"Till We Have Faces Again" was released on Friday, December 12th as the 1st single to the upcoming album. Here's where this little Bossa Nova bop appeared so far on the radio, in playlists, and blogs.
Prior to release Faces got added to the rotation of five radio stations via SubmitHub and Groover
Faces is now appearing on playlists from
The track was also part of round ups of new music from Last Day Deaf (for their recent 'mind-blowing' jazz) and Indie Criollo, which described the track as "una canción que tiene el toque clásico y elegante" — I won't argue with that.
More to come...
I'm just average, common too
One of the tasks I've taken on lately has been to make sure my lyrics are available via Spotify by entering them in and synching them with the music. It’s a bit like looking at old photos. It’s you, but from another time. And there are memories and feelings associated with it all.
This activity is in part preparation for my next release — I have a new single coming out Friday (December 10th) for an album I'm putting out in April — so I’m going through the motions of different activities that CDBaby (my music distributor) recommends you do as a way to promote your music, for what good it may do.
It’s a bit surreal embarking on this while watching all the hullabaloo about Taylor’s Swift and her release of her re-recordings of decade old songs, something that when it comes down to it, is only happening because of a rights dispute. Given the devotion of her fanbase and the lack of touring opportunities because of the pandemic (thus reducing any opportunity costs that might come from revisiting the catalogue) it makes perfect sense that she’s doing it.
The focus on her 10 minute epic rendition of “All Too Well” and her fan’s sheer obsessiveness about finding clues as to who what song is about has been a bit scary. Not that it's unusual for people to become very invested in the lives and relationships of their favorite celebrities. With the advent of Peter Jackson's release of the documentary "Get Back," a lot of people are revisiting the role of Yoko Ono in the break up of the Beatles. Still, it's a little overwhelming how seriously and personally some corners of the Internet take it all.
I appreciated John Elliot’s release of his answer to all this obsessiveness with All Too Well (Jake’s Version), meant to give voice to the other side of one of these relationships. Elliot, as a faux Jake Gyllenhaal, quips that the scarf that is a point of contention and supposedly still in Gyllenhaal’s possession according to Swift had actually accidentally fallen behind a couch and has been there for ten years. However, I wouldn’t take too seriously any critique that Swift is still obsessed with failed and brief relationships as the revisiting of these songs is ultimately for commercial purposes.
Aside from the fact lots of artists write about their relationships, it’s a mistake to assume that any songwriter’s feelings about what is written in a song is as trapped in amber as the lyrics might lead you to believe. Sure, as performer you might tap into those old feelings to give a rendition more emotive power — but that’s not the same thing as not having moved on. You create something that reflects a moment, the truth of what you felt then. But putting it out into the world as a song is an act of letting that moment go as you share it.
I also think it’s a mistake to read too much of an artist’s personal life into any one song. Dylan certainly demurred when people attributed his seminal “Blood on the Tracks” as being about his divorce — insisting instead it was inspired by a book of short stories by Chekhov. Whether there’s any truth to that (Dylan’s been known to distort things), the sort of close reading critics and fans are apt to engage in detracts from the universality a song is supposed to have. I don’t write a song with the intention that only I can sing it because it’s only relevant to my personal experience. Sure, the personal is the universal and all that — and I believe a song should be truthful and honest to be meaningful. But that’s in service of the goal of making it relatable — therefore performable, and more importantly, internalizable by others. If you need to know a songwriter’s full bio for their work to be meaningful, what’s the point?
I have no illusion that there’s any possibility of me reaching Swiftian levels of buzz — nor is that my desire. But it would be nice to know someone cared and it wasn’t so much shouting into the void. Gary Hobish, who mastered my new album, has said that he found it “very honest” and that he thought it would resonate with people for that reason — and because it was different. I hope that’s the case, because it feels like madness to try and rise above the current level of noise out there. And it gets quite dispiriting and depressing, submitting to different blogs and playlists and getting the sort of feedback that you get — not to mention the mechanics of promoting through various means, which are apt to thwart your efforts for purely technical reasons.
One of the theories I’ve heard about why we even have music was one I heard posited by Pat Pattinson. The story goes that in order to chase away lions on the Savannas of Africa, it took a co-ordinated group effort to make a great deal of noise. In order to be most effective, our ancestors all had to be on the same page. The result of this are common structures such as the chorus of songs that allow everyone to join in because they have repetition and therefore familiarity. But I suppose another aspect of that was deciding which song would be sung, and for that a certain level of charisma and force of personality was necessary so one singer’s songs could dominate over the others.
Thoughts about the social hierarchies in primates and the whole rational for why we care about fame or give some individuals more importance than others all come to mind as I contemplate this choice to release new music in December of 2021. With new variants still cropping up, the whole notion of playing out to promote it seems a bit foreign still, if not perhaps futile. I could have sat on it, but for how long? Might as well put it out there. At same time running a DIY promo campaign can certainly take the wind out of your sails. It's very easy to start feeling like "why bother?"
This much I can say, the band on the album sounds great, whatever flaws there might be in my own performance. And it was rewarding that musicians of the caliber who are playing on this record enjoyed my songs. Not that that experience came cheap. We’ll see if it’s worth it in the end.
In the meantime, pre-saves are still available for Spotify Users until the track goes live, Thursday evening at 9:01 PM Pacific time.
My previous post about recording background vocals at Hyde Street Studios led to recording my next full album there and the 1st single for that album will be available on Friday, December 10th.
This first track is a Bossa Nova treatment of a song I put out a home demo of during the malaise of 2020's pandemic imposed isolation called "Till We Have Faces Again." This version has the benefit of full backing band as well as a flugelhorn and flute duo. The combination of warmth and lightness of those two instruments give this breezy piece a distinctly vintage vibe at the outset.
This song is one of the rare compositions I've written during the pandemic that I have some affection for and feel like I’ll still want to play long after all of the quarantining and masking are (hopefully) long in the rearview mirror. The title and verses allude to C.S. Lewis’ retelling of the myth Cupid and Psyche — a story I found myself thinking about in the context of the the whole shutdown mishegas. Psyche’s situation — its strangeness, her isolation, and the consequences she suffered for trying to break form it — seemed to resonate.
The pandemic had the unfortunate effect of making all songs written prior to it feel somewhat alien, like relics from a bygone era when we went places and interacted with people. At the same time songs about the pandemic felt like they would have a limited shelf life, or at the very least be a bit depressing to revisit. That, and it was that much harder to write in general. At some point during the whole ordeal, this one popped out of me and it actually felt like a good entry point into the collection of songs that has become the album “Alien from an Alternate Earth.”
The remainder of the album are of songs I played regularly together during my sets at the Hotel Carlton during their evening wine service (prior to... all that). As a consequence, they feel like part of a larger whole to me and I'm pleased they have been recorded together as well. The songs are backed by a crack group of session musicians playing a range of jazz styles from West Coast cool to a frenetic big band closer. I look forward to sharing these songs over the coming months and the release of the full album in April.
If you use Spotify, you can "pre-save" the track so it automatically appears on your list of songs to listen to on the day it comes out.
DOCTOR: Hmm. Presumably why the planet was never colonized. Androzani Major was becoming quite developed the last time I passed this way.
While my social media feeds are maintaining the fiction that I am still in France to continue a run of guerrilla marketing posts for EGPhest V, I’ve been back in the states for a week now, having had my first foray out of the country in years really, but more importantly since the whole pandemic thing shutdown travel whether I felt up to it or not.
While recovering from the jet lag, which hit hard on Tuesday, and trying to get back into the swing of normal life (or passes for it these days), I’ve had occasion to record backing vocals for Christine Tence’s upcoming EP. I didn’t tell Christine, but this is actually the first time I’ve ever recorded backing vocals for someone else’s album. Not that that would have deterred her — she was really enthusiastic about having my lower register voice in the mix — which, after all those SubmitHub rejections where the reviewers said that didn’t like my voice, made it very hard to decline. And she was so insistent in finding some way to pay me back in kind… a ride somewhere or a studio session or something… getting her just accept that I wanted to help was work enough, so I doubt I could have declined.
We were originally scheduled for August 8th, so I thought I’d have some time between by European sojourn and then to get back into doing vocal warm ups, but fate intervened and Christine called me rather frantically on Wednesday just as I was about to get on a work call asking if I was free the next day. Fortunately I have the flexibility with my working hours these days to do so. It was also my first opportunity to visit the famed Hyde Street studios.
As it happened I’d already scheduled a COVID test on Wednesday, (the time I spent in CDG made me feel like I should do this for my own piece of mind). Since the testing center wanted me to stick around in the neighborhood while the results were being processed, I decided to scope out the scene a bit to know where I’d be going the next day (I also stopped by the Hotel Carlton…. alas, my poor, beloved, Hotel Carlton… lobby locked up and looking forlorn) For some reason I had the impression that Hyde Street Studios was much further north than it was and didn’t expect to be wading so deep in the bowels of the Tenderloin, San Francisco’s cirrhotic liver. Aside from meaning I was on my feet more than I was prepared to and aggravating the sunburn I’d mysteriously developed my last day in France (despite the fact I was wearing pants or only out in the evening), it meant I took a lengthy walk through an area of extended human misery. Lots of damaged people with broken teeth huddled on the sidewalk in odd clumps or under a haphazard tent city. Between the pain in my legs (I was really hurting by the time I got home, which I stupidly walked the full way, even having to double back a bit to get my coat, which I'd dropped) and all that, I decided taking a Lyft would be a better option for the next day.
I’d been listening to Christine’s tracks for the better part of a month on and off — it’s probably the most I’ve actually really listened to one of my fellow songwriters in a while. If you meet Christine, you might have trouble connecting her up with these powerful, belting anthems with a gritty and deeply soulful feel. She’s so sweet and relentlessly self-conscious. Even on stage, she has this compulsion to apologize for everything between songs. It’s a good reminder that you never know exactly what’s going on below the surface and what someone’s inner life is truly all about — that’s something a good songwriter can give you some insight into (not to be confused with the folks who are rather conspicuously assertive they are songwriters and have an outsized and rather desperate sense of self-import as result).
I met Christine at the first Balanced Breakfast music summit, held at Piano Fight in February of 2018. I recall it was out on Taylor Street and it must have been during one of the breaks between sessions. I don't recall much else beyond her being cute and friendly and from the Sacramento area, which meant that there was an opportunity to do a show exchange — I would set up a show locally for her to come and play at, and she does likewise in her area, where she has a more of a draw — it’s an exercise in building an audience outside your own particular sphere or influence.
A few months later, in April, I got a message from Christine saying she’d be performing in a “Battle of the Bands” at Lennon Rehearsal Studios. Not having hard an opportunity to check that location out, I agreed to swing by after checking out some performances at Amado's in the Mission — which coincidentally included a set by Maayan (who would be part of the vocal recording session for Christine's EP). As it turned out I was the only audience member there at Lennon for this mildly pregnant woman performing solo amid all the other larger ensemble acts. Christine was, as usual, ever self-critical, whether it be about her preparedness or the lack of effort she’d put into rounding up people. But she was great and it was a crime that she didn’t win.
From that I roped Christine into EGPhest III at the Hotel Utah, where she was very enthusiastic about the rubber duckies (and much more pregnant). She later reprised her version of “The Mystery and Milieu of You” from that show at the Secret Garden some months later for the debut of the music video for “The Albatross Song” — she was was of course big hit with the denizens of that venue. She was also a star of that music video, playing one of the many “birds” featured in the video when we'd filmed it the previous December.
At some point later down the line I ran into Christine again when she was driving for Uber (I don't recall if this was during the brief period where she was in the city or not). I had finished playing my gig at the Carlton during their wine service and walking down Polk Street when we happened to intersect. I have a distinct memory of her taking a drag on a cigarette in one of the alley’s opposite of Fern Alley. She was actually scoping out venues to perform at in between rides and we ended up at this bar where you could pour drinks into your mouth with what looked like an elaborate glass watering pot. I don’t remember the name of the bar — and it may not even be the same one now with all the pandemic churn. I know it wasn’t McTeague’s — that’s for sure — a venue with a rich history and plenty of character, but the one time I was there it seemed to have lost all of its soul to insanely loud music and the sort of people that actually call each other “bro.”
The pandemic I think sent a lot of us into their little hovels and we burrowed in, despite all the opportunities technology affords us to connect. It was as the tide was beginning to recede that Christine reached out to me — I think I may have triggered it simply by liking a post of hers on Instagram — something I hadn’t been doing in all this many months of self imposed social media lockdown. This led to an actual phone call, something I hadn’t done with anyone, save my parents, occasionally. when I had the wherewithal to actually pick up…. which wasn’t often… We commiserated a bit. It felt good. At that point she proposed I sing backing vocals on her album.
The session was good — I got a chance to reconnect with Maayan, who was one the songwriters I had pulled into the tragically under attended DylanPhest and I had not seen since the ill-fated attempt to create a music video for “Lullaby for the Unloved” She’d since moved to Boise during the lockdown and was only in town briefly before heading off to relocate to Nashville. I also got a chance to meet Kevin Seal, who was doing the vocal arranging. As soon as we met he suggested we do some vocal warm ups, and we went through scales on the piano — on the one hand I felt like I was being treated a bit like a pro, on the other I felt a bit like I was being probed for my abilities a bit, but he seemed satisfied and said that my voice already sounded warmed up (it was, but it was from my first vocal practice in weeks just an hour earlier). During the course of doing the recording I learned that he and the producer and recording engineer had their own band which would be debuting live shortly and had accumulated a large set of recordings during the pandemic that they’d be rolling out over the next few months. But their first rehearsal in person was just about to happen.
We had a cool set up for recording — the three of us, Kevin, Maayan and myself set up facing each other, so we could get visual cues as well as aural — which is good, because my ability to come in on time would have been severely cramped otherwise. But as it was, it was fun to go through the parts (lots of oooohs) and just follow Kevin’s lead. It it was real step up from recording vocals in my closet (as I've been doing for my latest project) and it was enjoyable just being in a real studio again. Chris and Liam (the producer and recording engineer, who I got to know less well owing to them being in the recording booth) seemed happy with the results, and it sounded good on play back, even if I wasn’t quite sure during the actual recording. But it’s backing vocals, so it’s not like I’m going to mess things up too much.
I didn’t get a lot of time to explore around the studio — I even neglected to get a flyer up for my upcoming show on their billboard (where I saw one of my EGPhest players had her card) — but I did enjoy having some pizza out in the back alley / garden — and for SF pizza it wasn’t that bad. That’s where I learned a bit more about Kevin, Chris and Liam’s recording project. And Christine gave us all the low down on what was going on with her — why the recording date had been moved up and and what was going on such that she was going to be down in San Diego for the next six months.
It’s all very personal and she was subsequently a bit embarrassed by her oversharing so I won’t go into detail, but suffice to say, I wish her the best, and we could all commiserate to a certain degree. Overall the recording session was great and I think the EP will be great. My contribution was small and I headed off to go do the open mic at Bazaar after only couple hours — long before they'd wrapped. But before I went I imparted a suggestion to Christine about the ordering of the tracks that I hope she takes up.
Whatever she ends up doing, it will be great.
Check out Christine's Instagram feed.
One of the many EGPhest traditions is the artwork used for the Facebook Event and flyers/posters. I consider it a cover if my "ducks with pants" "theme" not unlike the songs that are played at EGPhest. For each of the now five years I've been doing this show, I've asked different local artists to do their take on "ducks with pants" — former open mic host and now proprietor Josh Johnson set the ball rolling and then it hit out of the park with his original Pete Townsend inspired guitar playing duck for the 1st EGPhest — which led to a series of open mic hosts / artists as Clyde Always of Cafe International lent his talents to EGPhest II and Mario M. Noche who hosted Ireland 32's open mic gave us a trio serenading the Hotel Utah's mermaid. Jesse Israel, who also did the animation for the Lighthouse at the Edge of the World music video handled the art for the EGPhest IV's poster.
Added to that pantheon, we now have Vica Hernandez-Lew, aka @yayitsvica for next month's EGPhest V, which will be starting at 1 PM on August 15th at Bazaar Cafe in San Francisco, home of the 1st EGPhest and a place of many musical happenings over the past several years including its open mic and a series of residency shows.
Vica, who I've seen perform at various open mics around the city, such as the one hosted by KC Turner, and I've who I've seen scribbling away at Bazaar, performed "The Octopus Song" at EGPhest IV. I've made note of her self described "adorkable illustrations" as I've followed her Instagram feed. I thought her playful, colorful, and whimsical style would be a great fit for the Phest.
Vica's goal is to write and illustrate a children’s book and to have her own line of stationery products. She would also love to release a full length music album soon. You can listen to Vica's EP "Dear Universe" on Spotify, Amazon, Apple, and all the usual places. And you can also enjoy a video of her performance from EGPhest IV below:
See you all at the Phest next month!
You'll find yourself at a reunion of old grads, and old undergrads, and somebody will start croaking out one of these things and everyone will gradually join in. Each in his own key, of course. Until the place is just soggy with nostalgia.
There were new faces. But there were also a lot of familiar faces. Some of the faces were still behind masks. Some of the faces belonged to those who had drifted away from San Francisco since the pandemic began but were back for in town in a way that coincided with this momentous occasion in a bitter sweet way — an occasion that was one more sign that life was truly getting back to normal — Bazaar Cafe’s regular Thursday open mic was back live and in person and on the premises.
I was pleasantly surprised that my performance muscles hadn’t noticeably atrophied and I was able to make it through “The Albatross Song” and my newer-ish song “Till We Have Faces Again” as well as do some promotional schtick that involved tossing out a few rubber duckies into the audience (EGPhest V is coming) — fortunately no injuries were sustained in that process. It felt good to not be playing to a computer screen and hear people's laughter at my jokes or joining in on the "audience participation portion" of The Albatross Song.
A lot of familiar tunes got sung with the audience joining in. A lot of catching up was done. And some familiar habits and patterns were fallen into. It was good.
That's right, yes, you're going. Been gone for ages. Already gone, still here, just arrived, haven't even met you yet. It all depends on who you are and how you look at it. Strange business, time."
Although I have been engaged with the In Lieu of Fun virtual community and have even played a song on the show, I have neglected to be involved in the various virtual open mics because I am a Luddite at heart and do not enjoy performing to a video screen. Still, this was the last one for Bazaar Cafe and host Allie Jones who has been doing her part to help keep the world sane during the past whatever number of months but has fled the environs of San Francisco for the greener fields of... Reno? I felt obligated to put in an appearance to see her off, even if I'm a wee bit rusty in the performance department. A talented songwriter and multi-instrumentalist, Allie has been hosting the Bazaar open mic, real and virtual, for sometime now and has been a big part of the local music scene, ever ready to be part of my various music ventures such as EGPhest, Lehrerphest, and Dylanphest. I wish her well.
Facebook offers an embed functionality but it is cumbersome and hidden and they do not play well with others, so follow the link in the embed below (I start around the 1:39 mark in case that helps).
And next week we will enter the brave new old world of IRL performance at the fabled Bazaar Cafe.
Thank you Allie Jones, who also has a fake band.
'Till We Have Faces Again.
Is he strong?
“Hey! Do you write originals?”
This initial question should have been a tip off.
I responded to this request to message me that came via Instagram with “What else would I write?”
Then came the pitch… I was being asked to write song for the questioner’s son’s birthday, which was next week. Just a simple 2 minute birthday song which will have his name mentioned lol
Willing to pay $300
Sort of out of the blue, but I had just had my little adventure writing the In Lieu of Fun Theme song and this person’s handle was “lleulumaylin” — maybe it was related? Perhaps someone had heard what I’d done with that and thought having a personalized song would be a fun gift given how my Cheers inspired anthem went over… not that that first question makes any sense in that context. Not that I recognized them from that show’s audience and their account was private (Hmmm…)
Still I responded cordially explaining that I would need some details in order to personalize it and guidance as to what it should song like. And of course I'd need to know what the kid’s name was and how old he would be. This is what I got:
Not really a lot to go on, to be honest. Kind of generic. Also, what 5 year old wants a personalized song? But based on that last bit, it’s really more for the parents than it is for the kid. Given the fact it was nearly 11 at night I figured I’d sleep in it.
At 5:45 in the morning I’m asked “When can you start?”
As it happens I’m up not much later and thinking about the spider man theme song, wondering if there are elements of it I can use, maybe take the bridge as jumping off point. Granted I’m thinking about the old cartoon from the late 60s, maybe it wouldn’t be relevant to this kid though it has some ubiquitous pop culture relevance, including a cover by the Ramones and being a song in-universe in the 2002 and 2004 Spiderman films where it’s played by buskers. But once again, this seems like something that would be more for the parents. So as long as I’m up, I might as well I look up the chords to the spider man theme song (I regret still not having the ear for these things — I’m quite jealous of folks like Brendan Getzell who can hear a tune and know how to play it — though I have stumped him a bit, such as with that Maj7 in the B section of “I Need a Sugar Mama” which he plays piano on).
Not that I’ve ever listened to it closely or thought of it from a theory perspective, but I hadn't realized it has as sort of Andalusian cadence — just playing the chords on guitar, I get the impression of a Spanish flamenco or a tango in its construction with its use of the vi, ii and III chords. It actually feels even more pronounced in the bridge in context. Weird. I wonder what inspired the composer of the theme to make that choice — maybe a way to harken back to that other masked crime fighter Zorro? Or maybe it was the influence of surf music which had been popular in the not too distant past when the show was produced, and thus owes its musical heritage to that cultural melange developed by Dick Dale (surf guitar features in the incidental music, or underscore, of the cartoon, although apparently that music is all stock music with its own history and devotees — too bad the podcast link doesn't work). It strikes as a weird cultural juxtaposition between comic book hero and a whole other cultural tradition that Saturday morning cartoon watching me would have had no knowledge of — it was just a bopp’n tune with horns (it may help explain my love of jazz though).
In fact, according to Song Facts, there’s a rumor that the jazz great Charles Mingus played the baseline. Though that’s mostly based on the fact that the melody sounds similar to his Boogie Stop Shuffle which the Charles Mingus More Than a Fakebook says "may be seen as the ultimate tribute” to boogie woogie, that genre of “fast western” blues connected with the development of the railroad in East Texas. The theme is credited to lyricist Paul Francis Webster of I Got it Bad (and That AIn’t Good) fame, and Bob Harris who’s other notable credits include the Theme from Lolita — and of course Spider Pig from the Simpson’s Movie. Other sources credit Stu Phillips and D. Kapross as well for the music. The vocals were recorded at RCA studios in Toronto with a musical backing track recorded at RCA studios in New York but I can't find information specifically about the arranger — Ray Ellis who gave us Billie Holiday's The Latin in Satin is credited for all that film noir detective style underscore music.
Lots of minor chords, though. Maybe not the right direction for a kid’s birthday song.
So about an hour later I relay to my new “friend” that I’ve been thinking about his song as well as my discovery about the Spiderman theme song. I ask for some additional details as well as when exactly the kid’s birthday is so I have better idea as to what timeline I’m operating under, given it’s already Wednesday. None these details are forthcoming.
Instead at 8:08 AM I get this message:
Well that set my spider senses tingling.
I mean it had been a bit weird up to that point but a “mobile check” sounds, uhm, atypical. Also the impatience to pay me up front was off putting.
So I suggested Venmo instead.
An hour after I sent that response:
Okay, aside from the fact we are communicating over Instagram (granted he could be using the web UI) this is just weak sauce as far as excuses go.
I figure I’ll post to Facebook and see if my songwriter friends have run into this, but I’m already 90% certain that this is a scam. Still, a little scam baiting doesn’t hurt — but this joker is not getting my email address — so I simply assert “I also accept PayPal” in response.
About an hour passes and no response, though I know he’s seen my message.
In the meantime I’ve done a bit more research and come across an article from a local Nashville paper about other song songwriters who'd been taken advantage of by this routine — it's a typical sort of scam where someone sends you a check (possibly faked/stolen) and then claims there was a “mistake” and they “accidentally” overpaid, and they need a refund, usually through a means unconnected to the original transaction like gift cards or some such, meaning recovering your funds is well nigh impossible. I also start getting responses on Facebook from folks who’ve run into this, some of whom actually got taken. A friend forwarded a video of one woman who had been really put through the emotional wringer as result of all this, though her scammer seemed to be putting in a lot more effort into his backstory than mine was, which suggests there are copycats out there now or he's just gotten lazy (the puppy named "maxxie" was a nice touch).
There are whole YouTube channels dedicated to the art scam baiting — folks like Jim Browning go through extreme lengths to get access into the systems of call centers in India that are running various scams and then there’s folks like kitboga and irlRosie who create characters and scenarios on the phone to waste the scammer’s time in elaborate and amusing ways (irlRosie is fond of getting into “fights” with her Alexa during a call, which is really her doing a dead on impression of Alexa). But I wasn’t really feeling up to being such a merry prankster and while I was vaguely curious as to how my interlocutor would react as it became clear I wasn’t the mark he’d hoped, I am not a professional like the folks I mentioned above so I decided to just call it quits. I reported the account and blocked the guy.
Kind of an anticlimactic ending, I know.
At least I learned some things about the Spiderman theme song and found this cool compilation of the background music.
Stay safe out there.
The tune don't have to be clever,
So as I reported previously, I ended up being a surprise guest on In Lieu of Fun (ILOF) last weekend, a daily live webcast born from the isolation enforced by the pandemic dedicated primarily to the law, politics, current events and occasionally randomness like corvids, cicadas, and the Scots language. Note that I say "surprise" guest, not "mystery" guest, a recurring feature on Sundays in which the guest is not announced ahead of time, but sometimes hinted at in order to provoke people into trying to guess (the nature of the mystery guest and the obligation of the host to keep their identity under wraps was actually a source of controversy yesterday). No I was a *surprise* guest, not only to the audience and even the other hosts but most notably myself. Having sufficiently piqued the interest of one of the hosts because of my knowledge of the Walker Arts Sculpture garden, I was invited to appear on screen (or "raptured in" as the local lingo goes) under what can quite rightly be described as false pretenses. One of the features of the platform being used by ILOF is that not only does it allow audience members to post questions in a Q&A section (as well as chat randomly in a section that became known as the Greek Chorus… more on that later), but it also allows the moderator to invite people on screen… ostensibly to ask their question “in person” but it also serves as way for hosts and audience to engage in a little onscreen chin wagging and friendly razzing.
So I had posed a question that was aimed at sort of general discussion topics that typically happen on “Just Us Saturdays” where there is no outside guest invited on, it’s just the hosts shooting the breeze and planning the show, occasionally bringing members of the Greek Chorus on to talk about whatever is going on in the world or a topic of personal interest. So naturally when I got the invite to come on screen, nothing seemed out of the ordinary. But as I sat there, on screen, patiently waiting my chance to speak (being “Aliced” as we call it after one member of the Greek chorus who suffered particularly from the tendency to leave those who have been raptured on screen waiting in silence for an in ordinate amount of time) I did see a message in the chat from the host scroll by to the effect that “he has know idea why he is here” — which was my first hint that something was up. As it turned out, Ben Wittes, one of our illustrious hosts, was spontaneously instituting a new feature where he would “randomly” bring in a member of the Greek Chorus to “interview” them. Thus a discussion ensued about my background as pertained to the Walker Arts Sculpture garden and, as it turned out to some (unexpected and unnecessary) controversy, the nature of my music project “Ducks With Pants” which I self describe as a “fake” band, but newly minted host Scott Shapiro was incredulous that Ben would call as such.
As often happens when one is a songwriter, I was also tasked to write a song — in this case a theme song for ILOF (and based on how I came through, I unintentionally initiated a “homework” aspect to this new feature of the show). They weren’t being particularly serious, but I decided to take on the project and once I had been raptured out so they could bring on some of the other folks from the audience for a more regular question session (and therefore not being subjected to a similar level of interrogation, I’ll note), I started to work on my assignment based on some of the “requirements” I’d been given. I had the lyrics of the first verse basically done before the show had even ended. I continued working on the piece for the rest of the afternoon and was more or less finished by sun down local time — with some minor tweaks to go.
While often times suggestions about songs to write get quietly sent to mental circular file almost immediately, this project piqued my interest. I was gifted with a useful harmonic progression to use as a jumping off point based on host Kate Klonick’s suggestion of the Cheers theme song (I’d asked for genre… but close enough... also I did not know that song actually had multiple verses). More important I felt there was a rich vein of potential material to mine based on all the lore this small but dedicated online community had generated during its evolution. It is rare that one gets occasion to use a phrase like “murder hornets” or “saber tooth anchovies” or “baby cannon” much less all three in the same song (or, as it turns out the same verse of a song). This is sort of catnip for my particular predilections as a songwriter for unique and perhaps somewhat difficult to sing phrases.
And you know, sometimes things are just sort of clicking along and you want to keep going. I was actually a little suspicion of the 3rd verse considering how quickly it came (I am reminded of Doctor Who writer Russell T. Davis describing about how he’d come up with an idea and then spend several subsequent hours trying to convince himself that it worked). One of the aspects of songwriting is that you end up setting up little problems for yourself, the solutions to which take you in a direction you may not have originally intended, but is irresistible and feels inevitable in retrospect. It’s kind of a dopamine hit when it happens and that spurs you on — kind of like figuring out the answer in a crossword puzzle. For instance, incorporating the word “rapture” felt like a worthy goal given its distinctiveness and frequent use in the show, and that immediately leads to looking for rhymes as placing a word at the end of line is a good way to emphasize it, and being at the end of a line means you may want to incorporate it into whatever rhyming scheme you’re using. And that brought me to the word “gather” as a near rhyme. I was already also thinking a mention of the Greek chorus should be in the chorus, and given this was to be a theme song played at the beginning of the show, calling on the Greek chorus to gather seemed, well, the obvious thing to do.
Or there was the use of the word “nippily” — Virginia Heffernan’s immortal description of the “dog shirts” Ben Wittes frequently wears which features large photo quality images of dogs, the eyes of which end up aligning on the wearer’s chest approximately where one naturally expect to see the anatomical feature to which this term alludes. I honestly hadn’t thought to use it originally —it actually comes out of struggling with using the phrase “cheese night is totally a regular thing” which alludes to the fact that to date that there has only been one actual “cheese night” but Scott Shapiro has decided to insist that this is — and has been — a tradition on the show (hopefully Scott does not feel bad about not being name checked directly like the other hosts, but maybe the emphasis I gave this notion makes up for that). This line felt like a good “capper” for a verse. It’s got a nice drollness to it compared to blowing things up in verse one, which allows us to not build up too much before we get to our climax in verse three. This of course once again obligated me to find a rhyme (of sorts) given the pattern the previous verse had set up.
At the same time the dog shirt line had landed in the place this corresponding rhyming word would be. Ostensibly the structure of the song is an introduction to the uninitiated (as if there was any hope of understanding all the in group jokes), so having hinted at some of the unique features of the show in the previous verse, it was time to start introducing the hosts, starting with a line about Kate (ladies first I guess, I don't know), and then one about Ben — and naturally we have to mention his dog shirts as they are a frequent point of discussion. I was however greatly dissastlisied with the more obvious options for rhymes with “thing” in this context — the closest I came was that Ben was the “dog shirt king” — not terribly satisfying as an option as it’s not like anyone has ever called him that or anything like it (in retrospect I guess there was a possibility of saying he has a dog shirt “kink” though that’s still not very good for similar reasons, but at least it’s funny). Given I’d already been doing a lot of oblique and slanted rhymes and seeing the word “anchovies,” with a somewhat similar cadence was in the corresponding place in the previous verse… why not “nippily?” This choice also affords one the chance to be a bit silly in performance because one can approach saying it with a comic level of incredulity or what have you (this is the sort of thing Tom Lehrer would do to great effect). So while people might think “hey, he’s really stretching to kind a word to rhyme with nippily” (which is actually funny in of itself and I won’t work too hard disabuse people of the notion) it was the exact opposite, even if in retrospect it feels like it couldn’t have been anything else.
It is also good lesson on working on comic timing. A line that comes to mind is from the film “Who Framed Roger Rabbit?” — where after all these machinations while Roger is handcuffed to detective Eddie Valiant (such as Eddie having to pretend to be washing dishes while Roger is submerged in the sink as the weasels search his apartment) once Eddie is afforded the opportunity to saw off the handcuffs with a hacksaw, Roger nonchalantly slips out of them. Eddie then furiously demands of Roger if he could have gotten out the handcuffs the whole time to which Roger replies the he could only do it “when it was funny!” Certain lines only feel right when they’re placed at a particular point or with a certain level of contrast. While the line “Kate has encounters with animals” feels a bit understated (though it is a succinct summary of the various adventures Ms. Klonick has had with sea turtles, cormorants, baby squirrels, and even helping to birth and then resurrect a lamb over the course of the show… usually off screen… usually) the fact it is a bit anodyne makes the following bit about Ben’s “nippily” dog shirts funnier when it follows immediately afterwards. Likewise, I felt like a good climax to the song was “drink every time someone says ‘norms!’” (a traditional shout out in the chat because of the frequent invocation of the word in our discussions and also a subtle nod to the chord progression I was cribbing from). Hopefully it also encourages anyone who hasn’t already started joining in to do so by shouting “norms!” (not even requiring them to sing should they be feeling self conscious about that) as a sort of Pavlovian response for television viewers of a certain age — making the whole thing that much bigger and as result, funnier. So naturally it had to go at the end of the last verse.
(FYI, I do regret not working in the word “puppet” in honor of Kate's Lisa Page brown bag puppet and Ben’s Robert Mueller puppet. While stringing it together with all the plosives in verse two’s penultimate line would have been fun and while I do subscribe to the Tom Lehrer folk song school of songwriting — it don't matter if you put a couple extra syllables into a line — sometimes you do end up having to kill your darlings… or at least quietly neglect them… for the sake of clarity.)
From one perspective this song a series of in group jokes, but there is a certain logic to the overall arrangement as to how the elements are introduced and there are a number of other things I did that I’m quite happy with from a musical perspective. I quite enjoyed turning the phrase “we’re not allowed to have fun” (given it’s the tag line of the show, could the chorus be anything else?) into a big belting anthem — which was another case of serendipity. As I was writing the chorus, not only did I not really want to keep aping the Cheers theme song’s chords because I wasn’t interested in writing a parody, but also they didn’t feel like they worked, so this is where things really diverged from the template (I also subsequently altered a chord in the verse as a sort of anticipation as to what was coming in the chorus). I started playing around with other options, starting with an inversion of the chord sequence of my template song’s chorus, which resulted in a progression that was obviously going to be familiar and accessible to the audience (only like a billion songs use it) — it also wanted to be big and anthemic. Based on Kate threatening to accost me online in dead of night if the song was still stuck in her head, I believe I have created a successful earworm. Another thing I did like is how the Cheers theme bopped back and forth between minor and major in its chorus in the build up to the end, which itself is an inversion of the chords they open with (in my song I just repeat my opening sequence without change). But here I chose slightly different chords and moreover, because my harmonic rhythm was not quite as fast, I felt this necessitated some variation on the third iteration of the change which allowed me to sneak in some modulation — and I thought this was rather appropriate for the rapturing line. Finally, while it was born out of my own lack of enthusiasm for the options I was coming up with for rhyming purposes, the fact I ended up varying the chorus each time on the “in lieu of fun” line actually has an “in universe” rationale in that this also a part of the shows patter — the outro is always improvised based on the content of the show.
(BTW There is also what I refer to as a “secret bridge” — a section I toyed with but ultimately didn’t include because the recording was already pretty lengthy that spoke to the origins if the show)
I then started recorded a simple demo — just acoustic guitar, a main vocal track, some backing vocals and some last minute electric guitar strums for the final chorus. Kind of by accident it was at a slower tempo than I’d normally play it. I actually had to go back and re-record the opening bars because I realized the bars that I had just done single long strums for were a single bar, but that morphed into multiple bars when I was trying adhere to the tyranny of the click track. But it had an interesting effect and the guitar track was “close enough for government work” so I went with it, in part for my own purposes as an exercise in comping vocal tracks. I posted it Thursday night… worrying perhaps it’d get lost in the ether amongst Twitter’s noise and maybe I was getting it out too late… but once folks discovered it and Ben Wittes did his own post singing its praises (without all my caveats about the recording’s demo qualities) there was an immediate bump up in listens on SoundCloud and Twitter notifications. As you can see there were listeners from all over the country giving this strange little ditty a spin, reflecting the geographic diversity of this audience — and this is just the top 50 cities (I will remain from ranting at length about the lack of an API to get this data).
As it happened, because the scheduled guest for Friday was running late and they needed to fill time, I was invited onto the show to play my new song live, which is something I haven’t been doing much of during our pandemic times (playing to a computer screen kinda sucks). Fortunately it was enough in my brain pan I didn’t need to rely on notes too much and it wasn’t the usual disaster that typically befalls the maiden voyage of a new song. So don’t tell anyone, but despite the fact I was a bit out of it from having woken up at 4 in the morning for no particular reason, I had fun. My only regret is I had to spend too much effort focusing on playing and couldn’t see any of the feedback in the Greek chorus section.
As I wrap up, I’ve also been contemplating how this has also been an interesting experience in how one can grow one’s audience organically simply by being part of a community and not looking at it as an opportunity to evangelize one’s work, but being aware that it can happen if people start taking an interest in you personally (I did push myself a bit to get the demo done in order to “strike while the iron is hot”… even if this ends up rewarding and reinforcing Ben’s scheme to Shanghai audience members and give them assignments). Feeling a bit poorly as I have been during our recent unpleasantness, I didn’t take the opportunity when presented to be part of some of the earlier (and less ambush-like) “get to know the audience” sessions they’d done on the webcast, but I made no secret of the fact that I did music (what with a guitar hanging off the side of a bookcase easily visible in the background whenever I’d be raptured in for a question). And while I was logging in to the webcast as E.G. Phillips, I made sure that my Twitter avatar for @duckswithpants was being used so the connection could easily be made from my posts there… which it was and it led to the sort of interactions and questions one might expect (there’s a method to this madness with this whole “fake” band thing… there’s a separate post to be written about all that). But in general I mainly just let myself be part of this group and enjoy it for what it was… asking questions that I thought were relevant and of interest — and getting a chance to interact with various luminaries of the Twittersphere and cable news in the process — as well as participating in the lively and friendly banter that rapidly scrolls past during the course of the show. I guess I was also being a bit shy about the whole thing, and a little circumspect for reasons I may someday be able to explain, even though I’ve been performing and promoting myself for years now. In the meantime let's just say this is the sort of experience that a lot of people making the rounds at various music conferences or hitting you up on SoundCloud when you post a track are trying to bottle and sell.
In any case the enthusiasm for the song has been tremendous, and it’s nice to have people enjoying something I've created, especially folks I feel a bond with having shared these various experiences, even if remotely, as we've been sequestered away. That I got a few more Spotify and Twitter followers has been a nice bonus, but I would have done it anyway regardless.
Take a listen to “ILOF Theme (We’re Not Allowed To Have Fun)” in all its glory and see the lyrics (and chords!) below.
We are not allowed to have fun anymore, but In Lieu of Fun..."
Although born out of a dispute with Scott Shapiro over applying the adjective "fake" to Ducks With Pants as a band and as result has an air of frustration to it, having Ben Wittes of Lawfare read the copy from my website during an episode of "In Lieu of Fun" counts as a (rather unusual) cover in my book, adding him to the illustrious pantheon of artists who have already lent their voice to my works:
Hear Ben and Scott's (wholly unnecessary and yet somehow immensely satisfying) argument which preceded the above rendition for what some might construe as context:
In any case, it was lovely to have been part of Saturday's "In Lieu of Fun" for which I have been a semi-regular member of the "Greek Chorus" (more of a cacophony of no particular ethnicity in my estimation, but this is the name that has stuck). I thought I was going to asking my question about Senator Sinema — instead it was an extended discussion with some reminiscing about the Walker Art Center sculpture garden and delving into my association with Ducks With Pants.
This little spontaneous interview (or perhaps interrogation) starts at the following timestamp:
I would like to say thank you on behalf of the group and ourselves and I hope we've passed the audition.
Also, I would be remiss if I did not plug something at this juncture (this is what we call the "Call to Action" the blogging biz), so please check out the Shawn Byron cover of my song "Lighthouse at the Edge of the World" that I alluded to in the above discussion: