Ed Hale “Marsha’s Sleeping” Live in Portland, Oregon
May 14, 2019
U2 Proves Rock is Dead. And So Is the Album
September 11, 2014
The below is the latest blog entry from music-culture blogger and general curmudgeon, Bob Lefsetz. In it he plainly and clearly argues that the release of the latest U2 album — through giving it away for free via Apple’s iTunes platform — was yet another red flag that rock music AND the album as a viable art-form is utterly entirely and completely dead. He argues a lot of things in the article below. Much of it makes sense and rings true. One of things he emphatically states is that no one has time to dig through 11 songs on a rock music album (or any album for that matter) and therefore U2 wasted years creating their newest magnum opus. They should have just released a 4 song EP instead. You can read it below for yourself. Frankly I don’t have the time to respond to Bob’s ideas — and THIS gives testimony to just how accurate he is in his latest treatise on the rapidly changing cultural world around us.
For my part, I CAN say this. Everyone knows that I am an avid U2 fan. I own all their albums and buy them as soon as they come out or soon afterwards. I have seen them live in concert more times than I can count. But have I heard this new one yet? Nope. Do I even own it? Nope. And they’re giving it away for FREE!!! Yet I still don’t own it. Yep. This fact proves Bob’s point more than I’d like it to. To further prove the validity of his statements below, he is right in these assertions as well: I didn’t want to go to iTunes to download the album — while at the gym I obviously wasn’t able to do this. What I wanted to do was LISTEN TO the album. As in STREAM IT via Spotify. But U2 made the irreversible error of making the album NOT available on Spotify for at least a month or two. By that time no one will be talking about or interested in the new U2 album. We’ll all be discussing something else entirely. So they lost that shot. The next place I went to try to hear the new album? YouTube. Just like Bob predicted we all would. And as can probably be guessed, the new U2 album is not yet available on YouTube. So they dropped that ball too.
This is why, three days later I still don’t own the new U2 album. And I’m an actual FAN. Forget about the ex-fans or never-have-been-fans or the flat-out haters. They’re all having a field day making fun of and insulting Bono and company. They’ve become the punchline of the hour, the battering ram of the week — right after Ray Rice, ISIS and Ferguson, Missouri.
It’s a damn sad day when one of the greatest musical acts of all time can become so lambasted, negatively perceived and devoured by mainstream society for such a small and simple mistake. It’s even more disturbing that Lefsetz appears to be right not only in his assertion that rock music has lost all credibility and influence in modern Western society AND so too has the album as a viable art-form SIMPLY BECAUSE no one has the time for either of them. Especially for yours truly, who still bathes in the illusion that I make my living from recording and releasing albums of primarily “rock” music. Oh well. Oh well. Oh well. Better luck next time.
What follows below is the article by Bob Lefsetz. Happy reading. Feel free to share your thoughts.
Ambassador
NEWS FOR A DAY
No different from a rape or a murder, but with even less legs. In today’s world it’s not about making an impact, but sustaining. Could it be that Bono’s been living too long in the echo chamber, hanging with forty and fiftysomethings who think they rule the world but truly don’t? Yes, older people build the tools, but it’s young people who utilize them. The older bloke will lament the loss of the record shop, the younger person has never been. If you want to make it in today’s marketing culture you must be online 24/7, picking up the nuances. Because it is about cred and it is about cool but if you think the old rules apply, you probably can’t name a YouTube star.
EVANESCENCE
This is an analog of the above. Here today, gone tomorrow. How could the band be so stupid as to believe anybody would actually play their music, especially the 500 million it was pushed to. Where’s the afterplan? Nonexistent.
PUSH
We live in a pull economy. Nothing pisses off the audience more than pushing something they don’t want and didn’t ask for to their devices. Even if you don’t download the album, it’s sitting there in your purchases, pissing you off.
HOW TO
Did you have iCloud turned on in iTunes? Even those who wanted the album weren’t quite sure how to get it.
ALBUM
How many tracks did PSY have? One!
OVERLOAD
No one’s got time to listen to a complete album, especially when it’s pushed upon them, that’s just too much material. Yes, a nascent artist on his way up might have people check out more tracks on his album out of curiosity, but no one’s curious about U2, they already know everything about them. One must factor in that we’re all overloaded with stimuli and you must point us to the paramount item and make it digestible in a matter of moments. If we love it, we’ll want more. If we don’t, we’re never going to get to the rest of your opus that you spent years creating.
ALBUM TWO
Make it an EP. Four tracks. People haven’t finished Piketty’s tome. It would have been better off as a magazine article. People bought it, they just didn’t read it, who’s got the time?
ENGAGEMENT
Now what. Where’s the game, where’s the jaw-dropping viral video? Where’s the element we can all point to and talk about. If anything, we’re talking about the stunt, not the music.
WRONG SERVICE
They’d have been better off releasing it on YouTube, that’s where the digital generation goes for music. iTunes is a backwater. It may be the number one sales outlet, but it’s not the number one music platform, not even close.
UNHIP
Put it on Spotify. Try to look cutting edge. Meanwhile, having the quality of your music trumpeted by Tim Cook is like having Ed Sullivan say your tunes are good.
CLOSED DOORS
This is the problem vexing filmed entertainment/video, there’s not one platform with everything. But in music we’ve solved this problem, Spotify and YouTube have all the tracks and you can access them for free, but putting hype over practicality, U2 failed to see they were playing in a walled garden, to their detriment.
This was a stunt, poorly executed. Everybody forgets that despite all the hoopla about naming your own price, “In Rainbows” was a disaster, with only hard core fans familiar with the material. Yup, Radiohead may be independent, but they’ve done a good job of marginalizing themselves.
And at least Beyonce had the videos, somewhere to click to.
And Weird Al had videos too, but after a week, few cared.
Because at the end of the day we only care about the music. And U2 didn’t cut that one indelible track that stops us in our tracks, that we want to listen to again and again and pass on. Sure, the song they played at the Apple soiree was good, but good is no longer good enough.
Furthermore, when Bono talked he lost all charisma.
This looked like nothing so much as what it was, old farts using their connections to shove material down the throats of those who don’t want it. It’s what we hate so much about today’s environment, rich people who think they know better and our entitled to their behavior.
Don’t listen to the press. Rock writers are antiques who are underpaid who are in it for access and free tickets.
And the business press doesn’t care about the music.
And the old fart fortysomethings who talk about this music should be ignored. It’s no different from a Jason Isbell fan testifying about his tracks. No offense, but it’s a tiny world. Sure, U2’s is bigger, but until U2 cuts a track that makes the rest of us care, we don’t.
Meanwhile, Jason Isbell had a hit today, he tweeted: “U2 PHONES IT IN.”
Yup, that’s Internet culture, where someone who raises their head above is fodder for criticism.
But it gets worse.
Cultofmac said:
“But trotting out aging Irish rockers after you’ve wowed the world with the first glimpse of the glorious Apple Watch? That’s not thinking different. That’s a pity-f__k for a band that’s lost its edge, and an unfortunate bum note for a company that’s rarely perceived as tone-deaf.”
http://www.cultofmac.com/295084/u2-apple-event/
Whew!
All over the web people are criticizing U2. And that’s where music now lives, online.
So, so long Bono and crew. You’ll continue to sell tickets, but you’re no longer au courant.
So long rock that does not break through on Top Forty. U2 would have been better off cutting a country track, that would have been a better fit with a fighting chance of airplay.
So long albums. If you’ve got an hour to listen to once that which must be listened to ten times to get you’ve got no life, but everyone does, and they’re the center of it, glued to their devices, and to distract them you’ve got to be pretty damn good and the talk of the town for an extended period of time, U2’s new music is not.
So long stunts with no aftermath. If you’re not in the news every damn day, you’re getting it wrong. The biggest pop stars are the Kardashians. Ever notice not a day goes by without them in the news? Bono, et al, would be better off hanging with the sisters than heads of state, at least if they want to have a hit.
And so long the fiction that Guy Oseary would do a better job than Paul McGuinness. There might be a patina of new school, but this album release is positively old school.
Here’s how it goes:
Make everyone aware.
Put tickets on sale.
Make it an event, a la the Stones, i.e. if you don’t come now, you may never be able to experience it again.
Trump up traditional press so wankers believe there’s something happening.
But there’s not.
Because “I Will Follow” was inspired. It sounded like nothing else. It had urgency. It had attitude. You needed to hear it again. It was so good you wanted to hear what else the band was up to.
The new album is paint-by-numbers disposable.
Today we have to pull you into our world. And we only hold you in our bosom if we believe your music is repeatable and deserves our time.
Bono’s on top of the world, he’ll reject everything I say.
Rapino and Oseary will keep shoveling, hoping to keep this alive.
And you and me?
WE’RE ALREADY OVER IT!
Ed Hale & the Transcendence New Album The Great Mistake Promo Video
October 18, 2013
The Great Mistake album promo video by Ed Hale and the Transcendence
featuring the songs “Monday”, “Baby Bop”, “ManChildWoman”, “I Remember You” “Hot Down” “She Gets Me Higher” and more
New Album Coming Along – Stepping WAY WAY Out There Now
August 12, 2013
Well I think we’re doing it again. Princess Little Tree and I joke around about “what a challenge it is to BE Ed Hale” compared to just “dealing with him” like other people do. I’m always like “yeah yeah I know, I’m sorry about that,” when she complains about how many different projects I have going at once and how unwieldy and crazy our schedule is, “but just imagine BEING the person who has to LIVE AS me!” I respond. “It’s hard enough dealing with me, I know, but it’s a whole different thing to keep waking up to the fact that you ARE that person and trying to figure out ways of handling being that person!”
I think of it like this: I’m just me. A regular Joe like anyone else. But on top of it, I was born INSIDE this totally crazy super-curious and ambitious wild man who never stops thinking and planning and taking notes and starting new things. If it were up to me, I’d just be chilling like anyone else. The usual things, picnics, TV, movies, family, the park, having drinks with friends, I don’t know, whatever normal people do… But I feel like I’ve got this responsibility to try my best to honor this guy that I was born inside. And he’s got this massive imagination and all this ambition and he really does believe he can do it all and more. So I just do my best to make that happen and hang on for the ride; and hopefully survive it all. Yep. It feels like that.
So we started Ed Hale’s new solo album in the summer of 2011. Right at the right time. The first single from the last solo album was taking off. A few months later the second single was doing even better than the first. We needed a new album and we needed it fast. Problem was that we recorded about 17 songs initially and instead of one good solid album, it sounded more like two partially completed albums. So we all flew back to New York to record more songs. Ended up with 34 new songs. So now we’ve been slowly making progress on them. Little by little. Drums, bass, acoustic guitars and vocals are slowly all getting done. Along with various percussion and keyboards. The crazy thing is how many hundreds of hours it takes to finish one song. At least for us. Now. On this album. Let me put it into perspective. We’re in the summer of 2013 now and I’m only done with 12 songs in terms of being done with MY parts. That’s insane. I know it. But it’s just a lot of work.
This album started out as a continuation of the Ballad On Third Avenue album. Acoustic pop, or what in the business we call Adult Contemporary; that’s the actual format. But what we’ve ended up with is three distinct sounds for three distinct different albums. One is still more organic acoustic, what you would call almost folksy. Think Bon Iver or Fleet Foxes or The Lumineers. Simple stuff. Do it in your sleep stuff. But I tire of that real quick. Whether it’s mine or someone else’s. I have a tough time getting through three songs in a row of that kind of material. So we branched out and made some of the songs more electric, more upbeat, more pop. I dig that. Though it takes a lot more instrumentation and production. And then there’s this third style that’s coming out that’s more like electric folk, kind of like Dylan when he went electric… Rubber Soul perhaps? But not really cause it’s more folky.
It’s all acoustic based. None of it is “rock” per se. And that was the plan. These are Ed Hale solo albums after all, and since all the same players play on these that do the Transcendence albums, THAT’S the only difference between the two artists at this point: the solo albums are slower and softer, more acoustic, more pop, and Ed Hale and the Transcendence albums are more rock. It’s just a name/style thing, rather than a change in lineup. I’ve been working with the same group of guys since 2002 and don’t see changing that anytime soon. They’re like brothers now. They know what I write and sing like. And they call me on my stuff; they know what to do and say to bring the best out in the music.
I’ve been living in Seattle for the last few months and so we’re working out of a studio here. Only problem is that all the guys are in different cities and states around the country now. Most of the guys are still somewhere in South Florida. But others are in LA or Texas or Minneapolis or Atlanta. It’s crazy. What we’ve decided to do, what I’ve decided to do, is keep on recording the songs here, my parts, and then we email the songs out as MP3s to all these other players — we’ve got about 15 additional players now around the country, adding strings, woodwinds, horns, guitars, keyboards, drum programming, background vocals — and have them import the MP3 into their recording studio rig. They then record their parts onto the track to their liking and then they send only their parts back to us and we then drop them into the original open track, as if they were there in the studio with us.
We’re really tracking three albums here… We have about 13 songs done with “my parts” now… meaning the basic drums/bass/acoustic guitars, some keys and all my basic lead and background vocals. That’s what these guys will be tracking to. But we have musicians all over the country adding other instruments while I am NOT there. And neither is the producer. So there is no way to monitor what they’re going to be recording. I’ve never done ANYthing like this before… NOT being there when peeps record their parts. It could turn into a total MESS. But I’m hoping to create a totally NEW sound by doing it this way — encouraging the dissonance that will naturally come from the musicians stepping all over each other without knowing it. Trumpet parts stepping all over sax and flute parts etc. It’s a crazy idea.
Of course we’ll mix the messy parts out and just keep the “good parts” Meaning whatever fits and sounds good. And hopefully that will provide a GIANT palette from which to choose for Zeke Zaskin who is set to mix yet again. He’s mixed every one of our albums since Nothing Is Cohesive and he always does a great job. Bear in mind that we usually provide absolutely insanely confusing tracks. Usually very messy because we record A LOT. I’ll lay down at least 15 different vocal tracks plus three to five guitar tracks and two to five keyboard tracks. In addition Vancouver will lay down five to ten additional guitar tracks. Now we’ll be adding an additional 10 to 15 additional musicians all laying down whatever they want to however they want to…
It has the potential to be a royal mess. But it also has the potential to be a roaring success, something brand new and exciting sounding. the potential for the musicians to step on each other musically is VERY high. Notes that may sound good to them clashing with notes that other players have added… Cause none of us are going to hear what the other people are adding. But that’s what i LOVE about the prospects of this new way of doing it. The utter randomness of it. No, it will not be the usual organic “all built up from the bottom up together as a unit” kind of recording style that we are used to. It’s going to be the exact opposite. But that’s what I am kind of digging about this new method. We now have the technology to record in this fashion. Of course no one in their right mind would do this on a professional commercial release. It’s crazy for sure. But it just may blow us all away with how cool it could sound.
In any case, there’s a catch up for ya. That’s where we are. If you were wondering where this new album is. Yes I know we’re a year behind schedule. But there’s a valid reason for it. We’re trying something a little different with this one. So be patient. As soon as we have something finished, IF we ever finish a song that is…. We’ll post it for you all to hear. Frankly I can’t wait to hear what this grand experiment produces. It’s bound to be new. Good? Can’t say yet. The songs are good. But I just may ruin them… LOL! We’ll just have to see. Standby on that.
As always, more later.
I think of it like this: I’m just me. A regular Joe like anyone else. But on top of it, I was born INSIDE this totally crazy super-curious and ambitious wild man who never stops thinking and planning and taking notes and starting new things. If it were up to me, I’d just be chilling like anyone else. The usual things, picnics, TV, movies, family, the park, having drinks with friends, I don’t know, whatever normal people do… But I feel like I’ve got this responsibility to try my best to honor this guy that I was born inside. And he’s got this massive imagination and all this ambition and he really does believe he can do it all and more. So I just do my best to make that happen and hang on for the ride; and hopefully survive it all. Yep. It feels like that.
So we started Ed Hale’s new solo album in the summer of 2011. Right at the right time. The first single from the last solo album was taking off. A few months later the second single was doing even better than the first. We needed a new album and we needed it fast. Problem was that we recorded about 17 songs initially and instead of one good solid album, it sounded more like two partially completed albums. So we all flew back to New York to record more songs. Ended up with 34 new songs. So now we’ve been slowly making progress on them. Little by little. Drums, bass, acoustic guitars and vocals are slowly all getting done. Along with various percussion and keyboards. The crazy thing is how many hundreds of hours it takes to finish one song. At least for us. Now. On this album. Let me put it into perspective. We’re in the summer of 2013 now and I’m only done with 12 songs in terms of being done with MY parts. That’s insane. I know it. But it’s just a lot of work.
This album started out as a continuation of the Ballad On Third Avenue album. Acoustic pop, or what in the business we call Adult Contemporary; that’s the actual format. But what we’ve ended up with is three distinct sounds for three distinct different albums. One is still more organic acoustic, what you would call almost folksy. Think Bon Iver or Fleet Foxes or The Lumineers. Simple stuff. Do it in your sleep stuff. But I tire of that real quick. Whether it’s mine or someone else’s. I have a tough time getting through three songs in a row of that kind of material. So we branched out and made some of the songs more electric, more upbeat, more pop. I dig that. Though it takes a lot more instrumentation and production. And then there’s this third style that’s coming out that’s more like electric folk, kind of like Dylan when he went electric… Rubber Soul perhaps? But not really cause it’s more folky.
It’s all acoustic based. None of it is “rock” per se. And that was the plan. These are Ed Hale solo albums after all, and since all the same players play on these that do the Transcendence albums, THAT’S the only difference between the two artists at this point: the solo albums are slower and softer, more acoustic, more pop, and Ed Hale and the Transcendence albums are more rock. It’s just a name/style thing, rather than a change in lineup. I’ve been working with the same group of guys since 2002 and don’t see changing that anytime soon. They’re like brothers now. They know what I write and sing like. And they call me on my stuff; they know what to do and say to bring the best out in the music.
I’ve been living in Seattle for the last few months and so we’re working out of a studio here. Only problem is that all the guys are in different cities and states around the country now. Most of the guys are still somewhere in South Florida. But others are in LA or Texas or Minneapolis or Atlanta. It’s crazy. What we’ve decided to do, what I’ve decided to do, is keep on recording the songs here, my parts, and then we email the songs out as MP3s to all these other players — we’ve got about 15 additional players now around the country, adding strings, woodwinds, horns, guitars, keyboards, drum programming, background vocals — and have them import the MP3 into their recording studio rig. They then record their parts onto the track to their liking and then they send only their parts back to us and we then drop them into the original open track, as if they were there in the studio with us.
We’re really tracking three albums here… We have about 13 songs done with “my parts” now… meaning the basic drums/bass/acoustic guitars, some keys and all my basic lead and background vocals. That’s what these guys will be tracking to. But we have musicians all over the country adding other instruments while I am NOT there. And neither is the producer. So there is no way to monitor what they’re going to be recording. I’ve never done ANYthing like this before… NOT being there when peeps record their parts. It could turn into a total MESS. But I’m hoping to create a totally NEW sound by doing it this way — encouraging the dissonance that will naturally come from the musicians stepping all over each other without knowing it. Trumpet parts stepping all over sax and flute parts etc. It’s a crazy idea.
Of course we’ll mix the messy parts out and just keep the “good parts” Meaning whatever fits and sounds good. And hopefully that will provide a GIANT palette from which to choose for Zeke Zaskin who is set to mix yet again. He’s mixed every one of our albums since Nothing Is Cohesive and he always does a great job. Bear in mind that we usually provide absolutely insanely confusing tracks. Usually very messy because we record A LOT. I’ll lay down at least 15 different vocal tracks plus three to five guitar tracks and two to five keyboard tracks. In addition Vancouver will lay down five to ten additional guitar tracks. Now we’ll be adding an additional 10 to 15 additional musicians all laying down whatever they want to however they want to…
It has the potential to be a royal mess. But it also has the potential to be a roaring success, something brand new and exciting sounding. the potential for the musicians to step on each other musically is VERY high. Notes that may sound good to them clashing with notes that other players have added… Cause none of us are going to hear what the other people are adding. But that’s what i LOVE about the prospects of this new way of doing it. The utter randomness of it. No, it will not be the usual organic “all built up from the bottom up together as a unit” kind of recording style that we are used to. It’s going to be the exact opposite. But that’s what I am kind of digging about this new method. We now have the technology to record in this fashion. Of course no one in their right mind would do this on a professional commercial release. It’s crazy for sure. But it just may blow us all away with how cool it could sound.
In any case, there’s a catch up for ya. That’s where we are. If you were wondering where this new album is. Yes I know we’re a year behind schedule. But there’s a valid reason for it. We’re trying something a little different with this one. So be patient. As soon as we have something finished, IF we ever finish a song that is…. We’ll post it for you all to hear. Frankly I can’t wait to hear what this grand experiment produces. It’s bound to be new. Good? Can’t say yet. The songs are good. But I just may ruin them… LOL! We’ll just have to see. Standby on that.
As always, more later.
New Album Coming Along – Stepping WAY WAY Out There Now
August 12, 2013
Well I think we’re doing it again. Princess Little Tree and I joke around about “what a challenge it is to BE Ed Hale” compared to just “dealing with him” like other people do. I’m always like “yeah yeah I know, I’m sorry about that,” when she complains about how many different projects I have going at once and how unwieldy and crazy our schedule is, “but just imagine BEING the person who has to LIVE AS me!” I respond. “It’s hard enough dealing with me, I know, but it’s a whole different thing to keep waking up to the fact that you ARE that person and trying to figure out ways of handling being that person!”
I think of it like this: I’m just me. A regular Joe like anyone else. But on top of it, I was born INSIDE this totally crazy super-curious and ambitious wild man who never stops thinking and planning and taking notes and starting new things. If it were up to me, I’d just be chilling like anyone else. The usual things, picnics, TV, movies, family, the park, having drinks with friends, I don’t know, whatever normal people do… But I feel like I’ve got this responsibility to try my best to honor this guy that I was born inside. And he’s got this massive imagination and all this ambition and he really does believe he can do it all and more. So I just do my best to make that happen and hang on for the ride; and hopefully survive it all. Yep. It feels like that.
So we started Ed Hale’s new solo album in the summer of 2011. Right at the right time. The first single from the last solo album was taking off. A few months later the second single was doing even better than the first. We needed a new album and we needed it fast. Problem was that we recorded about 17 songs initially and instead of one good solid album, it sounded more like two partially completed albums. So we all flew back to New York to record more songs. Ended up with 34 new songs. So now we’ve been slowly making progress on them. Little by little. Drums, bass, acoustic guitars and vocals are slowly all getting done. Along with various percussion and keyboards. The crazy thing is how many hundreds of hours it takes to finish one song. At least for us. Now. On this album. Let me put it into perspective. We’re in the summer of 2013 now and I’m only done with 12 songs in terms of being done with MY parts. That’s insane. I know it. But it’s just a lot of work.
This album started out as a continuation of the Ballad On Third Avenue album. Acoustic pop, or what in the business we call Adult Contemporary; that’s the actual format. But what we’ve ended up with is three distinct sounds for three distinct different albums. One is still more organic acoustic, what you would call almost folksy. Think Bon Iver or Fleet Foxes or The Lumineers. Simple stuff. Do it in your sleep stuff. But I tire of that real quick. Whether it’s mine or someone else’s. I have a tough time getting through three songs in a row of that kind of material. So we branched out and made some of the songs more electric, more upbeat, more pop. I dig that. Though it takes a lot more instrumentation and production. And then there’s this third style that’s coming out that’s more like electric folk, kind of like Dylan when he went electric… Rubber Soul perhaps? But not really cause it’s more folky.
It’s all acoustic based. None of it is “rock” per se. And that was the plan. These are Ed Hale solo albums after all, and since all the same players play on these that do the Transcendence albums, THAT’S the only difference between the two artists at this point: the solo albums are slower and softer, more acoustic, more pop, and Ed Hale and the Transcendence albums are more rock. It’s just a name/style thing, rather than a change in lineup. I’ve been working with the same group of guys since 2002 and don’t see changing that anytime soon. They’re like brothers now. They know what I write and sing like. And they call me on my stuff; they know what to do and say to bring the best out in the music.
I’ve been living in Seattle for the last few months and so we’re working out of a studio here. Only problem is that all the guys are in different cities and states around the country now. Most of the guys are still somewhere in South Florida. But others are in LA or Texas or Minneapolis or Atlanta. It’s crazy. What we’ve decided to do, what I’ve decided to do, is keep on recording the songs here, my parts, and then we email the songs out as MP3s to all these other players — we’ve got about 15 additional players now around the country, adding strings, woodwinds, horns, guitars, keyboards, drum programming, background vocals — and have them import the MP3 into their recording studio rig. They then record their parts onto the track to their liking and then they send only their parts back to us and we then drop them into the original open track, as if they were there in the studio with us.
We’re really tracking three albums here… We have about 13 songs done with “my parts” now… meaning the basic drums/bass/acoustic guitars, some keys and all my basic lead and background vocals. That’s what these guys will be tracking to. But we have musicians all over the country adding other instruments while I am NOT there. And neither is the producer. So there is no way to monitor what they’re going to be recording. I’ve never done ANYthing like this before… NOT being there when peeps record their parts. It could turn into a total MESS. But I’m hoping to create a totally NEW sound by doing it this way — encouraging the dissonance that will naturally come from the musicians stepping all over each other without knowing it. Trumpet parts stepping all over sax and flute parts etc. It’s a crazy idea.
Of course we’ll mix the messy parts out and just keep the “good parts” Meaning whatever fits and sounds good. And hopefully that will provide a GIANT palette from which to choose for Zeke Zaskin who is set to mix yet again. He’s mixed every one of our albums since Nothing Is Cohesive and he always does a great job. Bear in mind that we usually provide absolutely insanely confusing tracks. Usually very messy because we record A LOT. I’ll lay down at least 15 different vocal tracks plus three to five guitar tracks and two to five keyboard tracks. In addition Vancouver will lay down five to ten additional guitar tracks. Now we’ll be adding an additional 10 to 15 additional musicians all laying down whatever they want to however they want to…
It has the potential to be a royal mess. But it also has the potential to be a roaring success, something brand new and exciting sounding. the potential for the musicians to step on each other musically is VERY high. Notes that may sound good to them clashing with notes that other players have added… Cause none of us are going to hear what the other people are adding. But that’s what i LOVE about the prospects of this new way of doing it. The utter randomness of it. No, it will not be the usual organic “all built up from the bottom up together as a unit” kind of recording style that we are used to. It’s going to be the exact opposite. But that’s what I am kind of digging about this new method. We now have the technology to record in this fashion. Of course no one in their right mind would do this on a professional commercial release. It’s crazy for sure. But it just may blow us all away with how cool it could sound.
In any case, there’s a catch up for ya. That’s where we are. If you were wondering where this new album is. Yes I know we’re a year behind schedule. But there’s a valid reason for it. We’re trying something a little different with this one. So be patient. As soon as we have something finished, IF we ever finish a song that is…. We’ll post it for you all to hear. Frankly I can’t wait to hear what this grand experiment produces. It’s bound to be new. Good? Can’t say yet. The songs are good. But I just may ruin them… LOL! We’ll just have to see. Standby on that.
As always, more later.
A Dream Deferred
July 14, 2013
We recorded for another 10 hours today. Best day so far. We had been wrestling with this one song, “So For Real” for five straight days. (Realization — if the basic rhythm track of a song isn’t perfect, if it isn’t nailed tight and grooving, you’ve got no song. It all comes down to that one thing, the drum/rhythm track; that’s the foundation. The bass can be fixed, redone; so too can the rhythm guitars or primary keyboard part or the primary hook(s) of the song. But if that drum track isn’t solid, it’s never going to sound great no matter what you do to it.) We finally decided on redoing the drums entirely. Keeping the bass and rhythm guitars. Built it up from there. Satisfied.
After that we added percussion and then 4 tracks of 12-string acoustic guitar. The addition of the SSL mic preamp, the Apogee A to D converter and the Empirical Labs Distressor compressor has made a huge difference. The sounds we are getting now are like nothing I’ve ever heard. Pristine polished professional and damn near perfect. We tracked the 12-string till 1am last night. Until I could no longer hold my fingers tight enough to the fretboard to make a decent sound without excruciating pain. Added a few more this morning and then start tracking vocals.
Recorded five vocals today before we stopped for the day. Two leads and three falsetto harmonies. That moment when you first start tracking vocals, especially through such incredible sounding pro-grade equipment, is the best feeling in the world except perhaps for making love to your soul mate or communing with The Divine. I am always transfixed by the experience of hearing the song come to life as each new vocal is added. It’s a hypnotizing process. Extremely pleasurable.
Eventually stopped for the day. The engineer hadn’t had a break in five days. Neither had I. It was time. We have a long way to go. Even if i was to only focus on say 10 or 11 of the 34 songs we’ve laid down, this will still be a long road. Many insights and re-realizations. I notice that compared to most artists, contemporary and older, historical, I never seem to feel like a song is finished, always want or feel a need to add just a few more things… I build huge sound beds rather than being satisfied with just the usual drums bass guitars keyboards vocals. This song already has five guitar tracks, just of mine. About 10 tracks of drums and percussion. And five vocal tracks. And that’s just what I’ve added so far, not counting the foreseen numerous other tracks the rest of the guys will add and not counting the other keyboards and vocals I feel I could still add.
I don’t know why I feel inclined toward this manner of recording. But I always have. I have always longed to create songs that are huge, deep, rich, complex, in their arrangement and production. We referred to All Things Must Pass several times while tracking this tune. It has that type of sound to it; it could. It actually reminds me of a Tyrannosaurus Rex song in it’s style, the songwriting, like early Marc Bolan. It’s a laid back hippie free love vibe. Sexy and romantic. Listening to the song take shape was a euphoric experience. Each and every time it feels like a dream come true. I am a very lucky and blessed person. I know this.
Once we finished I couldn’t help but tune in to see if anything happened in the Trayvon Martin trial. The fact that a 17 year old boy who had was guilty of nothing and had been murdered was on trial has been an astonishing facet of modern day America. The idea that his killer could be set free and receive no punishment nor bear any responsibility was beyond belief to me, and many others obviously as the country’s growing obsession with the case has shown. The verdict came without incident. It was almost a letdown in terms of how anti-climactic it was compared to what a build up the media gave it over the last two weeks. It is hours later. The killer, George Zimmerman, was found not guilty. It is true that he murdered the boy; no one disputes that. It is true that he chased him down, followed and stalked him after profiling him to be a suspected criminal. And that minutes later he shot him in the heart and killed him. But somehow he was found not guilty and set free to leave the court.
We have only begun to see the rage and uproar that this verdict will cause across the nation. Like many I am more in shock than anything else. A deep sadness is within me. I can’t shake it. I am keenly aware that convicting Zimmerman and his going to prison would not bring young Martin back to life, nor do anything to assuage the grief and sorrow of his family. But somehow as humans, weak as we are, we still cling to an emotional fix or solution for these kinds of injustices, one that only a conviction can bring about. Unfortunately in this particular case we will not receive such a fix or solution, no sense of justice or relief.
Speaking for those of who feel this way at least. There are others, though seemingly the minority among us, who are happy that Zimmerman was found not guilty for killing the boy. I still do not understand their reasoning. Though i am curious and often ask people through social media or in social situations to explain their reasoning. Unfortunately they are usually not the type of people who are intelligent enough to offer an explanation that is reasonable or comprehensible.
There are some who claim that the Trayvon Martin murder case has nothing to do with race. I vacillate, back and forth, when pondering this idea. When the defense attorney was asked if he thought the case was about race he responded “No. But if Zimmerman were black there would have been no trial for murder.” As smart as this man is and appeared to be during the trial, I wonder if he realizes now how much truth his answer gave to the argument that this case has everything to do with race in America.
It would appear by his response that Americans are perfectly content if black people kill each other. There is something deeply disturbing and unnerving about the idea that millions of black Americans, especially men, rot away in prisons for lesser crimes such as possession of marijuana or burglary but that a non-black person can get away with murdering someone and not face one day of prison. Of course the same could be said about the O.J. Simpson case, which could lead one to believe that this whole thing has more to do with a broken justice system than it does with race. Then again, Simpson at the time was a supremely popular celebrity in the United States. He could have gotten away with anything, including murder, and indeed he did. So there is most likely an exception there that cannot be considered in the case of George Zimmerman.
This week, there was another trial that so far has received almost no media attention — although I believe that will change as the days proceed and people begin to put the pieces of our very broken justice system together. A young black woman, also in Florida, was sentenced to 20 years in prison for firing a gun into the air to stop her physically abusive husband from attacking her. No one was hurt. No one was killed. Contrasted with the George Zimmerman verdict this case makes it astonishingly clear just how biased the American justice system is still against our black brothers and sisters.
I am tired. It is hard to integrate the feelings. I know from a deep seated sense of higher self that peace and tolerance and understanding is what we need more than anything now. But I am so saddened and angered by today’s events that I find that the more lowly instincts within me long for blood rage and chaos. A part of me would like nothing more than to see hundreds of people run out this week and voluntarily murder random strangers in the streets of Florida in order to overwhelm their police stations and courts with investigations and trials all the name of their misguided and ridiculously asinine “stand your ground” law. Perhaps if they are overwhelmed with enough “justifiable homicides”, hundreds of murders that all portend to be rationally excusable self defense and protected by this law, they will rethink the merits of maintaining it. Perhaps that is the only thing that will change their minds. As wicked an idea as this is… Though I pray to be relieved of such thoughts and know that it is only the initial shock and anger that compels me to entertain this base reaction.
Martin Luther King Jr’s daughter tweeted today that the verdict in the Zimmerman trial would be a testament to how much progress her father’s Dream had or hadn’t made in America since he first gave that speech. (I am paraphrasing). That dream was deferred today, at least temporarily. As I experienced pure bliss in the recording studio making music, creating art, realizing dreams coming true, one family lost hope and faith and surely felt grief return to their doorstep once more; another family breathed a sigh of relief and perhaps gained hope and faith in a system that they began to question for turning on them. All part of the grand mystifying fascinating human experience.
I’ll tell you this, like many I know, I am smiling-glad and relieved that I followed my intuition, that voice screaming in my head since I can remember having grown up in Florida, and got out of there as soon as I could. There is something wretched and diseased and inhuman about that state. Soulless is what I used to call it when I lived there. It appears that way even more once you leave and view it from the outside. Why it’s this way I don’t know… But it does seem to be haunted by an inordinate amount of horrendous atrocities that consistently capture national attention. Almost like a hellish circus that serves as gruesome free entertainment for the sick and voyeuristic in American pop culture. HLN wouldn’t be in existence without the state of Florida.
I have plenty of friends in Florida still. They are all as good as any others I am lucky to have who live anywhere else in the world. Why they stay in such a compromised location, when there are so many incredible states in America to live in, I can never quite understand. New York is the city of dreams of course, but you have to desire to live in that kind of an electrifying place — one could always live outside the city and experience one of the most tranquil and beautifully scenic locales in the U.S. but most people don’t realize that about New England. Washington state is one of the best from a legal and political angle — it might just have the best balance of rational, reasonable and intelligent laws out of all 50 states in the Union… Of course living in Florida doesn’t make them bad people. Just caught in a moment that they can’t get out of. Work, family, a house, people always say the same thing… they don’t like snow, etc…
But hell, at this point any one of them or their children could be stalked and shot to death by another and have it be perfectly legal. Surely this is a gross exception and aberration in America and not the rule. If so, why would anyone choose deliberately to live there? Especially when compounded with the ghastly heat and humidity and the total lack of seasons. (Any place that lacks four seasons I have always considered to be suspiciously symptomatic of having no soul, no heart, a strange wanton lack of humanity and connection to the rest of the world …But hey that’s just me. I love the seasons and believe them to be an integral part of the full human on earth experience.)
I am still overwrought over this. Keep waiting for it to end as if it is only a bad dream… THAT is what creates the feeling of shock… not being able to integrate or accept something that is true. Tomorrow we will all feel better and will be thinking more rationally. I will stop before I go too far here; will meditate on increasing love and peace and understanding and do my best to help rather than cause more harm. God knows that’s what we need now more than anything. I know that is the right path to take rather than any further actions or comments expression rage or grief.
One more thing. I do have a sneaking feeling that this case may just be the thing that forces Florida to change this “stand your ground” law once and for all. Just a feeling. Perhaps Martin will be the martyr that all great causes seem to need at this early stage in our evolution. The Dream of Martin Luther King Jr. and his progeny may have been deferred today, but it may be vindicated in a much bigger more meaningful way very soon. Something to consider.
Current Read: GOING CLEAR by Lawrence Wright — about the so called church of Scientology. A fascinating read. People will believe anything if you offer them enough incentive. ANYTHING.
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Ed Hale Releases New Album Ballad On Third Avenue
October 15, 2010
Ballad On Third Avenue, the new album by Ed Hale, Promo Video. Featuring the songs “I walk alone”, “”Scene in San Francisco”, “New Orleans Dreams”, “Incompatible”, “It feels too good”, and “Everywhere she is there”.
article 2019-04-29 124619_0.html
May 31, 2003
In the studio today working on the new new album, temporarily and affectionately nicknamed Slept with you, the Bastard little step brother of Sleep with you. The joke being that Sleep with you hasn’t even come out yet, and fuck who knows if it ever will. (ps—to all of our fans who expected to buy the album on its “official” release date of March 1st, then April 1st, may 1st, and then June 1st, our apologies. We seriously and sincerely hope along with you that it WILL be out by July 1st.) But we are so far gone from that project now. We are holed up in Vancouver’s home studio madly passionately insanely and around the clock cutting tracks to this new new album. we have been waiting so fucking long for the new album to get the artwork done and come out so we can start playing and promoting that I think that we were all just going stir crazy creatively and we are so happy and excited to be playing together right now, you know, we’re like little kids, cause we all have the same influences and inspirations so we didn’t even plan this. We just started writing in rehearsal and Vancouver was like “hey why don’t we go record at my house?” and we were like “what? No producer? No real studio?” and so we did it. And then well then, we’re going to post a song on the site for you to check out, cause we are making the sickest album. So now the thing is we’re just lofi-ing this thing and doing whatever we want, all on our own. A few rules we’ve come up with so far: no real studio. No producer. No engineer. No worrying about what is commercial or sellable right now. no thinking about hits or singles. Do whatever songs we want. Don’t worry about beginnings or endings, etc. So we cut our own version of tomorrow,
The McCartney and wings song, and we’re gonna do a Sinatra song. And just write and record day to day, choosing songs as we go.
Right now the Piano Man is recording his keyboard parts while Vancouver attempts to engineer him. Father Bloopy is passed out on the couch. I’m typing, and Vancouver is screaming “this is so exciting. Holy shit. Dudes!” we’re all high-fiving. Because I think for the first time we are actually making real music.
I know for me there was a moment when we were creating this intro to tomorrow that we wrote, that as I was singing, between takes I think, I put my head down and started to cry, kind of more like weeping, only for a few seconds, because it sounded so beautiful, and I was so happy to be making that. no one saw me and I don’t care if they would have. I just feel now that I have all of a sudden started becoming so much me now, so much who I really am, that I am filled with joy all the time. Especially with music, or with who I am as a musician. It just made me cry, cause I’m finally making music the way I always wanted to, the way I always knew I could, its starting to come out sounding like it always has in my head. So it’s a really wonderful thing.
And it’s fun to share that with the other guys. Cause they are so much younger than me some of them and its cool to be with them and to show them that we can just make our music however we want and really go for the FEELING rather than the HITS or the COMMERCIAL appeal, which is what most people do and now after all these years of going through that when I was a really young musician, I think that is what ruins your music. Who knows, that could be what stops people from being really successful or popular at music, cause they’re always trying to fit in with what’s popular or commercial at the time or what some suit and tie is telling them.