Archives for posts with tag: Kristine St-Pierre

Now we come to the two hidden gems on the record: “30” and “Do You Remember Me“. I kind of threw these tracks in to round out the number of tracks on the album but I tend to forget that they’re pretty good tunes.

We recorded these “live off the floor” which basically means I sang and played the song live all the way through and producer Dean recorded it. We recorded both tracks in the kitchen of the studio for a different acoustic vibe. Although I think Dean just wanted to be closer to the beer.

Both songs are musically similar sounding and when planning the tracklist I decided to call attention to this rather than play it down so I put them back-to-back.

Ottawa’s Kristine St-Pierre sang the backup vocals on “Do You Remember Me”. Kristine has a beautifully clear, strong, polished voice topped off with an outstanding vibrato. I, on the other hand, have a terribly muddied, weak, amateur voice topped off with an outstanding lack of vibrato. So Dean had to tell her to dial it back slightly so that her vocal style would match mine and not steal the show. And if anyone could steal the show by simply singing “oooooooh ahhhhhhh”, it’s Kristine.

Interesting tidbit: At about the 50 second mark of “Do You Remember Me” you can hear one of the bones in my thumb crack. You can’t really correct much when recording live-off-the-floor so the toll of age on my poor, frail hands are immortalized in that song. It would have been funnier, though, if that had actually happened on “30”, which is a song about getting older.

550px-Crack-your-knuckles-Step-08

…sad song lyric sad song lyric sad song lyric CRACK!! sad song lyric sad song lyric…

Blue Blue Satellite

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For many moons now, I’ve always claimed to be a songwriter first and foremost. Not a singer, not a guitarist, not a CD pushing self-promoter, but a songwriter.

My Ottawa CD release made me realize that this is a false claim.

Almost all of the elements that made me very satisfied with the Ottawa CD release were not song-related. For example:

  • Taking the stage to a projected visual intro with an accompanying instrumental piece.
  • The uninterrupted, three-song, no banter set of songs to kick off the show
  • The un-amplified mandolin song while walking into the audience
  • Having a backing band for Thieves but having them take the stage halfway through the first chorus:

    (impatient? go to 1:26)

There were more but I can’t reveal all my performance secrets now can I(especially since most of them are stolen)? But therein lies the keyword: “performance”. It turns out that while I still consider myself a songwriter, the performer in me is just as strong. Maybe even slightly stronger. And this can be heard on the record as well. Every element, every transition, every nuance that pushes the CD or live show beyond a simple collection of 14 songs: this is performance.

So why is this important to me? I guess I’ve become very aware of my audience whether they’re at a show or reclining with headphones  on at home. As a songwriter, my job is to write a song. Ok. Check. But as a performer, my job is to give the audience a fresh experience that will resonate with them; make them come for the music but stay for the experience…which I hope I succeeded in doing at the Ottawa CD release.

I’m still very much a songwriter. But now I’m adding the performer aspect. I suppose it marks an evolution in me, but it begs the questions: what is it that I am evolving into…?

An artist.

Thieves

Thieves @ Gallery Studios

Blue Blue Satellite

I really thought I was keeping the Toronto pre-release show pretty simple. And I believed this right up to a few days before showtime. Although I probably should have known better as I left my apartment in Ottawa.

It's schleptacular!

What I should have known was that I had to coordinate the set up of a rental P.A. system, a slideshow intro for two performers, that two out-of-town couples were well taken care of, three never-before-used stomp boxes, lighting logistics, a constantly changing guestlist and of course, the worst weather(or weather warning) of the season. Add to this the fact that I was trying to deal with these details with a shirt, tie, sweater and fitted faux-leather bomber jacket on, and it was quite the ordeal. Albeit a very fashion forward ordeal.

So what began as a musical extravaganza featuring a few bells and whistles became The Bells and Whistles Super Stress Show, featuring a bit of music. But that’s okay because the music served an oasis of calm in the middle of gigzilla. I was hardly nervous at all and yes, technical glitches did occur but I tried and hope I succeeded in moving past all of it with professionalism to deliver an entertaining show.

It was fun to be a headliner for the first time and to have a class-act like Kristine St-Pierre be my opening special guest. It was also fun to call her up during the encores à la George and Elton in “Don’t Let the Sun Go Down On Me.” Also, the beauty and uniqueness of the venue helped distract the audience from, oh, say, daisy chained pedals disconnecting from each other in mid-air and crashing to the unforgiving floor with the even more unforgiving PA system amplifying the cacophony as if to say “Hey Blue, maybe plan a little better next time, yeah?

Nonetheless, the things people actually said to me at the end of the night was just all kinds of nice and made me feel like it was all worthwhile. And you know what? It was. Even if the grand piano’s supports had given out and crushed my legs and carefully colour-coordinated pants, it would have been worth it. Because having your own professionally produced debut CD, releasing it in your hometown to attentive, close friends and family and hearing their words of praise, encouragement and support can only make you strive onwards and upwards.

Thank you attendees. It was my humble honour to share some music with you for an evening. We’ll do it again. Soon.

Blue Blue Satellite