What happened to the Cover EP?
I got distracted and started making children’s music. As of right now, it’s on the backburner.
The pressure of trying to write a song about, you know, the issues at hand.
With society imploding because of viral disease, unemployment and general uncertainty, it seems what the people needed in a time such as this (besides food, toilet paper, and a “stimulus check”) was songs that brought light and/or made light of the issue. Songs were made, if not without a little friction; Weird Al, the grand poo-bah of funny songs refused to fulfill someone’s request for “My Corona” (though that may be because he already did My Bologna back in 1983). On the other side of the spectrum, the children’s group The Wiggles released a song about the practice of social distancing, appropriately titled Social Distancing. All the while, my own family was egging me on to write a song, but I just couldn’t do it.
Who knew writing a song during the collapse of modern civilization was a difficult task?
I was lost. Hitting my head against the wall. How could I write a song about the epidemic without sounding redundant? What could I say that hasn’t already been said by The Wiggles?
Someone online (let’s call her Lisa) suggested I make a “topical, tropical song” and even provided some lyrics over instant message following this theme. I tried to work with her words, but I couldn’t spin them into a song. (Lisa if you’re reading this, I’m so sorry.)
Writer’s block continued to linger in my brain like it paid rent. That was, until news stories started circulating of disgruntled people gathering in large groups to protest against the government’s stay-at-home orders, carrying cardboard signs with slogans such as “COVID-19 IS A LIE” and “WE WANT HAIRCUTS!” written in crude permanent marker. First world problems at its finest. This, combined with similar stories about how people were immediately flocking in droves to reopened beaches, it all began to click:
“Why don’t I knock these people down a peg?”
Though I couldn’t just sing “HEY ***HOLES, STAY INSIDE AND BE SAFE”, as that would come off as a bit combative and perfidious, so I turned to a concept that I don’t think has been in a lot of songs: reverse psychology.
I took their whinging and “fatigue” with quarantine and made it so the lyrics actively encouraged their actions, (in a less-than-subtle sarcastic tone). Even the title, “Yes! Absolutely Go Outside” sounds like something a passive-aggressive teacher would say to an unruly student. Top that all off with a references to whipped Korean coffee and the conspiracy-driven destruction of cell-phone towers and I was all set. The perfect epidemic song. Well, maybe not the perfect epidemic song but it was the best I could come up with.
My guitars - part one
I only started playing guitar at age 12. Since then, I’ve acquired quite a collection. I don’t know why or how, but here’s what I have to say about them:
Fender Telecaster
I got this one at a yard sale in 2017. It’s my workhorse guitar, having been featured on nearly all of my songs. Even though there’s only three switch settings it’s surprisingly versatile and fits into every genre I attempt to play with it.
IYV Guitars “Red Special” Copy
Allegedly made in Vietnam without the blessing of the legendary rock n’roll scientist Brian May, this uncanny duplication of his signature homemade instrument The Red Special took some getting used to when I initially tried to play it. The neck is a lot wider than what most guitars have to offer, but the switch system proved to be fun to experiment with. So far the only song of mine I used it on was Body of a Boy, Face of a Man, but hopefully that’ll change soon.
Ibanez AW130 aka “Gerald”
Yeah I named this guitar Gerald. Not after anyone in particular, I just thought it looked like a Gerald. It’s an acoustic-electric, though I really only use the electric aspect in live situations. There are some songs of mine that feature the plug-in sound, such as Submerged Mango and the original version of Three Gray Hairs. Most of the time I just record it with a mic pointed at its sound hole.
Hofner Bass
Like many young Beatles fans the world over, I received this Hofner bass as a birthday present after begging my parents for it. I modified it with teacup knobs to make it look more like McCartney’s. Of course, it’s been used on my Beatles-y songs, Time Isn’t Real, Raisins, and my cover of the Beatles’ own Yesterday, but it proves versatile in other scenarios, such as the 2020 re-recording of Three Gray Hairs and my synth-pop pastiche Theme Park on a Wednesday.
I’m making a cover EP
After the release of Middle Child, I’ve been kinda “sapped” of songwriting juice. I still want to put out music though, and the only logical thing to in that regard is to make a cover EP. What will be on it? Who’s to say. I’ve got lots of songs in mind but for budget reasons the final product will ultimately include five or six songs. This is something I’ve been wanting to do for a long time, and right now and only now is the perfect time to do it.
I made these covers long before I actually started recording anything.
When will it be out? I honestly don’t know. Could be in a couple months. Could be next week. Since I don’t have to write the songs beforehand the production cycle will (theoretically) be shorter than the first two albums (each took one year to complete).