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Well here it is. This CD, my fourth, represents the longest gap in the discography and thereby the most time taken to create. Unlike my previous three albums, or rather two albums and an EP, I allowed the music to come naturally and resisted the temptation to make songs to release a collection of current works.
Some of the work is in a "lighter" vein, or less sinister you might say. I still prefer the black keys but I allowed myself to embrace a little mood music reflecting a calmer, more secure frame of mind. The bulk of this album is still dark. Afterall, the "Cutter Suite" is about an escaped android to likes to cut people. But whereas most of my stuff is 3:00am music, some of the new music is more like 7:30am music.
So far these 12 songs are only available on Fuzz. It takes a while to get a new work on Amazon, Borders, Target, iTunes, Rhapsody, Napster, etc. and that process is just now starting.
I may build on this blog entry over time and once the album has been out for a bit to expand on other concepts that were at work in its creation.
Thanks for reading and thanks even more for listening.
Some of the work is in a "lighter" vein, or less sinister you might say. I still prefer the black keys but I allowed myself to embrace a little mood music reflecting a calmer, more secure frame of mind. The bulk of this album is still dark. Afterall, the "Cutter Suite" is about an escaped android to likes to cut people. But whereas most of my stuff is 3:00am music, some of the new music is more like 7:30am music.
So far these 12 songs are only available on Fuzz. It takes a while to get a new work on Amazon, Borders, Target, iTunes, Rhapsody, Napster, etc. and that process is just now starting.
I may build on this blog entry over time and once the album has been out for a bit to expand on other concepts that were at work in its creation.
Thanks for reading and thanks even more for listening.
Whew! You know, in a way, even good things ending can be a relief. (Think of the end of a terrifying but absolutely thrilling and life affirming, or at least mortality-affirming, roller coaster ride. Or even sex for that matter. Rolling over with that "Thank you JESUS!" sigh and reaching for a smoke.)
As usual, Char Davis, publicist for both my recordings and my indy record label "Eerie Sunday", pulled out ALL the stops, hiked up her skirt, girded her loins and killed Vegas, drowned as it were, in red paint.
Anything this lady does in this town is a hit. I think people come to these events because it's her promoting it more than for the music. Maybe it's the open bar? (Although hardly unheard of, free booze in this town goes a long way.)
Y'know... I knew I'd never get airplay in Las Vegas. Never really wanted or expected that. What I did want and pretty much expected was a little notoriety (how little was always unimportant) and a little acknowledgment for the effort it takse to create this stuff and I couldn't be more satisfied in that regard.
Thanks to everyone who attended the last two release parties, and everyone who helped Charlene make them a success. Imagine a room in Vegas without a rope and a bodybuilder in a box backed, double-breasted sharkskin suit deciding who's cool and who's not. No cover, very few sales (didn't expect them) and an open bar with table service for anyone without gravy on their tie and still paid the bill for the event. Girl knows how to work this scene and I will never be able to repay her loyalty. I do pay her for her services and time but not NEARLY enough to compensate for her efforts on my behalf. You'd almost think she believed in the music or something...
Well, once again, thanks for reading this and thanks a steaming heap for checking out this profile and hopefully listening to a couple of songs while you were here.
As usual, Char Davis, publicist for both my recordings and my indy record label "Eerie Sunday", pulled out ALL the stops, hiked up her skirt, girded her loins and killed Vegas, drowned as it were, in red paint.
Anything this lady does in this town is a hit. I think people come to these events because it's her promoting it more than for the music. Maybe it's the open bar? (Although hardly unheard of, free booze in this town goes a long way.)
Y'know... I knew I'd never get airplay in Las Vegas. Never really wanted or expected that. What I did want and pretty much expected was a little notoriety (how little was always unimportant) and a little acknowledgment for the effort it takse to create this stuff and I couldn't be more satisfied in that regard.
Thanks to everyone who attended the last two release parties, and everyone who helped Charlene make them a success. Imagine a room in Vegas without a rope and a bodybuilder in a box backed, double-breasted sharkskin suit deciding who's cool and who's not. No cover, very few sales (didn't expect them) and an open bar with table service for anyone without gravy on their tie and still paid the bill for the event. Girl knows how to work this scene and I will never be able to repay her loyalty. I do pay her for her services and time but not NEARLY enough to compensate for her efforts on my behalf. You'd almost think she believed in the music or something...
Well, once again, thanks for reading this and thanks a steaming heap for checking out this profile and hopefully listening to a couple of songs while you were here.
Wow. It's odd for someone as verbose as I normally am to be at a loss. Hammer of Karma finally got finished and released as an EP (9 songs and 43 minutes) and I have a mild case of post-partum. People keep asking me where it's all going next. I guess we'll see. Hammer was by far the darkest of my compositions to date and, unlike Forever is a Lie and Outland, contains no songs or even parts of songs that are less than a year old.
Much of the first two albums were things that have been banging around in my skull, unrecorded, since the 70's. (I never did find a group that "got it", so to speak.) But Hammer of Karma was my first project that completely reflects where I am at musicially as of its completion. Sort of exciting in that it also adds a little finality (closure?) to a previous era and opens a door, having recorded all of the ghosts that have been haunting me, to a new body of work.
I have to admit that I feel like a kid on his birthday whenever one of my cds hits Amazon (thus Target, Waldenbooks, Borders, CDNow, etc.)
Composing and producing myself gives me a sense of satisfaction that performing live for 40 years never did. But, alas, without those countless shitty gigs (and a few great concerts) I wouldn't have arrived where I am and wouldn't have a reference to compare this giddiness to.
Thanks for reading and thanks even more for listening!
Much of the first two albums were things that have been banging around in my skull, unrecorded, since the 70's. (I never did find a group that "got it", so to speak.) But Hammer of Karma was my first project that completely reflects where I am at musicially as of its completion. Sort of exciting in that it also adds a little finality (closure?) to a previous era and opens a door, having recorded all of the ghosts that have been haunting me, to a new body of work.
I have to admit that I feel like a kid on his birthday whenever one of my cds hits Amazon (thus Target, Waldenbooks, Borders, CDNow, etc.)
Composing and producing myself gives me a sense of satisfaction that performing live for 40 years never did. But, alas, without those countless shitty gigs (and a few great concerts) I wouldn't have arrived where I am and wouldn't have a reference to compare this giddiness to.
Thanks for reading and thanks even more for listening!