Tagged: inspiration
Every Song Tells A Story: This Gun Is Now My Life
THE STORY
This song is the fourth song of a concept album I wrote called The Code of the West. It’s basically an outlaw tale and this song is about the symbiotic relationship the main character has with his gun.
Everything and Nothing
“Everything and nothing” is my new favorite way to answer the question, “What’s going on?”
Good Lord, I’ve been totally avoiding my own site. I’ve been so busy I haven’t had time for updates. So I threw up a new theme design (hope you enjoy it) and said, “I’m going to write something, dammit.” So here we are.
Goodbye 2012
I want to have a quick look back at 2012. The band and I played many a gig, and many a GOOD gig! I have to not only thank the band members but also everyone who came to the shows and supported me. It really is the most important thing when playing a show. Playing to an empty room is no fun at all. Playing to a room full of people, familiar or otherwise, who are into it and singing your words back to you on cue is a euphoric experience that I can’t explain.
We had many great shows at places like Crossroads, Connolly’s, National Underground and wrapped up our year with a great gig at Maxwell’s in Hoboken. I’ve gone to many a show there and was thrilled to be able to be on that famous stage. Being from NJ, I think we take that place for granted a bit but there’s lots of great music history there and I’m glad to say I’ve played there. Thanks to my friends in Bradykynin for offering the slot to me.
This year I want to try and keep to at least one show a month, so I hope to see you out there. Our gig at Hat City Kitchen in January was AMAZING. So many great people and so much good energy. Thanks to our friends in Test Pattern for giving us a slot and recording the show. You can hear the audio bootleg here:
httpv://www.youtube.com/watch?v=SN-l3msgLRg
I think my biggest achievement in 2012 was The Code of the West. Writing and recording a concept album is a very ambitious feat and it is not easy to pull off. I’m used to working quickly but this record really forced me to slow down a bit. There was months of on and off research (most about the old west, guns, and so on) and there was a lot of writing before any notes were played. Taking this thing from concept to fleshing out the story alone was hard work. Then I had to actually record the music and hope that it all made some kind of sense.
While the songs still have that “demo” quality (it was all done in my garage) I have to say I’m proud of the whole thing and there are some very different and interesting things on there for me. I went into areas I didn’t know I could and came out a better musician. Please give it a full listen if you can and let me know if the story works for you.
We’re going to start breaking in some of these songs live very soon. The first will be “This Gun is Now My Life” and we’ll follow that up with some of the more rocking tunes like “On the Run” or perhaps “Keep on Moving West.” I’d really like to play the closer, “It’s Finally Time to Sleep” at some point also. Please give me some feedback when you can.
The Band
I’m happy to say that the band is doing well. When you’re a solo artist, it’s quite hard to find people willing to come in an be the backing band, especially when there’s little to no pay involved. I’m sure Lenny Kravitz or Bryan Adams can hire whoever they please. Lou Tambone has to take who he can get.
You have to find people who love music so much that they don’t really mind what they’re playing or why. They play because they love it. I was lucky enough to find a batch of musicians like this. For some odd reason, they are happy to come down and play my songs to people for next to nothing and I appreciate this immensely. So much so that I want to give individual shout outs to them.
STEVE SAVONA plays bass. I’ve known Steve for what has to be around 20 years now. He was the first person I asked to play and he agreed right away. I never, ever, have to worry about what he’s doing or how he’s playing things and he has a humble attitude that’s refreshing. He’s laid back, but tight and in the pocket. A pleasure to have next to me, even though he towers over me and makes me look even shorter. I’ll have to invest in some platform shoes, I guess.
DAVE WILSON plays lead guitar. I remember auditioning Dave. We were really going through the ringer auditioning guitarists and none of them were working out. I’d give them songs to learn and they would hardly bother with them. Dave was one of maybe two guys that actually listened to the songs and learned them. He came in prepared, played the songs, and left with a handshake. That’s pretty much how he got the gig. Plus he could play. He’s good-natured, easy to work with and very accommodating.
ROB SILVERMAN plays drums. Much like Dave, he was a drummer who came down prepared to play and knew the tunes well. I was pretty impressed at how he picked up on a lot of my little drumming quirks or chops and was able to repeat them. He’s a funny guy with many a story to tell. He puts in the time and it shows on stage. As busy as he is, he always finds the time to get to rehearsals and gigs. He smokes electric cigarettes, which to me is cooler than smoking real ones. Now I’ve said too much.
That’s the core band, but as you might know, sometimes LIFE happens and someone can’t make a show for whatever reason. Sometimes they’re away for work or on vacation. Sometimes there’s a family event. These folks are doing me a favor by playing in my band so I always tell them that family is first!
That said, I’ve started to try and make sure I have alternate players available so that when there’s a gig someone can’t make (or a last minute replacement is needed), I don’t have to cancel the show. Booking gigs is not a pleasurable experience for me so when I book them, I like to keep them.
As of now I have two alternates, one for bass and one for lead guitar. When there’s no drummer, we’ll just have to go without… or maybe I’ll play some live drums one day… who knows?
HANNAH HAREL plays the bass and is my good friend. We have played together in another band and had lots of fun. For some reason, she seems to really like playing my songs. I think something must be off in her head, but it works to my advantage so I go with it. When Steve can’t make it, she’s my go-to girl. You’ll see her in some of the youtube videos. I can’t say enough good things about her. We always have a good time.
ROB FERRARO plays lead guitar. He and drummer Rob Silverman, along with myself and another bass player named Anthony Capricuso are all in another original band called Radio Therapy. He’s going to be filling in for Dave at our NYC show on April 6th. This is a real sweetheart of a guy and once again, I’ve lucked out. He also played on the track “On the Run” from my Code of the West recording. He’s a great player.
I’m still auditioning keyboard players but I think I’m close to someone. Keyboard players are a tough breed! If I find one, you’re going to start seeing some cool stuff happening.
Music Stuff
I have all kinds of ideas. All the time. Getting those ideas to a place where you can see/hear them is a project unto itself. Some things make it, others don’t.
There will be new songs/music this year. I’m determined and have lots of drum tracks recorded. Once I have the drum tracks down, that’s usually a good indicator that the songs will actually happen. If I can eek four more drum tracks out, that’s enough for a new record and that will make me very happy. Stay tuned to the site and my Facebook page for updates on new music.
I’ve been seriously considering trying out this whole crowdfunding thing. Sites like Kickstarter and Indiegogo seem to be doing well for musicians. The only X Factor is people. Running one of these campaigns is like a part time job for a month. You really have to get behind it, make a video, plan out all kinds of rewards and make sure people know where every dollar is going. I’ve already done most of the work but I haven’t made a video.
Here’s my thinking. Right now, I have three “albums” of material that I’ve recorded mostly alone in my garage/home, playing all the instruments not counting the occasional guest spot (sax, steel guitar, lead guitar parts, etc.) All of these recordings have a home demo feel to them. I’d like to have an album available that is studio quality. I don’t expect people to shell out money for my current home recordings. They’re not sonically up to snuff and I don’t have the money to record in a real studio.
If I could raise some money through crowdfunding, I could cherry pick 10-12 songs from my first two albums and make a “real” album of studio quality songs that I feel good about handing out to people or selling on the internet or giving to clubs to get better gigs/time slots or selling at gigs, and so on. Since I could play music, I’ve always thought it would be a funny idea to make a first album and call it Greatest Hits. I have no idea why. When I started doing more recording at home, I broke that rule with Damaged Goods. However, those are really demo-like. This could be a real studio record and it would be my first solo one. So Lou Tambone’s Greatest Hits may see the light of day if this whole crowdfunding things works out. I’m still on the fence about starting it though. Part of me thinks, “What have you got to lose?” and part of me just wonders if it’s worth it. If no one donates, I’m back at the drawing board.
Please leave me some comments if you can. Have you done it? Would you do it? Have you donated to other people’s campaigns? Would you donate to mine? I’m considering it but not totally sold.
Previously, I mentioned another original band I’m in called Radio Therapy. It started off as a cover band but that quickly fell apart and we all decided that original music was where it’s at. Team leader Anthony brought in a bunch of his songs. I donated a few more. Rob F. gave us one finished song. The rest came out of joint writing sessions with the three of us. The songs are really good and we’re about ready to play live so look for updates to the Calendar here and on Facebook for the gigs.
***
Look, I could ramble on all day but I feel I’ve done my duty here. Thanks again for a great 2012. Hope to see you all at a gig in 2013. Please leave me some comments about whatever you want. I promise I’ll try to update more! See ya!
The Code of the West
Today I have the pleasure of announcing my new album, The Code of the West. I’ll be releasing it slowly in all the usual places soon but these are your best bets for now.
There’s a SoundCloud widget where you can listen to the songs:
OR you can…Listen to The Code of the West via Dropbox
The Code of the West is a ten song concept album that takes place in the US Civil War era. It’s about a boy from St. Joseph, Missouri who lives on a farm with his parents until one day, during the Civil War, a general rides into town looking for new recruits. The boy’s father, sensing some big trouble ahead on the home front, figures his son’s chance of staying alive a soldier might even be better than his chance at home, so he allows his son to ride off to war. While away, due to some political machinations in town, his parents are killed – burned alive with their farm. The boy, now a man, comes home to find his farm burned down, parents dead, and no answers.
Seeking justice, he makes some decisions, for better or worse, and starts a journey West with plans to hit California, mine some gold, and then grow old rich in Mexico. On the way from St. Joseph to California, he changes and the lines between trying to survive and becoming a full-fledged outlaw begin to blur. After unintentionally bedding a Sheriff’s daughter, a relentless posse is dispatched. Our outlaw friend is forced to make some hasty and fatal decisions in order to realize his dream of Mexican freedom…
Once again, this is a concept album. The lyrics tell the story so try to listen to the songs in order. There are a wide range of influences here from old Elton John (Tumbleweed Connection, Madman Across the Water, etc.), Eagles (Desperado, etc.), The Band (Music from Big Pink, etc.), and there’s plenty of that Johnny Cash/Lou Reed style of spoken-word singing, if you catch my drift. My goal was to tell a story, plain and simple. It’s not a grandiose rock opera in the vein of The Who’s Tommy, but it tells a story nonetheless and I feel I’ve been successful. It’s certainly not a deep story. It’s very simple and easy to follow, but if you dig a little deeper you’ll hopefully pick up more things with repeat listens.
I took a few small liberties here and there but for the most part, I feel I’ve remained historically accurate. Whenever I needed names of towns or events or guns or even horse’s names from the Civil War era, I took to the internet and researched. I did so much research as I was writing the lyrics and the story that that’s where the title came from. There really was a “Code of the West.” I liked the phrase so much, it became its own song and ultimately the title track.
From Wikipedia (although I can’t seem to locate the link now):
A new code of behavior was becoming acceptable in the West. People no longer had a duty to retreat when threatened. This was a departure from British common law that required citizens to have their back to the wall before they could protect themselves with deadly force. In 1876 a Ohio court held if attacked a citizen was not “obligated to fly”. The Indiana Supreme Court upheld the legality of “no duty to retreat”. The Code of the West dictated that a man did not have to back away from a fight, needing to retreat no further than “the air at his back”, and could pursue an adversary even if it resulted in death.
I want to spotlight some people who helped me out on a few tracks.
Brian Csencsits played piano on the opening track, “My Father Was a Good Man.” I laid down a pretty basic piano track but it wasn’t fluid enough and didn’t really groove. The opening is really the only happy track on there, representing youth and innocence, so I wanted it to be bright and moving. Brian provided a much better track than I did and it sounds great.
Paul J. Baccash provided all the electric guitar leads on the country song “Lawless.”I had the song recorded and it was very basic. It sounded like an old Johnny Cash traditional number; tell-tale country. I needed a good lead but didn’t know what to do. I was going to put an accordion lead or something in the song later. I took to Facebook and asked if anyone felt like playing a lead on a track. I’ve played gigs with Paul before so I was really excited when he made the offer. He went above and beyond what I needed, providing me with multiple, harmonized tracks and instructions on how to pan them to sound nice. Once added, the song took on a new life. Listen to his playing and you’ll agree.
Rob Ferraro provided all the lead guitars on the track called “On the Run.” A hard rocking bluesy number, I knew it would need special attention as far as lead guitar went. I’m not fast enough to pull off what he did here. I gave him a few tracks one night in my garage and he just unloaded with some fun leads and great fills. Once again, the song totally woke up.
I know the album isn’t for everyone. It has more going against it than for it in today’s musical climate, but it was something inside me that I had to get out before I could move on. As usual, before you critique my production value, remember that nothing you hear on these tracks was recorded in a professional studio. It was all done at home, mostly in my garage in less than optimal conditions and with less than optimal tools. Everything I do has a “demo” quality about it. Until the day someone pays me a bunch of money to record in a real studio, this is it folks. If you want to see the songs shine, come see the live show.
So that’s all for now. In the coming months, I’m sure I’ll be posting more about the album and the songs/story. Making this album was a long process (well, longer than I’m accustomed to) but it was well worth it and I really like how the songs turned out. If you have questions, just let me know. If you have favorite tracks, please let me know as well.
Thanks for reading and listening and I really hope you enjoy the music and story!
The track listing is as follows:
- My Father Was a Good Man
- I Rode to War at 17
- Lawless
- This Gun is Now My Life
- Keep on Moving West
- The Code of the West
- On The Run
- They Won’t Give Up (Until I’m Caught)
- Take Me Dead
- It’s Finally Time to Sleep
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 rideAll my life I’ve been hungry
All my life I’ve been ready
All my life I’ve been so determined
But tonight I rideTonight, tonight I ride
Perpetual motion is on my side
The links are broken, the chains are dead
I’ve got to move aheadAll my life I’ve been sitting
All my life I’ve been lying down
All my life I’ve been static
But tonight I rideI 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 rideTonight, 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 releasedTonight, tonight I ride
Perpetual motion is on my side
Unleashed and I won’t be denied – YeahTonight, 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 tonightI ride tonight
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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