces that guide us. 

It's related to religion, and a variety of superstitions that are part of western culture. I personally don't believe such things, and I had an experience recently that for me profoundly proves that out of randomness can come things that appear pre-ordained, and as such are more remarkable than a belief in supernatural guidance.

While in college a friend and I took a road trip and had a breakdown near a little town in eastern Oregon that necessitated an overnight stay. With some time to kill we walked around downtown, stopping in a antique store where I purchased an emblem from an old car for a dollar. I'm not sure why I was attracted to it, aside from a vague notion of using it as a decoration in my dorm room, something I never did. As it turned out I just hung on to it, something in the box of miscellaneous junk that everyone carries with them as they move from place to place.

Many years later, in 2008, when while going through "the box" I saw the emblem and got the idea to use it in a painting, to do a full size canvas of the car and attach the emblem as a mixed media element. Until this time I didn't know which car it came from, but after a bit of time on the internet I found a picture of a 1939 Ford truck and used it to make the first in a series of works I called "Vehicles". I ended up doing 13 canvasses, had several shows and sold a couple.

Here's "Ford" (Note the chrome emblem on the side), and a link to the series:
"Ford" 
"Vehicles"

This month we took a trip to Washington state to the town of Rosslyn, where the TV series "Northern Exposure" was filmed. It's an old coal mining town and we drove around looking at the little cottages of the miners from the early 1900's that had been preserved. As we turned a corner I saw this old truck parked in front of one of them and immediately recognized the distinctive front grill of the truck from my painting. We stopped and took a couple of pictures.




As we left I noticed that the emblem on the left side of the truck was missing.

It struck me that it was possible that the emblem that I had all those years could have been the one missing from this truck. If true, what are the chances that I would come across this truck so many years later? If someone believes in fate this would be a "sign" that it was "meant to be", that I was directed to this exact spot to have this experience, perhaps to affirm my faith in divine guidance.

But for me this encounter was a delightful happenstance that revealed to me the amazing power of utter randomness. To my thinking the odds of finding this old truck were literally astronomical. Over a lifetime I had journeyed from West to East and back again, had chanced on a little piece of history and incorporated it in a work of art, wandered into a little town I had never heard of and onto a street I could have just as easily passed without ever knowing the connection that waited for me there.

This is how we came to be. Science is leading us through the Universe to learn how its infinite energy is constantly creating events that lead to stars and planets, light and life, you, me and a '39 Ford in a mountain town with a story we never could have imagined.