Music Journal Entry #5
Warning: The photograph accompanying this blog post depicts simulated scenes of ivory being tickled. The deranged human seen indulging in such attempted perversion is Tony, my songwriting partner.
Once we realized that these keys are made of plastic (which is not ticklish), we got down to the business of recording the synth parts for our album. If you haven’t read my previous entries, here’s where we stand so far: I recorded the drum tracks, Tony played bass (and acoustic guitar on one song), I added lead and rhythm electric guitars, and now it’s Tony’s turn on the keys.
Our recording adventure is taking an interesting turn here. When we wrote these songs, we used guitars and basses and drums. We knew all these parts and arrangements, so it was just a matter of getting them from our brains onto the hard drive. But no keyboard parts were written. Thus, we find that these tunes are taking on a mood and a flavor we did not anticipate as we layer in piano and organ sections, which is fun and exciting. I already thought we didn’t sound like anyone else, and now to an even greater degree, if that even makes sense. Perhaps the listener will have fun picking out our subtle influences, which run the gamut from late ’50s improv jazz to neoclassic speed metal.
Some of these songs don’t call for keyboards, so I expect we’ll wrap it up shortly and move onto recording the vocals. (Cough cough)… a hem… Do Re Mi Fa So La Ti-
Hey, where are you going?