Really.  I'm releasing a single tomorrow called “Latent.”  It's Track 1 on my new EP, I Am Experienced.  A lot of work went into this project.  I stepped outside of my comfort zone and worked with a whole host of people that I had never worked with before.  The songs on this EP are super personal and open and vulnerable.  That's scary.  Did I have to be so honest?  We're supposed to be, but honest and authentic art isn't really what moves the proverbial needle these days, so why?

I think that many indie musicians are a little apprehensive when it comes time to release new music.  There's all of the hard work you've done and how much you believe in your art, but there's also the imposter syndrome.  Those voices in your head that say you're not good enough, you will never be good enough, and nobody is going to listen to these songs.

As far as I Am Experienced is concerned, I have additional fears around the thought that some people might actually listen.  What if nobody understands what I'm trying to say?  I've already had professional PR people tell me that they don't know how to market this project, so what if nobody “gets” it?  What if the most horrible lowest common denominator evil kind of people stumble upon this music and there are threats to personal safety for me or my wife?  

So yeah, I'm scared.  However, I said what I said in these songs.  I meant what I said in these songs.  That's going to have to be enough for now.  It'll feel extra real tomorrow.

There it was on a sign, over what looked from the road like just another generic front side of a business in a strip mall - African Restaurant.  I was in a part of Dayton that I don't often visit because I had gone to see the doctor, and on the way back to the highway, I notice this restaurant.  My first thought was "that's rather non-specific"... you see, Africa is a massive continent with 54 countries on it.  (Google gave me that country count.)  Ethiopian cuisine is African.  Moroccan cuisine is African.  Senegalese cuisine is African.  These types of cuisines are completely different from each other.  I wanted to know more, so I found the restaurant on the Internet, and looked at the menu.  I think it's Nigerian cuisine, though I could be wrong.  My wife and two of her coworkers accompanied me for lunch there a few weeks ago.

My wife's coworkers each chose a version of jollof rice, and each declined the offer to have it be spicy.  My wife chose a soup, and that came with fufu.  The soup looked to have a texture that I would describe as “slightly gooey”, just from looking at it.  Apparently okra was heavily involved in the soup base, so that made sense.  It looked quite tasty though, see?

Our server said “you're speaking my language” when the soup got ordered, so this one was definitely one of the staff favorites.

I asked for the pepper goat.  The server asked if I wanted it spicy, and I said “absolutely."  Here's what it looked like:

I know what you're wanting to know.  Was this delicious?  Yes, yes it was.  It was spicy, though I think the staff might have held back a little.  The sauce and seasoning on the goat was all sorts of savory goodness.  The two gentlemen enjoyed their jollof rice as well.  We also ordered puff puff for the table, which is a sweet fried dough. Think of it as funnel cake, but shaped roughly like a baseball.

There didn't appear to be any more than two, possibly three people staffing the restaurant. I had no doubt that everything was mostly being cooked to order, and that the prep done in advance might be limited to cutting and marinating.  If you live in the Dayton area, you should definitely visit these folks.

I started having conversations for my podcast in December 2021. The last episode I released in 2022 was number 74.  Considering I started off with an "Episode ½" on 31st December, that's a total of 75 episodes over the last year.  

What have I enjoyed about having a podcast?  The best part is the conversations.  First of all, this is a way for me to do what my doctor instructed me to do.  Last year in November/December, I was in a pretty dark place from a mental health standpoint... darker than normal.  My doctor said that one of the things I should do is to have a meaningful conversation every day with someone who is NOT my wife.  Now, in the last few months, I've been awfully lax in getting my daily meaningful conversation in.  (If anyone wants to help with that, I'll take volunteers.)  That said, every time I record a conversation for the podcast, that totally counts. Second, it turns out that people are awfully interesting if you let them talk about something they are passionate about.  Just taking a moment to listen to people and ask appropriate questions is pretty cool.  Third, sometimes I feel like this is a useful endeavor for the community. I really miss Gem City Podcast and the fine work they did. I especially looked forward to the Wednesday episodes featuring a local musician or band. Now that they're gone, there's an empty space in the Dayton area for someone to talk to local musicians about their work. I've been making an attempt at filling that space, and hope that eventually, listeners will come to look forward to my conversations with Dayton artists the way I looked forward to Izzy Rock's conversations.

Of course, there are parts of the process I don't like.  Sometimes, the tools I use fail. I recorded a great conversation with Paul Monnin of Age Nowhere, and somehow the sound ended up completely distorted and garbled. If you listen really hard, you can figure out what is being said, but it sounds awful and grating, and I wouldn't foist that upon anyone. Also, editing the podcast... that's not so much fun. One might not realize how many times things like "uh", "um", "like", and "you know" are said during conversations, but there is a level at which using those terms over and over becomes distracting, so I tend to prune them out of conversations.  That's incredibly time-consuming.  After editing, I usually do another listen in order to glean ideas to write the Show Notes.  There was a time when I would consistently use time stamps in the Show Notes to mark highlights of the conversation.. that's even MORE time-consuming, so I haven't done that in awhile.  Hey, as a podcast listener, is that something you'd like to see more often?  I don't even really know whether putting in that extra work is adding value or not.  I've thought about hiring someone to handle that work for me, but I'm pretty sure I can't fairly pay the going rate for that work at the moment, so I'll keep on doing it myself.  At least that's another skill I can put on a resumé, right?

Of the 75 episodes, 30 of them include women.  That should be 50 percent of the episodes, and I didn't quite get there, so I'll try to do better in 2023.

Here are what I think are the most notable episodes of the last year:

The longest episode

The longest episode is also the most recent episode, number 74, featuring Juliet Fromholt and Taylor Ruckle. We're talking about our favorite albums from 2022, and the duration is one hour and forty-five minutes.

The most popular episode

More people listened to my Episode 7 conversation with Tod Weidner than any of my other episodes. It's clear that he means a great deal to the music community here in Dayton.  This one went up way back in February 2022, so it's about time I have him back to nerd out on songwriting and music some more.

The most important episode

You might think differently, but for me, the most important episode is number 30, with Brian "Z" Zisook. He is the cofounder and Senior Vice President of Operations at Audiomack. He's a professional journalist who now is now an executive helping to run a music streaming service. 

In his own words: This isn't a company created by and of silicon valley based tech bros... this company was founded by and employs a lot of creatives who come from backgrounds in the fine arts... these are people who understand the plight of the aspiring creative...

This episode is important for musicians who release music.  If you are one of these people, you should pay attention to how truly passionate Z is about music and the people who make it. He wants to see us succeed. He and the team over at Audiomack are building their platform in ways that allow listeners to directly support us financially. That's not the case with the other streaming services, where we are only a source of content. Z wants people to hear us. Educating us on how the business works and helping us to improve are also very important to him, and he is often handing out useful advice for free on his Twitter account.

This episode is important for music listeners.  The folks at Audiomack work on their algorithm to ensure that it serves you the music YOU want to hear, as opposed to giving heavy priority to whatever the most popular major-label song of the moment is due to labels having a stake in the service. Audiomack World is an excellent source of discovery, consistently providing editorial recommendations from actual real humans. If you are a listener who values the people who create the music you listen to, recognize it as hard work, and believe that one should generally be paid for one's work, Audiomack has a way for you to directly support an artist you believe in, if you choose to do so.

This episode also contains a direct message from me to my fellow musicians in Dayton.  Sure, I don't think anyone really paid attention to it, but I meant it at the time and I still mean it.  If you would like to know what that is, well, listen to this one.

The interesting stranger who I'd love to have a beer with episode

An excellent multi-national band called Jenny and the Mexicats were going to stop at Levitt Pavilion here in Dayton for a concert. I really wanted to see this show, but I was going to be out of town. I volunteer at Levitt Pavilion, and thought that I might be able to help to promote the show a little bit.  When I contacted the band, bassist Icho Van responded, and our conversation in English is Episode 52.

Icho has an interesting life story. He's a hard worker, doing the tasks that would normally be handled by a band's manager. He's out there living his dreams, playing music he believes in, touring the world, and finding delicious things to eat everywhere. His band has had the privilege of playing an NPR Tiny Desk show. Despite all of his success, he's quite normal. Icho is easy to talk to, friendly, and cool.  (Part of this might be because he plays bass.)  I'd love to grab a beer with him, and maybe watch a game where his beloved Buffalo Bills are playing.

El episodio con el desconocido con quién me gustaría tomar una chela

Una banda excelente llamada Jenny and the Mexicats tenía planeada dar un concierto aquí en Dayton, Ohio.  En su gira, iban a tocar en el Levitt Pavilion, y la entrada fue gratis. Quería mucho asistir a este concierto, pero tenía que viajar fuera de la ciudad. Sirvo de vez en cuando como voluntario en Levitt Pavilion, y pensé que por lo menos podía ayudar con promocionar el concierto un poco.  Cuando escribí al grupo, fue el bajista Icho Van quién me dio respuesta, y nuestra charla en español se halla en Episodio 51.

Icho tiene una historia bien interesante. Trabaja muy duro.  Hace las tareas que normalmente haría el gerente de una banda. Este señor está viviendo sus sueños, tocando una música feliz y energética, haciendo giras alrededor del mundo, y decubriendo bastantes comidas muy sabrosas. Tiene mucho éxito, y un nivel de fama, sobre todo en México. No obstante, es completamente normal. Icho es amable, muy buena en conversación, y uno se siente muy a gusto con él. (Sin lugar a dudas, una razón por eso es que toca el bajo.) Me encantaría tomar una o dos cervezas juntos, y quizás mirar un partido de fútbol.

The episode that changed my life

Even though Episode 9 aired in February, the conversation actually took place in December 2021.  My guest was Becca Wonka, a delightful and effervescent French musician who lives in Los Angeles. We talked for nearly three hours.  Yes, only one of those three hours was actually recorded for the podcast.  We hit it off.  The conversation meandered back and forth from French to English.  If you listen to the episode, I estimate that 70% of it is in French, but I put time markers in the show notes so you can skip around to the parts you are likely to understand. 

This is probably not a surprise to you, but it is extremely difficult to make a living as an independent musician.  It's not impossible, but there's a long path and a lot of work to get there. I am not remotely close to profitable as a musician yet.  When Becca and I had this conversation, I had recently left my corporate job.  Shortly after our conversation, her lovely husband introduced me to his industry, the business of adaptation. To shorten what would otherwise be a long story, that's now my gig that actually pays.  I owe a debt to Nico as a mentor that I will never be able to repay.  I owe the same debt to Becca for recognizing that this line of work is something that I can do, and for recommending me to her husband.

A great deal of the mental health progress I have made over the past year is attributable to being much MUCH less stressed out by work.  By no means am I "cured" or "well" - and I likely never will be - but I am in a better place now, and even occasionally feel slightly optimistic.

La conversation qui a changé ma vie

Bien qu'episode 9 est sortie en février 2022, la conversation entre Becca Wonka et moi avait lieu en Décembre 2021. Elle est française, d'origine nantaise, et habite maintenant à Los Angeles. Becca a une passion profonde pour la musique, et elle parle avec joie et enthousiasme. On a bavardé pendant trois heures, dont une heure est enregistré pour le podcast. Si vous en écoutiez, vous allez trouver aux "show notes"que j'ai mis quelques indices pour dire quand on a parlé en français et quand on a parlé en anglais.

J'imagine que vous savez déjà que c'est extrèmement difficile gagner la vie comme musicien independent aux Etats-Unis. C'est pas impossible, mais on doit bosser beaucoup et il faut être très patient. Je ne gagne pas encore ma vie comme musicien. Quand j'ai bavardé avec Becca, je venais de quitter un boulot d'entreprise. Quelques jours après qu'on a parlé, le mari de Becca m'a parlé pour m'inviter à apprendre le business d'adaptation. Actuellement, c'est ça ce que je fais pour ètre payé. Je dois un dette envers Nico que jamais je pourrais lui payer, et c'est pareil avec Becca pour comprendre que je puisse faire ce type de travaille et me recommander à son mari.

*****

No matter how long you've been listening to my podcast - whether a year, a month, a week, or a day - thank you very much for choosing to spend some time listening to me talk to interesting people. I sincerely hope that you have enjoyed sitting in on my conversations, and warmly invite you to keep on listening.  If you have something you are passionate about and would like to talk about it, contact me, and you could totally be a guest. 

In 2023, I'm planning to release a new music project that I poured so much of myself into, and when I start promoting it, I'll have podcast conversations with the wonderful and talented people who collaborated on this project with me. I can't wait for you to meet them and all of the other individuals who I'll be speaking with.

You know, I thought I had listened to a lot of albums this year.  Dozens of 2022 albums.  Then, I started to read the "best of 2022" lists from a few publications and music writers. That was a reminder that there is SO much music released each year, and unless you are listening to music all day every day for your job, it's not possible to hear all of it.  There is certainly a whole pile of music that I missed, and it's likely that I would have really loved some of those albums. That said, here are some of the things I enjoyed.

Much like last year, some artists from my youth in the 90s put out new music this year.  Eddie Vedder released a solo album that was better than I was expecting it to be. Spoon released a new album, and if you read a few of the well-known music blogs, you'll see it turning up in a few lists of the top 2022 albums. There were also new offerings from Big Wreck (loved it), Metric (meh), Stabbing Westward (sounded like Stabbing Westward), Superchunk (very good and contains "Endless Summer", one of my favorite songs of the year), Placeob (I dug it), and Collective Soul (superb). Here's a sentence that I copied almost word-for-word from last year's blog: Guided By Voices released three albums this year, because of course they did.

In order to show that we've got more great stuff than just GBV, some other excellent 2022 albums from right here in Dayton, Ohio: Sad Songs From Ohio by Harold Hensley (roots/folk), Midwest Sorrow by TINO (hip-hop/rap), Peculiar by Yuppie (indie rock), Heather Redman & The Reputation by Heather Redman (soulful rock), E Pluribus M Ross by M Ross Perkins (70s sounding psychedelic pop), and Midwest Romance by Zac Pitts (poppy punky rock). 

Some other things that I dug, but didn't crack my top ten are albums from Koffee, Bartees Strange (favorite song "Hennessy"), SANNI, Nilufer Yanya (favorite song "Midnight Sun"), Mamalarky, Nick Campbell (favorite song "Your Kisses Taste like Jazz"), Isla Craig, Lauren Light, Jahmiel, The Smile, and Calexico.

Here are my top ten favorite albums, and other than the first one, they are in no particular order.

Oceanator - Nothing's Ever Fine

Oceanator is Elise Okusami's project name. She is from Brooklyn. This is, I believe, her second full-length album. If you'd like to read an excellent written interview with Elise, my pal Taylor Ruckle did one for Post-Trash. This album is called Nothing's Ever Fine, but everything here is definitely more than fine.

You can tell by looking at the list of song titles that Elise cares about album sequencing, which warms my heart. We open with "Morning", track 6 is called "Post Meridian", and we close with "Evening".  This album grabbed me right from the jump with "Morning"'s copious layers of guitars. Indeed, there is no shortage of energetic distorted rock goodness here, but the entire project doesn't just plow ahead at the same tempo... there are some changes of pace and texture for you to discover.  (Looking at you, "Solar Flares".)

Elise co-produced this album with her quite tastefully named brother, and with Bartees Strange. I feel no small amount of jealousy here, as I would really love to work with Bartees Strange, and even reached out to him about this way back in fall 2020. I feel like he would really understand the things I want to do musically, and be able to take me there, but also probably contribute some unique weirdness. Alas, that's probably something that's impossible now, given how his profile has risen and how much his career as an artist has taken off.  Elise and he are friends, and that surely contributed to making it easier to get him on this Oceanator record. 

I like the songs here, I like the sound here, I really dig the excellent music video for "Bad Brain Daze", and I can't wait to hear what future music comes from Oceanator. This is exactly the kind of album I want to hear, and Oceanator delivered. In fact, the next time I make a rock record, I won't be satisfied until it sounds at least as good as Nothing's Ever Fine.  This is my favorite album of 2022.

• Favorite songs: "The Last Summer", "Stuck", "Bad Brain Daze"

Cherimondis J - Dove Archer

Cherimondis is still in college, and is studying music.  She's an accomplished pianist in her music program, but also plays violin, and as you can hear on this album, she knows how to write a song. You're getting some soulful R&B grooves on Dove Archer, with sounds that might remind you of a few different flavors of music from the 70s, all wrapped up in a beautiful voice.

• Favorite songs: "Milk And Honey", "Let It Be"

Mobley - Cry Havoc!

So, I think Mobley is a genius. Truly. This gentleman is an artist's artist, self-producing this EP, and handling the visual aspects of the project, including video. I mean, check out the concept and his dancing in the video for "stay volk". I've watched it several times, and never stop being impressed. He writes the concepts, directs, produces, and edits his own videos. Every one that comes with this EP is worthy of your time.  He plays violin and trumpet and piano and guitar, and probably another half dozen instruments.

Cry Havoc! is a concept EP, focusing on a character.  I don't want to take the listening/watching experience away from you, so I won't go into more detail here, but if you wanted more information before you dig in, there are interviews with Mobley out there on the Internet.  I can't wait to hear more music from this Austin-based musician, I can't wait to see more videos from him, and I'd really like to catch a live show.

• Favorite songs: "stay volk", "lord"

Dazy - Out of Body

One of the reasons I take the time to write this particular blog entry every year is the hope that somebody somewhere will read it and find new-to-them music that they end up loving. That's how I found out about Dazy.  I had never heard of James Goodson, who is Dazy. Then I read a blog post by Josh Terry in which he described Out of Body like this:

"Imagine if every Fountains of Wayne song was written to be played at ear-shattering volumes".

Yes, please. Sold. I love this album.

• Favorite songs: "On My Way", "Deadline", "Ladder"

Amanda Shires - Take It Like A Man

I've been trying to listen to more country music recently.  It's something that didn't resonate with me at all, not even in the smallest, most insignificant way, until the last five years or so.  There were just so many things that were off-putting to me; the affected twang of the vocals when the singers didn't talk that way, twangy instrumentation, the bass parts barely daring to do anything other than root/fifth pedaling, the overly simplistic and less-than-creative compositions, the systemic racism... you know, those sorts of things.  Last year, however, there were touches of Americana and roots music in the list of my favorite albums, and I've certainly enjoyed live experiences with country-adjacent bands local to my area. I also really appreciate the efforts of Black Opry. At the end of the day, in some ways, genre is only a construct, and a well-written song is a well-written song, right?

There's your background for my listening expectations as I approached Take It Like A Man.  Amanda Shires is ostensibly a country artist.  After all, she's a fiddle player by trade. That said, I don't hear many of the things I historically didn't enjoy about country music on this album. First of all, the songwriting is excellent.. and if you write a good enough song, it should sound good with just about any kind of instrumental interpretation. Not only are these songs good, they are lushly layered and presented.  There are full string sections here, giving a much more luxurious harmonic pad than only fiddle, or a steel guitar.  There are things on this album that sound like rock to me.  There are things on this album that sound like pop to me. It's all tied together by Amanda's voice.

This is an artist with something to say, which is evident when one really concentrates on the lyrics. So if this right here is country music, ok then, I like country music.

• Favorite songs:  "Empty Cups", "Here He Comes", "Lonely at Night"

Guided By Voices - Crystal Nuns Cathedral

Let me guess what you're thinking.  How in the world can a band crank out two or three albums a year and expect people to keep up?  How could all of the songs possibly be good?  Well, speaking personally, I've had a hard time keeping up with Bob Pollard's output.  There was a time when I bought every single GBV full-length that came out, and I'm reasonably well versed in their material from 1994 to 2004.  However, keeping an ear on everything they do is a challenge for me now.  I mean, they released three albums in 2019, three albums in 2020, two albums in 2021, and three this year.  That's crazy output!  Are all of the songs good?

Well, I didn't get around to listening to ALL of those albums.  I can tell you that I definitely liked both of the albums that came out last year. Their first album of this year, Crystal Nuns Cathedral - their 35th album (!) - is full of good songs.  The songs are just as catchy as what you would expect, but the distorted guitars feel fuller than at times in the past, and string sections show up a few times. It seems that the band has permanently dispatched with the lo-fi recording aesthetic, and I'm ok with that. This is a solid rock and roll record from a solid rock and roll band.  We really shouldn't be surprised, should we?

• Favorite songs: "Climbing a Ramp", "Come North Together", "Excited Ones"

The Linda Lindas - Growing Up

Ok, they're kids. They're obviously getting some help, of course.  It turns out that the father of half the band is an industry professional with tons of experience.  He engineered, mixed, and produced this album, and is surely the reason that it sounds so polished. No doubt he's also helped them to get some endorsements and opportunities.  Ok, set that aside.

These kids all play their own instruments.  These kids write the songs.  When they play live, these kids perform the songs.  The songs are catchy and punky.  A couple of them remind me of what Sleater-Kinney might be like if they added a bass player. Some of the material is the sort of thing you might imagine kids would write about, like growing up, a pet cat, or a racist sexist boy at school.  I like this album. If they were out of school long enough to go on tour, I'd go see them if I could. For now, I'll settle for their appearance on NPR's Tiny Desk series.

This album is fun.  Turn it up.

• Favorite songs: "Oh!", "Talking To Myself", "Cuántas Veces", "Racist, Sexist Boy"

Momma - Household Name

If Momma keeps cranking out music like this, one would think they'd end up a Household Name, like their album title says. This is apparently their third album, so by now one would think they know what kind of band they are. Hooks?  Yes. Distorted guitars?  Uh huh.  Vocal harmonies?  Plenty of them.  A sense of dynamics?  It's loud-quiet-loud on a few of these songs. 

In case you are curious as to who I might compare them to, well, I'd have to think a bit.  They're guitar-forward rock and roll, and there are a few moments where they remind me very much of Veruca Salt, but that's likely mostly due to the vocal harmonies. Really, the sounds here taken as a whole remind me of the mid-nineties in general, the kind of music that teenage me would crank up in the car.  The folks in this band were certainly not alive then, but if that's the kind of music that influences them - and if you listen to this you will realize it absolutely is - well, what's wrong with that?

• Favorite songs: "Rockstar", "Lucky", "Spider"

Lung - Let It Be Gone

The album that Lung released in 2021 made my top ten.  I guess I'm consistent.  No, LUNG is consistent... consistently interesting and awesome.  Like I probably wrote in my end-of-year article last year, nobody sounds like Lung.  I challenge you, dear reader, to find me an artist that sounds like what Kate and Daisy are doing.  I don't think you will. They are described as "art punk cello rock".  Sure.  I didn't write that description, but I'd like you to know that there is indeed a cello involved, and they do indeed rock.

Certainly, few bands work as hard as Lung.  Head on over to their website and look at the tour page. They are true road warriors, playing here and there and everywhere, both near and far. In fact, this particular album was mostly written while the band was running around Europe and North America. I imagine they tested these songs in front of live audiences dozens of times before deciding what would make the album. 

Lung are not so busy being different and interesting that they don't bother writing catchy songs.  Quite the contrary.  There are cello riffs on this album that will have you humming along.  (This is definitely the first time I have ever typed the phrase "cello riffs".)  Much like on last year's Come Clean Right Now, the songs on this album sound bigger than you might expect from a band consisting of two people. Some of that is due to studio magic, but before you chalk it 100% up to the studio, I'd like you to know that they sound a lot bigger than only two people when they're playing a live show. It's part of the charm.  It's part of the rock.  Play this one loud.

• Favorite songs: "Sick", "The Prettiest Machine", "Siren Song"

Feeder - Torpedo

I discovered this band in 1997, shortly after their debut album Polythene. I loved that album front to back, and think it still holds up. I even caught Feeder live that year at the Newport Music Hall on High Street in Columbus, where they played with Jimmie's Chicken Shack and Everclear. Feeder was everything that the late 90s version of me wanted in a rock band - distorted guitar, memorable melodies,  big rock sound.  Here we are twenty-five years later, and they're still doing what they do.

This doesn't mean that Feeder is exactly the same as then. I bought their first four albums, and they understandably got more melancholy and introspective on Comfort In Sound, the album that came out after the death of their original drummer. I lost track of Feeder since then, missing a handful of albums.  It wasn't them, it was me. The new one here still brings the rock, but it sounds so much bigger than anything I remember from them. The lyrics on Torpedo were apparently very much inspired by some sort of global pandemic, but the big rock songs come out feeling kind of optimistic somehow.

If you have ever liked anything you've heard from this band, you'll like Torpedo.  I'm sure of this. It's everything you loved about this band, just louder, and without the sparkle of youth.  If you don't know this band, well, how do you feel about rock and roll?  If you like stuff that rocks, well, this album will hit you like... (don't say it, don't say it)

.... a torpedo.

• Favorite songs: "When It All Breaks Down", "Wall of Silence", "Born To Love You", "Submission"

On the way back from the trip to celebrate our fifteenth wedding anniversary, we stopped at Heathrow for a layover. We landed there on the morning of 11th November. 

That particular day is called Remembrance Day in the United Kingdom. Throughout the morning, the PA in the airport made regular announcements that two-minutes of silence would be observed at eleven o'clock, to remember those who had died in service to their country. Shortly before the clock struck eleven, a poem was read by the recorded voice of a little girl.  There was a bugle melody played that I did not recognize. Then, the airport fell silent. 

I'm a little bit of a history nerd.  I like reading and learning about the past. I'm also fascinated by foreign (to me) people, cultures, food, and traditions. I say these things to assure you that I paid attention to this event, and took care to watch the people around me during these two minutes of silence. 

Many people stood, immediately upon hearing the music and/or poem.  I can't remember which of those two things happened first, but I remember seeing people stand up right away, something which felt Pavlovian to me. These people were mostly adults and the elderly.  They were also overwhelmingly of the, shall we say, non-melanated persuasion. You see, Heathrow is an international airport that connects many parts of the world, so there are folks of every imaginable culture around, and you hear a wonderful symphony of different languages being spoken when there isn't an observed silence. Seated individuals who were definitely not British - myself included - did not stand. People who were moving about, whether they were walking or shopping, tended to stop doing so... except there were plenty of individuals who did not.  I was somewhat amused to see a few youthful individuals who were in their late teens or early twenties look around at what was happening, and then eventually join the folks who were standing. It seemed to me that they joined in because of it being a socially suggested thing to do. When the period of silence had concluded, there was general applause from those who were on their feet. The older people applauded the most fervently, and a few of them wiped away tears.

The reason this observance happens at eleven o'clock on the eleventh day of the eleventh month is this is when the armistice that silenced the guns of The Great War came into effect. That particular conflict killed 6% of the adult male population of the United Kingdom, clearly leaving an impression on the collective psyche. As I looked at the delightfully diverse array of people around me, I wondered if this event is observed in their home countries. The Great War was fought in multiple places, but most of the slaughter happened in Europe. I wondered about the tragic irony of the colonized coming to the land of the colonizers to die in their war.

In the United States, this day is a federal holiday called Veterans Day. How many citizens of the United States could tell you why this particular observance is on 11th November or where it originates? Likely, very few.  The way we as humans remember, well, that's very different from place to place. It is perhaps affected more by the propaganda we grow up hearing than by what may have actually happened. 

artwork by Rob McCowan of Odd Hourz Creative

I don't often write happy songs.  I don't ever write songs about my wife.  The reason for both of these things is that my attempts generally turn out to be awful.  Low quality.  Banal.  My wife has come to accept that neither she nor our relationship are about to be subject matter for my art.  Surprise!  Here's a change of pace.

3rd November 2022 was our 15th wedding anniversary.  That's worth celebrating in a special way, so we're over in Mauritius not working and enjoying a vacation.  (Clearly, I'm writing this blog entry well in advance of our departure.)  I'm not great at anniversary presents.  I think the last decent one from me was a set of diamond earrings, but alas, I am no longer in the jewelry buying business.  However, I can manage to write a song as a present. That's the decision.  Misty gets a song.

I started by borrowing the chord progression from one of my favorite Radiohead songs.  Next I worked out a melodic structure, being careful to make sure the melody didn't sound anything like the song from which I took the chords.  (I challenge you to figure out which song the chords are from.)  I knew that I wanted the overall feel to be like an Elbow song.  Remember, we both love Elbow.  

Verse 1:

A gentle tremor wakes me, I look out the window of the train 
The golden hills of Burgundy, brighter in life than in paint 
Where white and red are pseudonyms for Meursault or Beaujolais 
This is better now that you are here

Those lyrics are about our visit to France's wine-producing region Bourgogne.  I had been there before when I was much much younger and single. Some time ago, we went as a couple.

Verse 2:

Market in the morning, shouting from the street in the night 
Cobblestones and Catalan, saffron threads and candlelight 
Sudden crushing sickness that I don’t have the energy to fight 
This is better because you are here

We went to Barcelona for our 5th anniversary.  I managed to get the worst food poisoning of my life on this trip.  That experience is now immortalized in song.

Verse 3:

A gentle tremor wakes me, I look out the window of the plane 
The takeoffs and the landings, cruising altitude, champagne 
Walking through the streets of Paris, Nouméa, Marseille 
This is better because you are here

My first version of this song did not have a third verse.  I remember discussing this with the kind gentleman who engineered the song, Rich Reuter.  He thought a third verse would be a good thing.  Also, I thought I'd get closer to feeling like an Elbow song with a third verse.  When it came time to do the vocals, Rich told me that my lyrics weren't good enough.  He was right.  I took a few minutes and re-wrote the third verse.  This is much better.  It even has a reference to an Elbow song or two, though I doubt it's enough to get me sued.  Like the rest of the song, it's one hundred percent based on reality.

Chorus:

Side by side never mind the where 
Up and down good and bad to share 
Having holding even when I break 
Losing you is more than I can bear                         
So don’t you disappear

There you have it.

I came to Rich with the song all structured out, and as we talked through it, there were some changes.  I knew I needed a bridge, but I wasn't sure how to go about it.  Rich wrote the instrumental bridge, and came up with the idea for the bass solo by noodling around on a guitar. I liked the notes he played, and figured that it would make more sense to have a bass solo in this song than a guitar solo.  Rich also ran with my idea of double tracking bass in the turnaround after the second chorus... we've got a nice bass harmony in there.  Due to the changes he made to the song, it's only fair that he gets an official songwriting credit.  His ability to understand the mood and feel I was going for led to excellent instrumental choices.

"For Misty" is very likely my best vocal performance thus far.  Previously, I think it was this song, or perhaps this one, but not anymore.  I'm the only vocalist here, and I'm proud of the harmonies.

Normally I would link to it here, but remember how I'm writing this blog entry in the past?  Well, this song is a surprise.  At the time of writing, Misty doesn't know that it's a thing.  Assuming I executed my plan correctly, she found out back on November 3rd, which was this past Thursday.  I encourage you, dear reader, to go listen to "For Misty" on the streaming service of your choice repeatedly and often.  If you'd like to give us an anniversary present, you can download a high quality version of the song over on my Bandcamp page for $15, or if you can wait a couple of weeks to give us that present, I'll have it up on my official website here when we get back from our trip.

Credits where credits are due:

Lyrics by Mike Bankhead 
Music by Mike Bankhead & Rich Reuter 

Mike Bankhead - bass, triangle, vocals 
Rich Reuter - guitar, keys 
Kyle Sweney - drums 

Engineered & Mixed by Rich Reuter at Homeway Studios in Dayton, Ohio 

Additional Engineering by Seth Canan & Chris Stewart at Trojan City Studios in Troy, Ohio 

Produced by Rich Reuter & Mike Bankhead 

Mastered by Tim Pritchard at Great Horned Audio in Dayton, Ohio 

Artwork by Rob McCowan at Odd Hourz Creative in Austin, Texas 

©℗ 2022 You Could Be My Aramis Music (BMI)

I went to Philadelphia for the first time a couple of months ago to see Failure.  I'll have more to say about that later.  For now, I'd like ask you:  What's the first thing you think of when you think of Philadelphia?  Some of you will say the Rocky series of movies.  Some of you will say the Liberty Bell.  Those of you who are my people - people who enjoy delicious things - will say cheesesteaks.  Across the rest of the country, isn't this food item generally referred to as a "philly cheesesteak"?  The name of the city is inseparable from the food.

Since I was in Philadelphia for a few days, I made it my mission to taste as many different cheesesteaks as I could.  Alas, that number only reached 4.  I'd like to tell you about them, in order from my favorite to my least favorite.

My favorite cheesesteak was from John's Roast Pork.

I know what you're thinking.  The place is called John's Roast Pork, shouldn't you have gotten a roast pork sandwich?  I did.  This is what it looked like.

The signage at John's goes out of its way to remind you that this is spinach on the roast pork sandwich, and NOT broccoli rabe as one might expect.  This thing was delicious.  I ate half of it, and my wife handled the other half.  This left room for their cheesesteak.  Voilà:

Note how the steak and the onions (WIT baby) and the cheese are all cooked together so as to become homogenized.  This is what the imitation cheesesteaks around the country are doing wrong.  I've NEVER in my life had a cheesesteak this good.  Why can't restaurant folks make a pilgrimage to Philadelphia, take some detailed notes, and then make steaks like this?

My second favorite cheesesteak was from Ishkabibble's.

Specifically, it was from the Ishkabibble's II location. As usual when my wife and I are being tourists, we get around mostly on foot.  We had done a lot of walking all day, and though we had a nice dinner with plenty of drinks, I felt like a snack a little after.  It was a couple of miles on foot from where we were over to Ishkabibble's.  They are open gloriously late, and this thing of beauty really hit the spot.

I was so enthused that I might have been dancing in the street whilst carrying this steak.

My third favorite cheesesteak was from By George inside the Reading Terminal Market.

I love watching people cook.  I love eateries that let you watch people cook.  I had a clear view of the cheesesteak assembly process at this location. 

This was the only cheesesteak I had that came with sesame seeds.  Look:

Now, the sesame seeds certainly weren't necessary, but they did provide a nice textural contrast and a little nuttiness.  The steak was, once again, delicious.

My least favorite cheesesteak was at the airport on the way out.

Yes, I'm a seasoned traveler.  Yes, I should know better than to think that any airport food other than One Flew South is going to meet expectations.  However, I reasoned that I was still in Philadelphia, it couldn't be that bad.  Well, dear reader, I did not enjoy this cheesesteak.  I managed to eat all of it, but I did so begrudgingly.

Let's start with the bread.  It wasn't the right texture.  The steaks wasn't properly seasoned. Look how the cheese is separate from the meet and onions, instead of being one happy homogenized food substance.  This is the kind of cheesesteak you'd get in, say, Indiana.  This is not what you are looking for.

I would imagine that many towns with enough musicians has open mic events.  Our does.  Some of them are truly open... arrive, jump on a sign up list, play.  Some of them are curated... anyone can play, but you must sign up in advance of the show date. You'll see all sorts of musicians at these events. You'll see seasoned musicians working out new material.  You'll see people performing their own music in public for the first time.  You'll sometimes see a musician build an ad-hoc band right there in the venue, and perform a few songs with no rehearsal. I tend to enjoy these events, as seeing live music always tends to give me the good endorphins.

I am sure there are more open mic events in the Greater Dayton area than I know of.  I am very familiar with the one at Peach's Grill in Yellow Springs.  It is hosted by the effervescent Kyleen Downes, who you might recognize from a previous blog post here.  (Sign up for that one is right here.) In addition to delicious pizza, South Park Tavern has an open mic even on Wednesdays. (Sign up for that one is right here.)  My favorite of these events in the area is Showcase Thursday over at Yellow Cab Tavern. I can't share a sign up for that one, you need to do it in person.

Although I always enjoy these sorts of events, I prefer the ones where everyone is playing original music. Foremost among these types of events are Songwriter-in-the-Round type occasions.  For these, each songwriter plays one original song in turn, and round and round we go.  I've attended countless of these events, but had never had the opportunity to play in one until last week, Sunday March 27th.  Rich Reuter hosted the Songwriter-in-the-Round at Devil Wind Brewing in my hometown of Xenia, Ohio, and invited me to be part of the lineup.

This is going to become a photo blog now.

That right up there is my hometown.  Specifically, it is the view toward the courthouse from Detroit Street, just south of Main Street.

This next picture right here is Khrys Blank arriving.  She played during the same Round as me, and she is exactly as cool as she looks in this photograph.  Dennis Geehan also played in that Round, but since I was next to him during the time we played, I didn't get any pictures of him.

The second Round of the evening consisted of Nicolas Johnson, Jenna Gomes, and the host, Rich Reuter.

The last Round was Kevin Milner, Rachel Litteral, and Anna Marie.

It's always somewhat emotional playing songs in front of people, but that was cranked up for me, as this was my first time playing in my hometown.  Also, it was a bit nerve-wracking to be surrounded by so much talent. We all survived it though, and then I got the post-show endorphins.  

I'll keep on trying to play as many events like this as I can.  I'll also keep trying to attend even when I'm NOT playing, as a way to show support for people who are brave enough to share a piece of their art with the public when they don't know how it will be received. These open mic events are customarily free to attend.  I encourage you, no matter where you are, to try to find similar events in your area and try one of them out.  You never know, you might discover some music that you love.

This song started as a voice memo, a brief line of lyrics and the slightest suggestion of melody sung to my phone. The line in question was this one:

tell your teacher I got some bright ideas

Admittedly, that's not much to build a song around. The concept of "bright ideas" stayed with me.  I live in the Greater Dayton area, and this is a place that has seen many inventors and creatives. I decided to build the song into a love letter of sorts to the Gem City and to the thinkers who called this place home. I also decided to try to write a Guided By Voices song.

The second thing I wrote was the riff for the outro. I did the writing on piano, but I knew from the beginning that I would want that hook played on guitar and also sung. I knew from the beginning that I didn't want to include a traditional "chorus" with the song, and that I wanted it to be short and punchy.

This is what it sounds like.

My thanks go out to Dr J at WUDR and Juliet Fromholt at WYSO for playing this song on the radio.

I am also thankful to the personnel who played on this single. Here are the credits:

released March 31, 2020 
Music & Lyrics by Mike Bankhead 

Bass, Vocals: Mike Bankhead 
Guitar, Vocals: Eric Cassidy 
Drums: Brian Hoeflich 
Vocals: Patrick Himes 

Produced by Patrick Himes & Mike Bankhead 

Engineered and Mixed by Patrick Himes at Reel Love Recording Company, Dayton, Ohio 

Mastered by Alex McCollough at True East Mastering, Nashville, Tennessee 

Art by Ashka RA 

©℗2020 You Could Be My Aramis Music (BMI)

***

"Bright Ideas" was taken down from global streaming services when I changed distributors, but it will be back TOMORROW, Tuesday 22nd March, 2022.

Almost a year ago, on Sunday March 28th, 2021, I went to Reel Love Recording Company and recorded this single. Brian Hoeflich played drums, Jeremy Raucci played guitar, and Patrick Himes sang some vocals and made it all sound good. "Hold the Wick" was recorded and mixed in one day. That's not the end of its story.

Those of you of a certain age might remember buying CD singles. In addition to just the single, there would be additional songs on the disc. That is the listening experience that I wanted to create here. In order to do this, I recruited a variety of musicians and asked them to remix "Hold the Wick" in any way they chose to do so. You can already listen to all of the song versions right here on my official website by heading to the Music page. 

Here are the musicians who provided remixes:

Rich Reuter
Baby Molly
No $ Savant
Nina Pelligra
Bonsai Superstar
Rizo
T.H.O.E.M.

Tomorrow, on Tuesday March 15th, all versions of "Hold the Wick" will be streaming everywhere.  I encourage you to please listen repeatedly on the streaming platform of your choice.

Oh, and each version of "Hold the Wick" comes with a music video.  The first of these is also out tomorrow.  I think the director did a very good job. I hope that you do, too.