Tagged: songs
Every Song Tells a Story: One More Round
The Story
I got the idea for “One More Round” while thinking about drinking songs one day. I thought to myself, “I need a good drinking song.” Most of the gigs I play are in bars and clubs and everyone’s drinking, so why not? Let’s get them invested and give them something they can relate to, right?
A simple drinking song wasn’t good enough for me, though. Being a fan of artists like John Lennon and Paul Westerberg, I admired their use of double entendres and wordplay. One of Paul’s more famous twists (and he used it in multiple songs) is when he sings something about “whose Suicide you’re on.” I’ve always loved that one.
So it occurred to me at some point that the term “One More Round” could actually mean more than one thing. One more round of poker. One more round of golf. One more round of drinks. One more round of applause. That was all I needed to bang out the lyrics in about five minutes. While writing the lyrics, the chords took shape in my head and yes, it was that simple.
It’s by no means a complicated song. Not counting the bridge, it’s all of three chords but many a fun song has been created using three chords, right? It became quite popular at shows so we often close with it. It’s a good one to jam to, has lots of good energy, and gets people singing along. Can’t ask for more than that.
The Recording
Once the lyrics and chord progression were in place, the recording was pretty simple. From the get-go, I knew that near the end I wanted to have a drums-only chorus section which would be where I’d try to get people to sing along at shows. So while recording the drum track (which I usually do first) I made sure it happened. I didn’t have a bridge in mind so I just played some hits and fills and figured I’d play something over it later, which I did. I do this a lot with songs where I don’t have a specific part figured out in the pre-composition phase. Gotta keep moving forward, right?
I used my trusty Rickenbacker 4001 bass and my ’52 Reissue telecaster for the basic tracks. For the missing bridge parts, I played D-E-F#-A and backed that up on guitar. Easy! After that, I threw an organ backing track down which I hope to insert into the live shows once I get a good keyboard player. I would love to have a good organ part there. Mine is pretty basic.
It was all guitar and vocals after that. The lead guitar parts are always tough for me. I experimented a little with acoustic slide guitar. I can’t say I’m totally thrilled with how it came out. I split the solo into half acoustic slide and half electric slide. The electric part came out better. When we do this song live, I actually play harmonica instead and like that better. If I ever re-record this one, I’ll do that instead.
The lead vocal was easy to do and everything just fell into place exactly as I heard it in my head. The backing vocals are a little weird but somehow they work. I’m sure a real singer or vocal coach or producer might cringe a little listenting closely, but honestly, I don’t care. When we play it live, it’s more of a gang vocal thing, plus the crowd is always singing along, it seems.
On the whole, I think this one only took a few hours to complete. Not bad!
The Lyrics
I’m tired of holding
I’m tired of folding
I ain’t seen a face in forty hands
You run your mouth
And I’ll run my business
Baby I was born to take this chance, so…Rock me baby – Gimme one more round
Rock me sugar – Gimme one more round
Rock me honey – Gimme one more round
Rock me baby – Gimme one more roundTap the ball
Drop it in the cup
That’s a big eighteen, baby shake my hand
Now go get your bag
Meet me at the One
Let’s tear the green grass up againSun’s going down
I find a seat
Have a drink, maybe find a new friend
I check my watch
It’s just 3am
It’s a crazy night – we can’t let it end, so…I take the stage
Play my guitar
Make you smile, make you sing along
Don’t sit there staring
Get up on your feet
Put your hands together, wanna hear you all night long
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
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!













Recent Comments