Friday, June 25, 2010

Working for the Weekend...

Hey, look...ANOTHER busy weekend.

I'll be at Stage Left all day tomorrow. We have a work call preparing for our move out of our current space at the end of the summer, then I'll be doing my staged reading for Leapfest.

You only have two more chances to catch this reading of The Meaning of Lunch, this Saturday (June 26th) at 7:30 PM, or this coming Wednesday (June 30th), also at 7:30 PM. I'm really proud of this one, it's a great script, and the more reactions and responses we can pass on to playwright Dan Aibel, the better. So, if you're free, please make an effort to see us.

Some folks over at New Millennium Theatre Company also contacted me about a private reading of some new scripts they have. I'll be doing that on Sunday afternoon. Hopefully, I can keep Sunday night free to go to a movie, or work on some music, or maybe just relax.

Or watch this;

My Blu-Ray just came today. I am ready to crack this thing open. Of course, by now, anybody who reads this blog ought to be aware of my deep, almost psychotic love of Bruce Springsteen. I'm excited to give this a whirl, as I've never seen, or even seen footage of, Bruce work a massive outdoor crowd like this. There's the Super Bowl, of course, but I don't think that counts.

I have the Rush: Beyond the Lighted Stage Blu-Ray coming next week, and these are, really, my last two splurges before I head to San Diego for Comic-Con. I have to admit, London Calling has the "newness" factor, since I haven't seen any of it, but I'm probably just a bit more stoked to see the Rush documentary again. It was just so fun to watch and interesting.

Track 5 is in progress, tentatively titled "We've Got Forever For This To Be Over." I stole that title from a comment Josh Homme made during the Them Crooked Vultures show. I had the drum tracks down, as well as the bass and two guitar tracks, but I just didn't like the way the two guitar tracks were mixing. Plus, the track was clocking in under three minutes. I was aiming for a shorter track, so it seemed ok, but in the end I thought I would try to figure out a bridge that would work.

I re-sequenced the drum track, and laid down a slop guitar track on the new version. Now I just need to find the time to flesh it all out. I've got a really good idea how the bassline will go, then I can delete the slop guitar track, and start building back up.

I re-listened to the first four tracks the other day, and I gotta say, I'm really pretty happy with how these instrumental tracks sound. It's almost a shame to lay my crappy-ass voice over them. I find myself wondering if I could find somebody to really sing, and help work out the melody lines and lyrics.

Although, that's not new, is it? I whine about finding collaborators every, single time I talk about the music projects, don't I?

I hesitate to even invoke the name, but the tracks feel much more toward a Led Zeppelin feel than anything I've done before. I've found the groove a lot more here, I think, and not been so trapped by the drums. It's definately more of a hard rock/classic rock feel, and I think I've found some good riffs to play around with.

I have a couple of leftover, totally finished tracks that might end up going on this disk (which would bring me up to 7, the goal, as usual, being 12), but they're awfully raw. One, in particular, is just me and an acoustic, and it's very angry and raw. I listen to it, and feel like it might be one of the best things I've ever done, but I'm also kind of afraid of it. It doesn't really sound good. I recorded it live, so they're no "fixing" anything.

I don't know why that frightens me, but it does.

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