We’re quickly coming on the end of summer.
If the trees are any indication, we’ve already hit fall. If you’re a student, summer has ended as school is back in session. Which means you’re summer romance, the fling of your life has also recently dissipated or is about to dissolve into the ether.
Enter my new single “Till We Meet Again“, a candid song about those loves we’ve had in life that we hope to rekindle somewhere down the road.
The journey of this song is one of several start and stops and finally a go.
Originally the intent was to write an upbeat tune for a TV show and for a library. I pulled in a bass player friend of mine to co-write it with me. However, there was a bit of miscommunication and he got miffed about the situation, which ended the direction of the song as I had envisioned.
Next I approached another bass player friend of mine, Jesse Stern, and we started working on the music. As a direction it was still to be a library track, however as we got going with it, lyrics started pouring out. He was going thru some dark stuff and was spitting out darker lyrics. Musically as it was speaking to me it had to be a bit more positive, maybe a little more longing. Suddenly we got a song that embraced all of that along with the sounds we were laying down.
During the process of the demo we got to a section of the song and were discussing how to change one bar for it’s time signature. We spent a good deal of time trying to work out if we’d stick to the song’s common time signature (which happens to be 4/4), or go with either 7/4, 6/4, or 5/4.
Multiple different drum fills were tried out. It was a songwriter’s producing exploration into the wild blue yonder until we finally settled on one particular fill in 5/4 that provided such a sly feel to the section of the song that it was as natural as an organic ripe tomato.
Tracking the occurred in several studios. Namely mine for the acoustic guitars, synths, additional background vocals and drum programming. Yes, those are programmed drums. Jesse’s studio was were the bass was tracked and some additional synths as well. Finally the vocals were tracked at George Leger’s studio (Utopia Parkway Music) when it was located in Los Angeles.
One moment during tracking stands out to me. At one point George turned around in his producer’s chair to show me his arms. The hair was standing straight up. He says to me, while Jesse is sitting there:
“This is your Purple Rain. You’re giving me goosebumps.”
Chances are you don’t know George. He is a massive Prince fan. So much so, that he once took me to see Prince perform when I was down in the dumps going thru some tough shit in life. It was a shining moment. I digress. George was so taken aback by the vocal we were laying down and the quality of the song that he felt it would be my equivalent to Purple Rain. My reaction was “I sure hope you’re right.” Damn right, I’d love to have a song be as popular as Purple Rain. Hell, even half as popular would be ideal.
Another memorable moment came when George first noticed the bar of 5/4. He asked who the drummer was that recorded the part and who came up with the fill, he thought it was amazing. When I responded with, I programmed it, he thought I did a hell of a job. Very few people notice because of how natural it feels, it doesn’t feel like a bar of 5/4. This prompted a discussion between myself, George and Jesse, mainly because it was George who originally gave me the idea of adding an odd measure in a song.
After getting all the vocals tracked, George and Jesse also sang some backgrounds. Once back in my studio, I felt I needed some additional voices for the backgrounds, so I enlisted the help of Val and Julia to sing some more parts.
George and I tackled the mix and eventually George did the mastering (as he’s also a fantastic mastering engineer as well).
Now it’s finally been released and is ready for your listening pleasure. I hope it gives you goosebumps like it did for George. Cause that would mean you’d tell others they need to hear and playlist it, like you will.
More music coming soon.
What goes into the making of a hit song? This is a curious question. If there was one true answer, everyone would be doing it, and nothing would actually end up being a hit. Right? Conspiracy theorists like to believe that the major labels have some sort of computer algorithm that can predict if a song is a hit or not. As the British say: Bullocks. They don’t know any better than any one else, the different is, they’re in a position of power to sell something.