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WE PLAYED AND SANG

That’s pretty much how it went down.  As part of my New Year resolution, I wanted to actually bother to finish things that were left undone.  It’s the way it is with most people I know.  I had tons of pop/rock songs that I demoed the music for but never finished.  I decided to send some to my friend Allen Wentz.  Allen played bass in Wild Cherry and was a session bass player in NYC for many years.  He’s a fount of wisdom and still has an ear to ground and is up on the times.  I wanna be just like him when I grow up. I must have sent him more than a dozen tracks and of those he picked three.  That’s normal.  The rest I put into the trash and deleted.  It felt good, really good in fact.  Allen listened to all my music and rendered judgement in exchange for me playing on his LEGOLAND EMPIRE ambient music album.   You can find that gem here:

http://legolandempire.bandcamp.com/album/guard-the-point

There’s some seriously neato stuff on there and I’m proud to have been a part of it.

And now the story of this song:

The drum track came from a song deemed unfit for consumption.  I adored the drum track on its own though.  Kevin Radomski plays with enough energy to light up Bermuda.  It would have been a shame to let it go to waste. I trashed the other song, kept the drums and put a new song with the old drum track.  I actually bashed out the bass and guitar takes in one fluid moment for each.  I then added another guitar track.  I used an amp sim for one guitar and miked up a real amp for the other.  Which is which is not important.  I recorded the bass in a manner, which I have frankly forgotten.  It was my punked out P bass though.

Ties that bind  or the influences, such as they are:

The track sounded live.  Like a real band playing on the natch.   It sort of WAS like that.  Kevin and I can make a real noise either separate or together.   We have a sound.  And I like it.  I also grew up listening to records where the players DID track live.  Then they sang.  Sometimes they did it ALL AT ONCE.  Isn’t that neat?  I still think so.  I also like ambiguity.  I LIKE not being able to tell what’s going on all the time.  That way, with each listen I can find something new.  Now, that’s isn’t to say I don’t like crystal clear recordings.  I do.  But my fave rock, has an element of mystery to it.  I like the fact that finger scrapes, and little licks and surprises would jump out of mixes because everything was not edited to perfection.   We’ll do a track at some point where it’s all perfect and tidy.   That said,  I do LOVE modern technology for the options it gives.

Sound:

I wanted it massive.  I wanted a sound you can touch.   Period.  I hate small.  Rock today seems so small and so same.  I’m 43.  What do I care about cultural relevance?   I’m free to do what I want and do it without a wall of cascading gain, camaro-mullet amp sound, a homegenous bass sound and beat doctored drums.   Frankly, I wanted it to sound like 1981.  Retro is IN, right?  Whatever.  I watched URGH!  A Music War in its entirety and I was amazed how almost EVERY band had a Fender bass.  And they ALL sounded different.   Here’s my old fart remark:  Back in my day, we wanted to sound different.

Which brings me to my FAB voice:

My nasally voice does not fit well with others.  On this song again, I wanted massive.  Like a cheerleading squad!   That was the TICKET!  I like those.  Kim Janes came in and doubled my already doubled tracks.  Then she added harmonies on that.  We wound up with 9 tracks of vocals.   (We blended so well, we decided to be a cyber-band.) Not one was autotuned.  (Yay! MUSIC PEOPLE TEAM!)   I wanted a natural sound.  She made it all come alive and I got the sound I was hearing in my head.   Thus, The Inked UP Eighty-Ones was born.   There’s will be more music from Kim and I in the future.  A collection of singles that builds and builds, so don’t expect the same thing over and over.  Each one will be different.   Thanks for listening.   Doing this live?  It’s possible. We could sing and play it.

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