tag:blogger.com,1999:blog-80516546976232382542024-03-13T09:26:30.934-07:00BrookmaniaThis blog replaces scottbrookman.com. The Brookmania blog is my new music page. Details about writing and recording. Information on releases and work with other musicians. Video postings. Promotion of collaborators. All these and more!Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-8051654697623238254.post-45797125828316435882014-04-14T16:13:00.000-07:002014-04-14T16:54:36.658-07:00Yani Martinelli: Smellicopter Major Players Interviews with Scott Brookman<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><br />
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<span lang="ES">It <span style="mso-spacerun: yes;"> </span>is hard to say just how much I appreciate and adore Yani Martinelli. Like Roland, she is a huge talent who can play just about any instrument, and her musical instincts in writing and arranging perfectly compliment my songs. She knows exactly what to do any time I call for her help. For years now, we’ve also added to each others’ knowledge of pop music history. Together, we have explored the obscurer realms of acid folk and the cross over into pop via deceased blogs. Almost inviarably what she likes, I like. And don’t get me started on the beauty of her voice (more on that below). Of all the people I’ve met on the Internet over the decades, Yani is the one I most wish lived next door! </span></div>
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<span style="mso-ansi-language: EN-US;">“Yani” is clearly a nickname. What is your gloriously long full name, please, madam, if that is not too intrusive?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">My name is Yanara (Venezuelan natives’ indigenous name, which means “<a href="https://www.blogger.com/null" name="_GoBack"></a>the messenger for love and friendship”) People find it really hard to pronounce so I had to shorten it to “Yani.” </span></b></span><br />
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<span style="mso-ansi-language: EN-US;">Please tell us where you were born and spent most of your youngest years. What was the city like to live in as a kid? What did you like doing most as a kid there? <span style="mso-spacerun: yes;"> </span>Was there lots of local music? To what extent did this influence you and your eventual songwriting?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">I was born in Caracas, Venezuela. I spent my childhood in a gorgeous house with a big garden full of tropical vegetation.<span style="mso-spacerun: yes;"> </span>I loved climbing up mango trees and building houses on them! We also had many dogs and cats, always my best friends. Caracas was definitely a better place than what it is today, there was less delinquency and crime in the streets than today.</span></b></span></div>
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Mum and Dad were both active musicians at the time and we three sang in a choir of classical music and Venezuelan folkloric music.<span style="mso-spacerun: yes;"> </span>My Aunt Silvia also is a great pianist, she was my piano teacher when I was a child and also I assisted to a lot of her concerts. Dad taught me to play the guitar and the cuatro (the Venezuelan ukelele) when I was 10 years old, and from that moment I began to write my own songs on guitar and cuatro. </span></b></span></div>
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<span style="mso-ansi-language: EN-US;">I know your family is quite musical. Could you please tell the readers all about them and their various talents? What is your earliest musical memory?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">My Mother was (and still is) a piano teacher and singer and my Dad sang and played cuatro really well.Earliest musical memory? Possibly, it was in my baby cradle listening to the national anthem loudly played at the school next to our house (in Venezuela the national anthem is played every morning at schools). I [stood] on my feet and began moving my arms and hands like an orchestra conductor<span style="font-family: Wingdings;">.</span></span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;"><span style="mso-spacerun: yes;"> </span>I must have had like 2 years.</span></b></span></div>
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<span style="mso-ansi-language: EN-US;">One of the many things you and I share in our songwriting is a reliance on nostalgic memories of the past. You’ve written more about family than I have, but we both write about the friends we had as kids and specific memories. Why do you think that is? Is this a strength in songwriting?<span style="mso-spacerun: yes;"> </span>What if we run out of childhood stories? What will we do?</span><span style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Your song “La Casa” is a perfect example and a perfect set of lyrics, by the way.</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, childhood is definitely a subject that gives me strength and inspiration for songwriting. <span style="mso-spacerun: yes;"> </span>I think we both appeal to it in our songs <span style="mso-spacerun: yes;"> </span>because it represents the purest part of us and our lives, full of innocence, imagination and protection that we won’t lose or forget, so we need to put it in our songs to make it last… and sometimes shine a little light for an escapade.</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">In your writing, that gorgeous, wistful love of the past is comforting.<span style="mso-spacerun: yes;"> </span>I am one of the lucky recipients of the limited edition cd release of <a href="http://yanimartinelli.bandcamp.com/album/bubble-station" target="_blank"><i style="mso-bidi-font-style: normal;">Bubble Station</i></a>. It may surprise you to know that for quite a few of my darkest nights last summer, up late trying to distract myself from the anxieties of divorce and separation, I listened to your album, and slowly, slowly drifted off to your beautiful voice.<span style="mso-spacerun: yes;"> </span>Listening on headphones in the dark it was almost as if you were there singing to me alone.<span style="mso-spacerun: yes;"> </span>A huge part of the charm of your voice is that it is absolutely unaffected as well as being musically accurate. It sounds like a real individual person. Not many singers have that. What do you think of your own voice?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">My voice and way to sing has been changing with the years… I sing more natural and unaffected now than before when I was singing in bands many years ago when I felt a little lost. I guess that is because now I feel happier with myself.<span style="mso-spacerun: yes;"> </span>I accept the “real me” and that includes my real voice. Glad to hear my music could help you to feel better in the dark times.</span></b></span></div>
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<span style="mso-ansi-language: EN-US;">Not unlike Roland Wolff, you seem to be able to play just about any instrument. You are most comfortable on classical guitar and ukelele, but what accounts for this ability to play so many different instruments? Has it always been this way for you? Did you have a good musical education as a kid? Could you always get music out of most anything you picked up?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, playing different instruments and is quite a challenge and also very fun. I first started playing the piano, being very young. I went to piano lessons with my Aunt for a few years. But it was with the cuatro and the nylon string guitar when I got really hooked about figuring out songs by ear and writing little songs.In my teens I felt curiosity for the drums so I took some lessons. I loved it. <span style="mso-spacerun: yes;"> </span>Now days I teach drums to young children.</span></b></span></div>
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<span style="mso-ansi-language: EN-US;">I know that at some point you lived in Los Angeles briefly and then you and your mother moved to Madrid, where you live now. What was it like to deal with those changes, which to me seem enormous?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">It was San Francisco… and I left my heart there!</span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, the change was huge. SF was wonderful, we lived almost in front of the sea… We spent almost a year living there. It was the mid-90’s and I was a teenager. But soon my Mum’s husband at the time got a new job in Madrid, so we moved here… I always dream of getting back there someday!</span></b></span></div>
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<span style="mso-ansi-language: EN-US;">I know you were in at least one band in Madrid before you struck out on your own. Tell us about the music you made before <i style="mso-bidi-font-style: normal;">Nonna in the Garden</i> and <i style="mso-bidi-font-style: normal;">Bubble Station</i>.</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">When I came to Madrid in 1998, I soon started building a band with some guys I met at the music school (where I went for drum lessons). We became a 4 piece band called The Seasongs. I played the drums and the electric guitar sometimes.<span style="mso-spacerun: yes;"> </span>We played Garage-Power Pop! Can you imagine! We were so loud and chaotic… It was fun. We recorded a few demos, and after 4 years playing at many dark venues in Madrid I left the band and soon formed Navy Blue, a Beach Boys-Supertramp influenced three or four piece band where I sang and played the keyboards. We recorded an album titled “At Home” and played at IPO Liverpool at the Cavern Club in 2009.</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">Whenever I write to you online your life seems pretty hectic. Please tell our readers what sorts of things you might be doing during an average week. Also please characterize your living situation with your mother and the cats and your various jobs at the moment.</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">I’m a drums teacher and a music teacher for young children (3-4 year olds) at a school and at private lessons. </span></b></span></div>
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">I’m also very involved (along with my Mother) in cat rescuing and animal right activities in Madrid. I’m so sorry to say this is one of the cruelest countries [toward] animals. So many horrendous traditions, so much ignorance.<span style="mso-spacerun: yes;"> </span>I feel my commitment to be strong every day to keep fighting for the ones who [don’t] have a voice.</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">If I remember correctly at first you felt out of place playing solo gigs in Madrid, but these days you seem more and more confident and to have a better time performing there. What has changed?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">I still feel out of place playing solo, most of the time. At some shows, for some reason, I feel blocked and sad. But things change for the better when I play in company of my two friends Carmen Ros (backing vocals) and Julio García (acoustic guitar), they really cheer me up and I feel protected and happy when I play with them.</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">Other than recording, what have been your most memorable musical moments?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;"><a href="http://www.youtube.com/watch?v=_KoRAeSg0Rw" target="_blank">Definitely playing live with my favorite band The High Llamas</a>. Doing the sound check together on stage, playing <span style="mso-spacerun: yes;"> </span>“Checking in, checking out”, I was playing the bass on that song and when we finished it, Sean O’Hagan seemed so happy, he looked at me and said it was great! :D</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">Do you recall how and when you and I “met” online? It must’ve been on MySpace, right?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, that’s right, MySpace. Probably spring of 2009… I immediately fell for your music!</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">What do recall about the time in which you were working on the <i style="mso-bidi-font-style: normal;">Smellicopter </i>songs? What was going on in your life at the time?<span style="mso-spacerun: yes;"> </span>Were you working on <a href="http://yanimartinelli.bandcamp.com/album/nonna-in-the-garden" target="_blank"><i style="mso-bidi-font-style: normal;">Nonna in the Garden</i></a> at the same time?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, I think so. I was in the process of recording songs for NITG. Working on your songs really encouraged me to work with mine as well.<span style="mso-spacerun: yes;"> </span>By that time I think I worked at looking after a young girl who loved Disney Channel’s teenage singers.<span style="mso-spacerun: yes;"> </span>Also I was busy at rescuing-fostering cats, as always.</span></b></span><br />
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<span style="mso-ansi-language: EN-US;">You play bass on the Roland-heavy “To Find Your Happiness,” and (oops) you weren’t credited in the liners for your harmonica and uke on “Inspected by Curly.” Sorry about that. My mistake. You added much more significantly to three other songs: “Delmarva Way, ““Maybe Then” and “Weirdos” are transformed by your presence. Your ukulele begins the final mix of “Delmarva Way” and you and Chas Lee Violet sing beautifully and snap fingers. Your electric guitar adds significantly to all three songs. <span style="mso-spacerun: yes;"> </span>I credit you with rescuing “Maybe Then” from my archive. You created your own vocal harmony lines on it and play the two electric guitar lines in the middle (a formula repeated in “Weirdos”) and added gorgeous acoustic guitars to the verses. Our voices sound so great together on this song, as they do on the final collaboration, <a href="http://xn--weirdos-v36c.xn--ivg/">“Weirdos.”</a> I remember being in Palmer’s control room when he and Jack Shannon first heard your harmony with me. Jaws dropped.<span style="mso-spacerun: yes;"> </span>The ukulele tracks are also delightful.<span style="mso-spacerun: yes;"> </span>And you play a little piano, too, right? (Also uncredited. I really ripped you off on the credits. I am so sorry. Maybe in the 25 anniversary Deluxe Edition double disc set we can correct all my crediting mistakes</span><span style="mso-ansi-language: EN-US;">). </span></div>
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<span style="mso-ansi-language: EN-US;">Whew! Having said all that, what are your recollections of recording for <i style="mso-bidi-font-style: normal;">Smellicopter</i>? If I recall correctly, a pot-smoking neighbor helped with the recording. What was his name and a little about him, please. What stands out for you from that time? Are there particular tracks you are proud of?</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: text2;">Working on your <i style="mso-bidi-font-style: normal;">Smellicopter </i>songs was a source of positive energy, a disconnection from my daily routine. It was really fun and challenging to find arrangements with different instruments for your songs. </span></b></span></div>
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">My neighbor Javier (AKA Angus 7) helped me to record the first vocal tracks for your songs, because at that time I didn’t have a microphone at home. He is a huge heavy metal music fan, he has a band called Chamán where he is the songwriter and guitarist. He’s such a character in the good sense, a really fun and talented fellow. </span></b></span></div>
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Ah, yes, I’m very proud of my electric guitar solo for <a href="https://scottbrookman.bandcamp.com/track/maybe-then" target="_blank">Maybe Then</a>. </span></b></span><br />
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<span style="mso-ansi-language: EN-US;">Also around this time, we recorded an as yet unreleased 70’s-style pop classic of yours called, “In My School.” We both put a lot of work into it, but it just did not fit stylistically at all with <i style="mso-bidi-font-style: normal;">Bubble Station</i>. What will become of it? I am certainly proud of my work for it and listen to it now and again. (I have it on my SoundCloud…is it okay if I embed it on this blog?)</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, sure. I love “In My School”, too. I always think we should make and release an album (or EP) together and include that song on it.</span></b></span><br />
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/39746205&auto_play=false&hide_related=false&visual=true" width="100%"></iframe><br />
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<span style="mso-ansi-language: EN-US;">You’ve played a good number of gigs over the past six months or so, but, like me haven’t gotten back to recording until just recently. You’ve contributed some tracks to my five plus minute piece, “Self-Starter Suite.” What’s next for us as collaborators? Any idea what your next album will be like? I only hope you’ll continue working on my music and I hope I can help with yours in return.</span><br />
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<span style="color: yellow;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;">Yes, I will continue making music ... (that includes writing, recording, collaborating with you) I need to.</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="color: #365f91; mso-ansi-language: EN-US; mso-themecolor: accent1; mso-themeshade: 191;"><span style="color: yellow;">I’ve got enough songs for a next album, which I think is going to be quite in the same line of Bubble Station.<span style="mso-spacerun: yes;"> </span>I want to start recording them soon. I want to sing and play on your songs. I only need one thing: two or three extra hours a day!</span> </span></b></div>
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Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com2tag:blogger.com,1999:blog-8051654697623238254.post-28364420844365954992014-03-30T13:13:00.000-07:002014-03-30T13:13:04.527-07:00Early 80's Archival Photos from the Collection of Travis Ballou<br />
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<tr><td class="tr-caption" style="text-align: center;">L to R: Gary Hall, Travis "Kim" Ballou, Ashley Bell (in tree), Scott Brookman. </td></tr>
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The original membership of my best known early band*, the Poisonous Sewer Fish, included Joey Cheatham (who wrote most of the originals, played guitar, and snarled his vocals), myself, Ashley Bell (at first on an early monophonic Roland, i.e. no chords, only single notes. See photo below), and usually two drummers: Gary Hall and Roger Lawrence. There was no bass player. It was very, very loud. *there were earlier iterations with me, Joey and Roger only under a different name.<br />
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This week Travis Ballou unearthed two photos of the <i>next</i> version of the Poisonous Sewer Fish. We might call it PSF MK II. Joey left, or was more likely thrown out, I guess Roger lost interest, and we became a more normal line-up adding Travis on bass. I guess that made me principal songwriter. Maybe. I think the loud experimental stuff probably continued as did the random covers. Both versions of this band mostly practiced. The very few gigs may have been years apart. There were and are a lot of recordings, though.<br />
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<i>Below I've adapted email between Travis and myself earlier this week into a Q and A, or an S and T.</i> <br />
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S: Wow. I have copies of these myself somewhere. Is this a post-Joey edition of the Poisonous Sewer Fish, or were we called something else?<br />
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T: <span style="color: magenta;">I was hoping you would know. I think it was the PSF post Joe. I seem to remember that we stopped playing after the photo. Go figure?</span><br />
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S: I don't think we stopped playing then. And this dates from ca. early to mid 80's, right?<br />
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T: <span style="color: magenta;">'80 or '81 I'm sure. It does not show in the digital images but by handling the actual prints (paper type) and the contrast I can tell I processed them at college. Judging by the lack of foliage it was the fall of '80 or the spring/fall of 81.</span><br />
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S: These will go on my blog very soon, sir. Thank you sincerely. Got any more? Of any band from that era.<br />
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T:<span style="color: magenta;"> I found these while going through the correspondence I inherited from my Father. Nothing else that I know of from that era but if I find anything of interest I'll post it to you.</span><br />
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S: They can always go on the Chuck blog if I'm not involved.Pocket Fishermen? Dumbsters?<br />
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T: <span style="color: magenta;">Pocket Fishemen, cool name, escapes my memory: The Dumbsters - That was me, Joe and Kent (Musselman). Don't think we ever played out. The Dumbsters was an evolution of The X Fish which was Joe and I getting together on summer break, writing songs and getting Kent to drum. Around '83 Joe, Ashley, Kent and myself formed Holy Moly. An ambitious concept of a ska band in the Roanoke Valley.</span> <span style="color: magenta;">We did play out in a club in Cave Spring. No photos that I know of. I did have a cassette of The X Fish (basement mix) and Holy Moly live! Unfortunately, I think it self-destructed the last time I tried to play it.</span><br />
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<span style="color: #fff2cc;">S:This is why I haven't put <i>Troy is Queer</i> online for purchase at Bandcamp. I am afraid the tape will unspool and crinkle as I play it. Too bad because that one was really Joey's masterpiece, his meisterwerk in the area of his layered tape sound and absolute obnoxiousness. </span></div>
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Same day in 1980 or 1981. The Bell family backyard in Salem. The bridge crosses a little creek. The open field behind us has a delightful pool in it now. Yes, I am holding a Rickenbacker. It sucked. </div>
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Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com4tag:blogger.com,1999:blog-8051654697623238254.post-41993415906827362892014-03-01T14:31:00.000-08:002014-03-03T14:53:02.909-08:00Roland Wolff: Smellicopter Major Players Interviews with Scott Brookman<br />
<i>Roland, along with Yani Martinelli, are my new collaborators on Smellicopter. Each is a huge reason this album is likely my best. Roland's contributions came first chronologically, but I've already forgotten specific dates. He turned a simple folk tune, "Tim E. Redmond," into a full-blown country pop masterpiece with little input from me, contributed heavily to the Wilson sound on "Summer's Two Weeks Notice" and provided significant parts for three other songs. Let's hear what he has to say for and about himself in the following interview. </i><br />
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<![endif]--><span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">First, let’s have a little recap
of your musical career. What have been the high points so far? </span></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"> </span>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The success we had with Riviera
(his excellent pop duo with sister Julia) was a high point. I remember I was on
an all time low in 2000, nothing happened, I quit my studies at University and
stayed in bed until noon when Julia jumped into my room to tell me that there’s
a Japanese label that wants to offer us a 3 album record deal.</span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Another highlight was singing
"Love & Mercy" with Brian Wilson at the encores of a show in
Mainz. Probyn and Billy (Hinsche) brought me on stage. The sound was horrible
and I remember Probyn saying:"just sing whatever comes to your mind. It
will be alright!"</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">When did Riviera really take off? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">That was in 2001 when we signed
that 3 album deal with Philter, a small indie label with Sony Music as
distributor.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I remember a point at which you
were “treated like rock stars” in Japan. Was there Roland Wolff music <i style="mso-bidi-font-style: normal;">before</i> Riviera?</span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Sure there was. Me and my sister
Julia played in a brit-pop band called My Flavour Jasmine. Our highlight was a
UK tour in 1993. But we never signed with a label. </span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">What has come after? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I have a new band "The
Riviera Brothers". It’s more Brit style, guitar driven pop music.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"> Where do you live? </span></span></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I live in Moenchengladbach, a
smaller city in Germany, mostly famous for its glorious football (soccer) team.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Do you have a job that involves
music? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Yes, I teach music at a music
school.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Where do you record? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I have my own studio.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">When did you first become aware
of your musical talent and do you come from a musical family? </span></span></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I was always aware of my musical
talent. In our family, music was crucial. We played a lot together. My parents
gave house concerts, my dad played the organ, my mom used to be a great singer.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Would you say your hometown is
musical? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">When I was a kid I remember that
there were lots of activities in our hometown. Many bigger names played here.
Due to my parents activities I was always part of the musical scene. I also had
great music teachers at school. Our hometown, Huckelhoven, was a coal mining
city, very working class.</span></div>
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<br /></div>
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<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I think you and I “met” on
MySpace and shared a kindred spirit of having both recorded our first albums on
ADAT-XTs. Is that right or am I misremembering? </span></span></div>
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<br /></div>
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<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">That’s correct, sir. I used to
record on 7-track ADAT (one track was broken and I never got it fixed).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">What do you recall about the time
during which you were laying down tracks for the <i style="mso-bidi-font-style: normal;">Smellicopter </i>album? </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I don't have too fond memories of
that time. We got dropped by our Japanese label after our latest album bombed.
Julia [had] <span style="mso-spacerun: yes;"> </span>just recently moved to LA. I
didn't really know what to do. Kinda clueless about the next step.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">What other projects were you
working on at the time?</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I can't really remember. I always
work on some songs and decide later what to do with them. I have tons of stuff
on my hard disk that never got released.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>What was going on in your life? </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Two trips to LA. A dear friend
died and left us in a state of shock. A lot of every day routine, working in
the studio, trying to be inventive.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">What do you recall about your
role as arranger of “Tim E. Redmond”? </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Although I felt our career was at
a full stop I still received big pay checks from our publisher. I bought a lot
of gear and instruments. Tim E. Redmond is full of that new stuff, Baritone
guitar and banjo.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Most of the released version is
actually you. I play a usually inaudible guide track acoustic guitar and sing
lead, with some harmony vocals. The simple piano lines are me. Everything else,
other than drums, is you. My own recollection of writing the song is of a
miserable time, our very worst trip to the beach as a family. Lots of slamming
and yelling. I remember sketching out this amazingly simple tune about a real
kid I remembered and finishing the words later. You really transformed the
song. Do you recall anything about your process of contributing so much to it?
For instance, did one part occur to your first? </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I loved the lyrics, those stories
inspire me. I pictured this scenery, early 70ies, that kid Tim stealing all
these vintage bikes. The station wagon with the fake wooden panels. All that
kinda stuff.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Did the simpleness of my song
help or hinder your process?</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">It definitely helped.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Mixing “Summer’s Two Weeks
Notice” held up the <i style="mso-bidi-font-style: normal;">Smellicopter</i>
release for some time. This was very frustrating for me and there are still
unresolved issues in the released version. I’m not sure who we actually hear on
drums in the released mix, but other than my piano, lead vocals and one of the
electric guitar riffs, the rest is, again, you. The glorious pile of vocals at
the end is all you, in fact. What do you recall about working on this song?</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I could comprehend the vibe of
the song. It’s pure summer, with a little twist that only a grown-up could
think of. It’s like a tongue-in-cheek Beach Boys tune. I laid down most of the
tracks in a few hours. Everything was obvious; there was no pondering or doubt
about parts. I remember that you had problems with the drums. They could swing
a little more, right?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"></span><span style="color: orange;">I remember your initial enthusiasm about
working on such a Wilsonian number. What are you proudest of here and are there
any regrets? </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I love the bass sound, I loved my
recorder and the backing vocals at the ad libs. I also loved your little guitar
lick in the verse. You can be very proud of that idea, Scott. Overall, I was
happy that I could do the Pet Sounds thing all over a track. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">You did so many tracks on the
first two songs, we agreed that you’d be listed as arranger. Your other
contributions to<i style="mso-bidi-font-style: normal;"> Smellicopter </i>(“Daisy
Von Zeppelin,” “Iceberglar” and “To Find Your Happiness”) are very important,
but more along the lines of standard collaboration. Listening back now, what
are the favorite moments of your input on these songs?</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I liked that prep[ared]-piano
part that should be reminiscent of "Curb Your Enthusiasm", I liked
that guitar solo that was a little tacky. I played cornet or french horn on one
of those songs although I can’t play that instrument at all. I was having a
tough time learning how to play those 4 notes and then gave the instrument to
my brother in law Probyn.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I learned a lot in recording this
album. For instance, I relearned that less is more. I had worked out all these
fancy piano arrangements for the three songs above and had to abandon them all
when it came time to record using Palmer Wilkins’ upright.</span><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">It’s not that I couldn’t play the
parts, it just became obvious that each part was too busy, too in the way. We
did take after take, and each time I subtracted notes and played on fewer and
fewer beats. I forget which song, but I remember laying on his couch in the
control room and getting really mad at myself, letting out a big sigh, and
saying, “Okay, scrap all that. I know what to do.” The result is leaner and
better. Did you learn anything in doing this project? </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"> </span>
</div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Recording is a constant process
of learning. Sorry that sounds like Chinese cookie wisdom but it’s true.
Chinese cookies for musicians, we should bridge that gap in the market, Scott!
Can you smell the bucks? [You know I can!]</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: orange;"><span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">And to close out what projects
are you working on these days? </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">I am working on new Riviera
stuff, editing a video clip for Riviera, and my band The Riviera Brothers is
going to tour this spring, so we rehearse a lot. I am also working on some
friends’ songs, very sweet Carpenters like material! Ah - and I will release a
solo album. Besides that….nothing special.</span></div>
<br />
<div style="text-align: justify;">
<br /></div>
<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-24027809167465334432014-01-11T12:29:00.001-08:002014-01-11T12:30:47.543-08:00At Last: The Christine Hoffman Interview! <br />
<br />
<i>Nationally certified music instructor and friend, Christine de Santis Hoffman, conducted an email interview with me circa July 2013. Its about time it appeared on my blog I think. It's one of my most articulate.Thanks to Christine for taking the time to come up with a few questions. </i><br />
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<br />
<span style="color: orange;">Are the characters you create (such as Daisy Von Zeppelin) truly imaginary or are they exaggerated versions of traits of people you know? Alternatively, where do the imagined characters come from? I'd like to imagine that you opened a box with a slip of paper that said "Inspected by Curly" and went from there . . .</span><br />
<br />
I was handed a slip of paper with the words “Inspected by Curly,” actually. It was a real clothing inspector slip (now taped in one of my song books) and I did take it from there. It’s not a really detailed portrait of a guy. The silly subject doesn’t require it. I just thought of a vague sort of person working on the assembly line checking for defective underwear. However one does that on a busy shop floor. <br />
<br />
My own childhood is still a major source for song ideas. Real life people and things that happened end up chronicled, and that’s a good thing for me and the cosmos I think. All these happenings could just vanish otherwise. I could be wrong but I think usually I sing about them in a deadpan way. <span style="color: red;"><b>There’s no sneering or sarcasm</b>.</span> If there’s comedy it’s typically from the vocal delivery, the subject, or the descriptive words, but rarely is it mockery. The real life Tim E. Redmond, for instance, really did steal bikes. That’s a fact. It’s the core of the story and the song. It’s all very matter-of-fact. There’s no hate or resentment. The childhood songs are mostly reporting. Some of the childhood songs are me trying to recollect what happened. Examples of these include “Mike Ives” and “Did It Happen at the 7-11?” <br />
<br />
Sometimes I think of a ridiculous character name (like Daisy Von Zeppelin and her predecessor, Charmion Chandler Cheese, both sort of stereotypical 20’s debs) and work from there to flesh out something, using, as you say exaggerated traits of others. In these cases, I am never aware of writing about a particular real life person when it comes to traits or emotions, however. There are songs on Smellicopter that sound as though they might be about the things I’m going through these days in real life. However, these were all written long ago. All “relationship” type lyrics in my songs are just the product of watching many, many movies and tv shows over the decades. It is not completely honest, deeply felt work. What I’ve done many times is to take <span style="color: red;"><b>warmed over emotions</b></span> and scenarios and, hopefully, recreated them a bit as my own. Often I envision a scene or situation and the words come to describe what I can “see.” But, again, these are not from my own life. I don’t know where they are from.<br />
<br />
On Smellicopter, the one honest song that is emotionally real is “I Could Use Some New Friends.” That one is about me. I do find it hard to make friends. As in the song, people have insincerely said they’d like to get together. I’ve done it, too. <span style="color: red;"><b>It’s a hard thing about living</b></span>. There’s a lot of regret, loneliness and desire for change in the song. And a masterful rip-off of the creepy vocal swell in 10cc’s “I’m Not in Love.” <br />
<br />
Like most songwriters there are observational pieces as well. Every person in “Weirdos” is absolutely real. A few I got the merest glimpse of in traffic, the others were neighbors. <br />
<br />
To start a song I must have an “instigating phrase” of some kind. <br />
<br />
<span style="color: #e69138;">What instrument would you like to learn how to play?</span><br />
<br />
I’d like to fully grasp jazz, r&b and gospel styles of piano playing. <br />
<span style="color: #e69138;"><br /></span>
<span style="color: #e69138;">What is your greatest regret as a musician?</span><br />
<br />
Not playing live. On the one hand, <span style="color: red;"><b>there’s only so much time available to us all</b></span>. Maybe not playing live enabled me to do a better job of writing. Who can say? I have allowed that fear of mine to dictate part of what it means to be a musician. <br />
<br />
<span style="color: #e69138;">How do you collaborate with musicians in other countries? Skype? Video files? Email? Phone calls?</span><br />
<br />
I use FB or email and ask first if this talented foreign national would like to collaborate. It’s always someone I already know. If the answer is “yes,” I make several quick mixes of my own demo: one with a click track throughout, one without. I try to mix so that it would be comfortable in the person’s headphones. Usually, I have no particular prescribed thing I want the collaborator to do; that way I get something that I would never have thought of myself, which is the whole point. Typically, I send the several mixes as 24-bit Waves files via a service like WeTransfer, Dropbox or YouSendIt. The only technical issue that arises sometimes is keeping things in sync. By patient dragging of the audio file, though, we prevail. I love to do this because not only are the musical ideas increased, but <b>the sound of another world</b> slips in there: a room in another country, different software, mics and instruments. <br />
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<tr><td class="tr-caption" style="text-align: center;">No ownership of this image claimed </td></tr>
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<br />
<span style="color: #e69138;">What do you think would happen to you if you stopped writing songs? I know the process weighs on you, but it seems like you are driven by a need to create.</span><br />
<br />
If I didn’t write songs lo the mighty rivers would flow backward. I’ve written so many, honestly, that if no more came along I could record the leftovers (many of which are at least as good as those that have been properly released) and have decades of releases left in me. The musical work would become reconstructing and rearranging older material, rather than writing. I’ve long passed the age when I could write 20+ fine songs each year, which I used to do. <br />
<br />
These days the “visitation” of a musical idea is rare. I sit at the keyboard and hope that a useable mistake will happen, mistakenly going to an unusual chord, a slightly different progression. If I sing or whistle a melody line over it, then I know I have something to work with. Probably I have at least one line of lyrics to use, an instigating phrase. When all that does happen I play it over and over and then write it in a song notebook AND record it as MIDI if time allows at the moment. That part of the creative process feels good. Something is happening and there is the dizzying hope that in the session you’ll have enough to say “I wrote a song today.” There’s a desperate and exhausting panicky feeling, too, as I hope that the flow—wherever it is coming from—won’t stop until enough is written. And, frankly, there’s a post-writing let down, at least a slight visit from old man depression. <span style="color: red;"><b>I actually don’t think non-creative people miss out on any happiness</b></span>. Quite to the contrary. <br />
<br />
The rest of the words and the final arrangement, of course, can take years to complete. Revisiting the song fragment and trying to extend it is typically frustrating. If you look at a lot of my lyrics on paper, there’s nothing all that special there. I have to go with whatever sounds best being sung. If that includes a few trite rhymes, so be it. That said a lot of effort goes into the words. <br />
<br />
The only new piece from this year I would call a proper “song fragment” is called “Snow Day.” It has a verse and chorus, meaning chords, melody and probably two lines of lyrics. <span style="color: red;"><b>A few days later it snowed</b>.</span>Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com1tag:blogger.com,1999:blog-8051654697623238254.post-87444246865550353682013-09-22T12:57:00.000-07:002013-09-22T12:57:21.303-07:00The Famous Smellicopter Scrolls<br />
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As a way of keeping track of a multi-year, multi-continent, multi-player project, I thought of something I'd encourage others to do. Using cut sheets from a kid easel paper roll, I thumbtacked the sheets to a wall in my studio space. Each sheet contains details (mostly file name differences for Apple v. Windows, tempos, who played what) for several songs. The fun part was drawing the titles and coloring them. The era of <i>Smellicopter</i> is over, the paper is turning brown and its time to take them all down and pack them away with the archived discs. <br />
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Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-75996914111854911232013-07-27T12:51:00.001-07:002013-07-27T13:08:49.698-07:00Piggledy Pop blog's review of Smellicopter <br />
French music blogger, Marie-Agnes Halle has the signal honor of writing the first full-length published review of <i>Smellicopter</i>. The following is copied directly from her blog,<a href="http://piggledypop.blogspot.fr/"> Piggledy Pop</a>. <br />
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Je voue une réelle admiration pour <b>Scott Brookman</b> que je connais depuis des années et dont je peux dire que l’artiste constant et émouvant dans ses productions, l’est aussi sur le plan humain. Adepte de la pop sixties, surement un des ambassadeurs les plus actifs de la sunshine pop, professionnel et passionné il compose tel un prodige et écrit, arrange avec du style. Les <b>Beach Boys</b> et <b>Burt Bacharach</b> coulent dans ses veines et leur aura resplendit au bout ses doigts. Il nous comble depuis des années avec son inspiration. Généreux et curieux, il fleurit ses compositions de nombreuses collaborations avec d’autres artistes et explore, invente, en variant les instrumentations. La pop de Scott est joyeuse, chaleureuse et élégante à l’image de son auteur. </div><div style="text-align: justify;"><iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=1357984627/size=medium/bgcol=ffffff/linkcol=e99708/t=2/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://scottbrookman.bandcamp.com/album/a-song-for-me-a-song-for-you">A Song for Me, A Song for You by Scott Brookman</a></iframe><br />
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Lycéen dans les années 80, Scott gagne une expérience scènique avec son premier groupe <b>Poisonous Sewer Fish</b> qui joue essentiellement des reprises et se distingue très vite en écrivant et composant des mélopées dans une veine mélodique hautement pop sixties chez lui, en Virginie. De manière artisanale, dans sa salle de bain ou son garage, sur un quatre piste, avec un kit de batterie, le multi-instrumentiste expérimente les sons de sa guitare acoustique, de sa fender, de son clavier yamaha sur différents micros et en sort une série de cassettes magistrale : <i><b>Bonaparte, Hot Enough to Fry Your Dog's Brain, frozenrawheadless, In My Own Backyard, Tool for the Man, It's More Than a Hobby</b></i> et<i><b> A National Treasure</b></i>. Dans les années 90,<b> Scott Brookman </b>signe un premier Ep vinyle, <i><b>The Busy World of Scott Brookman</b></i>, sur le label <b>Twee Kitten Records</b> qui précède<i><b> The Man From Operations</b></i>, quatre titres extraordinaires, sorti en 1998, puis le 13 titres de 1999,<i><b> For Those Who Like POP</b></i>.et dix ans plus tard, l’album sophomore <i><b>A Song for Me, A Song for You</b></i>. </div><div style="text-align: justify;"><iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3301890184/size=medium/bgcol=ffffff/linkcol=63b2cc/t=4/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://scottbrookman.bandcamp.com/album/smellicopter">Smellicopter by Scott Brookman</a></iframe><br />
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En 2009, Scott évoquait déjà son interet pour le cyclisme dans le titre <i>A sinister Cyclist</i> et réitère sur son dernier album sorti en juin 2013 avec la première plage de <i><b>Smellicopter</b></i> qui rend hommage à<i> Tim E. Redmond</i>, un type qui volait des vélos dans le voisinage quand Scott était enfant. Le superbe album que nous propose <b>Scott Brookman</b> contient son humour dans les textes et toujours cette dextérité pour arranger ses chansons de manière alternative, lumineuse et intelligente. Pour couronner le tout, il s’entoure d’excellence avec la présence du multi-instrumentiste<b> Roland Wolff</b> de <b>Riviera</b>, du français <b>Mathieu Bournazel</b> de <b>Purple Submarine Orchestra</b> qui taquine la basse avec brio, chante et arrange <i>Very Anne</i>, du guitariste<b> Jack Shannon</b>, ses amies <b>Yani</b> qui chante sur<i> Weirdos</i> et <b>Violetta</b>, qui signent le titre<i> Delmarva Way</i>,<b> Nathan Goodwyn</b> et <b>Anthony Allen</b> qui jouent du cor, <b>Jimmy Ghaphery</b> du saxophone sur<i> I Could Use Some New Friends</i>. L’ensemble des titres montrent le talent infini de<b> Scott Brookman.</b><iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3301890184/size=medium/bgcol=ffffff/linkcol=2ebd35/t=1/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://scottbrookman.bandcamp.com/album/smellicopter">Smellicopter by Scott Brookman</a></iframe><br />
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Après le succulent opening<i> Tim E. Redmond</i> et les claviers, le sonnette de vélo et bruit de roue libre, piano et basse admirables, glockenspiel, ses choeurs lumineux, on retrouve la voix pop, délicate et eurythmique qui ensoleille<i> Summer's Two Weeks Notice</i>, beachboysienne et diablement allègre. Dans une fine logique sonore suit<i> To Find Your Happiness</i>, qui swingue, où le banjo fait danser les cordes du piano, de la guitare, de la basse dans un accord parfait. Puis la touche frenchy sur <i>Very Anne</i> grâce au savoir faire du maestro<b> Mathieu Bournazel</b> à la basse et au chant embrase le tempo, en enchainant sur cette irrépressible envie de danser avec <i>Inspected by Curly</i> et sa guitare electro-acoustique espiègle. Puis la balade<i> Iceberglar</i> apporte de la douceur, des notes suaves en milieu d’écoute pour laisser place au galopant et psychédélique <i>Delmarva Way</i>. L’album jusqu’ici reussi et fort abouti continue avec des titres incroyablement bons,<i> I Could Use Some New Friends</i> avec ses cuivres rutilants,<i> Maybe Then</i> et la voix de Scott savoureuse dans la veine de <b>Scott Walker</b> voltige légère et harmonieuse, voix qui nous cueille sans résistance sur <i>Daisy Von Zeppelin</i> où la basse, le piano, banjo et claviers sont euphoriques. Enfin, <i>Weirdos</i> boucle l’écoute toute en émotion, prestance et subtilité, ce qui définit et représente bien l’artiste. <br />
Evidemment <b>Piggledy Pop</b> conseille le sublime<i><b> Smellicopter</b></i> à déguster et le génie de Scott Brookman à découvrir .</div><div style="text-align: justify;"><a href="http://scottbrookman.bandcamp.com/" target="_blank">ScottBrookman</a></div><br />
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Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-80025194025389631832013-07-01T11:40:00.001-07:002013-07-27T13:25:26.758-07:00Another Blog Beats This Blog to the News of Smellicopter's Release! <br />
Yes, Smellicopter came out on <a href="http://scottbrookman.bandcamp.com/album/smellicopter" target="_blank">Bandcamp</a>. Sparky from <a href="http://mrsparkyshouse.blogspot.com/2013/07/scott-brookman-smellicopter-2013.html">ShockPop!</a> has spread the word already through his blog.<br />
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</h3><div class='post-header'><div class='post-header-line-1'></div></div><div class='post-body entry-content' id='post-body-5623913499051187040' itemprop='description articleBody'><h2 style=><span style="color: cyan; font-size: x-large;"><u>Scott Brookman</u></span></h2><h2 style=><b style="font-size: x-large;"><i><span style="color: cyan;">"Smellicopter" (2013)</span></i></b></h2><div class="separator" style="clear: both;><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh10_QlrIRPz1zHyrCGsFRAjnaKRlgvKiaKIPBg7sWEolIh6R3Hy1uThzVza2eFiw2C1Hp3V9qRb5ywv3SqnJVfAwEzJQqtLInvpocJjLiqxSdmtl1RxPMDVAKv8oYhR35NtKEMtIblIcP/s750/Smellicopter+Front+Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh10_QlrIRPz1zHyrCGsFRAjnaKRlgvKiaKIPBg7sWEolIh6R3Hy1uThzVza2eFiw2C1Hp3V9qRb5ywv3SqnJVfAwEzJQqtLInvpocJjLiqxSdmtl1RxPMDVAKv8oYhR35NtKEMtIblIcP/s320/Smellicopter+Front+Cover.jpg" width="320" /></a></div><br /><br />
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<b>The amazingly humble and talented <a href="https://www.facebook.com/scott.brookman.5" target="_blank">Scott Brookman</a> does INDEED have a new CD available on bandcamp and it's a corker!! Eleven fab, bright and breezy tunes to enhance your Summer! I can't recommend it more!! Good work, Scott!! Good tuneage, my friends!!<br /><br />
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Here's what the "artiste" himself has to say on the subject: " "Smellicopter" has landed at Bandcamp. 72 years in the making, this pre-legendary release is Brookmania Productions' finest moment so far. You can listen to EACH song individually on Bandcamp and then make your purchasing decisions. This is a digital release only so far. It's just not a good time to make cds, though that is part of the plan in the next months."<br /><br />
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Just get it!! NOW!</b><br /><br />
<div style=><b><b><span style="color: cyan; font-size: large;"><a href="http://scottbrookman.bandcamp.com/album/smellicopter">BUY THE CD</a></span></b></b></div><div style=><b><b><br /><br />
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Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-47471362324489976572013-03-16T18:20:00.001-07:002013-03-17T06:29:59.619-07:00Unpublished Interview (Summer 2011)<br />
It's been quite a little while since I've written for this blog. I have been active in some writing and collaborating. Very little in new recording, however. <br />
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For real this time, <i>Smellicopter</i>'s release is just about to happen. I predict an April 1 release.<br />
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In archiving some audio and text files related to <i>Smellicopter</i> and its protracted creation, I came across what is likely to be the greatest interview I'll ever give. I had forgotten all about it. An indie zine approached me for an interview. I used the opportunity to be completely honest about songwriting, the depression/elation cycle that creatives face, and the repetition and blandness of interview questions. In the process, my answers offended the indie zine guy and we are no longer friends or even "friends." The interview was never published. I have removed the person's name from the interview and no mention of the publication remains. <br />
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What follows is the entire transcript interrupted here and there with illustrations to break it up. Please read it all, especially if you are a musician who has ever been frustrated by coverage of music by people who purport to be interested in it.<br />
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<span style="font-size: large;"><b>Summer 2011 Unpublished Interview</b></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFhze6ePMue55TD2fKW8kqlXQIgdBR2aSXJ4VdTe9CR-1ngCQKGKz59Rsr10Gal1fsyPbwADfXAXoh1HUQyZwBC5tZ2WopA3uA47IReeWkbfEqLmKRFajWICACOrGcApwU5OCIvQ9igeb/s1600/SB+May+2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFhze6ePMue55TD2fKW8kqlXQIgdBR2aSXJ4VdTe9CR-1ngCQKGKz59Rsr10Gal1fsyPbwADfXAXoh1HUQyZwBC5tZ2WopA3uA47IReeWkbfEqLmKRFajWICACOrGcApwU5OCIvQ9igeb/s320/SB+May+2011.jpg" width="286" /></a></div>
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">Let's talk about your musical influences. Who are your biggest influences and why? Who were your early musical influences?</b></span> </div>
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<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">The Beatles, especially McCartney, and all who were influenced by the Beatles.</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Ray Davies and his Kinks</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Brian Wilson and his Beach Boys</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Burt Bacharach, Jimmy Webb and Harry Nilsson. </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Laura Nyro, Carole King and Todd Rundgren, all geniuses of welding r&b and pop with a shared set of easy keyboard tricks. </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Any hard to categorize eclectic writers/performers. </li>
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But really…thousands of musicians would write the same list, so…big deal. What does this mean about my music? Do I value melody? Yes. Do I like 60’s and 70’s music? Yes. Am I old? Yes. </div>
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Sometimes I wish, in retrospect, that my influences had been more eccentric and unusual for that is the way of leaving something <i style="mso-bidi-font-style: normal;">different</i> behind in the wake of your passing, eh? My early cassettes seem to be by someone more inclined to become a true weirdo, someone more like the great English eccentrics: Ivor Cutler, Vivian Stanshall, Robert Wyatt, Syd Barrett, or Lord Berners, even Julian Cope. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1-nKgoDhErfcSgflRzeUvxMqfG65fbYyogcpPvEvJTsZGiak0W3C-DmsNdx2OkOgy0042SN1eVXfAoMjpOhG3Mksz-g5ZQFHm27neYBW4OP7JaYw6JJlraZo9uunZWCT_PHqCCpf0f95/s1600/ivor.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1-nKgoDhErfcSgflRzeUvxMqfG65fbYyogcpPvEvJTsZGiak0W3C-DmsNdx2OkOgy0042SN1eVXfAoMjpOhG3Mksz-g5ZQFHm27neYBW4OP7JaYw6JJlraZo9uunZWCT_PHqCCpf0f95/s320/ivor.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ivor Cutler if you must know</td></tr>
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In these interviews you always either get “what are your influences?” or “what does your music sound like?” These are different ways of getting at the same thing: comparison, which is sometimes useful. “What does it sound like?” is more useful, though usually inaccurate, and subject to personal contexts such as being too full while listening or being in a car with a bad stereo, or being too full while being in a car with a bad stereo. </div>
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<b style="mso-bidi-font-weight: normal;">Earliest?</b> Hearing music on TV, almost always jazz, r&b or funk on shows like <i style="mso-bidi-font-style: normal;">Sesame Street</i>, <i style="mso-bidi-font-style: normal;">The Electric Company</i> and on commercials. I watched a lot of TV way more than I ever listened to the radio. However, I heard all major 60’s hits in my mom’s 1962 Ford Galaxie on WFIR-AM as we went to doctor appointments and the grocery store. It was a wild scene man. </div>
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These are the same old answers I always give to these questions. Wouldn’t it be more interesting if musicians said completely different influences in each interview, especially if they were all tremendous lies? Today I could say my songs are influenced by Esquivel and Metallica. Next time it could be 1910 Fruitgum Company and Eric Dolphy. Then, when you heard the actual music you’d be surprised and elated! Perhaps you’d even convince yourself that there really were some similarities. So you see the usefulness and importance of lies. I heard somewhere that Garth Brooks said he was influenced by Queen. </div>
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">Where do you see your music heading?</b></span> I don’t know really. I suppose I must continue writing in “the grand tradition” of melody as the dominant force in my music. That’s what I do well. Melody, along with seventh chords, has vanished from popular music, so those who can still do it must. </div>
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I do know I’m sick of my process: writing up to a point, then doing an elaborate demo, moving the soundbites around and making room for more verses or choruses, then replacing most of those tracks with real performances….sigh…it’s just so tedious…there’s nothing fun about it at all. I blame this tedium on the computer. That’s right, I said it.</div>
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I would like to incorporate more ambient sounds into my music. (Isn’t <i style="mso-bidi-font-style: normal;">that</i> an interesting statement all by itself, standing alone there?)</div>
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I <i style="mso-bidi-font-style: normal;">have</i> really enjoyed recording tracks for <a href="http://www.youtube.com/user/martitunes">Yani Martinelli’s</a> next cd. She does nearly everything herself, so all I have to do is double a vocal, or think of some goofy keyboard line, or like that. Much more fun than the writing/demo/tracking process drudgery of my own stuff. The collaboration with her has actually sort of taken over my music time, which I gladly give to avoid the usual routine. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsSyvOWHXAyo0Hg2O8wPzEpK0kJfV0niIdFFyrqdB2J9QJI_I7ktGYGJ6LH3RYWbcFRlrURJKrcBGf5FcbvEQjyVUxfgZtSXR0X4DIoCtm5uCzCAKFtOp3hg8CumSbGrIC229f-6vo4j1_/s1600/yani_sitar.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsSyvOWHXAyo0Hg2O8wPzEpK0kJfV0niIdFFyrqdB2J9QJI_I7ktGYGJ6LH3RYWbcFRlrURJKrcBGf5FcbvEQjyVUxfgZtSXR0X4DIoCtm5uCzCAKFtOp3hg8CumSbGrIC229f-6vo4j1_/s320/yani_sitar.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yani Martinelli: Very Talented Person</td></tr>
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It’s been fun to do <a href="http://www.youtube.com/user/drbrookman">little videos</a> with my daughter. If it’s one of those days when I can improvise a new song and I can grab her, we make a little video recording of me playing it. That’s also more fun than the drudgery/process. </div>
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The work I’ve been doing this summer on the amateur digital remastering of my cassette archive has been tedious, but rewarding and surprising. I released eight cassettes from the late 80’s into the early 90’s. The first and last of these are for sale (or casual listening) on Bandcamp along with their original artwork. The first one, <i style="mso-bidi-font-style: normal;"><a href="http://scottbrookman.bandcamp.com/album/hot-enough-to-fry-your-dogs-brain">Hot Enough to Fry Your Dog’s Brain</a></i>, in particular, is almost unbelievably naïve and odd and, therefore, deserves much wider listening. By the time of <i style="mso-bidi-font-style: normal;"><a href="http://scottbrookman.bandcamp.com/album/a-national-treasure">A National Treasure</a></i> in 1994 I had worked out songcraft in a more normal way. You all <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">really</i></b> need to purchase both and then pickup the others are they become available. (A few may be combined into a “Best of the Rest” type release.) </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp83L206pm63V093X7f1wES84eeBjyR55_X0wT_Of0l-pqANzBXSgOg3zzx1KM6iDaOrBCOZPajxKTmmi4TE_xU_tc3WsDLlQfgtAfvX2MpXO-GK_Kqi3JIvop6U1qHDl2-Ul9svXRldju/s1600/Dog's+Brain+%231.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp83L206pm63V093X7f1wES84eeBjyR55_X0wT_Of0l-pqANzBXSgOg3zzx1KM6iDaOrBCOZPajxKTmmi4TE_xU_tc3WsDLlQfgtAfvX2MpXO-GK_Kqi3JIvop6U1qHDl2-Ul9svXRldju/s320/Dog's+Brain+%231.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hot Enough to Fry Your Dog's Brain</td></tr>
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The album after <i style="mso-bidi-font-style: normal;">Smellicopter </i>will include the leftovers from those sessions, whichever new songs end up finished, and I have found a few old tunes to include as well. In other words, the same old thing. Collaboration will continue, of course.</div>
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<span style="color: blue;">What music software do you use?</span></b> <span style="mso-spacerun: yes;"> </span><span style="font-size: large;"><i>Who cares?</i></span> Really. They all do the same thing. It doesn’t matter which you use. Try to record at the highest bit rate you can. Don’t use mastering plug-ins because it is so easy to screw things up. That’s my advice. I still use Digital Performer at home. If someone else is tracking for me, of course, all different ones: ProTools, Logic…some others. The more expensive ones simply do things more elegantly. </div>
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">Is there any other music software you plan on getting?</b></span> <i style="mso-bidi-font-style: normal;">(Another question about software? Really?)</i> </div>
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Hell, no. If I did it would be something a collaborator used successfully. I fear the learning curve and the guilt of spending more money on music, especially that which has no immediate pay-off artistically. I know it would take me forever to figure out new software and that is precious time<i style="mso-bidi-font-style: normal;"> not</i> spent on writing. <br />
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">What's in your home studio setup?</b></span> Carpet and printed circuit boards. Crumbs. Dust. Some spare computer monitors, the family vacuum cleaner, lousy worn-out cables, a reasonably expensive telescope (an unused gift to our family), boxes of music magazines, lots and lots of kid artwork, 150 unsold copies of my last cd and the complete Emma Peel years of the Avengers on VHS. <span style="mso-spacerun: yes;"> </span>I have some cylindrical sound baffles that belong to this guy who works for Bruce Hornsby. (The same guy leant me his old Ensoniq SD-1 for nearly ten years, which was THE sound of <i style="mso-bidi-font-style: normal;">For Those Who Like POP</i>. I miss that synth. Its string and horn sounds were cool; not realistic, but neat sounding.) An old Mackie 1604 VLZ board, some Behringer compressors, the last living Mac G3, a lot of kid scale classical guitars, a Gibson SG of early 70’s vintage, the Yamaha Motif, and a lampshade I use to make an extremely low-pitched drum sound. One of the great things about collaborating with others is the sounds of <i style="mso-bidi-font-style: normal;">their</i> instruments and signal processing. I feel like I have access to a lot. </div>
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<b style="mso-bidi-font-weight: normal;"> <span style="color: blue;">Do you write songs on keyboards or guitar?</span></b> Both. Sometimes in the songwriting process I switch instruments just to hear the chords differently, and hopefully increase the chances of blundering onto something I haven’t already done a billion times before. Certainly you can’t force a song out. Inspiration happens when it wants to. Treasure the mistake, the accident. I can often work pretty well around distractions like children. The slowness of it all is frustrating. At 48, I feel a little desperate I must say. How many more years do I have to do this? I want to get all my music out there, but…albums end up taking a minimum of 3-4 years to do. There’s got to be a better way! If I never wrote another song I would still have at least ten albums worth of great songs to do over and present in a better way. <br />
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<span style="color: blue;">Talk about your latest release</span>.</b> Ah, <i style="mso-bidi-font-style: normal;">Smellicopter</i>, the myth, the legend, then eventuality.<span style="mso-spacerun: yes;"> </span>After yet another multi-year sequence of writing, demoing, tracking and mixing I was surprised that we’d recorded 16 songs for <i style="mso-bidi-font-style: normal;">Smellicopter</i>, though cost and sanity require that it has ended up as an 11 song album. (The five others will go on the next album). What can one say really? It should be my best yet. The amazing pile of talent all over it alone is reason enough to say that. Great performers from home and abroad on every song. In fact, on many songs, the contributions of others are so great and even over powering that I was able to cut back on my own parts, often out of necessity. Piano parts in particular were often re-done and re-done and re-done, each time finding a simpler way to play; a less cluttered space emerging, more complimentary to the other instruments and the vocals.<br />
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<b style="mso-bidi-font-weight: normal;"> </b>Songs range from the r&b pop of “I Could Use Some New Friends” (about the difficulty of making new friends in middle age) to fictional character songs like “Daisy Von Zeppelin” and “The Iceberglar” to songs about real people, including “Tim E. Redmond” and “Weirdos.” There’s also a wonderful older song called “Delmarva Way,” which is lyrically at least my Jimmy Webb imitation. Just about every song tells a little story, so there’s plenty for narrative fans.<br />
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There are a lot of great sounds from Roland Wolff’s mountains of guitars and vocals, to Yani’s marvelous ukulele and vocals to the Spectorian stacked vocals from the Purple Submarine Orchestra. Great drumming and guitars from Virginia, too: Anthony Allen and Jack Shannon. Palmer Wilkins, who tracked a lot of this stuff in ProTools, has been charged with ‘getting creative” with the mixes. Though the writing is old school, there’s no reason the album has to sound vintage. I’d rather bring this kind of writing closer to the contemporary world if it is to live another day. We’ll see. I haven’t heard the mixes yet. I think you will all be absolutely blown away. Really.<br />
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<tr><td class="tr-caption" style="text-align: center;">Roland Wolff: Very Silly. Very Awesome.</td></tr>
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</b></span><b style="mso-bidi-font-weight: normal;"><span style="color: blue;"> <b style="mso-bidi-font-weight: normal;">Can you describe your songwriting methods?</b></span> </b>It happens three ways:<br />
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There are magical days when I can sit down at the keys or pick up a guitar and there it all is: a song comes out in just about complete form, two major sections at least with completed melody and some lyrics, too. As I age, this is very rare. It used to happen a lot in my 20’s and 30’s. I mourn it. What a beautiful way to work. In fact, I consider myself a lesser writer now that it doesn’t happen anymore. I feel that it<i style="mso-bidi-font-style: normal;"> should</i> work this way. <b style="mso-bidi-font-weight: normal;"></b><br />
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</b><b style="mso-bidi-font-weight: normal;"> </b>The next best way is the valuable mistake. I’ll sit down with either instrument and just play, nothing in particular, just going through some of my typical progressions and “shapes” and something will go wrong. The wrong thing is, of course, the right thing and this is what you pounce on as a writer. Often these can be worked into either an existing song fragment or developed VERY SLOWLY into a song. <br />
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What mostly happens for me these days, is a partial song comes to me one day and I write it down and play it a lot before I put it aside. Then, if I’m lucky, within a few months I have managed to finish it. Some of them take years to complete, however.<br />
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I have a big sketchbook with evolving songs written in it. I use my own peculiar notation system. Once it gets pretty close to being finished I use MIDI to lay down basic chords and, above all an accurate performance of the melody.<br />
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Here’s what NEVER works: hearing a tune in my head in the shower and then getting to an instrument to quickly get the tune down. I have managed to write the tune down a few times, but it’s never as awesome as it sounds in the shower. I have successfully thought of songs while driving, however, and written those down. One of my favorite songs, “Real Estate” happened in this way.<br />
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The awful thing about all of these is dealing with the depression that comes with creativity. I feel it a lot. If you really, really want to write a song but it doesn’t happen, that’s a downer, but the fleeting elation of doing great work always has the emotional quicksand feeling coming right around the bend. Several hours of intensive and fruitful writing or recording for me soon turns into a black hole and I feel awful. Still, I feel that I <i style="mso-bidi-font-style: normal;">have to</i> write and that I owe these songs something.<br />
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<span style="color: blue;"><b>What made you decide to start making music of your own?</b></span> Like most North American males of my age I simply had an acoustic guitar. (Aren’t we born with those?) I would sit on the front porch in our suburb and spend hours putting my fingers in shapes that felt right on the fretboard. These were not normal chords in a lot of cases. I never understood people who’d just learn the standard ways of playing ordinary chords and not wonder: “what happens if I lift this finger up?” “What if I play the f# here instead?” I didn’t make up proper songs till much later and certainly there was no singing. It was music of a sort, though. I was probably in 7<sup>th</sup> grade or so when this all began. <br />
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<span style="color: blue;"><b>Are you active in your local music scene?</b></span> Hmmm. Well, I know enough local musicians and the ones I know are good players and nice people. The greater Richmond area is full of musicians. We have street bucket drummers, whom I always enjoy. There’s a crazy lady who strums chords over and over in a tempo-less Thorazine-doped state. The players who are part of anything you’d call a scene, though, I don’t know ‘em. There are a lot of annoying bands I just couldn’t care less about. If not for trying to find the time to practice, I’d like to eventually get back to playing live. I know exactly who I’d pick to play with locally. My dream has always been to just sing ‘live” and talk about the songs. <br />
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<span style="color: blue;"><b>Who would you like to collaborate with on new music?</b></span><span style="mso-spacerun: yes;"><span style="color: blue;"> </span> </span>The same people that I have been collaborating with to make Smellicopter: Yani Martinelli, Roland Wolff, the Purple Submarine Orchestra and a few others. I could see working with Fumiyuki Sato if he’s willing and the language barrier isn’t too great. Yani and I are so on the same wave length musically it’s scary, and we quickly learned the value of each others’ ideas. I’ve given her the task of finishing some songs of mine that came to a stand still. So far, one is complete and we’ll be both be recording it for her cd. <b style="mso-bidi-font-weight: normal;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Shizuko Ito: One of Japan's Great Writers and Performers</td></tr>
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</b><span style="color: blue;">What other bands are you're excited by?</span> Testbild!, High Llamas, Mayumi Akasaki, Shizuko Ito, Wool Strings. I try to keep up with Louis Philippe. Mostly, I am excited by newly acquired vintage music. We don’t want to try list my interests there, but I’m always wanting to hear new/old music. <span style="mso-spacerun: yes;"> </span>Anyone reading this is welcome to “friend” me on Facebook and read my sporadic “Listening Log” under Notes. <b style="mso-bidi-font-weight: normal;"><br />
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">What's next for you, musically speaking?</b> </span>(isn’t this the same question as “Where do you see your music heading?) <br />
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">What did I forget to ask you?</b></span><span style="mso-spacerun: yes;"> </span>Why these questions are exactly the same as the last time I answered them, which is, what, ten years ago?</div>
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<span style="color: blue;"><b style="mso-bidi-font-weight: normal;">What's the URL for your website?</b></span><span style="mso-spacerun: yes;"> </span>Scott Brookman.com hasn’t been updated in years and I haven’t paid the webhost this year. I don’t know what to do with a website any more. What does it do that music sellers, blogs and social networking sites don’t already do? Please visit instead: </div>
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<a href="http://scottbrookman.bandcamp.com/">Bandcamp</a><br />
<a href="http://www.kickstarter.com/projects/1660476214/new-scott-brookman-album-needs-mastering-and-manuf">Kickstarter</a></div>
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<b style="mso-bidi-font-weight: normal;">And give me a full discography.</b></b></span><br />
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<span lang="EN" style="font-family: Symbol; font-size: 10.0pt; mso-ansi-language: EN; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i><span lang="EN" style="mso-ansi-language: EN;"><a href="http://en.wikipedia.org/wiki/Egg_(album)" title="Egg (album)">Egg</a></span></i><span lang="EN" style="mso-ansi-language: EN;"> (1970)</span></div>
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<span lang="EN" style="font-family: Symbol; font-size: 10.0pt; mso-ansi-language: EN; mso-bidi-font-family: Symbol; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><i><span lang="EN" style="mso-ansi-language: EN;"><a href="http://en.wikipedia.org/wiki/The_Polite_Force" title="The Polite Force">The Polite Force</a></span></i><span lang="EN" style="mso-ansi-language: EN;"> (1971)</span></div>
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<tr><td class="tr-caption" style="text-align: center;">You Can Tell That Egg Really are Sorry There Were Only Three Albums</td></tr>
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-12827996616832448822012-11-11T12:46:00.000-08:002012-11-11T12:49:29.457-08:00Apes of Wrath Flier: Iroquois GigYet another decrepit document unearthed during my Salem trip at the end of summer. One of few extant Apes of Wrath gig fliers. This one is dated Feb 6. But what year? Likely 1986, possibly 1987. The Iroquois was a dive in downtown Roanoke that played host to national acts (I saw John Lee Hooker, NRBQ and Roger McGuinn there to name a few) as well as locals, including punk rock acts and whatever the Apes of Wrath were...indie rock? It was a pretty large space really. Pool tables. Beer. Some rough characters, kids, and what today we'd called hipsters all together. <br />
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I have no idea who this opening act was. New Law Nightmare? No idea. The flier's photo was clipped from <i>National Geographic</i> and is probably of a meeting of snake-handlers. I like the detail "All Ages and Sizes."<br />
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I remember a Battle of the Bands at the Iroquois. Shirley, the infamous owner, put our reasonably wimpy act in with the metal bands, probably because our band name contained the word "wrath." That does sound metally, if you think about it. We played a good set but pennies were hurled. It's preserved on VHS tape somewhere in my archive.<br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com1tag:blogger.com,1999:blog-8051654697623238254.post-3319089813879234032012-10-19T16:17:00.002-07:002012-11-11T17:20:33.158-08:00Rare Apes of Wrath Set List! <br />
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Way, way back in the mid-80's, I was in a great little rock trio, The Apes of Wrath. We played in college student haunts in Roanoke, Salem and Blacksburg, Va. A few of our choice numbers were by Jay Lugar; about a third of the songs were by me; another third were by Robert Woodrum and the rest were a wide variety of covers. The Go-Gos AND AC/DC. I recognize most of the song titles on this piece of legal pad paper, but it might date from after my departure of the band.<br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-59931171459411397292012-09-15T12:41:00.001-07:002012-09-16T12:55:42.888-07:00Limited Recording in Tiny Area with Tiny GuitarI've been down recently about my music. I can't believe <i>Smellicopter</i> isn't ready yet. Thinking about it <i>at all</i> has become a big burden, a drag on my soul. It is at least a year and a half overdue now. Soon, I'll need to inform the Kickstarter backers that it won't be ready in October, the most outlandish future date I could think of most of a year ago. And here we are. Nearly October and still nothing. Once again there are way too many years between releases. I am 49 years old now. I don't know how many more albums--despite the scores of great unreleased songs--will ever see the light of day at this pace. I'd have to live to be 150 to see them all out, or so it seems. Something needs to happen to quicken all this.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOPg3kobTjg_5r4nKwZMuyL-Z_2M75pPUQ4SML-L6gbB-9I-Oa-lX8xpRYeiCGnAglnIBapK_in-8PgIy3RttDN0MlbgXAO6XtNRHwbHIvhHU4w9IiblYgug9Yx6yvdbUuDiJfGDFI1HU3/s1600/smellicopter_coverv2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOPg3kobTjg_5r4nKwZMuyL-Z_2M75pPUQ4SML-L6gbB-9I-Oa-lX8xpRYeiCGnAglnIBapK_in-8PgIy3RttDN0MlbgXAO6XtNRHwbHIvhHU4w9IiblYgug9Yx6yvdbUuDiJfGDFI1HU3/s320/smellicopter_coverv2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Early rejected cover art</td></tr>
</tbody></table>
This continuing bummer has seeped into my new song topic ideas, which all center around dead friends and the hard lessons of life and how little some of us accomplish. <br />
<br />
Anyway, it's been very hard to motivate myself to record much in the past few months. I did force myself this week to accomplish one small goal. Read on....<br />
<br />
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<br />
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<b>Music Session 13 Sept 2012</b></div>
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<br /></div>
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Finally made myself get back to music today. <span style="mso-spacerun: yes;"> </span>After reading the booklet to recent Now Sounds
reissue of <a href="http://www.amazon.com/Down-L-Brewer-Shipley/dp/B0073ES21A/ref=sr_1_1?s=music&ie=UTF8&qid=1347736588&sr=1-1&keywords=brewer+%26+shipley+down+in+la"><span style="text-decoration: none; text-underline: none;">Brewer and Shipley’s <i style="mso-bidi-font-style: normal;">Down in LA</i></span></a>, (I subsequently
sold the cd because it has too many minor key songs…not my kind of listening)
about how they’d practice in a large closet getting a great blend and big
sound, I cleaned out about half my studio closet this summer. There's a quaint cleared out corner now just big enough to be a partial phoney vocal booth. It took longer to
position the mic stand than you’d think. Since, I’ve been experimenting with
recording in it. I did vocals for a new version of “An Unexpected Perfect Day”
in there and a first pass at a guitar solo as well.</div>
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<tr><td class="tr-caption" style="text-align: center;">Not for the claustrophic</td></tr>
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I continued using that new space today, recording Section D
of the <i style="mso-bidi-font-style: normal;">Self-Starter Suite</i> using
Juliette’s tiny kid guitar, a piece of junk that is lots of fun to play. I’d
like to say I used it to get the near ukulele sound (if ukes had metal
strings!) I want for that section of the suite, but it’s really because it’s
the only guitar I can play that part on without serious pain after a few
minutes! First I needed to haul a suitable stool out of the basement and dust
it off. I can just about fit myself and the guitar in the closet.</div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJXRE-kwFC4Rtuz2Po-UKOIXQWjNJ4JXEFBvbH8gbdE9Rel-GQ2dz1tp7lqsdbKBRhlKPy8XYSCEdYt3lKh9AweZqMkE0yLCxLZB7Gi21DChyphenhyphenlHVSHYUd1dtNUedfw_nMWYDq14DuQTH2O/s1600/100_1625.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJXRE-kwFC4Rtuz2Po-UKOIXQWjNJ4JXEFBvbH8gbdE9Rel-GQ2dz1tp7lqsdbKBRhlKPy8XYSCEdYt3lKh9AweZqMkE0yLCxLZB7Gi21DChyphenhyphenlHVSHYUd1dtNUedfw_nMWYDq14DuQTH2O/s320/100_1625.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cluelss in the closet and clutter?</td></tr>
</tbody></table>
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I did three takes of the main track, did some editing and
copying for a master take. Did some relatively serious compression for the odd
instrument, which ended up working well after a few adjustments. The
double-track of it I did in one take. It sounds pretty unusual. Can hear a bass
line in my head for this brief passage. Saved for another day.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHs2S78RJ3my6-IWznkIlAOaVmDNNGjsryti_4yYJ_XRbQ3v5DXKZIaL1RE_SMUEggExHCbBr59UV7n0sUBWd6qQmtMIotpGChZZAgnLU9lHpzgKHLAADQh6TkfsAHwnybWknFHTBD-Bfq/s1600/100_1630.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHs2S78RJ3my6-IWznkIlAOaVmDNNGjsryti_4yYJ_XRbQ3v5DXKZIaL1RE_SMUEggExHCbBr59UV7n0sUBWd6qQmtMIotpGChZZAgnLU9lHpzgKHLAADQh6TkfsAHwnybWknFHTBD-Bfq/s320/100_1630.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Giving credit where its due</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="MsoNormal">
Listened through some other songs and practiced “If You Buy
My Album.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also rehearsed an unrecorded vocal part for the chorus of
“AUPD” with just as much difficulty as I have had before. I think I’ll just get
it as good as I can for illustration purposes and then offer that part to Yani
to sing. The guitar solo still sounds okay to me.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The olde Power Mac really didn’t want to play all zillion
tracks of “Your Idiot Son” today. Some of the electric fru-fru picking sounds
out of the pocket to me now and the same bass issues that always plague me
haven’t gone away since the last time I heard these tracks. Other tracks still
sound good, however. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Who knows when I’ll get back to recording. Maybe next
Thursday. </div>
Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-10567495287945003272012-09-01T10:32:00.000-07:002012-09-02T10:01:44.737-07:00Bill Hill Archives #2In addition to his rube/trickster cover for <i>They'll Nickel and Dime You to Death</i>, Bill Hill also designed the cover for the cassette, <i>It's More Than a Hobby</i>. The gag was a line from an actual Bela Lugosi film (I'll figure out the name eventually). Bela's chararacter's hobby is something awful like a basement collection of medieval torture devices. Some sad clown refers to it as an unusual hobby. Bela, speaking pretty much like Dracula, says "It's More.....Than a Hobby." Whew. Shiver me timbers, Bela! Today I present four versions of the cover hand drawn by Bill. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYkGUHhUgKjtTOrDr6iLZEVO1ko6cZd35LNu8DXIGGgdVO320sAPv5bJyYbJIiaf222rbpsfZ4-8Asp6ely01sLPCuGcas3_ofPmpWhyphenhyphenank0yUg06xJZklYsNk2L1fwecvruFCM4DQCIBL/s1600/Hobby+001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYkGUHhUgKjtTOrDr6iLZEVO1ko6cZd35LNu8DXIGGgdVO320sAPv5bJyYbJIiaf222rbpsfZ4-8Asp6ely01sLPCuGcas3_ofPmpWhyphenhyphenank0yUg06xJZklYsNk2L1fwecvruFCM4DQCIBL/s320/Hobby+001.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bela inhales the model glue liberally. Note: creepy thin rubbery fingers.</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQbr8jXLRPKVrDFtPDeTDo6ZKO2nTwkSdalsw7J0d2zvZAncn6f9u4lEWtAO0yZYHd4YqRN4_8C04xt9Wob3Zkafaajms8dBouX1V1PdEiiTfKUmNjym-jfbB_Iw-apSl_dlGnoaPVA-T/s1600/hobby+002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQbr8jXLRPKVrDFtPDeTDo6ZKO2nTwkSdalsw7J0d2zvZAncn6f9u4lEWtAO0yZYHd4YqRN4_8C04xt9Wob3Zkafaajms8dBouX1V1PdEiiTfKUmNjym-jfbB_Iw-apSl_dlGnoaPVA-T/s320/hobby+002.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thicker fingers. Fumes bypass the nostrils</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmVg_UP5goaYtgvHP4PT5tqoNlIsJCRGWQpfvh20JfwP-uYeY61RdD1bS5Hs6Q20DoaPEEUXSoD25qIYEarAKx9Ixq47D7mUlTKH9K_mpCp_zFW-Yup_h3NM7_nRwW5I5G3Zl4v57dhHy/s1600/hobby+003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmVg_UP5goaYtgvHP4PT5tqoNlIsJCRGWQpfvh20JfwP-uYeY61RdD1bS5Hs6Q20DoaPEEUXSoD25qIYEarAKx9Ixq47D7mUlTKH9K_mpCp_zFW-Yup_h3NM7_nRwW5I5G3Zl4v57dhHy/s320/hobby+003.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thicker lines. Curvy tube of glue. I like the lettering here</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQUx4sH5vMDEZR8qitduV53gDoLxhm8GqLZSZHicBr3zOobGycXTUhPt8wwXQ_Hxvsan_FqF0wZLO2CdIz8-gOnvmblwdXtANH6FL1cAoy66sifZxnSpFte80m4aJ4uPI1KIbwp_SjJcjH/s1600/hobby+004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQUx4sH5vMDEZR8qitduV53gDoLxhm8GqLZSZHicBr3zOobGycXTUhPt8wwXQ_Hxvsan_FqF0wZLO2CdIz8-gOnvmblwdXtANH6FL1cAoy66sifZxnSpFte80m4aJ4uPI1KIbwp_SjJcjH/s320/hobby+004.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Getting crazier-looking. Scary fingers. Fumes definitely clouding brain function.</td></tr>
</tbody></table>
<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-27852130853663755552012-08-22T06:36:00.000-07:002012-08-23T07:04:03.162-07:00Most Obscure Cover on the Internet? Yani's Latest<br />
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Fans of Wes Andersen's stupendous film, <a href="http://www.imdb.com/title/tt0362270/" target="_blank">The Life Aquatic with SteveZissou</a>, will have heard music by Sven Libaek, probably without
knowing it. Libaek's seventies film score music--heard in a number of real
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Bowie catalog and new incidental music by Mark Mothersbaugh. "Open Sea
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Libaek's mostly excellent and highly distinctive soundtracks
have trickled down to the blog-o-sphere where they can be had for naught.
Seriously, in about an hour you can track 'em all down.</div>
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<![endif]--><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Here,
<a href="https://www.facebook.com/yani.martinelli" target="_blank">Yani Martinelli</a> and Bert cover a Libaek piece, "Go Anywhere" from the
1973 film, <i>Nickel Queen</i></span>. </div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/UGUQY-8t1N0?feature=player_embedded' frameborder='0'></iframe></div>
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<br /></div>
Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com2tag:blogger.com,1999:blog-8051654697623238254.post-20823270445105461302012-08-11T11:03:00.003-07:002012-08-25T12:47:16.700-07:00Larry Anglebooger Event: Friday, Aug 10 2012<br />
The kids and I went to see <a href="http://origamiyoda.wordpress.com/" target="_blank">Tom Angleberger</a>'s performance and signing at Richmond kid's book shop, <a href="http://bbgbbooks.com/" target="_blank">bbgb</a>. He's the author of the <a href="http://www.amazon.com/The-Secret-Fortune-Wookiee-Origami/dp/1419703927/ref=sr_1_sc_3?s=books&ie=UTF8&qid=1344707705&sr=1-3-spell&keywords=origanmi+yoda" target="_blank">Origami Yoda series</a>, <a href="http://www.amazon.com/Horton-Halfpott-Fiendish-Loosening-Luggertucks/dp/141970169X/ref=la_B002XL9B0E_1_5?ie=UTF8&qid=1344707743&sr=1-5" target="_blank">Horton Halfpot</a>t and <a href="http://www.amazon.com/Fake-Mustache-Presidential-Election-Mastermind/dp/1419701940/ref=la_B002XL9B0E_1_4?ie=UTF8&qid=1344707743&sr=1-4" target="_blank">Fake Mustache</a> among others. For someone from Virginia (!) he certainly commands a dedicated mass of kid readers. The assembled youngsters <i>knew</i> his books, boy howdy. Tom is the husband of <a href="http://cecebell.wordpress.com/" target="_blank">Cece Bell</a>, herself a fab kid's book author and illustrator. They both be talented and mighty funny. If you have kids, you gotta check out their books. Really. I insist. Madeline took the following photos with one of those I-things.<br />
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<tr><td class="tr-caption" style="text-align: center;">Tom draws based on audience input</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Larry at the autograph table</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Dwight from the Origami Yoda series</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fako Mustacho!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Promo Wookie Standee for the latest installment<br />
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Being a "friend of the family" has some advantages. Years ago Tom made a DogBot video for one of my songs, "Getting Involved." I'm not sure I completely understand the video, but here 'tis.<br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-52111730222284529602012-08-02T09:47:00.000-07:002012-08-02T09:48:31.531-07:00Bill Hill Archives #1Way back in the cassette era (the 1990's) several of the covers for my tiny releases were drawn by super-talented former Salemite, Bill Hill. Here are three sketches and the final layout for my tape called <i>They'll Nickel and Dime You to Death</i><br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-11801176553257834532012-07-27T15:59:00.000-07:002012-07-28T08:29:50.236-07:00Yani's Return from Caracas Summer 2012Fabulous songwriter, singer, multi-instrumentalist (and collaborator) Yani Martinelli just got back from a visit to her extended family in Caracas, Venezuela. Here are a just a few photos she lent us here at Brookmania:<br />
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The razor wire atop the wall creeps me out, but check out the cloudy mountain vista at the top of the street.<br />
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Here's Yani sitting among the roots of a gigantic Caucho tree. <br />
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You really must now download Yani's latest album, <i>Bubble Station</i>, at <a href="http://yanimartinelli.bandcamp.com/" target="_blank">Bandcamp</a>. I believe it is still free. I myself perform on a few of these songs. I am excited to know that a vinyl release of <i>Bubble Station</i> is a possibility. I am trying to convince her to create a Kickstarter project. Yani's music is just fantastic. Mostly, it's on the folkier side of pop but with lots of sunshine pop and other influences, too.<br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com1tag:blogger.com,1999:blog-8051654697623238254.post-35892805129906544732012-07-25T10:25:00.000-07:002012-08-08T16:34:20.952-07:00Home Studio Work July 24-27 2012It's a right smart privilege to sit here around high noon in the shade on the back deck. A gentle breeze and lower temperatures make for a fine lunchtime. As I write this I am listening to a vinyl rip of a rare Indian lp from the 50's.<br />
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For some reason I really dig early recordings of Indian music. This one comes from a blog I won't tell you about. Unless you ask nicely. He he.<br />
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After a non-entity Monday (don't know how that day turned into nothing), the week so far has been fabulous in getting music work done.<br />
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Yet more work on "Your Idiot Son". Tuesday saw me editing kid handclaps and, much more extensively, my own electric guitar tracks. Initially, I was going to copy and paste the best moments of the prominent linking riff repeated 4-6 times in the song. The riff is played by the piano and two electric guitar tracks. I found two good spots, but knowing that the old Mac hates bouncing stereo 24-bit tracks, I just decided to copy and paste the mono guitar tracks. Good call. I also edited or pasted some other brief passages that are difficult to describe here.<br />
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Because of the way I recorded the kid handclaps last week (one open mic down the hall from the blasting monitors) there is a lot of bleed over from the full mix of the song. Not a surprise. It <i>was</i> a surprise for some reason, though, that I couldn't copy and paste the best bits over and over....because the background bleed over would be from a different part of the song. That wouldn't be good. Not feasible. I just deleted a few extra claps here and there.There are a few moments when the three of us sound like castanets instead of an atomic metronome. Sounds good, though. <br />
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<i>(now Mr. Hall has come to mow the grass and interrupt my peace. Oh well, I shall move inside)</i><br />
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Still on Tuesday, I successfully removed the piano segment from the "Self Starter Suite". I had long wanted to see if the ending bossa/samba bit could come right after the other guitar bits. It isn't an obviously natural pairing. The piano segment--as heard on SoundCloud--was just "there."<br />
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I was glad to have made the cut and dragged the soundbites for two guitar tracks and percussion as a group and re-enterred the fades without seriously screwing anything up. (I had already saved the original project folder to a cd-r) Great. My plan was to just use this demo after the surgery as a released track for the next album. Contributors, including percussionists, would find a steady enough set of tracks to perform alongside. So what if there was no click track or MIDI kit? Hmm...well, the longer I listened the more issues I found. The steel stringed acoustic guitar is seriously out of tune in a few areas. The lead vocal is incomplete because I hadn't finished the first couplet yet. The timing of the bossa bit and the "live" percussion track are pretty bad, which is why the demo fades so early. So...I decided to next teach myself to play all the segments (A-D) again and determine the tempos and next set up a MIDI click to work with.<br />
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<i>Which....took hours on Wednesday morning</i>. I had already been playing the piece up to the bossa/samba segment, which I couldn't remember. Listening to it on the demo helped, but I couldn't sound it out. After some searching through bits of paper and sketchbooks, I found the segment. It was apparently written at the same time as <a href="http://scottbrookman.bandcamp.com/track/bossa-brookmania" target="_blank">"Bossa Brookmania"</a> (!). I have now labelled it in big letters that it is Section D of "Self-Starter Suite." Geez. That settled, I moved on to setting up a MIDI drum kit to act as a click. Surprisingly a simple pattern (kick 1, snare 2, kick 3, snare 4) works--at different tempos--for all parts of the suite including, as I eventually found, the bossa segment. Who'd a thunk it? It took forever--and I still don't know why this eventually worked--to make the conductor track in Digital Performer allow me to set a different tempo at measure 45. I even consulted a manual with no luck. For the record, the beginning of the piece is at 100bpm, which allows a nice slow pace for the goofier picking at the start and an unhurried vocal, and moves up to 140bpm from measure 45 all the way through the samba thingie. Save, save, save, save. And double save.<br />
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To allow the subconscious to work on this problem, I began a big clean out of the weird closet space in my studio. I threw away a lot of old boxes, including the original box for my cheap-ass Yamaha PSR-3, a synth of sorts my parents bought me for about a hundred bucks in the mid-80's. My kids now make noise with this durable piece of plastic. Some broken lamps are headed to the dump. I also found more of Wayne Pooley's audio odds and ends. Boxes of tiny bits: connectors, fasteners, baby lengths of cable. Oh, and and old rack-mountable amplifier of his. <br />
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On Thursday, I dawdled a bit in the morning, but still took considerable time over recreating the audio tracks of percussion from the demo as MIDI tracks. Luckily, I found a scrap of paper on which I had written the name of the drum bank on the synth used to make the demo. Whew. Not knowing that could've lead to hours of fruitless searching. I quantized these, of course. Then I practiced all the guitar parts for quite awhile. I think everything is going to be fine with re-recording this suite. Tra la la. Oh, happy day.<br />
<br />
Also, on Thursday, completely out of nowhere the words to "An Unexpected Perfect Day" suddenly came to me. I'd long wanted to rewrite, indeed, finish the words to this one. In a flash, I had all three verses. That's tremendously rare for me at age 49, let me tell ya. The verses are simply the real life boring details of my daily life; the choruses contrast that with the title sentiment.Can't wait to re-cut a vocal alongside the original demo tracks. Next week?<br />
<br />
And, finally, the only work I managed to get done on Friday was three mixes of "Your Idiot Son" to begin sending out to collaborators. Yani is first. <br />
<br />
<br />
I practiced "If You Buy My Album" throughout the week. Fun.Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-76935115549673520272012-07-20T09:05:00.000-07:002012-07-20T09:06:15.417-07:00Recording with my kids!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSW5-42B-7GHeLjXiPJurpcYw1G0u1GQ7Nm5GeromP9CnvS2cmQPhh9m26LPGePNrdtVLaMjp9YpXUqJXLJMR3m57laeuC91nvstOEoxP9FCYGOcKeMRX2J9EALaIRJS0TJnLM4VOy-s8V/s1600/M+and+J+add+handclaps+to+Your+Idiot+Son+July+20+2012.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSW5-42B-7GHeLjXiPJurpcYw1G0u1GQ7Nm5GeromP9CnvS2cmQPhh9m26LPGePNrdtVLaMjp9YpXUqJXLJMR3m57laeuC91nvstOEoxP9FCYGOcKeMRX2J9EALaIRJS0TJnLM4VOy-s8V/s320/M+and+J+add+handclaps+to+Your+Idiot+Son+July+20+2012.JPG" width="320" /></a></div>
<br />
I finally got my talented daughters to add handclaps to the end of my
epic, "Your Idiot Son" today. Because I don't have enough headphones or
one of those fancy thingies to dial in individual headphone mixes, I
just blasted the song from the monitors and we recorded down the hall.
There is a lot of bleed over from the other tracks. BUT...it sounds
pretty cool in context. I joined them, so two tracks of three people
clapping in unison sounds like, guess what, six people.Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com1tag:blogger.com,1999:blog-8051654697623238254.post-61378382430981448412012-07-15T16:32:00.003-07:002012-07-15T16:34:36.440-07:00Jean-Emmanuel Dubois: Music Journalist, Contact, FriendOne of the all-time great supporters of my music has been Jean-Emmanuel Dubois, a French music journalist. Over the years, JED (as I call him) has provided contact info, reviewer and distributor ideas (and sometimes referrals), and of course he has reviewed my work in a few publications himself. JED's interests include 60's music and music of today that manages to keep the vibe alive, film and pop culture in general. He has written on a wide variety of subjects from Todd Rundgren to April March.<br />
<br />
In the last few days, he's been running a retrospective of his own published articles and online video interviews on his <a href="https://www.facebook.com/jeanemmanueldeluxe" target="_blank">Facebook </a>page. Take a few minutes and scroll through won't you? <br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com2tag:blogger.com,1999:blog-8051654697623238254.post-48496186390994930982012-07-05T15:12:00.000-07:002012-07-16T16:07:01.779-07:00Calling All East Coast Improvisation Fans!Jimmy Ghaphery is playing a lot this summer. Here's a highlight from June in which he conducts and plays flute in his improvisation piece, "<a href="http://vimeo.com/45141431" target="_blank">Boris Bobby Jr</a>." His usual instrument is alto sax, which he plays on several <i>Smellicopter</i> songs. Pop fans widen your horizons and check this out.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3q0DccKNDUQov3c-BzxKC4st5L935iF2D6L9_WSY3A5wJR8rB_yY0aBmCryYP90C49WIHDm5XWjYAi9fIND_BYqhC7QAdjgsIb1LkIlMVqB46GsU2eD6j1SyQxNQb5t2WjB1OHqliZc99/s1600/199645_5599187629_6229_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3q0DccKNDUQov3c-BzxKC4st5L935iF2D6L9_WSY3A5wJR8rB_yY0aBmCryYP90C49WIHDm5XWjYAi9fIND_BYqhC7QAdjgsIb1LkIlMVqB46GsU2eD6j1SyQxNQb5t2WjB1OHqliZc99/s320/199645_5599187629_6229_n.jpg" width="320" /></a></div>
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<br />
And...this just in "Boris Bobby Jr" has a spot on <a href="http://soniccircuits.tumblr.com/post/26975011733/district-of-noise-vol-5-cd-compilation" target="_blank">The District of Noise Vol. 5 CD Compilation</a>! Congratulations to Mr. JG.Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-79176207472440284762012-06-26T15:08:00.001-07:002012-06-28T15:05:57.089-07:00Home Studio Work Week of June 26-28 2012Another whole week on "Your Idiot Son."<br />
<br />
This is the
week for vocals. I've already forgotten what I did on Monday, but
Tuesday was very productive. It was an unbelievable day for this
typically miserable climate: temps in the lower 80's after a low in the
50's this morning. Sunny, nice breeze. RARE!<br />
<br />
In the
A.M. I double-tracked the lead vocal up until the chanting/droning
ending. The winner was take 3 with a few punch ins and copy and paste
from take 4. This took certainly a few hours to achieve. I bounced both
tracks, deleted the tiny fragments and compacted audio.<br />
<br />
A
long break was required, so I went outside and chopped and edged an
area, pushing back hardcore nature a bit, freeing up a lovely spot
behind the shed with lots of shade. Ate lunch out there in a canvas fold
up chair, reading PG Wodehouse. <span id="goog_2141654365"></span><span id="goog_2141654366"></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFxLZUtM9wMcfws9TdGitY-mBgdzMoCsKkRA6fcin6LZeMADKBCo9xsWrIoB6PJG0xxb-OVMhNv-IVIYA5lGLDzfmq1t8aCkc2zduO594AyzSrbTCxb2EQ3SpuwLoLCtLmcymI-eIU9DZd/s1600/PG-Wodehouse-in-his-car-o-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFxLZUtM9wMcfws9TdGitY-mBgdzMoCsKkRA6fcin6LZeMADKBCo9xsWrIoB6PJG0xxb-OVMhNv-IVIYA5lGLDzfmq1t8aCkc2zduO594AyzSrbTCxb2EQ3SpuwLoLCtLmcymI-eIU9DZd/s320/PG-Wodehouse-in-his-car-o-001.jpg" width="320" /></a></div>
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<br />
Went back and devoted
another several hours to the long, chanting ending of the song on two
more tracks. As this bit is lower than my typical range, I sang the
first track while grabbing the notes from a nearby keyboard. I then
double-tracked that, and copied and pasted over some less than stellar
bits. During this whole session I was able to feel the cool breeze from
the window in the studio. How rare that is I can scarcely say.<br />
<br />
After
all this, my voice was getting reedy and tired sounding so it was time
to stop. I did track the next part (bah, bah, bah, bah/bah) to see what
it would sound like. Great! is the answer. I'll redo that and
double-track it tomorrow and do a pass of the harmony for the same
section. Then...I must tackle the middle, which is well out of my
comfortable range, at least for illustration purposes for a different
singer. The ending is the most Beatley thing ever. Really. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrcUGuOSJbB5RVHp8liEBUkd30lTPAbdrZnA4-_H8gBTzhH5aNxWWepy27PZUJ_Xaw-auHxB3HCpSWkg7Z3u8HjCRZ3qwqM3d9p5k863cHVjkmgy3AzJ1abQkBAEMfft1g93LbKIfPmuc/s1600/Magical-Mystery-Tour-the-beatles-12521979-600-300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrcUGuOSJbB5RVHp8liEBUkd30lTPAbdrZnA4-_H8gBTzhH5aNxWWepy27PZUJ_Xaw-auHxB3HCpSWkg7Z3u8HjCRZ3qwqM3d9p5k863cHVjkmgy3AzJ1abQkBAEMfft1g93LbKIfPmuc/s320/Magical-Mystery-Tour-the-beatles-12521979-600-300.jpg" width="320" /></a></div>
<i>Paul: "I think it's coming from over there! Someone's nicked one of me endings."</i><br />
<i>John: "Yer daft, Paulie."</i><br />
<i>George: "e's dead right, John."</i><br />
<i>Ringo: "Blek. I think I swallowed a bug." </i><br />
<br />
I finally remembered what I did Monday: double-tracked electric guitar, a prominent riff and other brief bits. Did a track over the ending that sounded cool while I was doing it, but complete garbage on playback. Delete!I used the 70's Peavey amp and the venerable Gibson SG. No direct box. Not going back. No sirree. <br />
<br />
On Wednesday I successfully double-tracked more vocal parts, the secondary line for the ending and the obvious harmony for it. Also made a harmony stack at the end with C#min plus a b. A 90 percenter which needs some quick fading to promote equality.<br />
<br />
Thursday I had less time to work, but copied and pasted some MIDI piano and re-recorded it as audio, which nicely doubles a key riff on the guitar and fills out very simply the beginnings of each verse. Good choice if I say so myself. This will likely lead to more recycling of the best bits where piano and guitar lay with each other best. Re-recorded (and double-tracked) a portion of the main vocal ("Once each gets a piece of him....") It's really hard to say that out loud distinctively. My solution was to sing "once" skip a beat and then pick up the rest of the line. That worked well, though it was tough today to get a good vocal sound. Much punch in/out work for this brief section. <br />
<br />
Might have my kids do handclaps with me on Friday.Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-51673801177144721892012-06-21T11:40:00.000-07:002012-06-21T11:41:06.677-07:00Scott Live on WVCW 20 June 2012<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLK1DDWKM9tpd9nDx0M65Ghz43K71Gen8ZBZ87AGxnhXmev64qaALFm-qZ0mw8HWskBw7s3siJUO43ZPUrRNeMPTykJlaVH-BxFzax27BGQElHWztqLsdlliYldiK-5BEZHAGzycvKs1NA/s1600/SB+AFTA+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLK1DDWKM9tpd9nDx0M65Ghz43K71Gen8ZBZ87AGxnhXmev64qaALFm-qZ0mw8HWskBw7s3siJUO43ZPUrRNeMPTykJlaVH-BxFzax27BGQElHWztqLsdlliYldiK-5BEZHAGzycvKs1NA/s320/SB+AFTA+6.jpg" width="320" /></a></div>
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<br />
<br />
<br />
I had a great time on "Anarchy from the Archives" yesterday on WVCW. Host Dan Ream and I go way back. Here I am playing one of two songs from the show, most likely "When I Die You Can't Have My Organs' due to the Bm chord. I also played "Did It Happen at the 7-11" in tribute to departed friend, Joey Cheatham. Podcast coming soon. More pics over on <a href="https://www.facebook.com/pages/Scott-Brookman-Music/154438177940554" target="_blank">Facebook</a>.<br />
<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-88435585591483630492012-06-13T16:58:00.000-07:002012-06-13T17:00:28.692-07:00Yani Martinelli's new "Early Bird" videoUsing recently discovered footage she took as a kid when living in San Francisco for a year in the 90's, my super-talented musical partner for the past few years has debuted her latest music video. Beautiful stuff.<br />
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<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com1tag:blogger.com,1999:blog-8051654697623238254.post-50394333699751563932012-06-13T16:42:00.000-07:002012-06-13T16:42:07.183-07:00Home Studio Recording Log June 11-13 2012A number of hours devoted over three days to recording my cheap vintage Fender Musicmaster, the poor cousin of Fender basses.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkVywrjzbO6baULfSoBs4aE5PkInJVkHFY4ZkV-JcoOPIfLa2WPtzDEQbaK0qtxwxb8M08_EzxOBKpsgv5uPfOCDP8Vc8Nn6vimDEIPxQHIGYrIyje6qmoU9lIjDU0b7bPTB0vgMXxPDO/s1600/Musicmaster+late+70%27s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpkVywrjzbO6baULfSoBs4aE5PkInJVkHFY4ZkV-JcoOPIfLa2WPtzDEQbaK0qtxwxb8M08_EzxOBKpsgv5uPfOCDP8Vc8Nn6vimDEIPxQHIGYrIyje6qmoU9lIjDU0b7bPTB0vgMXxPDO/s320/Musicmaster+late+70%27s.jpg" width="239" /></a></div>
<br />
I tried three different ways to record, unusual for me:<br />
<br />
<ol>
<li>through an amp, the 70's Peavey guitar amp (I don't have a bass amp)
using an SM57. It was dangled down the front to the right side of the
speaker cone. Result: okay, but nothing special. not very "bassy". Also,
since the amp was in the room with the monitors, quite a lot of acoustic bleed
over from the other tracks...duh. </li>
<li>using the same amp I increased the "bass" knob and swapped mics to another
one from the Wayne Pooley collection, a dynamic Sennheiser 422U. Most
online descriptions note its good low frequency sound, so....why not?
This time the mic was pointed to the amp (not dangling on a cable) a bit
off axis. No monitor bleed from the other tracks. Of the three, this
is clearly the better sounding set of takes. </li>
</ol>
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3. Last and definitely least, I went back to the Sans Amp direct box. Had a lot of trouble with levels for some reason. After tackling that patiently, the results sounded like, well, like a direct box. </div>
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Performances not stellar. </div>
<br />
Two very cool things happened.<br />
<br />
I discovered a <span style="color: red;">mistake</span> in one early take that is actually better than the intended note. <i>I love when that happens</i>. I meant to play G/F# over the chords Gmaj/a,c#,f# but played G/D instead. Of course D is the root of the second chord and sounds great. I also love that G/D is correct for the next set of chords (Gmaj/a,c#,f) as well. Copied and pasted that! Oh, yes. <br />
<br />
Did some lite copying and pasting elsewhere in the selected bass track (take four; take two using the 422U). And, for the moment, "Your Idiot Son" has a functioning bass track. I can hear it will need more work, but it is competent.<br />
<br />
I accomplished one more thing. The secondary acoustic guitar for the ending (capo on 5) started to sound out of the pocket to me. However, today I discovered that by shifting it forward in time by a mere .043 sec the problem disappeared. <br />
<br />
Next up, electric guitar double-tracked in a few key spots. And, lots of vocals. <br />
<br />Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com0tag:blogger.com,1999:blog-8051654697623238254.post-87013669453468382812012-06-11T05:38:00.001-07:002012-06-11T05:42:25.748-07:00Check out "Bluebird" by Riviera<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/r1payUX92g8?feature=player_embedded' frameborder='0'></iframe></div>
<br />
The musical madman behind fab pop duo Riviera, Roland Wolff, is all over my upcoming album, <i>Smellicopter</i>. Please enjoy this highlight of their album, <i>Belletree Session</i>.Geoff Callahan, PIhttp://www.blogger.com/profile/13220660799413758198noreply@blogger.com2