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@kevinayyye
I looped this beat from the jay versace rhythm roulette video and then just sat on it for damn near 3 months now. Couldn’t figure out that last line when I revisited it like a week ago and then finally I was like oh shit it’s an elegy to the Scarborough RT.
i pissed my faith
off to stage dives/drain pipes into the lake
where lies sleep tight with fishers/vicious kings
bridge and sage burns asimulate
recorded 11/18/21 I was supposed to make a live version of it but never went out and did it and now i can’t remember what i tuned my guitalele strings to to play this but it will happen again - dirty mike and the boys
phone recording from Nov 2 2021 that I tossed some effects on. The lyrics are ‘a’ x whatever amount of times and then the same for wave i’ll count it later cause i think i have a cool video idea for it but we’ll see.
freestyle ting on the guitalelelele.
not a fan of the literal song titles but i can’t think of anything clever and or dumb right now. also finding all these bob marley acoustic songs on tape it’s helpful to have song titles that match the main part of the hook so i can look them up and save the loosies as well to come back to. putting together a playlist of some of my favourite of these finds while also on a mission to make just as many guitar jams like these as it is possible.
Sending my grandaddys grandmammy back through the pani on yacht yacht yawk
20-21
When the water stands
Still - the space between waves will
Be - where the trees speak
These chains | ties follow
When change | tides fall low
These canes, klans, cancers,
Cleansers to one kin-
Dread blood pales against the
Water wash the sordid sins
The ink in my skin
Run off the pages
And soak in the grains until the day
These chains | ties follow
When change | tides fall low
These chains | ties fall low
Then change | tides follow
6/30/20
mans finished this song with this ramshackle setup while the window in my basement is getting installed. What’s your excuse?
I realize that this song follows the prototype of the line of ballads that have defined certain moments in my musical growth. It started with Stay For Love (May 2014), which would have been 6/8 if I knew what that was. I made an acoustic version later in the year and was playing in 6/8 without realizing because 6/8 isn’t something you’re thrown off by if nobody points it out to you - it was probably more common than 4/4 until the Beatles. Then Make Me Move (Feb 2015) I learned 6/8 intuitively by trying to emulate the rhythm of D’Angelo’s Untitled. There were time constraints on that song because I had to finish it for class the next day. For the final project I rewrote Make Me Move because I thought it too simple of a song and I made Live Inside Your Love (May 2015). Then there was Into Your Heart (June 2016) which I don’t think anybody heard except Gray. And That was 6/8 and 8/8, so I was getting experimental with the time signature but the songwriting was still trope reliant and probably the worst song I’ve finished top to bottom. The ending is sick though. I basically left that kind of ballad R&B until I made Ultrasuede (August 2018). And that was me more comfortable with different time signatures so I just wanted to try and make a 5/4 beat sound like a 6/8 beat. And the lyrics were much better but each song follows the same vowel sound. Stay, Make, Take, Suede. Love, Move, Love, Heart. Suede had the entire meaning in itself so it didn’t need the entire phrase. When you break it down by each of these words and seeing how I was basically following the same song structure, it’s a pretty accurate tracker of where my head was in terms of what I thought I aspired for in my musical career. Stay for Love was a freestyle, as was Make Me Move, but all of those songs with the words love and heart and shit were in the time when I thought I had to be an R&B artist talking about love. And even though I hadn’t been in a relationship and was running out of things to talk about, it clearly reflected in my songwriting as I shifted away from the ballad structure completely for a bit until I came back with Ultrasuede talking about Milton’s Paradise and hella biblical references to the Adam and Eve story because that was when I decided songwriting was for my own devices. Now you have this song, where at first I was thinking if I should make the time signature weirder since it’s 2020 but I was like fuck it I’ll just use the drum kit I just made from recordings in the Rouge Forest and not quantize and put the snare on the 5. And I also knew that this project that I was working on to make this demo was purely for the purposes of finding my verse and chorus, some harmonies, and just the best lyrics I could come up with. I spent like 2 days coming up with the chains/change ties/tides thing but I knew what it was when I settled on the melody: I was making the 2020 version of Make Me Move. Or Stay For Love is actually a better comparison - stay/for/love, chains/fall/low. So I had to maximize that two or three word phrase for the hook that all the other ballads I made follow - that this one would follow based on the freestyled melody I liked - and make it as interchangeable as possible. The way Make Me Move went from a song I hastily finished at 2 am for a class assignment to the song that has people looking at me different showed me that I just need to write songs that I’m proud of and we can go crazy on the production later. And the first demo will always be quaint and memorable. But bonus is this is a Neenyo sample so that in itself is funny too how the times when I was making ballads like this heavily I would have loved to have worked with somebody like Neenyo. But I met him because I basically didn’t meet somebody like him all those years ago and just decided to write songs that I would want to see, and I can’t imagine finding my pocket if I was looking up to somebody else’s archetype of successful artistry. The journey is individual but the happiness is universal. And once I found chains and change I knew I was good to go with writing this song because of the times we’re in. It’s strange how that works, this is the most fruitful time of my songwriting and overall artistic career. I’m using the vertical line whatever they’re called | called like Emily Dickinson and em dashes. That’s gonna be my thing.
In 2011 we made a song called Zoboomafoo. In 2012 we made another version. In 2013 I made another version. I thought it would be cool to make a yearly version of that song to track my growth as a producer and singer. That song was dumb but it was the first R&B song we made so that was sort of the predecessor. And then Calgary is probably the bridge between Zoboomafoo and Stay For Love. That’s my musical career and identity over the years told through like 10 songs or whatever.
As I near the moon
Wailing moans
Come sailing on
And my weight (wade) is drawn
In and out it traces me
In the clear your call starts to fill the fog
Getting faded (fated) on you, got you locked on me
If I showed up tied (tide) with both my hands
Could you rest the ties that bind the body bags?
As I bail upon
Shore the bonds
Hailing louder
We ain’t waiting long
When your eyes set off on me
You gon lay me down
I ain’t gon stop it
I’m kneeling for you
Taber Hill
I've been stuck between the belle of the ball and the fly on
the wall and sometimes an
elephant in
the room
Yet I never claimed the space
Unlike the Pharoah in the Tomb
The plebes ply on the wall
Pharoah designs for death
in the Womb of a Pyramid
fleas flee and flies fly through
Hieroglyphs
Yet they never claimed the space
Ceilings like veilings
Translucent black tapestry wrapped
around the skeletons in the closet
They can see what separates them
from the Houses we built of
Brick and marrow
upon some arrow that should set
the narrowed walls to
Build our own forty year boxes
Still we won't dare peek over the
Hill, that silken dew dresses each leaf where we're put out to pasture
And forever claim the space.
Documentary · 2019
Let you (w)in
A. Let yourself in
B. Let yourself win
Let uuin
Say it once you say both
![Birdo (Acoustic [Jacques Cousteau])](https://64.media.tumblr.com/e2582e93bbe801000f34134fd36c1252/78dd38db3c6a041f-11/s512x512u_c1/24860c0991c67a62e7f329b6f990d7dc883a1d6f.jpg)