I'll be spending the holiday weekend holed up with The Wife for our first Christmas as a married couple. Sleeping in, big greasy breakfasts (hopefully), gifts, etc...
I'm hoping to get a day in the studio again this coming week, to do a few edits and re-takes. Just clean up the recordings a little before starting to mix.
So Happy Christmas/ Kwanza/ Hanukkah, whatever you celebrate. And if you don't celebrate, then enjoy the time off, overtime pay, and/or Boxing Day sales.
Friday, December 24, 2010
Monday, December 20, 2010
Tracking - DONE
I woke up on Sunday morning still hungover from Friday night's Christmas party. The plan was to lay on the couch, watch bad TV, and recouperate.
That didn't last long. By 10am, I had my guitar in hand and was writing another song. This one's about the time I caught my girlfriend cheating on me at the bar, she held onto my coattails as I walked off down the street, and I ended up having to pry her arms off my taxi and throw her backwards into a pile of garbage bins. All as a patio-full of people watched.
I'm sure it'll be a hell of a song…
The inspiration stuck around, and I quickly connected the vocal mic, set up the PC, and got to some serious tracking. The end result: Lies & Speculation is completely tracked. All recording is complete.
This doesn't mean it's ready to pollute the airwaves yet, but it's a hell of a milestone. Next will be mixing. I could end up with an organ-and-maracas version of Welcome To The Nighttime…. I doubt it, but anything's possible. And that's actually how I recorded the vocals - there was so much going on musically, that I couldn't pitch my voice to the right places. So I muted the drums, bass, and guitars. All that was left was a sparse organ and maracas to keep time. It sounded pretty awesome, but I don't think it'll stay that way - too boring. But that's a great example of how songs can change mid-mix.
In fact, if you listen to Porno and Porno Guitar in the player on the right, those were actually the same recording! I just changed the volume on the instruments!
So for now, it's recorded. And I'm off for a week of non-music celebrating my first Christmas with the Lovely Wife. Have a great holiday season!
That didn't last long. By 10am, I had my guitar in hand and was writing another song. This one's about the time I caught my girlfriend cheating on me at the bar, she held onto my coattails as I walked off down the street, and I ended up having to pry her arms off my taxi and throw her backwards into a pile of garbage bins. All as a patio-full of people watched.
I'm sure it'll be a hell of a song…
The inspiration stuck around, and I quickly connected the vocal mic, set up the PC, and got to some serious tracking. The end result: Lies & Speculation is completely tracked. All recording is complete.
This doesn't mean it's ready to pollute the airwaves yet, but it's a hell of a milestone. Next will be mixing. I could end up with an organ-and-maracas version of Welcome To The Nighttime…. I doubt it, but anything's possible. And that's actually how I recorded the vocals - there was so much going on musically, that I couldn't pitch my voice to the right places. So I muted the drums, bass, and guitars. All that was left was a sparse organ and maracas to keep time. It sounded pretty awesome, but I don't think it'll stay that way - too boring. But that's a great example of how songs can change mid-mix.
In fact, if you listen to Porno and Porno Guitar in the player on the right, those were actually the same recording! I just changed the volume on the instruments!
So for now, it's recorded. And I'm off for a week of non-music celebrating my first Christmas with the Lovely Wife. Have a great holiday season!
Friday, December 10, 2010
Breakthrough
I've been having trouble in the studio lately.
All the music has been recorded. Drums, bass, guitars, percussion, keys, synths, all DONE. I just have the vocal tracks left to lay down. And this is where it's getting tough. Because of all the day-job BS and night-school, the rare couple of hours I have for music has left me too exhausted to accomplish anything.
In all fairness, given the training I've received this year I'm holding myself to a higher bar as far as singing goes. My 3-note warble has grown into a 2.5-octave range of solid notes. And like everything else I do, I try to do the best I can.
Unfortunately, over the last few weeks, I haven't been able to sing properly. When I've tried, my voice just sounds tired, not quite… there.
I've also decided to upgrade my Digital Audio Workstation (DAW). That's the studio setup, from the mics and mixers to the soundcard and PC. I was hesitant to upgrade my software in the middle of a project, but figured I had nothing to lose. With no deadlines, I can do what I want. And the benefits to the "new&fancy" could pay off. And they have, in unmentionable computer-geek ways.
This came into play last night. The migration to new software meant a lot of housekeeping, cleaning up and organizing projects and songs. Lots of hours spent staring blankly at the computer doing very unmusical "secretary jobs."
In the midst of a reorganization, I suddenly needed the music. I opened the Sonar file to "All That Mattered," plugged my vocal microphone into the stand, twiddled a few knobs, and burst into "I ran away, I left you to stay with the problems that I left behind…"
Over the next five hours, I laid down the vocal tracks to All That Mattered, Swagger & Twirl, The Dream, Love Isn't Enough, and What to Say. That's half the album done! Verses, choruses, middle-8ths, and background oop-she-doops, ALL DONE!
Keep in mind that Home, Wow, Don't Pity Me, Burn, and Welcome to the Nighttime are all still waiting in the wings...
All the music has been recorded. Drums, bass, guitars, percussion, keys, synths, all DONE. I just have the vocal tracks left to lay down. And this is where it's getting tough. Because of all the day-job BS and night-school, the rare couple of hours I have for music has left me too exhausted to accomplish anything.
In all fairness, given the training I've received this year I'm holding myself to a higher bar as far as singing goes. My 3-note warble has grown into a 2.5-octave range of solid notes. And like everything else I do, I try to do the best I can.
Unfortunately, over the last few weeks, I haven't been able to sing properly. When I've tried, my voice just sounds tired, not quite… there.
I've also decided to upgrade my Digital Audio Workstation (DAW). That's the studio setup, from the mics and mixers to the soundcard and PC. I was hesitant to upgrade my software in the middle of a project, but figured I had nothing to lose. With no deadlines, I can do what I want. And the benefits to the "new&fancy" could pay off. And they have, in unmentionable computer-geek ways.
This came into play last night. The migration to new software meant a lot of housekeeping, cleaning up and organizing projects and songs. Lots of hours spent staring blankly at the computer doing very unmusical "secretary jobs."
In the midst of a reorganization, I suddenly needed the music. I opened the Sonar file to "All That Mattered," plugged my vocal microphone into the stand, twiddled a few knobs, and burst into "I ran away, I left you to stay with the problems that I left behind…"
Over the next five hours, I laid down the vocal tracks to All That Mattered, Swagger & Twirl, The Dream, Love Isn't Enough, and What to Say. That's half the album done! Verses, choruses, middle-8ths, and background oop-she-doops, ALL DONE!
Keep in mind that Home, Wow, Don't Pity Me, Burn, and Welcome to the Nighttime are all still waiting in the wings...
Wednesday, November 17, 2010
Telecaster Love
Last weekend I recorded all the guitar tracks for Lies & Speculation. It was my favourite part of the recording so far, but that’s not surprising. Aside from the fact that I’ve been a guitarist for over 2 decades now, 9 of the 10 songs were written on the guitar. For me, because of my familiarity with the songs and the instrument, recording the guitar was easy and fun.
The acoustic guitar parts were all done with my Takamine. It has a great full, somber sound. Even though I have 7 or 8 electric guitars, I only used two: My 1974 Fender Telecaster Custom, and my 1991 Fender Telecaster Standard.
I’ve had a love affair with Telecasters since first hearing the Rolling Stones. Keith Richards’ primary sound relies mainly on the Tele. Because of that, once it looked like I was going to keep up my music lessons, my parents bought me one for Christmas (1991).
Other than the obvious importance of the Tele’s SONIC QUALITIES, I love the way they look. Especially as they age. The maple neck on Fender guitars age really nicely. I love that as you play them, the finish wears off and the wood starts to erode. It looks really cool, shapes how you play the instrument, and gives each guitar unique qualities – almost a personality.
On Saturday morning, preparing for the 2-day endurance run (10 songs, averaging 3-8 guitar tracks per song), I changed the strings on both guitars. I had to stop and admire the ’91 Tele’s neck – it’s starting to erode:
My ’74 has a lot of head start. Not only is it 17 years older, but has spent most of it’s life in a working, touring band.
Hopefully the ’91 Tele will catch up. I really do love these guitars – after stringing each one I played it for a half hour or so, reveling in the feel and sound.
The acoustic guitar parts were all done with my Takamine. It has a great full, somber sound. Even though I have 7 or 8 electric guitars, I only used two: My 1974 Fender Telecaster Custom, and my 1991 Fender Telecaster Standard.
I’ve had a love affair with Telecasters since first hearing the Rolling Stones. Keith Richards’ primary sound relies mainly on the Tele. Because of that, once it looked like I was going to keep up my music lessons, my parents bought me one for Christmas (1991).
Other than the obvious importance of the Tele’s SONIC QUALITIES, I love the way they look. Especially as they age. The maple neck on Fender guitars age really nicely. I love that as you play them, the finish wears off and the wood starts to erode. It looks really cool, shapes how you play the instrument, and gives each guitar unique qualities – almost a personality.
On Saturday morning, preparing for the 2-day endurance run (10 songs, averaging 3-8 guitar tracks per song), I changed the strings on both guitars. I had to stop and admire the ’91 Tele’s neck – it’s starting to erode:
My ’74 has a lot of head start. Not only is it 17 years older, but has spent most of it’s life in a working, touring band.
Hopefully the ’91 Tele will catch up. I really do love these guitars – after stringing each one I played it for a half hour or so, reveling in the feel and sound.
Thursday, November 11, 2010
Remembrance Day
This morning I woke up with Pink Floyd's "Shine On You Crazy Diamond" in my head. Not much of it, just the first line: "Remember when you were young, you shone like the sun..."
I've been a Floyd fan for around 25 years, but today for the first time it made me think of my grandfather.
My family is British, and when World War 2 broke out everyone joined up. Everyone. My grandfather was 16 or 17, and went to enlist on Day 1. He wasn't old enough to know to lie, so when asked his age he told the truth. The enlistment officer flatly told him that he wasn't old enough to join the army. He would have to leave, walk around the block, and come back when he was 18. So what did he do? He left the office, walked around the block, and came back saying "I'm 18 sir."
He fought in North Africa and Italy. He was captured at Anzio and saw some horriffic things happen. Stories that I recently heard from my parents that are worse than you see in films.
When the war ended, he went home. He polished his medals and put them in the back of a drawer.
36 years later, he was dying of prostate cancer. He pulled his medals out of the drawer for the first time, shined them, mailed them to Canada and died. I was very close to my grandad, and it meant a lot that he wanted me to have those icons. I received them after hearing of his death, which was quite hard.
These medals sat for for another 30 years in a box hidden away in the various bedrooms I've had since then. For Christmas, my wife had them set into a shadow box along with my only photo of him. This display is mounted on the wall just as you enter my apartment. It serves as a memorial to my grandfather, and also as a reminder to live my life with the honour he did, to make his memory proud.
Thank you grandad, I miss you.
I've been a Floyd fan for around 25 years, but today for the first time it made me think of my grandfather.
My family is British, and when World War 2 broke out everyone joined up. Everyone. My grandfather was 16 or 17, and went to enlist on Day 1. He wasn't old enough to know to lie, so when asked his age he told the truth. The enlistment officer flatly told him that he wasn't old enough to join the army. He would have to leave, walk around the block, and come back when he was 18. So what did he do? He left the office, walked around the block, and came back saying "I'm 18 sir."
He fought in North Africa and Italy. He was captured at Anzio and saw some horriffic things happen. Stories that I recently heard from my parents that are worse than you see in films.
When the war ended, he went home. He polished his medals and put them in the back of a drawer.
36 years later, he was dying of prostate cancer. He pulled his medals out of the drawer for the first time, shined them, mailed them to Canada and died. I was very close to my grandad, and it meant a lot that he wanted me to have those icons. I received them after hearing of his death, which was quite hard.
These medals sat for for another 30 years in a box hidden away in the various bedrooms I've had since then. For Christmas, my wife had them set into a shadow box along with my only photo of him. This display is mounted on the wall just as you enter my apartment. It serves as a memorial to my grandfather, and also as a reminder to live my life with the honour he did, to make his memory proud.
Thank you grandad, I miss you.
Tuesday, November 2, 2010
Lie, to me
I’ve started recording the bed tracks that will become 'Lies & Speculation'. As happens so often, songs are still pretty dynamic and morphing in unexpected ways.
On Saturday afternoon I was in the studio, laying down the bed tracks for Love Isn’t Enough (LIE). When I demo’d the original, I had a crappy MIDI track playing what was meant to be a violin accenting in the background. The melody was good, but I couldn’t get the violin to sound like anything other than a cheap 80s synthesizer.
So I tried my usual fallbacks: I tried it on a piano. That didn’t work. I tried it on a guitar. That didn’t work either, but wasn’t as bad as the piano. So I kept banging away at the guitar.
On a whim, I picked up the slide and plucked a completely different melody. IT SOUNDED AWESOME!!!! In about 3.5 minutes, I had worked out a beeeauuutiful slide line to flush out the chorus. I wouldn’t need the crappy MIDI violin anymore. A couple of knob-twists, a couple of button-pushes, and I had a new track set up to record the line.
In one take, I got exactly what I wanted. My eyes were watering with excitement as I put the guitar down and set up the PC to playback what I had just recorded.
With almost post-coital bliss I relaxed, a huge smile on my face. Suddenly something moved. The glass slide slowly rolled off the desk, shattering on the hardwood floor!
There would be no Take 2 today. Thankfully Take 1 got the point across. It would retain the magic that appeared, so that once I buy a replacement I can do a proper job of it.
Of course, the new guitar line necessitated changing the drums. And then the bass. And then the background vocals. Kinda like when my wife buys new nailpolish and suddenly realizes that the whole outfit should be replaced.*
It was a really exciting day. I had just hit a new level with this album. LIE would turn out to be the star I first envisioned when I wrote it 2 years ago, and it will pull Lies & Speculation up with it.
* she doesn’t really do that.
* but if you buy more of my albums, we might be able to buy her more clothes
On Saturday afternoon I was in the studio, laying down the bed tracks for Love Isn’t Enough (LIE). When I demo’d the original, I had a crappy MIDI track playing what was meant to be a violin accenting in the background. The melody was good, but I couldn’t get the violin to sound like anything other than a cheap 80s synthesizer.
So I tried my usual fallbacks: I tried it on a piano. That didn’t work. I tried it on a guitar. That didn’t work either, but wasn’t as bad as the piano. So I kept banging away at the guitar.
On a whim, I picked up the slide and plucked a completely different melody. IT SOUNDED AWESOME!!!! In about 3.5 minutes, I had worked out a beeeauuutiful slide line to flush out the chorus. I wouldn’t need the crappy MIDI violin anymore. A couple of knob-twists, a couple of button-pushes, and I had a new track set up to record the line.
In one take, I got exactly what I wanted. My eyes were watering with excitement as I put the guitar down and set up the PC to playback what I had just recorded.
With almost post-coital bliss I relaxed, a huge smile on my face. Suddenly something moved. The glass slide slowly rolled off the desk, shattering on the hardwood floor!
There would be no Take 2 today. Thankfully Take 1 got the point across. It would retain the magic that appeared, so that once I buy a replacement I can do a proper job of it.
Of course, the new guitar line necessitated changing the drums. And then the bass. And then the background vocals. Kinda like when my wife buys new nailpolish and suddenly realizes that the whole outfit should be replaced.*
It was a really exciting day. I had just hit a new level with this album. LIE would turn out to be the star I first envisioned when I wrote it 2 years ago, and it will pull Lies & Speculation up with it.
* she doesn’t really do that.
* but if you buy more of my albums, we might be able to buy her more clothes
Monday, October 11, 2010
Time Flies
I got married.
Serenaded my wife with a surprise performance, a 4/4 version of Unchained Melody arranged for a bluesy acoustic guitar. Made her cry. Made other women swoon (i imagine).
Spent a week in Halifax for our honeymoon. Saw some great bands, and a passionless William H. Macy lookalike warbling his way through classic rock tunes.
Yesterday was the first day in a month that I've been able to work on the new album. The songs are evolving.
The Dream needs to be a few bpm faster.
The last verse of All That Mattered was written yesterday.
Burn needs a more sparse rhythm guitar. Maybe drop it out completely for the riff... (i can't believe i wrote that)
So it's coming along slowly. As John Lennon said, "Life is what happens to you while you're busy making other plans."
To tide you over, watch some of these clips of The National performing at the Brooklyn Academy of Music. It's been giving me goosebumps and making my eyes water.
Any fan of pop or rock music NEEDS to hear them. They're easily the best guitar-based band going, and are putting out the only albums worth paying for these days.
Serenaded my wife with a surprise performance, a 4/4 version of Unchained Melody arranged for a bluesy acoustic guitar. Made her cry. Made other women swoon (i imagine).
Spent a week in Halifax for our honeymoon. Saw some great bands, and a passionless William H. Macy lookalike warbling his way through classic rock tunes.
Yesterday was the first day in a month that I've been able to work on the new album. The songs are evolving.
The Dream needs to be a few bpm faster.
The last verse of All That Mattered was written yesterday.
Burn needs a more sparse rhythm guitar. Maybe drop it out completely for the riff... (i can't believe i wrote that)
So it's coming along slowly. As John Lennon said, "Life is what happens to you while you're busy making other plans."
To tide you over, watch some of these clips of The National performing at the Brooklyn Academy of Music. It's been giving me goosebumps and making my eyes water.
Any fan of pop or rock music NEEDS to hear them. They're easily the best guitar-based band going, and are putting out the only albums worth paying for these days.
Monday, August 30, 2010
August Update/ Monthly Apology
Sorry, I'm being horribly neglectful to this blog.
Part of it is being busy earning money to pay for the recording I'm about to embark on.
Part of it is being busy earning money to pay for the wedding I'm about to embark on.
Part of it is enjoying the hot Toronto summer.
Part of it is working on the next batch of songs.
I've been kinda busy.
The next album, not yet titled, appears to have been written. The basics are covered and they're looking like a solid family ready to party. They're not flushed out as far as they will be, but the demos have been recorded.
So, unless any surprises appear, the track listing should be:
Love Isn't Enough
What To Say
Wow
Home
The Dream
Don't Pity Me
Stagger And Twirl
Burn
Welcome to The Nighttime
All That Mattered
While I don't expect the production to be different, the songs themselves are structured quite differently due to my newfound singing ability*. You'll hear more than 3 notes sung on this one, my friends!
*Thanks Kate H. - the singing lessons are awesome.
Part of it is being busy earning money to pay for the recording I'm about to embark on.
Part of it is being busy earning money to pay for the wedding I'm about to embark on.
Part of it is enjoying the hot Toronto summer.
Part of it is working on the next batch of songs.
I've been kinda busy.
The next album, not yet titled, appears to have been written. The basics are covered and they're looking like a solid family ready to party. They're not flushed out as far as they will be, but the demos have been recorded.
So, unless any surprises appear, the track listing should be:
Love Isn't Enough
What To Say
Wow
Home
The Dream
Don't Pity Me
Stagger And Twirl
Burn
Welcome to The Nighttime
All That Mattered
While I don't expect the production to be different, the songs themselves are structured quite differently due to my newfound singing ability*. You'll hear more than 3 notes sung on this one, my friends!
*Thanks Kate H. - the singing lessons are awesome.
Thursday, July 15, 2010
Burning
Again I've been neglecting my blog.
I recently got a message asking if I'd be interested in playing for a local band. Sort of a rockabilly/celtic/punk (think Pogues, apparently) type of group. I've never really listened to them before, so I picked up their Greatest Hits package. And I'm really liking it.
I haven't met with the group yet, so I don't know if it'll work, but it inspired me to write another song:
Burn
I found out what you did, You admitted that it’s true
I forgave your indiscretion
Well, you lied to me and you didn’t stop, And you crawled into my bed
You didn’t notice my expression
I walked into the room With a can of gasoline
Pack of matches and a pint of beer
Well, I drank my beer and watched you sleep
And promised you so true
That I’ll always keep you near
I’m gonna watch you burn
You never ever learn
The plans are set, you lost the bet
I’m gonna watch you burn
You had a moment, Another spark in time
If that was all, live and let live
But you lied to me, you lie next to me, And you still stink of him
That’s one thing I can’t forgive
I walked into the room With a can of gasoline
Pack of matches and a pint of beer
Well, I drank my beer and watched you sleep
And promised you so true
That I’ll always keep you near
I’m gonna watch you burn
You never ever learn
The plans are set, you lost the bet
I’m gonna watch you burn
I’m not the kind of guy who goes looking for revenge
That’s never really been my kind of plan
But when I’m done and the fire’s out
The ashes have gone cold
Grab another beer and I’m looking for your man
(c) Matt Swift 2010
I recently got a message asking if I'd be interested in playing for a local band. Sort of a rockabilly/celtic/punk (think Pogues, apparently) type of group. I've never really listened to them before, so I picked up their Greatest Hits package. And I'm really liking it.
I haven't met with the group yet, so I don't know if it'll work, but it inspired me to write another song:
Burn
I found out what you did, You admitted that it’s true
I forgave your indiscretion
Well, you lied to me and you didn’t stop, And you crawled into my bed
You didn’t notice my expression
I walked into the room With a can of gasoline
Pack of matches and a pint of beer
Well, I drank my beer and watched you sleep
And promised you so true
That I’ll always keep you near
I’m gonna watch you burn
You never ever learn
The plans are set, you lost the bet
I’m gonna watch you burn
You had a moment, Another spark in time
If that was all, live and let live
But you lied to me, you lie next to me, And you still stink of him
That’s one thing I can’t forgive
I walked into the room With a can of gasoline
Pack of matches and a pint of beer
Well, I drank my beer and watched you sleep
And promised you so true
That I’ll always keep you near
I’m gonna watch you burn
You never ever learn
The plans are set, you lost the bet
I’m gonna watch you burn
I’m not the kind of guy who goes looking for revenge
That’s never really been my kind of plan
But when I’m done and the fire’s out
The ashes have gone cold
Grab another beer and I’m looking for your man
(c) Matt Swift 2010
Wednesday, June 9, 2010
Swagger & Twirl
I haven’t been blogging much lately. I keep thinking that nothing is really progressing, and then BAM – i write 2 more songs before lunch!
I wrote a good one last weekend, titled (for now) Swagger And Twirl. It describes myself around a decade ago, in the depths of Glitter/Glam rock. Let me explain (yeah, TRY to stop me)…
I’ve always loved old-school punk rock. The Stooges, MC5, New York Dolls, that sort of thing. Rude, aggressive, and dirty – that’s one of the things I admire most in art. That goes for photography too, I’d rather see a shot of a burned out urban factory than a pretty landscape anytime.
Physically, I’ve usually been on the ‘nicer’ side of fashion. Before shaving my head, I paid a lot of attention to my hair and makeup. I thought nothing of dying my hair teal, and slapping on some eyeliner and whore-ish red lipstick. There was also sightings of designer shirts, leopard-print tights and red patent leather shoes, blending with my extensive tattoos to set up a unique visual. I wasn’t always put together in the best taste and have literally stopped traffic on Yonge Street with gawkers.
I’ve had to stop the makeup and hair dye – as I age it’s looking more and more like Buffalo Bill from The Silence of The Lambs. But there was always an appreciation for nice suits, watches, and the like.
The glam and glitter scenes really combined these two, personified in 1970's David Bowie, Bryan Ferry and the like. Glitter often had a prettier musical side, but that was cool in it’s own right. Once I realized that one could present a tight, stylish image with a balls-out guitar-driven sound, I knew my place was somewhere in that. Really starting in the early 70s, images started appearing of a lipsticked, fashion-conscious guitarist, Les Paul slung low, blasting out obscenities in a cloud of cigarette smoke. Blending the swaggering confidence and aggression of the iconic rock’n’roll guitarist with the staging presentation of the fashionable created a unique and multi-faceted scene that has withstood many deviations over the decades.
Having dinner with my fiancé the other night, we were talking about attitudes and egos with performers. How the need to feel confident in your abilities can be the only thing that keeps you going. I commented that there was a time I’d walk into a club with the attitude “I am the king of all I see, and fuck those who disagree.” We scrambled for a pen and a napkin, and the song started to take shape.
Swagger And Twirl – the perfect combination. Maybe that can be the song for entering the night. Leaving the night will require a sequel: Stagger And Hurl.
Maybe…
I wrote a good one last weekend, titled (for now) Swagger And Twirl. It describes myself around a decade ago, in the depths of Glitter/Glam rock. Let me explain (yeah, TRY to stop me)…
I’ve always loved old-school punk rock. The Stooges, MC5, New York Dolls, that sort of thing. Rude, aggressive, and dirty – that’s one of the things I admire most in art. That goes for photography too, I’d rather see a shot of a burned out urban factory than a pretty landscape anytime.
Physically, I’ve usually been on the ‘nicer’ side of fashion. Before shaving my head, I paid a lot of attention to my hair and makeup. I thought nothing of dying my hair teal, and slapping on some eyeliner and whore-ish red lipstick. There was also sightings of designer shirts, leopard-print tights and red patent leather shoes, blending with my extensive tattoos to set up a unique visual. I wasn’t always put together in the best taste and have literally stopped traffic on Yonge Street with gawkers.
I’ve had to stop the makeup and hair dye – as I age it’s looking more and more like Buffalo Bill from The Silence of The Lambs. But there was always an appreciation for nice suits, watches, and the like.
The glam and glitter scenes really combined these two, personified in 1970's David Bowie, Bryan Ferry and the like. Glitter often had a prettier musical side, but that was cool in it’s own right. Once I realized that one could present a tight, stylish image with a balls-out guitar-driven sound, I knew my place was somewhere in that. Really starting in the early 70s, images started appearing of a lipsticked, fashion-conscious guitarist, Les Paul slung low, blasting out obscenities in a cloud of cigarette smoke. Blending the swaggering confidence and aggression of the iconic rock’n’roll guitarist with the staging presentation of the fashionable created a unique and multi-faceted scene that has withstood many deviations over the decades.
Having dinner with my fiancé the other night, we were talking about attitudes and egos with performers. How the need to feel confident in your abilities can be the only thing that keeps you going. I commented that there was a time I’d walk into a club with the attitude “I am the king of all I see, and fuck those who disagree.” We scrambled for a pen and a napkin, and the song started to take shape.
Swagger And Twirl – the perfect combination. Maybe that can be the song for entering the night. Leaving the night will require a sequel: Stagger And Hurl.
Maybe…
Tuesday, May 11, 2010
Alien
In 2005 I got engaged and moved from central Toronto to a small town 1.5 hours away, to live with my betrothed.
I’ve never felt comfortable in rural areas, and this time was no different. I agreed to move, and own that responsibility. However, the impact was much harder than I’d expected; instead of a relaxed life, I felt unsafe, unwelcome, pretty much un-everything. I couldn’t find a single person or activity in the town that suited me. Even my spouse seemed happy to disappear, leaving me lonely in this quiet empty space.
Still, ever the optimist (haha), I focused on my writing. Alien pretty much epitomizes that stage of my life.
Alien
A foreign street
A promise kept
So out of place
So out of time
Alien space
I’ve come for you
So out of play
So out of mind
Unfriendly air
Is closing in
To choke me down
I’ll somehow win
Endurance run
I would repeat
I do for you
Do what you need
Don’t see the pain
This way we win
I’d lie for you
My only sin
My life for you
In foreign land
Give up my home
To hold your hand
As an aside, this song also worked as a fun experiment. I took the vocal tracks (with no music whatsoever), copied them to a CD, and handed them to a group called Electric Colony. My only comment was that it was recorded at 80beats/minute and the chord changes were Aminor, Fmajor, Cmajor, Gmajor.
As they had never heard my versions, what came back was an entirely different being. I really love that music can be interpreted so individually…
Both are available on this blog’s player. Mine is ‘Alien’, and EC’s is the "Elecolonized Remix."
I’ve never felt comfortable in rural areas, and this time was no different. I agreed to move, and own that responsibility. However, the impact was much harder than I’d expected; instead of a relaxed life, I felt unsafe, unwelcome, pretty much un-everything. I couldn’t find a single person or activity in the town that suited me. Even my spouse seemed happy to disappear, leaving me lonely in this quiet empty space.
Still, ever the optimist (haha), I focused on my writing. Alien pretty much epitomizes that stage of my life.
Alien
A foreign street
A promise kept
So out of place
So out of time
Alien space
I’ve come for you
So out of play
So out of mind
Unfriendly air
Is closing in
To choke me down
I’ll somehow win
Endurance run
I would repeat
I do for you
Do what you need
Don’t see the pain
This way we win
I’d lie for you
My only sin
My life for you
In foreign land
Give up my home
To hold your hand
As an aside, this song also worked as a fun experiment. I took the vocal tracks (with no music whatsoever), copied them to a CD, and handed them to a group called Electric Colony. My only comment was that it was recorded at 80beats/minute and the chord changes were Aminor, Fmajor, Cmajor, Gmajor.
As they had never heard my versions, what came back was an entirely different being. I really love that music can be interpreted so individually…
Both are available on this blog’s player. Mine is ‘Alien’, and EC’s is the "Elecolonized Remix."
Friday, April 16, 2010
Voicing My Opinion
First off, I'll be honest. I have never particularly liked the sound of my voice. I am a good guitarist, bass player, I'm a reasonable pianist (for what I need to do), and can fake my way through a 3-minute song on bongos and congas. I can drum, but only if I don't use my feet; this is one of the reasons that I program my synth to play my lines. Oh, and I can clap to a 4/4 beat.
I have been writing and recording my own albums (easier to write than "group of songs") for 15 years, and outside of band projects I've only had ONE person play ONE bassline on ONE of my songs. Part of it is my controlling nature, part of it is my wanting to pitch this as "all me, good and bad," and part is artistic respect: I don't feel right telling another musician or artist exactly what to do. So, I know how I want my words to be presented and have to do it myself.
After 15 years, I have just arranged for singing lessons. I have a few go-to notes that I regularly use in my songs, but they're pretty weak. Singing my own songs is not a problem - I write the music around my vocal limitations. But I can almost never sing someone else's song. Most of the time my voice wavers close to the right note, and sometimes it flies off into left field. I want to gain a few more notes in my repertoire, improve my delivery, and find a better way to start on pitch. I've got a good teacher, and I'm really looking forward to starting next week.
So who knows? Along with a set of songs i'm REALLY loving, this upcoming project could sound quite different...
I have been writing and recording my own albums (easier to write than "group of songs") for 15 years, and outside of band projects I've only had ONE person play ONE bassline on ONE of my songs. Part of it is my controlling nature, part of it is my wanting to pitch this as "all me, good and bad," and part is artistic respect: I don't feel right telling another musician or artist exactly what to do. So, I know how I want my words to be presented and have to do it myself.
After 15 years, I have just arranged for singing lessons. I have a few go-to notes that I regularly use in my songs, but they're pretty weak. Singing my own songs is not a problem - I write the music around my vocal limitations. But I can almost never sing someone else's song. Most of the time my voice wavers close to the right note, and sometimes it flies off into left field. I want to gain a few more notes in my repertoire, improve my delivery, and find a better way to start on pitch. I've got a good teacher, and I'm really looking forward to starting next week.
So who knows? Along with a set of songs i'm REALLY loving, this upcoming project could sound quite different...
Monday, March 29, 2010
OPM - Other People's Music
This weekend I had the rare opportunity to spend the entire time alone at home (except for drinks, pool, and a cool jazz quintet on Saturday night).
Without much to do, and not feeling rushed to work on the new album, I spent hours playing acoustic versions of some old favourites. I haven't had so much fun in ages, and only stopped when my voice started giving out.
As a brief sampling, the setlist included With Or Without You, Heroes, Working Class Hero, Wave Of Mutilation, Irish Heartbeat, Let Me In, and about a dozen others. All simply one acoustic guitar and one vocal.
When I was learning to play the guitar, it was a huge help to learn a multitude of covers. Since I started writing my own music in the late 90s, for the most part I stopped playing others'. I may have to change that...
Without much to do, and not feeling rushed to work on the new album, I spent hours playing acoustic versions of some old favourites. I haven't had so much fun in ages, and only stopped when my voice started giving out.
As a brief sampling, the setlist included With Or Without You, Heroes, Working Class Hero, Wave Of Mutilation, Irish Heartbeat, Let Me In, and about a dozen others. All simply one acoustic guitar and one vocal.
When I was learning to play the guitar, it was a huge help to learn a multitude of covers. Since I started writing my own music in the late 90s, for the most part I stopped playing others'. I may have to change that...
Wednesday, March 24, 2010
Guitars – A love story
I received my first guitar for Christmas when I was 14. A low-end acoustic, it still managed to spark my interest. For my birthday 4 months later*, I was given a cheap electric model. That was enough to get me into lessons, and learning songs like The Stones’ “Miss You” and AC/DC’s “Hells Bells.”
I saved my pennies, and on Thanksgiving Monday 1991, my Dad drove me and 4 friends around Lake Ontario. The purpose: to stop at Rochester NY’s famed House Of Guitars, picking up a Fender Telecaster. This sole instrument would propel me in my goal of becoming Keith Richards.
The 1991 Fender Telecaster (with current modifications):
This 1974 Tele Custom had a huge impact on the production of Overture. It’s the only electric guitar on the entire album. I wanted to make the songs sound the way the guitar looks, if that makes sense to anyone else.
Hope you enjoyed this history/guitar-geek ramble.
* do the math, it’s coming up soon!
I saved my pennies, and on Thanksgiving Monday 1991, my Dad drove me and 4 friends around Lake Ontario. The purpose: to stop at Rochester NY’s famed House Of Guitars, picking up a Fender Telecaster. This sole instrument would propel me in my goal of becoming Keith Richards.
The 1991 Fender Telecaster (with current modifications):
I bought this guitar in 1991 for $300. New models are almost twice the price.
I upgraded the pickups twice. The first was to put Heavy Metal-type pickups in, unfortunately due to my tastes of the time. A couple of years ago I replaced them with a Fender Texas Special in the bridge, and a Fender Gold Dual-Lace Sensor in the neck. I also replaced the bridge ($1 on ebay) and the tuning keys. I actually had to cut the pickguard to fit the new bridge, but didn't have a saw. If you look slightly behind the centre of the guitar, you can see the wobbly edge of the white, that I cut with A DRILL. When you don't have the right tool, use a drill. Really, only the body and neck are original. And there’s a really cool Skull pin glued into the body, which I bought at the X-Pensive Winos’ Massey Hall show in 1992.
This guitar was my primary instrument from 1991 on. I used to to smash a padlock (dent on the upper front of the body). When I played with Lovejoy in 2000, I performed with them 9 days after meeting and hearing them for the first time. I played so much learning the set, that my finger split while onstage, smearing blood all down the neck.
It has 18 years of extensive wear, eroding my favourite places on the neck. Like water running through a stream, the fretboard has slight indents where it’s most used. This subconsciously directs fingers to specific notes and patterns.
When I was 15, at the height of my Rolling Stones/ Keith Richards obsession, I saw a poster of him with a 1972 Fender Telecaster Custom. It was the most beautiful guitar I had ever seen, and I swore then that I would own one. It’s a classic model, and highly prized. Given the value and rarity, I decided that I’d accept either a 1972 model (first year produced), a 1974 model (my birth year), or a 1973 (because it’s in-between). A 1975 would be worthless to me.
In late 2008, I suddenly came into an unexpected few thousand dollars. After 19 years, I still hadn’t been able to afford my Holy Grail of Guitars. So I quickly went on Ebay and found a model better than I’d ever expected:
The Bigsby isn’t rare in and of itself. But they were usually added after the purchase. Mine has the Fender ‘F’ logo instead of the Bigsby script. Rarer. And the body wasn’t drilled through for strings, like the after-market installs were. The only part of this guitar not original is the bridge pickup, which someone replaced with a Seymour Duncan model. I plan on buying a Fender ’74 pickup, to put it back to 100%.
This guitar has been played by other people for 35 years. It is road-worn. It has a soul, a presence. The fretboard has been eroded by others’ personal tastes, routing my fingers to new and unexpected phrases. These notes and positions are NOT usually my favourites. This actually caused conflict when I first played the guitar, it felt decidedly uncomfortable. I resolved it by locking my ’91 in the closet for 6 months playing nothing but the ’74. It worked, and the 1974 Telecaster Custom is my (musical) dream-come-true.
I do love the history of my guitar – it suits me perfectly. The Ebay seller gave me the name of it’s previous owner, and I google-searched him. Here’s a pic of my instrument with it’s other lover. This pic is wonderful, and I hope to be able to live up to it’s Dead-Elvis past.
This 1974 Tele Custom had a huge impact on the production of Overture. It’s the only electric guitar on the entire album. I wanted to make the songs sound the way the guitar looks, if that makes sense to anyone else.
Hope you enjoyed this history/guitar-geek ramble.
* do the math, it’s coming up soon!
Tuesday, March 9, 2010
If You Love Music...
If you love music, PLEASE READ THIS LINKED ARTICLE.
One thing you might notice about my recordings: they are noticeably quieter than most 'store-bought' discs. That's on purpose. I put a lot of time into writing and recording these songs. I put a lot of effort, practice, education, and frustration into mixing and mastering these songs. I don't want to waste it by squashing my product to death.
There's an industry-wide process that squashes the life out of music, for the sake of making it louder. If you make the loud bits quieter, and the quieter bits louder (also known as compression), this lessens the dynamic range of the track. With less dynamic range, you can then boost the volume so that the quiet parts are loud, and the loud parts are LOUD! The louder the song is, the more noticeable it will be, the more likely it will be to make money.
This has been going on for over a decade, progressing more and more until reaching a point last year where (rumour says) Metallica's mastering engineer requested to be omitted from the credits. He was so ashamed of what he had been forced to do by the labels. The album was all over the news as fans returned discs either thinking they were defective, or out of disappointment from the quality of the product.
Unfortunately this overcompressing, "Brick Wall" mastering ruins the sound. What it doesn't tell you (and even this article doesn't address this) is that it also causes ear fatigue, increased migraines and headaches, and eventually hearing-loss.
Enjoy whatever you want to listen to, but please - protect your ears and give the musicians some respect. It's probably too late to get back to where the quality was in the Nineties, but hopefully it won't get much worse...
For more information, google "Loudness War" and see what comes up.
One thing you might notice about my recordings: they are noticeably quieter than most 'store-bought' discs. That's on purpose. I put a lot of time into writing and recording these songs. I put a lot of effort, practice, education, and frustration into mixing and mastering these songs. I don't want to waste it by squashing my product to death.
There's an industry-wide process that squashes the life out of music, for the sake of making it louder. If you make the loud bits quieter, and the quieter bits louder (also known as compression), this lessens the dynamic range of the track. With less dynamic range, you can then boost the volume so that the quiet parts are loud, and the loud parts are LOUD! The louder the song is, the more noticeable it will be, the more likely it will be to make money.
This has been going on for over a decade, progressing more and more until reaching a point last year where (rumour says) Metallica's mastering engineer requested to be omitted from the credits. He was so ashamed of what he had been forced to do by the labels. The album was all over the news as fans returned discs either thinking they were defective, or out of disappointment from the quality of the product.
Unfortunately this overcompressing, "Brick Wall" mastering ruins the sound. What it doesn't tell you (and even this article doesn't address this) is that it also causes ear fatigue, increased migraines and headaches, and eventually hearing-loss.
Enjoy whatever you want to listen to, but please - protect your ears and give the musicians some respect. It's probably too late to get back to where the quality was in the Nineties, but hopefully it won't get much worse...
For more information, google "Loudness War" and see what comes up.
Tuesday, February 23, 2010
Wow - Writing Jag
Sorry I've been negligent with this blog. After a few weeks focussing on other aspects of my life, my muse has returned. I've been writing like a fiend!
In the last couple of weeks, the next album has been born. Along with 'What To Say' and 'Love Isn't Enough', I can now add 'Home', 'The Dream', and 'Wow' to the set list!
Wow
What do you think, to bring up words like that?
So poetic, not for me.
Whenever I try I always fall down
I can only say ‘Wow’
How did you learn to present like that
So emotic, just for me
You hold the charisma, you turn me around
I can only say ‘Wow’
How do you live with yourself like that
Open-shuttered, not like me
I couldn’t decide, I don’t know how
I can only say ‘Wow’
How do you excise your demons like that
Show no fear, breaking free
I’d love to follow, but I can just bow
I can only say ‘Wow’
(c) Matt Swift 2010
Written to force the end of writer's block, I was listening to the latest James album, Hey Ma. I've been a fan for years, but it finally struck me how great a lyricist Tim Booth is.
In the last couple of weeks, the next album has been born. Along with 'What To Say' and 'Love Isn't Enough', I can now add 'Home', 'The Dream', and 'Wow' to the set list!
Wow
What do you think, to bring up words like that?
So poetic, not for me.
Whenever I try I always fall down
I can only say ‘Wow’
How did you learn to present like that
So emotic, just for me
You hold the charisma, you turn me around
I can only say ‘Wow’
How do you live with yourself like that
Open-shuttered, not like me
I couldn’t decide, I don’t know how
I can only say ‘Wow’
How do you excise your demons like that
Show no fear, breaking free
I’d love to follow, but I can just bow
I can only say ‘Wow’
(c) Matt Swift 2010
Written to force the end of writer's block, I was listening to the latest James album, Hey Ma. I've been a fan for years, but it finally struck me how great a lyricist Tim Booth is.
Tuesday, February 9, 2010
Disenfranchised
Warning: High-and-mighty Soapbox-style preaching on it’s way…..
There – you’ve been warned. If you’re still reading, I’m assuming you have given permission for me to speak my mind.
A couple of years ago, I read a fantastic article about the devaluation of music as an art form. It discussed how a piece of music had been devalued from AN EXPERIENCE, to AN ALBUM, A SONG, eventually ending up being worth $0.99 on iTunes, or free from online file-sharing. Thus, music is now considered worthless by most of the western world.
Blame it on lossless, virtually free, distribution. Blame it on the general quality of the product (commercial music as a whole). Blame it on kids that weren’t raised properly, and the parents that (mis-) taught them. Who knows, who cares?
I seem to be alone with this pet peeve, but I really hate seeing two people sitting next to each other, sharing headphones. Someone wrote and arranged that music, recorded it, mixed it, produced it, and stamped their name on it. And the listeners have chosen to ignore 50% of that. Not to mention that a stereo recording is never meant to lose one side. It throws off the other side, along with omitting (in some cases) entire melodies or themes.
Comparing art forms, you’d never go to an art gallery to see a specific piece and see a curtain draped over the left side of the painting. If you did, you’d see a furiously screaming artist demanding respect for the work he’d poured himself into. And chances are you’d understand his point. Music? Get’s none of that respect.
I complained about this to a friend, Celeste, who pointed out that as a consumer the listeners had every right to use the product as they saw fit. That I, as the creator, had sold my rights for the $0.99 paid. And she’s not entirely wrong.
So, I’ve removed the BUY option from my Soundclick page. Now it’s only available for streaming. Now it’s my GIFT, and it comes with a condition: Treat it with the respect it deserves, or ignore it altogether and move on.
I didn’t write or record this music for profit. I did receive some, and I’m thankful to those that bought. I earned enough to pay for my divorce in fact, but it’s not worth selling the respect I have for the art.
I’m dropping out of the industry side. For the love of the art, it’s pure again. Love it or leave it.
There – you’ve been warned. If you’re still reading, I’m assuming you have given permission for me to speak my mind.
A couple of years ago, I read a fantastic article about the devaluation of music as an art form. It discussed how a piece of music had been devalued from AN EXPERIENCE, to AN ALBUM, A SONG, eventually ending up being worth $0.99 on iTunes, or free from online file-sharing. Thus, music is now considered worthless by most of the western world.
Blame it on lossless, virtually free, distribution. Blame it on the general quality of the product (commercial music as a whole). Blame it on kids that weren’t raised properly, and the parents that (mis-) taught them. Who knows, who cares?
I seem to be alone with this pet peeve, but I really hate seeing two people sitting next to each other, sharing headphones. Someone wrote and arranged that music, recorded it, mixed it, produced it, and stamped their name on it. And the listeners have chosen to ignore 50% of that. Not to mention that a stereo recording is never meant to lose one side. It throws off the other side, along with omitting (in some cases) entire melodies or themes.
Comparing art forms, you’d never go to an art gallery to see a specific piece and see a curtain draped over the left side of the painting. If you did, you’d see a furiously screaming artist demanding respect for the work he’d poured himself into. And chances are you’d understand his point. Music? Get’s none of that respect.
I complained about this to a friend, Celeste, who pointed out that as a consumer the listeners had every right to use the product as they saw fit. That I, as the creator, had sold my rights for the $0.99 paid. And she’s not entirely wrong.
So, I’ve removed the BUY option from my Soundclick page. Now it’s only available for streaming. Now it’s my GIFT, and it comes with a condition: Treat it with the respect it deserves, or ignore it altogether and move on.
I didn’t write or record this music for profit. I did receive some, and I’m thankful to those that bought. I earned enough to pay for my divorce in fact, but it’s not worth selling the respect I have for the art.
I’m dropping out of the industry side. For the love of the art, it’s pure again. Love it or leave it.
Tuesday, January 19, 2010
Naked For Jesus
… I THOUGHT that title might get your attention.
I moved to Toronto in early 1996, from a little (a$$)hole-in-the-wall town in Southern Ontario.
Walking down Bloor St one day, I ran into an acquaintance from high-school. He told me that he was looking for musicians to start a band. Together we put it together:
We ended up as a 4-piece: two acoustic guitars playing punk rock guitar, a bassist, a Sarah McLaughlin-esque soft singer, and a dancy-techno drum machine. We called ourselves ‘Naked For Jesus’ and played exactly ½ of a show (a complete set, but only one guitarist and the singer were there).
We recorded a 4-song demo that I wish I still had.
Naked For Jesus could have been great. But I ended up "dating" the singer.
After a month or two, I found her laying on a friend’s kitchen floor making out with a homeless guy. AT MY BIRTHDAY PARTY. A homeless guy who had been stealing from my vodka bottle all night…. I stepped over the couple, took my bottle, expressed my anger at his swiping my liquor, and went home.
Ever the professional, I had no intention of leaving the band. It was too awesome. Neither did she, and agreed to be friendly. When it was time to choose cover song ideas, I suggested ‘Loose’ by Iggy Pop. Honestly, I thought it would sound fantastic, with raw acoustic guitars, a dance-y beat, and a soft vocal.
Unfortunately the singer didn’t believe me. Something about the chorus (I stick it deep inside, I stick it deep inside, ‘Cause I’m Loose) didn’t feel right to her…
She got offended and quit, breaking up the group before we ever really got our start.
I never saw the bassist again. I heard that the singer dropped out of school around the time her homeless boyfriend got beat up for being a Nazi. The other guitarist and I remained friends for a few years, until alcohol and a hectic city pace drew him back to small-town Ontario. We never played together again.
********
Also when I moved here, I was listening obsessively to The Velvet Underground. They appeared on my MP3 player this morning and I thougth about NFJ for the first time in over a decade.
I moved to Toronto in early 1996, from a little (a$$)hole-in-the-wall town in Southern Ontario.
Walking down Bloor St one day, I ran into an acquaintance from high-school. He told me that he was looking for musicians to start a band. Together we put it together:
We ended up as a 4-piece: two acoustic guitars playing punk rock guitar, a bassist, a Sarah McLaughlin-esque soft singer, and a dancy-techno drum machine. We called ourselves ‘Naked For Jesus’ and played exactly ½ of a show (a complete set, but only one guitarist and the singer were there).
We recorded a 4-song demo that I wish I still had.
Naked For Jesus could have been great. But I ended up "dating" the singer.
After a month or two, I found her laying on a friend’s kitchen floor making out with a homeless guy. AT MY BIRTHDAY PARTY. A homeless guy who had been stealing from my vodka bottle all night…. I stepped over the couple, took my bottle, expressed my anger at his swiping my liquor, and went home.
Ever the professional, I had no intention of leaving the band. It was too awesome. Neither did she, and agreed to be friendly. When it was time to choose cover song ideas, I suggested ‘Loose’ by Iggy Pop. Honestly, I thought it would sound fantastic, with raw acoustic guitars, a dance-y beat, and a soft vocal.
Unfortunately the singer didn’t believe me. Something about the chorus (I stick it deep inside, I stick it deep inside, ‘Cause I’m Loose) didn’t feel right to her…
She got offended and quit, breaking up the group before we ever really got our start.
I never saw the bassist again. I heard that the singer dropped out of school around the time her homeless boyfriend got beat up for being a Nazi. The other guitarist and I remained friends for a few years, until alcohol and a hectic city pace drew him back to small-town Ontario. We never played together again.
********
Also when I moved here, I was listening obsessively to The Velvet Underground. They appeared on my MP3 player this morning and I thougth about NFJ for the first time in over a decade.
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