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A punk band: Raspberry Part II  

                                      Tom on drums, Shawn on bass - photo by Chris Lundeen                                              

Song: Empty Beer Can

Details: 

Recorded early 1994 in Spokane, WA at Jello Tree Studio by John Salvo. Co-released on Nervous Wreckords late 1994 as one of two songs from Side B of 7" record. 

Here is another example of our lovely little sound. Empty Beer Can features my immature lyrics about a girl, coupled with the proverbial "la la la" vocals on the chorus. I owned a really special Telecaster-style guitar at the time and this is definitely it. And I must say, that listening back to these recordings brings me right into the physical space in which they were recorded. I was positioned to the right of Tom while Shawn was to the the left. I used to prop my amplifier up on my old red, white, and blue roller-skate case. Because of the volume we created as a power trio, it must have been difficult for the engineer, John Salvo, to manage all the guitar and bass bleeding into the drums. I must admit, however, that I prefer recording this way to this day.

And this was also the beginning of my interest in recording. The vocals and a few additional guitars were overdubbed and I specifically remember John placing the AKG 414 microphone at or around the 12th fret of my acoustic guitar. He asked me, "Do you mostly want to hear the strings?" I guess my answer was "Yes!"

Technical Specs: 

Machine: Tascam MSR 16 1/2” with Soundtracs MRX 24x8x16 console; mixed to Tascam 32 two-track machine; backed up on DAT 

Microphones: AKG 414, EV RE-20, Sure SM57, Groove Tube MD 1a, various Audio Technica 

The room was a large spacious warehouse up a few floors from the street in downtown Spokane, WA.  

 

Special thanks to Warren Gardiner for mastering this track. You can find him at www.gardineraudio.com

A punk band: Raspberry Part I  

Song: My Brother Pat

Details:

Recorded early 1994 in Spokane, WA at Jello Tree Studio by John Salvo. Co-released on Nervous Wreckords late 1994 as Side A to 7" record.

Technical Specs:

Machine: Tascam MSR 16 1/2” with Soundtracs MRX 24x8x16 console; mixed to Tascam 32 two-track machine; backed up on DAT

Microphones: AKG 414, EV RE-20, Sure SM57, Groove Tube MD 1a, various Audio Technica

The room was a large spacious warehouse up a few floors from the street in downtown Spokane, WA. 

I was in a real punk band, complete with nonsensical and heavily repeated lyrics, a beat often over 100 BPM, and a few guitar solos! One of these bands was called Raspberry. We were a good band. We played all over Moscow, ID and Pullman, WA from late 1992 to early 1994. We ventured on tour over to Seattle, WA and down to Boise, ID as well. We had a blast! Shawn Camp sang and played a bass that was a precursor to his career as a painter. Tom Hudson played an old Pearl President drum kit. I sang and played a Les Paul through a half-stack. The three of us had many adventures together and I love these guys dearly.

I remember it felt really good to play this music. It was loud and generated real energy. Shawn and I could never hear each other sing (which might explain why our lyrics are so different and our songs don't make any sense). Tom was and still is a badass drummer. We called him Tommy "Ricky Hurricane" Hudson. Maybe he just called himself that. We were a power trio influenced by some of our collective favorite trios at the time: Firehose, The Meices, Sebadoh, Dinosaur Jr. and a local band - Sugar Daddies. 

Special thanks to Warren Gardiner for mastering this track. You can find him at www.gardineraudio.com

January 6, 2019: new song on rainy evening in SF 

Here is a new song I worked up over the holidays. While it's true that it has many elements of other songs I have written, there seems to be something worth chasing in this particular untitled tune. What shall I do with it?

Technical Specs: 

Camera: iPhone XR

Microphone: Shure MV88

Application: MOTIV

Scott Songs: December 2018  

Song: Golden Boy, Glenda, and Shamoo

I wanted to tell a Christmas story in the story-telling style of Tom T. Hall and Johnny Cash. Here's what I came up with. It's the story of three misfit barflies accused of stealing the local Methodist’s baby Jesus. Set in a small town we may as well call Clarkston, the three barflies search their souls, download an app, and save Christmas - likely all by their third beer.

Merry Christmas!

Technical Specs           

Machine: Reaper DAW

Pre-amp: Art Tube Pre (the one with presets for about $75) chained with an RNC compressor   

Microphone: Audio Technica 4033, Sure SM57, Cascade M39 stereo pair 

Rhythm Guitar: 1963 Gibson B-25, 1991 Les Paul Standard through Fender Blues amp

Lead Guitar: 1991 Les Paul Standard      

Bass: 1970s Univox Beatle copy    

Drums: free drum app, sleigh bells from my dad's old farmhouse, rim shot and brushes on 60s Ludwig snare, old wooden tambourine

Misc: harmonica

Special thanks to my kids, Cy, and Nadine, as well as my wife Christina for singing background vocals.

Recorded and produced at home by myself. Mixed and mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. I want to thank Warren for his incredible dedication to a year's worth of music production assistance. This song in particular was the result of many mixes just to get it right. You know what Warren said to me? He said, "Hey mate, no worries at all about being picky, the client has to be happy! Made the changes and proceeded straight to mastering, but can still make further changes if you need." Here is his website so you can seek him out and benefit from his experience and expertise: www.gardineraudio.com

Aloha and Merry Christmas 

I went to Hawaii in search of Magnum PI. May have stumbled into Elvis when I bought this shirt. Went to the beach with my smart phone in my pocket. Went swimming. Left the beach without my smart phone in my pocket. Not real smart after all. But, I did buy a new and special ukulele and I have this Christmas gift for you.

Mahalo,

Scott

Scott Songs: November 2018  

Song: Fixed

I took a collage approach to writing when I set the drums up in my studio for this song. I played along to a metronome set at four difference speeds to achieve four different potential frameworks to build upon. This, I believe, is the third performance. I smiled at their cardboard sound and nodded at the space I left for other potential cutouts. I then played bass. I chose notes that simply felt nice to me. These were the larger scraps of paper. I tried not to think too much about patterns. Instead I let the drums guide me and help me establish a mood with a nice balance of tension (the low end on the Tascam 388 coupled with the flabby drums helped too). Once the framework was set, I asked, Where does space remain in this piece and where should it be sacred? I worked out a simple ascending piano line to further capture the mood and tone set by the rhythm tracks. This felt like a long jagged tear right through the middle. My 12-string electric added shimmer like scissors threatening subtle manipulation. I let the glue dry for a few weeks before returning to the piece. 

I have had an old accordion 10-inch record set that I have never bothered to listen to. I placed it on my old school-house record player which was mic'ed up and ready to go. Now I love serendipities as much as the next guy, so please imagine my smiling face as the first track of the first record just happened to tonally wash over the entire piece. I lifted the tone arm up and down in rhythm and felt where it needed to be. Then I was finished. 

Technical Specs          

Machine: Tascam 388 finished on Pro Tools First

Pre-amp: Art Tube Pre (the one with presets for about $75)     

Microphone: Audio Technica 4033, Sure SM 57, Cascade M39 stereo pair

Lead Guitar: 12-string Danelectro       

Bass: 1970s Univox Beatle copy   

Drums: Rewrapped sparkle kit made from junk shells

Keys: Yamaha console piano

Recorded and produced at home by myself. Mixed and mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. Warren is a great engineer. He will do a great job on any audio project you bring to him - highly recommended! Please contact me for more information.

Scott Songs: October 2018  

Song: Packing up (Atari of my dreams)

I remember being a DJ at KZUU in Pullman, WA. The new music every fall was the best. Maybe that's why this particular season has always been a sentimental time for making music. This new song embodies what I love about fall in many ways. It acknowledges change in my life - where I've been and where I am and that I have enough. Here's how it happened...

I recently retrieved the last of my belongings from a basement in Portland, OR. As I packed up these things I experienced utter filth, sweat, and rat shit. Lots of rat shit. I also experienced joy, sorrow, and happiness. Lots of it. I went through old letters, and memorabilia from old concerts I played. I packed up an extensive collection of Oregon license plates spanning over 100 years. I even salvaged the Atari 2600 from my youth (it still works FYI). I went through photos and I packed up cameras that took the photos. I gathered up my very first guitar as well as a trumpet case. When I opened up the case I thought now where in the hell is the trumpet? Things change... Things disappear... Things remain... 

Technical Specs         

Machine: Tascam 388 

Pre-amp: Art Tube Pre (the one with presets for about $75)   

Effects: Roland RE-20 Space Echo Reissue 

Microphone: Audio Technica 4033, Sure SM 57   

Rhythm: 1963 Gibson B 25   

Lead Guitar: 1991 Gibson Les Paul Standard      

Bass: 1970s Univox Beatle copy  

Drums: 1960s Ludwig Snare, off brand medium crash cymbal

Keys: Korg SV-1

Recorded and produced at home by myself. Mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. Warren is a great engineer. He will do a great job on any audio project you bring to him - highly recommended!

Scott Songs: September 2018  

Song: The Ballad of Indy, Reggie, and the ancient cowbell

And then Lou Reed said, "Don't worry about the tempo. Just play." The cowbell held a sporadic groove and the lyrics were odd. I felt as if I was doing too much with too little. The band was drifting in and out. Everything was fuzzy. I said, "So Lou you want us to play along to this iPhone recording even though the tempo is floating between two floors of this warehouse?" That was the basic idea, although he didn't say it with words but with that deadpan stare. In the end I decided to go with it. I mean, how often has Lou Reed sucked so bad it was unlistenable? Well, OK, that's not a fair question. It was a standard length jam and it was all there on the voice recording. All the band had to do was play along and try to keep time. Lou plays a steady cowbell. I'll say that much. 

Technical Specs        

Machine: iPhone Voice Notes, Tascam 388, finished on Pro Tools First

Pre-amp: Art Tube Pre (the one with presets for about $75)  

Effects: Roland RE-20 Space Echo Reissue

Microphone: Audio Technica 4033, Cascade M 39 pair, SM 57    

Rhythm: 1963 Gibson B 25  

Lead Guitar: 1991 Gibson Les Paul Standard     

Bass: 1970s Univox Beatle copy 

Piano: Yamaha console piano

Drums: 18" Buffalo Frame Drum, 1960s Ludwig Snare, off brand Hi-Hats, ancient cowbell (possibly from my dad's childhood farm), egg shaker

Recorded and produced at home by myself. Mixed and mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. Warren is a great engineer. He will do a great job on any audio project you bring to him - highly recommended!

Scott Songs: August 2018  

Song: Green Mind

This month marks 8 months and 8 free songs I have shared. I have almost finished a whole reel of tape. Here's the story behind this month's cover song...

I was in bed, sick, a few weeks ago when I received a message from my friend Joe Salinas about contributing a song for a film project. He specifically asked for something 80s - a cover song. My ukulele was nearby so I grabbed it and went through some possibilities, sharing them via the voice recorder on my iPhone with Joe. I recorded clips from The Smiths, Go-Betweens, David Byrne, Echo and the Bunnymen, and Dinosaur Jr. Here's what Joe wrote when he heard a snippet of Dinosaur Jr's "Green Mind": "Holy shit. This is the one. Yes Yes Yes." So I set out to make a ukulele version of a totally rocking song with trademark J. Mascis mumbly lyrics and huge guitar solo. At the tempo that felt right to me, the song became over 5 minutes long. Too long! Way too long. So, I edited the lyrics (gulp... sorry J). Here's what I have to share with you.

Technical Specs       

Machine: Tascam 388

Pre-amp: Art Tube Pre (the one with presets for about $75) 

Effects: Alesis micro verb (the small one, rescued from my rat poop infested basement in Portland, OR)

Microphone: Audio Technica 4033, SM 57    

Rhythm: 1980s baritone ukulele that my mom gave me ages ago - still the best sounding uke I have ever played   

Lead Guitar: 1991 Gibson Les Paul Standard    

Bass: 1970s Univox Beatle copy

Misc: glockenspiel, old Ludwig tambourine with skin

Recorded, mixed, and produced at home by myself. Mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. Please reach out to him if you are in need of mixing and mastering services. His rates are reasonable and he does excellent listening! 

Scott Songs: July 2018  

Song: Worth a thousand words

One thing this monthly blog has taught me is I can't be afraid to try things in a new way. I really let this song develop and I think it shows. Early in the writing process I listened through my iPhone voice notes for song ideas and came across the chord progression with some mumbling lyric idea... "you don't know and you won't..." I then sat at the piano and expanded the melodies I was hearing. I recorded what seemed to work well on the 388 and was about to sing it and said, "This really sucks." I forced myself to give it a month-long break but returned to it thinking, "It still sort of sucks but maybe it's just the way I am approaching it." I sent it off to my former collaborator, Peter Joseph Head, in Melbourne, AUS thinking he could do something magical with it. As it turned out, he didn't have time. So, I tried it again. Many key changes and lyrical edits brought me to something I thought was workable. It still needed perspective though, and I knew just the guy.

This recording marks the first collaboration with my friend Sean Lennon, who stopped by to play bass. I have watched and listened to Sean rock out in punk bands since my college days back in the early 90s. Sean was always in the best bands. I can picture him bobbing his head while working the neck of his bass as 50 or so college kids nod in approval. His bass line here provides the much needed foundation for this track. Keyboard lines and synth drums spring from his loping lyrical lines reminiscent of Disintegration-era Cure. 

Technical Specs      

Machine: Tascam 388, bounced to Pro Tools First and finished

Pre-amp: Art Tube Pre (the one with presets for about $75) - I am using 2 of these now as they work great for this application

Effects: Roland RE-20 (space echo reissue) - patched in as an effects send

Microphone: Cascade V57    

Rhythm Guitar: 1963 Gibson B-25  

Lead Guitar: 1991 Gibson Les Paul Standard   

Bass: 1992 Fender American Jazz bass, Tech 21 Sansamp Bass Driver Delux

Keys: Korg SV-1, Korg Nano Key synth and drum pads

Misc: egg shakers, old wooden tambourine, off-brand medium crash and hi-hats, off-brand floor tom with mallets

Recorded at home by myself and Sean. Mixed and mastered by Warren Gardiner at Gardiner Audio in Melbourne, AUS. Please reach out to him if you are in need of mixing and mastering services. His rates are reasonable and he does excellent listening!