Till We Meet Again Lyric Video
My oh my, there’s a another new lyric video in town. This time around it’s for the song Till We Meet Again. This incredible ditty that was dubbed “Your Purple Rain” by the co-producer of the track George Leger III. I wrote it with the amazing Jesse Stern. Like the song there is a bit of journey in the lyric video.
Because I could sit here and rattle on for days, I know you’d rather just watch the damn thing:
Follow it. Roll it. Mark it. Share it.
Above all, know that I am grateful that you’ve spent time taking it in.
Not long ago I came across a new form of capos. In galaxy very close by. Actually it was this galaxy. More specifically it was in a town known as Anaheim. The Anaheim that sits in the California region of the planet earth. Capos are a funny business. Lots of musicians use the cheapest products they can find without thinking about how they affect the sound. I always look for the thing that will get the great sound. Oddly enough capos and the kind you use can make a difference. Which is why on such a faithful day where I found out about a company called G7th and their capos, I instantly made the switch. Why? Because they’re awesome. Actually it had a couple of better reasons. First their weight. They have a good solid weight to them. Second, their ease of use. They work on some kind of engineering magic where you can set the tension as simply as closing your fingers. That way it doesn’t clamp down too hard on the strings and push them out of tune. It’s a love thing.
Today I’d taking you into the studio for a little clip about my upcoming song “Till We Meet Again” wherein you see me making use of the G7th’s awesomeness. Click on that video and realize I too use capos to get the proper key and sound for a guitar and my voice.
So if you’re looking for badass capos, especially the one I use – then you need a G7th. You won’t regret it!
Capos And Recording
I think we’re ready. Let me double check my tuning real quick.
technically with the panning you don’t need to pan the microphones in my headphones
as we’re recording. That’s what I’m saying you can turn them back to center.
Alright. Let’s see if we’re
all set to go. That sounds beautiful my
There’s a little drum pattern that starts at what? Bar 3? You can set the record button to
the song position line to start there
‘Cause that’s a two bar count in for me and I start at 5. Do what? A one bar pre-roll? That’s fine. As long as I know it’s two bars.
We were in love…
and it was magic.
We all like to talk shop in the studio, especially if it involves name players. Talking about amazing musicians we’ve had the pleasure or displeasure of working with, playing with, or meeting. Come on inside Utopia Parkway as George Leger III, Jesse Stern and I talk about some people we’ve met. Ok, mostly George talking about some amazing players. But still step inside, walk this way, you and me…
It starts with talking about Barry Manilow’s guitarist knowing about guitar playing from over 100 years ago and then progresses into the more modern instrument of electric bass. It then quickly swings into a little chat about a very famous female bassist (big name players type) that both George and I have met, but Jesse had not.
Big Name Players In The Studio
Because the song was done in the 1800’s.
He wanted to play it, like they played guitar in the 1800’s. He knew enough about the history of music and guitar playing, to know what kind of chords they would have played. How they would have played the part. I was like. I talked to him after. I asked him, you know that stuff?
Yeah, I have to know that stuff.
How do you know.
I mean, do you?!?
Some. Yeah, I studied, I studied guitar for many years.
But I mean like…
And and classical and and history for different parts of the world.
That’s where I started too. So I could technically say the same thing, but I don’t go around spitting that kind of information out.
Well and I also…
He, but he, I mean this guy, I mean I couldn’t believe what he’s played. How complex it was and there’s no little fret “icks” or nothing. I mean the guy is just like a fucking machine, what he was playing was unbelievable.
The history of bass, of electric bass is a lot shorter.
Than history of guitars. So.
But boy is it ever cool.
The first guy that I studied, like that I really studied not just learning the notes, but learning how the notes were played and how the tone came and all that stuff was Roger Waters.
Oh, well there you go.
And so, and then, you know from there I kinda learned, I kinda went back.
Do you know who I met and talked to for about a half hour?
Yeah, at NAMM two or three years ago. She was sitting there all by herself.
Was she nice.
But was she nice?!?
She was awesome.
You know why we both ask that question?
Because she’s not known to be nice. She’s known to be very very mean.
She has a reputation for being very very bitter and having a chip on her shoulder.
Not with me. She was so cool.
I’m glad to hear that.
We talked about making records an’ shit and everything.
She’s a, I mean, obviously a phenomenal.
And I have pictures of her and me, from the NAMM show. She was so… Really?!? She’s like that?
Oh yeah yeah.
That’s what people say. I’ve never met her.
I’ve met her.
She wasn’t like that with me man. She was just like, be just like I’m talking to you. So tell me ya know, I know you played with so and so, can you tell me what was it like when you guys first started playing. I mean you’re a girl, you were playing. You know and she was like, yeah, you know I was there sometimes, just taking care of my family is really what I was doing. You know and I was really grateful to be doing that stuff. But yeah she was just like yeah I’d show up in a dresses and sessions and stuff like that and people would look at me and then I’d play my instrument and then they would look at me totally different.
Well, it could…
She was just such a sweetheart.
Well, it could very well be that maybe she’s mellowing a little bit now. Because when I met her…
It could also be me. Cause I’m pretty respectful of people like that. And I’m also really, respectful of their experience.
It’s not often where you’re in a studio talking about a drum fill. At least not often where you’re proclaiming you love it. This is precisely what happened during a moment in the recording process of Till We Meet Again, a song written by myself and the awesome Jesse Stern. We’re in the studio doing vocals with George Leger III when George blurts out something entirely unusual for an engineer / co-producer.
Talk about getting caught off guard, especially when drumming is like ESL. I remember wanting to be a drummer when I first wanted to learn an instrument. However that got nixed by my mom due to saying it would be too noisy. Instead I got a guitar and an amp. How much noise did that make? A whole lot more.
Imagine my surprise when a drum fill part I created elicits a response like what I get in the video. Of course the most polite response is what I gave, but seriously, in my head I was like – hey! I did that. Maybe I should have been a drummer first. What a different world I’d be in if that had been the case. I might not be the songwriter I turned out to be. Who knows, I could have become an on call studio or touring drummer. Ah, who am I kidding – I love the musician I am, but there are times. Times when I do wish I were a better drummer.
Drum Fill Love
I said I love that drum fill!
Fuckin’ love it.
It’s a cool drum fill.
It’s totally cool.
I done did that.
Totally fuckin’ cool.
I have to make that a Phil Collins thing somehow.
Get it to sound like it’s in a fuckin’ glass room or something bizarre.
Aw, c’mon man.
Have you subscribed to my YouTube Channel yet?
Ever wonder how we musicians figure out how to describe a song to others so that they’ll understand what the song is before they get to hear it? It’s important to know how to describe the sound of a song to others before they hear it. The better the description, the more enticing it becomes to the uninitiated to hear it. Catch a glimpse of us working through one of the steps of understanding the song so we can approach knowing how to describe it to you, the listener. Follow George Leger III, Jesse Stern and I as we pull apart some fine points in the studio.
The debate get a little heated, or does it? There’s definitely some laughter due to the responses we give each other. It’s an awesome what to arrive at the best method to figure out a song. BTW – who do I diss in this video? Find out!
Describe A Song
I’m just trying to think. I’ve been trying to describe this song to people I’m really not sure what to tell them. You know what I mean? Touch is very easy to describe. It’s this, this, this, and this. And I’m trying to think, what is… what is Till We Meet Again? It’s like.
Exactly! It’s that kind of a song. It’s about… wanting to be with somebody.
Now, the question I have for you is this person a friend, or is this a girl?
Well Jesse and I wrote it together. So maybe it was about us. I don’t know.
Is it about friendship? Or is it about romance?
Both. I think really. The passion with somebody you have, then split.
I didn’t know he felt this way about me.
Well. You know…
I feel this way about a lot of people, I just don’t tell them.
We have bromances going on left, right and center around here. You know how it is.
So anyway. I don’t know. I was just trying to figure out what we would actually call it when I go to describe it. Of course the song is not really done. But I was kinda thinking it’s like Train meets an 80’s power ballad without the soaring vocals. And a little bit bouncy.
No no no no no. I see the more like uh, like what’s his face. The guy you mention all the time.
John Maher what’s that Your Body Is A Wonderland.
Yeah, there ya go.
I don’t want it to be that dated though.
Dude! Dated? Fuck that. It’s not dated or not dated. It’s the attitude that I’m talking about.
It’s the vibe…
No, I’m just trying to figure out what I would
[who’s David, ha ha ha]
denote it as.
So yeah. What is it? Is it a romantic thing or is it ah, not a romantic thing.
I think it’s a longing thing.
But for what?
For someone, one person.
Well. Ok. Yeah. Ok.
That’s how I’ve always… thought of it.
That’s how I’m thinking of it.
[Yearning for love]
You know maybe it’s it’s kind of like keeping the flame alive. Maybe one day…
Enjoy, please pass it along to your friends. If you’re not on my email list – JOIN NOW!
Talk about being a little too busy sometimes. Turns out that I actually got this latest track dealt with back on Tuesday. However, I got called in to create a song for a film trailer and I’ve been working around the clock for a couple of days to get it done. I’m happy to say that the sixth song finalized is “Till We Meet Again”.
The great thing about this song is it’s simplicity. I wrote it with Jesse Stern, the infamous bassist. I had the idea for the guitar and what I wanted to have happen, he came in with a great bass line, then we cobbled some words together and voila. A very very catchy diddy that gets people right from the get go and holds on fast.
I’m ready to hop on another song after I deal with doing a live performance for Grant’s Advent Calendar today at noon. I’ll be doing a google hangout with him and performing my song Christmas Brought Me You live.
What did I do for the past couple of days? Well, I was knee deep in doing a Dubstep track for a film trailer. I can’t say what trailer it’s for. However, when I dive into something that I don’t have a ton of experience I have to do a lot of research to make sure I’ll do it the right way. Thus I got a chance to watch a couple of tutorials on creating the appropriate sounds, then spent time, writing, twisting and manipulating sounds to make a solid track. Early feedback says: It’s a hit. Which is pretty cool, considering it’s only for a film trailer.
Time to get back to work and get the next song tweaked and ready. Until the next update, thanks for stopping by to find out that the sixth song finalized is “Till We Meet Again”.