Category: Lou’s News

Live! 0

Two Shows: Crossroads in June, Connolly’s NYC in July.

I have two shows booked this summer, thus far.

The first is at one of my favorite venues – Crossroads in Garwood, NJ. This is a great place with good food and an all ages crowd so no need to find that babysitter.

We play from 8-9pm and my good friend Jill Cagney is playing before us from 7-8pm. So get there early and see her too. Rumor has it we’ll be “dueting” a song between our sets…

My July show is at a new venue (for me) called Connolly’s Klub 45 in New York City. I have heard nothing but good things about it so I’m quite excited to play that gig.

Make sure you see the Calendar for more info on these events. Check out my Facebook page (click like while you’re there) and you can join the events so I know you’re going.

See ya out there!

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Every Song Tells A Story: Tonight I Ride

The Story

From my late teens to my mid-twenties, I was fairly busy in a musical sense. I was in a few bands (mostly on drums) and had begun to explore songwriting. At some point, life happened and more serious issues started to arise.

I had finished college with a degree in what Rutgers (the Newark campus) called “Theater Arts and Speech” which is a fancy way of saying “Communications” – and to boot, I had a specialization in TV Production. As you may well know, this degree will get you next to nowhere. It’s almost as good as a degree in music. 🙂 Unfortunately, it was the only thing that interested me at the time, outside of my first major which was Psychology. I was a lazy student and that major was way too much reading and writing. If I could go back, I would have stuck with it but alas, the past is gone.

Things were moving quickly and I soon realized that I would not be able to support a family while working in the wonderful world of retail, which is where I ran back to at full speed after realizing my college degree was pretty useless unless I wanted to intern (aka work for free) for a year or three somewhere in the hopes that it “might” lead to some kind of paying job. I had bills and other things to worry about.

So I went to a computer school, being already quite computer savvy, and started to make some life changes. Marriage, kids, and so on. Before I knew it, about 15 years had gone by and I was completely removed from the music scene. I had done absolutely nothing. No writing, no bands, no nothing and it was slowly eating away at me.

Eventually things settled down a bit and the itch became to annoying to ignore. Music is in me. It’s a part of me. When I’m not being musical somehow, I just don’t feel right. So I started to ease my way back into the scene. A cover band here, filling in for a friend on drums there, writing some new material, and so on. It was time to get back out there. I reconnected with a lot of my musician friends, some of whom were still playing, and they inspired me. I also met and networked with a whole host of new musician friends and that inspired me even more.

I decided it was time to start writing songs again. The next thing I knew I was staring at a bunch of lyrics, melodies and ideas. The song “Tonight I Ride” was one of the first of this new batch and it basically signaled how I felt at the time. I had been away far too long and it was time to come back.

“Tonight I Ride” is a song about returning to something. You can interpret it as returning to anything you like, but for me it was strictly about returning to music. I had been away so long that there were friends and new family members who had no idea that I could make music. When they eventually saw me play they were quite shocked. It was a fun feeling.

I promised myself when I wrote that song that I’d never take that huge break from music again. It became clear to me that there’s really no reason to. There’s always room for music.

 

The Recording

The first thing I remember about writing this song was the chorus. I had it clearly in my mind. I had the lyric and the melody/chords all in my head. From there it was a matter of just writing the rest of the song. I’m not sure where I heard the phrase “Tonight I Ride” but it must have gotten into my head at some point. I always picture some kind of Wagner-esque Viking on an armored horse marching into battle, but I digress.

After I had the chorus mapped out in my head, the next thing I thought about was the song’s opening drum beat. I could also hear that clearly in my head. All the lyrics flowed from there and then it was time to record. As usual, because I’m alone when I record, I tracked the drums first. I used that little beat I dreamed up and then just built upon it, bringing the dynamic up or down when needed.

I played it through on guitar just to make sure I had all the chords I needed and tracked the bass. I laid down some distorted guitars and a wobbly guitar solo which I’m not very proud of. I always figured the solos would be better when played live by more capable musicians.

The vocals were my first accidental experiment with double tracking. Many bands have done this. You basically sing in unison with yourself on another track. I didn’t really mean to do this. I did a vocal pass, and then did another on a different track because I wasn’t sure if I was going to keep the first one or not. During playback, I forgot to mute one of the vocal tracks and they both played through the monitors. I was about to mute one but listened a little longer and the sound began to grow on me. They’re not perfect vocal tracks but they sort of work so I kept the two in there. So if you’re listening to the song, you’ll hear me singing along with myself and the two takes sort of stray from each other a bit here and there. It’s a little weird but I can see the attraction and how it can be effective when done right.

Lots of times, when I’m writing songs I’m actually not near any instruments. It sounds odd but sometimes they just jump out at me and I have to quickly write stuff down or else it’s usually gone forever.  So when it comes to what we call in rock music the “bridge” or sometimes the “middle eight”, I will sometimes say, “I’ll come up with something later.” Sometimes I’ll have lyrics for the bridge along with a vague melody but it’s pretty fluid. I remember not having lyrics or a melody for this bridge when I sat down to record.

While tracking the drums, I just played a bunch of random fills that felt right and then brought myself back to the chorus somehow. I listened to those drums a few times and they sounded a little raucous to me.  I decided to forgo the lyrics and just try some guitar stuff instead. After experimenting with a few things I settled on the bridge you hear which is basically a series of “D” shape chords moving up the neck with an open D ringing above them. It reminds me slightly of The Who, which is why I kept it.

I was still not well-versed in the art of compression or mastering/mixing. I still don’t know if I am, actually. So all of the mixes from those early songs aren’t panned well (or at all). There isn’t a lot of “space” there. One of these days I’ll go back to those old tracks and do some remixing with some of the things I’ve learned since then. I think this song can sound a lot better with some TLC.

It was a quick job but the song is fun and I’m finally getting around to playing it in my live sets. The band seems to like it and it does make me feel a little wistful in many ways.

 

The Lyrics

All my life I’ve been waiting
All my life I’ve been saving up
All my life I’ve been holding back
But tonight I ride

All my life I’ve been hungry
All my life I’ve been ready
All my life I’ve been so determined
But tonight I ride

Tonight, tonight I ride
Perpetual motion is on my side
The links are broken, the chains are dead
I’ve got to move ahead

All my life I’ve been sitting
All my life I’ve been lying down
All my life I’ve been static
But tonight I ride

I look at you and you’re flying
I look at you and you’re in the air
I look at you and I’m jealous
So tonight I ride

Tonight, tonight I ride
Perpetual motion is on my side
The cage is open, the bird is free
I’ve got to get release
I’ve got to know release
I need to be released

Tonight, tonight I ride
Perpetual motion is on my side
Unleashed and I won’t be denied – Yeah

Tonight, tonight I ride
Perpetual motion is on my side
I’m strong and I won’t take my time
The world is mine tonight
Yeah it’s my prize tonight
Stay out of my way tonight, tonight, yeah tonight

I ride tonight

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Hi 0

Two Gigs: Crossroads (NJ) and National Underground (NYC)

I’ve added two gigs to the calendar, folks. I sure hope to see you there if you’re in the area.

December 2, 2011 will be at one of my favorite NJ venues, The Crossroads in Garwood, NJ. We go on at 8pm. Dave Wilson will be making his debut on lead guitar. Steve Savona is on bass and Rob Silverman will be on drums. It’s always a good time at Crossroads and the food is great so please come on down and have some fun with us.

January 20, 2012 will be my debut at NYC’s National Underground which is owned by brothers Joey and Gavin DeGraw. This is going to be another fun show because I’m sharing the bill with my good friend and musician, Jill Cagney! Jill goes on at 8pm and we go on at 9pm so come down early to catch Jill and then stay for me and the guys!

See the Calendar page for more info on the gigs or just give me a shout. Thanks!

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My Own Private Babylon 2

Every Song Tells A Story: My Own Private Babylon

The Story

This song is about an aging rock star, sung from his point of view. He’s an amalgam of sorts. I guess you could say he’s based on a few characters, both real and fictional.

One of those would definitely be WASP’s Chris Holmes. I am by no means a big fan of WASP but Holmes was famously interviewed for the documentary, The Decline of Western Civilization Part II: The Metal Years, during which he floated on a raft in a pool (fully clothed) guzzling three different bottles of vodka (and also pouring it over his head). He referred to himself as a “full-blown alcoholic” and even a “piece of crap”. He said he’d probably be dead in a few years and didn’t seem to care. This was all in front of his mother, mind you, who sat poolside trying to maintain her composure.

I guess there’s also a little Joe Walsh in this song. His big hit “Life’s Been Good” also covers the same subject matter. I think I tried to capture a little of his humor in my song. He has a line that goes, “I’m making records, my fans they can’t wait. They write me letters, tell me I’m great.” I have a similar line about devoted fans that keep me so rich, I haven’t done a thing in years. Of course, the “me” is the character and not really me. Wouldn’t that be nice.

There’s definitely some (older) Elvis Presley in the song. The list goes on. You can take any pompous rock and roll star and adapt them as you see fit, I suppose.

Structurally, the song is a musical transcription of an interview, I suppose. The aging rocker has allowed a journalist into his home. The rocker is quite friendly but clearly not sober, even directing his assistants (Hey, Pierre – don’t put that there…) while showing the reporter around his mansion.

He’s had enough success that he doesn’t really need to work anymore, but he’s completely bored and depressed. He’s hardly ever in the news except for the rare gossip column where he makes a drunken fool of himself. In fact, he’s really happy to have this interview, which is probably the first one he’s had in years. People aren’t interested in him anymore, which is why he’s depressed and suicidal – yet still partying it up like a madman.

The unfortunate truth is he’s waiting around to die. He drinks way too much, does every drug put in his face, has totally let himself go and yet, he’s still here. He can’t seem to figure out why. I know it’s grim but hey, I just write them as they come to me.

There’s some commentary about the music scene itself in the lyrics. Popular music has a way of changing quickly and ferociously leaving many who cannot adapt behind. I always envisioned the song’s protagonist to be one of these people. He’s perhaps the aged rocker who is not quite as relevant as he once was, trying to deal with the new music scene. Underneath it all, though, he’s quite depressed and even suicidal. The line about trying to check out before the real hurting starts refers to this.

I had a lot of fun writing this one because I was writing it as a character, much like acting in a play. Once I became the character, the words just poured out and what you hear in the song is what was written that same day, pretty much unchanged. The melody made itself known as I was writing the lyrics so when it came time to record, there wasn’t much left to compose.

While the song is a bit dreary under the covers, it was actually written to be a bit humorous and tongue-in-cheek on the surface. It’s a satirical look at celebrity and what goes along with it, nothing more.

 

The Recording

This was a quick one to record. I already had the song in my head when I sat down to play the drum track so all I had to do was throw in the fun stuff like accents and stops, some of which were simply made up right there on the spot. I like to do that, actually. It’s fun trying to record around and on top of a drum track once it’s done.

The small riff that is repeated in this song was composed while recording the bass track. Sometimes, when I record bass directly after the drums, I do a lot of composing via bass. The rhythm section completes the foundation and sets the tone for everything else recorded afterward. The little riff just happened by accident here and decided to stick around for the duration.

The bridge was also composed at this time. While recording the drum track, I knew I wanted a bridge of some kind for the song but didn’t know what to play in that space. I wondered what would happen if I just played a slower part there instead. In the end, that’s what I did but I didn’t know what would be there musically, only that there would be a slower part in the bridge. There wouldn’t be any lead vocal either, I decided. So, while playing the bass track, I went from C to E twice and then from G to A twice. It sounded weird to me at first but it grew on me.

There are both acoustic and electric guitars on the track. The acoustic was added to fill out the sound a little but also to provide a different tone than the usual electric noise. You can hear it pretty well in the bridge. These were all quick takes and fun to play.

Rounding out the sound are some keyboards. You’ll hear  mostly organ sounds but there are a few cool things going on in the bridge. It’s mostly stock stuff but fairly effective.

I admit that I had a lot of fun with the backing vocals. I had a few people tell me I need to do more with backing tracks so I tried to hunker down and put some really good “Ahhhhs” in there. I was very happy with the way they came out after a couple of hours screaming in my living room.

The lead vocal was a breeze for me. It felt more like talking than singing and I think the result really worked. The cocky rock star thing comes off and I think people can recognize the character and the message, whether they just have a laugh at his expense or see some of the issues underneath.

I always get comments about the little ad-libs at the end. I’m not sure where they came from. They were spontaneously yelled out while recording. You can interpret them any way you like. Are they they ramblings of a drunken, aging rock star who forgot he was giving an interview and thought he was actually on a stage? Maybe he feels he always IS on a stage? Is he the last of his kind? You make the call. Good night, New Jersey.

 

Lyrics

Take it in – Have a swim
I’ll watch your face with a polite grin
I confess – It’s a mess
Take off your gloves I’ll never pass that test

Still alive – flying high
Trying to burn out but not fade away
Hey Pierre – Don’t put that there
I might fall down and bust my derriere

Don’t know how I get through the day
I’m tired, I’m hungover, and you’re in my way
Don’t try to save this ship I’m on
I’m just living in style in my own private Babylon

It’s a simple thing – I’m the king
I don’t throw parties, people bring them to me
What the hell? What’s that smell?
Something’s dead in the roach motel

I got five master bedrooms
I got three heated pools
I got my own bowling alley
I got a helicopter on the roof

I got fans so devoted
I can make them spray tears
They’re keeping me so rich
I haven’t done a thing in years

Talent is irrelevant
It’s all about how you look
There’s no need for me to read
Because I wrote the book

I bet you don’t think
I see this hole in my heart
I’m just trying to check out
Before the hurting starts

 

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PensEyeView 0

Feature and Interview at PensEyeView.com!

Hi all. I have the pleasure of being the Featured Artist on PensEyeView.com on July 13-14, 2011.

I’m very excited about the feature and the interview posted so please have a read and let them know that you liked it. The direct link is http://penseyeview.com/content/lou-tambone.

New Jersey native and latest PEV feature Lou Tambone makes his albums the way they used to be made – a method he calls “true 70’s style”. Lou says “When I decided it was time to go out on my own I knew I had to start writing some new material. I cranked out two albums in under two years… I did this so I’d have a nice bunch of songs to choose from when playing live. I also did this so I could get a lot of these songs out of my head and off the paper.”

And playing live is something Tambone excels at – booking more and more shows as we speak. Those albums he references? The first is called “Damaged Goods”. The second? It’s titled “Workin’ Progress”.  The sound comes from the same roots for both records – Lou says “I’m not 100% sure I even have a specific sound anymore. I guess that’s the whole thing I enjoy about genre-smashing. People don’t know what to make of you. They hear rock, country, blues, funk, R&B, jazz, ska and whatever else I feel like writing. At the end of the day, I guess I’m just a rock guy who enjoys playing more than rock. I don’t want to have just one sound.” So there you have it – the roots are all over the place. Sample some songs for yourself. There’s much more to read, so keep going for the answers to the XXQ’s.

For the full feature and interview: http://penseyeview.com/content/lou-tambone

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Records 1

I Call Them Albums

Here’s my latest definition of feeling old: Speaking to someone under a certain age about music, referring to a collection of published songs as an “album” and then subsequently being looked at as if I had suddenly lapsed into Greek. “What’s an album?” they usually ask.

It happens a lot more often than I’d like. I was talking to my brother-in-law and sister-in-law not long ago. They’re not young enough when records were never part of their lives but they’re apparently not old enough  so that using the word “album” or “record” is a hard habit to break. My sister-in-law actually laughed out loud and said, “Who calls them albums any more, Lou?” Well, a lot of people I know do, but I guess it all depends on who you hang around with. It was such a weird moment that it stuck with me. The fact that she found it so funny also stuck with me. Was this something I should change? Should I not be using those words anymore? It got me thinking.

I’m one of those children of the 70’s who remembers and owned many of what are called LP’s. The LP stands for Long-playing. These typically vinyl discs were placed on a turntable, spun around, and read by a stylus – or what we commonly referred to as the “needle” which resided at the end of a long arm. This needle delivered the sound to your speakers. Wild.

Cassette tapes came along at some point (as did the relatively short-lived and not discussed here 8-track cartridge) and while it was cool that they were more portable and you could record on them, they were never quite able to knock LPs out of the market. People usually referred to them as “tapes” but it was still acceptable to call them albums at a higher level. They lived side-by-side in harmony for quite some time.

I worked in record stores (<— there’s that word again!) for a long, long time and I don’t recall a time when someone said, “Do you have that new tape by Some Artist?” Usually they’d ask for the new album and we might say, “Do you want it on record or tape?” and that was that. I’m sure there were some people who used the term on a regular basis but they were not the majority then. I’m also pretty sure that saying the word “record” was as taboo as I’m led to believe it is today. In retrospect, I think it’s because the LP format was not totally wiped out yet, which leads me to my next example: The CD or “compact disc”.

I remember when this wonderful monster came along. I was working at a store called “Crazy Eddie’s” (His prices are inSANE!!!) here in Northern New Jersey. I was there for the whole CD revolution. I watched the format hatch and grow commercially. I unpacked the first shipments and put them out into retrofitted bins. At first they came in what were called “longboxes” which contained most of the cover art. Some labels got creative while other cheaper labels simply packaged the CDs in long, clear plastic “blisters” with the booklet up top and the CD with tray at the bottom. They sat in the bins just the same as the ones with the longboxes so browsing the bins would not be a problem.

I was also there, working in those same stores, when we started emptying the LP racks completely and converting them into CD bins. I distinctly remember noticing that two CDs in their boxes, next to each other, took up the same amount of space as an album. For a long time, CDs sat in the bins two columns deep with nothing dividing them. Why I remember this stuff, I couldn’t tell you but as memories go, they are sort of fond ones.

It was fun for a short while in the interim, positioning CDs, tapes, AND record albums all together in a Top 10 sequence according to a Billboard chart. The tapes were in these long plastic “shucks” that were supposed to prevent theft. People usually just broke them, but they looked nice when you put them on the front wall because they became the same height as the LPs and CD longboxes. Working in those stores in the old days was a lot more fun. Try going into a music store today (if you’re around my age). It’s a whole different experience.

Remember, this was all pre-internet, pre-downloading, pre-mp3s, and all that stuff. We’ve come a long way since then and the CD is still around while cassette tapes have gone away. The LP suffered for a long time and was just about to be counted totally out when some nostalgia for the format began to resurface. For all intents and purposes, however, the LP was pretty much thrown to the curb, at least commercially.

I was originally talking about naming conventions but as you may have noticed, this little side-trip down Memory Lane actually serves a purpose. It gives you a little insight as to why someone like me might still say, “Did you hear that new Lenny Kravitz record?” which my sister-in-law seems to find so funny-bone tickling funny. I guess it just comes down to plain old conditioning and/or force of habit. When you grow up saying or doing a certain thing, then that said thing sticks with you.

I have thought about this a lot more than I care to admit and I’ve always come to the same conclusion.  I just can’t bring myself to change the way I refer to popular compiled published recordings. Over the years, I’ve made many other changes in the way I speak based on changing times, but for some reason I can’t let go of using the terms “records” or “albums”. It’s just so hard-wired in my brain that I can’t undo it. It just doesn’t sound right to me.

I think younger folks are used to it and accept it more because they weren’t around when albums were in full force. All they’ve ever seen are CDs so it’s natural to them. I suppose the relevant comparison for me would be television. I was born in 1970. TVs were around for years but in 1970, there were plenty of people around who remembered when TVs became commonplace after World War II (even though television had been around years before that). The 1950’s saw the TV boom; the 1980’s saw the CD boom. I personally don’t ever remember a time when radio was king, when phone numbers didn’t fully consist of actual numbers, or milk was delivered to your house in the morning by a “milkman”. Well, that milkman part might be a stretch. I remember being 5 or so  and having an insulated metal box on the front porch that actually said “milk” on it. I never saw milk IN it, nor do I remember ever spotting a “milkman” but I think you get the idea.

I think the term is making a slight comeback though. They have these “Record Store Days” now where people are supposed to go to record stores and get all nostalgic and stuff. I’ll be honest and say I don’t really have any interest in that. I practically lived in record stores for years and had some fun times but all in all, it’s just another business. The idea is to make money. It was the PEOPLE that made the record stores fun – not the job. No money = no rent = no more store.

I’ve seen music on iTunes referred to as “iTunes Albums”. Some labels are still referred to as “Record Labels” which is nice. (I am lumping the terms “records” and “albums” together, please note.)  To be honest, I hear lots of people saying, “Did you get that new CD by [insert pop name]?” and I’m not even sure that really works anymore with all the digital hoopla. Are they going to start saying, “Did you get that new download yet?”

Maybe I’m not as out-dated as I fear I might be.

Times change and society adapts for the most part. In this case, however, I’m relatively sure I’ll go to my grave calling these musical collections “albums” regardless of the format they reside on.

I’m secretly longing for the labeling convention of “CD” to go away (or at least have the same stigma as “album/record”)  so that when I talk to my sister-in-law and she says she mentions the new CD from some artist, I can laugh and say, “HA! Who calls them CDs anymore? Gosh!”

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