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What We Do and How It Came About

Call it: Setting the mood… What We Do.  Honestly, I’m not sure this even qualifies as a “riff.”  It’s only an A minor-D major chord progression after all, repeating itself unto perpetuity.  But if you are still reading this, I’ve got another problem.  How do I keep a tin-earred blog-o-phile entertained enough to slog through the rest of my shaky music theory?

I should reduce the blather to something digestible, like using an egg cooking to explain cellular degeneration.  For me and this particular composition, though, it works like this:  The two-chord vamp sounds vaguely Celtic, particularly if I can get the lyric to fall on the downbeats.  And hey, guess what?  I’ve got the Celtic bias, thinking like a lot of other Americans,  that there are these magical villages in the ol’ country – Ireland, Scotland, Wales, whetever – these places are stiff with charming folk –  all pints and buckled shoes – distant kin just dying to embrace me, their long-lost Yank cousin…  That said, I cast this germ of an idea, this nascent musical blip, as a Waltz, the better to reinforce my Celtic inclination.

So, the riff… I chip, flick, inch, pinch and trill these two chords, my left hand staying camped out by the guitar’s nut.  In hindsight, I hear the A-minor root leading to complimentary chords also in the key of C major.  But right then, I’m just keeping my eyes and ears wide open until I finally hit upon the winning combination of rhythm and melody.  The ideas zoom up my nose, inside my head.  I breath deeply, some imprinting on the ol’ grey canvas – the secondary auditory cortex for you headshrinkers.  I reinvent the progression a million times and more, stitching random notes together until it all makes sense.   In the end, I reduce the process to its essential elements:  it either sticks or it stinks.

Days pass with me ohhmmm-ing my two-chord mantra.  I wait for divine inspiration and do simple things around the house like the laundry and preparing the evening meal.  At 6:15 p.m., on Thursday night, I’m poised in front of the stove, my Martin strapped on, watching garlic sizzle in the heated oil at the bottom of the skillet.  I don’t want to lose the thread of this weedy idea but, damn, I love this meal.  Tired fingers grow strong on the smells of heated olive oil, garlic, fresh cherry tomatoes, and the minced Andouille sausage.  I run through my A minor D major loop again.  Nothing.  I add a bunch of dandelion greens on top of the other ingredients, cooking them until tender.  As the greens soften, the front door opens, the cat, Little Big Mitts, racing upstairs to confront whoever’s just come home.  Enter my muse.

Her:  ”You’re making dinner tonight?  That’s nice.”

Me:     “It is?”

I say this because it is deeply ingrained in my nature to be contrary and/or annoying.  I can’t help it.  It’s fun.  And at the same time I’m goofing, something breaks loose.  My brain perk, perk, perks with faint melodic stirrings that synch nicely with the random pop and hiss of hot oil.  I stir, I strum, I come to the next chord in the progression:  Gmajor.  Putting that Am and Dmajor together, I’m going dark.  Right at this moment, I am all crumbling stone keeps, torchlight, kilted madmen with claymores.  Going to the Gmajor provides a small measure of relief – a chink of light – in an otherwise dark progression.

Over the next several days, I perfect the song’s lyric, finding an idea to work from.

What pleased us once was
A shot, a beer and a smile,
Whiskey on weeknights
at Kilarney House, gettin’ high.

 

I’m being clever, actually.  I’ve got the Celtic thing going and I’ve got a line about a long-since closed neighborhood bar in Lafayette with an Irish-sounding name.  The bit about the drink was…well… true.  There were nights when JD and I walked back and forth between the Round Up and the Killarney House in search of an open pool table.  They were only three or four storefronts apart from one another.

Which is how I get to the bit about “What we do…” Like a grease spatter, the chorus erupts at a random moment.  Or, if you’re pragmatic, it’s pre-ordained based upon my own limited playing abilities, experience and situational awareness.  Not much of my music is considered pop.  I don’t obsess over hooks.  But it’s not to say that I wouldn’t if I could… find a hook that is.  All I need to do is extrapolate from the A minor to D major thingamabob.  I play the following:  Am to Cmaj to Fmaj and back to Cmaj.  Everything else has been pie easy till now but this takes hour after hour of trying on different melodies and phrasing until one finally sounds OK.

Last, I write a bridge.  More chords from the key of Cmajor:  Cmajor and F major.  Nothing ground-breaking here but the chords all sound smooth together.  I’ll dress it up a bit when I record the song, adding some electric guitar along with drums and bass.

I add some verses with more images like this one:

                I breath as slow as a sundial that 
                Spins in the dark. 
                Straining to hear plain its you with your 
                Hand on my heart.

If you’re inclined, follow the above link to my Bandcamp page where you can listen to a version of the song in it’s entirety.

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The Road to Stanford: Sometime circa 1986

I’d been all at sea for the past 14 days…struggling for something to say.  I found myself  casting an ever-widening net for the odd but interesting tidbit to share with my readers.  Despairing of this, I searched my bookshelves, perhaps looking for some distraction and happened across the journal I’d kept while touring with Virgin Release in the late 1980s.  When I first conceived this, I’d done all of the entries with a Rapdiograph drafting pen.  Now, I labored to decipher the original script, finding the meaning of the text often obscure and frustratingly incomplete.  That said, what follows is a short excerpt from those stories.
Play Date - John Mac and the MoraggotsPerforming As the Sodermen - John Mac and the Moraggots

Our ride – a 1965 Chevy van – is the kind you see when the off-brand plumber whose number you got from a laundromat flyer pulls up in front of your house.  The early evening light slants across the front, making it hard for me to see the other cars in front of us.  Behind us, we can’t see much either.  If the van was empty, there’d be the two small windows in the rear cargo doors that you might catch a glimpse through.  But it’s not.  Before leaving the East bay, we’d packed the van from floor to ceiling with PA loudspeakers, a mixing board, drums, bass and guitar amplifiers, microphone stands and other assorted musical gear.  In fact, if not for the wing mirrors, we’d be nothing but a hurtling blind spot.

We’re driving alone, intending to join the rest of band at the student activities center on the Stanford campus.  Despite the hour, the air is hot and we’ve lowered both windows in lieu of actual air conditioning.  We’re in the thick of the evening commute on the East bay’s 880 freeway.  

To save time, JD changed into his performing clothes – dark jeans and one of those fancy yoked western-style button ups that he picked up at a thrift shop in Lafayette.  His nails are dirty though.  For a woodland guy, he’s fastidious so call the grime unusual. He tells me that he’s late because Little Dick, not to be confused with Big Dick, had him framing walls all afternoon.  I listen politely, missing most of the technical details.  But hey, I don’t work construction. JD taps the now-lit engine light on the dashboard.  In the thick of the evening commute traffic, casually threading the van through the ebb and flow of cars that surround us, he grins, “We need oil.”

I…I’m looking straight ahead through the vertical windscreen, seeing a thousand different cars all now slowing down to a more sedate pace, at first not believing what I’m hearing.  Then I look down at the engine cover, realizing that I’m to add the oil with the vehicle moving.   He leans across again and points to the paper grocery bag on the floor at my feet.  Inside are two quarts of 10-30W along with a still-sweating six-pack of Budweiser.   Truly, this is not the first nor will it be the last of such initiations into the bizarre under my friend’s strange and irresistible tutelage. 

With regards to the van… In 1964, Chevrolet introduced its G-series, a version of which we now rode in.  As with other vehicles of this type, you accessed the engine from inside.  I doubt that the engineers in Detroit envisioned occasion when the driver of their van would attempt this while in traffic, along a congested Bay area freeway.  We’re running late though and such is our need.  JD unfastens the hinges and lifts the cover back, causing an empty cigarette pack and the Thomas road guide to tumble.  He leaves one hand on the wheel and warns me not to touch anything.

With the cover up, I feel the engine’s heat pouring upwards in waves.  Note:  we later tried cooking a small potato wrapped in tinfoil while en route to a gig in Portland by resting on top of the block while en route.  I wait for the van’s yawing motion to steady itself then reach in to give the oil cap a hard counter-clockwise twist.  It comes off without me burning myself or dropping it down through the frame to roadway rushing backwards below us.  While watching the engine’s fan and various belts tear along at a great rate, I very, very carefully pour the oil in.

JD yells something at me that gets swallowed up in the noise the exposed engine is making.  A late-model Honda Civic, filled with co-eds, ranges up along our driver’s side, keeping pace with us.  JD gestures to the girl in the front passenger, using clever hand signals and facial expressions to convey the particulars of the evening’s show at the Stanford student union.  I keep pouring the oil.  Too late I see that the hot air blowing up from beneath the vehicle is atomizing some of the spillage.  My hand and arm and the underside of the engine cover are greasy with the lubricant.  I find a rag by the bag with the beer and clean myself off as best I can.  Afterwards, I pass JD the smokes.

We pull into the loading bay behind the student union just 20 minutes before we’re supposed to begin playing.  Traffic… The band members who got there ahead of us and a couple of student jocks rush out of the building and begin to move the gear out of the van and into the building.  These guys have been dying here but they don’t want us to know it.  I think I know now how it feels to be a member of the crew on the boat that rescues the shipwrecked mariners.  We assemble PA quickly and soundcheck with just a few minutes to spare.  It seems that while we wrestled with our vehicle’s necessaries, our remaining band members stood around verbally fencing with the student activities director, a sharp business entertainment major who booked the show and who was pressuring them account for our whereabouts.

In retrospect, this happened before people had cell phones.  Everybody got by on faith…Faith that the guy you were counting on to be somewhere actually got there.   JD did like to test people’s patience however.  My last entry on this date notes we played three sets over the next several hours, later departing with a check for $300 in our pockets, leaving nothing behind but some ringing ears.

Play Date - John Mac and the MoraggotsPerforming As the Sodermen - John Mac and the Moraggots

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West 56th Street NYC and Music Where You Sometimes Least Expect It

Last week, to see me best best bro, Squid-boy tie the knot in NYC, my wife and I caught the “red-eye” out of SFO, La Guardia-bound.  En route, we molded our backs into the pretzel-shapes consistent with economy-class seats and settled in for a long flight to the East Coast.  In my best case scenario, I remember hoping I’d sleep through most of it thereby avoiding, at least spiritually, the click bang of the accordian bathroom doors and serial coughers  that always seemed to plague such journeys.

Instead, I woke up a hundred miles east of Cinncinati, anticipating perhaps the scheduled plane change in Ol’ Kan-tuck-ee that presaged the final leg of the trip into New York.  As we began losing altitude, my ears popped.  I opened my eyes, seeing several members of the all-female flight crew in the darkened cabin gathered around a passenger who was by then loudly accusing the passenger behind him of trying to steal his laptop.  In fact, there was no proof that this was the case but the guy was missing his checkbook. He kept getting louder and more accusatory until finally the stewardesses re-seated him in the first-class section of the plane.

Back where we were sitting, the supposed thief was a disheveled 20-something who’d boarded our flight late in SFO.  He was traveling with a girl, both of them showing lots of ink and her with a piercing that ran horizontally through the bridge of her nose.  She could have hung pair of Foster Grant clip-ons off it and maybe did during the day when she was outside in the sunlight.  But it wasn’t her, it was her boyfriend who’d arrived at 11 p.m. on a Saturday evening at the boarding gate in SFO wearing dark sunglasses.  Admittedly, if you were going to finger someone, it made sense you’d choose 20-something.  If nothing else, the frowsty odor of stale alcohol coming off him in waves marked him as  a likely trouble-maker.

During the boarding, I remember walking down the ramp that led from the gate to the plane, 20-something in a hurry, staggering a bit, and coming up suddenly behind me.  He bumped my backpack but said nothing as if oblivious to his surroundings.  And while we waited for the passengers in front of us to stow their bags in the overhead compartments, I heard him ask my wife whether there’d be booze on the plane.  He was drunk. In his  beat-down sandals, tattered cargo pants, black Metallica t-shirt and faded canvas rucksack that he kept banging into things, he came across as a pot-head recently returned from an extended dope-smoking trek through the Haight.  More than that, he was an idiot.  Thinking back on it, why would anyone be stupid enough to commit a theft in a speeding, sealed tube 33,000 feet above the Ohio Valley?  Whatever his motivations, 20-something and his girlfriend’s travel plans were cut short by the security personnel who were waiting for them to de-plane in Cinncinati.

For us though the trip began when we arrived in New York.  We’d lucked into a beautiful 80-degree morning, uncharacteristic for that time of the year but welcome nonetheless.  It had gotten so warm that when we joined the pre-wedding party at a Chinese restaurant on Mott Street, we wondered whether we’d brought enough shorts and t-shirts for the week.  Our plan was to head to the former site of my wife’s grandfather’s grocery store on Elizabeth Street in Little Italy and we did so despite the fact that the celebrants had by this time already stuffed themselves with won ton, spring rolls, and fried pork.  They were convinced of the plan’s good sense when we offered to treat them all to fresh canoli and glasses of chianti at a nearby Italian restaurant just a block away.

In Soho, we explored a variety of shops and small businesses including an Italian perfumery whose pedigree extended back to the 1200′s and whose 21st century sales girl kept me engaged in smalltalk while she helped my wife to purchase an early birthday present for herself.  We exited the shop with the $135 bottle of Acqua Di Colonia #1612 and walked back to another subway stop before returning to our hotel.  We continued to eat our way across the town, later taking the subway again to another excellent dinner at Trois Canards in Chelsea.

Since these articles are intended – at least tangentially – to spark the public’s interest in lyrics and melody, let me say for the record that my recent trip only reaffirmed the notion that New York remains a great place to hear live music.  The following comprises a list of five examples of the City’s musical prowess as experienced by yours truly:

1)  On the A train between mid-town Manhattan and 125th Street –  I listened to a four piece, all-male acapella group performing gospel-tinged arrangements for cash as the train travelled north to Ft. Tryon Park.  Note:  I tried to find these guys on Youtube so I could give you a name but came up empty-handed.

2)  At Guantanamera, the famed Cuban restaurant on 8th Avenue – On two consecutive nights, my wife and I ate late dinners here and caught shows by Pedrito Martinez.  Eric Clapton was said to have come in recently for the music or the food or maybe both.  When we were there, a harp player got up and jammed with the band.  By then though we were into our second mojito and never caught the cat’s name.  The music was great and the food better – so good in fact that we opted to return here the following night rather than chance another venue where the food and the tunes might not be as tasty.

3)  At the Lincoln Center – Because everything is EXPENSIVE in New York, we were looking out for ways to save money.  And let’s face it, entertainment cost a lot in the Big Apple.  When we planned this adventure, we’d vowed to go either to a Broadway show or to attend a performance of the symphony during our week in town.  We settled on a symphony rehearsal at the Lincoln Center.  For me, this was  a no-brainer… I could listen to world-class musicians perform Tchaikovsky and Mozart without having to step out of my cargo shorts and sneakers.  And yes, I wore a Moraggots t-shirt but no one seemed to notice.  The Mozart piano concerto beat Tchaikovsky’s Fifth Symphony hands-down.  I’m not sure why they were even preparing this since the composer himself didn’t think much of it either.

4)  At the Columbus Circle entrance to Central Park – Five post meridan, Wednesday, April 18th… Deja vu!  I see myself in this guy strumming away furiously on an acoustic guitar with nobody paying any particular attention to him.  All the street noise – grinding taxi motors, car honks, hawkers pitching their bicycle rentals, and cellphone conversations issuing from the mouths of an endless stream of pedestrians – and when you can make something out that he’s playing, IT’S GOOD.

5)  At MOMA –  After my brother’s nuptials, this was a primary reason to be in the City.  Like good culture vultures, we needed to devour Diego Rivera’s “portable murals,” so-called cement panels painted by him during a six-week creative stay in New York in the 1930s.  According to art historians, Rivera exercised poor-judgement when he opted to depict a partying Nelson Rockefeller in one such panel.  The Rockefellers – teetotalers to a one – didn’t like it.  They shut down the mural project and withdrew funding for Rivera’s efforts before too many people saw it.  After sating ourselves on this and an abundance of other artists’ works, we were headed back to the museum’s ground floor when we heard, then saw someone’s five-year-old prodigy riding the escalators in the opposite direction, ringing a small handbell like a Salvation Army Santa on meth.  Frankly, for the past several days, we’d been crammed in with more people than we’d be likely to see in a year in San Francisco.

So, was it music or a just passing footnote in a lengthy New York street symphony?  It could have been either.  You had to be there I guess.

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Origins: The Moraggots and Life As We Knew It

Mor.ag.got  (mor ag’ it) noun. 1  a person or persons residing in Moraga  2  a perjorative used informally by some persons residing in Canyon, a rural, heavily-wooded community proximate to Moraga, comprised primarily of artisans and anti-establishment-types  3  a self-serving wanker whose greatest accomplishment …
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Performing As the Sodermen and the Art of Re-Recording One’s Big Wheel

In creating this blog, writing new songs, and training the family distraction – Little Big Mitts – to chase small, crumpled bits of wax paper, I re-discovered material I’d originally recorded in 2008 as “The Moraggots: Performing As the Sodermen.” I claimed all of the songwriting credits but owed more than a nod to my friends Mike Spinrad and John Dennison who themselves made significant musical contributions to the final result on percussion and electric bass respectively. Sad to say, the recordings generated little in the way of public awareness or album sales and I eventually allowed the distribution agreement with Tunecore to expire…

Reviewing the original recordings, I found them to be deliciously melancholic but at the same time, a bit over-produced??? I recalled Alexander Pope’s Rape of the Lock and my collegiate analysis of its wise words – why ’twas nothing more than the centuries-old struggle of Nature vs. Nurture. Ultimately, I arrived at my current conclusion that the album’s songs were largely over-shadowed by the limitations of the technology then-available to me when I first endeavored to preserve them for posterity. For those interested in such twaddle, I recorded the band’s first three albums using a simple M-Audio Solo interface with the Garageband software that came with the MacBook I’d purchased back in 2003. Instrumentation included real Les Paul, Fender Strat and Martin HD-28, cheap Chinese-factory-made standard bass, Fender Jazz bass, Apple drum loops and human-generated percussion and yours truly on vocals.

You’re probably wondering at what point I get to the Art of Re-Recording One’s Big Wheel. Fret not, I’m close. As I’d been spending a vast quantity of my dwindling creative juices on the blog, I considered how best to attain the next level of artistic self-realization. (And on a more practical level, what undiscovered musician hasn’t had his or her face rubbed in the incestuous and undeserved commercial successes of some “classic” rock act touting the re-release of its previously well-compensated work – the old transfer of analog tape to digital format dodge).  I thought I could go one step better.  And since no one heard the music the first time out, I could re-record, re-mix, re-write this old stuff and release it as new.

I dug deep into the Moraggot vault, transferring the Garageband files to WAV files, moving them into ProTools files and began to tinker. Lose the effects. Fix the muffed parts. Sing the songs again, emphasizing time and phrasing and melody. The songs themselves were a quirky mix of folky waltzes, rock and funk held together by hand percussion and some “classic” Apple/Garageband drum loops. (Question for you musicologists out there: How do you get a gig playing Apple drum loops?).

Three months passed and I found I’d created a stripped down version of the original tracks with better musical hooks and stronger melodic arrangements. I even found time to add some words to a short funky little thing: Every Day. The songs sound good to me and I believe I will leave them be until say 2015 or so when I go back to the vault. In the meantime, I’ve begun something new in B.

John Mac and the Moraggots: Performing As the Sodermen
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Songs, Siblings and Ancestry.Com

Let me say right off that my brother is an extremely capable fellow. He is the older-seeming, younger-born sibling who, had the order of our births been reversed, would no doubt be considered the wiser, older-younger-seeming sibling. Any way you want to slice it:

Me best, best bro,
A tough act to follow,
Some time ago…

…I wrote a simple song with a two-beat feel. It borrowed heavily from a dodgy bit of personal family history, information then shared with me by a dearly-departed grandmother. One unlikely summer afternoon, she offered that 1) my forebears emigrated to California from France in 1873 2) were poor 3) happened upon a picturesque chunk of seemingly “undiscovered” ranchland east of San Francisco that was in fact owned by a former Gold Rush speculator whose name escapes me and 4) took possession of said land, claiming “squatter’s rights.”

One hundred and thirty-five years later, in my never-ending search for material, I polished up the story, recasting it as a three minute 14 second piece of musical doggerel entitled Before the Rest. In the lyric, I endeavored to explain that although these ancients left me little in the way of tangible wealth, they did bequeath certain “bragging rights” over the one-percenters who’d been moving into my town these past years. Me? I’m committed…a condo campin,’ brown baggin’ critic of the newly-minted ruling class. My wealthy neighbors may possess unprecedented purchasing power, pay no taxes AND believe that there is no local ordinance requiring them to pick up their pure-bred pet’s droppings on town’s public trails but the fact remains, my family was here first!

Now, me best, best bro, armed as he was with a brand-new i-Pad, his boatload of Government-subsidized free time, and an unwavering commitment to one-up yours truly, set out to improve upon these musical musings, unleashing a full-blown Ancestry Dot Com assault on our family’s past. You ask: Was I impressed? I was not, seeing as all he’d really done was to grow what can only be described as a very, very shady family tree indeed.

That said, were this a competition, the facts, photos and other evidence amassed by best, best bro would have raised serious questions about the reliability of my own research. However, The Man can accuse me of seeing the world through a pair of rose-tinted Ray-Bans. I don’t mind. There is more to life than censuses, photographs and graveyard burial records. Consider: Has there not been an occasion when any of us wished he or she might rewrite history, casting grandmother Bonnie and grandfather Clyde in a softer, more amenable light? And we know how many songs were written about those two…

John Mac and the Moraggots: Performing As the Sodermen
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Use Your Words

One: Words, words, and more words. Wordsmiths, tunesmiths, one fish, two fish, should this, would this, could this?

Two: In an environment of soundbites, political rants, and Fox Snooze, songwriters continue to stand out as honest chroniclers of the human condition. In three minutes or fewer, these mothers of invention will issue truths about ourselves and others that put a year’s viewing of cable network “news” to shame.

Three: In his recent Rolling Stone interview, Sir Paul describes sitting down and penning a song – that he just put the words and melody together while the interviewer was waiting in the kitchen – me, at peace in our home’s “lavatory reading room,” wonder, realizing that at 69 years young, the former Beatle effortlessly continues to create. Has he written anything memorable whilst atop the seat of ease? I imagine he probably has.

Please don’t be irked by the above image or frustrated by the circuitous quality of my ramblings. There’s a learning point here. Inhale slowly (oxygen) and savor these images’ unexpected and non-linear quality, considering as you do how such chaos might be harnessed to your own modest creative efforts. While some songs seem tightly constructed like proverbial little pink houses, others tease us with their nonsensical qualities – glass onions and the like – urging us, on and on, to puzzle over and over what it all means. In fact, while the hyper-vigilant artist endeavors to accurately distill his or her observations into simple snapshots of the human experience, I find that it is the Walrus that delights.

Yes, yes. I’m getting to it. For those of you inclined to listen to the extremely obscure, try on my song “The Violet Sky.” In it you will find: a silver man, painted thus to attract tourists at San Francisco’s Fisherman’s Wharf; a one-legged panhandler perched precariously atop a traffic island amidst Van Ness Avenue; birds that fly upside down and die; a smoking femme fatale; and of course, the so-named violet sky.

What do they mean, these disparate images strung together with a bit of musical glue? Anything and nothing. And does it even matter? In closing, I propose embracing the chaos, trusting that our songs’ random constructs, when experienced by each new listener, will suggest hereto unknown musical destinations and provide us with endless and unexpected listening pleasures.

John Mac

John Mac and the Moraggots: Play Date
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How We Write Songs

ABOUT WRITING SONGS… Several days ago, my good friend Steve Cravis insisted that I record such notions somewhere so that all and sundry might partake in my musical wisdoms. Lesson #1 – Should you choose to seek the musical promised …
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