Category: News

I didn’t know why Jill asked for the lyrics to “Make Our Sound.”

Over the next few weeks, I forgot about it entirely.

When I found out what she’d been up to, though, it all made sense.

I accept the gentle teasing about getting Ventura done with gratitude; to me, it means that it matters to someone, and I love having a piece to remind me of that, and of the friend who created it, every time I pass by it.

Below is the poem “An Autumn Psalm” by Clyde DeWitt, who I knew through St. Peter’s.  The poem, published in his funeral bulletin, inspired the song “Make Our Sound” on Ventura.

Omnipotent and omniscient God
who alone can truly comprehend time and space without end;
We who are in the autumn of our lives on this tiny planet
give thanks for the gift of what to us
has seemed a long and fulfilling life.

We give thanks for the chance to see the beauty of nature –
the earth, the water, the skies, the trees, the flowers –
and to observe nature’s creatures.

We thank thee for the gift of love
reflected in the love for us from those here
and from those parents, kin, and friends who have gone before us,
and the love we have for mates, for children, for their children, and for friends.

Oh Lord, let them feel this love as the autumn of our lives
becomes the winter,
and even when our bodies turn to dust.

Lord, grant us the wisdom to live our autumn years with grace,
being forever grateful for the joys of life
we have already been granted.

May we share with others the bounties we have been given
and our fleeting insights into your wonderful wisdom.
Give us the courage to face the aches and infirmities of these autumn years.

And let them never keep us from beaming with our thanks
for the great joys you have bestowed upon us;
and when our mortal time draws to a close
let us depart with grace,
knowing it is simply a part of your holy plan,
and that the spirit of life and love will continue without end.

Amen.

Coast & Plains

They say that everyone feels a certain way
About the place they grew up in; they either hate it or love it
And every time you try to leave, it pulls you back
Like a lover who’s untrue, you try and leave and it kills you

Back home; the place that you came from

You left the uptight coast behind for the great midwest
What you thought you wanted, but the good life was haunted
And then you get this idea floating around in your head
Home wasn’t so bad, but you know that you can’t go

I’m one person leading two different lives,
Trying to make the coast and plains coincide

Back home; the place where you belong

Large’s Garden State

Sam, you know that you’re too cute
Strobe lights and unexpected shakes
Never got the best of you
My week back home’s been shot
Every which way but loose
You’re the weak link that broke addiction’s hold

(more…)

Ventura has been 10 years in the making.  It was written as the second Sally M/S Ride record, after Don’t Let Them Take Us… ALIVE.

Before I started recording it I got fired up about the 2006 elections and the Iraq War, wrote some stuff that seemed more time-bound, and went ahead with It’s A Trap.  I was living in a basement apartment underneath my landlords (no drumming allowed), so I moved on to the basic guitar and vocal tracks for You Have To Wear The Boots.  Got the carriage house, Mars Lights was set up for the Sides EPs, and so I had Matt do the drums for There is Something and not nothing while the gear was in place, and that ended up coming out before we finished …Boots. * So, in early 2012, I finally got serious about recording Ventura.

Trying to track down when specific songs were written (my legal pads aren’t dated; maybe I should start) has been a trip.  Mostly, I’ve dug back through the blog for early mentions of “Ventura” or song titles.

In November 2005, there are two mentions of a “Ventura EP,” which would have included “Coast & Plains” and possibly “Large’s Garden State.”  Then, by April 2006 I was blogging about it as an album.  It wasn’t 100% finished, and two songs slated for it at that point were eventually dropped.  “I Want To Know” was re-worked and ended up on …Boots as “Harvest Moon,” and “You Do What You Want” remains an unfinished tune of Cory’s.  “Green Christine” was added later, but it’s pretty weird how early the songs, and the sequencing (!), were set.

Here, to the best I’ve been able to figure, is when Ventura’s songs were written.

1. “Market Stress” – 2003 December.  I have an incredibly clear memory of being packed in the back of a bus in Ghana, going from Cape Coast or Winneba to Accra, half-dazed with the heat, exhaustion, and dehydration, and the chorus – chords, melody, lyrics, and marimba figure – just arriving in my mind from a daydream.  There was no Ventura at this point; there was, and remains, a set of five or six tunes I wrote while in Africa that are unfinished, and “Market Stress” belonged with them for a time.
2. “Coast & Plains” – 2005 July?  Again, a clear memory of sitting on my Mom and Dad’s front porch and showing Cory these chords, and he came up with the melody on the spot.  I think the lyrics were finished a week or two later.  I think it was July 2005 because I was probably in the process of moving from Minnesota to Kansas City.
3. “Large’s Garden State” – Fall/winter 2005/06?  Jessie loaned me Garden State, and I liked it but thought the ending was too neat, so I wrote what I thought was a less-Hollywood epilogue.
4. “Lee’s Summit” – 2006 February.  I remember writing the lyrics to this song on a visit to Grandma, in Gibbon, NE.
5. “While I Was Moving About Flyover Country.” – 2006 February.  Took a walk around the park at Gregory and Blue Ridge in Raytown on an unseasonably warm day, came home and immediately wrote these lyrics.
6. “Were In Love” – by 2006 March.  I played it at a coffeeshop on a trip to Ventura (the actual city) with Cory, and forgot the second verse, and thought to myself “Ack, I always forget the second verse to this.”
7. “Make Our Sound” – by 2006 April.
8. “E Harbor Blvd” – by 2006 April.
9. “Car Chase” – by 2006 April.  I only know about these three due to the post linked above.
10. “Green Christine” – 2008 June.  Finishing this song is also mentioned on the blog.  Note the two-year gap, after busting out the eight core songs of the album in less than 12 months.  I’m really grateful it arrived, though; Ventura was feeling just a hair slight until “Green Christine” filled it out.

* Sally M/S Ride album sequence:

Ventura can be just a bunch of songs, and I’m 100% cool with that; it’s by design.  It can also have some themes and stories that connect the songs together.  The strongest one might be the idea of moving, particularly moving from east to west (with a lot of time spent in the middle).

I made a Google map for you to explore, with the quasi-location of each song marked.

East-to-west can also stand in for other directions, like younger to older, and west connects to classic American themes of freedom and opportunity and their less-classic shadow sides of alienation and brutality.  Not that the record leaves you in that place; rather, it starts to mix those things in as you move through it.

…or want to visit, I suppose, you’re welcome to stop by my house any time after 5:00 tonight to celebrate the release of Ventura. I’ll have wine and hummus, and you can bring anything additional you’d like. Call/text/email ahead, please! -h

We’ll be at FOKL in Kansas City, KS on Friday, June 20, with Expo 70 and Quadrigarum for a free, all-ages show at 9 PM.

Jamming some La Otracina this morning, check it out.

I’m committed to releasing Ventura this month.  Maybe even next weekend.

Besides supporting the artists who make it:

“What does it mean if your own personal music is being stored in a platform that’s hard for you to access, hard for you to download, has source code you can’t tweak, you can’t port it to something else if it gets bought by Murdoch’s tentacles?” The word “cloud”… acts as a form of linguistic wallpaper masking the fact that digital copies of “your” music are in fact somewhere amidst vast server farms in places like Maiden, North Carolina; Ashburn, Virginia; Singapore; New South Wales, and Victoria, Australia; and Dublin, Ireland, subject to the terms of impossibly long end-user licensing agreements and to disappearance without notice.

From Station to Station: The Past, Present, and Future of Streaming Music by Eric Harvey. Opening quote from Jace Clayton (DJ/rupture)

I would be heartbroken to lose albums I love to a platform or ELA agreement; it’s not worth the risk of that, to me, to move to any kind of streaming service.  I continue to buy music (on CD, even, for albums I know I like and will want to hear in high fidelity).

In addition to these reasons, I have a lot of material that’s not available on streaming services.  That includes things I’ve recorded myself, files I’ve recorded from vinyl, and tons of local music.  Google Play would address this issue, but it’s the only service I know of that would, and the other issues remain.

(The quote above is just a small part of a fantastic article that covers many facets of the streaming phenomenon, both positive and negative.  Read it if you can!)

Have you tried, or switched to, a streaming service?  If so, how do you like it?  If not, why not?

If so, contact Will via Bentley Guitar Studios in Parkville.  Recently I gave him a bunch of trouble with my amp, and he provided good advice, fixed the problem, kept me posted throughout, and gave me a fair – actually, generous – shake on the price.

Plus, downtown Parkville is nice on a Saturday afternoon, with some restaurants and shops in a very walkable area.

It should go without saying, but doesn’t any more, that this recommendation is genuine and I am not being compensated in any way for it; I just had a great experience.