Archives for posts with tag: Coldplay

The idea of Melancholia(Receding), the final track of The Learning Days, was borrowed from Coldplay. I loved their instrumental intro to the album Viva La Vida. They then quickly followed up that record with their Jay-Z-tainted Prospekt March EP and opened that disc with the same instrumental intro except turned into a full 4-minute song with words and everything. My reaction at the time? “Chris Martin you genius bastard.” Not only did he surprise his listeners by making a good thing even better, it was also a really effective way to link the LP to the EP.

And so, to Chris Martin’s genius bastard, I became a thieving bastard and used the concept for my own record. And hopefully if you’ve heard my album, and you heard it start to finish, and you heard it before reading this blog, and you never heard Coldplay’s Life In Technicolor I & II, you will have thought “huh, he’s closing the album with the same song that …..whaaaaaaaaa?”

“We have lift off”

Quick fact: The working title of Melancholia (Receding) was Message in a Rocket.

The track ties together the on-again off-again space theme seen in my performance name, cover art, title of this track and the sound clip that I used without permission from the Apollo 11 launch (forgive me NASA). Dean had the brilliant idea to fade it out into the heavy reverb to give it that dreamy feel before the lyrics kick in.

I wrote the song during the production of the CD so there was a part of me that was writing the song for the album and I think I made a very conscious decision to end the song, and thus the record, with the word “hallelujah”. Just to give it a hint of spiritual poignancy and to give a nod to one of the wise old men of folk music…to whose music I don’t actually listen.

2013 Juno winner for Best Songwriter. (Not pictured – 2013 Juno applicant for Best Songwriter (me) )

Boni!

If you’ve read all the parts of this track-by-track blog series, I’m sorry to hear that. Unless you’ve enjoyed them, then thank you. I wrote previously that I’d maybe put a little bonus feature here for the loyal readers, or those who cheated and just dropped in on this last one. Well too bad, you’re not getting a bonus feature….you’re getting three!

  1. An early raw iPod recording of Melancholia(Receding) with me doing a bit of scatting and a bit of freestyling to figure out the melody. Listen now.
  2. Video of Dean Watson(producer), Anders Drerup(pedal steel) and I in the studio figuring out the pedal steel part for (Never) Let It Go. The final take of the video is what we went with. Watch now.
  3. A NEW song that will probably be on the next album(target date 2014?). It’s just a guitar-and-voice demo for now but I actually think it stands up pretty good as is. Listen now.

Blue Blue Satellite

Advertisements

Still with me? We’re trudging towards the end of the track-by-track analysis of my 1-year-old debut album The Learning Days. Will there be a reward at the end like those three-second hidden scenes after half an hour worth of credits at the end of superhero movies? Test your endurance over a few more insipid blog posts to know for sure!

So if I HAD to choose one song that I felt could be excluded from “The Learning Days”, it’s probably Science and Progress. I’m pretty open with the fact that many of my songs have very specific influences but Science and Progress takes it to a whole new level:

  1. The title and lyrics are directly based on Coldplay’s The Scientist
  2. The huge swell at the end is very much based on the huge swell of this very obscure song.
  3. The scream-y part during the swell that Dean wisely brought down in the mix was very much based on Glen Hansard’s much more capable scream-y part in When Your Mind’s Made Up
  4. The drum beat is very much based on the Verve’s litigious 90’s masterpiece Bittersweet Symphony.
  5. I used to say that this song is a sequel to Coldplay’s The Scientist. Song sequels themselves being a concept I stole from Metallica.

So what I’m saying is that I probably thought I was very clever creating this Frankensteinian monster of a song from stolen bits of mostly mainstream songs and included it on the record as a “hey, look how clever I am”. But if I remember my Frankenstein, which I don’t but am quite capable at looking up Wikipedia articles, it don’t end too well for anybody. The old timey-hot Bride of Frankenstein notwithstanding.

Untitled-2

Chicks with their hair on fire. Marriage material for reanimated corpse monsters and singer/songwriters alike apparently.

Blue Blue Satellite

Inspiration hit this weekend and I wrote one last song for the record. It’s a little risky to put it on the record so soon after writing it, because I could just be suffering from the songwriting equivalent of beer goggles. But at the very least it’ll be a different kind of song. In fact, it’s different from any previous song I’ve written mainly due to one factor which I will leave for you to discover when the record comes out in who-knows-when. The song will probably be the album closer and I wrote it with that in mind and I do think it’ll give the album a nice sense of finality.

Anyhoo, after a brief African hiatus, I head back to the studio for a few sessions this week to hopefully turn the who-knows-when to Wen-knows-when. I’ll tell you this though…that original November 26th I hoped for was waaaay off. There’s much work to be done and now that I’ve got the new Coldplay on my mind, I’ll no doubt be asking my producer for the Enofication of my tracks. So, soaring choruses about skies and birds with tons of ambient effects and a lot of “whoo hoo”‘s and “whoa oh”‘s. I can just see him sadly shaking his head when I start singing in a falsetto.

Blue Blue Satellite