We’re back with another messed with tune for you. This song is from the band Shriekback from the 1985 album ‘Oil And Gold’. They were another early influence band for me. What first drew me in were the great funky bass parts from Dave Allen, formally bass player for Gang Of Four. They also do some wonderfully spooky atmospheric songs with very spare instrumentation. I’d suggest listening through the whole Oil And Gold album if you have the chance.
Another part that draws me in comes from the song title. The concept was first put forth by French philosopher and Jesuit priest Pierre Teilhard de Chardin who felt there could be common ground between philosophy, science and religion. It’s a concept we could really use in these times. To quote de Chradin: “Remain true to yourself, but move ever upward toward greater consciousness and greater love! At the summit you will find yourselves united with all those who, from every direction, have made the same ascent. For everything that rises must converge.”
Finally from a technical standpoint, the Messin ‘live feel’ protocols remain. The song centers on the bass line (including the challenge of playing it straight through the entire song) and the vocals. We have two vocal tracks that sometimes combine and sometimes harmonize. Bubbling in the background is banjo, mandolin, six string guitar and twelve string guitar. We added some shaker and a percussive combination of a mini tambourine combined with washboard (you’ll hear it best right at the end of the song). This was another recording in which stereo placement of each instrument was very important to the final sound. Listen carefully and you should be able to find all the pieces.
As always, hope you enjoy it and questions and comments are welcome. It’s a little tougher with all of us having to work remotely from each other. Please stay safe in these difficult times.
Electrostatic Rhythm Pigs play ‘Everything That Rises Must Converge’
There’s so many Rolling Stones songs I’d love to tackle and mess with. We decided to start with ‘Dead Flowers’ from the Sticky Fingers album. The song checked off a couple of boxes for us. People have heard it, but it’s not one of their real famous commercially played songs. It was also one of their ventures in to ‘country’ or ‘country rock’ music. Since we’re doing a lot of acoustic work on the ‘Messin’ songs, that actually made it a bit more of a challenge to change. Although it was recorded with electric rock instrumentation, the country sound gave it a bit of an acoustic feel. And our point in doing these recordings is to do something a little different, not a straight on cover version.
So here’s what we did for our version of the song. We actually picked up the tempo to help enhance the changes. For this song the instruments are single tracked except for the vocals. The instrumentation is 12 string guitar, 6 string guitar, banjo and mandolin. Some of the instruments are playing repeating riffs and some are more straight forward chords. We didn’t add any direct percussion instruments to it, so to fill in the bottom end a fretless bass was added with multiple effects on it. It almost sounds like a keyboard or didgeridoo rolling underneath the other instruments. A second mandolin and banjo part were added in the third verse where the guitar solo was in the original. Where the instruments were panned in the stereo mix was real important. You might see an In The Studio video on stereo field in the near future.
Electrostatic Rhythm Pigs play The Rolling Stones ‘Dead Flowers’
For a while now we’ve been thinking of how to do ‘live’ videos for Electrostatic Rhythm Pigs. We do practice the songs live with just vocals and acoustic guitar. But that doesn’t always give the essence of the song as it was written since many of the songs are the result of several small ‘riffs’ put together on different instruments. So we decided to record some parts of the song and then play along live with the pre-recorded parts. We still do the pre-recorded parts as ‘live’ tracks by playing them straight through in ‘Messin’ With The Music’ fashion. This allows us to video the live playing while still getting the real feel of the song.
The first song we’ve recorded is ‘Born Again’ which is on the album ‘Superior Olive’ we did as Conduit. The pre-recorded parts are acoustic guitar, banjo, snare drum and the bass beat on a cajon. The electric guitar in the video goes through a few effects pedals to an amp in another room using one microphone. The vocals are recorded with the mic seen in the video (also pushed the tube drive on the vocals to get a little ‘grit’). We’ve kept the unedited live feel, even the shots of walking back and forth to turn the video recorder on and off. We had a good time with this, so expect more performance videos in the future.
Electrostatic Rhythm Pigs – ‘Born Again’
Welcome to 2020. When this song was written that date was the realm of science fiction. We’d be living on other planets, have flying cars and could teleport. Yeah, well. T. Rex released Jeepster at the end of 1971. The song’s chords and structure are basically ‘blues’ oriented. But throw in a few pounds of ‘glam’ and the song turns more psychedelic. Songs from that era are just so much fun to mess with. I think it’s how ‘loose’ they are. If you listen to the original there’s a drum beat intro, which starts at about 88 bpm. By the time we’re rolling in the first verse, it’s at about 95 bpm and it fluctuates throughout the song. It gives the song personality and makes it feel alive.
We stuck with the Messin’ recording rules to keep the live feel. The overall idea was to have the instruments doing intersecting ‘riffs’ with the vocals sort of floating on top. So instrumentally we have: six string banjo to carry the main riff, played twice for the stereo effect; twelve string guitar; two mandolin parts; fretless bass; five string banjo for fills and acoustic slide guitar. We have two different tracks for the vocal. One vocal track was spawned by our discussion of working on a Prince song in the future (‘how would Prince sing Jeepster?’) So instead of one vocal track being the ‘main’ track, we blended two together. More tracks also allowed better options to pan the tracks for stereo which allows you to hear the separate parts easier (and it’s fun for headphones).
So here’s Electrostatic Rhythm Pigs covering T.Rex’s ‘Jeepster’.
So we’re at the end of another year. Seemed much longer than a year. As always there was good and bad; ugly and beautiful. This was a year when I decided to consciously cut back on the ‘noise’. All the stuff swirling around that destroys creativity. Sooo……Newspaper – dropped. Cable TV – dropped. Staring at phone feeds – ehhhh…..work in progress, but improved. Have a basic idea of what’s what without drowning in it. There’s so much to do musically and with the site, and I needed some energy to work on it.
So my wife Lorena and I ventured to the national parks to do some hiking and photography. Two weeks in the parks works better than years of meds or therapy for me.
I even got to work on my ‘dislike’ of heights. Seems if you add jaw dropping views, my brain tends to ignore the height.
So when we returned at the end of September, I got back to work. Three features that were started – ‘Grapevine’, ‘In The Studio’ and ‘Messin’ With The Music’ will continue in to 2020. We’ll see what else we come up with. There are a bunch of new Electrostatic Rhythm Pigs original songs in the works. We may even get a new tune from Steaming Mulch. And we’d like to get more eyes and ears on ChurchHouse Productions. More contact with like minded folk (hint – tell your friends).
So ends our yearly update. Hope your 2019 was great and your 2020 will be better.
Greetings. We’re back with another tune to be messed with. This time we’re honoring ‘Novocaine For The Soul’ by Eels. This was a fun song to work with. I really enjoy the anthemic, sing along nature of the song. Again, we stayed basically acoustic except for the bass guitar. The song has 12 string guitar, bass, mandolin, six string banjo and a little percussion with tambourine and egg shaker.
To give a wider, stereo feel the 12 string guitar foundation track was played twice and panned hard stereo left and right. I think giving a track a wide stereo sound is important and playing a duplicate instrument track is a great way to do it. The two tracks can be very similar, but will almost never be identical (unless you force that with computer manipulation) so you hear each track distinctly from each channel. We worked the same concept with the vocal tracks, recording the main vocal twice and adding two harmony tracks.
Another thing that made this song interesting was the key. We don’t usually change the song from the original key. Specific keys do give songs a certain feel. Major key versus minor key or in this case having the song in D flat instead of D. In the original song they did this by using capos on the guitars. We ended up down tuning the 12 string guitar a half note and transposing the chords so the guitar could be played in first position for a fuller, richer sound. A capo was used on the 6 string banjo. We also added a second mandolin track that acts as a ‘voice’, along the lines of playing a guitar lead.
We may not have said this before, but all the Messin’ songs are played by Electrostatic Rhythm Pigs. You can find these songs and the band’s original music on our SoundCloud account (we have links on this site). We’re also slowly adding all the band’s songs to our YouTube channel (here’s a link to our YouTube channel): https://www.youtube.com/channel/UC0vVN4p_KzvLg1DEuUSJoqw
This is the season for sharing. So please share our songs and videos with your friends. Add them to your Facebook feeds. Become a follower of our blog. Email us with questions or comments. We really appreciate your support.
So it’s time to throw another tune on the fire. We kept the same setup for this endeavor: same mic through the same pre-amp and compressor right in to the board – do the tracks straight through. To do what we wanted to with this song, we did add a few more tracks. So as you listen you’ll hear: 12 string guitar, 2 mandolin tracks, six string banjo (‘banjitar’ if you must), 5 string banjo, bass, washboard, tambourine, and cajon. We wanted to keep the fun feel so we tracked a bunch of vocals.
Soooooo………what does that give you? Our version of ‘Ballroom Blitz’ by The Sweet. I always thought the idea of Glam was over the top fun. Absolutely, wonderfully ridiculous. (If by some weird space/time issue you haven’t heard the original you must check it out). Hope you enjoy listening to it as much as we enjoyed making it.
You can listen here on SoundCloud too:
Without further ado – here is our latest release of the music video for Acetone… gotta love trains.
You can also listen to the song here on SoundCloud:
As we work with more acoustic instruments and try different techniques to record, we want to take you all along on the ride with us. Our first installment was in the post ‘Start At The Beginning’ where we worked our way through an acoustic version of Ween’s ‘It’s Gonna Be A Long Night’. In this post we take a similar path with The Cure’s ‘The Lovecats’.
We’re starting our recording journey with the most basic recording steps. Each instrument is recorded with one microphone (sometimes using the same mic and setup for multiple instrument tracks) and we’re recording one take for each instrument (other than vocals where we’ll usually have more than one track). We do some punch ins, but for the most part keep it as ‘live’ sounding as possible. In other words we’re not going to edit or digitally fix every string squeak or change in dynamics. It’s an attempt to see what we get if you go back to a time when studios couldn’t digitally enhance or ‘fix’ every little blip. What you play is what you get. As we go along through the songs we’ll describe the changes and additions to the recording process (adding electric instruments and multiple takes will come in to play in future recordings).
As you listen to ‘The Lovecats’ see if you can pick up the instruments that were tracked: acoustic six string guitar, five string banjo, six string banjo, mandolin, twelve string guitar and fretless bass guitar. Hope you enjoy our version. In the meantime, we’re already working on the next song.
– ‘The Lovecats’ by The Cure:
Time has a way of passing us all by. Blink and another year passes. Close your eyes and who knows when you’ll wake up…… I felt that I was in the creative equivalent of neutral for a few years. Lots of ideas, not a lot of execution. So at the end of 2017 we decided to try something new for both the writing and recording process. Americana, bluegrass and ‘old time’ country have added a lot to our listening lists for a while now, so the idea of using more acoustic instruments made sense.
The voicing of the variety of acoustic instruments makes all of them very audible in a song mix. Two acoustic guitars might step on each other, but add mandolin or banjo and they stand out. Hand percussion. Twelve string guitar. Fretless bass. Whatever’s laying around. Oh, we’re not abandoning loud, reverby feedback guitars. Just stirring it all in. You might associate the acoustic instruments with bluegrass music but we’re not looking to work in that style. Or maybe yes. Anything’s possible.
So to learn how the instruments sound together, how to arrange the songs, how to do mic placement, what pre-amps to use, what effects, etc, etc, we decided to re-imagine some cover songs we like. Some of the songs will be quickly recorded, some will have more production. We’ll also be starting to work more with video, both ‘live’ and produced. In the mean time we’re writing and recording new original material. Stick around, it should be interesting.
First song up: ‘It’s Gonna Be A Long Night’ by Ween. Did you ever know one of those “I can drink anyone under the table” types. Ween evidently did. Times 100.
We encourage you to listen to the original versions of the songs we cover. Always good to check songs out, especially if you’ve never heard it before. Hope you enjoy it. Back at you soon.