The short of it is that I had a great time recording with Eric and Amy last Saturday.
The long of it is, well, longer. All in all, I spent about 14 hours with them. That included not just recording, but lunch, dinner, conversation. When I left at 2:00 AM Sunday, the recording was not finished. Eric was still working on adding some mellotron tracks. At that moment, I think, it was trumpets. He still wanted to add some more touchups, some handclaps, and adjust the volumes. Perhaps I should ghave volunteered to leave earlier?
First, I should note that Eric and Amy were extremely gracious. They're extremely nice people, and weren't at all stuck up. There was no "We're the professional rock musicians and you're just a fanboy" attitude.
One thing I noticed is that they approached this very differently than County Q studios did when I paid them to make a demo of "Jackpot." County Q was acting as a demo service. Not as critics or partners. Their job was to produce as good-sounding a record as they could of the song I sent them. It didn't matter if they liked it or not. I could have sent them a recording of someone singing "A blind man's penis is erect because he's blind" over and over. And that's what they would have turned into a record. Oh, they would have fancied up the arrangement to make it sound as radio-ready as they could. But the lyrics would have been the same. The melody would have been the same. The chord progression would have been the same.
Amy and Eric didn't view it that way. They made some modifications to the song. More on the specifics later. I am not sure what their exact motivation was. Perhaps it was personal pride, that if they were making a record of a song they wanted it to be as good as it could be. Or it could be that they felt a sort of paternalistic desire to help me w1hen there were obvious ways to improve the song. Or it could have been something else. Or a combination of considerations. I don't know what would have happened if I had stomped my feet and said "No! I want a recording of the song Scott and I wrote. The way we wrote it. Don't change a word or a note or a chord." But I wasn't about to.
The changes? Well, they sped it up and changed the key. But those aren't major changes -- though upspeeding it certainly changed the feel. They also made some changes to the lyrics. Not major changes -- meaning there's no place where lyrics were removed or added, or replaced with something that makes you say "Where the hell did that come from?" But these were real changes. One example that comes to mind is in the second verse. The original lyric was "I remember that it ended in a great big fight / I can't remember and I don't care who was wrong or right." They rewrote that as "It didn't end in a great big fight / No one was wrong and no one was right." This works better with the following line which talks about never actually breaking up, but just fading away.
The changes were substantial enough that I asked if I should give them songwriting credit (on the off chance that I find someone interested in publishing). They said yes. So I have the thrill of sharing a songwriting credit with someone I've been a fan of for this long. For the time being I am assuming I don't have to register another copyright. This is similar enough to the original that I doubt the few new elements will be stolen. And I know that if there's money to be made I'll not cheat Eric and Amy. Which leaves the question of what percentages everyone would get. I'm inclined to avoid quibbling and just say 25% apiece (for me, Eric, Amy and Scott). Hopefully no one will feel cheated and complain. If anything, I'm erring on the generous side, since the majority of the song is me -- both melodically and lyrically. But I guess it's easy to be generous with zero.
I'll note that I also learned a bit of songwriting from the experience. I've always had trouble writing bridges -- mine almost always sound too similar to the rest of the song. Amy and Eric sure fixed that. Amy explained it thusly: The bridge is where you can go crazy. So maybe the problem is that I've always played it safe with bridges, when I should have been going bold. I'll try to remember that in future songwriting endeavors.
I am hoping that, in the future, Eric and Amy will work with me on other projects. The fee, my Kickstarter pledge, was well worth it.
Showing posts with label Amy Rigby. Show all posts
Showing posts with label Amy Rigby. Show all posts
Monday, August 26, 2013
Friday, August 16, 2013
pre-date jitters
Tomorrow I have a date upstate to record with Wreckless Eric and Amy Rigby. This is the session that is my pledge gift for supporting their latest album, A Working Museum. And I'm nervous. And giddy. Maybe gervous is the best description. In a weird way, I feel like a schoolkid looking forward to his first date with a girl he's long had a crush on.
Remember, I've been a fan or Eric's music for several decades. There was a time I would have called him an idol of mine, though I now prefer to use that word more reservedly. But if we're considering it in the sense that a kid idolizes a baseball star or a rock star, then Eric is an idol of mine.
The plan is to record a demo of "Do You Think of Me (Now and Again)," I song I cowrote with Scott Milner (of the Montana Milners). Before continuing, I present the lyrics in their entirety:
Do You Think of Me (Now and Again)
Goin' through papers. An old photograph.
First it makes me smile, then I start to laugh.
We'd been together forever, but it's been many years since then.
Just a funky mood or time of day.
Like wantin' a smoke I try to put it away.
We'd been together forever, but it's been many years since then.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
I remember that it ended in a great big fight.
I can't remember and I don't care who was wrong or right.
We'd been together forever, but it's been many years since then.
We never broke up. Just faded away
'Til beyond "Hello" there was nothing to say.
We'd been together forever, but it's been many years since then.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
I'm not saying that I'll call you up.
Water over the dam.
But when I think of you
I like to think that you
Sometimes wonder 'bout how I am.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
Goin' through papers. An old photograph...
The song isn't the best I have. But I decided to go with it for a couple reasons:
I don't know if what I end up with will be commercially viable (i.e., something I can use as a demo to sell the song), but I am reasonably sure I'll love it. And I will have a recording of Wreckless Eric singing a song I wrote. Duetting on a song I co-wrote, actually -- but close enough.
Amy and I exchanged emails to discuss logistics. She said that if I have a favorite instrument, I should bring it, but they have plenty of equipment. I'll bring my guitar. It's an old dreadnought style accoustic by Yamaha. I forget the model number. It's trustworthy, though I'll probably want to give it new strings before I go. Though part of me wonders, why bother? They have plenty of instruments, and the plan is to have them play all the instruments. That was a misunderstanding -- they created this pledge gift with an eye toward performers who want demos of themselves performing. I, being a songwriter and not a performer, saw it from the perspective of someone who needs demos that showcase the song. Fortunately, Amy and Eric have been gracious despite the misunderstanding. At any rate, I will bring the guitar. I'll explain that I hope there's a way of fitting me in to play some part on the recording -- as long as it doesn't jeopardize the quality of the product. But that way I'll be able to listen to it and point out a guitar part, or something, and say "That's me! Like an adult coming back from baseball fantasy camp with a DVD of himself playing baseball on a field with some a former major leaguer he used to root for at the ballpark.
I have listened to several tracks from A Singing Museum. That is the instrumental version of A Working Museum, which I mentioned above. I don't know if Eric and Amy made it widely available, but they sold (at some of their shows if nowhere else) copies. It's actually been helpful in getting an idea of some of the things that can make a recording work. Even if the melody is the same in each verse, changing the arrangement can be a big help -- either to build up the tension, or to reflect a changing mood. Maybe the first time there's a simple drum track and guitar. But then the second time there's two guitars and a bass, as well as a more insistent drum. Or maybe there's an organ replacing one of the guitars... Also, I am seeing how changing tempos can keep the sound interesting. I, myself, am not good at changing tempo, but they can do that. And with several moods reflected -- bitterness, nostalgia, sadness and regret -- reflected in the song (in differing mixes at different points), there is plenty of opportunity for tempo changes. I can especially see the second verse change between the angry memory of a fight and the more wistful memory of a relationship drifting into indifference. I also like the idea of having the whole thing build, and then have a sudden drop in energy before the final tag, which would be sung by both voices, either a capella or with minimal instrumentation.
If I can figure out how to add audio files as clickable features in a blogpost, or how to make a Youtube video out of an audio file (using a photo or blank screen instead of actual, you know, video footage), then I'll be able to share the finished product.
Remember, I've been a fan or Eric's music for several decades. There was a time I would have called him an idol of mine, though I now prefer to use that word more reservedly. But if we're considering it in the sense that a kid idolizes a baseball star or a rock star, then Eric is an idol of mine.
The plan is to record a demo of "Do You Think of Me (Now and Again)," I song I cowrote with Scott Milner (of the Montana Milners). Before continuing, I present the lyrics in their entirety:
Do You Think of Me (Now and Again)
Goin' through papers. An old photograph.
First it makes me smile, then I start to laugh.
We'd been together forever, but it's been many years since then.
Just a funky mood or time of day.
Like wantin' a smoke I try to put it away.
We'd been together forever, but it's been many years since then.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
I remember that it ended in a great big fight.
I can't remember and I don't care who was wrong or right.
We'd been together forever, but it's been many years since then.
We never broke up. Just faded away
'Til beyond "Hello" there was nothing to say.
We'd been together forever, but it's been many years since then.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
I'm not saying that I'll call you up.
Water over the dam.
But when I think of you
I like to think that you
Sometimes wonder 'bout how I am.
Do you think of me now and again?
Do the feelings come flooding back when
Something frees your memories?
Do you think of me now and again?
Goin' through papers. An old photograph...
The song isn't the best I have. But I decided to go with it for a couple reasons:
- It's complete. There are a couple other songs that I'm working on that are near completion, or (arguably) complete. But I want to avoid rushing something and saying it's done when it's not.
- Of the complete songs I have, I think it's the one that can benefit most from a new demo.
- I realized that this song lends itself nicely to being a duet. The first verse sounds like two distinct voices -- largely because I wrote half of it and Scott wrote half. He and I have different styles and sensibilities. While I appreciate his lyrics, I know that I never would have written them. Add to that, the second verse sounds like two distinct memories of one breakup. That is easily explained in the context of it actually being two people having different recollections. Anyway, with both Eric and Amy able to provide vocals, I have the opportunity to make this a duet. I may as well atke advantage of the resource.
I don't know if what I end up with will be commercially viable (i.e., something I can use as a demo to sell the song), but I am reasonably sure I'll love it. And I will have a recording of Wreckless Eric singing a song I wrote. Duetting on a song I co-wrote, actually -- but close enough.
Amy and I exchanged emails to discuss logistics. She said that if I have a favorite instrument, I should bring it, but they have plenty of equipment. I'll bring my guitar. It's an old dreadnought style accoustic by Yamaha. I forget the model number. It's trustworthy, though I'll probably want to give it new strings before I go. Though part of me wonders, why bother? They have plenty of instruments, and the plan is to have them play all the instruments. That was a misunderstanding -- they created this pledge gift with an eye toward performers who want demos of themselves performing. I, being a songwriter and not a performer, saw it from the perspective of someone who needs demos that showcase the song. Fortunately, Amy and Eric have been gracious despite the misunderstanding. At any rate, I will bring the guitar. I'll explain that I hope there's a way of fitting me in to play some part on the recording -- as long as it doesn't jeopardize the quality of the product. But that way I'll be able to listen to it and point out a guitar part, or something, and say "That's me! Like an adult coming back from baseball fantasy camp with a DVD of himself playing baseball on a field with some a former major leaguer he used to root for at the ballpark.
I have listened to several tracks from A Singing Museum. That is the instrumental version of A Working Museum, which I mentioned above. I don't know if Eric and Amy made it widely available, but they sold (at some of their shows if nowhere else) copies. It's actually been helpful in getting an idea of some of the things that can make a recording work. Even if the melody is the same in each verse, changing the arrangement can be a big help -- either to build up the tension, or to reflect a changing mood. Maybe the first time there's a simple drum track and guitar. But then the second time there's two guitars and a bass, as well as a more insistent drum. Or maybe there's an organ replacing one of the guitars... Also, I am seeing how changing tempos can keep the sound interesting. I, myself, am not good at changing tempo, but they can do that. And with several moods reflected -- bitterness, nostalgia, sadness and regret -- reflected in the song (in differing mixes at different points), there is plenty of opportunity for tempo changes. I can especially see the second verse change between the angry memory of a fight and the more wistful memory of a relationship drifting into indifference. I also like the idea of having the whole thing build, and then have a sudden drop in energy before the final tag, which would be sung by both voices, either a capella or with minimal instrumentation.
If I can figure out how to add audio files as clickable features in a blogpost, or how to make a Youtube video out of an audio file (using a photo or blank screen instead of actual, you know, video footage), then I'll be able to share the finished product.
Wednesday, March 27, 2013
amy and eric -- the actual concert
I wrote about the social scene at Eric and Amy's concert. And about planning to talk with them about recording. But I didn't actually say a word about the music itself.
To a large extent it was the same stuff I've seen them play a couple of times in recent months -- at a club in Manhattan, and at their house after Hurricane Sandy. But they did throw in a twist. They noted that this concert would emphasize Eric's album, The Donovan of Trash, and her album, Diary of a Mod Housewife. They didn't play the whole albums. But they did play selections from them.
Being a bigger fan of Eric's than of Amy's, I'll talk about the stuff from DoT. Hearing a live version of "Joe Meek," and one of "Birthday Blues" were highlights. I can't help sounding lioke a little fanboy because -- well, I am. That's part of why I, a year plus ago -- explicitly gave up on the idea of doing "reviews" in the traditional sense.
One thing I can do without, though, is their penchant for getting into noise. They do this kind of wall of feedback that I just can't get into. I love seeing them in concert, and that's a price I pay for a show that I generally love. But when Eric starts fiddling with the knobs and they build this, this noise... Welll, at those times I wish i had earplugs.
I was surprised by their choice of closing song -- "Leaving on a Jet Plane." Where the heck did that come from?
To a large extent it was the same stuff I've seen them play a couple of times in recent months -- at a club in Manhattan, and at their house after Hurricane Sandy. But they did throw in a twist. They noted that this concert would emphasize Eric's album, The Donovan of Trash, and her album, Diary of a Mod Housewife. They didn't play the whole albums. But they did play selections from them.
Being a bigger fan of Eric's than of Amy's, I'll talk about the stuff from DoT. Hearing a live version of "Joe Meek," and one of "Birthday Blues" were highlights. I can't help sounding lioke a little fanboy because -- well, I am. That's part of why I, a year plus ago -- explicitly gave up on the idea of doing "reviews" in the traditional sense.
One thing I can do without, though, is their penchant for getting into noise. They do this kind of wall of feedback that I just can't get into. I love seeing them in concert, and that's a price I pay for a show that I generally love. But when Eric starts fiddling with the knobs and they build this, this noise... Welll, at those times I wish i had earplugs.
I was surprised by their choice of closing song -- "Leaving on a Jet Plane." Where the heck did that come from?
Monday, February 18, 2013
the social scene at eric and amy's
The social scene at Eric's and Amy's house on Saturday (for their house concert) was interesting.
I'm not quite sure of the economics for Eric and Amy. Twenty dollars a ticket. There were probably about 40 seats. But I think most of the people there are friends and music industry contacts who don't have to buy a ticket. Certainly many of them are. Talking to people, it almost seems as if what they do is plan a pot-luck dinner party (did I mention, everyone brings some food or drink to share) for their frineds, add a conecrt to the evening's plans and then sell tickets. Maybe not. Maybe it's just what it appears -- a concert to which friends are comped. I'm not complaining either way. Whatever the case is, I'm paying to see a concert, and getting more than my money's worth. As I've said in other posts, the ability to chat with them before and after the show is great.
Anyway, I spent some time talking to a friend of theirs. Norma Coates is a musicologuist who studies music in society. The main questions she looks into have to do with gender roles in rock music. Why is rock music so dominated by men? My wife's answer, by the way, is "follow the money." If I get a chance, I'll do some searching for Professor Coates' research, and maybe talk about it. I've learned from past posts not to say that I will post about this or that. Too many times I have said that I would and haven't. A couple of times Norma mentioned that she bets that by going to a Wreckless Eric/Amy Rigby concert I am doing something hipper this weekend than anyone else I know. Now, I agree with her. But, of course, others who are not into either Eric or Amy may not view itthe same way. I see it as seeing a legend of the new wave/punk era (whom I happen to think makes great music). Others, of a different perspective, may see it as going to see a washed-up has-been reliving his glory days. Either way. I go because I expect that I'll have a good time. Eric and Amy have yet to dissapoint me.
I also spoke to Clay Harper, who is a friend of Eric's. He started a conversation with me by asking what's my favorite Wreckless Eric album. I though a second, and decided on Le Beat Group Electrique, which Eric did in the early '90s. That album sticks in my mind for two songs: "Sarah" and "It's a Sick Sick Sick Sick Sick Sick Sick Sick World." Surprisingly, Clay said that's also his favorite (while expressing surprise that I had named it). Turns out Clay was the special musical guest for the night. Introducing him, Eric explained that after LBGE came out, Clay loved its o much that he flew to France to meet Eric. Of course, he failed to forewarn Eric, who was out of town when Clay arrived. So Clay went home and then wrote to Eric asking what it would take to get him to come to Atlanta to produce an album.
The evening';s full circle moment was when it was mentioned that Clay had been in the Coolies, an alt rock band from Atlanta in the 1980s. I was never very into them, and know little about them. But I have an album of theirs, called Take That, You Bastards. What's noteworthy about the album is that it has a bunch of covers of Simon & Garfunkel songs. I always find it interesting when I learn of a connection between two musical realms that I didn't know were connected.
I'm not quite sure of the economics for Eric and Amy. Twenty dollars a ticket. There were probably about 40 seats. But I think most of the people there are friends and music industry contacts who don't have to buy a ticket. Certainly many of them are. Talking to people, it almost seems as if what they do is plan a pot-luck dinner party (did I mention, everyone brings some food or drink to share) for their frineds, add a conecrt to the evening's plans and then sell tickets. Maybe not. Maybe it's just what it appears -- a concert to which friends are comped. I'm not complaining either way. Whatever the case is, I'm paying to see a concert, and getting more than my money's worth. As I've said in other posts, the ability to chat with them before and after the show is great.
Anyway, I spent some time talking to a friend of theirs. Norma Coates is a musicologuist who studies music in society. The main questions she looks into have to do with gender roles in rock music. Why is rock music so dominated by men? My wife's answer, by the way, is "follow the money." If I get a chance, I'll do some searching for Professor Coates' research, and maybe talk about it. I've learned from past posts not to say that I will post about this or that. Too many times I have said that I would and haven't. A couple of times Norma mentioned that she bets that by going to a Wreckless Eric/Amy Rigby concert I am doing something hipper this weekend than anyone else I know. Now, I agree with her. But, of course, others who are not into either Eric or Amy may not view itthe same way. I see it as seeing a legend of the new wave/punk era (whom I happen to think makes great music). Others, of a different perspective, may see it as going to see a washed-up has-been reliving his glory days. Either way. I go because I expect that I'll have a good time. Eric and Amy have yet to dissapoint me.
I also spoke to Clay Harper, who is a friend of Eric's. He started a conversation with me by asking what's my favorite Wreckless Eric album. I though a second, and decided on Le Beat Group Electrique, which Eric did in the early '90s. That album sticks in my mind for two songs: "Sarah" and "It's a Sick Sick Sick Sick Sick Sick Sick Sick World." Surprisingly, Clay said that's also his favorite (while expressing surprise that I had named it). Turns out Clay was the special musical guest for the night. Introducing him, Eric explained that after LBGE came out, Clay loved its o much that he flew to France to meet Eric. Of course, he failed to forewarn Eric, who was out of town when Clay arrived. So Clay went home and then wrote to Eric asking what it would take to get him to come to Atlanta to produce an album.
The evening';s full circle moment was when it was mentioned that Clay had been in the Coolies, an alt rock band from Atlanta in the 1980s. I was never very into them, and know little about them. But I have an album of theirs, called Take That, You Bastards. What's noteworthy about the album is that it has a bunch of covers of Simon & Garfunkel songs. I always find it interesting when I learn of a connection between two musical realms that I didn't know were connected.
Sunday, February 17, 2013
planning with eric and amy
I went upstate yesterday to attend another Wreckless Eric and Amy Rigby house concert (i.e., concert at their house) yesterday.
Before going upstate I emailed them. I still have to record with them, pursuant to their Kickstarter campaign. It's been months, and I've put off contacting them about it. So I typed an email.
I felt I had to explain where I was coming from, since they had expressed surprise when I explained that I'm not a performer. I didn't realize when I learned of the campaign that the chance to record with them was aimed at performers who want recordings of themselves performing. As a longtime fan of Eric's and a songwriter, my thought was "Wow! I can have a recording of Wreckless Eric singing one of my songs. Ultimately I realized that it would be better to have them do a demo of a new song. I pushed hard to finish writing "Five Missing One," and made a rough demo of that with HP when we were on vacation. But meanwhile, on vacation I started writing another song,which I would rather not name yet. Let's just call it WASAM. I think WASAM is better suited to Eric's and Amy's style, since I hear it as a Nashville type song. Also, it's a positive topic, which my wife prefers. Finally, of course, I have a decent rough demo of "Five Missing One' so I'm better off recording something else wuith them One irony is that the new song is something I hear being sung in a female voice, so it'll probably be Amy's lead vocal. The real catch, though, is that I don't have the dang song completely written. Since I'm doing this to sell my sogwriting, I need to have a complete song. Not that I would mind sharing a copyright with them, but I don't think that's what they're into.
Anyway, the email explained most of that. I showed it to my wife to make sure there was nothing that could offend. She read it, then said to talk to them instead of sending the email. So I wrote a new email in which I asked if I could chat with them after the show. So after the show I talked to Amy and explained pretty much exactly what was in that email. She said they woul;dn't mind working with me to tocuh up a song that's mostly complete. And sharing a copyright, if warranted, is OK.
So what I have to do is make a really rough demo. I have a portable recorder that I bought just for this purpose. I'll email that to them with a lyric sheet.
Before going upstate I emailed them. I still have to record with them, pursuant to their Kickstarter campaign. It's been months, and I've put off contacting them about it. So I typed an email.
I felt I had to explain where I was coming from, since they had expressed surprise when I explained that I'm not a performer. I didn't realize when I learned of the campaign that the chance to record with them was aimed at performers who want recordings of themselves performing. As a longtime fan of Eric's and a songwriter, my thought was "Wow! I can have a recording of Wreckless Eric singing one of my songs. Ultimately I realized that it would be better to have them do a demo of a new song. I pushed hard to finish writing "Five Missing One," and made a rough demo of that with HP when we were on vacation. But meanwhile, on vacation I started writing another song,which I would rather not name yet. Let's just call it WASAM. I think WASAM is better suited to Eric's and Amy's style, since I hear it as a Nashville type song. Also, it's a positive topic, which my wife prefers. Finally, of course, I have a decent rough demo of "Five Missing One' so I'm better off recording something else wuith them One irony is that the new song is something I hear being sung in a female voice, so it'll probably be Amy's lead vocal. The real catch, though, is that I don't have the dang song completely written. Since I'm doing this to sell my sogwriting, I need to have a complete song. Not that I would mind sharing a copyright with them, but I don't think that's what they're into.
Anyway, the email explained most of that. I showed it to my wife to make sure there was nothing that could offend. She read it, then said to talk to them instead of sending the email. So I wrote a new email in which I asked if I could chat with them after the show. So after the show I talked to Amy and explained pretty much exactly what was in that email. She said they woul;dn't mind working with me to tocuh up a song that's mostly complete. And sharing a copyright, if warranted, is OK.
So what I have to do is make a really rough demo. I have a portable recorder that I bought just for this purpose. I'll email that to them with a lyric sheet.
Tuesday, November 20, 2012
concert at eric and amy's place
This past Saturday night I went upstate to Catskill, NY. Wreckless Eric and Amy Rigby were giving a house concert to raise money for victims of hurricane Sandy. Or was it superstorm Sandy? Anyway, it was the best concert I ever went to. No. Not the "best" concert, whatever that means. But of all the concerts I have ever been to, it was the one I enjoyed the most.
Details to follow. For now, here's a link to Eric's blog, where he wrote about it. http://thedysfunctionalworldof.blogspot.com/2012/11/the-hurricane-house-concert.html
Details to follow. For now, here's a link to Eric's blog, where he wrote about it. http://thedysfunctionalworldof.blogspot.com/2012/11/the-hurricane-house-concert.html
Tuesday, October 9, 2012
i prefer a small venue
After I went to see Wreckless Eric and Amy Rigby perform, and anticipating the upcoming Nick Lowe show (which is this coming Sunday, by the by), my wife found a deal on Bruce Springsteen tickets. Half price to see him at the Meadowlands (technically, Met Life Park, or whatever it is that they call the big football stadium where the Giants and Jets play their home games).
I passed.
$60 for a ticket to see a concert at a huge venue like that doesn't really appeal. The problem with huge venues is that I don't really feel like I'm seeing the musician live. I'm so far away that all I can see is specks on the stage. I know that that speck in the middle is Bruce Springsteen (or whoever, depending on the show), but I can't really see him. There are lots of big screens to help out, but I may as well be watching a screen at home. Never mind the traffic and other logistics of getting to such a show -- although I'll admit that that is particular to the show. A concert atShea Stadium Citifield would be easy for me to get to but still has the other drawbacks.
Now, don't get me wrong. I don't mean to diminish Springsteen. I know he's a great performer and showman. I'm told he puts on four hecks of a show. And I even like a godd bit of his music, though I could hardly be classified as a rabid fan. But the downsides of such a show are just too much.
In that sense I am lucky that my favorite musicians aren't exactly household names. My ticket to see Amy and Eric was $15. I was sitting maybe ten feet from the stage -- and I could've been closer if I'd wanted. I could feel the vibrations when Eric jumped. And it's not because the sounds were amplified. I could see the strings on his bass quivering. I could see his face squished in concentration. When Amy broke a guitar string I could see it dangling from the headstock. I could see it getting in the way of her fingers on the frets. And I don't mean that I could see it in an image projected on a Jumbotron. Looking directly at her guitar I could see the strings and the fingers and the frets themselves. That's more esciting than anything I'd see at the Meadowlands. And I talked to Eric and Amy before and after the show. I got to connect with the performer.
And the upcoming show... $45 for my ticket -- yes that's significantly higher than the Eric and Amy ticket, but Nick Lowe is a bigger draw for a variety of reasons. At any rate, it's still cheaper than the Springsteen ticket would have been, and that would have been half price already. My ticket is in the tenth row, just off-center. As with the Eric show, I'll be close enough to see everything. It won't be quite as intimate -- this is a real theatre with seats -- and assigned seats at that -- while the other was the basement of a bar. but it'll still be good
I passed.
$60 for a ticket to see a concert at a huge venue like that doesn't really appeal. The problem with huge venues is that I don't really feel like I'm seeing the musician live. I'm so far away that all I can see is specks on the stage. I know that that speck in the middle is Bruce Springsteen (or whoever, depending on the show), but I can't really see him. There are lots of big screens to help out, but I may as well be watching a screen at home. Never mind the traffic and other logistics of getting to such a show -- although I'll admit that that is particular to the show. A concert at
Now, don't get me wrong. I don't mean to diminish Springsteen. I know he's a great performer and showman. I'm told he puts on four hecks of a show. And I even like a godd bit of his music, though I could hardly be classified as a rabid fan. But the downsides of such a show are just too much.
In that sense I am lucky that my favorite musicians aren't exactly household names. My ticket to see Amy and Eric was $15. I was sitting maybe ten feet from the stage -- and I could've been closer if I'd wanted. I could feel the vibrations when Eric jumped. And it's not because the sounds were amplified. I could see the strings on his bass quivering. I could see his face squished in concentration. When Amy broke a guitar string I could see it dangling from the headstock. I could see it getting in the way of her fingers on the frets. And I don't mean that I could see it in an image projected on a Jumbotron. Looking directly at her guitar I could see the strings and the fingers and the frets themselves. That's more esciting than anything I'd see at the Meadowlands. And I talked to Eric and Amy before and after the show. I got to connect with the performer.
And the upcoming show... $45 for my ticket -- yes that's significantly higher than the Eric and Amy ticket, but Nick Lowe is a bigger draw for a variety of reasons. At any rate, it's still cheaper than the Springsteen ticket would have been, and that would have been half price already. My ticket is in the tenth row, just off-center. As with the Eric show, I'll be close enough to see everything. It won't be quite as intimate -- this is a real theatre with seats -- and assigned seats at that -- while the other was the basement of a bar. but it'll still be good
Sunday, September 9, 2012
chatting at the amy and eric show
I had gotten to the Wreckless Eric concert early. The information I had said 7:00, and even though I didn't expect the show to start at 7 on the tick, I didn't realize that the doors weren't scheduled to open until then. So I left and came back a few slices of pizza later. At 7:00 the doors still weren't open, but I was free to hang out at the bar for happy hour. At 7:15 I was kind of lurking around the entrance to the stairs to the show, wanting to be the first (or nearly the first) to go down so I could secure a good spot. There was another guy obviously having the same thoughts. My new nemesis. I sized him up -- about my age. Not as bald as me (damn him!), but his hair was grayer (Ha ha!). Then the doorkeeper explained to us that they were still doing soundchecks and the downstairs bartender still hadn't shown up, but he'd let us down when he could.
So my nemesis and I started chatting. His name was Stuart. It still is, I suppose. He lives in Washington and had come to New York specifically for this show (and was therefore staying around for the Saturday show at Hastings on-Hudson).
What I found interesting is that his interest in Wreckless Eric and Amy Rigby had a different origin than mine. I had been a longtime Wreckless Eric fan. So when he started recording with Amy Rigby (whom he had, by that time, married), I bought those albums. I'll note that I may or may not have heard of Amy Rigby before that. She had been married to Will Rigby of the dBs. I think (though I'm not sure, and I'm too lazy to chack) that he recorded for Diesel Only Records, which put out a bunch of great truck-driving singles a couple of decades ago. In my own little music cocoon, it had never occurred to me that others might have started as Amy Rigby fans. But that's what Stuart's story is. He had, he volunteered, listened to Eric in the eighties. But not beyond that. He was a big fan of Amy's and had attended many of her concerts.
In fact, Stuart was enough of a fan that Amy recognized him and chatted with him. And he had gotten to know Eric through the association. So once we were downstairs discussing music before the show. Eric came over for a little chat. I stood up dumbly not knowing what to say, or if I hould say anything. Hummina hummina hummina. Here's one of my big musical idols standing right here in front of me for a conversation. OK, it's not like he's Justin Bieber and I'm some 16-year-old-girl. But still -- Wreckless. Eric. Talking to me.
Actually, it's not the first time we'd talked at one of his shows. About 20 years ago, when Le Beat Group Electrique was still new, I saw him perform at The Knitting Factory. I remember being so proud in my Stiff Records T-shirt. I didn't know at the time that there had been acrimony when he left Stiff. So I asked him to autograph my copy of the new album. He looked at my T-shirt, and said "Oh, you're one of them." I felt really embarrassed. He signed the album, inscribing "Hope I live up to it all," which I thought was clever. That copy of the album is now in Somerville, where my wife's friend Patti lives. She borrowed it a long time ago. Maybe I'll get it back someday. In the meantime I bought another copy used on the British version of Amazon (for like $100).
The second time I talked to Eric was during the early or mid oughties. I'm not sure what year. But he was playing in New York. During that show I was chatting with Amy Rigby (though I didn't know who she was). She simply described herself as his girlfriend. The two of them talked for a while. I talked to him briefly and put my foot in my mouth.
So, what could I do? I had to follow tradition. Stuart and Eric greeted each other with a brief hug. I said something like "I take it you've met?" Then proceeded to gtell Eric that he and I had met but he wouldn't remember it. Damn, I have a way with words.
During and before the show, Stuart and I talked a bit about music. We agreed that Nick Lowe is still putting out good music, and that a Rockpile reunion would not be a good idea. We agreed that Kaye's opening opening act was a bit odd, and that Rebecca Pronsky was very good. And, of course, he loved Amy's and Eric's performance.
After the show, and after buying merchandise (a T-shirt, a copy of Eric and Amy's new album, their 7-inch vinyl single, and the two CDs that Rebecca Pronsky was selling), I set out getting autographs. Eric was busy moving equipment, but Amy was friendly. She signed the album and the single. I asked about the Kickstarter reward. She's emailed in July, and I emailed right back, but never got a response. Then, last week I got another email. This had a link to the digital version of the album, which was part of my Kickstarter reward. But her email seemed to read as if she had never gotten mine. She said that sometimes Eric gets emails that he wants to craft a response to, but he ends up putting it away for later and forgets about it. I can believe that. She said to try emailing again. I will.
Eventually, Eric came up to chat with people. I got his autograph, talked a little about music. I mentioned the Kickstarter campaign, and he also said to try emailing again.
Part of me wanted to stay, but I was exhausted and had a family to get home to. So I bid a hasty farewell...
So my nemesis and I started chatting. His name was Stuart. It still is, I suppose. He lives in Washington and had come to New York specifically for this show (and was therefore staying around for the Saturday show at Hastings on-Hudson).
What I found interesting is that his interest in Wreckless Eric and Amy Rigby had a different origin than mine. I had been a longtime Wreckless Eric fan. So when he started recording with Amy Rigby (whom he had, by that time, married), I bought those albums. I'll note that I may or may not have heard of Amy Rigby before that. She had been married to Will Rigby of the dBs. I think (though I'm not sure, and I'm too lazy to chack) that he recorded for Diesel Only Records, which put out a bunch of great truck-driving singles a couple of decades ago. In my own little music cocoon, it had never occurred to me that others might have started as Amy Rigby fans. But that's what Stuart's story is. He had, he volunteered, listened to Eric in the eighties. But not beyond that. He was a big fan of Amy's and had attended many of her concerts.
In fact, Stuart was enough of a fan that Amy recognized him and chatted with him. And he had gotten to know Eric through the association. So once we were downstairs discussing music before the show. Eric came over for a little chat. I stood up dumbly not knowing what to say, or if I hould say anything. Hummina hummina hummina. Here's one of my big musical idols standing right here in front of me for a conversation. OK, it's not like he's Justin Bieber and I'm some 16-year-old-girl. But still -- Wreckless. Eric. Talking to me.
Actually, it's not the first time we'd talked at one of his shows. About 20 years ago, when Le Beat Group Electrique was still new, I saw him perform at The Knitting Factory. I remember being so proud in my Stiff Records T-shirt. I didn't know at the time that there had been acrimony when he left Stiff. So I asked him to autograph my copy of the new album. He looked at my T-shirt, and said "Oh, you're one of them." I felt really embarrassed. He signed the album, inscribing "Hope I live up to it all," which I thought was clever. That copy of the album is now in Somerville, where my wife's friend Patti lives. She borrowed it a long time ago. Maybe I'll get it back someday. In the meantime I bought another copy used on the British version of Amazon (for like $100).
The second time I talked to Eric was during the early or mid oughties. I'm not sure what year. But he was playing in New York. During that show I was chatting with Amy Rigby (though I didn't know who she was). She simply described herself as his girlfriend. The two of them talked for a while. I talked to him briefly and put my foot in my mouth.
So, what could I do? I had to follow tradition. Stuart and Eric greeted each other with a brief hug. I said something like "I take it you've met?" Then proceeded to gtell Eric that he and I had met but he wouldn't remember it. Damn, I have a way with words.
During and before the show, Stuart and I talked a bit about music. We agreed that Nick Lowe is still putting out good music, and that a Rockpile reunion would not be a good idea. We agreed that Kaye's opening opening act was a bit odd, and that Rebecca Pronsky was very good. And, of course, he loved Amy's and Eric's performance.
After the show, and after buying merchandise (a T-shirt, a copy of Eric and Amy's new album, their 7-inch vinyl single, and the two CDs that Rebecca Pronsky was selling), I set out getting autographs. Eric was busy moving equipment, but Amy was friendly. She signed the album and the single. I asked about the Kickstarter reward. She's emailed in July, and I emailed right back, but never got a response. Then, last week I got another email. This had a link to the digital version of the album, which was part of my Kickstarter reward. But her email seemed to read as if she had never gotten mine. She said that sometimes Eric gets emails that he wants to craft a response to, but he ends up putting it away for later and forgets about it. I can believe that. She said to try emailing again. I will.
Eventually, Eric came up to chat with people. I got his autograph, talked a little about music. I mentioned the Kickstarter campaign, and he also said to try emailing again.
Part of me wanted to stay, but I was exhausted and had a family to get home to. So I bid a hasty farewell...
Wednesday, August 1, 2012
now to plan for recording with wreckless
I wrote about Wreckless Eric's Kisckstarter campaign here.
The campaign is closed, and Eric and Amy have gotten $12,000 in pledges -- 50% more than they were shooting for. I've been charged my $500, and I now am looking forward to recording with them. I have gotten two emails. The first was a very generic one that was sent to all 292 people who pledged. It simply said that the rewards were being prepared and would be sent out when ready. The second one is more specific to my situation:
I've been hoping to finish writing another song -- I have a couple in process -- a chorus and general concept for "Bleed Me a River," as well as a concept and opening verse for something that I am (for now) calling "Missing One." I also have a title and little more for "(Fresh Out of) Give a Damns." But between work and family, I just don't have the time to sit down with the guitar and complete anything.
I am, though, open to working with them to complete one of my fragments, or to write something totally new. As one of Wreckless Eric's fans for more than thirty years, I'd love the chance to write with him. But that then creates new complications. Would they be OK with my registering the copyright in all of our names? Would they be OK with my trying to shop the song around? In the event that I get it recorded, who owns what percentage? 50% for me and 50% for them together? 33 and a third % for each of us? Something else? Of course the thought of being able to register a copyright in my name and Eric's and Amy's is something quite fantastic for me (note that I am using the word "fantastic" to mean something out of fantasy, rather than simply "great"). And perhaps if I have a song that I cowrote with them there is a greater chance that they would record it on one of their albums, thereby giving me a credit (and a few dollars).
I will probably write back, explaining that I am having a hard time choosing between songs. I have three demos (of varying quality) that I'd like to send. I'd like to go with whichever they find most suitable. Of course, I will note, I also have some partially written material that I'd be happy to work with if any of those strike them. I can also mention the logistical (copyright,ownership, etc.). I think I'll note that my preference is to complete a song with them.
There is another issue to check on: I assumed, though they never specifically said, that I can have Eric take the vocals on our recording. I want to make sure that that's OK -- partly because I love the idea of having a recording of him singing one of my songs, and partly because I am a lousy singer.
I am also hoping that they know how to go about registering specific songs (or recordings?) with ASCAP so that if by chance something of mine gets recorded and played on air (or, for example, my friend HP Mendoza uses one of my songs in one of his movies), I can get the few dollars of royalties. Given that I won't get much money, it's almost a point of pride just to get a royalty check from ASCAP.
Finally, there's something I want to ask Eric. On the Live Stiffs album (from the Stiff Records package tour from the late '70s, featuring performances by Nick Lowe, Eric, Larry Wallis, Elvis Costello and Ian Dury), before he starts "Reconnez Cherie," he anounces that his guitar doesn't work. After some confusion he plugs it in and says, "Ahh. I forgot to plug me in." I want to know if that was truly him being himself and legitimately not realizing that he wasn't plugged in, or if it was an act that he did at every show.
The campaign is closed, and Eric and Amy have gotten $12,000 in pledges -- 50% more than they were shooting for. I've been charged my $500, and I now am looking forward to recording with them. I have gotten two emails. The first was a very generic one that was sent to all 292 people who pledged. It simply said that the rewards were being prepared and would be sent out when ready. The second one is more specific to my situation:
hi [Moish]I have to write back. I'm not sure what song I would want to record with them. Seems clear they're open to being flexible. I have three complete songs, any one of which I'd be thrilled to record with them. I guess I'd most love to record "Jackpot" with them, since that's my favorite. But since that's the one with the most-polished demo, it seems that I get the least additional value if one of my purposes is to improve the quality of what I have to send as demos to artists, agents, record companies, etc. On that score, though, I think all three demos are usable. So maybe rerecording one of them is of limited value in those terms.
Thanks for backing us (or whatever the correct terminology is here). We need to work out a time when you can come to the studio and do a track with us.
So what we probably need is a list of likely dates from you plus any sort of demo you might have - though you don't have to have a demo, or even a finished song, just some sort of idea of what you'd like to do. Anything - six lines on the back of an envelope, a snatch of a tune whistled onto a cassette... Or nothing and we'll improvise on the day!
I'm probably not making much sense - we've never done this before - Kickstarter I mean. We've done plenty of recording sessions!
Anyway, let me know - best thing would be to contact me by email directly - [ wreckless eric's email address ]
Eric
I've been hoping to finish writing another song -- I have a couple in process -- a chorus and general concept for "Bleed Me a River," as well as a concept and opening verse for something that I am (for now) calling "Missing One." I also have a title and little more for "(Fresh Out of) Give a Damns." But between work and family, I just don't have the time to sit down with the guitar and complete anything.
I am, though, open to working with them to complete one of my fragments, or to write something totally new. As one of Wreckless Eric's fans for more than thirty years, I'd love the chance to write with him. But that then creates new complications. Would they be OK with my registering the copyright in all of our names? Would they be OK with my trying to shop the song around? In the event that I get it recorded, who owns what percentage? 50% for me and 50% for them together? 33 and a third % for each of us? Something else? Of course the thought of being able to register a copyright in my name and Eric's and Amy's is something quite fantastic for me (note that I am using the word "fantastic" to mean something out of fantasy, rather than simply "great"). And perhaps if I have a song that I cowrote with them there is a greater chance that they would record it on one of their albums, thereby giving me a credit (and a few dollars).
I will probably write back, explaining that I am having a hard time choosing between songs. I have three demos (of varying quality) that I'd like to send. I'd like to go with whichever they find most suitable. Of course, I will note, I also have some partially written material that I'd be happy to work with if any of those strike them. I can also mention the logistical (copyright,ownership, etc.). I think I'll note that my preference is to complete a song with them.
There is another issue to check on: I assumed, though they never specifically said, that I can have Eric take the vocals on our recording. I want to make sure that that's OK -- partly because I love the idea of having a recording of him singing one of my songs, and partly because I am a lousy singer.
I am also hoping that they know how to go about registering specific songs (or recordings?) with ASCAP so that if by chance something of mine gets recorded and played on air (or, for example, my friend HP Mendoza uses one of my songs in one of his movies), I can get the few dollars of royalties. Given that I won't get much money, it's almost a point of pride just to get a royalty check from ASCAP.
Finally, there's something I want to ask Eric. On the Live Stiffs album (from the Stiff Records package tour from the late '70s, featuring performances by Nick Lowe, Eric, Larry Wallis, Elvis Costello and Ian Dury), before he starts "Reconnez Cherie," he anounces that his guitar doesn't work. After some confusion he plugs it in and says, "Ahh. I forgot to plug me in." I want to know if that was truly him being himself and legitimately not realizing that he wasn't plugged in, or if it was an act that he did at every show.
Thursday, July 12, 2012
i can wrecord with wreckless — for a price
My wife found another Kickstarter campaign for me to get behind.
http://www.kickstarter.com/projects/310096071/wreckless-eric-and-amy-rigby-new-album
Wreckless Eric is one of my absolute favorite musicians. I should follow that up with a blogpost describing my history as a Wreckless Eric fan. Until then, take my word for it. Anyway, Eric and his wife, Amy Rigby, are working on their next album (it will be their third album together), and raising money on Kickstarter. The big thing for me is the reward for a $500 pledge:
So I can make a demo with Eric and Amy of one of my songs. A recording of a song I wrote, with one of my musical idols playing on it. Actually, I suspect he'll be singing too, since I can't sing on key or in tune. Maybe I'll end up with a usable demo (which would make this cheap for a usable demo), or maybe I'll come away with a recording that I love but that can't be used as a demo. Either way, it's an extravagant gift to myself. But I know that if I don't do this now, when I can, then I'll spend years kicking myself, that I missed a chance to record a track with Wreckless Eric.
Not sure which song I'll want to record. I've had thoughts of writing something new for the occaison -- especially since I have a couple works in progress. Maybe I can finish one of them off. Barring that, I'll probably bring demos and lyric sheets of everything I have and ask Eric and Amy what they would want to work with me on. And, I have the maybe-I'll win-the-lottery type of fantasy that they'll like one of my songs so much that they'll want to record it themselves for a future album. Amy Rigby is, afterall, known within the New York City C&W scene.
For now, here's the only "official" Wreckless Eric video I've been able to find on Youtube. Be aware that it's like 30 years old:
http://www.kickstarter.com/projects/310096071/wreckless-eric-and-amy-rigby-new-album
Wreckless Eric is one of my absolute favorite musicians. I should follow that up with a blogpost describing my history as a Wreckless Eric fan. Until then, take my word for it. Anyway, Eric and his wife, Amy Rigby, are working on their next album (it will be their third album together), and raising money on Kickstarter. The big thing for me is the reward for a $500 pledge:
Record a track with Eric & Amy at The Souther Domestic Facility — spend a day with us in our studio recording a track of your choice. If you don't have a song we'll help you write one. Take the lid off the mystery... See how we do it... come away sounding exactly like us... And if you need accomodation we'll put you up for the night. This offer is designed for individuals, not for bands without prior agreement. This reward includes a free download of the album.
So I can make a demo with Eric and Amy of one of my songs. A recording of a song I wrote, with one of my musical idols playing on it. Actually, I suspect he'll be singing too, since I can't sing on key or in tune. Maybe I'll end up with a usable demo (which would make this cheap for a usable demo), or maybe I'll come away with a recording that I love but that can't be used as a demo. Either way, it's an extravagant gift to myself. But I know that if I don't do this now, when I can, then I'll spend years kicking myself, that I missed a chance to record a track with Wreckless Eric.
Not sure which song I'll want to record. I've had thoughts of writing something new for the occaison -- especially since I have a couple works in progress. Maybe I can finish one of them off. Barring that, I'll probably bring demos and lyric sheets of everything I have and ask Eric and Amy what they would want to work with me on. And, I have the maybe-I'll win-the-lottery type of fantasy that they'll like one of my songs so much that they'll want to record it themselves for a future album. Amy Rigby is, afterall, known within the New York City C&W scene.
For now, here's the only "official" Wreckless Eric video I've been able to find on Youtube. Be aware that it's like 30 years old:
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