Thursday, April 9, 2015

Barry + Garry

Awww, belated congratulations to Barry Manilow. Last year he married his manager, Garry Kief.

The article I linked to says that people started speculating on Manilow's marital status several months ago, after he started wearing what looked like a wedding ring. Various articles say that while he's extremely private about his love life (understandably), he isn't in the closet.

And he shouldn't be. I mean, nobody should be, but Barry Manilow fandom is one of the last places I'd expect to find rampant homophobia.

With all the awful stuff going on today, it's nice to think that some corners of the world are becoming more accepting, one married couple at a time.

Sunday, March 1, 2015

Folk Fest, here we come ...

Hi! Nice to see you again. It's been a while, huh. Between everything and everything else, I keep forgetting that this blog exists.

But I didn't pop back in to talk about how much I suck at blogging. I'm here to announce that the Tucson Kitchen Musicians Association sent out their selection results for the 30th Annual Tucson Folk Festival today, and Cinder Bridge is playing on Sunday, May 3, 1 p.m., at the Courtyard Stage. ALSO, I made it into this year's Songwriting Competition.

Woo hoo!

Now I just have to remember which songs I submitted to the songwriting contest ...

Monday, December 22, 2014

With a little help from Joe Cocker

Maybe a decade ago, my roommate informed me that Cinder Bridge should quit playing "Layla." His reason? I sounded nothing like Eric Clapton.

It's true. I don't. Not even a little bit. And ...?

"You know the song 'Feelin' Alright?" I asked. "Traffic?"

He did.

"Okay. Then listen to this."

I put With a Little Help from My Friends in the CD player. Pressed play. Turned it up.

My roommate had heard it before, of course. And while I don't think I ever convinced him I was worthy of "Layla," he couldn't deny that Joe Cocker's version of "Feelin' Alright," totally different from Traffic's, kicked even more ass than the original.

Joe Cocker was far from the only artist who could put his own spin on somebody else's song. But he was one of the only artists I knew who could be consistently better. One of the only artists whose albums I'd buy even though he didn't write his own material.

I will miss him.

In the interest of not ending on a total down note, and because I can, I leave you with this.

Saturday, October 25, 2014

You win again, Mr. Sun ...

I've lived in Tucson, Arizona, for more than half my life now, and there are certain things I'm still not used to.

Like, today we had an outdoor gig and I got a little sunburned.

In October.

Oh well. If we're playing outdoors, better too hot than too cold.

Sunday, June 15, 2014

A long-distance dedication to Casey Kasem

We saw this one coming. Before his death today at the age of 82, Casey Kasem had been suffering from Parkinson's disease and dementia. His family battled over whether heroic measures would be taken to keep him alive. The answer was no. The end was near.

I'm still sad about it, though. Casey Kasem was part of my childhood. My family used to listen to American Top 40 every Sunday morning. We liked making fun of the show, bonding over the glorious cheesiness of his delivery. Then he was gone for a few weeks and another DJ filled in for him—John somebody?—and the ridicule stopped. The other guy was obviously reading from the same script as Kasem, but something was off. He just didn't put the same feeling into it that Casey did.


Not long after seeing the news, I finally got around to digging up an old outtake of his I'd heard about years ago, where he had a meltdown in the studio. With absolutely no disrespect intended, I present it here, because it is awesome. (Not safe for work or small kids.)

  1. Hearing Casey Kasem say "fuck" is just as funny as you think it will be.
  2. His meltdown was entirely justified. You try making appropriately sad noises about a departed pet right after "Jump (for My Love)" by the Pointer Sisters.
You can read more about Casey Kasem's career here. 'til I post again, keep your feet on the ground, and keep reaching for the stars.

Monday, May 19, 2014

Real time

Another Nashville entry!

Thursday, April 24

Here's another shot of the amazing Steinway grand at RCA Studio B and the person who was lucky enough to get to play it. (Me! That's me!)

Did you notice that there's something draped over the lid of the piano?

That's an acoustic blanket. It enabled us to record in real time.

Back when we made Highways and Hiking Shoes, we laid down all the parts separately. The sequence went like this:
  1. Ron recorded his drum tracks, along with my scratch vocals and scratch keyboard. (Scratch tracks are what you record to accompany the musicians laying down the real tracks. Without them, Ron would be playing by himself.
  2. I recorded my piano parts while listening to Ron's drum tracks and my scratch vocals on headphones.
  3. I recorded my vocals while listening to Ron's drums and my piano on headphones.
The point behind doing one part at a time is isolation. If something needs to be fixed after the recording sessions are over (which is going to happen unless you have all the time time in the world for recording, which we didn't), recording engineers can work their magic on that one part. While you have a more spontaneous feel when you throw down all the parts at once, it's difficult to impossible to fix (for instance) an off note in the vocals if you can't separate it from the drums and keys.

Hence the acoustic blankets. Producer Drew brought them to the studio to separate my vocal mic from the piano mic. If everything went according to plan, the vocals and piano wouldn't bleed into each other. (Producer Drew told us we should go back to Electric Kite Studio later to record additional vocals as a fallback, just in case everything didn't go to plan.)

The studio also had baffles, large wooden structures on wheels, to separate drums from the keyboard and vocals.

Recording in real time felt different than doing it studio-style. More immediate, more in the now. Ben, our recording engineer, had leaned toward this approach because he thought it would yield better energy.

I see what he means.

Tuesday, May 13, 2014

RCA Studio B

Hey, I promised you more posts about Nashville, didn't I. Sorry for the delay. I was waiting on some pics, and then came ME Awareness Day, and ... Well, at any rate, the Nashville tales resume here. All photos courtesy of Greg Stager.

Thursday, April 24

Historic RCA Studio B is where Elvis Presley recorded 60 percent of his hits. It's also where we just laid down a bunch of tracks.

In fact, the piano I played was the same one Elvis's pianists played.

The awe factor was pretty high going in. I expected ... I'm not sure, exactly. For there to be an aura about the place. For it to look like the kind of studio famous people used. But it seemed unassuming. That's the best word I can think of. It looked like any recording studio.

I mentioned this to Drew Raison, our producer, as he gave me a tour. Drew agreed. He said the entire neighborhood was like that—all these little studios with jaw-dropping history, housed in buildings that didn't call attention to themselves.

Once we settled in, I realized there was something kinda cool about the modest-ness of the rooms. Something neat about the idea that Elvis Presley came in here to work, and he wasn't surrounded by settings that existed to highlight how important he was. I imagined him stepping in, as we did, and saying, "Let's get 'er done."

We got a lot done in RCA Studio B tonight. I just hope our doings are worthy of those who came before us.