Category Archives: Covers

Tapping and Squeezing

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I finished a new song yesterday. It was especially satisfying because the missing pieces were all lyrics, pretty much. I was intimidated because I was extremely satisfied with the one verse I did have, one that came pretty effortlessly some months ago. What if I couldn’t match it in terms of quality? And wouldn’t concentrating specifically on that just produce something that sounded the very opposite of effortless (obviously)?

But no: On the way home, they just started tumbling out of me. The verbal conceit of the song could be replicated across the verses — I unlocked that much, and the rhymes just sort of hung themselves from there. And it was as effortless as could be hoped. And, as is often the case, sometimes those seemingly slight nuggets are the best.

But, you know. Give me a week and I’ll think it’s shite. Eh? Stay tuned for a demo version, maybe. This one’s for recording with Larry on drums and John on the bass, so there’s got to be a demo. Oh goodie.

Meanwhile, I did want to hep y’all to something. If you are not familiar with the podcast known as Coverville, you should make a point of doing so ASAP. It’s exactly what you’d think it is — a show chock full of cover songs, delivered at least twice a week. But aside from the music itself, what makes the show special is its host, Brian Ibbott. I find a lot of music podcasters to be cloyingly slick, but Brian seems like just a regular music geek, helming the show with real passion and personality.

Also, to be honest, dude has played me a couple times. Round about last fall, he spun my cover of Laura Brannigan’s “Gloria” (from Low Resolution). Then he was kind enough to invite me to participate in a Squeeze tribute he put together towards the end of last year. (I did “Goodbye Girl,” and it was hella fun to record.)

But the current and most exciting news in Coverville is the NEXT tribute Brian’s curating: The SPINAL TAP tribute. (Updates will be posted on this blog here.) Without thinking about it much (and since the Smithereens said they might do “Gimme Some Money”), I asked to do “Cups and Cakes.” I only vaguely remembered the song itself, more vividly recalling how funny it was in the movie, right?

Well, when I heard “Cups and Cakes” again a couple weeks ago, I was actually pretty dispirited, kinda wishing I’d picked another song. But then I basically toughed it out, figuring out the chords and the words. And when I started recording, weird vocal ideas came to me — harmonies and “whoa-oh-oh’s” — and I just rolled with it, and I ended up being extremely pleased with the results.  Folks, I actually made the thing a little funky, and decidedly fun. I almost wish I could post it right now…but I defer to the Project, of course.

Meanwhile,  I encourage you to stay tuned for updates, and to visit Coverville when you get a chance.  Peace!

What We Talk About When We Talk About Everyone

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Every god's crazy 'bout a sharp-dressed man.

The tie is pink, by the way.

I was honored to be a part of friends Jessica and Jet’s “Not-a-Wedding” a couple of weeks ago. The State of Illinois doesn’t recognize their commitment yet, hence the name of the ceremony. I was asked to perform a song that they’d heard at me and Amy’s wedding, Ron Sexsmith’s “God Loves Everyone”–a song which we’d nicked in turn from the wedding of our friends Justin and Chris. As a wedding song, this one gets around. I understand it’s become particularly popular at same-sex events like this one, which is cool.

At Justin and Chris’ wedding, Liam Davis (from Chicago power-pop masters Frisbie) sang the song, and at the time I was deeply impressed with the line about everyone getting into heaven, “queer or straight / souls of every faith.” Speaking to Justin just a few weeks ago about the song, he enthused that it “talks about God in a way people usually don’t,” and I couldn’t agree with him more.

I remember getting the song from iTunes when it was merely a candidate for our wedding ceremony, and being on the el while listening to it in full for the first time. Receiving each lyric loud and clear, I nearly burst into tears right then and there. If there is a God, surely its omnipotence would preclude any concerns it would have with what church you went to, or if indeed you went to church at all. If there is a heaven, surely you wouldn’t be barred from it based on whether you fancied boys or girls…or both. Yes?

I’ve been phrasing things that way lately, saying “if there is a God” before my statements of faith. It’s mostly out of courtesy towards those who don’t believe in God, I guess. It’s also, cornily enough, a nod to Springsteen’s intro to one of the songs he did on VH-1′s Storytellers. I’m paraphrasing, but he said something like, “If we have any claim on the divine, it’s through our connection with each other.” Like it’s possible, but it’s not necessarily so. Like he was saying, “I’m just sayin’.”

I appreciate that kind of inclusiveness, because it’s the exclusiveness of “religious folks” that gives them such a bad rep with just about any thinking person I know. As in, “Not only are we certain that there’s a God, but we’re certain we believe in the right one, and if you believe in the wrong one, you’re going to burn.” Certainty’s a good feeling and all–I certainly like it. But the very fact that I’m writing this, that I struggle with my faith–this seems to me to be the point of it. If I just read some book one day and unlocked everything and then spent the rest of my life telling everyone I “had” the answer… How presumptuous. Not to mention unadventurous, the answers all referenced and squared away like that.

So I’m still iffy and probably will be for the rest of my life. My faith dips and halts and circles around again. “God” is a decent way to frame the narrative, and it’s convenient to use a word so many other people use…but on the other hand, when some people say it, they mean “The Guy Upstairs Who Hates Homos.” So what can you do?

I am reminded of Obama’s line about abortion. I think Rick Warren was pushing him during the campaign on whether it was basically right or wrong, and Obama said that the question was above his “pay-grade.” So it is with me and God, I think. If you claim to KNOW one way or the other, then you have to know that many people disagree, and so you risk being disrespectful at best, dogmatic and intolerant at worst. It’s better, I think, to frame it with an “if.” Better, I think, to not really think of it as an argument in the first place, a debate to win or lose. And, okay, if it IS an argument, then I’m willing to admit, since we’re talking about something supposedly gigantic and un-graspable, that it’s one that is way above my pay-grade.

Meanwhile, if it’s not an argument, and if it’s anything like the Boss suggests, I get to connect with people and continue the struggle. The unsure verb of it sustains me in spite of its flux, in spite of its built-in uncertainty. I don’t think I’d have it any other way. Or, as Jessica’s mom hollered at the conclusion of my song, “amen.”

“God Loves Everyone”
by Ron Sexsmith

God loves everyone
Like a mother loves her son
No strings at all
Unconditional
Never one to judge
Would never hold a grudge
About what’s been done
God loves everyone

There are no gates in heaven
Everyone gets in
Queer or straight
Souls of every faith
Hell is in our minds
Hell is in this life
But when it’s gone
God takes everyon

Its love is like a womb
It’s like the air from room to room
It surrounds us all
The living and the dead
May we never lose the thread
That bound us all

The killer in his cell
The atheist as well
The pure of heart
And the wild at heart
Are all worthy of its grace
It’s written in the face
Of everyone
God loves everyone

There’s no need to be saved
No need to be afraid
Cause when it’s done
God takes everyone

God loves everyone

“When You Were Young” One-Miker

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The Killers are, to me, like the new Smashing Pumpkins. In interviews, Brandon Flowers always high-wires that line between plain- and endearingly-pretentious, just like Our Man Corgan. Also like the Pumpkins, his band can mine a startling directness–usually in their singles, which is pretty great and kinda rare.  I always thought this one would be hard to learn, but this past weekend, by golly, I figured it out. Here it is, captured about an hour ago in a sparse, one-mike fashion.

When You Were Young [One-Mike Demo]

p.s. I’d like to send this one out to the class of ’89.

“Somebody’s Baby” and “Spirit of 91″ One-Mikers

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Weekend before last, after Scott and I were done recording his Monologue Bombs demos, we captured our acoustic take on Jackson Browne’s “Somebody’s Baby.” Scott thinks I’m obsessed with that song, but it really does suit our vocal blend well, especially after we dropped the key down a step. Scott also indulged me by accomppanying me on accordion for the moodier version of “Spirit of 91” that I’ve been messing around with for a couple years now. Both of these demos were recorded with a single mike. I hope to post more one-mike demos on here as I re-arrange things, learn new covers, whatever. Enjoy!

Spirit of 91 [One-Mike Demo]

Somebody’s Baby [One-Mike Demo]

The Music IS the Fun

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Scott’s visit continued to be a whirlwind. We recorded the basic tracks for 7 songs on Wednesday. He didn’t realize that with my set-up I can only record one mike at a time, and he didn’t feel comfortable doing separate vocal tracks for at least a couple of the songs. Fidelity was compromised as a result, but only slightly. And you know me–I kinda LIKE hearing the rattling of the piano keys in the room anyway (though naturally I did my best to minimize it in the mix).

You’ll just have to trust that there’s no sibling rivalry when I say that Scott is ten times the musician I am. Recording him was kind of amazing. For starts, he plays keyboards AND guitar AND drums, all well enough to record. This one song he did, “Juneteenth,” he played the main guitar chords and sang it in maybe two takes. Then he turned around and played some extra guitar bits–three distinct parts–all on a single track. Oh, and that was in one take. And vocals? I remember from being in a band with him how reliable his backups always were when we recorded. Only now he’s writing these complex lead parts for himself–with trills and falsettos and all–and nailing them with total nonchalance. OK, so maybe it does make me a little green…

That night we watched the first disc of the first season of Gene Simmons’ Family Jewels. The less said about that the better. Thursday we did some big-ticket yet inexpensive tourist items. If I was a real blogger I’d post pictures, but of course I forgot my camera. That night we met up with Aselin and Rachael to see a couple bands at The Whistler in Logan Square. The scene was thick with hipsters, so we feared for the worst. But when they hit the stage, the bands were actually very tuneful and, as Scott put it, “delightfully un-cool.” Love Raid is a basic indie rock trio with a little extra swing and a killer cover of “Hungry Heart.” All City Affairs is a funny-white-guy-doing-beats thing, but sincerely funky and joyous, never spilling into schtick. Positive vibes ruled the night.

Next day we got back into recording, with an unexpectedly long break to get a burger at Kuma’s Corner. That place never ceases to surprise me vis-a-vis its crowdedness at ANY hour. I had the Neurosis. Scott had the Lynrd Skynrd, which was the special. I gather the specials at Kuma’s are always NOT heavy metal, but I’m not sure. At any rate, the experience is so damn manly, with a pint of beer, and a stupid-big burger, and metal music blasting at you. Makes the air outside smell all the better when you leave. Can’t top it.

Saturday we met up with Aselin at his music space. On Thursday he’d offered to play harmonica on one of Scott’s songs, “Night Doesn’t Move.” After that, he had Scott play keyboards on something of his. We half-heartedly mulled over going out afterwards, but as Scott said, “the music IS the fun.” Which was certainly true. I really like when musical minds get together and reach a common goal. And being around people who, like me, write and make music with no hope of profit…it makes me feel like I’m not so crazy for bothering. Anyway, here’s “Night Doesn’t Move,” with Scott’s permission:

Night Doesn’t Move [Monologue Bombs - April 2009 Demo]

I’m not sure what-all will become of these recordings. At the very least, they will serve as demos for the new full-band version of the Monologue Bombs, Scott’s singer-songwriter outlet. I will keep you posted, should Scott start his own blog, or offer them online in any other capacity.