A blog about songwriting and about the songwriter Luigi Cappel

Posts tagged ‘auckland’

Its Music Night at #SMCAKL

It’s music night at Social Media Club Auckland and I was thinking about that and a radio interview I have coming up with Stephen Horton AKA Rezinator on The Highway of Dreams on the 1st of July.

In the shower, where I start my day’s planning I was thinking of all the things I needed today and started thinking about what I wanted to do. That’s play more music, write and record more songs and start gigging again. I’ve been so busy working this last year that my music has played second fiddle and this blog has been sitting in the back room where the guys tune up before getting on stage.

So here we go, another blog and hopefully the start of many more and maybe you’all will come back for more.

Gibson Factory

Yep, that’s me:)

I have to work out which tracks to share on the radio show and am wishing that I had done some more recording because since I recorded the songs which you can hear on my Reverbnation page, they have matured a lot, with rewrites and practice. One of the things that often happens as a songwriter who doesn’t perform much any more is that as soon as you have finished your latest song, you move onto the next one.

I’ve been stuck on one of my latest songs until last weekend when I had a bit of a blow out. I can’t share the recording with you yet, because it is still rough, but I can tell about it. It’s a rock, reggae, blues number with some rap in the bridge (yes I have genre fatigue) and I’m going to need some help with it.

My friend Charly Nice will hopefully add some of his awesome sax to the song as he did on You Oughta Run. I’ll need some help with the rap too. I know what I want it to sound like, I’ve got the phrasing, but not the voice for it. What I’d really like to do is make a music video of it, take you down those mean streets, but of course that means funding from somewhere.

I guess its taken me a long time to write it because it is based on the day my father in law died after his second bout with cancer. It chronicles a walk I made around the streets of Avondale, his final resting place. It’s probably taken that long for me to deal with it.

If you follow the lyrics you might get a gist of the story, but it will take a good recording and video to really share the story so you can feel it. Like walking past a rough pub and seeing a guy covered in ink, drunk as a skunk, with a beer bottle in his hand and a scowl in his face, who makes you feel like you should cross the road quick-smart and then extends his hand in a warm brotherly shake. That was like Auckland weather, all emotions in a couple of minutes.  If you’ve been in a similar situation with someone you cared about and then walked through a neighbourhood made up of some awesome and some quite scary people on a black day, you might relate.

Another Man Has Gone

V1

On the streets of Avondale

Wearing the tread off my shoes

Don’t you talk to me man

Can’t you see I’ve got the blues

My heart is breaking

Cancer called again

Another man is gone.

Chorus

Another man has gone

Life will never be the same

Another man has gone

How do we go on

V2

A brother comes along the road

So drunk he can hardly stand

He looks me up and down and nods

Then he shakes my hand

Life runs in cycles

And they have to end

Another man has gone

Bridge (rap)

I’ve been walking down these streets so long that I can’t feel my feet

But I can’t stop because that’s getting real, accepting the deal

The ache that I’m feeling

I’m reeling one minute you’re there then you’re gone and I can’t stop

Because that’s getting real, accepting the deal

V3

Now I’m on a back street

Man is glaring at me

His eyes are throwing daggers

Maybe he thinks that I’m a D

But I’m just a sad man

Walking misery

Another man has gone

So the writing is done. now comes arrangement and practice, then getting a team together to help record it.

So there’s my latest song-writing blog. If you come back I will too, OK?

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It’s March Already

Wow, time has flown. I’m almost at the end of my first Berklee Music paper which is Music Publishing 101 and have been really enjoying it. I knew from past experience that this means self discipline in getting my readings done and getting assignments in on time, but it is so worth it.

Anyone who has studied subjects they were passionate about at university, knows how much you gain from them, and how they can move your career forward. The only catch now is that I have a list of so many things that I need to do asap, that the course has shown me, that I am wondering how I can start on my next paper and do all of those things at the same time.

Amongst the things I need to do is complete all the administration for my song catalogue and have everything in files so that I can access them on demand. This includes archives of Lyric Sheets, Split Sheets (only one song is a collaboration so far, so that’s not a biggie), copies of each song demo on disk in MP3 and CD format, with liner notes and much more.

One area I didn’t really consider or know how to deal with was TV and Film. New Zealand is obviously very successful in the film industry, but I also learned in my research that publishers such as Mushroom Music NZ has had real success in publishing to local and international TV, so they are on my contact list.

I have decided that I need to re-record every song demo for all songs that are on my A and B lists, before I make contact with people like Mushroom, because I want them to be impressed with my writing and not ruin chances by providing A&R people with hastily recorded demo’s, recorded within minutes of completing writing of songs on my Tascam Digital 8 Track. I have also decided that I should record more of my guitar  music arrangements as they are very good, but I have never considered them as having commercial value.

Of course this is all money and time, but if I want to have a music career as a songwriter and composer, I need to get seriously organized and treat it as a business.

So next steps. I had a meeting with APRA last week, which was very helpful. I was looking for advice, but also to let them know that I am working hard on my craft and music education and looking to go ahead in the industry. I put in an application for a grant to attend the Song Summit in Sydney in June and also inquired about next year’s music grants. Currently I am studying my Bachelor of Songwriting degree online, but I can’t complete the full degree online and the cost to travel from New Zealand to study in Boston MA, with accommodation etc is very high, so I am hoping that when the time gets closer I can get some local support to make the trip.

Another challenge I have is staying in touch with the industry and really getting to know it well, locally and internationally. This means reading magazines that you can’t buy locally. These include Country Music Magazine from Australia and of course Billboard from the USA.  New Zealand is really bad when it comes to accessibility to international music magazines, so this means more money to get subscriptions and of course time to read the magazines. There are of course loads of great websites, including the ones for the magazines I just mentioned, this also means more time for reading and research.

I haven’t done any gigs for a couple of months, because this also takes time for practice and the gigs themselves, but I really need to fit this in as well, not to mention writing new songs!

So loads of work to do, money to find for recording, artists to find to record my songs, because I can’t do them full justice myself. In between I have a full time job, a family, a mortgage and other commitments, but they say if you want something done, give it to someone who is busy.

What I need now is a winning Lotto ticket so that I can focus on my music instead of working 50 hours a week in my day job.

The bottom line is that if you want to be a success in this industry you need to work hard and a little luck would be nice, but most of the time you need to make your own luck, by putting in the effort. I can’t remember who actually said it the first time, but it was along the lines of “The harder I work, the luckier I get.”

The Recording Studio

Hey guys, first of all apologies for the blogfade, I’ve been really busy, especially since my broken wrist has healed and I am playing again. I have a few great new songs ready to be recorded, well two of them are ready to be recorded, I’m still working on the guitar solo for the third which is a jazz song.

I’ve said many times that you should sign up to your Performing Rights Association. I’m a writer member of APRA (If you are in the USA you can join either ASCAP or BMI) which looks after Australia and New Zealand. Actually I wonder why it isn’t called ANZPRA? As well as making sure that you collect your performance royalties, they do lots of other things like putting on the awesone S3 Song Summit Sydney which I went to and blogged about last year. They also support and sponsor lots of seminars like the one I went to at Depot Artspace yesterday.

Now I have of course recorded in a studio before, but this was a great workshop with the opportunity to learn more about recording, mixing and mastering. There were a couple of things that I came away with that I thought I would share with you.

First of all, with the economy as it is, many studios are quiet and you may be able to negotiate a deal, even if its just some extra practice time. Rates seem to vary from $25 an hour to huge sums. Don’t just go on price because you may get what you paid for, although some people may be very good, but either getting started or just want to help fellow musos or gain experience. So cheap doesn’t necessarily mean poor quality.

A key bit of advice is to hear some examples of their work. Also see if they have experience in your genre.  Someone into electonica or heavy metal might not bring the best out of country or a solo singer songwriter with just a guitar. But then they might too. Anyway check what they have done and ask if they have testimonials or any hits under their belt.

Another good bit of advice is to collect a selection of tracks of artists whose sound you like and you would like your track to sound like. Then you can take those tracks to the studio for the team to listen to. You can say, I want my track to sound like that. The guys at Depot Artspace, said that if you do that, they will be able to come close, although of course a lot of it is up to y0u.

There was some discussion, instigated by me, as to what costs to expect for mixing, mastering etc. I wont preempt any pricing but you should be leaving at least a c0uple of hundred dollars. One of the suggestions was whether you were looking for a single or ‘just an album track’. I was surpised at that. Obviously some people want to put more into their ‘best’ tracks. The problem I have with that is that I want all my tracks to be the best they can be and often the track you like the best isn’t the one that becomes the hit. There is also the issue that in todays world of iTunes and downloads, its quite possible that most of your sales will be for single tracks. These days of most of the albums I buy, there are only a few tracks that I really like.

I’ve currently got my eye out for a few musicians that would like to record with me in the studio. I’m especially after a drummer and someone who plays pedal steel. I can’t pay them but they will get credit on the demos. I’ll do another blog soon about demos, this blog is about the studio.

For solo artists like myself (I do play with resident or jam bands but its been many years since I’ve been IN a band), keeping time can be an issue when you bring session musicians in. When  its you on your own people won’t notice if your timing slides a fraction and sometimes you even do it deliberately. I do that in my new jazz song Color Blind. If you can’t keep steady in a studio, it’s going to cost you time and money and annoy the other musicians. My Tascam home studio has a click track and I also have a metronome, but they are both so  boring and don’t give you the one beat. Fortunately my new Digitech Jam Man has a choice of 10 click tracks, they aren’t great, but much better than what I had before and I don’t mind playing with them. Maybe I’ll  be able to download some better samples. One thing the Jam Man doesn’t seem to be able to do is let you select the beats per minute, you have to tap it in, but I digress. The point is that if you make sure you are as ready as you can be, before you get to the studio, the better your result will be.

So shop around, do your homework, ask for examples of their work and ask liots of questions. People don’t work in recording studios for a job. They do it as a vocation. They do it because theyh love it. You will pretty much find all of them interested and happy to show you around and explain how they work. Remember, its about their reputation as well as yours.

How about leaving a comment and sharing your experiences in the studio?

Pack and Run

I have just finished the first draft of my latest song, which is called Pack and Run and I think it is one of my best so far. I need to still do some work fine tuning the lyrics. Often I am too impatient with a new song and want to record a demo as soon as I have finished writing it. I will try to be patient and work through it some more. It would be a shame to rush a good song when it could be a great song.

This is probably something that most writers should think about. It is easy to write a song and then consider it finished, but there is so much to consider at this point, especially if you want great songs.

Is the structure consistent? One of the first things I do is take my scribbles out of my songwriting spiral wound notepad and key it into word, complete with copyright details and the chord structure. I have 2 of these, one which is in my bag all the time in case I come up with great ideas when I am away from home and the other sits at my music desk.

I also record it while I’m writing on my Belkin Tunetalk so that I can’t forget the melody or the sound I achieved. This is important because I often use unusual inversions and positions that I will forget unless I can record them, as I am not great when it comes to notation outside of the common chords.

I also look to see if I have things in the correct order. As Pat Pattison taught me, often songwriters write the last verse first, but don’t realise it.

Does the rhyme work? Is it consistent? Is the tense consistent? Am I consistent in the person I am talking to? Does the hook work? Is the hook in the chorus? Is it repeated enough so that the hook works? Is the hook consistent with the song?

While I was writing, I was also hearing the accompaniment. I don’t think this is a pop song, but it could have legs on the Country charts.  I do hear harmonies in the background, maybe Eagles style and I already have in my mind the way the song starts with just a single guitar, then vocals, then bass, then the rest of the band which is probably just another guitar and drums.

Does it need a middle eight? I don’t know, but it could, now that I think about it, I could put in a bridge. The song is about a guy who finds out his partner cheated on him and how his love was blind and he wouldn’t listen when his friends tried to tell him.

A bridge would give me the opportunity to add an extra element, perhaps after he has left her and looks in the rearview mirror of his car while he is driving, hoping that isn’t her in the car behind, wondering if he will ever be able to trust someone again.

Another question is who the target market for the song is. I think this song would fit someone who likes Don Henly (who has a new album out by the way, called Inside Job), the Eagles and probably and older audience, not teenagers but probbaly anyone from mid 20’s on who has perhaps had a few knocks, not in short term relationships but longer standing ones. Someone that is a more discerning listener, not into bubblegum music, but music with good melodies, good chords and a rich sound. I’m not sure exactly what the genre is, it’s country in the way that Eagles is country, but it’s contempory as the Eagles are. Can someone help me out and tell me what genre they think of the Eagles as?

Anyway, those are things I’m now thinking about. I’m also thinking about imagery. These days so much of music is about imagery and not just the word pictures a songwriter creates, but imagery I can put into a music video or slide show.

If there are any fellow songwriters reading this, I’d welcome your thoughts on this, when you have written a song, do you call it finished, or is that when the real craftmanship begins?

How to write a Christmas Song

I’ve noticed that a number of people who read my blog recently found me by putting in a search query on the search engine, asking how to write a Christmas song. They found me because of a blog I wrote back in August, saying that was the time you needed to write it.

That blog covered lots of topics you can write about, but I just wanted to add one for those of you who are now inspired. It’s too late to record something to go into a Christmas stocking unless you are burning it yourself, which is a good idea. You could also send a song as a Christmas present to your friends, family and fans as an MP3 Musicgram, which is a cool idea. This site allows you to upload songs and send them to a friend. I’ve tried it myself and it was very cool.

Anyway, I just wanted to add one very important point. If you disect the songs that populate the hit charts, you will find a major difference between the average singer songwriter song and the hits. That is that a hit song usually has a happy theme, like “I’ve got a new guy/girl and I want to tell the world.” “Now that I’ve found you”. “I’m in love”.

Many singer songwriters write about the one that got away and are being what Ralph Murphy calls the typical singer songwriter, a self indulgent writer who writes to get things off their chest (which is fine if that’s what you are after), but most people want to listen to songs that are uplifting and what more uplifting is there than “I’ve got you and that’s all I need for Christmas”. Think about the songs that you have on your stereo or listen to on the radio on Christmas Day to set the mood.

Sometimes you can do something a little more melancholy with a Christmas tone, but it probably won’t become a popular Christmas song. There are ways to add some special sentiment. For example in my song Another Stretch in Iraq, there is a mention as follows (about the tradition of sending miniature Christmas trees to the troops):

‘It’s Christmas time and the dessert is cold

My life is with the Army if the truth be told

They’ve got my back

My Mom and Dad sent a little Christmas Tree

They said that they were prayin for the boys and me……..’

Check out this list at Lyrics Vault for the top Christmas Songs of All Time and you will see that they are pretty much all uplifting happy songs full of Christmas Cheer. Of course there is a place for sad songs, but if you want to write a hit, write one in a major key with a lively beat and chuck a few sleigh bells in the chorus.

If you really want to be a little melancholy, you can still turn it into positive. Live Aid’s Do They Know Its Christmas did a great job of telling the sad story and what people could do about it into a happy one. It is just as popular today as when it came out in 1985.

watch?v=stNGHiscETo

Books are full of song ideas

I don’t usually suffer for a lack of ideas to write songs about because I am always open to them. I read lots of books and always find a way to keep notes or make sure I can find my way back to lines that caught my attention.

I recently found a highlighter that also has a Post It flag dispenser in it. This means that with just the one device you can highlight your notes and put  flag on the page so you can find it again. Many of the books I read, especially non fiction, are full of Post It flags.

I also found a card of different colored Post It flags which is like a bookmark, so I often carry that with me as well, especially when I am travelling. Really handy when I’m on a plane and I’ve forgotten to take a pen out of my jacket which is now in the overhead luggage compartment and I have thewindow seat.

Something else that you need is something to take notes on, or even write lyric ideas. You need to have this anytime, anywhere. I have 2 lyric books, which are A5 (half an A4) and ringbound, so I can easily fold it around and write on both sides easily. Sometimes, such as the previous example, I don’t have quick access to it. I often carry around a blank A4 sheet of paper in my jacket as well. If neither of those work, I use anything and a common one for me is the back of a business card. It’s amazing how much you can fit on one of those if you are desperate.

Sometimes you are in a position where you have to memorise what you have written, such as when you are in the shower.  Then I go back to the rote memorisation I learned at school, just repeating it over and over again and hope that I don’t get distracted by anything or anyone before I can get pen to paper. That’s what I did with my new song that I am still writing, ‘When Madison Smiles’, but now I’m digressing.

Basically what I wanted to share is that the books you read are full of ideas that you can write songs about. The key to me is a subject that touches you strongly, or that you have a strong opinion about. Good songs are written with passion and from the heart. If you keep that in mind when you are reading, writers block should not be an issue. Of course if you don’t read books, magazines and newspapers are also great building materials to grow ideas from.

The most importand things are:

  1. Be open for new ideas all the time
  2. Have a way to highlight or find the idea again later when you need it
  3. Keep paper or books and a pen or pencil handy at all times, even when you are in bed asleep, especially when you are in bed asleep and this is often when you are most creative.
  4. If you are really organised, find a way to catagorise the texts you have highlighted. Coloured tags could be a way to do that. Most songwriters though don’t tend to be that well organised in my experience, but you should consider whether you are writing for fun or as a hobby or as a mental health tool, or whether it is a business or career, If it is the latter then you should treat it the same way as you do a job. If you are doing a job, of course you have the right tools on hand.
  5. Finally, if you do become successful and maybe even famous, the paper you originally scribbled your lyrics on could become very valuable, as collectors items although not necessarily to you personally, but perhaps your children or other important people in the future. For example someone made 1,000 prints of the John Lennon song ‘Little Flower Princess’ from his original writing and is selling them for $150 EACH at eBay right now!

Music Education on the Net

This morning there was a feature in the Business Herald about Gordon Dryden, which I haven’t finished reading. Gordon is one of New Zealand’s prominent experts on education and I have a few of his excellent books in my library. The story was obviously related to the launch of his new book, The Learning Web, which I  will have to add to my collection.

A major concept of the story is that in the future , no later than 2014, 25% of high school courses will be available on the net. The timing was interesting because I already learn a lot about the music industry on the net, from blogs, web sites and especially through 2 of my favourite podcasts, being The Musicians Cooler and Music Business Radio.

I actually made a personal commitment yesterday while listening to an interview with Chuck Wills and Monty Powell on the Music Business Radio podcast Episode 79, which I strongly recommend anyone interested in breaking into the country music industry as a performer or songwriter should listen to. You can find it here. Monty was full of great information and about his experiences, songwriting and the importance of Nashville as one of the last big music cities that is still thriving and full of professionals today.

Monty’s work appears on over 50 million records and listening to him critiqueing people’s work, there is no doubt that he knows his craft intimately. For the up and coming songwriters he had lots of encouragement, stating that songwriting is a craft which can be taught and honed.

I live in Auckland, New Zealand and have a family and a day job and my commitment to them means that if I ever get to Nashville it will be for a week or 2, not to stay, which I should have done years ago, but now I want to go back to the net and education.

A year or so ago I had the good fortune to attend a weekend course with Pat Pattison, of the Berklee School of Music and I learned lots and got huge value from the course as well as the networking with other local musicians. Networking is something that Monty also emphasised as crucial to your success as many if not most careers have been forged through who you know.

From an educational perspective, I know people who went to Berklee, like Taura Eruera. But he and many others do offer excellent training on the Internet for those who can’t take a few years out to go and learn in the university or head to Nashville to soak information and experience from those who are willing to share.

The web is full of online courses for songwriting, so all I have to do now is decide where to start at a level that my budget can afford.

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