So here's my little project. The songs here are from a pretty low-quality demo I did back when I was still getting a feel for playing solo acoustic stuff. Although they were written with more instruments in mind, it's just me and my guitar on these recordings.
"Intertwined" has turned out to be one of my favorite songs I've written, but at the time of this recording, I hadn't totally figured out how to perform it yet, so this version suffers a bit from some awkward vocals and less-than-ideal dynamics in a few places. Mainly, I think the build-up to the climax is kind of "draggy", and lately I've been playing it a little more upbeat and less wussy. I really want to record this one again later.
I used to hate "Night After Night", but it's by far my most popular song, so I'm starting to come around to it a bit. When I recorded this, I was still self-conscious about letting my southern accent come through in the music, so it makes for some unnatural-sounding vocals in a few spots. As I've written more music and incorporated more influences into my songs, I've started appreciating my accent and stopped trying to reign it in, and I honestly think that's made the difference in how much I like this song. A lot of times, I close this one out by slowing it down and singing the last verse of Neutral Milk Hotel's "In the Aeroplane over the Sea", since its the same chords.
I'm writing some new material now, though I honestly don't know how soon I'll be able to get it recorded. I'm working out some of the more common criticisms I get (too melodramatic, too Bright Eyes-y, too narrow a range of song topics, etc.), as well as trying to take more risks with seemingly incongruous influences. If all goes as planned, you'll soon be hearing songs that are equally derivative of Wilco and Rites of Spring, or Tom Waits and Mineral, or Hank Williams and Black Flag.
Any comments, criticisms, words of advice or encouragement, or suggestions are extremely welcome.
May 4
Okay, so the new songs are shaping up nicely...some lyrics I'd discarded have resurfaced in a much better song than the one they were originally intended for, I've got some really cool melodies down, and most importantly, I'm having a lot of fun. The next Ghost Music recording will MOST LIKELY be a single that I record as sort of a test to see how I work when I have a slew of instruments at my disposal. It's going to be a badass single, though, with at least one or two new songs, probably something re-recorded from Brilliant Light, and one or two covers just for fun...I'm thinking Violent Femmes' "Jesus Walking on the Water" and Radiohead's "Idioteque", although Tom Waits' "Flower's Grave" is a possibility too. I have a couple of potential studios available to me and several musicians who've expressed an interest in helping out. No clue who's going to produce it yet, but I'm sure it won't be me. If this comes out okay, a longer recording with more original material will be forthcoming. It's high time this project got off the ground.
Also, I have a new page up at www.bandspace.come/ghostmusic . Brilliant Light is available there in its entirety, along with song commentary by yours truly, so go check it out if you give a damn.
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April 20
Okay, so it's really late and I already just made a post tonight, but I need to record this idea before I forget it. I was playing around with some John Hurt-style picking patterns and I stumbled across a really cool, simple tune. It's mostly just noodling around in Gm with an occasion Cm7 and A# thrown in. I gave it a vocal melody and wound up with this droning, hypnotic Jose Gonzalez/Woven Hand-ish song. This would be a perfect place to experiment with that upright bass I was talking about. But get this! I felt like the song didn't really "go anywhere", so I worked out a rockin' power-pop climax with room for some fun electric guitar work. I think some low, driving octaves or fifths would go a long way here--I'm thinking something similar to what you hear on the chorus of Pavement's "Loretta's Scars", or the end of Arctic Monkeys' "Fake Tales of San Fransisco". This wouldn't be a bad song to start off a record with, although I don't know how it will translate live since obviously I can't do everything I'm envisioning if it's just me and guitar. More than likely, I'll end up arranging two versions, one that translates better to a live show and one that will sound good on record with all the other instruments.
Oh yeah: I also worked out a bluegrass-tinged cover of "Flower's Grave" by Tom Waits. I'm starting to have such an extensive catalog of quality covers that I'm wondering if I shouldn't record a cover album at some point in the future. Something to think about, I guess; it'd be fun.
If you're reading this, you probably have at least a vague interest in the direction and outcome of this project. The two biggest things you can do to help out are to talk to me about ideas/criticisms/suggestions you might have for my music, and to help me get my music out there to people. If I have no feedback and no people listening to my music, I'm just flying blind and my music is more likely to suck worse than it already does. Your participation in the creative process can only lead to a better Ghost Music, and I think it's safe to say we all want that.
What I've Been Listening to Today:
Municipal Waste
Isis
Grails
Cross Examination
Beck
Sigur Ros
Bear vs. Shark
Leonard Cohen
Tom Waits
Wilco
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April 19
I decided I wanted to use this blog as sort of a journal for the music-related ideas I have. That way I can keep track of everything that manifests itself in my head, and anyone who gives a damn about my music can follow along as I quest to get the next Ghost Music recording written and made.
Anyway, this is what I was thinking: can I get an acoustic song to sound like Underworld? Most of my newer material seems to be much more country-oriented than anything on "Brilliant Light", so I bet it would be fun to juxtapose that organic sound with something really pulsating and mechanical.
Also, I NEED to incorporate some upright bass into this new stuff somewhere. I'm thinking something along the lines of what you hear at the beginning of Godspeed's "Moya". I want to experiment with more psychedelic, cerebral arrangements, and I can definitely hear a huge, droning low end playing a part in that.
I'm almost done with the lyrics to a song that shamelessly plagiarizes its melody from Leonard Cohen's "Last Year's Man". I'll put them up as soon as I'm done.
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