A blog about songwriting and about the songwriter Luigi Cappel

Posts tagged ‘luigi cappel’

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?

DIY Record Album Production lessons

Almost every time I’ve played a live gig, I get asked if I have a CD that people can buy and the sad and sorry answer is no, but here’s my card and you can visit my website at MySpace. Now there is my first error, you really should have your own website, but I haven’t found a CMS yet that is easy for me to use, but I will do soon. Anyway, even if you can’t afford to visit a studio, there are plenty of low cost tools that you can purchase, either software or hardware. I have both.  Now you can create your own CD.

I will also visit Go Daddy one of these days and get my own URL, which you can easily link to your MySpace or other page until you have your own. They only charge $9.99 for a .com domain. If you listen to the great Musicians Cooler Podcast, he has a number of promo codes that will give you a discount off Go Daddy services.

I’ll wait until I use up most of my business cards which have the MySpace address on it.

Anyway, back to the story. I bought myself a Canon iP4500 printer which will print directly on printable CD’s. It was very cheap and did a great job, except it doesn’t print all the way into the hole of the CD, which is a minor dissapointment. I checked the settings and they are set to the closest it will go.

I spent quite a lot of time on the image I wanted on the label and also making sure it was consistent with the insert cover and the theme of the Album which is Greenhouse. I thought I’d be able to find some good templates on Microsoft Publisher but was sorely dissapointed. Fortunately at a sale last week I found a software package called CD Covers and Labels for Dummies, which was as simple and simplistic as you would expect, but awesome value for $5! So I as able to use their templates and my images.

I put the title on the CD label and also in smaller print on the bottom Copyright Luigi Cappel 2009.

I worked out the order of the tracks I wanted, which I listed on the Album insert. I didn’t put in the song times, which I will probably do on the next batch, because if any of these do find their way to a radio station, they will want to know how long the tracks play for.

When I went to burn the CD’s using Sonic Digital Media Plus v7, I found (having wasted 3 CD’s) on testing them that the software had reordered the tracks alphabetically which meant I had to solve this problem because I wanted the tracks in the specific order to keep it relevant and interesting to the listener and I had already printed the inserts including the track listing. To solve this, I used the Rename function and numbered them in front of the song title. Now we were sweet.

Printing the labels was easy, although cutting them to size was a pain. I used fairly heavy paper so that it would look professional and not try to slide out of the case when it was opened. I used a guillotine and found it really hard to get the edges exactly right. Next time I’ll use a straight edge and a craft knife, which will be much easier. Also you need something for the back to fold the little edges which are the titles that you can see from the side.  Detail is important as even though the CD’s are home made I want them to look professional. The only thing missing is the shrinkwrapping, which I will have done later when I create more volume. There are plenty of places that will shrinkwrap for you very cheaply.

So just to go over the presentation. The front cover is consistent with the concept of the album. This album is called The Greenhouse Demo’s, because the songs are demo’s and Greenhouse is the title of Track 4. The cover art is a picture of a big block of Franz Joseph Glacier ice that is melting at a rapid pace. The title is very easily read on both the CD label and the insert.

On the inside of the isert I have a photo of myself (because the listener can’t late to you if they don’t know what you look like and the album is about building a fan base) holding a huge block of glacial ice which has melted and been washed away in the icy river.

On the back I put another picture of myself, this time standing on White Island which is an active ocean volcano and represents the global warming and the yin and yang of hot and cold. The other crucial data I put on the back is my email address and URL so that people can make contact with me, probably one of the most important things of all.

All in all, it was pretty simple. Everyone should have an album available, even if it’s home made, whenever you perform. I’m really pleased with how mine turned out and it looks more professional in my humble opinion than some that I have seen, made by ‘professionals’.

As a footnote, I was listening to one of my favourite podcasts yesterday while I was vacuuming the pool. it is Music Business Radio. The interview was with Meiko, who I strongly recommend as a good listen. I love the song Boys with Girlfriends. Anyway, on the podcast they have a section called Dave’s Demolition Derby where they get their guests to review 3 songs hat listeners have sent in for critique. I can’t remember her Manager’s name but he used to be an A&R man and made the comment that Record Companies and others get loads of unsolicited CD’s in the mail and some of them look really cheap and nasty.  If you hae to pick a few of them for a quick listen, which one do you think will get an airing, the one with a CD which someone has written on, something like My Cool Song, or one that looks like it was purchased of the shelf of your favorite CD store?

one-cube2

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?

Another Stretch in Iraq, my Christmas Song

December is only hours away and I have just entered my song Another Stretch in Iraq into the Paramount Group’s Christmas Song Competition. Why enter a song about a soldier going back to the Iraq War?

I couldn’t think of anything more poignant than soldiers in the field opening up a parcel from home which has a miniature Christmas Tree in it. The men and women will be thinking of home, wishing they could be with their friends and family, just as they would have at Thanksgiving. Just as their families and friends are thinking of them, wishing they were at home, hoping they will come home safe, sound and soon.

The concept of soldiers going to war with pictures of their loved ones helping them keep it together and coming home finding their loved ones have moved on in their absence is not unusual and while it is tough, the strength and security of knowing your fellow soldiers have your back is in a sense even stronger than your home relationship because their support can be the difference between coming home alive or in a body bag. The memories of experiences in the field can not be fully understood by those who have not served in the field of war. The worry of those at home waiting and praying for their men and women is also a unique feeling, worrying every time the mail is late or the doorbell rings late at night.

So while my Christmas song is not about sleigh bells ringing or Santa coming down the chimney, it is about love and family, about fellowship and trust and about being alive, that special way of feeling alive in a world of uncertainty.

Now I haven’t been to war, I’ve been lucky to have come of age between wars, but plenty of my family members have served in times of peace and war.

I did spend 6 months or so researching it and the reaction of men who served in Desert Storm when I performed it in the US last year suggest that I managed to capture some of the feelings.

It must be pretty tough for someone to want to go back to the Bradley (personnel carrier)

Id rather have my Bradley

I'd rather have my Bradley

and the MRE rations (Made Ready to Eat) having gone home to the girl or guy they felt they were fighting for and finding they now love someone else. But the story has probably happened a hundred times to soldiers in the last year and to thousands before them.

So, I give to you and the judges of the Paramount Group songwriting contest, Another Stretch in Iraq and hope that they see my Christmas Song entry as a piece written full of respect for the men and women whose blogs I read and commented on at the Milblogging Site and the diaries of Desert Storm which told their story in their own words. This isn’t a song of war, but a song of people who do what they feel they must and what they feel.

Merry Christmas to all those brave people fighting and peacekeeping on their missions around the world. You and your families have my deepest respect. May your stretch be short and your Christmases with your families holding each other around  the tree be many.

Another Stretch in Iraq

(you can listen at MySpace)

©Luigi Cappel 2007

1

I was walking on an empty street

My feet were marching to a lonely beat

I had you on my mind.

I kept on walking though my feet were sore

There was no procrastinating I could take no more

I wanted to leave you far behind.

I served my time on the sand in Iraq

While you were making hay with my good friend Mark

How could I have been so blind?

Thinking of you helped me keep my cool

Little did I know you played me for a fool

Feel like I’m gonna lose my mind.

Chorus

I might as well sign up for another stretch

There’s nothing left to keep me here aint life a bitch?

At least in the army I know where I stand

Serving my country in a foreign land.

Sit-rep says its all haywire

Its home where I got shot by friendly fire

I’m going back

Home is where I thought I wanted to be

Now I’d rather have my Bradley and an MRE

Even in Iraq

Bridge

It’s a strange old world we’re living in

Don’t know who you can trust

Don’t know where to begin

Now I’m gonna live my life one day at a time

So its Christmas time and the desert 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 praying for the boys and me

They said get yourself back on track

Chorus

I might as well sign up for another stretch

There’s nothing left to keep me here aint life a bitch?

At least in the army I know where I stand

Serving my country in a foreign land.

Thanks so much for reading my blog. If you know someone who would appreciate this blog, please send them a link. Please feel free to leave a comment, I always welcome feedback. If you are inspired by this, check out the links, its not too late to contribute to a Christmas Parcel. The guys who blog at Milblogging also appreciate feedback and knowing that even total strangers are thinking of them. Finally wish me luck with my Paramount Song Competition entry, I’m keen to grow my career as a songwriter and a competition like this could be a leg up.

Weaving a story

Many people will tell you that there are 2 key ingedients in writing a great country song, the first is telling a good story and the other is roping you in so that you get emotionally involved in the story.

Today I received a ‘friend request’ on my MySpace page from Kirsty Lee Akers. Her voice sounded a little like Dolly Parton’s and that isn’t a bad thing. But this girl is from Australia and is totally her own person. She has some really good songs, covering a range of topics that show up her talents and belie her age, but one of them prompted me to stop what I was doing and really listen.

Any song that really makes you listen and can evoke emotions the way The Territory did in me, shows great talent. Kirsty Lee has a great voice, clear and crisp, but what stands out is the story which even without a great video is very moving. Another thing you should do is have your own website and hers is crisp, modern and yet you get the impression that she is sharing herself with you.

I recommend a close listen to each word for an example on how to craft a great song.

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