Friday, May 4, 2018

How Come No One Gets Lost, Anymore (w/ Jason Allen & Kirk Bennett)

This was a song from Day 18 of my January songwriting challenge. I've made some fairly minor changes to the lyrics, and there may still be more to come, but I wanted to try building an arrangement for this. We tried a few different combinations, some with Kirk playing rhythm, some with Jay playing with a bow, but this fairly straight-forward one is what we went with, and I'm pretty happy with it. Jay should get special consideration for adding a theatrical element to the video (with him and Kirk starting off looking at their phones); he's done that for the last couple videos he's been in. There are probably some tweaks to come, but I like the way this song is developing. Enjoy!


Saturday, April 28, 2018

Ball & Chain (with Karen Finch)



Karen and I wrote this song together a couple weeks ago, but ran out of time to record it. Karen has a wonderful mountain backdrop behind her house, but we didn’t quite capture it in the video, though the clouds were pretty cool.

 Karen wanted to do something bluesy and I wanted to do a duet. The first thing that came to my mind was “Tramp” by Otis Redding and Carla Thomas, which is basically a back-and-forth between the two singers complaining about each other. Our tune started off a bit darker and I think we got a cool, Stonesy groove in the end.

This is definitely a rough arrangement and we’ll look towards tightening things up for the future; but this sucker has a special groove— I look forward to playing this live.

Sunday, April 22, 2018

Ep. 4, Very Scary with Gerry McCreary: Sexy Lucky Astral Gun

What would you eat at an astral buffet? How do you calibrate a gun to shoot only supernatural creatures? What’s the best flatulence sound effect of all time? Get the answers and more on this extra bawdy episode Gerry's show (with a special tribute to Art Bell)! Featuring Eric E. Farwell, Troy Fluhr, Muriah Summer and Chelsea Kramer.
 

Tuesday, April 10, 2018

Carrie & Dave cover "And It Stoned Me"

I got together again with the scintillating Carrie Faye Thompson to cover this Van Morrison tune. We recorded it in the Remain Teachable Learning Center and Listening Room in Loveland. The space is currently being renovated, but it's going to be a cool place to hang out once it's all put together, so be on the lookout. In the meantime, enjoy the video...


Tuesday, March 20, 2018

Ep. 3, Very Scary with Gerry McCreary: Obscure Phlegmy Time Flusher


Here's a new episode of my improv comedy podcast. In this episode, I talk to someone researching a phlegmy ghost (Chelsea Kramer), a man who travels through time via bathrooms, and a British ex-patriot who's an expert on obscure occult phenomena (Eric E. Farwell). We also hear from our show's brand new producer (Muriah Summer). Enjoy!

Tuesday, March 13, 2018

You Can't Quit Now, Baby (w/ Amber Brown & Kirk Bennett)



This is a revised version of my song from Day 23 of my January songwriting project. I love what Amber and Kirk bring to the arrangement (with Amber’s daughter, Anna, helping out off-screen with tambourine). They manage to look super cool while doing it, too.

Originally I thought this song was a throwaway. It was born out of frustration and a desire to quit the song-a-day project. But it turned out to be one of the most innovative and heartfelt pieces, and it’s become a favorite of mine.

Friday, March 9, 2018

Impermanence (w/ Carrie Faye Thompson)


This song was originally from Day 7 of my song-a-day January project. I wanted to try out an arrangement with it, and it definitely felt like a folky number. I recorded this with Carrie in the same session where we recorded "American Girl". Carrie is really fun to hang out with because she's not afraid to get silly, but when she performs a more serious song, she hits it with feeling. I love how she brought her gorgeous harmonies to my melody, and her guitar style is different enough from mine that it really added something cool to the song. I feel like this song still needs some lyrical tweaks, but I think this goes a long way toward constructing the right aural feel for the song.