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Music

Bill Mallonee “Life I Never Lived”

Some of the best songs ever written have as their source an overwhelming sense of regret. Bill Mallonee writes these songs with the best of them. Here’s a new one he just wrote and recorded that’s available for purchase as part of a re-issue of the EP “Electromeo“. The entire EP is well worth the $5 asking price.

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“Life I Never Lived” by Bill Mallonee

Look at al the goodwill i retracted
Look at that deck of cards and how i stacked it
Look at all that fear and how i masked it
look at the life i never lived
look at the life i never lived

Look at all once mistook for wealth
Look at all those gifts i put back on the shelf
Look at all the slack i cut myself
look at that life i never lived
look at that life i never lived

Playback all the harsh words i spoke
Take note on how i squashed some hope
look at all those tender hearts i broke
look at the life i never lived
look at the life i never lived

Look at all the houses i tore down
Look at all the smiles i turned to frowns
Look at all the roads that just went round & round
look at the life i never lived
look at the life i never lived

Look at all the good i failed to see
Look at all i failed to do for Thee
look at what i might one day have been
look at the life i never lived
look at the life i never lived
look at the life, look at the life
look at the life i never lived

The Making of Blue Rodeo’s “Five Days in July”

If you travel much in folk/country-rock/americana circles, you should be familiar with this fantastic album by the Canadian band Blue Rodeo. It’s an album that’s been a seminal influence on my own songwriting.

There’s not a weak track on the album but the highlight moment for me is the guitar solo by Greg Keelor’s in the song “5 Days in May”. It’s simultaneously misplaced and well placed, as if it was transplanted from another song in which it sounded more appropriate, and yet… it fits here too. Have a listen… (RSS readers may need to click here).

The Ottawa Citizen recently did a feature story on the upcoming 20 year anniversary of the making of the album:

“The commune-like vibe and the trees and hills around them helped create a folk-rock record pitched and sold to the record company a mere detour from their electric, rockabilly-inspired, country rock repertoire.

‘The band was never the same after that record,’ Cuddy said. Many of their albums since boast harmonica, pedal steel guitar and layered harmonies reminiscent of the Five Days record.”

Read the rest here.

Bonus… found this cover version of the song that actually does it justice:

#FreebieFriday Song: “Livin’ Honestly”

Here is the first of many #FREEBIE_FRIDAY songs that you can download for any price (including nothing).

This is one I wrote about some great songwriters I know… The songwriters I’m singing about may or may not include Bill MalloneeRon Sexsmith, and Mark Heard

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8 Things Performers Must Do In Order For Their Art to Survive

This via Bob Lefsetz:

1. Listen to a lot of records.
A knowledge of music is the best education. Spend more time listening than posting on Facebook. The musicians of yore could play every lick on their favorite blues records, can you?

2. Learn how to play.
Start with lessons. Only give them up when you surpass your teacher. Know how to play what you don’t like. It’ll come in handy, just like studying algebra.

3. Write.
We’re interested in what you have to say. You can wring emotion with a note, but begin composing lyrics too. Music blew up in the sixties because we were interested in more than the surface, we wanted to know who these acts were, we wanted to know what they had to say.

4. Rehearse.
If you’re not frustrated, if you’re not chomping at the bit, you’re not doing it right. Sure, post the results to the Net, but don’t expect anybody to pay attention. And promotion is passe. Don’t tell people to listen, go back and cut more until you create something so good it spreads by itself.

5. Use what’s come before as a stepping off point, not as a blueprint.
Although you should know how to play the classics, your music should not sound just like the Beatles or Zeppelin, but different. If you haven’t got people scratching their heads, telling you to turn it down, you’re playing it too safe.

6. No one has the magic keys.
Top forty radio is a formula fed by a conveyor belt no different from the one at GM, but with a lot less innovation. If you’re interested in making a Cruze or a Camry, sign up. But it’s the aforementioned Prius which is sold out and unavailable, it’s what people want, what they’re willing to overpay for, even though GM killed its electric car. It takes a while for the public to catch up. The Prius was not an overnight success. Hipsters and the green signed up first, Toyota improved the product, gas prices went through the roof and voila, a mania! Manias are not manufactured, not ones that last, they’re all about being in the right place at the right time, anticipating the market, not playing it safe, but being dangerous.

7. If practice isn’t hard, you’re not doing it right.
No matter how much success you’ve had, if it’s become easy, if you’re repeating yourself, you’re on the road to failure.

8. Listen to no one but yourself.
Recruit information, but preferably from someone without a financial interest in your success. Musical artists are the last loners, they’re visionaries, they’re not part of the group, but outside it. If you’re showing up at the club or the Met Costume Ball you’re doing it all wrong. No one should be inviting you, they should be afraid of you, and if they do call you won’t go, because you know they’re trading on your success for their own benefit.

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My new album “Lovers on the Edges of the Twilight” is almost done! Info here: http://bit.ly/pimCw8 Get the previous album “The Weight of Glory” here: http://bit.ly/pFEhs1

Bob Dylan, Keith Green and the Power of Free

Keith Green was influential in my early life as one of the few bright lights in the Contemporary Christian Music (CCM) scene. Green was preachy, but passionately so – which somehow made it seem more legit than the many faux-preachy “Jesus singers” of the day.

Endowed with enormous talent in addition to his passion, he released five excellent albums before his untimely death at the age of 29. He, along with two of his young children were killed in a small plane crash, leaving behind another daughter and a pregnant wife. His page at Wikipedia is a good read.

Here is a section from that page that caught my eye:

“His first solo project, For Him Who Has Ears to Hear, was released in 1977 and his second solo release, No Compromise, followed in 1978. In 1979, after negotiating a release from his contract with Sparrow, Green initiated a new policy of refusing to charge money for concerts or albums. Keith and Melody mortgaged their home to privately finance Green’s next album, So You Wanna Go Back To Egypt. The album, which featured a guest appearance by Bob Dylan, was offered through mail-order and at concerts for a price determined by the purchaser. By May 1982, Green had shipped out more than 200,000 units of his album – 61,000 for free.”

So the math goes like this: he offered the album for free and shipped 200,000 units, 139,000 of which people paid for. Of course I’m sure it helped that Zimmy made a guest appearance, but this was an idea ahead of its time.

We musicians are now smart enough to know (thanks in large part to guys like Bob Lefsetz) that a little free goes a long way, especially if the art is good.

You can get A LOT of good music free at Noisetrade. Like THIS, for example. ;-)

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My new album “Lovers on the Edges of the Twilight” is almost done! Info here: http://bit.ly/pimCw8 Get the previous album “The Weight of Glory” here: http://bit.ly/pFEhs1

Writing in the Dark

Tim Challies recently recently made a statement that immediately set off a series of thoughts in my brain. He said: “I’ve become convinced that I can’t write a book until I first live a book.”

This is how the songwriting process works as well – for me at least. The last 8 months have been a period of darkness like I haven’t experienced in a long time; more than a few weeks in the last months have been more dark than light.

Songwriting has always accompanied these periods.

In the years of 1999-2003 I experienced seasonal depression every (roughly) October to February. During these years I would write 30-40 songs and I bet if I went back and checked the dates they were written, a majority of them would be from that stretch of months each year. It was the way I coped, the way I processed. (I have often borrowed a line from Bill Mallonee whenever I’m asked why I write songs: “Because it’s cheaper than therapy…” And with a bit of effort, not only is it cheaper but you can actually make a bit of money from it.)

As these years of regular seasonal depression made an exit, so did the torrential pace of my songwriting. At first I grieved this (the songwriting that is, not the depression), thinking that the gift had left me. I wondered where it had gone, not making the connection to the depression.

Fast forward to 2011. I’ve just come through an 8-month period of periodic but regular darkness. These are a little different than they used to be; I’m far more functional now during a time of depression. Where depression used to arrive for seemingly no reason at all, now it shows up when more life is happening than I have time to live. But that’s an exploration for another day…

In about a 12-week period from April to June of this year I found myself with about 15 new songs. They were coming regularly and I couldn’t figure out why. In the course of a conversation with a good friend I discovered the reason. I shared with him that I had recently re-found my songwriting groove while also expressing my frustration at having experienced a lot in recent months and not having adequate time to debrief. These seem like pretty obvious matching puzzle pieces in retrospect, but at the time I didn’t see the correlation.

“Maybe the songs ARE the debrief…” he said. Have you ever had the feeling that the cartoon lightbulb just lit up above your head? Yeah, I had that feeling.

Back to the quote that ignited these thoughts… I think in the last 8 months I’ve lived about 3 years worth of life. These have been both tremendously good experiences and excruciatingly bad ones, but they have been many.  And they have all been rich soil for new creative works.

I have nothing against the right kind of therapy, of course. If that’s what’s needed, find a good therapist and go – regularly. But if you have any kind of creative spark – and I believe that everyone does – try using all that darkness as fuel for art. By art I mean more than painting; I mean songwriting and journaling and dancing and singing and whatever else you might find interesting.

Whatever it is that you’re interested in, a period of depression is a good time to give it a try. There are things that can be done on the dark that will help you survive until the light returns.

My light has returned and I’ve got some new songs, a strengthened faith, and some new friends to show for it. And I don’t fear the next period of darkness; I used to, but I don’t anymore. I’ve come to accept the rhythms of life, to stop fighting the dark so much – because often it’s a gift that’s waiting to be opened.

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New album “Lovers on the Edges of the Twilight” is almost done! Info here: http://bit.ly/pimCw8

Get the previous album “The Weight of Glory” here: http://bit.ly/pFEhs1

Johnny Cash’s “Folsom Prison Blues (LIVE)(clip)”

This is how we like to end a concert… with a little bit of Johnny Cash. Enjoy!

Michael Krahn & Band – “The Love Song (Live)”

Here we are performing one of the songs from my next album called “The Love Song”. Enjoy! Let me know what you think.

Michael Krahn & Band – July 8th, 2011

You do want to hear these new songs I’ve been talking about, right? Well you’ll have a chance on Friday, July 8th at the Palmer Park band shell in Aylmer. We’re doing a free music and BBQ thing in the lovely metropolitan downtown of Aylmer, Ontario that night between 7 and 9pm.

The fabulous Brix brothers will be backing me with electric guitar and keys, Mike Klassen also on electric, and John Farris on bass along with Shane Krahn on drums and Shannon on vocals.

Come and check it out. It will be good.

 

Pain and the Art of Songwriting

Don't ask me how songs come into being. They just come. I go for months without writing one, and then in the last 2-3 months there have been about 15 new ones.

I'm often taken by surprise. Like one day I'm out on a run and I have a memory of a childhood friend... the first few sentences of the memory rhyme and have a melody. Where did that come from?

Like today, I'm making a left turn on my way home from the studio and a melody comes accompanied by the words, "Sometimes you're not hurting til it hurts," and what was meant to be a five minute stop-in at home turns into a 45 minute stop-in and results in a new song called "I Will Survive".

These first lines are often kernels that need to be coaxed into revealing themselves. That's the job of the songwriter. It's not all dictation, but I think maybe those first lines are. They're little gifts of work that are given and need to be molded and added to. So you say thanks and start molding, adding colors, leaving your mark.

Songs come out of hurt, they come out of pain, and they're threaded through with joy and gratitude. I'm an incredibly blessed man... and I've been hurting a lot lately. The new songs reflect that. The emotions are raw and bare. I'm crying out to God, I'm thankful for my wife, and I think I'm trying to figure out exactly how hurt I am. It's hard to tell on a lot of days.

Anyway, here is today's contribution to the struggle

I Will Survive
Sometimes you’re not hurting til it hurts
Sometimes the wounding takes you off your guard
Takes a swipe and leaves a mark
Weighs your shoulders down without a clue

Sometimes in the darkness of the night
It’s hard to tell what kind of path you’re on
The light is there and then it’s gone
It leaves you standing there, you’re so confused

I will survive this night
I will get through
I will endure this fight
But I can't say that I’ll be myself,
I might need a crutch, I might need some help
And that is why I have you by my side
My bride

Sometimes when the evil come to roost
And all my enemies are laughing hard
Busting through my forward guard
O, my God, whatever will I do?

Sometimes I’ve got nothing left to give
And you go and take away the bitter parts
Remove the casing from my heart
Make me live like there’s nothing left to lose

I will survive this night
I will get through
I will endure this fight
But I can't say that I’ll be myself,
I might need a crutch, I might need some help
And that is why I have you by my side
My bride