The 50 States Project, or: Why I can never show my face in Chicopee, MA

This quarantine situation has somehow both stifled my will to do anything and also jump-started a long-dormant creativity. Some days I don’t want to get out of bed, some days I do the best work I’ve done in over a decade. LA comedian Rama Vallury and I have found ourselves in a songwriting partnership that went back to his days as half of the comedy duo George & Vallury, writing songs for their sketch comedy shows at the Second City.

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Shop Update: The Wild, The Innocent, and the C-3 Shuffle

At the end of January I caught a wave of impulsivity. One night after a gig with Bobby Bluehouse I decided that my current road organ, the chopped C-2, was good, but not great, as a live rig. It lacked the responsive key feel and screaming, spitting fury of my other organ, the “studio” A-100. That thing will just cut your coolyans off. That one, I felt, should really be for live use. But the chop wouldn’t be ideal for my recording purposes, owing to its clunky ratcheting drawbars that make smooth timbral transitions nigh on impossible–something that would be very noticeable on a record. Yes, I could always swap out the drawbar rail, but good luck finding a good set of smooth drawbars for less than a car payment, if at all, and the money and time spent on the conversion would be better spent on a -3 series organ, I believe. It was time to do the organ shuffle.

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On the significance of a gone dead Ampeg and the Old Vineyard Way

“But then the fire in my boiler up and quit before I came/there ain’t no empty cellar/need a gone dead train.” –R. S. Newman, 1970

Long before I could drive, or really even play, I fell into a collection of instruments that would make the Silver Lake $100-undercut mavens of vintage skip a collective heartbeat. I was given more cool gear before I was 12 than I would be able to afford until I was in my 30s. Such was the benefit of living among the cabal of doting Vineyard hippies with leaky barns and mildewed basements full of things that hadn’t seen the light of day since Nixon.

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Shop Update: Tallboy Leslie at last fully operational

Tonight I put the finishing touches on the internal restoration and modification of the Leslie 31H, with the completion of the lower motor reconfiguration scheme. It is now a proper two-speed cabinet, using classic two-speed motor stacks and not the—in my opinion, hacky—electronic two-speed conversion kits that are easier but don’t have the right speed and acceleration characteristics. See the video below for a demonstration. Cabinet cosmetic restoration to be completed.

All Ages Record takes dose of high art, Tall Leslie makes recorded debut, also please stop sharing that “the bee is declared the most important creature” article

Last week, my old friend and Boston’s hardest-working soprano Shannon Rose McAuliffe JetBlew into Tinseltown to lend her trained larynx to the digital wax of the All Ages Record (still as yet unnamed). Since the rest of the album will be performed by a bunch of “far out” ne’er-do-well rock and rollers on the hep “mod scene,” having a true classical musician on board adds a whole different dimension to the project that I could only otherwise dream of. It’s been a long time since I crapped out a Bach Invention at the West Tisbury Congregational Church. On one track, her voice serves as the counterpoint to that of coquettish crooner and known oaf Sean George, whom I’ve been writing and performing music with since before iPods.* His barrel-chested bellow contrasted with her lilting melisma is just a delight, if I do say. This record will have everything: insistent groove, cerebral weirdness, electric disco, folky-dolky sensibility, operatic moments, tender balladry.

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Shop Update: To every Hammond BC, turn! Turn! Turn! There is a chorus generator, turn! Turn! Turn!

Further to the recent treatise on my descent into gooberdom, I brought home a supremely junked Hammond BC from a dusty field in Ojai for a song. It’s just about useless, but for its precious chorus generator that I will use in the restoration of another, chorus-generatorless BC. But will this donor generator even turn? I break out the widowmaker and give myself over to the whims of the goddess Fortune.

What the All Ages Record is all about

I still don’t know what to call this thing, but I do think it’s a decent idea. In 2017, someone–my sister, a client, HAARP waves, I don’t remember who–gave me the idea to put together a record. On this record would be music. Music for everyone. Music for All Ages. Whimsical and light enough for children, interesting and intelligent enough for unchildren. I would take songs that I particularly enjoyed as a kid and rearrange them in my own style. I raised money to buy decent recording gear and pay some session cats, and began. As of this writing, the work is ongoing.

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Make America Super Again

Folks get the wrong idea about me. Because my online dating profiles usually contained the 1968 Kinks lyric “I’m the last of the good old-fashioned steam-powered trains,” and I tend to surround myself with machinery old enough to collect Social Security, and I pronounce “#” as “pound,” I must be a certifiable codger, a stone-assed Conservative, bemoaning the curse of being born in le wrong generation, who would tell children to vacate his tract of grass-covered land if children had any desire to trespass upon a yard full of squirrel-nibbled oranges and stray cats.

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