I have completed my Bandcamp collection. Here’s a partial screenshot.
The collection contains 4 full albums, a few EPs and a bevy of singles.
The last song on the last album I published there, is Barf. I improvised it in one pass, while recording it on an iPhone 4, in about 2015 I think. The production value matches the subject matter perfectly in that it is Barf.
One of the more finely produced numbers is I Can See It Now. Unlike Barf, this took a lot of work, trial and error, rewriting and reimagining, several recording and mixing sessions in 2018, with significant contributions from the brilliants Matt Jaffe (on 12-string Rickenbacker), Michael Rosen (at the controls) and Michael Urbano (on a Ludwig drum set that happened to be made the year I was born).
My journey toward producing my own records started on 4-Track cassette recorders in the mid ’80s. I could never get them to sound quite the way I wanted, but the banging away at it helped me hone some skills. Along comes digital and ProTools and all of the funtoys we have now, and I can actually create just about any kind of audio track that I can imagine, now.
A recent highlight was Rabbitus Maximus. This one I did entirely by myself, in a pretty short stretch of time at the very beginning of 2024. It was a case of following an idea from start to finish, and there was really no rewriting or rethinking of anything – I tracked each instrument once and moved on, dialing in the mix as I went. The end result is delightful, a personal favorite. One dear old friend said it was my best yet, while another told me it was too silly and that I should lean in on my darker material. All of which reinforces what I have learned about my works or really any piece of art – IT AIN’T FOR EVERYONE!
It took me a while to gain the confidence, or perhaps the gall, to release some of my wilder material. A flashpoint for me was the track Content, Content, Content from (of course) my CONTENT album. That little outburst had been brewing in me since I first heard the word “content” in its Internet-era context, back in the early 2000s. Everything – your FB comments, your cat pics, my albums, news items, clickbait headlines, the greatest most beautiful art and the most irrelevant and insipid SPAM, is all CONTENT, now. The weird neutrality of it fascinates me.
In a spasm of nostalgia last year, I composed and recorded 1983, definitely in my power-pop zone, with an ample nod to Ska. Called in the big guns for that one – no less than three Michaels! Urbano, Rosen and Valladares (on ’80s synth-bliss) at East Bay Recorders, with Paul Jackson joining me on the vocal chorus – and then I mixed it at home. Soon afterward, I performed it live on just acoustic guitar at Down Home Music, in my first ever solo performance. That whole set is now my Caterwaul! album, and there’s an uncut video of it on archive.org.
Oh! The video thing!
I started to get my toes wet in Premiere Pro about a year ago, and managed to create some pretty cool homespun vids for Charlotte in the Garden of the New Futility and a few other songs. Most recently I started a more elaborate one, for Rabbitus Maximus, but I put that project on hold simply because it was proving too time-consuming. Learnings: I CAN make my own records, it’s fun and sometimes actually pretty easy now that I know the ropes, AND! The same can not be said about making movies. Maybe someday!
The aforementioned “Charlotte” represents a lifelong epic within me, that started the first time the UpTones visited Los Angeles, in 1984. Coming from the Bay Area, where we had become something of a sensation, LA was a different world and I felt in every way an outsider there. The lines “No one talks anymore, no one walks in this town, hardly notice myself when I take a look ’round,” haunted me for decades, and on numerous occasions I tried to frame them in a completed song. Finally, in mid-2023 the rest of it came to me in a rush, oddly spurred by the Barbie movie, of which I am an avid fan. I produced and released the song, along with an instrumental mix, and if my math is correct, that was 40 years in the making!
Through many of these endeavors, Shannon Wheeler‘s pen and imagination gave my records cover art which so often surprised and delighted me. The last one is a sort of magnum opus – I just couldn’t believe my eyes at first when he sent me this. I had absolutely no idea what sort of image we should use for On Top Of The World. The song is a celebration of stardom, sort of narrated by an adoring fan, in an imagined world where there’s no downside, at least in the moment, and everything is grand. I was clear that I didn’t want the artwork to be a picture of that. There had to be a twist. But what could it be? Shannon admitted at first that he too was stumped. A week later he sends me this.
!!!
More learnings –
Every song has its own rules, its own soul, if you will. The production styles for mine vary greatly, as I’ve discovered. One that I wrestled with a bit was I Liked Their Early Stuff. Like any great cliché it is born of truth. We’ve all said it, right? I can name a bunch, but one will do: The Police. I LOVED their early stuff! And I’ll leave the rest of that “as read.” So, I had that recording in pocket, for a couple of years, after blurting it one day, and I vaguely intended to re-record it until recently I listened again and laughed aloud and realized that’s it, that’s the only recording of that song that I need. It sounds like a “demo” and, as such, it’s like a prop in its own play.
Yesterday I enabled the purchase-all option for my Bandcamp collection, so if you like you can download the whole kaboodle at 50% off. That works out to $33.50 for 4 albums, my singles and EPs, Charles’s dub mixes, the works.
I hope you enjoy my (ahem..) CONTENT!!
