Tag Archives: melodica

The Country’s On Fire… But There’s Always Music

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Well… The U.S. has always been on fire in one way of another since its inception, with its constant state-sanctioned violence, class war, enslavement, and all of the trimmings. But of course the conflagration’s becoming more obvious to those who have not been paying attention, either generationally or by choice.

While technically there’s never, ever been a ‘peacetime’ when it comes to the U.S. (for marginalized folks, and anyone who’s been the target of imperialism), music has always been made, either as a means to communicate what is happening, or to bring people a sense of calm as they go to fight the everyday struggles.

This post represents both elements.
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So many people have beloved punk elder Dave Dictor to thank, whenever they chant “No __________, no KKK, no fascist USA” at a protest.

The primary reference point for many in more recent years was Green Day’s performance of ‘Bang Bang’ at the 2016 American Music Awards; however, given the fact that they’re a Bay Area (California) punk band, it’s guaranteed they listen to MDC (Dictor’s long-running band), and most likely saw them at Gilman Street.

Born in Austin, Texas; MDC (which is an acronym for everything from Millions of Dead Cops, Multi-Death Corporations, Millions Of Dead Children, etc.) was one of several amazing bands from the area, such as Dicks, Big Boys, and D.R.I. They did eventually move to the Bay Area, and around this time they also released their first album, Millions of Dead Cops, in 1982. Like many of their peers the album addressed and critiqued capitalism and its many appendages and branches (such as state violence, homophobia, consumerism, racism, corporatism, and more). ‘Born To Die’ (the song where the chant was born) is a classic in the band’s catalog- in fact, the band reworked it in 2016 to add ‘Trump’ instead of the original ‘war’.

(i personally think ‘war’ is more fitting, since every president is a figurehead who ramps up war against the masses, whether that’s internationally or domestically… Yes, including Jimmy Carter. Please study what happened with Indonesia and the people of East Timor, among other things.)

For this cover of ‘Born To Die’, jesse (who is not really into hardcore at all) was kind enough to lend his voice to some gang vocals. Everything else (vocals, percussion, tambourine, cowbell, handclaps, bass, and melodica) is me.

i will be back on the drum kit soon; i’ve just not been in a headspace (or capacity) lately to go down and play a whole setup, even though i still have the desire to create and play music, which i have been doing- i’ve released a couple of EPs over the past few months.

i am hoping you who is reading and listening, enjoy these more ‘stripped down’ covers though.

The next song is from a band i have covered on this site before, despite already knowing i could never do them justice: NoMeansNo. They are one of my favorite ever bands in the whole entire world, and while i in no way have the musical chops to attempt even a quarter of this band’s catalog, i sometimes am up for a good challenge.

Like a majority of the covers i do on this site, i learn them in one to two days. Again, it is a challenge, and it is more for fun than anything else.

‘Joy’ is the opening track from their 1995 album The Worldhood of the World (As Such). It is a song i have wanted to cover for many, many years but never attempted, since (again) i am not a good musician. i have actually only seen one person ever cover it. As a lyrics person i actually don’t mind that the song only utilizes one word, and it truly conveys everything. The song sounds like pure joy, amid the sea of despair, cynicism, depravity and dark comedy of the band’s catalog. Not only is the song one of the greatest openers on a NoMeansNo album; it’s one of the greatest album openers of all time. It also contains one of my top five riffs of all time.

With so much happening in the world (from the hands of U.S. empire), i figured it would be nice to have a bit of a balance… by way of a band from Victoria, B.C. (Canada).

i sing here (obviously)… or yell? i also play percussion, tambourine, handclaps, bass and melodica.

i don’t cover a lot of pop songs on here, mainly for a couple of reasons:

  • i (again) am not a good musician. i know people consider pop music in general to be vapid and/or derivative; however, the level of musicianship to play it tends to be ignored. While some of the more modern pop songs are built off of samples and/or sound very mechanical, the people who get hired to play as the backing band for the biggest artists are top notch musicians who can play a diverse range of genres.
  • i am not a good singer. There’s not much else to say about that.

That said, ‘King Of Wishful Thinking’ by Go West is a song i’ve also wanted to cover for many years, but did not for the reasons stated above. i had no idea how i would have approached it. i almost considered trying it on piano, but i already knew it would not have sounded good.

‘King’ most famously made its presence around the world via the soundtrack of the 1990 film, Pretty Woman. Interestingly, i had the soundtrack on cassette when it came out, but i don’t recall anything about the movie, outside of one or two clips i’ve seen. i can’t even recall if i’ve actually seen it outside of those clips. In terms of the soundtrack, i don’t remember much about that either, except for three artists: Roxette, Red Hot Chili Peppers and Go West.

There was something about Go West’s song that was always the most memorable for me though; despite (again) primarily being a lyrics person, i am a sucker for specific chords and layers. Even the drum programming (by Peter Wolf) lacks the sterility of many songs of that era, and in future years. It also could not have hurt that significant players from the Michael Jackson and Earth, Wind & Fire universes participated in the recording: Jerry Hey (trumpet and horn arrangements), David Williams (guitar), Gary Grant (trumpet), Larry Williams (saxophone) and Dorian Holley (background vocals).

Co-writer Peter Cox’ Bill Medley-esque vocals also fascinated me when i first heard them. Go West were pegged solidly in the pop realm overall (particularly given that the main chord structure of the song is not unlike some other UK-based pop songs during that era), but those vocals were definitely giving ‘Blue-eyed soul’.

i was not aware there was a music video for the song up until a few years ago; the surrealist/absurdist ‘everything but the kitchen sink’ theme was a bit off-putting to me (especially when they brought the poor elephant and zebra in), and it immediately reminded me of the nonsensical spectacle that is the video to Michael Jackson’s ‘Liberian Girl’.

But then i began to think again about the concept, as i was working on the cover.

While it most likely was a logistical means of eluding any sort of copyright entanglements regarding the film; thematically, in the end it makes sense. The narrator is literally having a one-sided conversation, in regard to a romantic breakup which does not appear to be amicable- while it appears to lean on the side of the narrator being dumped, there’s no specificity as to whether or not this is the case. The person he’s separated from appeared to be a significant part of his world; and while he recognizes the futility of it all, he’s in sheer denial of the reality of the split. He specifically repeats before and during the chorus that he’s got to fool himself and pretend that the cessation of this particular pairing is one that he’s finally come to terms with. The stoicism he’s displaying on the surface is met with more than a tinge of hope- but deep inside, the shell has already cracked… and what comes out is the absurdity of the facade.

Continually telling yourself something that you yourself do not believe, makes about as much sense as that music video.

For the cover i make an attempt at vocals; i also play melodica, percussion, a salt shaker that a friend made for me, bass, tambourine and handclaps.

And coming full circle (in more ways than one), the final song for this post is another one i immediately fell in love with when i first heard it, but cannot explain why: ‘Coming Clean’ by Green Day.

i was a Green Day appreciator from the Lookout! days, so when they came out with Dookie, i was all over it. In fact, my first and only time seeing them was on the tour for this album- 17 March 1994 (at Irving Plaza), with another Lookout! band, Tilt, opening.

My two favorite Green Day songs of all time are ‘2000 Light Years Away’ from Kerplunk (1992) and ‘Coming Clean’. Do they have better-written songs than those two? Absolutely…. but i do not care.

There is validity to wisdom; however, if one claims to have life entirely figured out, regardless of age, i feel as if this person has ceased to experience life. If you are above ground, there are always experiences and mistakes to learn from.

i am about to be 50 this year, and i’m still figuring out what it means to be a being on this planet. Having experienced a near-fatal accident, i particularly am still figuring out, five years later, what it means to be in this amputee body.

17 though? That was an interesting age. It was when i started my first band. It was also the year after i officially came out to my mother that i was not hetero, and despite our (more than) strained relationship over the years she was supportive, in her own way. i don’t even think i felt any sense of significant relief in my reveal. There was nothing i recall that was celebratory about it. It just felt more as a ‘Why not?’ My guess is that she knew before i even told her, but i could not even tell you if she remembers this moment, as it was fairly uneventful.

When i first heard ‘Coming Clean’ i had no idea it was about Billie Joe Armstrong’s coming to terms with his bisexuality. i connected the song in relation to the general anxiety that comes with the liminal period between the finality of teendom and approaching adulthood. i’ve seen very few interviews with the band over the years (despite listening to the music), so i only found out about the actual meaning around 20 years later, and thus, i followed this knowledge up with a rabbit hole. i’ve seen so few interviews over the years, that i had no idea until recently there was actually Billie Joe and Tré lore. While Lars Ulrich and Kirk Hammett were amusingly (and beautifully) taking the piss at the hypermasculinity and queer-antagonism in the metal and rock scenes via the portmanteau of KLARS; and while they are open allies to queer and trans folks, they both (as far as i know) are heterosexual. i was also familiar with KLARS as it was going on in real time in the 90s, so while Billie Joe and Tré’s antics do remind me of that, at least one (if not both) of the pair is openly queer.

It all ended up making so much sense to me- and it made me love the song even more.

i initially was going to give this cover the full band treatment at some point last year, but as previously mentioned, i haven’t been in the headspace to do it. Speaking of liminal spaces…

About 15 or so years ago i used to play the ukulele all the time; it was always tuned to my favorite key of all time: F#m… at least i think it was.

Given that i still want to play music in some capacity (despite my headspace), i’ve currently been gravitating toward the melodica (obviously), and re-gravitating toward the ukulele. So of course, i did what i had to do, and learned the chords of ‘Coming Clean’ on the ukulele. In the initial version i did (just trying to work out the song), i ended up hearing a bossa nova beat in my head, so i ended up playing it in the way you are hearing it in this recording.

It’s just vocals, a ukulele and the salt shaker.

Thank you for listening… This post is dedicated to anyone out there who needs some positive energy, in the midst of struggle.

Also: Fuck ICE and fuck fascism.

Appreciating Chords (And Melodica)…

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This post has helped to confirm even more of what i already knew- i am not the greatest singer. i absolutely love singing (obviously), but i am not great at it. After legitimately hearing people who are tone deaf (some of whom are among my blood relatives), i’ve been doing my best in trying not to say i can’t sing. i mean… anyone who has functional use of a voice box can sing; it’s whether one can sing in a key that is decipherable to the respective song they are singing that is the key. As a giant fan of ‘bad singing’ (where it is my 5th favorite thing in the whole world) though, i don’t mind that.

i think singing, like playing an instrument, is a nice challenge for me. The songs i chose for this post were fairly spontaneous, because i do like the challenge.
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‘Plush’ by Stone Temple Pilots is a song i’ve loved from the moment i heard it. i have no idea when it was the first time i heard it, but it was definitely around the time of the single’s release. In the course of working on this post i remembered that i actually bought a cassette of Core (the album the song derives from) fairly immediately after hearing it- and that is literally all i remember. i obviously heard the rest of the album, but don’t recall any of the songs. ‘Plush’ was the only one that stuck with me. The other thing i remember specifically about the song is that it was incredibly hated by many, as it was seen as a Pearl Jam knockoff. i would not be surprised if Atlantic Records aimed to market them in that way, since the early 90s was an era where the industry attempted to pigeonhole a number of bands with the ‘grunge’ title. While a band like Mudhoney (especially in the 90s) sounded more like a marriage of Captain Beefheart and garage punk, Nirvana’s direct influences were bands like Pixies, Soundgarden seemed to have more prog/metal influences and Pearl Jam had more ‘jam band’ elements; i am not sure what a ‘grunge’ sound actually is.

But STP were not it. They were/are a lot more melodic than the sludginess of whatever the arbiters of consumer culture aim to market as ‘grunge’. And in the course of working on this post, it seems like many have come around to this song, with all of the other covers i have seen.

And i’ve just added to that. So if my cover is bad, i apologize in advance.
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As a person who tends to pay heavy attention to lyrics; in a rare instance, the chords were the first thing that grabbed me about the song. They were some of the most beautiful chords i have ever heard in my life, and as many a player of music says; similar to Stevie Wonder (or Bad Religion) chords, the ones of ‘Plush’ are something i have been trying to chase. The second guitar gives everything this hauntingly beautiful layer (that is missing in most covers, since most of the bands covering it has one guitarist). Robert DeLeo’s bass melodies are incredibly lovely as well.

On writing the riff, DeLeo said simply, “It’s kinda ragtime guitar.” After hearing that it made sense, because jazz (and diminished) chords are some of the most amazing on earth.

In terms of the lyrics though, Scott Weiland (who co-wrote the lyrics with drummer Eric Kretz) “A girl was kidnapped and then later found tragically murdered back in the early part of the ’90s. So it gave me fuel to write the words to this song. However, this song is not about that, really; it’s sort of a metaphor for a lost, obsessive relationship.”

After listening to the song one day, after a mini conversation i said “i’m going to cover this song.” i already knew i was not going to match the greatness of the original, but to be honest, that goes for any song i cover. It’s all in fun anyway, warts and all.
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i’ve been fairly obsessed with playing the melodica. People think of it as a toy, but there’s plenty of things you can do with it. From Jon Batiste to Ena Yoshida to Jon King to bands like New Order and the Smiths… the melodica can be used effectively. Again, like with my singing (or any other instrument) i’m not great at it, but fun is the operative word we should be focused on.

My favorite thing to play on the Suzuki Melodion M-37C though, is ‘Giant Steps’, a song that absolutely changed my life when i was 19 years old, and along with Herbie Hancock’s ‘Maiden Voyage’, contributed to me loving music itself, as opposed to specific bands or artists.

For most of the covers here i played the melodica with some percussion, vocals and bass; i think i added a bit of guitar here as well.

Getting back to the singing; one thing i am understanding more and more is my range. The songs i sang here might be easy for some, but in some ways was challenging for me.

My range is mostly in the ‘folk singer’ mode. i am not a belter at all (which is why you don’t see me covering a lot of songs where that happens, despite me loving a lot of that stuff. i suppose i am more of a belter when i am not being serious, but my actual singing voice, i don’t do very well in that. i am also not much of a screamer, even though i do occasional ‘screaming’, and used to do it a lot more in some bands when i was younger.

(i started thinking about how perhaps i should cover some Suzanne Vega, who’s one of my favorite ever artists. i think i could perhaps handle those kinds of vocals).
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i didn’t want just one song to be a post, but i had no idea what songs i could cover- then randomly, Chris Connelly popped into my head. He’s perhaps known by most as having Ministry and Pigface associations, but his solo works are fairly diverse, and absolutely amazing. He also co-wrote the lyrics to ‘Rapid Fire’ with Meshell Ndegeocello (from the album Weather), one of my favorite artists ever of all time, in the whole world.

Connelly wrote in his book Concrete, Bulletproof, Invisible, and Fried: My Life As A Revolting Cock that “99%” of the folks who were fans of the bands he’s normally associated with (like Ministry or the Revolting Cocks) hated his solo stuff. i do not know how true that is; however, if it is, those folks are missing out on some amazing music. i am glad i actually had an opportunity to see him back in the 90s, when he performed at the Limelight in NYC.

The song i chose for this post is one of my favorite songs of his, ‘No Lesser Of Two Evils’, from what he considers to be the “unfortunately named” Phenobarb Bambalam. He doesn’t seem to be that fond of the album. From what i recall, it was a pretty rough time during the making of this album (for many reasons, including the physical transition of a partner, which inspired the album on some level).

That said, while working on this post i did find out the album was recently reissued on Wax Trax! in 2023, with some extra tracks (plus a lengthy commentary by Connelly). i currently only have it on the original CD, but i used to have it on both cassette and vinyl as well. Anyone not familiar with him might automatically give the vocals some David Bowie comparisons. Actually listening to the music though, would automatically lose the comparison. This man has made so many solo albums and has been in too many bands to count, that to compare him to a singular artist would not be doing justice to the music.

The other thing about this post is that i never realized i’d been singing the lyrics to the song wrong the whole time. i don’t recall the cassette or vinyl having a lyric sheet, and the CD doesn’t have one either. Perhaps the reissue does.

i go to look up lyrics- and they could not be more wrong. Every single lyrics site had the same exact massively incorrect lyrics. i know i have gotten a bunch of the lyrics wrong, but this is too much. The cover i do does the best with whatever information i’ve been given, and what i know are the correct lyrics, despite sill (obviously) getting some of them absolutely incorrect.

The main riff of the piano has some bouncy piano (juxtaposing with the son’s sadness); however, the melodica makes it sound a bit more like the Smiths, or even a bit of Gang Of Four. The other thing that makes this song interesting is that it doesn’t have a traditional chorus.

The other thing that makes me happy is that i finally found a way to fit in the cowbell, which i think is in the original song as well.

If covering Chris Connelly was not on my ‘to do’ list for this blog, neither was the James Gang. i’m technically not as good as anyone in that band… at all.

But again, i am up for a challenge.

Similar to ‘Plush’; i don’t know where i first got exposed to them. i used to buy as much vinyl as i could find (since vinyl was much less expensive than it is now). i think the first records i got were a ‘best of’ compilation, and James Gang Rides again. Both of those had what ended up being two of my favorite James Gang songs- ‘Ashes, The Rain & I’ (from Rides Again– my absolute favorite song of theirs) and the Live In Concert version of ‘Take A Look Around’. i didn’t hear the original Yer’ Album version (which includes a third verse missing from the live version) until a bit later. Both songs have an instrumental coda, which give the songs the intended emotional resonance.

A lot of people point to songs like ‘Funk #49’ or ‘Walk Away’ as being favorites; however, while those songs are great, they have some pretty amazing album cuts, like ‘Things I Could Be’, ‘It’s All The Same’ (both from the Thirds album) and the two featured in this post.

Also similar to Connelly’s song, ‘Take A Look Around’ does not have a traditional chorus.. One of the more interesting things i discovered in the midst of doing these two songs is that they are both in complete juxtaposition to one another: ‘Take A Look Around’ is about not looking to the past and seeking to live a life of now, with joy. The narrator of ‘Ashes, The Rain & I’ is “Living days gone by”.

Speaking of incorrect lyrics; for the longest time i used to think the lyrics of ‘Take A Look Around’ were “Too many words to talk/and no one to hear them” as opposed to “Moments too few”, because again, i only heard the live version for a long time. i still cannot unhear it.

i am also amazed at how many variants James Gang records have. Many people talk about the multiple variants being released today; James Gang records have been repressed/reissued, remastered, released to various countries, and reissued yet again.

With ‘Ashes’, i played only the guitar and bass (with vocals), and ‘Take A Look Around’ was all of the other things previously mentioned.

i had fun doing these (despite any struggles i had along the way). i hope anyone who listens finds some positivity out of them.

The Melodica…

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It has truly been a while since the last post; in the midst of traveling, organizing, working on other projects, and of course, navigating life and all of its ups and downs, i decided to take a bit of time and create something- which is kind of like a ‘Fulfilling Teenage Wishes (part 1.5)’.

i’ve been fairly obsessed with the melodica i recently got; it’s an instrument i’ve always wanted to play ever since i heard Augustus Pablo), but never got around to it. i’m obviously not as good as Mr. Pablo, but i still have fun, experimenting with different music.

i did not have a lot of time to work on anything in the St. Anger Room,. so i decided to make use of the things i have outside of it, one being the melodica, a drum pad, and a cardboard box in particular.
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i went to see D.R.I. a few days ago (my second time within a year), and like always, it was a lot of fun. The main difference this time is that i entered the pit. Not only was it the first time i’ve done so in almost 30 years; it was also the first time i did so, as an amputee in a wheelchair. It felt absolutely amazing. It certainly brought back memories of seeing D.R.I. at L’Amour in Brooklyn in the 1990s, and the pit there being in the top 3 of the most brutal ones i’ve ever been in.

D.R.I. transitioned from being beloved in the hardcore/skate scene, to being one of the originators of crossover thrash- that mix of metal and thrash. One of the things that attracted me to them musically is their propensity for odd timings, and start/stops. And it doesn’t hurt that the lyrics are saying something.

i figured i would commemorate the moment by covering my favorite D.R.I. song of all time- ‘Draft Me’. The song’s actually pretty timely, given that Germany’s cabinet recently voted for a bill regarding voluntary military service, leading to the potentiality of the reinstatement of compulsory military service, if the volunteer numbers don’t increase. No one should be surprised if there’s some U.S. bill (that majority of people in the House and Senate don’t read but pass anyway) that has some fine-lined stipulation (on page 978) regarding conscription- despite the president not being able to unilaterally reinstall a draft.

Again, in this day and age, no one should be surprised.

Here, i played the melodica (obviously), the harmonica, a cardboard box, a drum pad, a tambourine, and vocals.

The other thing that happened (actually on the same day i saw D.R.I.) was the news of Flipper’s Bruce Calderwood (aka ‘Bruce Loose’)’s passing. i mentioned this to a bunch of people, and most of them were not familiar with Flipper, which made me quite sad.

Flipper was one of my top 5 favorite bands in high school- i would not necessarily call them a ‘gateway’ band (it’s clear they’re not, since most people i talked to didn’t even know who they were); but they (along with Melvins, Mudhoney and Jesus Lizard) were one of the bands that led me to a trajectory of even more ‘weird’ and ‘unconventional’ artists. They were, for all intents and purposes, punk; but overall, they created uncompromising noise.

The song i chose to cover is perhaps one of their most beloved- ‘Sex Bomb’. i have a trumpet (as opposed to a sax), but i’m not great at it- but honestly, i’m not that great at most things i play, so who am i kidding? Perhaps i will post a song with a trumpet here sometime.

Speaking of the sax, the riff always makes me think of the sax riff in James Brown’s ‘Out Of Sight’, and you can’t tell me they weren’t listening to that before they did this song… Either that, or it seeped into their subconscious. James Brown’s song is essentially some blues, and so is ‘Sex Bomb’.

Nevertheless, i played bass here (where the pick kept falling out of my fingers, but i didn’t want to stop- it’s actually perfect, given the song i’m playing); i also played the tambourine, the soprano and alto recorder, a cardboard box, a drum pad, some handclaps, a melodica, a harmonica… and some screaming vocals.

RIP Bruce, and RIP Will.