I appreciate the song's inner tension: I enjoy this thing, even "crave" it, but it's also wrong, because I have my share of analogous obessions. There are things that I enjoy that are wrong; there are activities that I love to partake in that aren't cut-and-dry in their ethics. Just like there's no clear ethical way to eat seafood, hedonism always carries a few ethical quandaries. And yet we still do them because life simply isn't bearable with a perfect ethical standard.
Be sure to check out the more polished, professional performances of "My Songbird."
A while ago, I posted about a recording I made for a Michael Knott Tribute project. Here's how it worked out:
I admit that I should have chosen a more subtle snare, and I should have made a more interesting bass part, but what's done is done. I can pick it apart, but I think it's an OK contribution.
I've always loved "Mr. Blue" and have it pretty-much memorized. I started playing, recorded it in one take, fiddled with the mix a little, and uploaded it to YouTube. Blam. There you go. When I get angry at myself, I try to do something sort-of creative.
I shouldn't be recording one-take versions of 1959 hits at a time like this; I should be reading the texts I need to read for my University course this summer. Still, it's nice to pound out a little recording, even if its quality is as raw as maggots.
I plugged the guitar directly into the board. Meh.
A few weeks ago, I posted about how I've been working on a track for the upcoming Michael Knott tribute album. I just sent Joshua Lory the rough mix. I'm hoping it makes the cut because it was a lot of work, but I won't be overly disappointed if it doesn't make the cut because I don't really know what I'm doing when it comes to mixing. Here's what it looks like right now.
For the last month or so, I've been trying to slowly put together a recorded version of LSU's "Pound of Flesh" for some upcoming Michael Knott tribute album. I doubt I'll be able to get it to top notch quality in time, but it would be pretty cool if I did. Here's what it's looking like right now:
Here's a confession: I stole a cassette copy of LSU's Cash in Chaos World Tour from a cassette clearance bin years and years ago, like back in 1993 or so. (I've since bought a legitimate CD version of the album). I'm pleased so see that you can order Cash in Chaos World Tour on Bandcamp. And you should order it. It's one of the most enduring albums in my CD collection; I've been listening to it consistently for the last 20 years or so.
"Pound of Flesh" was the first song I really connected with on the album. The groovy bassline and echo-box vocals really jived with me and I enjoyed the way it was a long song that had enough melodic variety in it that it kept my interest while it also maintained a consistent tone. Its lyrics meshed perfectly with the music. I'd often listen to it over and over again; it truly inspired me to think about the way bass guitar can drive a song.
I doubt that I'll be able to do it justice. I've replaced all the digital chorus-y guitars with wah-wahs, and replaced all the flange-y guitars in the chorus with some straight Marshall distortion; the bass is a clean Jazz Bass doubled with the Rhodes; there's a touch of high-end synthesizer helping to release the recording from the classic "mud" that usually permeates my recordings. But it still sounds like me, doubtless.
I wouldn't be surprised if I don't get to record the vocals before the due date, but it's worth a shot. It's sounding OK right now.
The most frightening thing about it is the following part of the instructions that Joshua Lory posted on Facebook:
You see, I've never sent anything sorta' professional to a stranger. I don't know if my mixes sound real or if they sound absultely, completely amateur. I'm a little freaked out that, if I get it finished on time, I'll send the mix to the guy and he'll laugh at its utter ineptitude. I mean, Joshua Lory's mixes sound pretty good:
So we'll see. Here's to hoping I get it done.
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YouTube: ephemeral ideas