Friday, 28 August 2015

borderlines


two men look out the same prison bars
one sees mud and the other stars
Beck



b o r d e r l i n e s




this world keeps spinning us around
and I may never touch the ground


hidden messages?
oh yeah



oh - and turn it UP! 
because it sounds
good  












old friends
 

you could hear a pin drop ...
that was then ... this is now

your wildest instincts, i can't appease ...



borderlines
 
It's what I wanted ... to perform live more than anything.  Massey Hall?  Please.  An amazing band and this on a massive screen (back), imaging borderlines as we play it - just like this only way bigger.  I'd been on the road with lavish, theatrical cover-bands as a front guy (1977-1980), and loved it!  The road crew, big lights and sound, traveling/new places, new people.  What a blast.  I became distracted by machines though ... loved electronic music/sound toys.  I needed to get back into the studio and record.

Between 1980 and 1986, I lived in the studio.  Personal hygiene out the window - zero social life.   Still playing guitars but fascinated by music synthesizers, MIDI - big gear.  Large format recording/mix studios in Toronto - learning ... drifting/creating.  I was a sponge and it ruled me.  Addicted to BIG sound and the technology that manipulates it.  Yep.








This and many songs like it on "old friends", were recorded small format later on.  Apple Mac PLUS computer running "performer" an early MIDI sequencer sync/recording voices on my Roland R8 1/4 inch, eight track analog recorder/mixer combo in my home studio on small speakers - all crude compared to today's standards.  I loved having 24/7 access to a studio, albeit a humble one.

I was listening to a lot of new music that was off centre but amazing - Vangelis w/Jon Anderson, Enya, Swiss harpist Andreas Vollenweider - composer Mark Isham - the list goes on and on.  Music for me was about embracing chill in the chaos.

I recently pulled borderlines up, scraped it off and took a rag to it - re-listening.  Having embraced iMovie/Final Cut here,  I was inspired to put an audio/visual clip together - now 30 years later.  Best part ... I can do this - I can put my music to pictures, bringing it back to life in HD.    I think it's safe to say that there's an underlying sadness to my work, but if you look carefully you will see cracks in the surfaces where light seeps out - optimism.   Fretless bass by Dave Smith and alto sax by Jon Panshychyn.

Sometimes you get to work with these musicians ... who listen to the track once, then nail it - first take.  That's both Dave and Jon.

It's a place where I can go back and revisit AND bring you with me
an alignment thing. 




























 

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