Friday, September 11, 2015
Wednesday, March 5, 2014
Lethargy set in and I ignored it for a long time but I think I finally got it fixed. Not pretty, but I used the basic unfairly code for the HTML 5 MP3 player. If you go to the Songs page, the pop-up "Listen" icon should bring up the song, and if you go to the song's page, the player should work.
It should work on phones and iPads and other tablets. I hope.
The "Jukebox" button does *not* work…I have to figure out how to embed a playlist and get that working as well.
Saturday, August 31, 2013
Tuesday, June 4, 2013
Starting from the title, this song works on misdirection, giving you an unlikely metaphor and sticking close to it. It’s a first person narrative (subtitled “The Worries of Patrick Lunquist” – three of the songs have these subtitles and they are the best songs on the CD).
Here’s the first verse:
The summer’s hot and the winter’s cold
That’s when the snowmobiles get sold
That’s what we got up here
Snowmobiles and deer
That’s how it is when you live up North
Winter lasts till July fourth
So we snowmobile till April, maybe longer
And my wife she says the cold it makes us stronger
And we’re strong up here
Strong as six-point beer
Comes to the weather
The weather is what it is
She works entirely in couplets in this song, but sets them apart with musical pauses and mini-interludes, and she varies the meter on each couplet. This allows for variation and gives the impression of thought and careful consideration of each couplet. Using the couplets allows the funny lines to land – line 1 sets up the thought, and the second line can click in with either a rueful or an amusing one. The “snowmobiles and deer” line and the “six point beer” line make you chuckle because of the way they are phrased.
She then starts using repetition between verses -- each verse talks about the weather. The summer is always “hot” but in verse 2 the winter is “cool” not “cold” and in verse 3 it is “warm.” Each verse mentions a particular time of the year – verse 1 is “July 4th,” verse 2 has “Columbus Day” (when the pool finally closes) and verse 3 has “New Year’s Eve” when it rains for the first time rather than snows. Patrick’s wife chimes in several times during the song “My wife says….”. Verse 2 also ends with the resigned line, that the weather “is what it is.”
But verse 3 ends with the sad memory that the weather “was what it was.” And isn’t any longer. Because – obviously – this is a song about global warming, without a single strident line in it. It’s just about how the changing weather happens slowly and creeps up on people, and how it alters lives that have long lived a certain way.
Patrick “lives for” his “Arctic Cat.” It’s part of his life. A life that is melting away.
The bridge (and anyone who knows me knows that I live and die for the bridge of a song) nails the theme, takes it from the storytelling to the central idea:
Or so I thought until a couple years ago
Now anymore we got a lot more rain than snow
I mean it really rains a lot
And then whatever snow we got
It melts away
In just a day
My wife she says that nothing’s changed
I really love those tiny little lines in the middle – “It melts away/In just a day/So strange” and then Patrick’s wife is the voice of reason, or so she thinks. I love the vernacular phrases "Now anymore" and "whatever snow we got" (And the bridge is usually where Werner pull in the most unusual chords that hit you in private places.)
It’s a song that comes on you slowly, through the chuckles and small observations, the worry and sadness and loss hit you by the end, when there is almost no snow, and everyone stays inside “drinking too much beer and watching too much cable.” And
Missing how it feels
To ride snowmobiles
When the weather
Well it was what it was.
There are many excellent songs in this collection, but this one immediately goes on my pile of favorites. The construction is elaborate and elegantly executed, the tone is pitch perfect and internally consistent, and it achieves a lightness that belies the hours of work that must have gone into it.
You can watch her sing "Snowmobiles" at this artist showcase site: http://evanstonspace.com/artists/Susan_Werner
Thursday, May 2, 2013
Between seeing Aly, her amiable and fashion-conscious social worker friend, and meeting an animated and engaging independent film producer at the bar, who was there with a friend who runs a charitable series of concerts in Venice, CA (Grassroots Acoustica) -- it was an unexpectedly social evening.
Plus the music was great.
Maia Sharp is just one of the best songwriters around. The lyrics often layer two meanings in one line, or juxtapose two thoughts in one phrase; every song has at least one turn of phrase that makes me thrilled and jealous. She has a gift for melody and her voice is wonderful. Plus she can play the bejesus out of her instruments. (She even pulled out a clarinet last night).
It helped that she was backed up by Linda Taylor (from Who’s Line is That Anyway) on bass, acoustic and everything else. They didn’t need anyone else on stage with them. We stood in the back and whooped and hollered. (The most popular song of the night was probably “Whole Flat World” from her last album, “Echo.”)
But even before Maia stepped on, we were treated to Dante Bucci, a Philadelphia fixture. I hadn’t seen him before. He’s a friend of Aly’s. He plays the “handpan” or “hang drum.” I have never seen this instrument before, but it is capable of an amazing range of sounds. Everyone just stopped what they were doing and tried to figure out if he was hitting anything with his feet.
Look for yourself. Guy has some serious game with this thing:
Monday, April 29, 2013
Why yes, it has. My, how time crawls.
It’s been a low-key year, a museless time. More real-life things had to take a front seat for a while and my urge to write went into hiding. I hit sort of a wall with why it is I wanted to write, or what I wanted to write about, let alone who.
But I think it’s time to start pulling out notebooks again, listening to new music, working with partners and generally getting into mischief.
I’m still working on the songs with Michael Ronstadt and we’ve recorded some demos which still need to be mixed. I’m hoping to work with a guitar player so I can hit some open mics.
And so it goes. I will try to report back from the Maia Sharp gig on Wednesday night.
Welcome back. To me.
Tuesday, April 24, 2012
I remember getting on a stage when I was around 10 years old, so that’s when I think I started acting. So I’ve been a performer for a long time, but always in a theatrical context. I have sung in Summer Stock (one year in my youth I played Jesus in GODSPELL and Littlechap in STOP THE WORLD I WANT TO GET OFF), and done cabarets, but it’s always been about the story and the performance and the energy and the narrative, and I’ve gotten by with hitting most of the notes.
This is the first time I’ll be getting up in a venue as a songwriter and musician and singer, with the performance experience playing the supporting role. As Michael and I have been developing our song project, I’ve wound up as lead vox.
“Little Jack Horner” is a lyric I’ve had for years – it’s a “she done left me” song incorporating as many nursery rhyme phrases as I could fit. “Falling Angels” was inspired by the notion that your guardian angel was probably sick of looking after you and wanted to go out and party, and maybe not come back; it would explain a lot about the state of the world. Michael’s music for “Falling Angels” is particularly wonderful.
Anyone who wants attend from afar, there’s a Pay-per-view option.