Category Archives: Uncategorized

Song Sources: Part of Your Blindness

Sometimes it’s difficult to feel like you belong, and just as hard to explain to others why you feel that way.

This song was released primarily for a video, but it’s available on streaming services and Bandcamp.


I lost track of the story, what’s the last thing you said?
Did I fall asleep while you were talking, or just get lost in my head?
But cheap rooms and blacktop and the stars look the same
So I’ll call you next week from some other place

To everyone I knew sometimes leaving’s what you do
You were in my blind spot I’m part of your blindness, too
If you want to know your home from far away you can see
But if you really want to know the truth here’s what’s bothering me
Wherever I ever went, no matter how far I’d go
Where ever I’d stay I’d never called it home

There’s a faint smell to hope that fades as quick as the rain
It’s like ozone, or blood it’s like the memory of pain
When they’re closing the curtain I sense it slipping away
So I hope that I’ll find it on some other day

Someday when I’m sated, if I can hold out that long
I’ll lay down ambition and confess in a song

A performer, exhausted from another day of their a life on the road, talks to a family member (probably their mother or father) on the phone, barely staying awake, and the person on the other end of the line asks why they spend all their time away from home. The explanation is simply that it doesn’t feel like home — in fact, nowhere does, not even the road itself.

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Song Sources: The [very, very late] FAWM 2021 Wrap-Up (Part 2)

This Song Sources series is a retrospective and comprehensive set of liner notes (including recording and mixing techniques) for every track on Pirate A.M. Waves. It’s my hope it will be useful to other songwriters and home recordists. (Part 1 here.)

I’m Not a Builder

Side 2 of the album opens with one of my favorite collaborations I’ve ever done. Joe Scala and I swapped lyrics. Although he ended up barely using anything of what I sent him, he sent me three pages of lyrics from which this pastiche of mid-career Springsteen emerged.


I found work turning blood and sweat to gold
blessed with good fortune never earned
But I paid dearly for when I lost my way
Left me poorer except in lessons learned

I’m not a builder, but once I thought I was
F#m E A
Fought against the gravity and rust
Thought I built a house of solid brick and stone
F#m E A
Just to watch it crumble into dust

I carried stones and set them strong and well
But time wears on what you try to keep
Now I hope you find someone build you up a home
I can only say I wish that it was me

F#m D E
Thought we’d be stronger than every wind or fire
Thought we’d weather every storm and flood
But time crept and weakened every fracture
F#m E A
I’m not a builder
F#m D E
I’m not a builder
F#m E A
I’m not a builder and I guess I never was

[ A Bm C#m D x3 ]
[ F#m E A ] x4

One thing I’ve learned as I’ve gotten older
A fool can spoil everything he’s planned
Goes and carries what he cannot hold
Sets out building something that won’t stand

Chorus x2

So let’s talk about the three pages of lyrics Joe sent me: Joe seems to be better than I am about keeping his brainstorming ideas, rarely discarding anything. It’s a different way of writing, but I tend to write the story straightforwardly, rarely noting lines that I don’t think will make it in some form in the final version. Most of manipulation is meter and rhyme at that point, or word choice to punch things up.

Whereas the times I’ve seen him work (not suggesting this is the only thing he does), Joe tends to start from a concept, then write lots of lines and work out the story from the ones he likes. Maybe he has a story in mind ahead of time and writes down everything that comes from it, I don’t really know, but the bottom line is when we swap lyrics, he sends me a lot of lines, and I send him a pretty tight group of verses and a chorus. In 2020, he expanded what I sent him. This year, he discarded everything but the idea of the song. I did the same thing both years: I took the lines I liked, formed verses out of them, and then manipulated them until they resembled a song.

I’m not going to show all of the sausage making process, but I will show this part from the end where he’s typing out the story:

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Song Sources: The Howling Tongue of Each Other (FAWM 2016) part 2

This Song Sources series is a retrospective and comprehensive set of liner notes (including recording and mixing techniques) for every track on The Howling Tongue of Each Other. It’s my hope it will be useful to other songwriters and home recordists.

Part 1 is here. See also the equipment list if you’re curious about that sort of thing.

This covers tracks 5-9.

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Song Sources: The Howling Tongue of Each Other (FAWM 2016) part 1

Since this year’s FAWM was a bit more varied song-to-song, I thought it was worth talking about all the songs.

Most of the notes here are directly from my “liner notes” posted with the songs on, but I’ve updated the entries with my current thoughts. I hope this proves useful to other songwriters and home recordists.

Before you click “more” I want to stress that, while I’m happy with the recordings — and some people have even paid money to download them — these are still home recordings, recorded on a lot of DIY gear, good quality budget stuff, and using comparatively simple production techniques with mostly real instruments. I think they’re good quality demos, but I can still tell the difference when I listen to something recorded in a real studio and can definitely tell the difference next to something that’s been professionally mastered. Continue reading →

Song Sources: The Howling Tongue of Each Other (FAWM 2016) part 3

This Song Sources series is a retrospective and comprehensive set of liner notes (including recording and mixing techniques) for every track on The Howling Tongue of Each Other. It’s my hope it will be useful to other songwriters and home recordists.

Part 1 is here. See also the equipment list if you’re curious about that sort of thing.

This covers tracks 10-13.

Continue reading →

BB King Taught Me to Talk

B.B. King’s passing hit me pretty hard for a celebrity death, even though his passing came after a long battle with diabetes and its complications, and was perhaps even expected given his age.

Although there’s probably not a lot of evidence of it in my music these days, BB King is one of my biggest guitar influences. And not in a background “the dude influenced everyone” sort of way: he was the first guitarist I ever intentionally tried to emulate in every way possible. Weirdly, he’s also indirectly responsible for my interest in Celtic music and two degrees removed from Mark Knopfler, the only other guitarist I’ve really tried to emulate. (I didn’t discover my third major guitar hero, Richard Thompson, until I’d been playing for 10 years, and I did not directly borrowed much of Thompson’s technique.)

I started learning how to play blues fairly early after picking up the guitar, and BB King was my first exposure to it. My grandfather used to tape things off public television and mail the tapes to his family, and one of his tapes he sent us had a BB King concert from the early 90s (I think). I watched it constantly, and tried playing along with him. I dissected his playing as best I could (which I can’t say I’ve done with any other guitar player besides Mark Knopfler). I wasn’t smart enough at the time to know that the other thing that truly made him great was the economy of his playing, never playing more than he needed to and actually “saying” something with the guitar. So it was pretty easy for me to play more than he was playing, but I never hit nearly as many perfect notes.

I mainly learned the use of vibrato from him. In fact, I thought I was doing it pretty close to the same way as him until very recently when I watched a video where he did it in slow motion, and I realized I wasn’t doing it exactly right at all. But in revisiting his music, I think I also learned my tendancy to use double stops (that’s where you play two notes at once) as accents from his playing. A lot of other artists do this, but King did them in slightly different places. It’s hard to explain, but I know it when I hear it.

In 1997, about the time I was starting to get really seriously into playing guitar, especially blues, he put out the Dueces Wild album, which had him playing guitar with a bunch of people. Including van Morrison:

I was blown away by Van Morrison’s voice (most people are), and promptly started picking up Van Morrison albums … mostly his stuff from the 80s onward, which is ironic considering that if I had picked up his earlier records, I would have found him doing a lot more blues. Van the Man’s Philosopher’s Stone album had some blues on it, but what interested me more was the Celtic stuff he was doing. He did an entire CD with the Chieftains:

The first Chieftains album I picked up had this song on it:

This wasn’t the first time I’d heard Mark Knopfler … it would have been hard to have been alive in the 80s without hearing any Dire Straights. I may have already had a Dire Straights best-of record. But I picked up Knopfler’s Golden Heart after I heard that, which is still one of my desert island albums. It would be a very short hop nowadays to go right back to BB King from Mark Knopfler:

(That’s from 2008.)

In a very short span of time in 1997, I had gone from playing and listening to mostly blues and alternative rock to listening to more and more Celtic folk, which ate up a lot of my attention in the following years, but I can pretty clearly remember listening to a small stack full of BB King records in the car when my dad and I road tripped to my grandparents’ house in Kentucky during spring break of my senior year in high school, including a really lousy tape-to-CD transfer we picked up in a gas station on the way.

For a long time, I thought that the blues was more or less antithetical to Celtic music. (I know better now.) Since I was better at the Celtic stuff, blues technique rarely made its way into the music I recorded, even when I did songs that were closer to bluegrass, which absolutely borrows from the blues. Blues guitar uses bends and vibrato, seventh notes and flatted thirds, almost none of which appears in the folk music I was playing. Celtic music rarely even allows vibrato. I did eventually find some middle ground, and I’m finding more all the time. I still played the blues for fun, and most of the blues songs I played were BB King songs.

Later, when I was a bit wiser, I went back and listened to BB King again, I got a little better at knowing when not to play. I’m still fascinated with the economy of his playing. In between, I learned a lot of sounds to make on the guitar: how to make it sing. How to make it scream. But BB King taught me how to make it talk.

Maybe someday I’ll be able to say as much with as little as he did.

So farewell, Mr. King. Thanks for always giving me something to learn and for the introductions to some of my other favorite musicians.

I was thinking, fairly randomly, about my time in the military this week

and the moment I realized that I really didn’t belong in the army. It wasn’t all the times all those people asked me, incredulously, “What are you doing in the army” whether because of my general attitude toward military things or because they thought I had other talents (not bragging, just saying). It was the moment the Iraq war looked inevitable. We were, of course, already in a war with Afghanistan, but my reaction was “Jeez, not again,” while all the people around me were actually excited.

All the people in my unit didn’t seem too worried about it, and some even saw it as something positive in some way. One person asked me why I wasn’t keen to use the skills I’d been taught.

I got this weird vision that the chicken salad he was calmly eating was actually made of human babies. So I said, “How can you possibly want to use the skills you’d been learned? Do you realize what that even means?”

Servicemembers should be the last people willing to go to war, not the first or second. I was the only person around me that felt this way.

I mean, not that I was going to reenlist anyway, but sheesh.

New toy — a recording interface!

Scarlett 18i8

It’s twice as big as the mini mac!

I recently got a FocusRite Scarlett 18i8 — a little USB-based digital recording interface.

It’s been a long time since I did home recording, unless you count my YouTube videos done with the handheld camera my dad gave me. My last set-up was a 4-track Tascam cassette recorder. I still have it, but I haven’t used it years, because I don’t even have another cassette tape player, much less a way to convert the recordings to digital.

Back when I got that, it was a few hundred dollars, and anything resembling a studio microphone to go along with it was hundreds of dollars, with very few options below $1,000, so of course I just used dynamic mics. It was barely useful for demo recordings. Digital options were just coming out at the time and ran in the thousands of dollars for anything that was as functional or as good sounding, so I didn’t even bother looking until much more recently — when I discovered that things like this existed for less than I had paid for the Tascam.

I’m using Joe Scala’s old mini mac with it, and did some things in GarageBand just to get used to everything. All the recordings I’ve done so far are just plugging the guitar (with or without my pedalboard) into the interface. The preamps in the interface are very good, so I’ve been impressed with that so far.

I set up a Soundcloud page to host the recordings. Here’s a couple of the ones I made in GarageBand:

A Mark Knopfler instrumental piece from some of his soundtrack work I’ve always loved:

An instrumental cover of Gillian Welch’s “Hard Times”:

Then this week I picked up LogicPro, a digital audio workstation program that GarageBand is based on. It’s a professional-level DAW for a ridiculously good price, and I immediately liked it as much as Protools. It’s very easy to use and intuitive, even if things are in a different place (or called something different) than what I’m used to. To learn overdubbing and punching in, and to get used to the plugins and amp models, I recorded a little bit of rock and roll:

There are a couple things that immediately struck me: First, the signal:noise ratio is much better than GarageBand, with much less hiss. Everything just sounds a little clearer. Second, punching in (that is, recording at a specific place in the track to correct a mistake or pick up where you left off) is a breeze, with a “count in” setting to automatically play a few bars before the recording starts. It also seems to automatically crossfade overdubs (blend them together so you can’t tell that they were different takes), and a bunch of other super helpful stuff. The plugins (effects — like compressor/limiters, reverb, etc.) also seem very good. Finally, the amp models are excellent. Garageband was good for clean stuff, but the second distortion, whether from a pedal or its own modelers, became involved, quality really degraded. It sounds more natural in LogicPro, and there are some really cool things you can do like changing the “microphone” model or even moving it to a different place on the “speaker,” which I thought was a pretty insane detail to include.

I picked up a couple budget Audio Technica studio mics that got good reviews, and I’ll be using them as soon as I’m set up somewhere in the house appropriate for singing or micing a guitar. Unfortunately, the basement practice room has a leak in the wall that lets in water when it rains, so I need to get that sorted out before I can use the room regularly.

All of the above tracks were done with the Don Quixotecaster. I did use the mandolin on something I didn’t post to Soundcloud, and it worked fine through the pedal board.

I’m really looking forward to doing lots of recording now. I sort of forgot what a good practice tool it was, but also this lets me do one of the things I really love about music all the time — some people like playing live best, but I’ve always enjoyed the time in the studio, where you really get to play around and make mistakes and discoveries (sometimes both at the same time!), more.

Gitboxes, giftboxes, and other stuff from my end-of-year vaction

I had off work for a whole week this week, which hasn’t happened in a while. It was nice. I played a bunch of music with friends — Teavolve and Ledbetters open mics on Monday, Jen on Friday afternoon, and Dave Huber today and lots in my living room.

DT Huber and band (including yours truly on the left) playing at the Baltimore Folk Festival.

Dave Huber had some exciting news: His release, Scorched Earth, was named one of City Paper’s Top 10 for 2013. Pretty cool! And I see some names on the list I can really recommend to folk music lovers, too, like June Star, the Kolodners (Brad runs the old time jam in Baltimore), and Her Fantastic Cats. I played mandolin on Scorched Earth, and Dave has really been a pleasure to work with over the past year.

Cigarbox guitar

Weeeooooh! I’m a guitar!

I’ve also been designing a new circuit for a friend as part of the secret santa “PIFmas” (PIF = pay it forward) thing on the Build Your Own Clone. The present I got from someone else was seriously cool: A cigar box guitar!

I haven’t actually taken a “vacation” in the past couple years. Most of the time the only reason I take time off work is to record. This year I took two: Lexa and I went to San Francisco in October, and this week was a staycation. Traveling was kind of stressful, but staying at home was pretty nice.

So, onward, I guess. I have a couple projects to finish, and I’m hoping to make some more time for writing soon. February’s just around the corner, and this year’s February project will be extra fun.

If you encounter a tree from above

If you encounter a tree from above,
you’ll see a hundred branches
diverging in all directions,
a paralyzing (almost) endowment of choice
and you think, “I can take any one of them and there will be even more branches”;
so you take one,
but discover
they all converge at the trunk
toward and beneath the soil.

It’s so strange that we think that for others, younger than us, it will be different, which is a peculiar kind of hope.