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!
Subscribe to:
Posts (Atom)