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  <a href="/blog/blog/4798369/taking-forever-just-like-brian-wilson-did">Taking Forever, Just Like Brian Wilson Did</a>&nbsp;
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  <div class="message">So, I got a Christmas card from my best friend telling me, "Santa knows what you did, and he's pissed." To which he added, "Actually, he's pissed because of what you didn't do: release the album! C'mon, <a href="https://en.wikipedia.org/wiki/Brian_Wilson" target="_blank">Brian Wilson</a>, let it go." Here's Brian's reply.<br>______________________________________________________________ <br><br><b>~ From the desk of BRIAN WILSON ~</b> <br><br>Yo D.,<br><br>Thanks for alerting me that Santa's pissed and I should expect a  lump of coal in the sandbox this year. Gotta admit that I do feel a bit like The  Pink Floyd (as we called them in the '60s ... I still don't know where the "The"  went ... must ask Dr. Landy about that sometime as it's been bugging me for  years ... anyway, I digress). What I mean is taking 3 years to record my new LP,  <i>Smiley Smile Simile Similar Simpleton, </i>then another 6 months to mix the  blasted thing.<br><br>So yeah, it's been mixed but we got a wee problem ... my  engineer transferred the tapes—or whatever they are; he tells me they don't  use tape anymore ... weird—to this little doohickey of mine called a  "portable hard drive" ... and when I listened back there were these random  spikes of white noise plastered over every damn one of my songs. True story. Dr.  Landy said he heard it too ... wasn't just my personal hallucination. Maybe we  hallucinated it together. Trippy, huh? So, long story short, my engineer is  workin' on some other way to get the songs to me without the white noise. I say  if he'd used Scotch 3M quarter-inch in the first place we wouldn't be in this  predicament. If magnetic tape was good enough in '63, how come it's passé in  '73?<br><br>What's that? It's two-thousand-and-what? Get outta town. Really?  Hmm. Guess time doesn't fly when you're stuck in a sandbox with an ornery  dulcimer and co-dependent shrink.<br><br>Anyhoo, it's super-peachy to know that fans  are salivating for new product from yrs. truly, bummer that they're all worked  up over not having same. It's coming, I swear. Mastering is up next after we sort out the  white noise debacle. 'Course, I could just put it out <i>avec</i> the white  noise ... it'd be kinda avant-garage, is that the word? Could be the "in" sound  of 2058 or whatever the hell year this is. Anyway, gotta go—the dulcimer is  acting up again. Probably all that sand in the sound holes.<br><br>Love, Bri <br><br></div>
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  <a href="/blog/blog/4798370/weir-d-chord-sequences">Weir-d Chord Sequences</a>&nbsp;
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  <div class="message">A small confession here: I was a teenage Deadhead. I'm now a middle-aged Deadhead. Yes, I possess a modest collection of live shows—first on cassette, these days as mp3s on my laptop. I've seen the Grateful Dead live, but only twice (6/21/84 and 6/30/87 for the record, both local shows at Kingswood Music Theatre up in Maple). And I'm one of those solitary Heads who's never felt the need to be part of the Deadhead community or enhance the listening experience by ingesting drugs, psychedelic or otherwise. The music is trippy enough.<br><br>The current <a href="https://en.wikipedia.org/wiki/Dead_%26_Company" target="_blank">Dead &amp; Company</a> tour has rekindled the flame for us old-timers and caused some newbies to hop on the bus, so to speak. It's been great to hear this rejuvenated band revisit the canon and put its own stamp on the songs. I'm bummed that I couldn't make it to the show closest to me (Buffalo, November 11), especially considering they played the rare and spacey "Dark Star" that night. I did, however, download the entire show a day later. If you're interested, you can stream and/or download endless Dead and related concerts at the <a href="https://archive.org/details/GratefulDead" target="_blank">Internet Archive</a>.<br><br>Anyway, the other night in St. Louis they busted out a tune I was delighted to hear again, the Weir-Barlow classic "Black-Throated Wind." Always on the hunt for new cover material, I thought I'd try it out on my guitar. Parts of the song are near the top of my vocal range, but on the whole I can sing it comfortably. What came as a surprise, though, was the chord sequence. It's one of the most bizarre I've heard in a popular song.<br><br>Things start off simply enough. After an intro lick around E, Esus4 and E7, the verse goes like this:<br><ul>
<li>E F#m D A E, repeated once</li>
<li>A D Bm E, repeated once</li>
</ul>We're pretty clearly in the key of E here, with the sorts of chords you'd expect to see. Nothing really stands out. Then comes this jaw-dropping chorus:<br><ul><li>D C#m A Em C A D C#m A Em A G D A</li></ul>I don't know music theory well enough to explain what's going on, but suffice it to say I've never encountered a song where C, C#m, D, E and Em coexist. All are common chords in rock songs, just not in the <i>same</i> song. They make no sense in terms of graceful key relationships (or anything conventionally musical), yet somehow Bob Weir makes them work, weaving a powerful and unusual melody around them. The structure and variety of the chords also ensure that "Black-Throated Wind" is one of those rare songs that needs no bridge. With all that chordal movement, a bridge would be too much. Weir has always had a reputation as a bit of a quirky songwriter, and now I see why. Well done, sir!<br><br>A tip for those of you who want to learn the song: use Capo 2 and transpose the above chords down a whole step. It's far more playable this way. Here are the transposed chords—first, the verses:<br><ul>
<li>D Em C G D, repeated once</li>
<li>G C Am D, repeated once</li>
</ul>Chorus:<br><ul><li>C Bm G Dm Bb G C Bm G Dm G F C G</li></ul>As a bonus, I've expanded my harmonica knowledge by working up this tune. I play the opening guitar lick on the harmonica, and the only way to get those "blue" notes is to play in cross-harp or second position. Which I finally figured out: for second position, your harmonica key should be a fourth above the key of the song. So, song in E? Choose a harmonica in the key of A.<br><br></div>
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    <p class="post-info"><span data-time="2015-11-23T00:43:00-05:00" title="November 23, 2015 00:43">11/23/2015</span></p>

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  <a href="/blog/blog/4798371/pilgrimage-iii-the-ballad-of-emil-lewandowski">Pilgrimage III: The Ballad of Emil Lewandowski</a>&nbsp;
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  <div class="message">For those of you waiting for the final post in my "Pilgrimage" series, I apologize for the long delay. This one is rather late in coming, but it's clearly time.<br><br>Aside from his immediate family and, apparently, readers of the outdoor magazines in which his occasional fishing articles appeared, the world knows little of Emil Lewandowski, a Buffalo native who passed away in nearby Dunkirk, NY last week at the age of 74. But for those of us who came of age in the early '70s, Emil was a Top 40 titan whose soulful voice graced such hits as "Mama Told Me (Not to Come)," "Shambala" and "Let Me Serenade You." We knew him, of course, as <a href="https://en.wikipedia.org/wiki/Cory_Wells" target="_blank">Cory Wells</a> of <a href="https://en.wikipedia.org/wiki/Three_Dog_Night" target="_blank">Three Dog Night</a>.<br><br>Panned as a lightweight pop act who didn't write their own songs, 3DN sounded like manna from heaven to my boyhood ears. Here were three amazingly gifted lead singers backed by stellar musicians playing first-rate material. In my estimation Cory, Chuck Negron and Danny Hutton, the band's co-lead vocalists, were to the human voice what Jimi Hendrix was to the electric guitar. Period. The <a href="http://www.vocalgroup.org/" target="_blank">Vocal Group Hall of Fame</a>, at least, agrees. As for the lightweight part, have a listen to <i>Captured Live at the Forum</i> and tell me this band—as evidenced especially by Michael Allsup's shred-o-rama guitar—doesn't tear the roof off the place. Cory's showcase on that record, Otis Redding's "Try a Little Tenderness," is simply a tour de force, and don't get me started on the percussive genius that is Floyd Sneed. The guy drums with both ends of his sticks; maybe that's why he sounds like he has eight arms and six feet.<br><br>In the late summer of 2012, I heard that Three Dog Night was playing Buffalo, Kleinhans Music Hall to be precise, and they'd be backed by the Buffalo Philharmonic. Something told me this might be my only chance to hear my boyhood idols in concert, and the orchestral angle made it a must-see. Things were tight at the time, but I scraped enough together for the ticket, return bus fare and a one-night stay at the Hampton Inn, and on a chilly Friday night in October, there I was: last row, main floor, slightly right of centre.<br><br>Now, the band I saw was arguably Two Dog Night—Chuck having fallen out with his bandmates some years back—but especially in light of Cory's passing, I feel fortunate to have seen even that. Floyd and bassist Joe Schermie were also missing; Joe because he'd died some years back, Floyd for unknown reasons. Michael and since-deceased keyboardist Jimmy Greenspoon were in attendance, so that made four of the original seven members. And somehow, between Danny, Cory and bassist Paul Kingery, they managed to cover all Chuck's parts. That alone was quite impressive.<br><br>"The use of cameras and recording devices is strictly prohibited,"  warned the program. Nevertheless, your intrepid Mark Martian sneaked in a  tiny device and fought the good fight. But the sheer volume of band and  orchestra overwhelmed my mp3 player's built-in mic, and the 2/3 of the  show I did record before the battery died is muddy, distorted and  unlistenable. (I've kept it in case I someday encounter an audio  restoration guru.)<br><br>I'd describe the show as workmanlike—well played but not transcendent—and predictably hit-heavy. (My fawning over <i>Captured Live at the Forum</i> aside, 3DN were never an album-oriented band.) After "The Family of Man," the evening's first song, Cory mentioned to rapturous applause that this was his homecoming and the band's first Kleinhans show since 1970. And to my surprise, Cory played rhythm guitar on several songs: decently, too (it definitely wasn't a prop). As for the orchestra, for the most part they were hard to pick out of the mix, though the horn section shone in "Celebrate" and "Play Something Sweet (Brickyard Blues)."<br><br>Song I Wish Had Been Played: "Eli's Coming." Runner-up: "It's for You."<br><br>Bonus Points For: Cory's neon purple tie.<br><br>Mark Mars Moment: Well, this singles act played one song so obscure even your friendly neighbourhood Mark Martian had never heard it: "You Can Leave Your Hat On," a Randy Newman-penned album cut from 1975. Cory did a great job on it, but it's really not my kind of burlesque-style R&amp;B.<br><br>Despite the preponderance of grey hair in the crowd, it struck me during "Joy to the World" that this is essentially thinking man's children's music. You see, it wasn't me singing along as Cory made these Vegas-like wave gestures over the "joy to the fishes in the deep blue sea" line; it was that nine-year-old whose dad brought home that record, my first-ever 45, in the summer of 1971. And in that little boy's world, Chuck, Danny and Cory were giants.<br><br>As a youngster I had a special fondness for Cory, who brought a gritty, bluesy edge to the band. And as it turns out, he and I have something rather profound in common as well, a quality that's quite rare in the music biz. From the <i>Buffalo News</i> <a href="http://www.buffalonews.com/city-region/chautauqua-county/rock-star-cory-wells-was-fighting-cancer-apparently-died-of-infection-family-says-20151023" target="_blank">obituary</a>: "'My father never, ever took drugs, and he hated alcohol,' [daughter Dawn] Cussins said. 'He was totally against any of his songs being used in beer  advertisements because he never wanted to encourage kids to drink.'"<br><br>Amen to that, and thanks for the music, Cory Wells. Along with your compatriots, you are the reason I'm a singer/songwriter today. Blessings and gratitude to you. Condolences to your family and fans.<br><br>As a tribute to Cory, I've worked up a version of "The Family of Man" that I'll debut this afternoon (Sunday, October 25, 3:00 p.m.) at the <a href="https://www.facebook.com/lazycatcafe" target="_blank">Lazy Cat Caf</a><span class="st"><a href="https://www.facebook.com/lazycatcafe" target="_blank">é</a>. If you're in the area, please stop by and say hello.</span><br><br></div>
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  <a href="/blog/blog/4798372/under-the-covers">Under the Covers</a>&nbsp;
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  <div class="message">One of the most fun aspects of being a musician is coming up with covers to play. My tastes run toward the esoteric, and lately I've been trying out some of my favourite Guess Who songs. Now, when it comes to The Guess Who, you're probably thinking "These Eyes," "American Woman," "No Time," maybe "Clap for the Wolfman."<br><br>Well, not in Vern's World (though I love those songs, too). I've been working up "His Girl" (flop single from 1966), "She Might Have Been a Nice Girl" (1971), "Smoke Big Factory" (1972) and "Cardboard Empire" (1973), the last three obscure album cuts all. Oh, and "Silver Bird" (1970), from the abandoned sessions for a follow-up to the <i>American Woman</i> album.<br><br>Something I've learned in trying to pick out these chords by ear: rock guitarists, even the greats—and I count Randy Bachman, Kurt Winter and Greg Leskiw among them—are lazy. Okay, maybe not lazy; but like me, they prefer chords that are easy to play, easy to change to and from, and ring out well (in other words, the chord contains plenty of open strings). So, if I'm trying out a chord and it's finger-contorting, chances are I've got the wrong formation even if it sounds right. There must be an easier way to play this difficult chord, and it's up to me to find it.<br><br>Sometimes the guitarist might be playing in an alternate tuning, though that's not the case with The Guess Who save for "Heaven Only Moved Once Yesterday" (1972), another one I attempted that's in dropped D (DADGBE, low to high, for those of you following along at home). Two of the songs suddenly clicked for me once I found the correct capo position: that would be Capo 2 for "Cardboard Empire" and "Smoke Big Factory." And in the latter and "She Might Have Been a Nice Girl," what sounded at first like crazy-ass jazz chords were simply a ton of open strings with one fretted note, usually but not always the root. Both songs use an easy-strum G6: GxDGBE. (The "x" means you block, mute or don't play that string.) I also discovered two rather strange (but dead easy to play) A chords: one I'll call Aopen (xAEGBE) and the other, Adcg (xADGCG). The A might not be the actual root in either case, but try 'em, you'll like 'em. They sound fabulous.<br><br>I've also discovered that Randy Bachman, at least for a time, had a love affair going with major and minor sevenths. Once I grasped that—and they're all fairly easy to play, at least in the key of G—"Silver Bird" fell right into place. Randy sometimes capos as well, and way up there, too: "No Sugar Tonight" is Capo 4 and "Lightfoot," a delightful obscurity off <i>Wheatfield Soul,</i> is as far as I can tell an inventive layered combination of Capo 5 and Capo 7.<br><br>All this merriment has added some killer covers to my repertoire, and most importantly I've learned some great chords that will soon find their way into my own music. I know that because it's already happened: a chord I discovered while working up Husker Du's "Could You Be the One" was re-purposed for "Lady Air." The secret chord, which I call Fmould, is FCxGDG, and you play the F with your thumb. (By the way, this chord also appears in The Guess Who's "Hand Me Down World," so it could just as plausibly be called Fwinter.)<br><br>And why do I give these chords such zany names? Well, I have to remember them somehow and you won't find them in any guitar chord book.<br><br></div>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/4798373/work-of-art">&quot;Work&quot; of Art</a>&nbsp;
</h2>

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  <div class="message">Your friendly neighbourhood indie musician here with a quick update. In September, I need to:<br><ul>
<li>Finish mixing my album</li>
<li>Spend the remaining money from the grant I received for same</li>
<li>Send a completion report with final mixes, lyrics, results ("referencing your original goals"), a detailed studio log, invoices and proofs of payment</li>
<li>Apply for a FACTOR grant </li>
<li>Apply for an Ontario Arts Council grant</li>
<li>Apply for a Toronto Arts Council grant</li>
<li>Get quotes in order to prepare coordinated budgets for all three applications </li>
<li>Keep practising, especially guitar and harmonica together</li>
<li>Record a demo of the new song I've written </li>
</ul>See, when you're nine years old, playing air guitar on a tennis racket to "Albert Flasher" and dreaming the rock 'n' roll dream, they don't tell you that being a musician will entail seriously hard work. <br><br></div>
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    <p class="post-info"><span data-time="2015-08-31T00:00:00-04:00" title="August 31, 2015 00:00">08/31/2015</span></p>

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</article>  <article class="post blog-article full-item post-full" data-controller="zoogle-video" data-action="message@window-&gt;zoogle-video#handleVimeoPostMessage">
    
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  <a href="/blog/blog/4798374/harmonica-basics">Harmonica Basics</a>&nbsp;
</h2>

<div class="post">
  <div class="message">And I do mean <i>basics</i>, my friends. I'm a raw beginner, but in the course of blowing some serviceable notes on my record and just learning to play guitar and harmonica together, I've discovered a few tips I'd like to share with you. First off, as far as I can see, 99% of the harmonica instruction available online assumes that you want to play the blues. If this is you, read no further; I've nothing useful to impart. Google "blues harp lessons" or something and off you go.<br><br>As for the rest of us, welcome to the wonderful world of first position. Here you'll find Bob Dylan, Neil Young, and the vast majority of folk music. In first position, key of song equals key of harmonica. Simple, right? Yes, as long as we're talking major keys. Playing in minor keys is trickier. I've been adding three semitones to the song key in order to find the harmonica key (example: song in E minor, harmonica in G). That's correct as far it goes, but it appears I have only half the picture as there are two minor-key modes. <a href="http://www.wildflowerharmonica.com/minor/" target="_blank">This page</a> explains things better than I currently can.<br><br>Two advantages to first position: one, it's hard to play a wrong note; two, you have access to the three building-block chords of popular music—namely I, IV, V. The I (root), is simply the key of the harmonica, and if you blow (exhale) anywhere on the instrument, you'll obtain the root chord. For illustrative purposes, let's assume your harmonica is in C. Your blow notes, low to high: C E G C E G C E G C. Anywhere you blow, you're guaranteed to get some inversion of a C-major triad.<br><br>If you draw (inhale), the notes you get depend on where your mouth is positioned on the harmonica. On a C harmonica, your draw notes, low to high, are D G B D F A B D F A. Now, the V (fifth) chord is easily identifiable here. In the key of C, the fifth is G. Going low, any of the first four draw notes will give you a G-major triad, and up on draw holes 7, 8 and 9, you've got a G7 chord minus the G root. The IV (fourth) is a bit harder to produce, but it can be done. In C, the fourth is F, and you can't get the full triad but the root and major third (F and A) occur twice, at holes 5 and 6 and 9 and 10. I find the high pair a bit shrill so generally I'll go for the 5- and 6-holes, which are conveniently located in the middle of the instrument.<br><br>Much of the time, of course, you'll want to play melodic lines (single notes instead of full chords). Again, I'm hardly in a position to advise on technique, but I've found that pursing the lips will usually produce a single note, though sometimes I get two. Hey, I'm still working out the kinks. But because the harmonica is a diatonic instrument, you'll be picking out notes in the major scale of the harmonica key—which, as we discussed earlier, is the same as the song's key in first position. So, you really can't lose, and it's quite easy to stumble upon the melodies of greats that have come before. And by improvising or riffing on those, you can write your own killer lines, tailor-made for your songs. (Example: tonight I chanced on the opening to Dylan's "With God on Our Side" just by messing around.) <br><br>One more tip: everyone will tell you that your first harmonica should be in the key of C, as most instructional material for beginners is written in C. If you're learning from a book, that's probably wise counsel. However, if you're using harmonica to colour your own songs, the song key determines the harmonica key. Your song is in F? Then the harmonica should be in F, and so on for all 12 keys. (Again, if you're a blues player, I can't help you other than to note that you're generally playing in second position, so song and harmonica keys will differ. See 99% of online harmonica instruction for more.) Based on the songs I've written and am covering, the most useful harmonicas for me have been G, D, Bb, A, B and E. In fact, I've yet to use a C harmonica in any of my music. Maybe that tells you something about my music. Point being, "Buy a C harmonica first" is not always the best advice.<br><br>Now let me climb up on my soapbox for just a moment. I've found scant online material on first-position playing—hence this post—and what little I did find is dismissive at best. In one video, the instructor did a desultory run-through of "Oh! Susanna" to demonstrate first position, immediately contrasting that with a flurry of lightning-fast blues licks in second position. I won't diss the guy completely because he's clearly knowledgeable, is more skilled than I'll ever be, and in another video helped me decide which harmonica to buy. But let it be known that first-position music is still <i>music</i> and damn fine music at that, whether or not it evinces dazzling virtuosity. First-position players have made stellar contributions to popular song (see Dylan, Bob among others) that go far beyond cornball folk standards.<br><br>Oh ... and for those of you wondering, my harmonica of choice is the <a href="http://ca.playhohner.com/instruments/harmonicas/diatonic-harmonicas/progressive-series/special-20-classic/" target="_blank">Hohner Special 20</a>, though I'm not expecting a juicy endorsement deal anytime soon. <br><br></div>
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    <p class="post-info"><span data-time="2015-07-14T00:53:00-04:00" title="July 14, 2015 00:53">07/14/2015</span></p>

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