Fences

Here’s a short track I recorded today. Not sure if it will develop into anything… Just fooling around with sounds at this point.

Track-by-Track: “Don’t Let It Go”

So far, “Don’t Let It Go” is the track from Thank You for Holding that has gotten the most compliments. Not sure if that’s because there’s no singing on it or because people like the guitar playing… Hmm…

In any case, this instrumental started as a fairly long jam that I recorded with — I think — a loop pedal and a Tascam Digital Portastudio that I was using before I started using my laptop and Reason to record. I’m not sure how long the original track was, but at some point I edited the best parts of my guitar solo together and replaced the bass and drum tracks with a combination of live and sequenced instruments.

Actually, if you listen carefully to the bass line, you can probably hear that the first part of the song is a synth, the middle is live, and the last part is basically a single note that I lifted from an earlier recording of the song and repeated until the end.

The title is somewhat of a play on the title of the Disney song “Let It Go,” which was popular a few years ago. It was the kind of song that I was hearing everywhere and just getting sick of, so I gave this song the opposite name despite the fact that there’s no similarity between the two tunes whatsoever.

I made a couple of earlier versions of this song available on BandCamp a while back — maybe a year or so ago — and I almost included it on Garden Variety, but as with “My Head,” I couldn’t get the sound quite right until now.

In fact, of all the tracks on Thank You for Holding, this one gave me the most headaches and took me the longest to mix because I wanted it to sound “live” as opposed to the exquisite corpse of patched-together performances and sequenced tracks that it actually is. One way I did that was to start the song at one tempo and gradually speed it up as the track progresses.

The main reason I included this track on Thank You for Holding is that I think it has a kind of 1970s jazz-rock sound to it that would definitely be right at home on an elevator or on a telephone hold message. And, of course, I also added the robot’s voice to the end of this one by splicing together a few of his phrases from “Thank You for Holding” to make him sound even sadder and lonelier than he does on that track: “Thank you for holding. Your call is the only life I know.”

The Accidental Guitar, Pt. II

Mystery kind of solved with respect to my guitar. The seller responded to my query and apologized for sending me the 12-string when I ordered the six-string. Also, they said that it is, in fact, a 3/4 scale guitar and also apologized for not mentioning that in the description. They offered to exchange it for the 6-string I ordered or to give me a refund if I wanted to send it back, but I opted to keep the 12-string since I like the sound.

I should also admit that, technically, they didn’t really need to say that the guitar was a 3/4 scale model since it’s based on the Rickenbacker 325Rickenbacker 325 that John Lennon made popular, and that was a 3/4 scale guitar. Also worth noting is the fact that it wasn’t the seller who asked to take the listing down. It was Rickenbacker. I suppose they saw it and thought the Cozart “tribute” was a little too close to the original for their taste.

In case anyone is thinking of buying one, here’s a short video to give you a sense of what it sounds like. I went with the cliche and played the opening riff of “Mr. Tambourine Man” since I figured that would give you good point of comparison.