For next week, our guiding topic is Imagery. This is very widely emcompassing literary term. One meaning is looking words/phrases that appeal to the senses. One way of thinking about it, as I discussed on my radio last week (Wed, 7-7:30, CFMU 93.3), Imagery is writing that makes you want paint a picture of the scene. The other meaning I mentioned I suggested saw imagery as having two sides: the literal and the figurative, that is, what is actually happening in the song and what the metaphoric meaning of that action is.
I have new song about Hamilton that I'm hoping will be featured on CBC, that I might play. It uses an extended image: "If Hamilton were a woman... I posted it here: www.myspace.com/wilsonfamilyforgery
Meghan LeBlack of Purl of Surf also offers us some great imagistic material for us to sink our teeth into, lyrics which are printed below. (And don't forget that Matthew DeZoete is offering us a set as well!)
HEAVY
This city is a mood
Melancholy anchors in the dusk
Atlas, it’s all you:
Weighted by fog, this cloud is seriously HEAVY. Do lift it, won’t you?
This stranger is my vibe
Sent forth in waves to administer the shock
Eros, be my guide:
The shyness that binds me is so very seriously HEAVY. Do lift it, won’t you?
Won’t you? Won’t you?
This encounter’s flower is blue
See it blooming, open to the public
Gaia, it’s all you:
The dirt on these petals is so very seriously HEAVY. Do lift it, won’t you?
If all of the gods could break us free from all that our bodies seem to feel
All of these inhibited spirits could reveal their real presence and confidence
This lava is my ride
Traveling slowly on blankets of sandy fire
Volcan, be my guide:
Forged by my heated past, this coat is seriously HEAVY. Do lift it, won’t you?
Won’t you? Won’t you?
©Meghan LeBlanc 2008
Saturday, November 8, 2008
Monday, October 20, 2008
Nov 12 Forge: Matthew De Zoete
We are very lucky to have Matthew De Zoete come to the Forge as a special featured guest performer next month. This is great opportunity for local songwriters to get some feedback from this very talented songwriter. As always, the Forge is free to attend. So mark Nov 12 (8pm) on your calenders, and don't hestitate to contact me thomas.g.wilson (at) gmail.com to showcase a couple songs for feedback.
two pithy (pitiful?) tips and a not so sad song
Thanks for those songwriters who participated in the last Forge. Here are a couple rather practical tips for writing a sad song.
#26 Arpeggios are sad. Joshua Weresch's song "the South Wins the War" was a very effective song . It had a beautiful arpeggetiated piano part. There's especially moving in hearing chords broken into individual notes -- a delicate vulnerability. I would definately recommend finger-picking for guitar players, if you are attempting to border sad subject matter.
#27 Melodrama, hyperbole and humour are not sad. I was told my own song "Someday" was too funny to be sad. Sad songs seem to require an appearance of sincerity and the sensitivity of understatement. Melodrama can be effective in eliciting tears at the movie theatres, but songs are very short form of writing, and so it is very difficult to engage the listener in such a dramatic build in such short amount of time.
I would still recommend writing overblown melodramatic songs -- like those Tom Waits, Rufus Wainwright or The Dears -- as I love to listen to them; but perhaps I should not consider these songs "sad".
Here are lyrics to my song, in case anyone would like to see by example or comment.
Someday (by Thomas Wilson)
On a Monday I first met you, in Love's innocence I stumbled
Over many hilly meadows, I rambled and I tumbled
I was chasing after your East-bound train
I almost caught up you, it was as close as I ever came
On a Tuesday we made a date, but my car broke down
And I got caught in the snow and the rai, fifteen miles out of town
I would've called up if cellphones had existed,
But the payphones were frozen and your number wasn't listed
But Someday
I'll declare my love (2x)
Someday
I'll declare my love
to --
On a Wednesday I was stuck like lightning in the eyes
God help me write a poem for you, God help me or I die
You laughed a might laugh, my dick shrunk in my pants
To quit while I was ahead, I took you to the dance
On a Thursday I bought you flowers, the kind you didn't like
And then I made you dinner, you didn't eat a bite
When you threw my toothbrush in the toilet out of spite
I was thinking just then, that it wouldn't be the night
Chorus
On a Friday I said I loved you a thousand times or more
But all my words just fell like dry gravel to the floor
You said you loved me too as a ricochet does bounce
A cease-fire was declared, for whatever that amounts
On a Saturday it felt like the last day of my life
I recognize you as someone who looked almost like my wife
You held my hand, cut my food with a plastic knife
I was trying to tell you something, but words didn't come out right
Chorus
#26 Arpeggios are sad. Joshua Weresch's song "the South Wins the War" was a very effective song . It had a beautiful arpeggetiated piano part. There's especially moving in hearing chords broken into individual notes -- a delicate vulnerability. I would definately recommend finger-picking for guitar players, if you are attempting to border sad subject matter.
#27 Melodrama, hyperbole and humour are not sad. I was told my own song "Someday" was too funny to be sad. Sad songs seem to require an appearance of sincerity and the sensitivity of understatement. Melodrama can be effective in eliciting tears at the movie theatres, but songs are very short form of writing, and so it is very difficult to engage the listener in such a dramatic build in such short amount of time.
I would still recommend writing overblown melodramatic songs -- like those Tom Waits, Rufus Wainwright or The Dears -- as I love to listen to them; but perhaps I should not consider these songs "sad".
Here are lyrics to my song, in case anyone would like to see by example or comment.
Someday (by Thomas Wilson)
On a Monday I first met you, in Love's innocence I stumbled
Over many hilly meadows, I rambled and I tumbled
I was chasing after your East-bound train
I almost caught up you, it was as close as I ever came
On a Tuesday we made a date, but my car broke down
And I got caught in the snow and the rai, fifteen miles out of town
I would've called up if cellphones had existed,
But the payphones were frozen and your number wasn't listed
But Someday
I'll declare my love (2x)
Someday
I'll declare my love
to --
On a Wednesday I was stuck like lightning in the eyes
God help me write a poem for you, God help me or I die
You laughed a might laugh, my dick shrunk in my pants
To quit while I was ahead, I took you to the dance
On a Thursday I bought you flowers, the kind you didn't like
And then I made you dinner, you didn't eat a bite
When you threw my toothbrush in the toilet out of spite
I was thinking just then, that it wouldn't be the night
Chorus
On a Friday I said I loved you a thousand times or more
But all my words just fell like dry gravel to the floor
You said you loved me too as a ricochet does bounce
A cease-fire was declared, for whatever that amounts
On a Saturday it felt like the last day of my life
I recognize you as someone who looked almost like my wife
You held my hand, cut my food with a plastic knife
I was trying to tell you something, but words didn't come out right
Chorus
Sunday, October 5, 2008
Lea Beauvais: two songs for Oct 8th "sad" workshop
We have a full line-up for the workshop this Wednesday (8pm at the Freeway), so I encourage all of Hamilton's songwriters and enthusiasts to come and offer an ear and perhaps few thoughts about how to write a good sad song. Lea Beauvais transports us with a couple her songs.
The Travel Song
Sometimes I wanna take off my headphones,
And here the sounds of this place.
The noise of this train,
The breaths that these cities take.
There's so much, do so little, appreciate?
Well I walked alongside the bath and I,
Breathed Minerva's steam.
I don't remember, a more peaceful time that I've been in.
There's so much, do so many, appreciate?
(chorus)
Well,
Maybe they do,
I am only me,
Not the other minds I see.
All of this history,
What does it mean to me?
And how do they just walk by,
People walk by the way they do.
There's so much, that it gets so hard,
To believe.
Are people amazed like me,
Do they feel better off, like me?
(Chorus)
Well,
Maybe they are,
I am only me,
Not the other minds I see.
And I've learned,
That some things,
You really cannot photograph,
And some things,
You cannot describe,
And I, feel small.
But I feel connected at the same time.
Why do I, care what you're thinking,
Does it make me feel less alone?
(last chorus)
Well,
Maybe I'm not alone,
I am only me, I am,
Comprised of other minds I've seen.
How I feel
Will it ever be real?
Will I manage to feel,
The way its said to be,
The way its meant to be.
You see,
I've been hurt so many times now.
Do I open my heart too damn easily?
Because I let you play around with me
And as you lingered I waited, hopelessly.
Is this really me?
(chorus)
Will it ever be real?
Will it work at least.
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it,
Cause that's how I feel,
That's how I feel.
Who will love me for me?
And do I, have to change?
(Cause) someone once loved me for me
What is the right way to be?
You see,
You make me feel like I am not,
Good enough and I know that,
Can't be right.
It can't be right.
(chorus)
So will it ever be real,
Will it work at least?
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it.
Cuz that's how I feel,
That's how I feel.
Who will love me, love me, love me,
Who will love me, love me, love,
Real, real, real?
Real, real, real?
(last chorus)
Will it ever be real,
Will it work at least,
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it,
Cause that's how I feel,
That's how I feel.
The Travel Song
Sometimes I wanna take off my headphones,
And here the sounds of this place.
The noise of this train,
The breaths that these cities take.
There's so much, do so little, appreciate?
Well I walked alongside the bath and I,
Breathed Minerva's steam.
I don't remember, a more peaceful time that I've been in.
There's so much, do so many, appreciate?
(chorus)
Well,
Maybe they do,
I am only me,
Not the other minds I see.
All of this history,
What does it mean to me?
And how do they just walk by,
People walk by the way they do.
There's so much, that it gets so hard,
To believe.
Are people amazed like me,
Do they feel better off, like me?
(Chorus)
Well,
Maybe they are,
I am only me,
Not the other minds I see.
And I've learned,
That some things,
You really cannot photograph,
And some things,
You cannot describe,
And I, feel small.
But I feel connected at the same time.
Why do I, care what you're thinking,
Does it make me feel less alone?
(last chorus)
Well,
Maybe I'm not alone,
I am only me, I am,
Comprised of other minds I've seen.
How I feel
Will it ever be real?
Will I manage to feel,
The way its said to be,
The way its meant to be.
You see,
I've been hurt so many times now.
Do I open my heart too damn easily?
Because I let you play around with me
And as you lingered I waited, hopelessly.
Is this really me?
(chorus)
Will it ever be real?
Will it work at least.
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it,
Cause that's how I feel,
That's how I feel.
Who will love me for me?
And do I, have to change?
(Cause) someone once loved me for me
What is the right way to be?
You see,
You make me feel like I am not,
Good enough and I know that,
Can't be right.
It can't be right.
(chorus)
So will it ever be real,
Will it work at least?
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it.
Cuz that's how I feel,
That's how I feel.
Who will love me, love me, love me,
Who will love me, love me, love,
Real, real, real?
Real, real, real?
(last chorus)
Will it ever be real,
Will it work at least,
Will I ever feel what they feel,
Content blissfully.
Is it just a myth?
Wanna write it off as it,
Cause that's how I feel,
That's how I feel.
Sunday, September 21, 2008
How to write a sad song: Oct 8
We have already a fair bit interest in our next meeting, October 8th. Don't hestitate to contact me if you interested in showcasing next month or in the future: thomas.g.wilson at gmail.com
Our last month's topic "repetition" was a little vague, so I for this next month, I would like focus flip side of last year "How to write a happy song". No matter how we all love an upbeat ditty, I think there is something more profoundly lasting in explorations of suffering. Romantic comedies may make the big bucks at the box office, but it is usually tragedies win the Oscars and draw interest for years to come. The difficultly lies in writing a "sad" song well.
Luckily we have Joshua Weresch joining us on October 8th, a Hamilton songwriter renowned in our circle for delving into the morose and morbid.
Here is new work in progress that he offers us:
South Wins War
21 September 2008
Hamilton, ON
Joshua Weresch
I suppose it is simple: "You're pissing me off."
It could be the laughter, could be the cough.
You awaken at dawn with blood on your clothes
And the South wins the war again.
Don't come to this calling, twitching with guilt.
Here are bricks without straw; there's a city re-built.
You awaken at noon, take the wrong antidote
And the South wins the war again.
And it's over the concrete to take the last stand.
The poor folk are coming with fire in their hand.
You awaken at night with a knife to your throat
And the South wins the war again.
Another pianist, Joyce McAughey offers us some songs self-described as " depressing, neurotic , kicked by the world lyrics with an upbeat feel".
Nobody's Fool words and music by Joyce McAughey
c.2008
I'm nobody's fool
I'm nobody's girl
I'm nobody's favourite star.
I never thought things would turn out this way,
I guess that's just the way things are.
I'm not a footstool in your living room nor
A doormat in your hall.
I know there's so much you despise about me
I know 'cause I've heard it all.
I'm sick and tired of this
I'm sick and tired of this
I'm so sick and tired of this
I'm sick to death of it.
I stay here on my sofa
Just to pass the time
I watch the world go by me
It seems to manage just fine.
I'm sick and tired of this
I'm sick and tired of this
I'm so sick and tired of this
I'm sick to death of it
I'm nobody's fool
I'm nobody's girl
I'm nobody's favourite star
I never thought things would turn out this way,
I guess that's just the way things are
I guess that's just the way things are
I guess
That's just the way things are.
Waiting words and music by Joyce McAughey
c.2008
She paces the sidewalk
She spins and turns around
Her lipstick's been applied
With a mirror on the ground.
Chilled to the bone
Under this warm October sky
She raises a toast to the passersby.
She waits
Patiently for someone
Who never really has appeared.
Was he late again for coffee?
Was he late again my dear?
She said she saw him on the corner
With his new-found long lost friend
And she thought that he'd be waving
But he never looked back again
He never looked back.
She said the days are getting shorter now
And the seasons how they change.
As she stood in the doorway under
Cigarette haze.
Chilled to the bone
Under this warm October sky
She raises a toast to the passersby.
Our last month's topic "repetition" was a little vague, so I for this next month, I would like focus flip side of last year "How to write a happy song". No matter how we all love an upbeat ditty, I think there is something more profoundly lasting in explorations of suffering. Romantic comedies may make the big bucks at the box office, but it is usually tragedies win the Oscars and draw interest for years to come. The difficultly lies in writing a "sad" song well.
Luckily we have Joshua Weresch joining us on October 8th, a Hamilton songwriter renowned in our circle for delving into the morose and morbid.
Here is new work in progress that he offers us:
South Wins War
21 September 2008
Hamilton, ON
Joshua Weresch
I suppose it is simple: "You're pissing me off."
It could be the laughter, could be the cough.
You awaken at dawn with blood on your clothes
And the South wins the war again.
Don't come to this calling, twitching with guilt.
Here are bricks without straw; there's a city re-built.
You awaken at noon, take the wrong antidote
And the South wins the war again.
And it's over the concrete to take the last stand.
The poor folk are coming with fire in their hand.
You awaken at night with a knife to your throat
And the South wins the war again.
Another pianist, Joyce McAughey offers us some songs self-described as " depressing, neurotic , kicked by the world lyrics with an upbeat feel".
Nobody's Fool words and music by Joyce McAughey
c.2008
I'm nobody's fool
I'm nobody's girl
I'm nobody's favourite star.
I never thought things would turn out this way,
I guess that's just the way things are.
I'm not a footstool in your living room nor
A doormat in your hall.
I know there's so much you despise about me
I know 'cause I've heard it all.
I'm sick and tired of this
I'm sick and tired of this
I'm so sick and tired of this
I'm sick to death of it.
I stay here on my sofa
Just to pass the time
I watch the world go by me
It seems to manage just fine.
I'm sick and tired of this
I'm sick and tired of this
I'm so sick and tired of this
I'm sick to death of it
I'm nobody's fool
I'm nobody's girl
I'm nobody's favourite star
I never thought things would turn out this way,
I guess that's just the way things are
I guess that's just the way things are
I guess
That's just the way things are.
Waiting words and music by Joyce McAughey
c.2008
She paces the sidewalk
She spins and turns around
Her lipstick's been applied
With a mirror on the ground.
Chilled to the bone
Under this warm October sky
She raises a toast to the passersby.
She waits
Patiently for someone
Who never really has appeared.
Was he late again for coffee?
Was he late again my dear?
She said she saw him on the corner
With his new-found long lost friend
And she thought that he'd be waving
But he never looked back again
He never looked back.
She said the days are getting shorter now
And the seasons how they change.
As she stood in the doorway under
Cigarette haze.
Chilled to the bone
Under this warm October sky
She raises a toast to the passersby.
A couple tips
Thank you Randy keeping the everyone up to date with radio show. Here's a couple older tips that I've been meaning to post.
#25 Young songwriters can add too many notes. Don't be afraid to give your melodies space to breath. --The Abbreviations
#26 Start with a good title and build your song around that.
--Bruce Springsteen (VH Story Teller) relied by Octoberman
#25 Young songwriters can add too many notes. Don't be afraid to give your melodies space to breath. --The Abbreviations
#26 Start with a good title and build your song around that.
--Bruce Springsteen (VH Story Teller) relied by Octoberman
Wednesday, September 17, 2008
I'm listening to The Forge right now on my radio.
So I'm listening to The Forge right now on CFMU 93.3 FM. I don't know about anyone else but I think Tom's voice sounds like it should be on the CBC!
I don't know if Tom would get mad at me for saying this but I am always curious about what technical difficulty will result each week. The amazing thing is that Tom is so mellow that he never sounds flustered. I'm sure that I would be no better at learning all that technical stuff needed to be on the air. I think in a couple more weeks, Tom will have delved into every possible technical miss step and he will have no more mistakes left to make.
Tonight's guest is Dan Griffin (a great Hamilton songwriter). Dan just finished giving his songwriting tip and it and went something like:
"Try and write from someone else's perspective, or a different story from your own."
I like that one. It has taken me a number of years to get to the place in my own songwriting that I'm starting to write fictional stories, but now that I have delved into this territory it has really helped my songs. Tom just said that he is going to condense Dan's tip in his own blog entry so I'll leave him to talk about it more.
Tom and Dan were also talking about country music. Dan was saying that he doesn't think you have to be from the "country" to play country (he's a suburban boy). They went on to talk about that country has come a long way from its Tennessee roots. I think it is worth noting that the sound and look of traditional old country was often city boys borrowing the look and sound of cowboys from western films. I know that some country music has its roots in rural folk music (like the original Carter Family) but most of country music's hey day was all urban. Think about Chet Atkins, the quintessential country guitar player. That guy is the foundation of so much of country music and his sound is so very urban, almost becoming jazz.
If you haven't had a chance to listen to The Forge yet, you are missing out on a great show. I have heard rumors that it might become podcast in the future. That would be really cool!
I don't know if Tom would get mad at me for saying this but I am always curious about what technical difficulty will result each week. The amazing thing is that Tom is so mellow that he never sounds flustered. I'm sure that I would be no better at learning all that technical stuff needed to be on the air. I think in a couple more weeks, Tom will have delved into every possible technical miss step and he will have no more mistakes left to make.
Tonight's guest is Dan Griffin (a great Hamilton songwriter). Dan just finished giving his songwriting tip and it and went something like:
"Try and write from someone else's perspective, or a different story from your own."
I like that one. It has taken me a number of years to get to the place in my own songwriting that I'm starting to write fictional stories, but now that I have delved into this territory it has really helped my songs. Tom just said that he is going to condense Dan's tip in his own blog entry so I'll leave him to talk about it more.
Tom and Dan were also talking about country music. Dan was saying that he doesn't think you have to be from the "country" to play country (he's a suburban boy). They went on to talk about that country has come a long way from its Tennessee roots. I think it is worth noting that the sound and look of traditional old country was often city boys borrowing the look and sound of cowboys from western films. I know that some country music has its roots in rural folk music (like the original Carter Family) but most of country music's hey day was all urban. Think about Chet Atkins, the quintessential country guitar player. That guy is the foundation of so much of country music and his sound is so very urban, almost becoming jazz.
If you haven't had a chance to listen to The Forge yet, you are missing out on a great show. I have heard rumors that it might become podcast in the future. That would be really cool!
Friday, September 12, 2008
Radio Forge on CFMU 93.3 FM
So I was listening to the Forge radio show on my way in to the songwriting workshop at The Freeway Coffee House yesterday. It was a very cool experience listening to the show at 7 and attending the workshop at 8. This last week featured a conversation with Janine Stoll, a great songwriter that I have admired for a while. I loved her songwriting tip. Try to avoid over using the word "and." Don't use the word "and" out of context. She talked about how a lot of songwriter use the word "and" as a place holder and if you tried reading the lyrics they don't really make sense.
Tom is doing a great job hosting the Forge Radio show. If you haven't had a chance to hear it yet, it is on CFMU 93.3 FM every Wednesday evening at 7:00pm for 30 minutes.
The Songwriting workshop is on the second Wednesday of every month at The Freeway Coffee House at 8pm. Hope to see you out next month.
Monday, September 8, 2008
Lyrics: Nobody with a Good Car
I'm offering two song this meeting. the one below is brand new and on my myspace: www.myspace.com/wilsonfamilyforgery
Nobody with a Good Car
Thomas Wilson
Nobody with a good car needs to be justified
Nobody with a good car needs to be justified
You can follow any road, life is like Sunday drive
For nobody with a good car needs to be justified
Nobody with a good looking women needs to be justified
Anybody can be good looking, she need not be your bride
to escape the bonds of flesh, many have tried
But nobody, nobody needs to be justified
Bridge:
Tell me what if
A patrolman kicks
Your car off a cliff
While your neck is stiff from murdering
someone of your very mirror likeness
And then what bliss
Not to accept a lift
Or any other gift
of his or a landlady's kindness --
What blindness
is this?
I think we can see clearly now, we do not need to be justified
Anybody with a good pair of eyes, does not need to be justified
Some thought they sawme crying, well that was just something in my eye
Say nobody who knows nothing needs to be justified
Nobody with a Good Car
Thomas Wilson
Nobody with a good car needs to be justified
Nobody with a good car needs to be justified
You can follow any road, life is like Sunday drive
For nobody with a good car needs to be justified
Nobody with a good looking women needs to be justified
Anybody can be good looking, she need not be your bride
to escape the bonds of flesh, many have tried
But nobody, nobody needs to be justified
Bridge:
Tell me what if
A patrolman kicks
Your car off a cliff
While your neck is stiff from murdering
someone of your very mirror likeness
And then what bliss
Not to accept a lift
Or any other gift
of his or a landlady's kindness --
What blindness
is this?
I think we can see clearly now, we do not need to be justified
Anybody with a good pair of eyes, does not need to be justified
Some thought they sawme crying, well that was just something in my eye
Say nobody who knows nothing needs to be justified
Thursday, September 4, 2008
WED Sept 10, first live meeting of the season!
Hello Songwriters,
Our first meeting of the season is this Wednesday (not Friday as previously posted --oops!), Sept 10 at 8pm (not 7:30 like last year). We are moving the meeting time up a bit, so that I can bike from the radio show at McMaster that ends at 7:30.
Don't hestitate to contact me (Tom) to showcase. If you would like review the basic premise of the Forge (including my contact info) click here .
I have other good news: I am planning on recording this meeting and then playing selections of it on the radio show (Wed 7-7:30). Very soon, all the show at CFMU will be podcasted, which will great for the participants exposure.
Our first meeting of the season is this Wednesday (not Friday as previously posted --oops!), Sept 10 at 8pm (not 7:30 like last year). We are moving the meeting time up a bit, so that I can bike from the radio show at McMaster that ends at 7:30.
Don't hestitate to contact me (Tom) to showcase. If you would like review the basic premise of the Forge (including my contact info) click here .
I have other good news: I am planning on recording this meeting and then playing selections of it on the radio show (Wed 7-7:30). Very soon, all the show at CFMU will be podcasted, which will great for the participants exposure.
Wednesday, August 13, 2008
Love Songs, Protest Songs
Hello deep forgers of the beyond,
Now with the weekly radio show the tips pile up.
About a month ago I stole a tip from Nick Cave's "Love Song lecture":
Tip #21 All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather hate songs disguised as love songs, and are not to be trusted. (Nick Cave)
(For an explanation of "duende" and the complete lecture see the link below or get his complete lyrics for the library or if they don't have get them to order it).
http://everything2.com/index.pl?node_id=800055
Well these tips will be out of order because I don't have my Bob Dylan book of interviews with me. but a couple weeks a Matt Jelly (former mayoral candidate, graphic artist, and among other things, songwriter) came on the show. His tip is a simple one given repeatedly to all artists and craftspeople, and one that needs hearing repeatedly:
#22 Practice your craft everyday.
Even if its just for 10 minutes, giving yourself the daily time and space for inspiration is a rewarding discipline.
I asked Matt about his forgo-ence (not a real word, I'm sure) of the writing "protest" songs, which is especially striking considering his political passion. He said he admires some political songs, but he likes art and politics separate like "pea and potatoes". Personally, I don't think it's possible for any of one's beliefs (political, philosophical, religious, ect) to be separate from any part of your acting, thinking or being. However, later, Matt said he didn't like songs about only one thing, ei love. Song need conflict or tension or contradiction. I think his later statement is the truer one. A problem comes when start thinking of protest songs as being solely concerned with political actions (about one thing), thus turning people into one dimensional objects to be incited. The best protest songs, rather, are about people, both in groups and individually multi-faceted creature.
Now with the weekly radio show the tips pile up.
About a month ago I stole a tip from Nick Cave's "Love Song lecture":
Tip #21 All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather hate songs disguised as love songs, and are not to be trusted. (Nick Cave)
(For an explanation of "duende" and the complete lecture see the link below or get his complete lyrics for the library or if they don't have get them to order it).
http://everything2.com/index.pl?node_id=800055
Well these tips will be out of order because I don't have my Bob Dylan book of interviews with me. but a couple weeks a Matt Jelly (former mayoral candidate, graphic artist, and among other things, songwriter) came on the show. His tip is a simple one given repeatedly to all artists and craftspeople, and one that needs hearing repeatedly:
#22 Practice your craft everyday.
Even if its just for 10 minutes, giving yourself the daily time and space for inspiration is a rewarding discipline.
I asked Matt about his forgo-ence (not a real word, I'm sure) of the writing "protest" songs, which is especially striking considering his political passion. He said he admires some political songs, but he likes art and politics separate like "pea and potatoes". Personally, I don't think it's possible for any of one's beliefs (political, philosophical, religious, ect) to be separate from any part of your acting, thinking or being. However, later, Matt said he didn't like songs about only one thing, ei love. Song need conflict or tension or contradiction. I think his later statement is the truer one. A problem comes when start thinking of protest songs as being solely concerned with political actions (about one thing), thus turning people into one dimensional objects to be incited. The best protest songs, rather, are about people, both in groups and individually multi-faceted creature.
Please permit me to bring in some philosophy here (or permit yourself to stop reading). The word politics comes from greek word polis , meaning "city" (and probably other things as well). Ancient Greek philosopher Plato's famous dialogue The Republic, the "politeia" is said to be about a politic system. But there's much more, because Socrates says, "the city is the image of the soul of each person". The means whatever happens in the city (macro) is reflected in each person and vice versa. In a plutocracy (the rule of wealthy), we see great monuments to business and banking, ei any North American city. We also see a great disparity of wealth, with extensive poverty and want. This an image of each person, as we see people impoverish certain desires (friendship, love) to the desires for material success and luxury. Thus the "class" battles of politics are mirror in internal battles of each person.
Actually Plato's view, I'm guessing, is very much against "activism", as it is impossible to create the "ideal" city, though it possible for some people to change themselves on an individual level. (we can disagree with him on this).
So how does all this relate to protest songs? The best protesting songs, I'm suggesting are those that look at the issue on both micro and macro level, like Bob Dylan's John Brown and folk song from the 19th c. Mrs McGrath.
Friday, July 11, 2008
Two Hours of Tips (in 15 minutes)
Hello Forgers,
Happily, Alec of Two Hours Traffic was able to do phone-in interview last Wednesday. Two Hours Traffic is a terrifically acclaimed band and are worth checking out. He offered some amazing tips on air with great concision and here I will pass them on to you:
#18 Don't limit yourself by genre. Alec mentioned how listening to hip-hop can inspire and instruct in songwriting rhythms and phrasing.
#19 Switch up your writing instrument. The Classical guitar has been giving Alec a good run in writing.
#20 If you have a good melody make sure you marry it to a lyric pronto, or else it is sure get lost to the mists of time. (Barring that, a dictaphone can be good investment to remember songwriting nuggets)
Tuesday, July 8, 2008
No Forge meetings for Jul and Aug
Since I've been starting up the radio version of Forge (Wed 7-7:30, 93.3FM or online at CFMU), I'm going to put the live meetings at the Freeway (2nd wed of the month) on hold.
Note as well that my myspace address has changed to www.myspace.com/wilsonfamilyforgery
Please message me there or email me at thomas.g.wilson (at) gmail.com if you are a Hamilton songwriter interested in being on the radio or showcased in the future.
Tips by Increasing Frequencies
Hello Forgers,
Things are going well on the radio front. Joshua Weresch shipwrecked in on June 25th and The Mississippi Kings flooded the air waves on July 2nd. And if things go well, PEI sensations Two Hours Traffic will strut our humble stage tomorrow, 7-7:30, 93.3 FM.
I've been asking my guest to offer their songwriting tips, and will finally update you all with their wisdom:
#16 Listen deeply to the traditions of music -- The Public Library is great resource for this. (Joshua Weresch)
This is indeed an important because the Mississippi Kings gave us two tips, and one of them was (as remember) an approximate reiteration of the above, minus the praise for our Hamilton Library.
17# Don't wait for inspiration -- go out and look for it. Specifically, people watching the crazies in our fine metropolis will get you started. (Mississippi Kings)
Wednesday, June 25, 2008
Sanguine Fire: Tips to Happy Songwriting
Thanks to everyone for their participation in our last workshop when we discussed the perennial songwriting difficulty: how to write a happy song. Our next tips are brands lit from that meeting.
In its component parts music made up of 4 things (please disagree about this in comments section): pitch, tempo, tone and structure. Let's be simple about it, and suggest how these components usually act in a happy, positive, upbeat, or feelgood song.
#12. Pitch: singing in higher range will make a song happier. Think Paul McCartney vs. a Nick Cave or Tom Waits.
#13. Tempo: A fast tempo is more invigorating and mood-lifting. This is pretty obvious. Never hestitate to steal the rhythmic pattern from a favourite song if you want to give a song a lift.
#14. Tone: A light tone. Try humour, being silly and choosing flippant subject matter. Err on the side of clarity for your lyrics. Use hooks and repetition liberally.
#15. Structure: Go conventional. Be predictable. Don't be afraid to choose the most commonly used chord patterns in pop music. (You can always add some twists later).
Again, disagreement and debate is always welcome in comments section.
In its component parts music made up of 4 things (please disagree about this in comments section): pitch, tempo, tone and structure. Let's be simple about it, and suggest how these components usually act in a happy, positive, upbeat, or feelgood song.
#12. Pitch: singing in higher range will make a song happier. Think Paul McCartney vs. a Nick Cave or Tom Waits.
#13. Tempo: A fast tempo is more invigorating and mood-lifting. This is pretty obvious. Never hestitate to steal the rhythmic pattern from a favourite song if you want to give a song a lift.
#14. Tone: A light tone. Try humour, being silly and choosing flippant subject matter. Err on the side of clarity for your lyrics. Use hooks and repetition liberally.
#15. Structure: Go conventional. Be predictable. Don't be afraid to choose the most commonly used chord patterns in pop music. (You can always add some twists later).
Again, disagreement and debate is always welcome in comments section.
Monday, June 9, 2008
Brian DeBoer: Love When We Were Young; My Secret
Brian bestows upon us one piece of foolish happiness and another of savvy sadness. (I have not heard these songs yet, but have gleaned these adjectives from Brian's band, The Savvy Fools)
(Happy song)
Love When We Were Young
E
Was I that boy when you were young,
C#m
Back when babbling was our mother tongue
G#m
And life was care free, full of joy?
A B
Was I the boy, was I the boy?
Were you the girl when I was small?
Did we see each other in the hall?
When we past did we both sort of twirl?
Were you the girl, were you the girl?
C#m A E
Remember love when we were young
When mash notes were forever sung
C#m G#m A
And every romance seemed like wedding bells had rung?
B A
Remember love when we were young
B A E B
Remember love when we were young
Were you the girl when I was young
Who would skip and twirl out in the sun
Which had bleached your hair right to the curl?
Were you the girl, were you the girl?
Was I the boy who watched you skip
Just to hear whose name the rhymes would slip?
If I heard my name I'd act all coy
Was I the boy, was I the boy?
Remember love as it was then
We'd all fall time and time again
Then get back up to try once more
Just like before, just like before
No, time can't hold a flame to youth
Though we all get burned, to tell the truth,
'Cause love is still a silly game
But it's not the same, it's not the same
(Sad song)
My Secret
I've got the perfect secret
The truth is more than you can know
Even though
With every word I speak it
Yet it is thinly veiled below
Below the light snow
I wish that I could overlook
The shred that's shredding my mind
I wish that villain never took what he took, what a crook
I wish that I could lose the hook,
Which when he left he left behind,
But then I'd be an open book and you would know my secret
I have a haunted closet
The skeleton it is my own
Broken bone
And who knows what you'll posit
In the dark I cannot heal
Or I may reveal
The secret I defend
Upon the oath to my best friend
I'll hold it to the end
Although my life is just pretend
My voice remains unspoken
But if you read between the lines
There are signs
I still protect his token
The fetish I could not decline
It's his but it's mine
(Happy song)
Love When We Were Young
E
Was I that boy when you were young,
C#m
Back when babbling was our mother tongue
G#m
And life was care free, full of joy?
A B
Was I the boy, was I the boy?
Were you the girl when I was small?
Did we see each other in the hall?
When we past did we both sort of twirl?
Were you the girl, were you the girl?
C#m A E
Remember love when we were young
When mash notes were forever sung
C#m G#m A
And every romance seemed like wedding bells had rung?
B A
Remember love when we were young
B A E B
Remember love when we were young
Were you the girl when I was young
Who would skip and twirl out in the sun
Which had bleached your hair right to the curl?
Were you the girl, were you the girl?
Was I the boy who watched you skip
Just to hear whose name the rhymes would slip?
If I heard my name I'd act all coy
Was I the boy, was I the boy?
Remember love as it was then
We'd all fall time and time again
Then get back up to try once more
Just like before, just like before
No, time can't hold a flame to youth
Though we all get burned, to tell the truth,
'Cause love is still a silly game
But it's not the same, it's not the same
(Sad song)
My Secret
I've got the perfect secret
The truth is more than you can know
Even though
With every word I speak it
Yet it is thinly veiled below
Below the light snow
I wish that I could overlook
The shred that's shredding my mind
I wish that villain never took what he took, what a crook
I wish that I could lose the hook,
Which when he left he left behind,
But then I'd be an open book and you would know my secret
I have a haunted closet
The skeleton it is my own
Broken bone
And who knows what you'll posit
In the dark I cannot heal
Or I may reveal
The secret I defend
Upon the oath to my best friend
I'll hold it to the end
Although my life is just pretend
My voice remains unspoken
But if you read between the lines
There are signs
I still protect his token
The fetish I could not decline
It's his but it's mine
Friday, June 6, 2008
The Forge on CFMU
Hello Forgers of Hamilton and beyond,
My application do a weekly radio version of the Forge at CFMU 93.3 (campus and community radio at McMaster) has been accepted! The sparks have aligned and the time of the show will be 7-7:30 on Wednesdays, right adjacent to our monthly meeting time at 7:30. The main thrust of the show is to interview local songwriters and feature live performances, so all you Hamilton songwriters do not hesitate to contact me thomas.g.wilson (a) gmail.com to book an interview. Especially get a hold of me if you would like to promote a specific live show or CD release.
The first show will be June 25th, and I still have the orientation to figure out the details of using their studio, making podcasts, etc.
Jeff Druery: You Are I Am; God's Vacation
Jeff Druery hands us two mystical molten concoctions for our Forge to mould.
You are the radiance of light
the swirling energies
motion of atom and stars
the life force in the trees
You are more than what I touch and see
You’re the life inside the life in me
You are more than what I touch and see
You’re the life inside the life in me
You are
You are
You are
I am
You are the hidden connections
darkness of the storm
strength of wind, cool of rain
the formless behind all forms
You are more…
I am the radiance of light
the swirling energies
motion of atom and stars
the life force in the trees
I am more than what I touch and see
I’m the life inside the life in me
I am more than what I touch and see
I’m the power inside the power in me
I am more than what I touch and see
I’m the light inside the light in me
I am more than what I touch and see
I’m the love inside the love in me
I am
I am
I am
Jeff Druery, May 2008
God’s Vacation
God hung up his kingly crown
He said I’m through with that whole thing
I’m tired of being in control
People don’t need me
tellin’ them what to do
tellin’ them where to go
He climbed down from his high and holy throne
He said I’m tired of ruling on my own
Crushed his royal seal with a stone
and let the wind
carry the dust away
let the wind blow
I’m going on vacation
Have some traveling to do
Have a look at my creation
Taste a fine wine or two
I’m going on vacation
Lord knows I’ve done my share
You can find me if you need me
Just don’t look for me up there
I’m going on vacation
Gonna take a rest
So could you all take over
I know you’ll do your best
Verse 1…
Further Variations on Chorus…
You are the radiance of light
the swirling energies
motion of atom and stars
the life force in the trees
You are more than what I touch and see
You’re the life inside the life in me
You are more than what I touch and see
You’re the life inside the life in me
You are
You are
You are
I am
You are the hidden connections
darkness of the storm
strength of wind, cool of rain
the formless behind all forms
You are more…
I am the radiance of light
the swirling energies
motion of atom and stars
the life force in the trees
I am more than what I touch and see
I’m the life inside the life in me
I am more than what I touch and see
I’m the power inside the power in me
I am more than what I touch and see
I’m the light inside the light in me
I am more than what I touch and see
I’m the love inside the love in me
I am
I am
I am
Jeff Druery, May 2008
God’s Vacation
God hung up his kingly crown
He said I’m through with that whole thing
I’m tired of being in control
People don’t need me
tellin’ them what to do
tellin’ them where to go
He climbed down from his high and holy throne
He said I’m tired of ruling on my own
Crushed his royal seal with a stone
and let the wind
carry the dust away
let the wind blow
I’m going on vacation
Have some traveling to do
Have a look at my creation
Taste a fine wine or two
I’m going on vacation
Lord knows I’ve done my share
You can find me if you need me
Just don’t look for me up there
I’m going on vacation
Gonna take a rest
So could you all take over
I know you’ll do your best
Verse 1…
Further Variations on Chorus…
Thursday, June 5, 2008
The sad side of 2x the Mono: "Caught In A Lie" or "Exploding Man"
So I will featuring a couple of my songs this month at The Forge. Lucky for me the first song I posted was "Science Fantasy," a song that I think is very happy so now I have the luxury of picking from a full armada of sad songs. I think I will play one of the following two songs:
Caught In A Lie (Pinocchio) By Randell Neudorf © 2007
Caught in the act, caught in a lie
Don’t hesitate don’t you even think twice
Here’s what you’re going to do to pull yourself through
A story told well is a story believed
Cause all my friends know me so well
They know my story as if they knew me
Cause that’s what they need, a consistent me
A consistent me is why they believe
Who do you really know?
Who can you really know?
Who do you really know?
Why should you ever know?
You dirt fink, man you stink
That’s what you’d say if you ever got to read my mind
But my mind’s closed, but my mouth’s not
And my story flows out through my nose
Oh how it grows like know body knows
You say man how could anyone live like that
Well, you show me yours, and I’ll show you mine
You show me yours and everything’s fine
And we can hate together
And we can loathe each other
And we can hate each other
And we can lathe each other, other, other
You dirt fink, man you stink
That’s what you’d say if you ever got to read my mind
But my mind’s closed, but my mouth’s not
And my story flows out through my nose
Oh how it grows like know body knows
You say man how could anyone live like that
Well, you show me yours, and I’ll show you mine
You show me yours and everything’s fine
Who do you really know?
Who can you really know?
Who do you really know?
Exploding Man By Randell Neudorf © 2007
Kiss my child, her hair tastes like honey
Kiss my wife, does she suspect
Kiss my child
Will she forgive me?
Will they forgive me?
Will she forgive me?
Will they forgive me?
Walk out on life, this isn’t what I wanted
Walk out that door, does she suspect
Walk out on life
Will they curse me?
Will they love me?
Will they curse me?
Will they love me?
Strap my gear on, wire myself in
Light myself up, I’m ready to go…
And I’m going to take you all down with me
I’m the exploding man
You’ll never get a chance to hate me
I’m the exploding man
Watch me fly, watch me fly as I die
I’m the exploding man
Watch me fly, watch me fly as I die
Watch me fly, watch me fly
Oh, Watch me fly, watch me fly,
Watch me fly, watch me fly
Oh, Watch me fly; watch me fly as I die…
Saturday, May 31, 2008
June 11 Forge: Why is it so easy to write sad songs, and so hard to write happy ones?
Oh my beleaguered songwriters!
The title says it all. As one anonymous person once commented on this blog, why can't singer/songwriters write something upbeat for a change? The reasons why we like to write sad songs are manifold, so please post your theories in the comments section below. I have some of my own, but right now I am much too depressed to write them. (that's a joke! haha-ha!)
But seriously, we can work on all this mopey melancholy, if we wish. So next Forge for the examined songs on the hot seat, we will discuss whether the song is "sad" or "happy" or something in between. We will also try to give suggestions and techniques that alter the mood of the song. So Forgers, scan your brains, listen to your happiest and saddest songs, and interrogate them, asking why are they so happy or so sad?
Please songwriters of Hamilton and beyond, help us in out quest to answer the eternal question above. Bring us your sad songs, happy songs, and everything in between (bipolar song?). Do not hesitate to contact me to showcase thomas.g.wilson (at) gmail.com .
PS big thank you to Brian for suggesting the topic!
The title says it all. As one anonymous person once commented on this blog, why can't singer/songwriters write something upbeat for a change? The reasons why we like to write sad songs are manifold, so please post your theories in the comments section below. I have some of my own, but right now I am much too depressed to write them. (that's a joke! haha-ha!)
But seriously, we can work on all this mopey melancholy, if we wish. So next Forge for the examined songs on the hot seat, we will discuss whether the song is "sad" or "happy" or something in between. We will also try to give suggestions and techniques that alter the mood of the song. So Forgers, scan your brains, listen to your happiest and saddest songs, and interrogate them, asking why are they so happy or so sad?
Please songwriters of Hamilton and beyond, help us in out quest to answer the eternal question above. Bring us your sad songs, happy songs, and everything in between (bipolar song?). Do not hesitate to contact me to showcase thomas.g.wilson (at) gmail.com .
PS big thank you to Brian for suggesting the topic!
2x the Mono: Science Fantasy
Even spaceship parts require the fiery ovens of the Forge. Check out a demo of 2x the Mono's intergalactic contribution "Science Fantasy" here myspace.com/2xthemono and be prepared to encounter some of his other unidentified singing objects.
"Science Fantasy" By: Randell Neudorf (c) 2007
Epic tales from a future past
Grand adventure with lightening swords
Its Science fantasy
Princess power with good old blasters
Redeemed scoundrels join the battle
Its science fantasy
Action figures brought the fun home
Bought my first one before I saw the show
I must have got the wrong one cause my dad brought me back
I’ll never forget what he did next
He bought one more and said “you need the hero!”
Fallen dark lord, an evil master
Technologic terror tactics
Its science fantasy
One line wonders from bounty hunters
Backgrounds implied so don’t deny
There’s a history
I heard the theme song at my grandma’s house
My uncle was playing it form a record on the shelf
He asked me if I, would like to see the show
He took my brother and I with Grandma in tow
It was a double feature, that’s how I saw the first two
Puppet master, hairy giant
Tin can humor, a golden tongue
Such cute robots
Cool space ships, like flying Lego
All in real time, all in real space
I believed it all
My brother got scared of little green men
But owe did he love the great big hairy one
We loved those movies way past prime
An bought all of the toys form discount bins
Just two poor boys with no chagrin.
Epic tales from a future past
Grand adventure with lightening swords
Its Science fantasy
Princess power with good old blasters
Redeemed scoundrels join the battle
Its science fantasy
Action figures brought the fun home
Bought my first one before I saw the show
I must have got the wrong one cause my dad brought me back
I’ll never forget what he did next
He bought one more and said “you need the hero!”
Fallen dark lord, an evil master
Technologic terror tactics
Its science fantasy
One line wonders from bounty hunters
Backgrounds implied so don’t deny
There’s a history
I heard the theme song at my grandma’s house
My uncle was playing it form a record on the shelf
He asked me if I, would like to see the show
He took my brother and I with Grandma in tow
It was a double feature, that’s how I saw the first two
Puppet master, hairy giant
Tin can humor, a golden tongue
Such cute robots
Cool space ships, like flying Lego
All in real time, all in real space
I believed it all
My brother got scared of little green men
But owe did he love the great big hairy one
We loved those movies way past prime
An bought all of the toys form discount bins
Just two poor boys with no chagrin.
Monday, May 19, 2008
Tips to Test Your Mettle: Songwriting Tips
Here's some songwriting tips inspired from our last meeting.
It is often effective to start your songs with musical riff or hook. If this riff comes from the chorus or bridge, then it can draw the listener as they wait to hear again or are pleasantly surprised when the riff comes up in the later context.
Tip #10 Break your song into its component parts.
I've been thinking that a stronger song shouldn't be dependent on guitar (or piano) riffs like in Tip #9. Try breaking down the songs to its components to test the strength of each. Try singing the song without instrumentation -- do you get lost or does the melody stick? Try humming it or plunking the melody out in single notes on an instrument you are unfamiliar with. Try also reciting words as if they were a poem. Is there a natural rhythm there?
Tip #11 Make your weaknesses your strengths.
Unlike classical (and jazz) music, singer/songwriting is an amateur art form. Of course, some musical training can make a world of difference. But most of the time we "make do" with our weaknesses. Even better is when we can turn our weaknesses into our strengths.
If you a weak guitar player, keep your guitar work simple so that you can feature your voice.
If lyrics are your strong point, make sure your melodies, chord progressions and instrumentation are simple enough that your lyrics can be easily followed.
Conversely, if you find lyrics difficult to write, take your best line (or steal it from a better writer -- a famous novelist or poet) try seeing how many times you can repeat it a keep it interesting.
Please if anything irks or pleases you in these tips, do not hesitate to leave a comment. Our next Forge is June 11th. Please contact me to showcase.
Friday, May 9, 2008
Basic premise and setup of the Forge
Many performing songwriters find it difficult to get substantial feedback on their songs. Also there are many perceptive fans of songwriting, who do not get the opportunity to voice their opinions.
The Forge is meant to provide a space for both songwriters and fans of songwriting.
There are up to 4 showcasers at each workshop. These showcasers should sign up ahead of time by contacting the host, Tom Wilson, at thomas.g.wilson (at) gmail.com . However, there is sometimes time for last minute arrivals to showcase a song.
The showcasers are also encouraged to send Tom the lyrics of their songs ahead of time, so that they can be posted.
Each showcaser performs one or two songs; and after each song the songwriter receives a comments from the over participants on the strengths/weakness of the song/performance. The song should be complete but not "set in stone" as the purpose of the workshop is give suggestions to refine the song.
The host will also bring up the focussing topic to bring to coherence to workshop, so that everyone can increase their understanding of the different aspects of songwriting.
The Forge Workshop happens at the Freeway Coffee House (333 King St. E.) on the second Wednesday of every month, from 8-10ish pm. There is no cost.
The performers are usually solo, however duos or more work as long as there is not much set-up times needed. There are microphones and a PA, but we haven't always found it necessary to plug in. There is also a keyboard available.
Wednesday, May 7, 2008
The Beginning of the End: Ins and Outs of Songwriting
Our focussing topic for the next Forge (May 14th) is: Beginnings and Endings.
"Intros" and "Outros" seem to be significantly less popular today than throughout the "progressive" songwriting of the 60s and 70s. These are parts are distinct musically from the main body of the song and, if you will suffer me to speak logically, act as introductions and conclusions.
Beginnings and Endings can drift in and out like slow boat down a canal or a marching band coming from streets afar, or they strike you and awake you like gunshot or a thunderclap. Do you want to start with a hook or a slow build? What fits?
But we don't need to only look at intros and outros for beginnings and endings. We can look at the first word of the song, the first line or the first verse, and see how each sets the tone. Ditto regarding the last word, etc. of the ending and how it leaves the listener. What feeling or thought has been achieved? Academic writing style guides suggest you alter the syntax (word order) to put the most important word at the sentence's end.
Suffer me again, songwriter and critics, to make a foolishly metaphysical comment regarding beginnings and ending in song. I hazard to say that all good beginnings are borne out of some greater ending. Like people, songs are not born ex nihilo, out of nothing. From what death is your song born out of? What is the context you wish to evoke (and perhaps subvert) with your song? In regards to endings, what new beginning comes from this end?
But to not get too lost in the outerspace of metaphysics -- let me say pragmatically that beginnings tell your audience "hey, it's time to listen" while the endings say "okay, now clap!" This is a subtle art, so watch experienced performers to pick up on all the ways they queue their audiences.
Thursday, May 1, 2008
Tips to Prod Yourself With: Songwriting Tips
Hello, hello songwriters!
Have you been heaving your deep drafty artist sighs, feeling you've once again been forgotten? I know I have! But I haven't forgotten to draft up a few tips to goad you into your further artistique excellence. These are tips honed from the last meeting of the Forge. Remember, you songwriters in and around hamilton, to contact me if you are interested in showcasing at the next Forge, on May 14th.
Tip #6
Push your voice. Your singing range WILL increase the more you sing. Don't only push your range of pitch, but your dynamics: how quiet can you sing and still sound good? How loud? How harsh or intense of a tone can you create? How smooth and sultry? Listen closely to yourself and you are sure to extend the colours of your vocal palette.
Tip #7
Change the key, use a capo. Relate to previous tip: do not hesitate fooling around with the key of the song to find the sweetest part of your voice, or push your voice to its limits.
Tip #8
Lose the capo. For you guitar players, losing your capo can ultimately be surendipitous. Exploring up the finger board, trying out new chord forms, using open tunings and using open strings are all ways to revitalise your guitar playing and songwriting.
Monday, April 7, 2008
Suspenseful Forge!
We have full line-up of showcasers for this Wednesday, so without any further ado I will introduce of centering topic of discussion.
Yes, ladies and gentleman, banjos and bandoneons, brass bands and dancing hippos, ahem, let me get my megaphone: For next forge we will discuss... (ooh, the suspense, as I twirl my moustache and stroke my beard) we will discuss... suspense! I bet you didn't know your songs had suspense in them, but all good ones do, if I may go out on a limb only to have it chopped up to furnace our forge.
Therefore, simply: Suspense is what drives the song.
We can also look at suspense musically: for you theoretical types, think of suspended chords, and 2-5 resolutions, builds and releases of dynamics.
Well, perhaps this is all not so clear... do not fret, all will be revealed this wednesday -- I could not but leave you in suspense what with our topic.
Purl of Surf: She Falls Down, Still
Purl of Surf eddies in two of their frothy compositions to fired in the next Forge on Wednesday (April 9th). What sea-change could occur in this volcanic crash of the elements? Deep-sea dive to www.myspace.com/purlofsurf to discover some of their recorded purls of wisdom.
She Falls Down
You can see it, inside, in your mind,
But you can’t wash it away, like yesterday.
You can’t feel it, any, anymore,
Like you used to, Like you used to…
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
You can see him, inside. He’s not kind,
and you can’t get him away, so you pray.
That you wont feel it, any, anymore.
You just can’t get used to…
You just wont get used to… It.
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
She hasn’t been the same, since that day.
She’s going to be okay…
She’s going to break away…
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
It rains down, It rains down.
She falls down, she falls…
It rains down, It rains down.
She falls down…
And crawls around…
Still
No relationship with me would ever be picture perfect
Because I’m difficult to live with
But I guess that I’m still worth it
‘Cause after all these years, you’re STILL here with me
And you’re STILL dear to me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL here for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
You accept my fear of growing old
And that my hands are always cold
(Except when you’re near)
You suspect I’m tossing most the night
You think I think I’m always right
Yet that’s when you’re here for me, oh
You make it all clear for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL here for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear to me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
So say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Ya, ya …. Oh … la, la …. Oh …. La, la ….
Lyrics by: Meghan LeBlanc
Music by: Meghan LeBlanc & e
Purl of Surf Music ©2008
She Falls Down
You can see it, inside, in your mind,
But you can’t wash it away, like yesterday.
You can’t feel it, any, anymore,
Like you used to, Like you used to…
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
You can see him, inside. He’s not kind,
and you can’t get him away, so you pray.
That you wont feel it, any, anymore.
You just can’t get used to…
You just wont get used to… It.
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
She hasn’t been the same, since that day.
She’s going to be okay…
She’s going to break away…
And it rains down, (it rains down)
It falls down, (it falls down)
She falls down, (she falls down)
And crawls around…
It rains down, It rains down.
She falls down, she falls…
It rains down, It rains down.
She falls down…
And crawls around…
Still
No relationship with me would ever be picture perfect
Because I’m difficult to live with
But I guess that I’m still worth it
‘Cause after all these years, you’re STILL here with me
And you’re STILL dear to me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL here for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
You accept my fear of growing old
And that my hands are always cold
(Except when you’re near)
You suspect I’m tossing most the night
You think I think I’m always right
Yet that’s when you’re here for me, oh
You make it all clear for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL here for me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear to me
Hey, ya, ha-ya Hey, ya, ha-ya
You’re STILL dear
So say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Say it ain’t easy, say it ain’t easy, La la ….
Ya, ya …. Oh … la, la …. Oh …. La, la ….
Lyrics by: Meghan LeBlanc
Music by: Meghan LeBlanc & e
Purl of Surf Music ©2008
Joshua Weresch: To Right
After spending three months recovering from presenting in the inaugural Forge, Joshua Weresch is offering another song to be licked into shape with the flamey yet tender tongues of criticism. Blow on the embers this link www.myspace.com/joshuaweresch to warm your ears with a flickering of Josh's recordings.
Joshua Weresch
March 20, 2008
Hamilton, Ontario
"Come," he said, "let's build a seacraft."
"Can we," she asked, "build what is good?"
"Have you," he said, "caught fish barehanded?"
"It's not have," she said, "but should."
What do you catch of darkness and light?
What keeps you building in the midst of the night?
What mercy is there to set this to right?
She said, "Who does the steering?"
He said, "Furthest back, widest sees."
She asked, "If we go under?"
"To right the boat," he said, "is you and me."
What do you catch of darkness and light?
What keeps you building in the midst of the night?
What mercy is there to set this to right?
Sunday, March 30, 2008
Christopher Eckart: Coffee and Beer, Forest's Bones
Christopher Eckart is offering these songs to be fired in the Forge on April 9th. Remember any and all comments, responses, feedback and critiques are welcome here or on all the posts.
Further info about him with recordings can be found here:http://radio3.cbc.ca/bands/CHRISTOPHER-ECKART
Coffee and Beer
Well you’ve all heard the story of love and alienation
But not a single song about rehydration
I like my whistle wet, see
So you know what to get me
The things that got me here – Coffee and Beer
In the morning I need up, and in the evening I need down
Yes my life’s an elevator run by a clown
Sometimes I need a legal high – for instance at work
And sometimes I want the potion that turns me into a jerk
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Well folks these days are drinking water cause it’s supposedly healthy
Ten glasses a day – O my lord!
I used to work for a guy
Who drank only rye
Said he refused to drink water cause fish piss in the stuff
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Now sometimes on a label, you’ll see a health advisory
But you can disregard and just take it from me
I’ve done some personal research, and the thing that I’ve found
No matter what you drink, you’ll end up in the ground
So drink Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
The forest’s bones
It’s a long drive to Wolf Lake
And from the bottom everything looks green
But when you get right up that mountain
There’s more mud than forest to be seen
Bare brown earth and piles of twisted roots
Lay scattered in silence all around
Till the cry of one last owl
Leaves me with its dying sound
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
Buckshot signs and hydro lines
Burnt beer cans in a truck-tire fire pit
What we leave behind is nothing
Next to what we take away
Tall trees fallen – limbs cut off
Their corpses bleeding sap into the mud
Although we try we’ll never touch the sky
Like they did till we cut them down
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
In our cities in our homes
The forest’s bones are waiting for the end
When waters rise and cities die
They’ll get back to the earth again
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
Well you’ve all heard the story of love and alienation
But not a single song about rehydration
I like my whistle wet, see
So you know what to get me
The things that got me here – Coffee and Beer
In the morning I need up, and in the evening I need down
Yes my life’s an elevator run by a clown
Sometimes I need a legal high – for instance at work
And sometimes I want the potion that turns me into a jerk
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Well folks these days are drinking water cause it’s supposedly healthy
Ten glasses a day – O my lord!
I used to work for a guy
Who drank only rye
Said he refused to drink water cause fish piss in the stuff
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Now sometimes on a label, you’ll see a health advisory
But you can disregard and just take it from me
I’ve done some personal research, and the thing that I’ve found
No matter what you drink, you’ll end up in the ground
So drink Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
Coffee and Beer, black and golden
Filling us with cheer
And essential nutrients like caffeine and alcohol
Important drinks
They help us think
Every day all year
I’m drinking coffee and beer
The forest’s bones
It’s a long drive to Wolf Lake
And from the bottom everything looks green
But when you get right up that mountain
There’s more mud than forest to be seen
Bare brown earth and piles of twisted roots
Lay scattered in silence all around
Till the cry of one last owl
Leaves me with its dying sound
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
Buckshot signs and hydro lines
Burnt beer cans in a truck-tire fire pit
What we leave behind is nothing
Next to what we take away
Tall trees fallen – limbs cut off
Their corpses bleeding sap into the mud
Although we try we’ll never touch the sky
Like they did till we cut them down
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
In our cities in our homes
The forest’s bones are waiting for the end
When waters rise and cities die
They’ll get back to the earth again
I’ve got a photograph in front of me
Of the way it used to be
When tall green trees was all the eagle saw
Now there’s a picture burning in my mind
Of bare mud on a mountainside
And not an animal to see it except for me
Friday, March 21, 2008
Tips to Sharpen By: Songwriting Tips
Here's some tips derived from our last meeting.
Tip #3
If a song does not seem to be working, take the best line, chord change or melody and rebuild the song around that. This can mean repeating this part as a hook or refrain, OR you can try saving this part for one golden moment the whole song is building toward.
Tip #4
This is a basic one: do not be afraid of re-writing your songs! Can I be so bold to say that I all the best songwriters go through multiple version of their songs? Write as many verses as you can and then pick through and cut and paste it for continuity and the effect you desire. Bob Dylan reportedly wrote something like 25 verses for Like A Rolling Stone.
Tip #5
Try writing a song in the genre of your favourite songwriter(s). Many of us today are concerned with developing our own unique style. This however can become a hinderance to our development and ability to learn from the great songwriters of the past. I've attempted deriving and lifting parts from other songwriters and then by the time song is finished, the stolen parts become near unrecognizable and secretly I'm almost disappointed that my blatancy is hidden.
As T.S. Eliot (one of the greatest poets of the 20th century) famously said, "immature poets imitate, great poets steal".
That's all for now. Next Forge is April 9th! Contact me if you are interested in showcasing-- my info can be found here: www.myspace.com/thomaswilsonfolksongs
Sunday, March 9, 2008
Next Forge: March 12th; Hooks; Marine Band, Midwinter Sunrise
Hello all you songwriters and songcritics,
Me:
Midwinter darkness flickers and fades
I'm thinking coffee and dreading the day
oh no
layers of sweaters, long johns and scarves
can calm my shivering, a-lacking your warmth
chorus:
I rise again 3x
When will look in your eyes again?
You:
Cobblestone courtyards, croissants and café
Will not make the sun rise one other day
oh, a-
'cross those Mediterranean skies
as my sun is setting, I see your sun rise
Both:
The beauty of sunrise, vermillion-leafed gold
If only beauty could conquer the cold
oh, and a-
rise you and fly you 'cross shimmering sea
and bring my darling back home to me
Riding deep rolling waves, I was mopping the deck,
When I saw your blowing hair showing your lovely neck
The spray and the surf and the sheets of falling rain
Made my efforts at mopping all lie in vain
To you, my uniformed comrade
you traitor to homeland
I’ll play you my marine band
Just to sit near your cabin
And hear you translatin’
What stirs your soul dear
Your loving or hating
As the hot rains were heaving, we bunkered below deck
And I thought of you dear in the steam and sweat
I’d give all the silk in China, just to undress you of your camouflage
And whisper deep secrets, in our deep secret espionage
Yes you, you phosphorescent woman
Your skin soft and golden
Our next meeting is this coming Wednesday, March 12th. As usual I'll introduce one aspect of songwriting that we can use to centre our discussion and reflect on the nature of songwriting. This time round why don't look at "hooks", the little clips of a song that catch us and get stuck in our memory, that drawn us in and spin little whirlpools in our minds? Sometimes these hooks hold the musical kernel of a song, but other times a hook can overpower the song, nauseating us. Hooks are the reason we love and hate pop music. Do we need hooks? Can we add them, develop them or diminish and remove them at will according to our musical vision? Or is that a false freedom that makes our art truly artificial? And to take this another level: if songs reflect the world and our experience of it, are there "hooks" in our lives? What are these hooks?
Please do not hesitate to add your comments -- even grossly tangental thoughts are appreciated.
I will also offer up as fodder a couple of newish songs of my own. One these is already here: www.myspace.com/thomaswilsonfolksongs
Midwinter Sunrise (duet)
By Thomas Wilson
Me:
Midwinter darkness flickers and fades
I'm thinking coffee and dreading the day
oh no
layers of sweaters, long johns and scarves
can calm my shivering, a-lacking your warmth
chorus:
I rise again 3x
When will look in your eyes again?
You:
Cobblestone courtyards, croissants and café
Will not make the sun rise one other day
oh, a-
'cross those Mediterranean skies
as my sun is setting, I see your sun rise
Both:
The beauty of sunrise, vermillion-leafed gold
If only beauty could conquer the cold
oh, and a-
rise you and fly you 'cross shimmering sea
and bring my darling back home to me
Marine Band
By Thomas Wilson
When I saw your blowing hair showing your lovely neck
The spray and the surf and the sheets of falling rain
Made my efforts at mopping all lie in vain
To you, my uniformed comrade
you traitor to homeland
I’ll play you my marine band
Just to sit near your cabin
And hear you translatin’
What stirs your soul dear
Your loving or hating
As the hot rains were heaving, we bunkered below deck
And I thought of you dear in the steam and sweat
I’d give all the silk in China, just to undress you of your camouflage
And whisper deep secrets, in our deep secret espionage
Yes you, you phosphorescent woman
Your skin soft and golden
I’ll play you my marine band
Just to sit near your cabin
And hear you translatin’
What stirs your soul dear
Your loving or hating
You came up beside me, I was mopping the deck
My tour of duty with just two days left
You said you would write, I told you please no
I said I’d be alright, but I lied doncha know
To you my south east asian siren
your transmitters firing
Me playing my marine band
to every island
While you are translating
What stirs your dear
is it loving of hating?
I dreamed that our differences, were but froth on the sea
we’d make love as deep as waves-meant-to-be
But oh how I lied to you, buffing the prow
I speak only truth now that’s my lifelong vow
To you, my enemy’s daughter
Why did I even bother
To play you my marine band
To walked on your island
While I was translating
What stirs you soul dear
Is it loving or hating?
Now I’m back in America, my feet on dry land
Sitting on my porch, blowing my marine band
Sounds of dying high winds, salt stick in the reeds
Could I ever play this thing? my heart concedes
to you, you double agent Juliet
you submarine suffragette
I played you my marine band
I sat in your cabin
I heard you translating
What stirs you soul, dear
your loving …
did I lie is your cabin
when I heard translating?
your loving... your loving...
Just to sit near your cabin
And hear you translatin’
What stirs your soul dear
Your loving or hating
You came up beside me, I was mopping the deck
My tour of duty with just two days left
You said you would write, I told you please no
I said I’d be alright, but I lied doncha know
To you my south east asian siren
your transmitters firing
Me playing my marine band
to every island
While you are translating
What stirs your dear
is it loving of hating?
I dreamed that our differences, were but froth on the sea
we’d make love as deep as waves-meant-to-be
But oh how I lied to you, buffing the prow
I speak only truth now that’s my lifelong vow
To you, my enemy’s daughter
Why did I even bother
To play you my marine band
To walked on your island
While I was translating
What stirs you soul dear
Is it loving or hating?
Now I’m back in America, my feet on dry land
Sitting on my porch, blowing my marine band
Sounds of dying high winds, salt stick in the reeds
Could I ever play this thing? my heart concedes
to you, you double agent Juliet
you submarine suffragette
I played you my marine band
I sat in your cabin
I heard you translating
What stirs you soul, dear
your loving …
did I lie is your cabin
when I heard translating?
your loving... your loving...
Thursday, February 28, 2008
Forge in the View
Ric Taylor talked about The Forge in View Magazine this week. The Article starts with:
http://www.viewmag.com/viewstory.php?storyid=5955
In the midst of planning their spring cross–Canada tour, the members of Garner are also planning on offering up a monthly round table to help other musicians.You can check out the rest of the article at:
Meanwhile, Thomas Wilson has released his own debut CD and is in the process of expanding his band The Wilson Family Forgery, but he also takes on a monthly songwriting workshop night to help area musicians.
They both are happening at The Freeway Coffeehouse on the first and second Wednesday of the month and while the nights are geared to musicians, fans can get an intimate look at the craft behind some great music and performances.
“The Freeway Coffee House’s purpose is also something that we’re excited about,” says Matt McKenna. “They’re trying to foster arts and community, and charity there and we want to be a part of supporting a place like that."
http://www.viewmag.com/viewstory.php?storyid=5955
Wednesday, February 13, 2008
Brian DeBoer: Fear In Our Eyes
Brian DeBoer of The Savvy Fools will be featuring his song "Fear In Our Eyes" at The Forge tonight. Thanks Brian for including the chords so we can all strum along! Just kidding we won't butcher your song while you're playing.
Fear In Our Eyes
© Brian DeBoer
Crushed velvet power suit
Trustworthy parachute
She’s dressed to kill
Top marks and highest honors
Were all bestowed upon her
While at McGill
C-7 A D- D-/C
No one will give her lip
E-7 A D
As she drops on the Lippe
C-7 A D- D-/C
She knows this is her time
E-7 A D D/C D/B D/Bb D/A
Ready to storm the Rhine
G D
Through the two gaping holes
B- F- C
In her unshakable disguise
G A B-7 A D G
I see fear in her eyes Eyes
D A G- D
I see fear in her eyes
Young kid within adult pants,
Part of the new resistance,
The ghetto scene
He is down to his last straw
Time to rise up in Warsaw
Against this regime
Marching he’s listening to Snoop
To take on Jurgen Stroop
He’s going to loose his chains
Not going to board those trains
Through the two gaping holes
In his unshakeable disguise
I see fear in his eyes Eyes
I see fear in his eyes
The cause worth dying for
Leads through the unexplored
Heroics hesitate
Before they crash the gate
And the huge gaping hole
When social justice does arise
Shows the fear in our eyes
Fear In Our Eyes
© Brian DeBoer
Crushed velvet power suit
Trustworthy parachute
She’s dressed to kill
Top marks and highest honors
Were all bestowed upon her
While at McGill
C-7 A D- D-/C
No one will give her lip
E-7 A D
As she drops on the Lippe
C-7 A D- D-/C
She knows this is her time
E-7 A D D/C D/B D/Bb D/A
Ready to storm the Rhine
G D
Through the two gaping holes
B- F- C
In her unshakable disguise
G A B-7 A D G
I see fear in her eyes Eyes
D A G- D
I see fear in her eyes
Young kid within adult pants,
Part of the new resistance,
The ghetto scene
He is down to his last straw
Time to rise up in Warsaw
Against this regime
Marching he’s listening to Snoop
To take on Jurgen Stroop
He’s going to loose his chains
Not going to board those trains
Through the two gaping holes
In his unshakeable disguise
I see fear in his eyes Eyes
I see fear in his eyes
The cause worth dying for
Leads through the unexplored
Heroics hesitate
Before they crash the gate
And the huge gaping hole
When social justice does arise
Shows the fear in our eyes
Saturday, February 9, 2008
Randell Neudorf: "Little Light Bulb" & "The Things You Do"
So here are a couple of songs I will be opening up for critique this Wednesday (Feb 13/08). I don't have them recorded yet so no MP3 links for you. If you want to hear some of my other songs you can check out my 2x the Mono myspace page.I'm currently in the middle of recording my Christmas album. The two songs I'm posting are the last ones left that I need to start recording. I'm a little unsure of a couple timing issues in both songs, so if you come out on Wednesday I'll play them for you and mabey I can hear some input on which version you think is the best.
Little Light Bulb
© Randell Neudorf
Christmas lights sparkle, In the night on the snow
All the passers by, Are warmed by their light
Twinkling like stars, In my daughters eyes
Teaching her to look, Up into the sky
Electric light, Filament
Shine long, shine bright, Shine into my heart
Little light bulb, Did you ever dream?
That you’d herald, A message fit for stars
The Things You Do
© Randell Neudorf
A virgin gives birth
Step dad’s dream comes true
Angels sing a song
For shepherd rabble
I don’t know how
I’m not always sure why
But I sure do like
To hear all about the things you do
Wise men seek a king
In a dirt poor town
Death comes like a plague
And a babe’s tucked away
I don’t know how
I’m not always sure why
But I sure do like
To hear all about the things you do
The next time you hear of a Miracle
Pass it along; I’d like to hear about it
My guess is that they happen all the time
I don’t know how
I’m not always sure why
But I sure do like
To hear all about the things you do…
Friday, February 1, 2008
Next Workshop: Wed. Feb. 13th, 7:30pm
So our next songwriting workshop is quickly approaching. We will be meeting at The Freeway Coffee House Wednesday February 13th, 7:30pm.Our host Thomas Wilson isn't able to be there this month but he has asked me if I could be the guest host for February.
If you would like to feature one of your songs at the February workshop and open yourself up to a helpful critique, you can email me at randell@frwy.ca
So for those of you who don't know me I thought I would give you a little history on this guest host.
About Randell Neudorf:
I currently play under the name 2x the Mono. My music has been described as Beck meets Neil Young, and falls in the Art Rock or Experimental category. I love all kinds of music and have gone through a lot of different phases in my music (a grunge 5 piece, a Folk Duo, an alternative 3 piece, singer/songwriter, and finally a one man looping band).
I have a Bachelor Of Fine Art from York University, with a major in visual art, so I am in good company (many famous musicians have come out of art school, i.e. John Lennon). I think my art background has really helped me in thinking about sound and music in broad terms. The art community uses sound as texture and emotion, and often lets sound envelope the listener in a created enviroment; that is something I love to bring into my performances and recordings.
Like most musicians I have a day job, mine is Manager for The Freeway Coffee House. Part of my job as the manager of the Freeway is to book bands and musicians for our weekly concerts. I get to listen to a lot of emerging and established talent in a wide range of styles. Thinking about songs is a daily part of my life, and I believe that good songwriting and creativity always shines through regardless of production values or past touring experience.
On Wed Feb 13th we will be talking about song structure, playing with tried and true formulas like "AABA" or "verse chourus verse "as a technique to be used or avoided, as well as continuing some of our discussions on obscurity verses clarity, and delving into our lyrical content.
Hope to see you out to The Forge, and talk about your tunes.
Monday, January 21, 2008
Sweetly Fading for the Cause by Stephen Prickett
Stephen Prickett of Icharus Flight (based in London Ontario) emailed me to let me know that he wouldn't be able to come to the next Forge Workshop for obvious geographical reasons but if you would like to virtually critique his song, he would love your input on our site or on his myspace. You can listen to the demo at www.myspace.com/icharusflight, and as always here is the lyrics to the song:
Sweetly Fading for the Cause
your lips hold all of the drama
of leaves in thunder
of soil slipping through my fingers
salt water stinging
or ashes drifting
your love is all blood in the gutter
sweetly fading for the cause
or holding hands
storming the wall, screaming
till the bricks fall
but I want to feel the wind strong when I go
I wish to God it would rain and sieze my bones
to hold me for years, love me fierce
I want it to let me feel alone
and tear your words apart from my own
if you say I don't need her I'll say you're right
you say I don't want her, maybe you're right
say I'll never have her again, you can't lie
but to say I can't love her - well I haven't yet died
and I want to feel the wind strong when I go
I wish to God it would rain and sieze my bones
to hold me for years, love me fierce
I want it to let me feel alone
and tear your words apart from my own
Sweetly Fading for the Cause
your lips hold all of the drama
of leaves in thunder
of soil slipping through my fingers
salt water stinging
or ashes drifting
your love is all blood in the gutter
sweetly fading for the cause
or holding hands
storming the wall, screaming
till the bricks fall
but I want to feel the wind strong when I go
I wish to God it would rain and sieze my bones
to hold me for years, love me fierce
I want it to let me feel alone
and tear your words apart from my own
if you say I don't need her I'll say you're right
you say I don't want her, maybe you're right
say I'll never have her again, you can't lie
but to say I can't love her - well I haven't yet died
and I want to feel the wind strong when I go
I wish to God it would rain and sieze my bones
to hold me for years, love me fierce
I want it to let me feel alone
and tear your words apart from my own
Wednesday, January 16, 2008
Fred Magie: Float, Voices
Here's two songs by Fred Magie who can be heard at websites below.
http://www.fredmagie.com
http://www.myspace.com/fredmagie
Float
Driving snow in the headlights
Through a cold wall of pure white
Christmas storm was blowing through
Trapped me out on the road with you
I can barely see Right in front of me
(Chorus)
I’m gonna float like a star
When this trip comes to an end
I won’t fall for you again
I’m gonna float like a star
When I get out of this car
Letting go of a first love
Crawling out from the under the
Fear that I’m gonna regret
And always wish that I had you back
It’s your siren song
That’s held me down
(Bridge)
You grip the wheel and glare ahead
An angry look and I acquiesce
If I stay I’ll be at your beckon call
I know if I leave
You’ll say it’s my fault
Tires spin on the black ice
Snow drift by the road side
Pushes back like a north wind
Straight up I begin to lift
Voices of Boys
Hearing the voices of boys in your mind
Grow smaller and hollow, they fooled you alright
They linger and haunt you and force you to lie
About things that inspire one to suicide
Sister you may not cross that bridge
That sways over top of your memories
Those cuts in time
Without someone to hold you
Surrounded by family we kids would play
Little moments of gold were stolen away
When breathtaking venom took one at a time
We’re left without our brothers and still don’t know why
You cradle the chase and hope
That you’ll find a way to make
All this noise go away
Your days spent alone you soared to great highs
Disillusioned you went where you’d never dare climb
And fell to the floor drowned in voices of boys
Who live out their lives through mine and yours
http://www.fredmagie.com
http://www.myspace.com/fredmagie
Float
Driving snow in the headlights
Through a cold wall of pure white
Christmas storm was blowing through
Trapped me out on the road with you
I can barely see Right in front of me
(Chorus)
I’m gonna float like a star
When this trip comes to an end
I won’t fall for you again
I’m gonna float like a star
When I get out of this car
Letting go of a first love
Crawling out from the under the
Fear that I’m gonna regret
And always wish that I had you back
It’s your siren song
That’s held me down
(Bridge)
You grip the wheel and glare ahead
An angry look and I acquiesce
If I stay I’ll be at your beckon call
I know if I leave
You’ll say it’s my fault
Tires spin on the black ice
Snow drift by the road side
Pushes back like a north wind
Straight up I begin to lift
Voices of Boys
Hearing the voices of boys in your mind
Grow smaller and hollow, they fooled you alright
They linger and haunt you and force you to lie
About things that inspire one to suicide
Sister you may not cross that bridge
That sways over top of your memories
Those cuts in time
Without someone to hold you
Surrounded by family we kids would play
Little moments of gold were stolen away
When breathtaking venom took one at a time
We’re left without our brothers and still don’t know why
You cradle the chase and hope
That you’ll find a way to make
All this noise go away
Your days spent alone you soared to great highs
Disillusioned you went where you’d never dare climb
And fell to the floor drowned in voices of boys
Who live out their lives through mine and yours
Tuesday, January 15, 2008
tips to sharpen by: Songwriting Tips
Hello Songwriters and Songcritics!
After each meeting of Forge, I thought it would be a good idea to condense some of the discussion into helpful songwriting tips. Please add your own thoughts/tips in the comments section!
Tip #1: Get advice from musicians.
Since I often primarily focus on the words in songwriting, I was especially impressed by the feedback given by people who are primarily skilled musicians. Skilled musicians can give insights into rhythm, melody, harmony and song structure that most songwriters can hardly imagine existed.
Tip #2: Play with obscurity and clarity.
Pop songs tend to err towards clarity, while artsier indie/alternative songwriting tends to err towards poetic obscurity. I believe both clarity and obscurity are necessary for good songwriting. For the pop songwriter who wants to delve deeper, you can try adding elements of mystery to your songs-- unusual turns of phrase, reversed expectations, intentional gaps in the plot, contradictions, paradoxes. For a more poetic songwriter, it may be beneficial to add elements of clarity -- cliches, choruses, repetition, simple language, catch phrases.
Two tips is all I have time for now. I know we discussed much more last week, so please do not hesitate to add your own tips.
Thursday, January 10, 2008
First Workshop Review
I was talking to Rick Taylor today and he pointed out that we neglected to post how are first songwriters workshop went last last week. Sorry for being such a negligent blogger. Better late then never...
Well we had a great first night. 11 musicians came out as well as a number of casual Wednesday night listeners and regular passer-byers at the coffee house. The songwriters that were featured last week were Joshua Weresch, Jason Silver, Peter Stewart-Kroeker and our host Thomas Wilson.
The format was that the showcased songwriter would play a song (some people brought copies of their lyrics to read, that was very helpful) and then we as a group of musicians would talk about the strengths and weaknesses of the song for about 20 to 30 minutes. As well as getting input form the other featured songwriters, last weeks musicians also received input from some musicians that have had concerts at The Freeway in the past: Fred Magie, Glen Mcdonald, and Adrian McFarlane (Ophelia Syndrome), as well as myself (2x the Mono).
The Night was a really positive experience for everyone. The top 10 stand outs for me were:
Well we had a great first night. 11 musicians came out as well as a number of casual Wednesday night listeners and regular passer-byers at the coffee house. The songwriters that were featured last week were Joshua Weresch, Jason Silver, Peter Stewart-Kroeker and our host Thomas Wilson.
The format was that the showcased songwriter would play a song (some people brought copies of their lyrics to read, that was very helpful) and then we as a group of musicians would talk about the strengths and weaknesses of the song for about 20 to 30 minutes. As well as getting input form the other featured songwriters, last weeks musicians also received input from some musicians that have had concerts at The Freeway in the past: Fred Magie, Glen Mcdonald, and Adrian McFarlane (Ophelia Syndrome), as well as myself (2x the Mono).
The Night was a really positive experience for everyone. The top 10 stand outs for me were:
- Getting to talk to this group of musicians for a prolonged amount of time, instead of just the 10 minute conversations that happen before or after a show. It is great to talk music with other musicians.
- Adrain (the drummer of the group) suggesting that Tom needs to sing in a more syncopated beat. Figures the drummer would be focused on the rhythm of the voice.
- Me telling Joshua that his songs could make "Pedro The Lion" cry, and then finding out the next day that he has added that quote to his Myspace page.
- Hearing Jason say at least 10 times "I know I'm a sell out but..."
- Seeing Tom do a great job of keeping the night moving.
- Hearing Tom sing his song about Hamilton called Hamilton Mulch. I have already asked to get a copy after he records it. Check out the words to this great song on one of our previous posts.
- Seeing Peter do some creative knob twisting on his delay pedal. I'm sucker for pedals.
- Watching Jason perform his song for a second time with the lyric changes he came up with in the discussion time.
- The great open discussion that happened with the perfect balance of encouragement and helpful criticism.
- Hearing that people enjoyed themselves and that they are going to tell their friends for next time.
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