I shite thee not.
Featuring Lauren Osborn as Miss Helen, Psyche Chimere as Han-Mi, Rhys Owen as Henry The Alchemist, and Studly McMuffinpants as The Sheriff. Cover and extras art by Sarah DeBuck.
The album is Act 1 of The Ballad Of Lost Hollow.
Length: 1 hour and 2 minutes. Price likely to be 7 dollars, 5 pounds, or 6 euros if purchased from Bandcamp. As usual, it will go on sale at iTunes several days later.
Listen to an early preview track:
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This is the sound of me in love.
This is one from the vaults. I made this awhile back, just after The Coffee Cellar.
I was in love. I was so in love.
It was unrequited.
When men are in love they often do big, romantic gestures to demonstrate the epicness of their feelings.
So, i did what you might think i’d do.
I wrote her an entire album.
Her absolute favorite story of all time was The Little Mermaid (the original Hans Christian Anderson version.) So i made her an album that told the original Hans Christian Anderson version of The Little Mermaid using music and narration.
My suggestion is if you want to skip just to the highlights, start with The Ball. That was where i poured all of my… it’s the song where i said as clearly as i could with all my young raging hormones and emotional…. AWK: “GAwdDAMMIT. i. WANT. YOU.”
In the original story, the Little Mermiad not only cannot speak, but every single step she takes with her new legs is agonizing pain. She has no way to tell the prince how she feels or that she had saved him and loves him. She walks with him although each step is tearful torture. Finally, at the big ball, when she sees how much the prince is intrigued by these dancing girls, she steps up to dance for him, her only chance in the entire story to express herself, even though each step is unbearable pain.
And DO listen to the one after it, Waiting For The Sunrise. This track was a defining moment in my learning to tell stories.
This album was important on a musician’s level because i found i could tell stories using narration, which became a big tool for me. This album was in fact key for me as for the merging of music and story ( and as a side note, clearly i was still in my electronica phase).
I would add, i must have done SOMEthing right, because she married me and our 4 year old is running about my feet as we speak.
I was asked awhile ago to some time feature some work of mine that really goes back. Something early.
Now, if we go back too early we arrive at utterly unlistenable. This is a project from some years ago, back in the 90s. It was the first album i did under the name Mocha Lab, which i came up with specifically because i needed a “band” or artist name for the album and though my own name was way to uncool.
It was the 90s. Electronica ruled the landscape along with grungy rock.
I was even looser then i was now, and that’s saying something.
So i was visiting this buddy in a college town. My car at the time was always likely to have something wrong with it, such as… you know, expired registration, unpaid tickets at various points across the US… anyway, my car got taken to the pound and i couldn’t get it out until i sorted this tickets and license issue. I ended up in this town for about 2 to 3 weeks and i lived in this coffee shop. Literally lived there. From open to close i’d be there and upon closing head to the bars. I slept on an array of couches. I fell in love with the place. I had a blast.
At some point i decided i could immortalize the place and the time in music, so i went out and bought some really cheap little hand recorder and i’d record people around the Coffee Cellar. I’d be carrying that recording around all the time for DAYS. At times i’d even just leave it quietly on a table and return and pick it up 20 minutes later.
I took all these tapes home, lifted what i liked off of them and put them to electronica-y music, using the spoken stuff in the place of sung verses and choruses.
The result was the album The Coffee Cellar.
Years later it sound a little rough and unpolished, but it should. I was rough and unpolished. The place and the people were all young and unpolished. It was however the first album i had ever made up to that point that could actually listen to and LIKE after a few months had passed. It was honestly the first truly solid work i had ever done.
So for kicks and giggles, here it is. A little taste of youth.
I feel bad about the title of today’s post. These fine women have their own styles and don’t deserve to be classified by how they stack up to this one guy. However this encompasses a major element i’m looking for in the singer who will voice Jacqueline O’Brien.
I’m never going to get the singer i want. It’s not that i have a specific singer in mind, it’s just… between the limited access i have and the pathetically paltry sum i have to pay them (if you know someone who fits the descriptions i’m about to give who wants to sing on the Dieselpunk Opera as Jacqueline for $300 please send them along) i’m going to have to work with what i can get. That’s life. But we can dream big.
Jacqueline O’Brien in a mature woman. I want her to sound between 40 and 60. The actual age of the singer is irrelevant, she should SOUND between 40 and 60. She should sound weathered. She should be an alto. She should sound cool as hell.
This is why i bring up Tom Waits. He and his music have that sound. Weathered, not young, cool as hell. The fact that he’s a genius in my book and one of my top 5 musical gods of all time probably factors in.
So today we’re going to list a number of women who embody this. Who have that thing i think Jacqueline should have. Who are cool. Who you’d sit with on a rusty fire escape smoking cigarettes passing a bottle of whiskey back and forth with while shooting the shit.
1. Rickie Lee Jones
I LUUUUV Rickie Lee Jones.Cool? The girl OOZes cool. (She also actually dated Tom Waits in the late 70s). Go check out her album Pirates.
2. Nina Simone
She is a GOD.
3. Marianne Faithful
Here is a gem i’ve plundered repeatedly over the years. Remember the movie City Of Lost Children? That was an awesome movie. Here’s Marianne Faithful singing a song from the soundtrack.
4. Thalia Zedek
5. Sandy Dillon
6. Eleni Mandell
7. PJ Harvey
Yup.
8. Fiona Apple
This might sound surprising, but i’m sticking with it. She is an amazing songwriter with a deep, unique style all her own, an AWEsome alto voice and she’s got soul to spare.
I’ve taken an evening to research and listen to a bunch of ragtime. Rather then be coy about it, i’ll just come right out and explain how it’s relevant.
For the first song of the 2nd Act of the Dieselpunk Opera i need a light, upbeat song with which to introduce Constance O’Brien and in particular discuss her profession and the societal circumstances around it.
You might think another New Albion song would be the obvious choice to fit in here, but it would be utter overkill. A New Albion song at the beginning of every Act is a Steampunk Opera device. To use it at the beginning of the Dieselpunk Opera to establish continuity is great. But after that it’s overkill. We must move on. We are not a one trick pony.
So, a light upbeat song that discusses a specific aspect of a character and New Albion upper class society. What would really work is a genre song. We pick a genre from the 20s or 30s, something that fits (can’t be Oh Brother Where Art Thou type music because while correct in period, it would be wrong for discussing upper class society) and that song is our little genre piece. Kind of like The Ballad Of The Gambler And The Monk.
Now, i’ve done listening sessions based on Latin big band music that was enormously popular back then like Cuban, the Mambo, the Rhumba and other son based big band/dance styles. But i can’t use THOSE for this because in our next song when we actually get down to the plot, Constance will be at an upper class soiree, dancing with some guy. That song will be upbeat too and more energetic so the first song should not compete.
Hence something like ragtime. Upbeat, light, good for a one off number.
I haven’t decided. I’m just considering.
Ragtime actually came from John Philip Sousa marches believe it or not. They were the popular melodies going around at the time. Ragtome is a very piano based style that uses these marching rhythms: That left hand is playing a straight one two march rhythm. African American musicians like Ernest Hogan would play those marches, but add some more complex and witty syncopations to the right hand melody based off his culture’s African sense of polyrhythm which had survived the nightmarish journey to the US.
Polyrhythym, just for the record, is superimposing one rhythm over another, like a 3 count over a 4 count, or in this case favoring the beats in between the main beat.
Thus, in this crazy new ragtime style, the melody would be syncopated, notes made to be stabbed in beTWEEN the one-two beats instead of the square “always on the beat” marches.
I would love to demonstrate.
First, let’s hear a famous John Philip Sousa march. Great melody and hear how everything falls on that one-two marching beat:
Now, hear how early ragtimers like Scott Joplin are playing that essential Sousa rhythm on the low notes, but the melody is continuously stabbing the spaces in between the one two marching rhythym:
THAT is ragtime.
The style exploded. From the beginning of the century through the 20s it was epic. It was the rock and roll of its day until by the 30s its evolutionary child Jazz overtook it and laid it in the dust.
As with every single musical style pioneered by African Americans, a certain segment of white America went ballistic with outrage. There were doctors who warned of the dangerous effects of ragtime music and syncopation on the brain and body. Many march loving folks dismissed it as “coon music” and many preachers assured their flocks it was the surest way to the fiery pit with all its lustful rhythms that could only have been thought up by Satan. The rock and roll of its day indeed.
However, this did not stop its wildlfire spread and mass appeal. It was fun, great composers came up with immensely catchy melodies, you could dance to it AND it didn’t require a large band. A single piano player could belt it out.
I leave you with a modern ragtime song which you may not have realized was ragtime but i assure you, is. Once again, notice how the lower rhythm is a straight march and the upper melody jibs and jabs at those rhythms in between. ( I also adore watching the bald guy play. His smiles are wonderful. Not to mention the yin yang of the two of them playing together is awesome and at times even kind of funny.)