Tagged: lyrics

January 3, 2011

Every Song Tells A Story: There You Are

The Story

This song was a very interesting one for me in that it wasn’t written in the usual way. I wrote it with my friend Doug Brehm one night. Doug and I usually hang out together on random Friday nights to either watch a flick or play some video games and drink a few beers. I’ve known Doug since high school and while he’s always a bit timid about his playing, he’s actually quite melodic and has developed his own little style of playing based on folks like Andy Summers of The Police and The Edge of U2.

One Friday night I was home noodling with a chord/riff when he called to see if I wanted to hang out. I asked him if perhaps he’d like to have a songwriting session instead of the usual movie watching session or a night of virtual zombie/alien killing. He seemed up for it, so I packed up my guitar, bass, and Macbook Pro and traveled up to his place.

Everything we did that night over a couple of beers was very productive. We sat there and wrote just about the whole song except for the lyrics which I wrote a couple of days later. It was a great night of bouncing ideas back and forth and seeing what stuck. I really enjoy collaborative songwriting and while I always have the offer out there, people rarely take me up on it. You would think that in the digital age this would be quite common but songwriters are fickle souls and sometimes don’t like to collaborate for whatever reason. What happened in Doug’s basement was a great example of two people just creating something from nothing in a positive and honest way.

Like I said, I wrote the lyrics a few days after we wrote the song. The intention was to keep the subject of the song ambiguous so the listener could make it about someone of their own choice. At first listen, you might suspect it’s a love song about a girl, as many songs are. If that works for you, that’s great and that’s what it’s about for you. I specifically left gender out so that if the listener was a female, she could sing along with the same emotion as a male singing to a female. I’ve always found it awkward singing songs by female artists and having to switch the gender around. Sometimes it works well, other times not.

For me, however, this song is about God. The lyrics leave it open, which is nice, but if you really look at the words, I’m singing about God: Every time I need somebody/When my friends leave me stranded/When I feel like I can’t make it/Every time I think I’m losing you.

People have very strong beliefs about religion and sometimes have trouble separating it from spirituality. I’m more spiritual than religious. I believe there is a God. Others don’t. Who’s right? We don’t know. It all comes down to faith. I didn’t really set out to write a song about God – it just happened. I don’t fight inspiration.

So in the end, this song wound up being quite poignant and serious for me. I write lots of fun songs but I enjoy serious songs as well and this one ended up being one of my favorites. It started as a joint writing session with no real direction and ended up being a good song (in my opinion) with a reflective message; something people could personalize and make mean whatever else, should they wish. Not bad!

The Recording

The recording session started out in my friend Doug’s basement. I had this little riff I was noodling around with and that ended up being the intro and main hook of the song. I felt we needed some kind of beat behind it though, in order to kick start the writing process. So we hooked up the Mac to some monitors and I fished around for a drum loop that I thought might work. The one you hear in the finished track is the one I ended up using. I don’t even think I changed it in any way. It was like using a non-programmed drum machine. The beat played over and over until I stopped it. It just worked. I didn’t even add accents or other percussion. It’s a mellow song that didn’t warrant anything other than a laid back beat. I usually like to play my own drums but I got so used to hearing the loop that I just left it alone. It sounded right to me and I’ve learned to not mess with something if it feels and sounds right.

While we did some recording that night together, it was basically just for the purpose of getting the ideas down in the computer so that I had something to go on when I got back home. Doug and I went through some ideas, discarded others and eventually worked out a nice, simple progression that felt good. We packed it up and I went home. I believe I wrote the lyrics the following Monday while at work and then finished up the song that Wednesday. Everything about this song just literally fell into place.

I re-recorded everything except the drum loop. I believe I started with the main acoustic guitar track, just to get some melody in there. The main riff is a fun one for me and reminds me of something a little Sting-ish. It gracefully descends and sounds like it should resolve somewhere else but doesn’t, which adds a little tension. I enjoy that. There are lots of Major 7th chords in there. In fact, the entire bridge is comprised of them. They sound so nice and full.

I remember coming up with the bass line while at Doug’s place. We were both on guitar and at one point I remember thinking, “This is silly. Why are we both on guitar? Let me get the bass out.” So I did that and as Doug played the riff over and over, I starter working in this sort of alien bass line that didn’t really seem to match what was going on with the acoustic. Of course, that intrigued me even more. It’s got that bit of counterpoint that just seemed to work. There are also some fun bass fills in the bridge if you listen closely. They remind me of something Lenny Kravitz would do for some reason.

After adding more guitars and some of the vocals, I had Doug come back over and lay down the guitar solo. I really wanted him to do it because I knew he’d come up with something cool and something totally different than what I would do. I gave him a copy of the work-in-progress track so he could get some ideas. He came down totally prepared with a really nice solo in mind that I absolutely loved. After a few takes, we got it down and the song came that much more alive.

The vocals were pretty simple. The usual light reverb on the verses and choruses did the trick. I added some harmony to the last chorus for effect. I tried to make it a little more powerful so that when it broke down at the end there would be some nice contrast. As for the bridge, I knew I needed something else there so I tried some oohs and ahhs, drenched in reverb. It’s amazing what some ambient vocals can add to a song.

Like I said before, everything just seemed to fall into place. Divine Intervention? Could be. All I know is that I’m quite happy with the final product. I hope you like it.

The Lyrics

I woke up this morning with the sun shining in my eyes
I had a feeling everything was all right
The pain that I had yesterday faded in the night
I can’t bring back the memory now if I tried

For a while I traveled underground and lost the light of day
Never thought that I could make a mistake
Reflections can be so painful if you take them the wrong way
But the mirror is smiling back today

And I wouldn’t be here without you…

Every time I need somebody now – there you are
When my friends leave me stranded – there you are
When I feel like I can’t make it – there you are
Every time I think I’m losing you – there you are

So many people living, breathing in our space and time
No reason anybody should be alone
You can’t call it hanging out when you’re the last one in the room
Say goodbye to the past, you have to let go

And I wouldn’t know it without you…

Every time I need somebody now – there you are
When my friends leave me stranded – there you are
When I feel like I can’t make it – there you are
Every time I think I’m losing you – there you are

Lou's News / Writing

December 6, 2010

Inspiration

There are many ways to write a song. Writing a song is not all that difficult, actually. Writing a good song is a little more challenging, but just writing a plan old song is a very simple thing. Small children do it all the time without even thinking about it. Some people have to be inspired to write a song, others can just craft something on a whim. While I’m not completely unable to perform the latter (and have at times), I’m definitely a creature of inspiration when it comes to songwriting.

Like most people, I can be inspired to write by just about anything from news headlines to songs by other artists to films to novels to real-life experiences, and so on. Inspiration can hit anytime, anywhere and that’s the rub. I would estimate that 90 percent of the time I get wildly inspired is time that I’m nowhere near musical instruments. Those of us who like to write songs know that sometimes if you don’t write something down when it comes to you, you’re apt to lose it forever.

I’ll always try to put something down electronically and then e-mail it to myself, should inspiration strike while I’m not home. Sometimes, I’ll just send myself a test message with a bit of lyrics or notes about song. Other times, I’ll take a break at work and go sit in the park with a notebook and pen. Most times, however, I’ll just open up a text file on the computer and type away as the day goes on, sending it to myself at the end of the day. I have a great number of text files floating around with full songs or song ideas. When it’s time to record, I’ll usually look in that folder and pick a few to begin recording.

Many of the songs I’ve written in the last few years have been written sitting at my desk at work. I’ll be in the middle of something and then all of the sudden – BAM! There’s a song knocking at my brain’s front door. I have to quickly stop what I’m doing, open a text file, and write down whatever it is. Maybe it’s just a phrase. Maybe it’s only a song title. Maybe it’s an idea for a concept album. Maybe it’s a good idea for a movie script. It could be anything, but I’ve learned that when the idea comes, I need to get it out of my head and onto something I can read and process later or else I’ll risk losing it. I find I’m OK if I just write down a line or two and come back to it later to finish it up. As long as a fragment is there, my subconscious will bring back the rest somehow. That way, I can get back to work and not have to worry about losing a good (or crappy) idea.

For me, the tricky part about this unorthodox method of songwriting is remembering the melodies that pop into my head as I’m writing the lyrics down. I’ll try to make notes about the songs as I go. I might write something like “Fat groove – mid tempo” or “Funk vibe – party song” or “Slow acoustic” or “Bluesy rock”. Each song is different. Luckily, I have a tendency to attach a musical progression to the lyrics I write so that when I go to record the song at a later date, I can still remember how it goes without having worked it out on an instrument previously. I’ll sing it to myself before I record, and then write down all the chords and changes. This is probably not an ideal way to work, but it’s been pretty successful for me.

Even when I am home, though, sometimes inspiration just isn’t there. I may have as many as four songs currently being worked on at any given time (I usually don’t like to work on more than that at once) but I can’t get myself motivated enough to work on them if the inspiration isn’t there. This is a different kind of inspiration. I call it “Phase Two”. “Phase One” would be the spark that prompts the moment of conception. This second phase is more like the follow up to that first phase. It’s the execution. It’s taking the idea and moving it from the head to the real world and making it tangible. To do this, I absolutely have to be inspired. If it feels like work, I don’t want to do it. If the time is right and no one’s home and I’m feeling musical, I’ll hit those tracks fast and hard.

Inspiration is personal. It’s different for everyone. What inspires me might not inspire you in the least bit. Embrace that which inspires you because there isn’t a much better feeling than when that spark of inspiration hits you and you act upon it.

Do you have a funny story about inspiration? What methods have worked for you? Please feel free to share in the comments section below.

Lou's News / Music

November 23, 2010

Every Song Tells A Story: The Luckiest Man Alive

The Story

Long story short: this song is about reconnecting with an old friend.

It was specifically written for a friend of mine named Joyce. We met when we were in our late teens, both of us working for the same company but in different locations. It was a retail chain so there was always a lot of interaction between stores. Sometimes people from one store would go work in another for the day to cover for someone who was out, and so on.

Joyce worked in the Nanuet store and lived up that way. We interacted on the phone a lot and became very good friends. Sometimes you just connect with people on the right level and the friendship that’s forged is a solid one. That’s how we were.

So time went by and we lost touch after high school turned into college. We got busy and moved on but there were always funny pictures to look at and memories of those fun times.

The glories of social networking arrived and soon enough, there was a friend request from Joyce one day sitting there. How long had it been? 20 years? Really? The funny thing is that we talked and it was like no time had passed at all. That’s what good friends are all about.

So as it turned out, she married a music man who also owns a club in New York City and opened her own business in mid-town Manhattan. We met up and have been in contact ever since, be it at the club to see a band or just online. A day or two after our initial meet-up, I was inspired to somehow put down what happened in a song. For me, the friends of my youth are the ones I have the strongest bonds with today.

As you can see by the lyrics, the song is fairly literal. There are a few bits and pieces I might have thrown in for the sake of the song but for the most part, it’s all true stuff. It’s mainly the transcript of a reconnection at a table. How have you been? Tell me about the kids. Remember this or that?

The phrase “That man is the luckiest man alive” isn’t meant to be as literal as it sounds, I suppose. That part refers to something a little bigger but it’s disguised as something personal. What happens in marriages, as time goes by, is that two people get so used to the situation and so comfortable in their shoes that they forget how lucky they really are to have someone.

Call it, “The Grass is Greener Syndrome” or “The Seven Year Itch” or whatever else you like, but I feel that sometimes people don’t realize what it means to find someone really special and go the distance with them. I realize this about my wife all the time. Whenever there’s an argument, usually the next day it’s over and we can just forget it. I realize that love shifts and changes faces over time but it’s still the same love and I don’t know what I’d do without my wife. We have great kids and whatever problems we have, we’ll work through together. That’s just how we are.

So that chorus was just me reinforcing that idea to my friend saying that if this guy doesn’t know it by now, he’s the luckiest man alive to have a nice person like you for a wife. That doesn’t make the rest of us unlucky, however. We’re all lucky to have a special lady or man in our lives.

The Recording

As with a lot of the songs I record, I started with the drum track. I already had the lyrics and most of the melody in my head so I just charted it out and got to work.

The song was not that difficult to record, actually. It mainly consists of variations of a big A chord. You might think that’s a little boring, but when songs come out, I try not to fight them and this one came out that way. The bass line is quite simple. Lots of A hits with the occasional little fill-in riff.

Next, I added some keyboard parts. I put some electric piano on top of the bass which blended well. In the pre-chorus parts and the bridge, I added some regular old piano which filled out the song a little and gave it some more life.

The guitar parts are all done on the Martin acoustic – even the leads. I was adding the acoustic strumming in the main parts of the song and when I was done, I added another track and put some light crunch on the guitar sound. The acoustic, when played through this amp simulator had a nice sound that just seemed to fit the song and since I was already plugged in and holding the acoustic, I figured why not just do the lead now.

The vocal is pretty loose. I just went with it. You’re hearing mostly first takes there. The little backups were fun to do. Those “Bah Bahs” just follow the main groove of the electric piano.

In retrospect, I realize that the song might be a little too long. Once I have a drum track down and finished, I really hesitate to go back and edit the hell out of it or re-do it. Sometimes you can’t re-capture things the same way.

It wasn’t until I was doing the vocals that I noticed I had played a little too long here or there, especially in the guitar solo. The bits before the second verse drag on a bit also. When we do this song live, I’ll probably trim it down a little to make it more streamlined.

The Lyrics

Way back in the old times
When the days were slow
We were just two crazy kids
What did we know

Lost track of the hands of time
We drifted away
Never thought I’d ever see you again
Until today

Flood of memories
Ton of bricks
Emotions high in the sky
I’m so glad you found me

So tell me more about your man
I’ll tell you about my wife
Sounds like you’re really doing well
You’ve got a good life

We’re both hitched and the kids are growing
Growing too damn fast
I got time, so let’s palaver
And relive some of that glorious past

That man of yours
He got it right
I wonder if he knows
Yea, I wonder if he knows

That man’s got it in his hands
That man is the luckiest man alive
That man – doesn’t understand
That man is the luckiest man alive

Never regretted a thing in my life
I’m not about to start
You were the first girl to make me sweat
The first to put some dings in my yet unbroken heart

Second guessing is not in my nature
Clairvoyance is a poor man’s myth
Got no use for what coulda and shoulda
We had youth and we enjoyed it

So here we sit down the line
We look good and we feel fine
We both smile cause it’s funny the way
20 years feels like just one day

And I remember
The times together
Still fresh in my mind
I gotta say it one more time

That man’s got it in his hands
That man is the luckiest man alive
That man – doesn’t understand
That man is the luckiest man alive

Lou's News / Music

October 29, 2010

Every Song Tells A Story: The Walking Man

The Story

I’m a big fan of the blues. It doesn’t matter to me what kind of blues it is. I just love the raw emotion and honesty mixed with mostly simple progressions. Most rock is derived somehow from the blues, when you look back and analyze things. It’s also as American as apple pie and all that jazz.

Odd as it sounds, this straight-up blues song is a story about a story. Well, it isn’t its own story with its own narrative, but I think you get the idea. If you read the lyrics, you’ll find it’s plain to see that this song is based on Stephen King’s opus, The Stand.

I moonlight with cover bands. There was a time when I was fronting one a few years ago. Usually when we warmed up or had time for a sound-check, I’d lead the guys into some sort of blues number. Sometimes it would be The Replacements’ “Hootenanny”. Other times it might just be some sort of blues in E since I’m a fan of the E-A-B progression. If we just broke out into slow E blues, I’d start to make up lyrics on the fly.

During this time, I was reading The Stand so the characters and plot were fresh in my mind. On more than one occasion, while we were playing some blues, I just started singing about The Walking Dude, the Trashcan Man and whatever else came to mind. I didn’t write any of it down right away but tried to repeat it each time we played.

Then one day as I was recording drum tracks for my original stuff, I decided to lay down two blues tracks knowing one of them would be this homage to The Stand. After that, I wrote down as much of the lyrics I could remember and polished up the rest.

If you’re a King fan you’ll know right away that the title of the song refers to Randall Flagg, the chief antagonist in the novel. He’s one of those villains you love to hate and shows up in many of King’s works. “I saw the Walking Man/Dude in the city of sin” refers to Flagg in Las Vegas, which is his de facto headquarters of sorts in the book. That verse is repeated at the end for emphasis and to create a “bookend” feeling, lyrically.

“Baby, Can You Dig Your Man?” is a song in the book by one of the principle characters, Larry Underwood. This poor guy was probably just about to make it as a musician when the crippling Super-Flu (nicknamed Captain Trips) hits and wipes out most of civilization. Since the song is mentioned in the book many times and since Larry is a musician, it stuck in my head. I felt I had to include it somehow.

The line about “your sister can” is a take on the traditional blues line where the jilted lover asks his girl for something (probably sex) and says that if she won’t, her sister will. It’s fairly common in blues songs. Initially, I wanted to include Larry’s name in the verse to enforce that the lyric was part of his song. At first, the line read, “If you don’t, my man Larry can.” I realized that made no sense though. That would make Larry gay and while that’s not a bad thing in itself, it diverts from the novel where Larry is clearly not gay at all (that we know of). So I changed the line to refer to “your sister” instead. Larry’s name didn’t make the lyrics.

The Trashcan Man verse was made up on the fly and one of the verses I remembered fully. Trash is a crazy pyromaniac in the book. The bit about desire at the end is just vague enough to be cool. I’m not 100% sure what it refers to but it rhymes and can be interpreted a few ways.

I wanted to get Mother Abagail in there somewhere since she was also a musician. I love that visual of the old woman playing her spirituals on the front porch with a guitar. That image stayed with me, just like Larry’s song. Of course, the “Hand of God” is an important reference, especially at the end of the book. I liked the notion that she could foresee things.

The song is mainly in first person to give people the impression that the singer is just another character in the book, watching the events unfold. It’s a very long book but if you get the chance to read it, I highly recommend it. Just be patient with it, especially in the middle. I know a lot of people who say they just couldn’t get through it and I admit that the middle drags at times but almost everything that happens is essential and connected in some way. It’s a fascinating read with lots of characters and some great imagery. Without it, this song might just be about some guy bitching about his girlfriend.

So thanks, Steve. Please don’t sue me.

The Recording

I recorded the drums for this song first, and on the same day I recorded the drum track for another blues shuffle I wrote called “Did You Tell Your Man”. These types of songs are very easy to play for me, so while I don’t remember how many takes I did, I can assure you it was only one or two. I just sang along in my head to make sure I was in the right place. I played loudly or quietly where I felt certain parts were happening. It all fell into place and felt natural.

The bass is very direct and to the point. There isn’t a lot of walking or moving around. Looking back now, I think I should have played a bit more, but at the time I was trying to finish the basic tracks in one big session (for both blues songs) because I wanted a friend to come in and play lead guitar for me. I wanted the tracks to be ready.

The song is very stripped down and for rhythm guitar, I only played an acoustic. If you listen closely in the background, you’ll hear it drift in and out between the vocals.

The great lead guitar on the track is played by my old friend Tommy Hayes. We used to work together at a local music store when he was just a kid and I was in my early 20’s. He was always a big blues guy and after reconnecting, I heard some of his playing and thought he’d really be great. He agreed to come down and play on the two blues tracks for me.

All the electric guitars you hear on this track are by Tommy. He does some great lead work and I especially love the little fills that decorate the song here and there. There’s one I really love at around 2:45 (right after the first Trashcan line).

The vocals are pretty subdued at first but pick up a little before the solos for some emotional weight. “She’s a bad girl” was just ad libbed on the fly. The “Hand of God” stuff was intentionally big to lead into the more powerful guitar solo. The first guitar solo was on the mellow side but I asked Tommy to really kick it in for the second one. I kicked the vocals up a little at the end, also, just to have some fun and try to get a big ending out of the tune.

While it’s really just a plain, traditional blues romp, there’s something I like about the song. I don’t know if it’s just nostalgia or whatever, but it’s got something I like. I believe it’s the fact that it’s not over-produced. It’s very simple and has a live sound to it. It’s raw and honest, as the blues should be.

The Lyrics

I saw the Walking Man in the city of sin
I saw the Walking Dude in the city of sin
Looked in his eyes; what a mess I was in

Tell me baby, can you dig your man
Tell me baby, can you dig your man
Because if you don’t, I know your sister can
She’s a bad girl

The Trashcan Man likes to play with fire
The Trashcan Man likes to play with fire
Little did he know her name was desire

I dreamt about that woman strumming her guitar
I dreamt about that woman strumming her guitar
She said, “You better take care children. Here come the Hand of God.”

I saw the Walking Man in the city of sin
I saw the Walking Man in the city of sin
Looked in his eyes; Lord, what a mess I was in

Lou's News / Music

September 20, 2010

Every Song Tells A Story: Will We All Be Friends At The End Of The World?

The Story

This song is, basically, a protest song. Protest songs and rock and roll seem to go hand in hand. I’m not one of those activist-types who go to rallies with signs and stuff but I’m certainly not opposed to writing a protest song when the feeling hits me and the inspiration is there.

This song is the end result of the combining of two song ideas, plus a little Utopia. I had a batch of lyrics with a loose melody called “The World’s Gone Crazy” lying around, waiting to be worked out. That song was more of a misanthropic ode than a protest song and it still has a few good bits in it that I’m going to eventually re-work and transform into another song when I have time.

The other idea was the protest song that eventually ended up as “Will We All Be Friends at the End of the World?” This idea was straight-up inspiration from both a vibe and a lyric from another song I was listening to at the time. That song was from Utopia, Todd Rundgren’s side project, and is called “Marriage of Heaven and Hell” from the album Oops! Wrong Planet.

Somewhere in that song is a lyric that goes, “They will all join hands at the end of the world,” and I thought to myself, “Hey, that’s a neat little visual.” That led to a stream of consciousness that led me to all sorts of places. I was thinking about current events and how all the nations of the world can’t seem to get it together. There’s hatred all over the world pointed in all sorts of directions. There’s hatred within political circles here at home. It’s like a cancer, eating away at humanity.

So I was thinking to myself, “What’s it going to take before everyone gets along and can be friendly to each other? When will we all be friends? Is it going to take a big alien invasion? A nuclear war? The end of the world as we know it? When the world is about to blow, will we then be able to hug it out? Will we all be friends at the end of the world?”

Now, the Utopia song has a couple of different parts to it. The first part and the bit at the end are very upbeat and bluesy which I liked a lot. The part with the quote that I mentioned above is a slower part with a totally different feel. I thought that the bluesy vibe really fit the idea I was trying to convey.

As the newly re-worked lyrics came around, the music in my head started to change a little also. The upbeat vibe was still there and was joined a little by some KISS; specifically the song “100,000 Years”. So, musically, if you take Utopia and KISS and throw them together in a blender, then add a little Alice Cooper and maybe some Wings, and then let me have at it for a while, you’ll come up with something like the song I ended up writing.

As I said, I’m not really a big fan of protest songs, but sometimes inspiration hits and you can’t just turn that sort of thing off. It’s really easy to get angry at the state of the world today. The chorus is something you might hear me say in casual conversation while scanning the news stories of the day. The world really has gone crazy. Nothing makes sense anymore and no one can really tell me why. I don’t get it.

There was a time where I started to really pay attention to politics and what was happening in the world and more so in our own government. Slowly, as Presidents came in and out of power, I just started to realize that there was really no difference between any of them at all. Politicians say what they have to in order to get elected and keep a career going. I also realized that political parties are a bit of a joke. There’s no room for a centrist like myself. If you don’t fall totally and completely down the party line, you don’t fit. I don’t vote based on party, I vote on the issues. I agree with one party on this or that, and I agree with the other on certain other issues. But why is there all this hatred between the parties? There’s no agreeing to disagree. There’s blame, pointing fingers, excuses, lies and red tape. Meanwhile, the people bear the brunt of their mistakes. I’ll stop there. Let’s just say the world was making me angry and therefore, I wrote a song in protest. Do I feel better? Maybe a little. Will the world change? Nope.

The Recording

As usual, I recorded the drums first on this one. I usually try to map the song out in my head and then jot down a few notes so when I’m playing the drum track I know where I am in the song. I’m usually singing in my head as well which is why it’s important for me to have lyrics, even if they’re scratch verses or whatever.

The song starts out with a drum intro that I did “on the fly”. I tried a few different things and it wasn’t until after I was done with the track that I noticed my subconscious inserted a little Peter Criss into my playing. The little intro is a bit similar to what Peter used to do in his old KISS drum solo. So I recorded the drums, made sure I added some accents, left room for some other ideas I had in my head and that was that. As usual, there were not many takes.

There are specific accents in the song, so when I was laying down the bass parts, I tried my best to hit them well. There were no issues that I recall. The song is a bit repetitive, especially on the bass. There’s a constant bluesy thumping that provides a secure foundation.

The guitars were a whole different scene. Once I got started having fun, I found it hard to stop. The tune is very guitar driven and almost “anthemic” in a way. So the basic rhythm guitar is intact, mostly a big A with some C and D accents. Over those accents, however, I started to add some harmonized guitar fills that worked really well. I’m very pleased with the results on those. They added another layer to the song.

The guitar solo is 16 measures, which is quite a bit for me. I pieced together something that I felt worked really well though. The solo took me quite a while. It wasn’t so much playing it as it was coming up with the parts that worked best and then quickly putting them down. I layered a lot of other little guitar parts over stuff where it fit, most noticeably over the bridge which was another bit that I felt worked really well.

This kind of song is especially fun to sing. You can yell a bit and it’s OK. I didn’t pay too much attention to the way I was singing. I just did what felt right and it seemed to work well. The one thing I pre-planned vocally was the little a cappella breakdown with the hand-claps toward the end. That was something that came to me early on when I was writing the song and I wanted to make sure it sounded good. When it was done, I walked away for a while so I could give it a fresh listen and when I played it back later it sounded great. I was actually surprised I pulled those harmonies off. My approach to harmonies and backing vocals is so laid back that I never know what I’m going to do until I do it. This usually gives me mixed results but in this case, I just got lucky and nailed the parts quickly.

Many protest songs are folksy and acoustic with lots of meaningful lyrics and are designed to make you think. This one’s energetic, sloppy, and pretty angry but somehow maintains an air of guitar-in-your-face fun. Protest songs don’t need to be dreary.

I’m really proud of this song and it’s one of my favorites to play.

The Lyrics

Wake up, put on your coat and your hate
The train’s moving backward – you don’t wanna be late
Road full of rage and a heart made of stone
Stupid people make you wanna go it alone

Countries of the word all acting like babies
All the pointing of the fingers and the drama and the hating
Every fist clenched tight raised high in the air
Now we can’t come together when there’s nobody there

The world’s gone crazy, it’s a hell of a time
Nothing’s making sense and nobody knows why
There’s only one thing I’m asking you girl
Will we all be friends at the end of the world?

Don’t believe in politicians they’re not working for you
They’re just thinking about elections, nothing they say is true
From the crib to the dirt you’ll find the sky ain’t so blue
It’s one hell of a quandary, I don’t know what to do

The world’s gone crazy, it’s a hell of a time
Nothing’s making sense and nobody knows why
There’s only one thing I’m asking you girl
Will we all be friends at the end of the world?

The hate is too much
Makes you wanna give up
Somebody please tell me why
I’m seeing bombs in the sky

Power makes you lazy, yeah it goes to your head
Anybody tries to save us, they’ll soon end up dead
How can we get it right when we can’t get along
Everybody like the singer but they can’t stand the song

The world’s gone crazy, it’s a hell of a time
Nothing’s making sense and nobody knows why
There’s only one thing I’m asking you girl
Will we all be friends at the end of the world?

Lou's News / Music

August 17, 2010

Every Song Tells A Story: One Step Closer

The Story

“One Step Closer” is another one of those songs that was written back in the mid-1990’s. I don’t remember much about where it came from but I do remember it was a quick write that all stemmed from one lyric: “One step closer to what love can be.” The phrase popped into my head and I just kept going with it, creating a little love story.

I presented it to the band I was in at the time but it never really made it past me playing it at rehearsal one night. It was unfinished, I was the drummer, and I was needed on the drums. They told me to bring back a demo. While making that demo at home, the band dissolved so I just kept it around.

The story of the song is not all that complicated. For the most part, it’s a generic love song performed in an upbeat, folky, acoustic way. It’s about getting to know someone, falling in love, and wanting to be with that person until the end. It’s about a growing relationship and what that might feel like.

Let’s face it. It’s so hard to find someone with half a brain out there. The message here is that when you find someone good, hold on tight and just enjoy the ride. It might not be a perfect ride, but with a little time and some hard work, you can make it.

Another point I was trying to make here was that love isn’t something you get to the end of, like a race. You can always get one step closer to what you think love can be. Love can always get better.

Some of the lyrics are a little hokey but I was in my early days of songwriting and sometimes you go through those phases early on where you just want to make the rhymes work. You say you’ll change it later but in the end, it works just fine so you leave it alone.

The Recording

As I said, this song is an old one so there are a few older recordings sitting around in my house somewhere. The first time I recorded it was at home, playing all the instruments myself. Around that time, I played a few acoustic gigs and featured this song. I wanted to have a better recording of it, so I went into a friend’s basement studio and we recorded it again with me playing all the instruments except for the guitar solo, which my friend performed. Then the song sat in waiting for something like 15 years.

When it came time for me to start recording again, I had a choice to make. I could seek out the original demos and just use them or I could re-record this song again. It’s not a hard song to play, so I opted to just play it again on drums and build on that.

So one day while I was set up for drum recording, I laid down the track from memory on drums. Within a week or so, I had finished re-recording the song. I made a few changes because even though the song was written and had existed in another form, I was approaching it as a new song. I wanted it to sound the same, but different.

One unintentional change I made was the omission of a short breakdown toward the end. I simply forgot about it when I was recording the drum track. I admit, I do miss it when I listen to the song now so I’ll probably add it in when I play it live.

I made some subtle changes to the bass line which I feel were improvements. They’re not all that noticeable but they’re there and they sound nice. The two acoustic parts are all pretty much verbatim. I’m quite happy with the guitar solo also. I got some really nice tone out of the Telecaster.

Vocally, there were a few small changes. Now, I know I mentioned that I had these songs around a while and in various forms but when I was re-recording them, I didn’t have all the lyrics or the old tapes with me. I had to try and remember the lyrics. I recalled most of them pretty quickly except for the second half of the last verse. I could not, for the life of me, remember those words, so I wrote some new ones which are actually better than the original ones.

Of course, I eventually found the lyrics. The original lines were, “Step by step we climbed that ladder of love, and girl you’ve given me more than I could ever dream of.” Pretty hokey, I know. I replaced those lines with, “We’ll brave the storms and we’ll walk the miles, and the smile on your face will make it worthwhile.” Still a little hokey but definitely better. 🙂

I tried to add a little vocal harmony here and there. You’ll hear some in the bridge and during the ending. They’re not bad but I think we’ll do something better when we play it live.

One other change I added was some organ. There are no keys in the original versions of that song. I added some organ to the pre-chorus parts and at the end. They’re back in the mix but help fill out the sound a bit.

So, on the whole, it was a joy to re-record. It’s a fun little song and one of the few that I feel comfortable just sitting home and strumming on an acoustic without accompaniment. It’s pretty basic but it works for me.

The Lyrics

In this crazy old world where love can rule your life
You gotta search the world over for someone who’s right
Cuz when you find somebody who will love you so
It’s the greatest feeling you will ever know

So if I seem to like you and you seem to like me
Then we’ll be one step closer to what love can be
One step closer to what love can be

With every day that goes by I seem to like you more
Just a little bit better than the day before
When we’re together girl there is no past
It’s the only way to make this friendship last

And if it feels a little strange then that’s ok with me
Cuz we’ll be one step closer to what love can be
One step closer to what love can be

Driving down that lonely road
Where destiny controls your soul
It can’t be wrong if it feels this right
Stay with me baby – let’s run away tonight

And now we’re happy together, yes I knew we’d be
Words will never explain just what you do to me
We’ll brave the storm and we’ll walk the miles
And the smile on your face will make it worthwhile

And when youth fades away and there’s just you and me
Then we’ll be one step closer to what love can be
One step closer to what love can be