For today’s post we’re Messin with another song for you. This time we’re taking on ‘Shout’ by Tears For Fears. The song first came out in 1984 on Tears For Fears second album, Songs From The Big Chair. It became one of the most popular and recognizable songs of that era of music. One of the best fist in the air, sing along choruses you’ll find. As I’ve said before we always pick songs we like to cover. I don’t think you can do an interesting cover unless you have some type of love for the song you’re working with. But you also have to be able to do something different and interesting with the tune. For ERP I don’t see the point of trying to do a note for note copy of a song. Who wants to do a ‘not as good’ exact copy of a song you love.
For ‘Shout’ it was easy to do something different. The song has a pretty ‘electronic’ sound to it, along with the drive from a full drum kit. So turning it acoustic gave it us a lot of choices. The basic foundation of the song was built on twelve string acoustic guitar. We did two tracks of that and panned them to opposite stereo channels. The other thing that gives these guitars some push and pull is that they are not completely identical throughout the song. If you’re wondering about how song arrangements are created, this technique is something to keep in mind. Before there were large multi track studios, you had to really think about how to place tracks in the song. If you listen to some Hendrix songs you’ll hear drums in one channel only and guitar or bass only in the opposite channel.
So for ‘Shout’ we used the two takes of twelve string guitar, mandolin, banjo and bass. There’s also some acoustic slide guitar and a second mandolin in the instrumental parts. For rhythm we used tambourine, washboard, wood block (the wood version of ‘More Cowbell’), egg shaker and a rattler that sounds a bit rain stick. We did four tracks of vocals, two for the verse and two for the chorus. The point is to highlight the vocals and lyrics. This was a one mic recording. We used the new ribbon mic for everything (see In The Studio – Microphone Basics). I’m pretty happy with the results.
Electrostatic Rhythm Pigs cover ‘Shout’ by Tears For Fears:
Welcome to another entry in our Messin With The Music series. The recording of this song comes with an interesting history. ‘How Many More Times’ is a Led Zeppelin classic from their first album. It is also the first song we actually recorded for the series. Electrostatic Rhythm Pigs, like most bands, has gone through a number of band member changes. We had spent a lot of years always trying to have a full band together that was capable of playing live. Each time someone would leave or a new musician came in it’s practically like starting over. We had electronically released our ‘Celebrity Prostitution’ EP, staying with a garage rock, punk blues sound. This time we decided to just work on our own and concentrate on recording. The question became – what style of music should we do? On many sites or internet radio when you post a song you’re asked to pick a style of music it represents – usually from a drop down list. It’s difficult to categorize yourself. I’d much rather let someone else make that call. We’ve never stuck to a very specific style, although I guess you could put it generically under ‘rock’. So, just for fun, we decided to create a category and try to fit some music in to it. Thus was born Dark Americana Shoegaze. We wanted to work on figuring out instrumentation, arrangements and recording. We thought the best way to do this was to start by covering songs (although we do have a number of originals in various stages of completion). That way we could concentrate on aspects other than writing the song – and we’d get to play songs we already really liked.
We didn’t have any pre-conceived recording methods yet, other than keeping a ‘live’ feel – no autotune, no quantizing of drums or other instruments, no cut and paste of parts. With that in mind we got to work on ‘How Many More Times’. There was a lot of structural change to do. We certainly couldn’t copy Led Zeppelin’s eight minute and twenty eight second version. So we cut it down to a number of shortened verses, did a short piece to represent the long instrumental in the middle and another section for ‘The Hunter’. To keep the Dark Americana Shoegaze idea some verses are electric guitar based, some acoustic instrument based and some a combination. The vocal tracks tie all the different parts together. To get a big, full sound most of the instruments and vocals were multi tracked with multiple mics. If you listen you can hear a number of different electric guitar sounds, two bass lines and multiple banjo and mandolin tracks at different parts of the song. We stacked a lot of vocal tracks. When we finished recording we were looking at forty eight tracks. This was going to take a while to mix and master. We decided we wanted to get a song out quickly so we picked another song – ‘It’s Gonna Be A Long Night’ by Ween and moved to what became our more standard method to put it out quicker – one mic, one track for most instruments. That went well so we picked another song, then another, then another. ‘How Many More Times’ went on the back burner. When the pandemic put our recording on pause it seemed like a good time to finally put this song together. I will say that this is probably the ‘strangest’ cover we’ll ever put out, so it may be a ‘love/hate’ experience for listeners. Might do another Led Zeppelin tune in a bit more straight forward fashion in the future. It was certainly an interesting experience mixing it. So here it is. Hope you enjoy it. As always we encourage comments, feedback and suggestions.
We’re back with another ‘messed’ song for your enjoyment. There’s a bit of a story with this one. ‘Seven Nation Army’ was actually recorded before most of the other songs that have been posted. Recording these covers did start with one idea we have maintained with all the songs – recording the tracks straight through to keep it having a more ‘live’ feel. With this song we did what we often do with our own studio songs – record multiple tracks of each instrument for a more ‘full’ sound. So most of the instruments on ‘Seven Nation Army’ were tracked several times (although each separate track is recorded straight through). We also used multiple mics on the acoustic instruments, adding even more tracks.
This tune has twelve string guitar, mandolin, banjo and six string guitar. The percussion is the floor tom from our drum kit and a shaker. Each instrument was tracked several times (except the percussion). Two more mandolin parts were added in the one instrumental section as a ‘lead’ instrument. When we finished recording I realized it would take a while to mix correctly so we decided to record another song without all the multi tracking and multiple mics. And when we finished that song we thought of another, then another……… So it took quite a while to get back to mixing ‘Seven Nation Army’.
As we continue messin’ with songs I’m sure more electric instrumentation while come in to play along with a bunch of other ideas. As always, hit us up with comments and questions if you have any. Hope you enjoy.
Electrostatic Rhythm Pigs play The White Stripes ‘Seven Nation Army’:
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’
As you scroll through the internet you’ll find lots of videos, blogs, web sites, etc that present info on studio recording. There are a lot of great ones, some very high end studios and some very experienced, knowledgeable people. I’ve watched and read a lot of them myself. So I sat down and gave some thought as to what our place in this vast info universe would be. I’d like our videos and info to make you feel comfortable and at home. As if one of our friends walked in and asked “I always wondered how you……….”. That’s why we do mostly single take videos and record ‘live set up’ songs whenever possible.
This video gives some basic tips on recording the snare drum and the concept of phase cancellation. As you watch the video keep in mind that phase cancellation can happen with anything you record. It’s something to always keep in mind as you do mic placement or mixing. Keep your ears open and your eyes on your sound waves. And always follow the first rule – experiment, try different set ups and compare.
If you have any “I’ve always wondered…..” questions or situations, feel free to leave a comment/question or send us an email. We’re always up for a good ‘conversation’.
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.