Henry King's Reel, a fiddle tune written by Trevor Stuart of Haywood County, North Carolina. [more inside]
A little finger style Elvis Medley. As slow as I could manage.
A seasonally-appropriate fiddle tune, with solo fiddle triple-tracked but otherwise unprocessed. The fiddle is in DDAD tuning, which I like a lot. [more inside]
New track recorded today in Ableton. Solo, original, home recording. First attempt at playing with vocal delay (delay delay). [more inside]
Piano solo. This opens none too gently at about 138bpm and covers a lot of territory inside three minutes. It should flow nicely into its companion piece, Turquoise Migration. [more inside]
A short piano piece that all spins out from the opening motto: "You are the sugar in my tea..."
Short piano solo: Snow falls on the prairie.
Piano solo: short, mostly melancholy and dark, but...
A short piano solo! Minor key, triplet feel, maybe a little jazzy, better suited to Halloween than early spring, but what can I do? It's a free download at BandCamp complete with suitably batty artwork. [more inside]
Some Garageband piano. Apparently I'm ready for January already.
Victoria, BC's inner harbour is the perfect place to go after-hours on a clear night, put on headphones, and dance your face off by the water. Here's a song in honor of silly summer times. [more inside]
Ever since I first saw John Lee Hooker's utterly captivating, almost terrifyingly powerful performance of it, I've been a lover of this song. RL Burnside covered it as well. This is my humble (and following those two performances, I really mean that) offering, from a little house in the hills of Nagano prefecture, Japan. Video here.
After writing/arranging, recording, and mixing the first five sections of The Wasteland, I found myself a bit spent, and struggling with the final movement, so I took a few days off to back away from it. I finally returned to it tonight, and, renewed, even managed to squeeze an extra track from it. Thus concludes the tour. Enjoy! [more inside]
The penultimate movement of The Wasteland, this one keeps it short and sweet. [more inside]
For Section III (Track 4) of The Wasteland, I finally take to the microphone for narration, with my own spin. This movement is entirely a capella, and with two small exceptions, all effects were manipulated by me in realtime. [more inside]
Next on order from The Wasteland comes something completely different--no effects, no text, no processing, apart from a tiny bit of compression, and track normalisation. It's one instrument, center channel. Nothing but one man, one mic, and a room. That in mind, headphones could not be more highly recommended. [more inside]
The sophomore track/movement in my concept album/piece, built around The Wasteland. Finalizing the mix took a bit longer than expected, so I didn't get it in before the deadline for the challenge. Boo. Nevertheless, Expect some surprises. [more inside]
Movement/track 1 of my new, MeFiMusic Challenge-inspired concept piece/album based upon The Wasteland. [more inside]
Dusted off ye olde WaveDrum (it's been a while) for a solo gig the other night, and played it over a simple bass line (from ye olde JUNO synth) which I have on ye olde iPod, for a new version of a song that appears on ye olde Roomful of Ghosts, and which ye can see on ye olde YouTubes and Vimeos.
A quick semi-impromptu-one-take-in-my-pajamas recording of a sad little Wilco/Elliot Smith-ish song that's been buzzing around my head. Using a crappy MXL mic which I really don't like, but was the closest to hand. [more inside]
My first recording at my new house in Albuquerque is a very brief trumpet sketch dedicated to the late Peter Falk. [more inside]
There was once a girl, but that was long ago. A letter to a past love, recorded in one take with four microphones. KOLN • Bandcamp • Lyrics
The one allotted cover for Nasoalmo: a cover of E C Ball's Trials Troubles Tribulations.
A very crap-quality song I wrote using three chords on a synthesizer keyboard and a terrible singing voice. Anyone who knows me knows that this entire thing is a massive satire, so don't take the lyrics or the cheesiness at face value. On second thought, I am probably even more cheesy than this song tells. [more inside]
The (hopefully) final mix of Y&SF with all the problems fixed and Major Dundee's epic solo finally loud and proud before the last chorus. [more inside]
At long last, the remix of Y&SF with new vocals and Major Dundee's guitar work incorporated. [more inside]
I can't get enough electric viola. [more inside]
Another live tune, from July 2010's Sengawa Jazz/Art Festival in Tokyo. here I'm playing a diddley bow, the Marron Glacé Guitar. Video of this same performance can be seen here.
I just can't stay away from this song, it has a power over me. This time it's with my diddley bow (the Marron Glacé Guitar). At the end of the song, Death momentarily overtook me and made me attack the instrument with one of these. Video of this same performance at YouTube.
Amped up version of a song I posted a few days ago. Gnarly guitars, Hammond organ, sweet harmonies, in a Television / Big Star / Matthew Sweet frame of mind. [more inside]
Another live recording from the opening hours of January 1, 2010, coming at you from deepest Shimokitazawa, Tokyo. I'm playing the Dan Moi (Vietnamese jaw harp) here, and singing about the all-too-common concern of Tokyoites: missing that saishuu densha. Video of this same performance at YouTube or Vimeo
Solo harmonica uptempo version of a classic Christmas tune. [more inside]
Moving in stereo... [more inside]
The premier performance of my beloved Pearl Bass Flute. AskmeaboutLOOM is up to his usual tricks on delay.
A song that I wrote walking down the streets of Chicago, depressed that I had nothing to write about. [more inside]
"This was an improvisation, actually the second take (Blue 2, or "Too Blue"), during which I had the memory of the Monterey Jazz festival firmly planted in my head, remembering the incredible musicians and music I heard all over the fairgrounds, playing jazz, soul, and lots 'n lots of blues…" ~ Laurie Z.
last minute valentine's day song for all those lovers and fighters out there.
Apparently my last few posts have been pretty girly but that's cool, I'm comfortable with my musical sexuality. I wanted there to be no ambiguity with this one so I cranked my gitar to 11 and played it as dirty as I could. [more inside]
Recorded live in my living room on Monday night, the debut episode of this four-song, one-take podcast is my way of making sure I DO something with the piano in the corner. Each song fits a certain theme (this episode, it's Tom Waits covers), and there are no re-takes or edits allowed. It's the Pianimal -- and it's ALIVE! [more inside]
Most people who write some of their stuff are inspired by the break up part of their relationships. This song is about a women I onced loved who asked me when do I get my song. After hearing other songs about past relationships. Most women inspire only one song in my lifes tails. She on the other hand has become the focus of the her that I speak of in so many songs. Only thing is she doesnt ever get to hear these songs. She has moved on and is happy with someone else. I also have moved on but Im just happy alone I guess. The beginning of the song was meant to sound some what of the begining of The End by the Doors as I remember setting the stage. I still write mostly of her to this day even though Im over her. Listen
Another true story from my family... [more inside]
"The music starts, the singer screams, there's feedback all to hell. I think I've played this gig before..."
Written by the incomparable Alistair MacGillivray (who rocks my socks), this song was written after an accident at the No. 26 Colliery in Glace Bay, NS in 1979. [more inside]
My take on this wonderful Irish Gaelic song, which I learned from Clannad, and which was written by Diarmuid MacDiarmada. Donegaler Mefites, please don't kill me if I've mangled the pronunciation! [more inside]
Mwahahaha! By request...
Not written by me, a song I learned ages ago in Ireland. Not much is known of where it comes from, apart from having been collected from Bess Cronin 30 years ago. I learned it from Phil Callery. I love this song for its soaring melody line; you really do imagine you're standing at the top of a mountain!
A Magnetic Fields cover I recorded recently. I've been working on my singing for a while, and I was mostly wondering if anyone had any suggestions on where to go from here in improving it? Any other feedback is also welcome, of course.
You people are dangerous for my ego. Something a bit different now; a song in praise of my hometown of Ottawa, Ontario. This song was written for the 175th anniversary of the construction of the Rideau Canal. The tune is by a well-known local Irish musician, Frank Cassidy. This tune has a two-octave-and-a-note range, folks. Don't try this at home.
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