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On tracking.

Somehow there's a huge diffenrence between a good, groovy basic track with drums and bass locking in etc. and a take where something else happens, a rythm guitar or a weird organ pattern that just gets down with the bass drum and snare rim or hi-hat and everybody in the control room just can't help themselves and start dancing or headbanging or whatever it is they do to express that physical thing you can't control.

More on rhyming...

Some of the most fun moments for an oldfashioned, rhyme-obsessed songster are the ones where you stumble on new rhymes, in the vein of: "it's just an imagery/that doesn't really appeal to me" (from a song I wrote after Bowie died and I didn't cry and still didn't really get the fuss...). Like how "way" and "finally" sort of rhyme, or "chance encounter" meets "something about her". The true master in these matters, for me, will always be Howe Gelb. Listen to any record and there's a stunning collection of wordplay and rhymes you instantly feel was right under your nose the whole time, yet never saw. Come to think of it, it'd be appropriate to dedicate a post to some of Howe's most endearing r