Holiday Music Update

OK, so it's the 14th of December and I don't have anything ready for release this year. And I don't think I will have anything in time. Is that OK? Last year by this date I had "You Know It's Christmas Time" out even though it was later than ideal. This year I started working on a version of "Jingle Bells" which is going to sound different from any version you've ever heard. But I don't think I will get it done in a timely manner. Since vocals always give me trouble and take the most time to do, I am considering doing both a vocal version and an instrumental. Then either I will officially release one or the other or both depending on how good they come out. If I cannot get a good vocal version I will focus on an instrumental version which will feature all the same backing music. Either way it's going to be an organ driven song. It's just a matter of being able to sing 2 choruses and a verse in a falsetto. There's nothing I could release quickly enough that would sound good enough by Christmas. Even just doing the instrumental version of "Jingle Bells" would require quite an amount of planning and playing. So it doesn't look like it will happen this year. But it's not like this didn't happen before. I didn't release anything for Christmas in 2017 either. When I say "release" I mean through an official avenue. That mostly means CD Baby since my last 3 releases have been through them. I don't count anything less than that as a serious release anymore. The good news is that--and you have probably seen me write this in a number of previous years--I am in the Christmas spirit and am quite focused on making 2021 the year I release not only one Christmas album but two. I don't know if that's a good idea though because mostly likely I will not have anything new to release in 2022. Yes, big plans, I know, but you have to think ahead. So perhaps I won't release 2 next year, but the question remains whether I will release an all original album and an album of covers or combine covers and originals for 2 separate albums in 2 years. Frankly, I think it's a waste to put out an entire album of original holiday songs. I suspect a good mix of originals and covers is the wise thing to do for each. That way I will have brand new songs for 2 years in a row. I guess I figured out what I will do. See how it's good to write down your thoughts? At least now I know for sure what to do and I can start picking out the traditional songs I can do my own versions of. An album of 10-12 songs will suffice, with no more than 5-6 (half) being originals. Maybe less? It just feels wasteful to put that many new songs on a new holiday album when they could all potentially serve as individual releases in the coming years. If I were making it a goal to release yearly holiday albums exclusively--because if I did choose that I would not have time for non-holiday albums--I wouldn't mind putting that many new songs on a new album considering I'd be repeating that on a yearly basis. But it's not my goal My real goal is to have a solid holiday album releaesd by October of 2021, November at the latest. If I can accomplish that I may not worry about a second release in 2022. Who knows? No sense in looking too far ahead. So allow me to just focus on what I've got planned for 2021. Of course that is all contingent upon nothing crazy happening in 2021. As long as my BR-1600 continues to function properly--which by the way I am very glad to say it has been--I can record my music. The only thing is that I have to do a bulk of the recording from now until April or May or whenever it starts getting too warm and October at which point I should be at the brink of finishing up and releasing. I will have to work fast and efficiently. Oh, if my vocals should not cooperate than I may have to resort to releasing an album of instrumentals. Or a mix of instrumentals and vocals. I'd be OK with either scenario.

Holiday Music Plans For 2020

 It's the holiday season and in terms of having new holiday music ready for this time, I have learned my lesson. Well, not really. Neither is it officially the holiday season--though to me it is because it really starts to feel like it even before Thanksgiving--nor have I learned my lesson in terms of releasing new holiday music. Can I just add that the holiday season to me starts with Halloween? There's no denying that Halloween, Thanksgiving, Christmas & New Year's are all very much related with some fascinating parallels in the subject matter of endings and new beginnings. The last quarter of the year really is my favorite time. 

Anyway, I am working on new holiday music. Considering my history of timing I'd say I'm pretty early. But I cannot guarantee I'll have anything new. I will try, however. The good thing is that I have plenty of time to keep 'promoting' last year's tune, "You Know It's Christmas Time." That was another late release--December 11 to be precise. Traditionally, holiday albums are released in October though I don't know who buys them that early. I have to admit that I'm not quite in a Christmassy mood pre-Halloween. And nobody plays it that early either. ChristmasSongsRadio.com started playing holiday music before Thanksgiving this year and I'm grateful to hear the wonderful, diverse variety you can find there which includes my very own songs.

I have no problem with recording and releasing an electronic tune. "You Know It's Christmas Time" was virtually such a recording with the exception being a real guitar track and my vocal. While I was able to get the music tracks down rather quickly, it was the vocal that held the release up. But one thing I didn't know was that as a result of releasing that song through CD Baby as a "Pro Single," I was granted a free membership into ASCAP. That was cool. 

Another song I have nearly ready for release is "Christmas In The City (reprise)". The problem is I don't have the non-reprise version of the song anywhere near completely written! The reprise version is a 6-minute track featuring a repeating 4-part harmony of "Christmas in the city, lookin' so pretty" trading off with instrumental solos. It was just meant to be a fun, 70s funk inspired song. But I need the main song it's based off with a lot more lyrics than that. Have you ever heard of a reprise being released without the song it was based on?

So that's something I can work on. I also wanted to do a minor key version of "Jingle Bells." That may be something I could do quick if my vocals don't fail me too much. But I'd prefer doing something original. 

As I write this I have a working demo song titled "A Winter's Day" playing in the background. I like its mellow sound and feel but I've been stuck on writing for a few years. And it's another 4 part harmony song so it surely would take me quite some time to finish up a recording.

So there's lots to do. I will be seriously thrilled if I can just have a new recording released in time for Christmas. It's just about 4 weeks away so there really is no time to waste. Wish me luck.

FROM THE ARCHIVES - Spooky Jam

 As promised, my next blog post would be about the "Spooky" jam recording I made many years ago. Here it is on YouTube:

Just like the previous post's recording, I don't have an exact recording date for this but I can certify that it's sometime from 1996-1999 because during that time I was still using an analog 4-track machine. Sometime around 1999-2001 is when I acquired my first digital recorder which was a Boss BR-8 and recorded on Zip disks. Remember those? Anyway, it may be closer to 2001 as that is that date of the recording of my very own first original song, "Autumn." 

But as it is, "Spooky Jam" was a tape recording. I said before that this Tascam 4 track machine had absolutely no built-in effects. The sound came out dry unless you added effects to your input signal. So the reverb you may hear on this recording was my experimentation of playing the song on the Tascam into the input of the Boss BR-8. That way I was able to add reverb and, unintentionally, some compression as well. 

This recording was a much slower version of the previous "Spooky" and the instrumentation was sparse. There's an electric guitar doing various things, a bass, a harmonica here and there and my homemade drums. I still am not sure whether it's my guitar doing the bass or if it was a real bass, though I am leaning towards an actual bass. If it is a bass that would date that song at December 1998 and beyond. Again, knowing the recording date would solve the mystery.

There's only one guitar track which plays rhythm first and then some solo parts. The drum part is actually double-tracked past the mid-point of the song--one track on the left and one on the right. I really loved experimenting with panning the sounds. At first I was playing the drums like bongos and then changed to playing with sticks which at that time were just some Sharpie-type markers which no longer served as writing utensils.

I wasn't really good at improvising with guitar playing at that time. Otherwise there wouldn't have been so much dead air time on the guitar track. And the harmonica? Yeah, I couldn't play that either. The bass was a repetitive line so the drums were probably at the forefront of this recording. I should add that during the time of these early archive recordings of mine, I didn't have a metronome. So there are lots of out-of-sync sounds at any given moment. That's also why the recording fades in at the beginning and fades out at the end. I tried to preserve the best portion of the impromptu jam.

That's about it for the history on this recording. I think it sounds better with the reverb. I always felt there was something missing on my recordings even after acquiring the capability to record on 4 tracks. I used to think once I had a real piano sound that would take care of it. But it wasn't. It wasn't having real drums either. It was not having reverb and delay and compression. My music didn't come alive until I had access to the built-in effects of the Boss BR-8.

 

From The Archives - My "Spooky" With Vocal Cover

 Now that I have reestablished a presence on YouTube--who am I kidding? I have nowhere near the views on my videos that I had before. At the time I uploaded some of my cover videos in 2009 and the early 2010s, some of them were actual firsts. I had the first correct "Barney Miller" theme bass cover. The first bass cover for "Skin Tight" by The Ohio Players. I had a really innovative cover for Paul McCartney's "Heart of the Country" that came up first in Google searches. I had many others as well. All gone. And even though I have re-uploaded all those videos they have gone nowhere and are pretty much dead. Other YouTubers have taken my place in search engines with their covers of the same songs. So even though I may have a presence on YouTube once again you'll need a microscope to find my material.

Regardless, it's more important to me to have my videos up on YouTube than to have the views. At least with them being on that site they're "out there" even if virtually impossible to find. And of course there's always that element of 'you never know what's going to happen." It may be discovered some day.

But anyway, this post is going to be about one of the videos I recently uploaded there. One of my all-time favorite songs is "Spooky" by Dennis Yost & The Classics IV. Even before I had real musical instruments--not counting the Casio PT-10--I made a pretty bad version of the song multi-tracked with cheap mics onto even cheaper cassette tapes. Yes, it was my rubber band and coffee can days. Extremely lo-fi. And as bad as it was I still plan to upload it to YouTube someday and link to it here.

As time went on and my lot of gear improved over the years, I decided to redo "Spooky" and this time with a vocal even. Too bad for me I didn't keep logs of when I did my recordings so I only have my hazy memory to go by. One thing is for sure: I got my first electric guitar in 1996 which came about 4 years after my very first guitar, a Harmony folk-style acoustic guitar. It had a noticeably smaller body than a dreadnought. Looked kind of like a classical with steel strings. 

So the first electric guitar came in 1996 and it was an Epiphone Les Paul Special II purchased from Guitar Center. But I only purchased the guitar. What's an electric guitar without an amp, you say? Well, to me it was a lot. I had a 4 track Tascam analog tape machine at that time and I knew I could record directly into it sans an amp. To be perfectly honest I neither had nor wanted an amp at that time. A lot of that had to do with my own naivete in terms of what an amp could do for my sound, though. 

But I was able to get clean tones and distorted ones as well. It was just a matter of adjusting the volume on the guitar and the input volume on the Tascam. So I thought I had everything I needed. 

When I got my electric guitar I not only used it for guitar parts on my recordings but also for the bass parts. I would tune down the lowest 2 or 3 strings and it would sound sufficiently bassy. I'm not sure if that's what I did on my version of "Spooky" because I am not clear on the recording date. I didn't get my first electric bass until December 1998 so if this recording was made before then, I used my guitar for bass. Anyway, there are 3 guitar parts and the 1 bass part. The other instruments you hear are my drums (coffee & candy cans) and a tambourine and some seed pods.

To me the best part of the song is the electric guitar solo with delay. I learned the sax solo and played it on guitar. All these years later I still really like that solo. And I didn't use a pedal for that delay effect. I had to do it the way they did it in professional studios back in the day. I don't recall my exact method but the gist of it was to have a 2nd copy of the solo recorded a little quieter and lagging a small bit behind the first. Done with tape of course. I didn't sit there and play the solo a second time and record it. It was just the magic of tape.

Also, I recorded this song before the internet became a ubiquitous thing. So I couldn't go online and look up tabs for songs and get the right or close-to-right chords. I had to figure it all out myself. And I know some of those chords I played were indeed wrong because when I first did see the chords for this song they were very different from the simple ones I played. So those guys who were putting the chords and tabs out there on Harmony Central were truly pioneers and I learned a lot from them.

Finally, I decided to add a vocal to my recording. I know it's a bad one. Out of tune and pitchy. And in my natural speaking voice. It sucks. But I love the reverb on it! 

My Tascam recorder had no built-in effects. Absolutely nothing. Once I purchased my first guitar effects pedal, a Korg ToneWorks 411fx, I finally had effects! But I didn't know how to use the blasted thing because it came with no manual. You see, I bought the floor model which was the only one available at Guitar Center and those models never come with their boxes or manuals or anything else. But I am grateful to the young guy who sold that one to me. I don't know what he is doing nowadays but I hope he is happy and well. 

At this point I can't even tell you how I got the reverb on the vocal. Did I plug a microphone or something into the Korg ToneWorks and sing my heart away? Or was the reverb added to the dry vocal recording later? I'm not sure but the reverb was beautiful. I couldn't always tune in that reverb however. Not having the manual I couldn't always find it. I would mindlessly turn the rotary knobs until it appeared. I know it had other sounds and things but I only cared for the reverb. 

And that's the story of that recording. Funny thing is, I no longer have that guitar or that bass (if I used a bass, that is) or that effects pedal. I don't regret not having the 2 instruments but I sure wish I had that pedal still. I think I know a little more about using it now. And they're going for over $100 on eBay these days.

As recently as 2019 I took that recording without the bad vocal and did a new vocal. It came out better but not without its own unique flaws. Now that I know the correct chords to play I just may do a new version or 2 of it. I'd like to do a version as close to the original as possible and perhaps a rendition featuring my own unique take on it. It's a song I never tire of. In fact, my next post will be about sort of a "Spooky" jam recording I created around the same time. Stay tuned!

Songs I Have Learned to Play

You may be wondering what have I learned to play on the piano since getting the Yamaha Piaggero this past winter. At first I started with trying to play all the Christmas classics in the key of C. And while that may sound like a really simple thing, keep in mind that most people would not be able to pick out the melodies and chords by ear. I cannot do that myself perfectly but I know when something sounds right and when it sounds wrong, and when I've got it figured out I can play it decently.

I don't have all those tunes mastered yet--and by mastered I mean being able to play without error--mainly due to me not playing as often as I should/could. But in terms of a full, non-holiday song that I have learned to play completely, you'd probably never guess what it is so I'll just tell you: "It's Too Late" by Andy Williams. Yes, Andy Williams. You might question as to why I would learn to play Andy's version as opposed to Carole's or any other version out there. For one, Andy's version is very Marvin-Gaye-What's-Goin-On-ish. It's not the kind of sound you would expect from Andy. Marvin's classic was released in January 1971 while Andy's cover was recorded in the spring following. Clearly it was influenced by that smooth soul jazz type of sound achieved on that Marvin single. As an aside, this new musical direction for Marvin Gaye was refreshing and a nice break from all the love and heartbreak songs he did up to that point. Socially conscious music was slow to penetrate Motown but it started with The Temptations and continued on with the music of Gaye, Stevie Wonder, Rare Earth and Edwin Starr to name a few.

Back to my reasons for choosing Andy's version---frankly, I like Andy. He was one of those--if not the only one--classic era crooners who was able to focus not exclusively on Tin Pan Alley and jazz standards and rather build up his repertoire of music to include pop/soft rock hits of the day (unlike Tony Bennett who would become literally ill at the thought of having to croon "Sugar, Sugar"). And Andy did a great job of mixing the classics and the fresh to create his own sound. I'm happy to say that I have probably all of his albums from about 1962-1975, a period in which 2 albums per year was rather common.

Okay, so he didn't write his own songs. When you've got a voice like his you don't have to. Look at Elvis. Tom Jones. Ella Fitzgerald. The great voices were never expected to write songs. Probably not encouraged to. But if you had a voice more like Bob Dylan's, Neil Young's, Tom Waits', etc., you'd better write darn good songs!

But I've come to appreciate Andy Williams over the last several years. I think it was the Christmas TV specials that did it to me. However, it wasn't even just Andy. It's also been Perry Como, Tony Bennett & Frank Sinatra, someone I vowed never to listen to in my younger years. And it's not even so much how they thing but also the arrangements of their recorded music. I don't see how you can't not like that music. It's just so pleasant, soothing and perfectly crafted particularly considering their 1960s releases.

Anyway. "It's Too Late." Andy's version. I can play along with it now. Not perfectly of course but enough to show a significant improvement in my keyboard skills. And it's not even in the same key as Carole's original. I do add some elements of her version to this one. But it feels good to be able to play along with the recording from start to finish even if I do make mistakes.

I've also learned to play "Time of the Season" by The Zombies. It's definitely more simple than the other song, but interesting nonetheless. Still can't play it perfectly either but that's okay.

With the organ sound on the keyboard I have learned to play that organ riff on "Gimme Some Lovin'" by The Spencer Davis Group. That is really cool! Even though the rest of the song does not have a lot going on in terms of organ parts, knowing that alone is great fun. I can walk into any music store now and just play that riff and I'll instantly appear to be a keyboard wizard.

I also took it upon myself to learn the organ intro and basic song part to "A Whiter Shade of Pale" by Procol Harum. Another really fun thing to play that would raise eyebrows if played loud enough in a store.

Of course, learning to play these things makes me want to record my own versions of these songs. That's great if I were in a cover band or if I could make my own covers in a short amount of time. But these things can take on lives of their own and end up eating a lot of the time I should be using to make my own music. I have to remind myself that it's June now and I haven't recorded anything new this year and the time for releasing an album is growing short. So we'll see. I know I'm going to look back on these last 9 years or so and regret not having used it more wisely. In the meantime I'll just keep practicing and writing more. And recording soon, too! I want to have new material to send to "The Basement Tapes with Nick & Bootsy"! Thanks for reading, Bootsy!!

Yamaha Piaggero

Time for an update? Well, I'm glad to say that I've been honing my keyboard skills a bit since I acquired the Yamaha Piaggero not too long ago. This is a very nice keyboard with some pretty good sounds on it. The price is affordable, though I hate that term because who is anyone to determine what is affordable for anyone else? But it was affordable for me and when you include the accessories package--bench, stand, power cord, sustain pedal and piano book--it was a super great, unbeatable price.

I chose the 61 key version because I felt it would be sufficient for me to use and store in my already tiny and cramped room. The 76 key version would have been nicer but also would have taken a bit more room but not much more. Now that I think about it I probably should have gotten the 76 but really this one here suits me completely.

It has 2 sounds each for piano, electric piano, organ, harpsichord as well as string and vibraphone sounds. I mainly use the piano and organ tone banks. The electric piano sounds are not bad at all with one sounding much better than the other. This is true of the organ as well. I find myself always using only one of the 2 organ sounds and one of the 2 electric piano sounds. The acoustic piano choices feature a brighter and a darker sound. Both sound good enough for recording.

Speaking of recording, it has a built in feature for recording that you can play back while you play live on the keys. That is very useful. Also includes metronome sounds.

A feature that I accidentally came across (and then later read in the manual) is a reverse-sustain effect with the sustain pedal. Normally you plug in the sustain pedal and when you press it you get sustain. But I discovered that if you press the pedal while you turn on the power to the keyboard you get the opposite effect; you'll have sustain all the time except when you press the pedal!

I like having sustain all the time. Just sounds better to me. Of course, this doesn't sound good with the organ sounds. But with piano and electric piano it's great.

And one of the biggest selling points of this keyboard for me was the built-in speakers.  It is so nice to be able to play along without either using headphones or having to connect it to an amp or something.

My goals with getting this instrument was to play every day/night and significantly improve my keyboard skills and to use it to compose music. Using only a guitar to compose all your music is limiting in my opinion and leads to creating similar sounding songs or at best, repeated chord progressions. Using a keyboard opens up a new world in terms of composing.

So while I haven't played this instrument every day/night I have improved my skills already and have even learned to play a few songs albeit not without stumbling and making errors. But it feels good knowing how to play some songs and getting those fingers all independent-minded.

Here are photos of both the 61 key and 76 key versions:

We Are Experiencing Technical Difficulties -- Please Stand By

I did forget to mention in my last post or so that another contributing factor to the delay in completing the new Christmas song, "You Know It's Christmas Time," was that my recording studio, the BR1600, was no functioning properly.

While recording this song I allowed my free space to get to zero because I kept recording parts over and over and not erasing them and not optimizing the song. Optimizing is a feature that permanently erases everything you recorded over. The erase function only temporarily removes stuff you don't want anymore but it's all still there and all you have to do is use the "undo" button to bring it all back. Optimizing is the only thing that frees up space permanently. So when I got to 0 recording time I was forced to erase and optimize. That freed up a lot of space but it was too late by then. The BR1600 was not working smoothly after that point anymore. It would just stop recording while I was singing my lines or even playing some of the final instrument parts. There was a point I really thought the song was not going to be completed and in terms of making a final mix and then mastering it, I had to go through unconventional means to do so.

The good news is that it appears the hiccups are only on that song. I have not tried recording any brand new songs, though. But what I did have to do was play the final mix and record it into my computer, burn that onto a CD, import it into the BR1600 as a new song and then play it back through the mastering mode as I recorded it once again into my computer (which by the way is also on its last legs). This is the only way I was able to get the song mixed and mastered. Doing that normally would not work. The recorder would always stop recording at the very same point in the song. I was turning blue in the face.

I even started looking around to buy a new one of these. Surely, I thought, I've had this one for over 10 years and they must have made amazing upgrades and improvements to it. To my surprise, I found out they don't even make these things anymore. The only major company still making these non-computer based systems is Tascam which is the brand of the very first 4-track tape machine I ever had. This was really bad news for me. I have never used software and computers for making music. I still don't want to. I like having a standalone unit for music-making.

As I was looking at a 24-track Tascam recorder some of the reviews did not read so well. I recall multiple similar complaints about clicking noises that made it onto recorded songs. I don't want that!

So I'm really in trouble now. I'm hoping that the problem lies just with that song. After erasing and optimizing I relieved about 24 hours of recording time! From 0 to 24 hours. But I should have been doing this all along the way, after every new song.

The error message I get is "drive busy!" I looked all around the web for info on this and I found that Boss has 2 methods to temporarily fix this. One is to transfer all the songs in the BR1600 to CDs and then initialize the hard disk. That would take an inordinate amount of CDs to do. And initializing the disk erases everything that was on it.

The other method is to connect the BR1600 to a computer via USB and transfer everything that way. Again, you'd have to initialize the hard disk which erases everything. But it's all on the computer now so that's OK, right? Not really since my computer has been crashing scores of times since last summer.

I don't know what to do right now. I'm going to keep using the BR1600 for as long as it allows me to continuously record. Once it stops I will have to try one of the methods above. And those methods are not a cure by any means. Boss says you will have to repeat this process every several months. Why did they have to stop making this thing? This is similar to the iPod. I kept expecting that the iPod was going to perpetually increase in disk size as the last one I purchased was a 160GB and soon enough it was filled to the brim. But after the 160 there was no more. Then they came out with the iPod touch but only in smaller versions. Same thing with the Boss recording studio. I had the 16 track (which is technically not 16 tracks but actually 12) thinking someday I'd get me a 24 track. Perish the thought.

Even though I cannot get me a brand new Boss 24 track studio (which in reality would probably be only an 18 track), I can get a bigger iPod than my current 160GB. Although it's 256GB it is also still an iPod touch which I don't mind anymore. Actually I feel more comfortable now with the 'touch' technology so I'd prefer a touch iPod vs. the old wheel version.

OK. So this post was about my technological struggles of recording. I still plan to write about some of the goals for this year.

New Christmas Song Finished & Released

I find it mildly amusing that I had forecasted the completion of my new Christmas song within a few days of the end of November. I did not finish the final mix and mastering until December 11. And by the way, I'm still not thrilled with the final mix. I would have kept remixing and remixing until I got it just the way I wanted--were that possible considering it's an unattainable goal--but it's already so late to be releasing a Christmas song that I did the best I could under the circumstances. The good news is that it is now both at CD Baby and Bandcamp and also at iTunes, Amazon, Spotify and everywhere else. I just hope it gets to those places well before Christmas.

I started this new song well before Thanksgiving. Mind you the intention was just to create some background music for videos. But as I really liked how it was turning out I thought it would be a waste to just leave it as background music, though it could still well serve that purpose. However, once again the vocal part is what created such a delay. Not getting everything sounding up to par. And unfortunately the released version is still not perfect vocal-wise but it's the best I can do under the circumstances.

I must admit--I seriously considered giving up vocal music during my many takes for this song. It became so frustrating to record the same lines over and over and not get them just right or even just good enough. I honestly cannot understand how some people can sing and hit the right notes every time. I started thinking along the way of doing instrumental music exclusively. I would definitely get more music produced more frequently if I were to only do instrumentals. But I also enjoy writing lyrics even though it's hard for me to sing them. And I cannot ask anyone to sing for me due to legal reasons. Whatever I create musically has to be 100% mine. The last thing I want to deal with is legal issues.

Anyway, here is the newly finished song found on my Bandcamp page:

You Know It's Christmas Time

Hope you like it. It's radically different from any Christmas song I've made before. But again, it wasn't initially planned to be such. The good thing is that not only is it a Christmas song but it also fulfilled the initial desire of being background music if I only remove the vocal.

Regarding the youtube issue--I tried to appeal the deconstruction of my Exit World channel but youtube only responded by saying that I need to get the Fred Rogers Company (FRC) to rescind their copyright strikes. Like that is going to happen. So as someone suggested I could move to Vimeo and carry on there, or I could just create a new email through Google and start my new youtube channel that way. (Actually I just found out I can create a new channel with my existing Google account).

I nearly forgot--this has also put a damper on my plans to release my old lo-fi recordings from many years ago. This makes me angry the more I think about it. I was not a multiple violator of their policies. I uploaded material that was not banned immediately. It was all up for quite some time before this happened. Had they taken all the FRC videos down initially I would not have uploaded more. All I received were copyright claim notices. Those are not bad. They serve to inform that someone has claimed the right to the video in question. But they gave me no chance. It was 1-2-3 and I was done. I blame both the FRC and youtube for this. I did not continue to upload claimed content after receiving any of the strikes. That's the part that is not fair. They make it seem as though I continued to upload videos after receiving the first 2 strikes. Why didn't they just take down all the Rogers' videos with the first strike? Why did they need 3 strikes to do it?

Anyway, I sent the FRC a few more emails with the final one giving them a piece of my mind. I stated that they handled this situation in a very unprofessional manner. I said a few more things as well. Surprisingly, I did get a response with an offer from them to talk to youtube about my Exit World channel. As I relayed this to youtube they refused to accept it and kept giving me the runaround. Like a broken record all they keep saying to me is that I need to resolve the copyright strikes on my Exit World channel when I don't have any on that one. Their reason for shutting it down was that it was linked to the channel with the strikes (JustGoodStuff). So I wrote them a not-so-pleasant email as well and I haven't heard from them anymore.

As far as I'm concerned that matter is done and I'm not going to hear from either party any further. So I'll just come up with another channel for my own personal music (which I will probably call "Millions of Me" as this is a possible new recording artist name for me). The other one I already made is called "AllTheBest". The only problem I'm having with the AllTheBest channel is that I cannot upload videos longer than 15 minutes since I'm not verified. My 2 most popular videos were just over 15 minutes each. Under 16 but over 15! I left the computer on all night long to upload one of them just to get a message that said it couldn't be processed since it was over 15 minutes. Couldn't they warn me ahead of time? So frustrating! And I'm hesitant to verify my account since that may lead to getting the new channel(s) shut down as well. I don't know what's involved in 'verifying' so I can't take any chances right now. I may just have to create a third channel with a brand new email.

Most importantly though is that I released a new Christmas song in 2019 and much earlier than in previous years. Also it's on my Exit World - Topic channel created by CD Baby.

In my next post I will discuss some goals for 2020, as is in keeping with tradition. If it weren't for "You Know It's Christmas Time" I would not have had a new song in 2019. I had a few background music recordings I made and I guess those should count especially if I am seriously considering working exclusively on instrumental music.

This post took way too long to write. It's pretty much after the fact now since it's been sitting here since mid-December.

Youtube Channels Suspended, New Christmas Song

Remember how in my previous post I posited that one of my youtube channels with millions of views and thousands of subscribers might serve as a new outlet for my own music? Not only was that true to some extent and actually a really good idea, now it's an impossibility as BOTH my channels were terminated just days before Thanksgiving. First they got my hugely popular channel and then took down my personal Exit World music and creativity channel as well.

I know who is responsible for it but I am not sure of the extenuating circumstances behind it. See, on this widely popular channel called JustGoodStuff I had many clips of "Mister Rogers' Neighborhood" programs that were well over 40 years old. They had been up for easily over a year or longer. I began uploading some clips after the 2 Twitch marathons that were broadcast in 2017 and 2018. I had recorded many of the shows while they were airing during those marathons. These clips were very popular and well-received. They were not necessarily the reason for the explosion in popularity of this particular channel. That was attributed to some Tim Conway & Harvey Korman clips from the Carol Burnett Show that I had compiled. My original plan had been to put together and upload 4 of these compilations at about 15 minutes each to resemble a game. The clips all featured Conway & Korman breaking character as a result of doing unscripted bits and lines. I think it only took about 2 months before the first video compilation hit a million views. The second video was uploaded shortly after the first and went the same way in terms of views. When my channel was suspended on Monday the first video was at over 2 million and the second at over 1 million. I have never had any videos do that well.

Those 2 videos along with an earlier Conway/Korman video I had uploaded and a segment from a 1973 episode of "The Tonight Show" with Johnny Carson also led to this channel getting an extraordinary number of subscriptions per day. In fact, I was actually annoyed at my phone going off so frequently with emails stating I had new subscribers all the time. 

It is possible that these videos and subscriptions played a part in the large number of views I was getting on the Mister Rogers videos as well. I'm not totally sure. There has been a lot of Mister Rogers stuff going on the last 2 years due to what would have been his 90th birthday, 50th anniversary of his show and 15th anniversary of his death. Not to mention the documentaries and movies that have been coming out about him as well.

So those videos were getting plenty of views and comments as well. Nowhere near what the Conway/Korman & Carson videos were getting but still a good amount of traffic. I was at 8150 subscribers and one of my most recent uploads was my own rendition of "Ding Dong Merrily On High" & "Gloria in Excelsis" which I combined into a medley and called "In Excelsis Medley". Within the 3 weeks it was up it had received over 200 views and had 9 likes with no dislikes. I would have never gotten those kinds of numbers on my own Exit World channel. So my initial conclusion had manifested. 

I also had a crazy thought. Why shouldn't I check to see if this channel could be monetized. No harm done, right? I mean, I wasn't getting my hopes up. I knew that most of the content on there was not mine but I was putting it together in unique ways or adding my own background music to some videos. I was almost certain they'd say no.

About a week or so after making the request sure enough the expected response came in. "No, you cannot monetize this channel." OK, at least I know for sure now. A few weeks later and all my work is gone. All the hours I'd leave the computer on overnight to upload a longer video trampled on and invalidated.

One more thing to consider: in the last 2 weeks youtube started talking about this thing called COPPA which is supposedly something that's 'meant to protect children.' Now every time you uploaded a video you had to check a box that declared that your video was either made for children or not made for children. Honestly speaking, I didn't like how the choices were worded. If you choose 'not made for children' does that mean your videos may be considered inappropriate for them and then you get unwanted special designation on the videos? And if you choose 'made for children' you're catering to them? So needless to say it was rather confusing. I decided the best choice for me was that my videos were not made for children.

Last week a number of my Mister Rogers clips were taken down and I received 2 copyright strikes. I wondered why they chose those particular videos and left all the others. I also wondered why I received one copyright strike for a single video and then another one copyright strike for 6 other videos. That didn't make a lot of sense. But I was still in the game. I had one more strike to go. I figured they didn't take down the other Mister Rogers videos for whatever reason so I left them up as well. And youtube had said that if I went to their 'copyright school' those 2 strikes would expire in 3 months. So I did it. All it is is a short cartoon you have to watch and then answer 3 questions about copyright that are discussed in the animation. I did it and passed and in 3 months I would be back to no strikes. Just to let some of my subscribers know though, I made one video with some of my own background music and some lines of sentences that basically let them know the position I was in and the chance that channel could vanish at any given moment.

And voila! On Monday morning I was informed via email that I received a 3rd copyright strike for the remaining Mr. Rogers videos that were still up and that my entire channel had been taken down. I know for a fact that there is no way to reinstate a channel that has content you don't own on it. So the milestones of subscribers and millions of views for the unique content that I had uploaded were all erased. What I was trying to most figure out was why. WHY NOW? I suspect the request for monetization of the channel could have had something to do with it. Also this COPPA thing. And the current hype for all things Mr. Rogers may have played a part as well.

As much as it pained me to get my channel shut down by the company associated with the man I considered a personal hero and whose program was something I could never get enough of growing up and even later on, the pain was even more debilitating when on Tuesday morning I received an email stating that my Exit World channel was also taken down because it was linked with the other channel. This was my own personal channel for my own music and video creations. Okay, I may have had a few things on there that weren't mine as well, but they were few and they had been there since before I created the JustGoodStuff channel. There were never any issues. I had never received any copyright strikes for those. If you'll remember, that channel was even monetized for a while until they changed their standards to better serve the elite channels. 

Pissed as I was, I finished writing a one and a half page letter which I emailed to the Fred Rogers Company (FRC). I don't expect anything to come of that but I wanted them to know that what they did was a very much anti-Mr. Rogers thing to do and that he would never object to the content of his shows being online because he believe in sharing and in fair use.

There is a possibility for me to get my Exit World channel back up but I have to appeal and send in this form to youtube or google or whoever the hell it is. I don't feel like doing it. I think it'll be a time-waster. They have the final say. Welcome to the free world. 

I had gone to a Mr. Rogers group on Facebook and announced what happened and said I was going to write the letter and asked for any ideas. This very un-Mr. Rogers-like group pretty much acted as my judge and jury with an immense amount of self-righteousness and undoubted hypocrisy. One who had copyrighted images from the recent Laurel & Hardy movie (among other things) on his own Facebook had the gall to say that I deserved what I got for using what didn't belong to me! Another one mentioned the Fred Rogers Company's right to sue me! Sue me? For what? Good luck with that!

I have no doubt these accusers and naysayers spent countless hours watching the videos I uploaded. But now all of a sudden they are armchair copyright attorneys and defenders of the rights of intellectual property owners. After receiving a rash of comments siding with the FRC, I finally called them all a strange bunch--certainly they knew nothing of who Fred Rogers really was; many have just jumped on the Rogers hype bandwagon--and told those who supported what happened to me that they themselves better be obeying copyright laws by not watching anything that's been illegally uploaded. Because, after all, if you're going to be self-righteous, then you'd better be righteous yourself. 

So I am not sure what I'm going to do. This did put a damper on the Thanksgiving Day anticipation. My initial thoughts were to abandon youtube forever and not use it anymore for anything. (I refuse to capitalize youtube any longer). But they're like the ebay of the video world. Where else are you gonna go to build that massive viewership and potential revenue? I still do have my ExitWorldTopic channel (or TopicExitWorld, whatever it's called) but that's fully controlled by CD Baby not me.

Most importantly for me now is to finish and release the new Christmas song I've been working on. I'd love to have my own channel to upload the video to but it's not an option at this time. When it's done and released I'll get it up on Vimeo and Soundcloud and wherever else I can find. Oh, and of course, ChristmasSongsRadio.com. They play my stuff and that might be the best place to get it promoted. By the way, the song is going very well and I should be done recording it in no more than a few days and then mixed and mastered and released with artwork. 

A New Avenue for My Music?

I have discovered something interesting. Other than my Exit World YouTube channel I do have another one that has a couple of videos with a million plus views and over 7,300 subscribers at the moment. The high number of views and subscribers happened this past spring when I created some compilation videos of a TV show. I had no idea I was going to get this sort of response. In fact, my first million-view video happened within just 4 weeks of uploading it. It is now at over 2 million and my subscriber count has skyrocketed from what it was before this video.

My discovery is this: anything that I upload to this channel immediately gets views and likes. Some of course get a lot more than others. But I have decided that I can use this to my advantage. I will upload some of my own original creations on this channel. Not the 'from the archives' material but my better quality material.

I have done so today. I uploaded my "In Excelsis Medley" recording from a few years back onto this channel and in about 12 hours time it has 75 views and 6 likes. There is no way it would have anything even remotely close to this on my Exit World channel. So it will be interesting to see where this goes and how many views it will have by Christmas. This may even be a way to get some sales for my music, though at the particular moment this track is not available for purchase anywhere.

I did not just upload the song, however. I took the cover of the Christmas EP I released some years ago and added some animated snowfall to it. A good visual helps promote any audio recording.

That's one bit of potential good news. In another bit, I was working on another instrumental song to use as background music for some videos. But the song was turning out so well that the thought came into my head to write some lyrics for it and turn it into a Christmas song. So I've been working on that and that's the route I'm going now. This will be a holiday tune perhaps for a single release or an EP release if I can get a few more songs recorded within the next 4-6 weeks or so. But I am really excited for this song particularly since I haven't made any new songs this year with the exception of the 2 that served as background music.

From the Archvies: Better Bass & Stereo Recording

The 4th track I have uploaded to YouTube is one inspired by a 1967 song by The American Breed titled "Bend Me Shape Me." It's particularly influenced by the verse part of the song. The instruments used in it are the Casio PT-1, rubber band bass, can drums and some seed pods as shakers. I never titled this recording either but for the sake of the uploads and these blog posts I'm calling this one "Bending Shaping".

You'll notice a few things different about this recording vs. the previous three. First, the bass is a lot more definitive and powerful. Second, the recording is in stereo.

I mentioned needing to find a way to get a better bass sound from my rubber band checkers tin instrument. Well, what I did was take a speaker that I had from somewhere and attached a 1/8" phono plug to it. I had no proper tools at the time so every connection ever made was shoddy and dodgy and led to intermittent and crackly operation. I still have this speaker in a box in the garage and I need to pull it out to take photos. But this is what I used. I would take the speaker and attached it to the back of the tin via the rubber bands and it would stay in place. The phono plug end would go directly into the mic jacks on whatever device I was using to record. I say 'whatever' because by this point I had purchased a small home stereo system complete with AM/FM radio, a single cassette deck and a record player. Perhaps more importantly, this system had two jacks for left and right microphones which leads to my next point.

The ability to record in stereo was very important to me after noticing so many of those hard-panned stereo recordings of the 1960s. I loved that the songs were mixed with bass and drums on one speaker while guitars and keyboards were on the other. Or sometimes bass guitar was on one side and drums were on the other. At other times many of the vocals were isolated on one side so I could choose to listen only to the instruments. I thought that was fantastic. So I wanted to do the same. This particular recording of mine was in stereo with the bass instrument and drums on the right and the keyboard and seed pods on the left.

Sometime around 8th and 9th grade I purchased the aforementioned stereo system. Probably closer to 9th grade. As mentioned, this system had a single cassette deck so I was not able to do overdubs on it. I still had to use my sister's boombox. So what I would do is record a couple tracks using her boombox and then play those back with a mic right at one of the speakers and play something live into the other mic and record all that into my new system. Of course, I would make sure that whatever I was playing live was some physical distance away from what was playing on her boombox in order to avoid microphone bleed. I wanted as much stereo separation as possible. But I was also limited by how long my mic cables were and how loud I could play anything there.

I'm pretty sure that "Bending Shaping" was a 3 track recording. I believe the first track was the drums, second was bass and third was the Casio PT-1 and seed pods simultaneously. The Casio had the ability to record anything you played on its keys. I would put it on the record mode and then play it back via the memory play button. One thing I discovered on my own--this wasn't even in the manual--if I pressed one of the small colored buttons before the memory play button, what I had recorded would play back 4 whole times. I don't remember which button caused this but it was a great discovery to me. It allowed me to have the keyboard play by itself while I played something live at the same time. Thus, in essence I could record overdubbed tracks playing back from the boombox, the Casio playing by itself and anything I wanted to play live all at the same time. However, that would require some nearly precise timing and sync on the part of the overdubbed tracks and the Casio; needless to say I didn't do that very often.

From this point on, many if not most of my archive recordings will feature the new bass sound and a stereo soundscape. I continued to dabble in mono recordings, however due to the fact that my sister's boombox offered portability which meant I could record anywhere. My new system with the stereo mic inputs stayed in its designated place most of the time and I moved it only when I intended to do serious recording. And there was an anomaly with this new stereo system--the cassette player seemed to operate at a slightly higher speed than normal so anything I recorded on it and played back somewhere else sounded slower. That would make for terrible pitch matching depending on the order things were recorded.

So that's the story behind this particular recording and some of the 'advancements' made during that time. Those were highly experimental days.

From the Archives: Papa Was A Rolling What?? (1989)

This here is the 2nd song from that recording session long ago with my brother. This is the song that I described in the previous post as being inspired by that classic track, "Papa Was A Rolling Stone" by The Temptations. That song was ahead of its time no doubt and there was nothing else like it. I first heard it on my sister's boombox one day while at home for lunch from school. It was unbelievable. I didn't hear the entire song so I had not idea who it was or what it was called. And there was no Google back then to try to look up lyrics with.

The little that I heard of that song struck a chord with me. Some time after when I finally heard it again and was able to record it from the radio I played it incessantly. This happened to be the single, 6-minute version which was all I knew for many years. When I finally discovered the full-length, 12-minute album version I was floored all over again. But that was many years later. When I made this recording with my brother all I knew was the single version.

As I wrote in the previous post I tried doing a drum beat similar to the one in that song. For the edited single version all you ever hear is hi-hat and bass drum. There's a little bit more on the unedited album version. But I copied from the single.

Similarly, my recording features only repetitive 3 notes from my bass instrument as does the line from 'Papa.' The notes are not the same however. Again, I didn't have musical know-how back then so I couldn't match my playing note-for-note with the actual song. But I didn't care because what I did end up playing sounded good to me.

Another thing I did with my bass instrument was to strike one of the rubber bands on it and then repeatedly and quickly bend the tin while the string rang. That kind of gave it a wah-wah sound that the guitar on 'Papa' had. You have to listen for that very carefully though. I did it many times throughout the recording.

My brother added the strumming sounds from the homemade guitar and the keyboard sounds from the Casio PT-1 which only worked intermittently throughout the recording due to the way I had hired power from a dry cell to it.

Like I did on the first recording we made I changed the tempo a little on this one near the end. Why? I'm not sure but probably because it would get really boring playing the same beat at the same tempo for over 3 minutes. That can feel like an eternity. (Once for one of my much more recent recordings I added fingersnaps for 3 minutes and it felt like forever! My hands were even hurting!!)

So that's the story behind these two songs from my first ever recording session (with my brother). After this I pretty much did everything else on my own, though I do have some later recordings which my aunt played on and a friend from college and I worked on together.

After these initial recordings I continued to experiment with sounds and look for ways to get better sonic recordings. I'm a big bass guy and getting a nice bass sound has always been important to me. Even then. Those little voice microphones were not sufficient in this. When I discovered that I could use a speaker as a microphone I found a much better way to record my bass rubber-band instrument. And the great thing was that I could just attach the speaker on the other side of the tin underneath the rubber bands and for the most part it would stay there. This thing served as a pickup of sorts.

Eventually I started using the other side of the tin--the Chinese Checkers side--with rubber bands as well, although these were of the more common, thinner type for electric guitar sounds. I used a tiny Radio Shack amp around that time which I have written about in the past.

It will be fun and interesting to go back and think about all these recordings and how they were done. I might unlock some memories that I never thought I'd revisit.

Just one final thing: I tried using some software to lessen tape hiss and other extracurricular sounds from these old recordings but I didn't like how they sounded after being processed. I tried several different settings and they all seemed to take something away from the recordings and in some cases made the sound harsher. So hope you don't mind as all the hiss has been left in. This truly gives the most authentic representation of what the recordings really sound like.

From the Archives: My First Recording Session with Special Guest, Part 1 (1989)

So my last post was about my very first song recording. This post will be about a couple of song recordings I did before that one with the assistance of my brother.

When I discovered the ability to record music via the overdub function of my sister's dual cassette boombox, I thought it would be cool to get some help recording. I quickly realized that the more overdubs you did the worse the overall recording sounded, not to mention the cheap cassettes and microphones I was using. So if I could get someone to record with me that would eliminate the need for twice as many tracks and thus preserve at least some quality.

I used to make deals or bets with my brother and they usually involved him having to record with me if he lost or as a result of some other exchange. In fact, to this day he still owes me several hours of recording even 30 years after the fact. But I came to enjoy recording on my own even if there was a sacrifice in sound quality.

My brother and I had no musical training. We never learned any instruments by this point. And I was thrilled to record stuff while he wasn't really interested. But we did have some sort of deal and at least I got these 2 recordings which I have preserved for all these years.

I can't be certain of the order but I believe both of these songs were recorded as follows:

1st track: drums-me; Casio PT-1-bro
2nd track; bass-me; guitar-bro

Around that time I used to have this huge dry cell batter that I had bought for some home experiments. When I didn't have money to buy AA batteries for the Casio I found a way to wire this dry cell to the AC adapter jack on the keyboard. But it wasn't a solid connection and so you'll hear the keyboard playing intermittently on both recordings.

That little guitar wasn't easy to play either because the way I had set it up to have the strings ring as best they could would not stay in place. My brother had even said that I gave him the bad instruments to play. Truthfully though the ones I played weren't all that great or easy to play either!

I had some idea of what I wanted to play on these songs and I told my brother to play whatever he thought sounded good with what I was doing. I changed the tempo a few times on the first recording just to mix things up a bit. I'm not sure what the inspiration behind the first recording was, but the inspiration behind the second recording was "Papa Was A Rolling Stone" by The Temptations. When you hear the second recording (will be featured on my next blog post) surely you will not detect any trace of that classic song from 1972. But if you listen deep enough you'll see that my drum beat was similar to the single bass drum beat of Papa, and my 'bass' playing was also a repetitive 3-note line. And on this recording I also used something to ride like a hi-hat cymbal. So the beat was definitely lifted from that song. The bass line was different but similarly repetitive. And as far as what my brother played, well, he wasn't into the same kind of music I was so he just played whatever on the guitar and keyboard to fulfill his part of our deal.

So these were my very first recordings along with the one I did by myself from the previous post. Some time after this I would get my very own stereo system--nothing terribly expensive with a single cassette recorder and 2 microphone inputs. The 2 inputs allowed me to start recording in stereo which was in those days a dream come true for me. Not only that but I also started experimenting with using other devices instead of those voice-tuned microphones in order to get better recorded sounds, particularly in my attempt to get better bass sounds from my rubber bands!

From the Archives: My First Song (1989)

Well, here it is. My very first full-length song that I recorded on my own. I never gave this song a title for whatever reason. Maybe because at that point I wasn't frequently doing my own songs but rather doing 'covers' of songs that inspired me. That is, if you could call them covers. Regardless of the reason, this tune still remains untitled thirty years later.

First let me convey what was the inspiration behind this song. Around that time I used to listen to a lot of college radio--nothing's changed there--and some blues shows. I remember hearing a blues show that had a really cool beat and some Hammond organ. I was very interested in organs then and again nothing's changed. I used to tape a lot of songs from the radio and I'm pretty sure I recorded this one but I haven't been able to find it to this day. Another thing I did a lot back then was accidentally record over things and I suspect this is the fate this song experienced. Yet another issue during those days was tapes getting crunched and damaged in the cassette playing mechanism so this is a possibility as well. It's been thirty years and my memory has become less friendly over time.

So basically the beat in this song was inspired by the beat in that blues song. And while the song featured a full drum set, here I played a single empty candy can with one hand. It is the red one in the photo below:

I'm not sure but at the time I recorded this song the can may have been fully intact. Eventually I cut the bottom off and tried a variety of 'heads' that would give me a desire snare drum sound. Nothing every really worked of course. But it was better than nothing. It wasn't until a little later that I expanded the drums to the two coffee cans, two markers for drumsticks and that device on the left that held my 'cymbal' up. (That device was actually made from two reels from 8-track tape cartridges and a colored pencil).

Around this time my sister had purchased a dual-cassette boombox. This was something very new to me and I found it to be very cool. Not only that but it had a microphone jack. I started using this thing and it was through this that I discovered the magic of overdubbing. In case you don't know what that is, it is the ability to record something onto something that has already been recorded. That is, overlaying recordings. At first I began overlaying recordings of any kind of sound. This included voice, instrument sounds and whatever else until I finally realized I could make music with this.

This boombox was a Sanyo and its two most important features were the dual cassette capability which allowed you to make your own mix tapes, and the microphone jack. Mind you, without either one of these features I would have never stumbled upon what I actually did. I would not have the countless recordings that I made.

I ended up using this boombox more than even my sister did. I had great fun with it. The only thing I didn't like about it was that it only allowed mono microphone recordings. This was around the time that I started understanding what stereo was and began noticing the extreme differences on the left and right channels of many recordings from the 1960s. I was really interested in making stereo recordings but there was no way with this device and I wouldn't have the capability until sometime later. Thus, mono it was.

When I set out to record this song, I cannot confirm whether I did it all in one day or not. See, I've always been very shy about doing anything around anyone else so I always needed complete privacy when I recorded. That hasn't changed either. I still only record when absolutely no one else is around me. But I don't remember if I had the time I needed to do all four tracks which comprise this recording all in the same sitting. I'm leaning on the side that I did not and probably did only two or three tracks on the first day and the last one or two the next day or sometime soon after.

The first track I recorded was the drum track. Very unconventional for anyone and no less for me. Nowadays drums are usually the very last track I record. But for this recording 'drums' was the first. The second track was my 'bass'. This was another homemade instrument which unfortunately I don't have any photos of. After I moved into my current abode sixteen years ago I have not seen it. Fortunately it was nothing terribly complicated so I can still describe it in words and photos. One of my Christmas gifts as a child was a set of Chinese Checkers and traditional Checkers that came in a round tin that opened up and stored all the parts inside. Here are some pictures of the very same kind I had:

I used the traditional Checkers half for my bass instrument. (The other half would later be used with thinner rubber bands for guitar sounds). At that time we had some extra big & thick red rubber bands that one day I placed on this round pizza-pan-like tin and voila! I had a stringed instrument that if I put really close up to my ear sounded like the bass guitar sounds I had been hearing in a lot of my favorite songs. But there were at least two main problems with this instrument. First, as I already hinted, the volume was nearly inaudible. Second, how could I go about getting the exact notes I needed? Well, I came up with suitable-enough-for-me remedies that seemed to work but those were not to come till after my earliest recordings. For this song I had the rubber bands set to the notes I wanted, and in terms of volume I played the strings as close to the microphone as possible. (I should show some pics of the mics I used as well. They were nothing more than the generic mics that were used for voice recording onto cassettes).

The third track was a homemade guitar my dad had carved out of wood for me. This creation was probably never intended to be played or used as an instrument. But once fishing rod line and some small wood additions were added it became usable for a type of percussion sound if nothing else. I've posted photos of it before but here it is again:

So you can hear this guitar's sounds on the recording similar to how you might hear an acoustic guitar's strumming amidst a highly amplified soundscape. Or in the rhythmic way a mandolin player uses his instrument in a bluegrass band.

Finally, the fourth track is the Casio PT-1 keyboard that my brother bought for me as a gift once. After I started acquiring full-size keyboards over the years I ended up giving the Casio to my niece. Regrettably, she no longer has it nor remembers ever having it! This is what it looked like:

This was a tiny keyboard with a range of only four voices: piano, fantasy, violin, flute. The one used on this recording was flute. The part was completely improvised. Not being much of a musician at the time I didn't want to be very adventurous on the keys. But I was content with the end result.

Here's the thing about overdubbing with cheap tapes and microphones on analog equipment: each time you add another layer or overdub some of the quality of the earlier track(s) goes south. I have many of these recordings where I've seen the quality decrease substantially each time I added something new. And later when I started to do the stereo recordings the deterioration was even more noticeable due to the nature of my method.

That's the story behind this song. Certainly I wish it were of better sonic quality. But it was 1989 and I was a poor kid with no real gear for this sort of thing. Not to sound like an old person but today's kids have an immense amount of high quality gear at their disposal which are really just wasted in their hands. Such is life!

This has been the first of my many recordings. Plenty more to come!

Recordings From The Archive 1989-2019

We will soon be entering the final quarter of the year and once again the plan is to be as musically active as possible in order to prevent yet another rather inactive year. So to give you some very basic and generalized updates on my plans, I am planning to do a Halloween themed song and work on some Christmas music as well. Would still love to get a whole album of Christmas/holiday/seasonal music out there this year. I might have to be more reasonable and settle for a release that's a mix of original tunes and well-loved public domain ones. In fact, I am planning on recording a cover of that old standard, Jingle Bells.

Other than that I will create as the ideas and creative juices flow. On a more determined note, I have decided to start releasing the low-quality, analog recordings I made many, many years ago with my homemade instruments.

Why have I decided to do this now after all these years? Well, in case you don't know, Daniel Johnston died last week at the age of 58. Also in case you don't know, Johnston was considered an outsider musician who started recording his own original music on cassettes at home and distributing them to his co-workers and such. He started doing this around the age of 18 or 19 and eventually ended up with a recording contract, not so much due to his immense talent but more as a result of Kurt Cobain wearing a t-shirt that featured Johnston's album artwork. Cobain, Eddie Vedder and others have claimed to be influenced by Johnston's music.

The reason I will be releasing my old recordings is not because I think it will be a ticket to getting a recording contract with some label. Absolutely not. I don't want to oversimplify what Johnston did. It wasn't all just handing out cassettes, though he did that with anyone he met. But he also performed live, something I don't do and am not willing to do on a solo basis. He attracted attention with what he did. And there was no YouTube during his days of doing this. But all his recordings are out there now, as low-quality and bad as some of them may be. And that's what I want to do. Just get my recordings out there because otherwise they will live only in my experience and what is that point of that? Many of my recordings are just as low-quality and bad (if not worse) than his. I didn't start singing in my recordings till my late teens and even then they are scant and few. I never really wanted to be a singer at that time. At least not until I acquired a real guitar and started learning it.

The instrumental recordings aren't all that great either--off-tempo, off-key, noisy. But that's what you get when you're working with low-quality microphones, cassette tapes and homemade instruments. And it's not about the quality or the recordings. It's the history of my recording experience and the progression and growth I have made over the last 30 years.

Yes, my first recordings were made thirty years ago and I think this would be a great time to start releasing them. And the great thing is that I have digitized many of what I consider to be the more important recordings and have saved a good deal of the equipment I used to make them.

This is part of my history. I know many will not be interested in this. There has to be an intense curiosity in order to sit through the extremely low-fi sound and very limited musical ability on display. But for anyone who can appreciate someone discovering recording sounds in stereo vs. recording in mono and trying to make the most of what he has this may be a journey to explore.

I revisit these recordings from time to time. Very few others have heard any of them. For the most part and understandably so, no one was particularly impressed with anything they heard from my archives. I think it's the same thing that happens when I make a new recording nowadays. People are overlooking the fact that I did everything on my own and just expect to hear something that sounds radio-ready. They're only looking at the final product and not all the work that went into it. And it's even worse nowadays because people can produce music on computers without even knowing how to play a single musical instrument. And no, computers ARE NOT musical instruments. They're only tools. So these guys don't care if you don't recognize all the work that went into making a recording. All they want is you to appreciate the final product because they're not musicians.Yet I am both a musician and a producer.

I was a bit embarrassed by these recordings for a long, long time. They felt like the really bad pictures a kid draws with crayons when he's growing up. And you don't really want to show anyone those pictures if you even have them still. I kept my recordings and it's not necessarily for any other reason than that I tend to keep everything. Yes, I have hoarding tendencies. But I am glad I kept these.

Unfortunately, I have accidentally recorded over things in the past. The beauty of the cassette is that it has always been the most readily available media for recording something, anything. Its size, its price, its ubiquitousness were all pros when it came to the advocacy of this item. Yet the very fact that it could easily be rerecorded over and get erased were its downfall. And once those sounds were gone they were gone for good.

I'm glad I digitized many of these recordings when I did. Most of the original tapes I used were really cheap, low-quality ones. I didn't use the Sony, Maxell, Memorex or TDK brands. No. It was Certron for the most part and other forgettable names. And the sounds on most of them may be very shaky if not gone completely by now.

So I'll be uploading these recordings to YouTube on my Exit World channel. I considered Soundcloud but they give a fixed number of total minutes to upload your content. Once you reach that limit you have to pay in order to upload more. And I'm not about to pay for that service. So YouTube it is as there are no limits there. Once I upload there I will link to here as I write a post about each upload as long as my memory serves me well. This will definitely help me to become more active here as well.

I realize these uploads may not get any views. I'm prepared for that. It's not really about getting views. If I get them, great! If not, it was always about me putting them out there for me. Daniel Johnston didn't care about how good or bad he sounded. He didn't care about how lo-fi his recordings were. He wasn't worried about getting embarrassed. He just did what he was meant to do and didn't suppress it. And that's what I need to do. Hey, maybe if the people aren't listening to the good music I create perhaps they'll listen to the bad!

2019 Update

I didn't realize I haven't updated here since last summer! How time flies!!

Well, this is what's been going on since last June. I did not complete the Christmas song (Christmas in the City [reprise]) I was working on. I'd say I'm probably 75-80% done. I still need to finish some small synth parts, guitar parts and the drum track. But since I'm making this song a reprise I have to have the counterpart it's based on. I need a full song called "Christmas in the City." That I have not written yet. So if I plan to release at the very least a single for the holiday season, I feel I should have two songs to do so. It's not necessary, I know. Nowadays you only need to release a single track. But it may be strange to release a reprise song without having the original non-reprise song. Make sense?

The last several months I have been working on an instrumental version of "Stormy" by Dennis Yost & The Classics IV. It's a song I have always loved and I even did a guitar cover of it on YouTube some years ago. I came into a really cool Hammond organ late last year and it's a fabulous instrument. I started getting all these thoughts of doing some organ versions of my favorite songs. I started with "Stormy" and it's not quite done yet either. I really want to finish it before moving onto something else. Otherwise, I will end up with a bunch of unfinished projects. A few other covers I am excited at the thought of doing include "Gimme Some Lovin'" and "I'll Be Your Shelter". This organ is so cool that I have tons of songs I would like to do but I need to also stay focused on doing my own original material.

It is now April as I write this. What will I be able to get done this year? Will I get an original Christmas album ready? Or one of holiday covers? Or one of non-holiday music? Maybe an EP or a couple of singles. Perhaps a holiday single and a non-holiday single. That might be the most likely thing. Not ideal but that may be what I have to settle for. This is the era of the single. Oh, I should mention that I did officially release my song "If I Told You" late in 2018 through CD Baby, so it can be found there, on iTunes, Amazon, Spotify and other places. I did embellish the song a bit with a few extra things so it is not the same version that I uploaded to YouTube a while ago. This song has become one of my personal favorites.

What I really want to do is get back to my own music. As much as I may get excited about doing covers the truth is that most no one else would be interested and of course there can be no expectations of earning any money from it. It's almost like a TAXI type thing--you custom make music based on their listings and submit to them but they don't accept it. That's a lot of time and effort to spend that could otherwise be used towards making original music that you own the rights to. Problem is, I have not written much at all since the last post. A matter of distraction and discipline.

I am going to try to crank out something before it gets too hot in the studio. But even if it does get hot I will work through it. I remember the hot July recording sessions for "Tomorrow" that I toiled through. If necessary I'll do that again.

I have lots of ideas for things to record. Another consideration for this year is to release an album of instrumental recordings. I was entertaining the thought of calling it "The Soundtrack". There are some unreleased tracks would definitely fit in well on this. And I could easily make some more. Also there is still the possibility of recording a minimoog album. Had some ideas for some shoegazing or spaced out music that could make for something interesting. Or I may just merge this project with "the soundtrack" project if I start to lack in ideas or get pressed for time.

Holiday Music and Electronic Music

So three months after my last post and I am still working on that same one Christmas song. It's been rough. Too much stuff going on. (Although I must admit I also did waste some time unnecessarily). Am I ready to throw in the towel on my plan to have a holiday album out this year? No, not quite yet. But it isn't looking good. I may have to settle on another EP. At worst, I may have to settle on this one song, but that seems far-fetched. The good news is I have to do just a little more recording on this song and then put it all together. The bad news is I'm not sure how I will handle the drum track. Will I play actual drums or will I go with my Yamaha synth drum sounds? I do want to actually play but we'll see.

Sometime in April I took a break from the Xmas song to record something using my Minimoog. This is a pretty amazing instrument in that it is a whole band in itself. Couple some of the melodic tones with a delay pedal and you get some very out-there electronic sounds.

I put together about a 5 or 6 track piece of different Moog sounds and made up a little electronic song. After doing this for a few days I felt the inspiration to do a whole album of songs made only (or almost entirely) on the Minomoog. I'm not saying I've done that already but it is another project that will be in the works.

What I came up with is a type of music that I have been searching for but could not find. I realize there are tons of music out there that I have not yet heard and never will. But based on my searches I have not found what I've been looking for. It all started with a Chernobyl disaster I saw online a few years ago. It had stock footage of Soviet nuclear power films and some very Moog-ish music playing along. The song was undoubtedly electronic and was most likely created on keyboards exclusively. What I don't know is whether the music was part of the film or if it was newly created for the documentary. The film's era is very hard to tell but I would guess it to be somewhere from the late 1960s to the early 1970s. The music fits in perfectly with that era and makes me skeptical that it was newly made for the program. But I cannot find any info about it and there is nothing in the credits.

How do I describe this music? It's outer spacey. It's futuristic in a retro sort of way. It's unsettling. It's early shoe-gazing music. It's sparse. It makes everything seem slow motion. It sounds like it was recorded in wide open spaces, like the glaciers of Iceland. It's atmospheric. It's ambient. It has that lo-fi feel. It gives warning. It can be ominous.

That's what I want to make. I don't have all the synth sounds I would like to have in order to do this. In particular there is a vintage sound which resembles voices singing "ohs" or "ahs" and it sounds really great.

I've listened to artists such as Suzanne Ciani and Klaus Schulze but their electronic art tends to not be very musical. I have no problem with long, drawn-out pieces even if they're not in a static rhythm. But it has to have a feel of musicality and a pulse to drive it. The "I Robot" album by The Alan Parsons Project has a lot of aspects of what I'm looking for, particularly the instrumental passages. I thought Kraftwerk may have been a source but their music sounds too gleeful.

I would like to find some of what I'm looking for from the period of 1969-1977. It has to be out there. But I haven't found it so I will try to make my own. I uploaded a super lo-fi version to my phone from my monitors of the song I made has unofficial working titles of "Moog Song" and "The Day Will Come." Here it is from soundcloud:




That's rather a short piece but I plan to make it a lot longer. I'm envisioning about 4-5 songs for a 40-minute album. And this is a project I believe I can get done before the year is up even if I start a few months from now.

But I really do want to work on the Christmas music. It has not been difficult as I thought it would be. The song I've been working on is rather funky and it keeps me in the spirit of working on it. I don't think it's strange to work on holiday music throughout the year, and it doesn't feel weird telling others that's what I'm doing. So onward I go!

Holiday Music Production Underway

I have been working on Christmas music this year. Yay! This is the longest into the new year that I have ever worked on holiday music. So I am really serious about doing this in this new year.

So far I have been recording one song. I am envisioning it as being the last song on the album. The working title is "Christmas in the City" which was inspired by the Marvin Gaye instrumental of the same title. Basically this song's lyrics are, "Christmas in the city, looking so pretty." And it's just that repeated over and over with some occasional breaks for instrument solos. Originally, I planned to write this song with more lyrics--and I still may--but this version has turned out to be a reprise of sorts. So if I do still write another with the same title there will be more lyrics and the music will be slightly different. But I am having a great time with this one. I'm going for that late 60's/early 70's funky sound and thus far I have some Wurlitzer piano, a couple electric guitars, electric bass, sleigh bells and vocals. This will also mark my first song that features four-part harmony. Still plan to add some organ, minimoog and horns. Ahh yes, and drums. I would like to believe that I'll have the large majority of this song completed sometime this month. I really cannot afford to spend too much more time on it.

Which brings me to my next point....

Do I realistically have the time to present a full-length album by the holiday season for 2018? I have a solid 8 months to get it done. However I don't have another 8 or 9 songs all written and ready to go. That's where I need some improvement. Also, the summer months is usually when I don't do much recording because of the extreme heat of my upstairs studio. I am strongly considering having a small window-unit air conditioner installed just to keep it comfortable enough for me to do my work there. But I need to do as much as I can before that scorching heat arrives, as adding an a/c unit is nice but also another expense.

The good news is that I have ideas for songs. I just need to build on them. I have a tune I started working on last year which is where I first got the idea for doing some 4-part harmony. There are also two winter season songs I wrote quite some time ago and they would fit in nicely on this album. As a last-minute effort, I could make new versions of my two previously released songs and include them as well. That's an idea that just came to me now so I haven't given any previous consideration to it. But it may work. Actually it's a very real possibility!

One thing I have come to realize is that it's not very hard to work on holiday music once the holidays are over. It is just music like any other and as long as you stay focused and it does not feel irrelevant or out of season. I am just as enthused working on this as I would be on anything else I make.

There is plenty to do. Let's keep our fingers crossed that everything goes well and I can accomplish this labor of love this year.

2017 Is Almost Over!

Here we are in late 2017, two weeks before Christmas and I don't have much to say. This is the point--or rather even a few weeks earlier--where I would be writing about end of the year goals. This year I have none.

Yes, there is still that song "Something's Wrong" which is unfinished and I could probably easily finish up before the year is through. I really dislike going through a year and not having anything musically to show for it. So if I could get at least that done the year wouldn't be a total waste.

Also, two weeks is plenty time for me to do another Christmas cover, but in reality I don't have two full weeks as no one will be listening to holiday music beyond two exact weeks from today. Unlike me.

I had dedicated this year to working exclusively on holiday music but changed my mind along the way (again) and was caught up in other distractions, and believe me, this year there were plenty of distractions. Not too long ago I had even decided I was going to start writing--check this out--love songs!! Yes, love songs. I never really wanted to get into that genre but there are a great many benefits that come of it, some musical, some non-musical. Everybody loves a love song. And to tell you the truth, a lot of the best and most memorable songs are love songs. So yes, I will follow that road and see where it takes me.

In actuality I have about one week if I really want to do a Christmas cover. So I'd have to pick out a tune almost immediately and start coming up with an arrangement. I really hate not being able to choose from the entire pool of great holiday music that's out there. Nothing can stop me from making my own version of any song but once I publish it online is when potential problems can arise. Getting licenses and paying royalties is not my cup of tea. On the other hand, I did publish that version of "Hey Joe" I created a few years ago and never got a license or anything. The difference is that I never plan to include "Hey Joe" in any of my future albums, whereas if I do a Christmas cover you'd better believe I intend it to be part of a future official release. Thus, I guess I could record "Silver Bells" or "Winter Wonderland" and provide it as a free release on YouTube but it would never go any further than that.

Speaking of YouTube, for the first time ever I uploaded to my channel a video of me singing and playing "How Deep is Your Love" by the Bee Gees. Not the entire song of course. Surely no one wants to see me struggle through the whole thing. Just to do one verse/chorus required many takes and I'm quite surprised I played and sang rather decently. But it was in keeping with all my cover videos where I never do the entire song, with the exception of "Barney Miller."

But I will see what I can get done in the remaining nearly-three week period we have for 2017. And if I make any resolutions for the the new year of 2018 it will be that the year turns out to be my most productive in terms of recording and songwriting. While I didn't do much recording in 2017 I did get a lot of ideas for songs this year which, if I am diligent enough, will turn into a new album.

Something's Wrong (lyrics)

Something's Wrong


Something's wrong
I can feel it in the air
I can hear it in the silence
I can see it in the troubled faces

Something's wrong
I can feel it in the wind
I can see it in the angry sky
I can hear it in the rolling thunder

Something's wrong
I can see it in the eyes
I can hear it in the voices
I can feel it in the heavy tension

And I can't make it right
No matter how I try
I can't make it right
No matter how I try

No I can't make it right
No matter how I try
I can't make it right
No matter how I try

Something's wrong
I can see it in the flame
I can hear it in the crashing waves
I can feel it in the ground below me

Something's wrong
I can feel it in my soul
I can see it with my mind's eye
I can hear it in the desperation

And I can't make it right
No matter how I try
I can't make it right
No matter how I try

No I can't make it right
No matter how I try
I can't make it right
No matter how I try


©2017 Ren D, Exit World Music, all rights reserved