Holiday Shopping Spree

Through co-hosting the Songwriter’s Meetup and Song Talk Radio, I get to meet many singer-songwriters in and around Toronto. Some of them have written original Christmas songs, including Carmen Toth’s This Christmas I’m Giving You Love and Melanie Peterson’s Santa’s Sleigh. Themes of peace and love tend to come up, as is typical of many holiday songs.

Of course, I try to be different. So, I wrote a song embracing consumerism and throwing playful jabs at the status quo of creative types. This is not to say I find typical holiday themes trite or tedious, but I do commend singer-songwriters who put their own special twist on these themes. In fact, it’s a tricky business writing a good original holiday song instead of playing cover versions of well established songs. Carmen and Melanie have done a great job with songs and performances that are sweet, thoughtful, and festive. It’s clear to me that I was inspired by these singer-songwriters to write this song.

Writing and recording the song

I wrote the lyrics over my lunch break one day, and the piano part after work. I did a quick demo recording and presented the song at the December Songwriter’s Meetup. A main critique of my song was that the holiday aspect wasn’t clear until the end of the chorus. I took the suggestions and revised the first verse lyrics, and wrote a new holiday-esque musical introduction with glockenspiel section. I also took a more deliberate approach to my melody, thanks to some suggestions from my singer-songwriter friend Melanie Peterson.

I recorded a final version, and then set to work creating a video. I spent about two hours at the Toronto Eaton Centre, listening to my recording on repeat and shooting footage of shoppers, interesting sale signage, and the latest big-screen TV’s at Best Buy.

During a Beige Shelter rehearsal, I asked our bassist Tom Kuczynski to record me playing the keyboard and singing the song. Tom’s also a talented photographer and videographer. I then edited together a quick video.

All in all, this was a quick and fun writing and recording process, with a push to get it done before Christmas. It’s amazing what you can pull off when you have a hard deadline to meet.

Lyrics

Your new greeting card
Peace and love for the holidays
I say good fortune for all
And dollars to spend on sales

You wrote that song
The evils of materialism
Give away half your guitars
To the needy and poor musicians

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Always preaching moderation
Credit cards gotta stay at home
Support your local economy
Don’t be a consumer drone

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Get what you want
Not what you need
You’d better like
What you got!

I only wanna spend
Christmas with you
Binge watching on Netflix
On my brand new
75-inch, L.E.D., 4K HD, and 3D
Smart TV with 1000 watt, 5.1 surround sound

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Beige Shelter – Rumours we make, Paths we Take production

I first met singer-songwriter Adi Aman, aka Beige Shelter, at the Songwriter’s Cafe meetup. He appeared on Song Talk Radio in 2014. His songs instantly appealed to me for their 90’s alt-rock inspired style, and his often spiritually deep lyrics. On Song Talk Radio, I recall commenting how his songs are actually about something.

Last year (late 2015), Adi contacted me with a request to have his songs produced as an album. We had a brief meeting during which I got to know Adi a bit more, and really saw his personality as a generous, people-loving individual, and how that shone through in his songs. We came to an agreement, and began work shortly thereafter. The plan was to produce 12 songs for an album.

Adi would send me his demo recordings, along with lyric and chord sheets. For most recordings, I would set up a session in Sonar with a simple drum loop (of my own creation, of course, since I am a drummer). He would then come over and record guitar and vocals to the beat. Often he would ask for extra “guitar licks” tracks and/or vocal doubles.

The producer brain

For some of the songs, I would make melodic suggestions for the guitar licks, or arrangement ideas for when to include instrumental breaks. I also added drums, bass, piano, strings, and other instruments using my keyboard and MIDI. Of all the aspects of producing, I enjoy this arranging process the most. It takes a careful listen to each song, finding creative ways to supplement the original performance, and at the same time, taking it up a notch. My piano and bass parts were often quite understated, providing a foundation for Adi’s performance without overpowering it. I think this is a key point for any successful production.

For one song, Midnight, Adi had written a lovely arpeggio pattern on the guitar for the intro. The rest of the song rocked out. I suggested a break in the middle where he would repeat the intro pattern at tempo. This served to open the song up and provide a breath before the final chorus.

Adi had a neat riff and chord progression for a song, but no lyric. We worked together as I made chord suggestions (on piano) and a key shift for the bridge. Adi worked out lyrics about racial diversity and inclusion, with some tweaks from me. We share the songwriting credit for Colours.

For Who I Am, Adi had written it as a medium-tempo guitar rocker with harmonica. He wanted to try it out as a piano ballad, so I took his chords and developed a piano, strings, and drums arrangement. We had to re-record his vocals, as the rocker style didn’t really fit with the more ballad-esque piano arrangement. We also forewent the harmonica in favour of a cello solo. I think this song helps to open up the variety on the album.

Adi wasn’t entirely happy with his song EdenI made a suggestion for chord changes in the chorus, which opened up the song to sound bigger. Interestingly, this song is almost entirely comprised of major chords (only one minor chord). In some ways, it’s my favourite track on the album, as it has elements of progressive rock.

Mixing, mastering and fine-tuning

I spent a lot of time going through each song with a fine-tooth comb, fixing notes in the MIDI tracks and tightening up the timing. For some, I used a fixed tempo grid to quantize all the tracks, and for others, I used Adi’s guitar recording as a tempo map. Since they were mostly recorded to a fixed drum loop, they were fairly consistent, but minor tempo variations still occur, and sometimes it’s better to embrace them rather than forcing them to fit a fixed tempo.

I also mixed and mastered the songs. I wanted punchy, clear drums and bass, and forward vocals to ensure all the lyrics were well heard. My new best friend became Native Instrument’s Transient Master.

Ironically, the sonically simplest song, She Now Flies, presented the greatest mixing challenge. It’s actually easier when you’ve got 6 or more instruments in the mix, with guitars, piano, bass and drums, than mixing a song with only guitar and vocals.

For the mastering process, I suggested to Adi that we each come up with a sequence for the album, then compare notes. He then arrived at a sequence that was a combination of my list and his. I made minor tweaks to the EQ of some songs, and applied the final volumes. There’s some finesse here too, as I didn’t want the softer ballads mastered to the same volume as the rockers. Hopefully someone out there still listens to complete albums!

The paths we take

Before we even finished the album, I was accompanying Adi on percussion for his gigs. Since then, we’ve roped in a bass player and lead guitarist as well.

It’s been an absolute joy working with Adi on this record. He had a very balanced approach to owning his songs and being open to suggestions for changes. As the producer, I would always take the approach of allowing Adi the veto power, to reject any suggestion I made. As it turns out, he took most of them. You can’t be too precious about your ideas, and understand that the vision for the record should be the artist’s, not the producer’s.

Listen to the album

 

Beige Shelter show at Lee’s Palace

As part of the band Beige Shelter (drums, percussion), we played our biggest show yet at the historic Lee’s Palace. The crowd was receptive, enthusiastic and supportive. Of course, since this was a “real” concert venue, the stage lights made it almost impossible to see anyone in the audience. But we know what we heard.

The Beige Shelter line up is: Adi Aman (songs, guitar, uke, vocals), Neel Modi (drums, percussion), Tom Kuczynski (bass guitar), and Karan Sabharwal (lead guitar).

I’m thankful to be playing with such talented musicians and Adi’s songs are passionate, heartfelt, and even spiritual. This is music in fine form.

Beige Shelter performing at Lee's Palace - L to R: Karan, Tom, Adi and Neel
Beige Shelter performing at Lee’s Palace – L to R: Karan, Tom, Adi and Neel

We also performed a well known hit from the 80’s:

Gigging with Beige Shelter

I’ve been playing drums and percussion for a while for singer-songwriter Adi Aman, aka Beige Shelter. The band name comes from Adi’s feeling that the colour beige is neutral and can express a wide range of emotions, and music being the place of shelter where he can best express them.

I started my collaboration with Adi as his producer. We’ve worked through twelve songs for his debut album release later this year. He expressed an interest in performing more to promote the album and get his music heard. I volunteered to back him up on percussion. So far I’ve played a drumkit when it’s available, and also cajon and shaker. In the future, we hope to rope in a bassist and lead guitarist.

Our gig at Page One cafe in downtown Toronto felt like our first “real” show. We had a great turnout, thanks to our friends and to FXRRVST and Madison Galloway, our supporting performers. I’ve branded my look, always performing in a pressed shirt and bowtie.

Beige Shelter performing at Page One
Beige Shelter performing at Page One

So far it’s been a high performing with Adi. His songs are very well written (we even co-wrote on one of them) and his performances are passionate and energetic. Together I think we make a good team, as I also give him tips on improving his performance and creating interesting song arrangements.

There’s nothing quite like getting on stage on putting on a show of great original songs. You get into a “zone” where the world around you fades into the background and for a moment, it’s all about the music.

 

Songwriter’s Meetup

In addition to being a co-organizer and co-host of the the Songwriter’s Meetup in Toronto, I also participate by presenting my own songs to the group and getting their feedback. There’s nothing quite like getting constructive feedback from fellow songwriters that’s always supportive and encouraging. The group experience never fails in inspiring me to improve my own songwriting, as well as meeting the extraordinarily talented songwriters in the room. There’s also great opportunities for collaborations between members beyond the meetups.

The group recently surpassed 1,000 members and I’m proud to be part of its growth over the last few years.

The photo was taken by one of the members, who, like me, is a budding photographer as well as a songwriter. Thanks Alexander for the great capture!

songwriters_meetup

Jam session: I Never Write Her a Song

The latest Song Talk Radio backup band jam session was for my own song, I Never Write Her a Song. We rehearsed for a couple of hours, and then performed about three takes for the video recording. Thanks to the guys who put their hearts and souls into the performance, especially David St Bernard who took on the vocal part with great verve! Phil (bass) also took us through an exercise to ensure all four instrumentalists knew each other’s parts well, and worked together to create a unified groove.

David St Bernard – vocals
Neel Modi – piano, songwriter
Joe Romasanta – guitar
Phil Emery – bass
Gary Duke – drums
Bruce Harrott – consultant

I captured the room audio, and the vocal audio to separate tracks so I could mix them in post-production to get the best sound quality and ensure the vocal sat nicely above the mix.

Do you write songs from the heart or from the head?

Often on Song Talk Radio, this question arises.  Sometimes, it’s fun for the hosts to try and guess.  “Your song sounds very cerebral,” or “Your song sounds very intuitive.”  The guests themselves tell us how well considered every decision in their songwriting process is, or tell us “It just came to me.”  This question of process in creative endeavour is as old as the creative endeavours themselves. On Blair Packham’s show, he talked about his own journey on both the intuitive and the cerebral roads.

Most songwriters and musicians know the history of the Beatles.  In the early 60’s, before they were famous, they played for hours every night in clubs in Hamburg, Germany.  They learned their chops, got better at harmonizing together and playing tightly together.  Author Malcolm Gladwell, in his excellent book Outliers, describes this as the 10,000 hours rule: practice anything for 10,000 hours and you’ll be an expert.  The Beatles played more shows in a few short years than many contemporary bands play in their entire career.  Gladwell uses evidence-based examples to show that the most successful people are those who put in the time.

In another book, Blink, Gladwell champions the subconscious mind as a powerful decision maker, and how little information can be beneficial in making positive, snap decisions.  He cites such examples as fine art experts who can spot a forgery at a glance (and can’t explain how they know they’re looking at a forgery) and orchestras who hold blind auditions to reduce conscious biases.

So let’s bring this back to our central question.  It may be possible that songwriters who feel they channel their songs from some outward source, may in fact be so well practiced they make decisions in a “blink” and rely more heavily on their subconscious experience to guide their songwriting decisions.  “That chord progression just felt right.”  On the other hand, some songwriters are deliberate and conscious in their writing, and know the reasons their songs work the way they do.

I recall clearly learning to play the drums many years ago.  I started with simple rhythms on a single drum, and practiced many hours to coordinate my hands and feet on a drumkit.  The moment I could successfully coordinate kick drum and snare hits with a running cymbal rhythm, something in me clicked and I’ve never forgotten how to do it, no matter how long it’s been since I’ve last played a drumkit.  These days, I don’t think about it – I just follow my subconscious to feel the beat and play along.  If I’m playing in an unusual time signature, like 5/4 or 7/4, I need to engage more of my conscious mind.

I think the same applies to songwriting.  As songwriters, we can rely on our ability to “blink” and know if a songwriting or performance decision is the right one.  However, we can also study more conscious tools of songwriting to change things up, overcome writer’s block, and think outside the boxes we have created ourselves through our experience.

For myself, how do I answer the question of do I write from the heart or the head?  Historically, I’ve been a head-dominated writer, but lately I’ve been “consciously” relying more on my snap judgements, and perhaps surprisingly, they’re mostly right.  So, like everyone else, I’m somewhere in the middle.

Let us know how you look at your own process.  Do you write from the heart or the head, or both?

Song Talk Radio articles

I’m a regular contributor to Song Talk Radio’s blog and newsletter, with writing original content on topics of interest to our songwriter audience.

Check out my articles at the Song Talk Radio website.

Song Talk Radio appearance

On November 24, once again I appeared on Song Talk Radio as the featured guest.  I spoke with Bruce and Phil about three of my latest songs, and in a special twist, Sonja Seiler joined us as co-host and co-writer of one of the songs.  We talked about collaboration, anthropomorphism, and whether or not I could pull off writing a love song for my wife.  Check out the complete episode, including the songs, here:

I Never Write Her a Song

My wife asked me why I never put her in a song, or one of our experiences, into a song. Good question. After much pondering, I thought it might be good to go all meta and write a song about how I never wrote her a song. And of course, in keeping with the meta element, by the end of the song, I realize I DID just write her a song.

I started with the chorus lyric and melody, defining the hook with a simple chord progression on the piano. Lyrics and the rest of the chords came after that. I also employed chord substitutions in the verse progression and as a transition from the second chorus to the bridge.

All in all, it’s probably the pop-iest song I’ve ever written, and some of my friends helped me out with a live jam of the song too! I also appeared as a guest on Song Talk Radio where the song was reviewed, including a mini-domestic disturbance with my wife who was on the radio with me!

It’s like we’ve been together for a million years
And I guess we’ll be together for a million more
But in all that time I’ve never smiled or shed a tear
And I never let my feelings out for show

She said I never write her a song
She’s right, and I’m always wrong

Now I’ve got a yearning stirring deep inside
Or is it just because she asked out loud?
Will I take pen to paper, and write it right?
Or choke up and admit, it’s all a fraud.

She said I never write her a song
I could do it, but it might take too long
She said I never write her a song

Maybe all she wanted was a love song
All mushy lovey dovey and googley eyed
But somehow I know she’ll get it
The kinda love that comes from her clever guy

She said I never write her a song
But look here, her song is now done

She said I never write her a song
Now she knows her song’s all for fun