Welcome, there are impressions. Monday's music mini episode. Hello Adele. Hi Lou.
It's been a while. Yeah, how long? Two or three minutes. This is like our third attempt at recording the intro.
Yeah, for I've, my engineering skills have been lacking today. Yeah. I pretty much blew out your ears two or three times now. You did.
Yup. I'm really sorry. Thanks. It was too loud.
Oh yeah. Yeah. Yeah. Here we are.
Once again, you won't know what previously happened. You don't need to know. I wanted to call my studio ear knife. Actually, I did.
I called my studio in LA ear knife. Mm. Because I was often knifing my own ears with terrible decisions or just incompetence. Mm hm.
I'm pretty, I'm not the most competent engineer. So is this room we're sitting in now then? Ear knife part two? No.
I don't want to call it ear knife. Yeah. I don't want to think about that right now. Okay.
Yeah. That's, that's a big decision. Okay. Something that should be really thought out and come naturally.
Yeah. Right now I just like it. I like calling it my office. Yeah.
It's, it's cute. It's your little office. It's right in the middle of things here. It's right between some bedrooms and it's right in the, uh huh.
It's kind of like in the heart of the home in a neat way. Yeah. I like it too. Sometimes we should do a little, we'll do a little video tour of it so you guys can see it.
Mm hm. Someone asked for that on, I don't know, Instagram I think, but we should make that dream happen. Get to that. And for those who don't care, well, don't watch it.
You tell them. Yeah. I mean, that's your choice. You can just like close those peepers and go, not for me.
I'm not going to watch that. I don't want to see his space. I want to be blissfully ignorant to how this magic happens. Magic.
Magic. Well, speaking of which, what? There's a song coming up. Good.
Soon I recorded another song. I did another challenge to myself to write a song in a week. Is this like on the four track and stuff? Yep.
This is a four track. It's kind of a hybrid. Are you feeling like a song week? Is this stressing you out?
Are you enjoying the challenge? I'm really enjoying it. Oh, nice. That's cool.
I'm feeling like you're out. Marlboro blues. Is that what you were saying? Yeah.
I thought that's what you were saying. Marlboro blues. Huh? Like cigarettes?
Oh. Marlboro Valley. Oh, oh. That's my old tour.
Oh. Our favorite drink. We are, Lou and I are participating in Dry January and we don't have like a very exciting quote unquote drinking life or anything at home. You know, we're not like mixing cocktails and things like that.
We do enjoy a glass, a nice glass of white wine, a Sauvignon Blanc from the marble region. A crisp, refrigerated. Yeah, it's crisp of New Zealand. And, but so were you missing it, hon?
Yeah, I wrote this on you, so you probably couldn't understand the words. I couldn't, I was thinking, this is like a sort of like a different way of doing like a cocktail twin song, right? Like no idea what you were saying, but it sounds really cool and textural. Yeah, I wanted it to be.
I'm really into this idea of, I think, I'm moving towards this concept of creating clouds. Oh, I always wanted to do that where it's just that the song is like this cloud. Yeah. I want to, I mean, knowing that you can't understand the words is like, I would like the words to be understood.
So I have to work towards that. But you know, like, like, you know, these are all things I'm doing on the fly and kind of just buy intuition. But I'm finding that I'm moving towards this really cloudy sound that really. It was cool.
I was thinking about driving while listening to it. I was like, this would be a really cool song to be like on the road. You have this plan, maybe somewhere where your windows can be down a little bit. And I think as I sort of, as I perfect this approach, I want the rhythms to be heard, but to be coming in this cloud, but to be forward moving.
So I'm trying to find the right beat. That's one of my favorite styles, kind of what you just described. If you added a little bit of what is it, Pelsdiel in that I would be in heaven. Yeah.
One of my favorite. I want to find the right beats. That's something I don't work with in a long time. Where do they come from?
Where do those beats come from? These beats all come from these really antiquated machines that I have. Like this one, it's an organ rhythm thing probably from the 60s. That's so cool.
And then I have an omnicord that has it. They're all very cheesy. They're very cheesy rhythm boxes. I don't think they sound cheesy to you at all.
No, I'm just saying that they are. They were developed as very cheap, not necessarily for musicians, but for this instrument that omnicord was created for families. I hear something. Here's a fun, simple musical instrument.
Well, you're using it in a very interesting way. Thank you. I don't think it's cheesy at all. No, we used it a lot with the full compulsion.
We've used this. Yeah. We're looking for something that's driving. So how do you get those sort of a percussionistic, I don't know if that's a word, percussionistic, percussion sounds without a drum set?
They're drum machines. They're drum machines. Yeah, they're early drum machines. So are you saying you would like to have another drum machine?
Yeah, I have to find something that I can easily program. Okay. Because I don't want to spend all my time trying to, it's, when you go down a rabbit hole trying to create beats or, I mean, I don't want to, I want to spend my time singing and writing a song. But I also want beats that really work with what I'm, with my rhythms because I have kind of a unique way, my way of strumming.
I mean, but also, you know, John Davis now that working with him again, he has incredible wealth of knowledge and actually gear. Yeah. That's why I was trying to find my laptop because he, your iPad is what you're looking for. He suggested an app that I could create my own beats on and I was ready to pull that out.
And I have no idea where my iPad is. Oh, the iPad. Oh, I know that thing is just, it's gone. I don't know where it's living somewhere in the home, but it's an old iPad.
Raw impression. Do you need a Sunset. Do you need a different advertise to me and I'm willing to recommend it? Because you demanded it.
Because you demanded it. I'm gonna get that right. I'm gonna get that right. There's a, there's a thing, I heard a radio station once, and they, before every request any would say, because you demanded it.
Right. This is a lie. I'm doing this live. You are.
So, this was a request? This is a request and it's a very obscure song of mine. to things that I ever put together. Probably this is probably from 1982.
Oh okay. Oh, I load, I load, I load, I load, I load, I load, I in California. How's that happening? Shit, what's going on?
Let me shut this off. Sorry. No worries. Wow.
So, well anyway, so that was a request. Yes. Many music Monday requests. For a very old song.
I don't even know what record it's on. It might have been from my artist enabler series, which was a very small run release schedule of archival material available in bandcamp. What does the song mean? I don't know what that means.
Load Eye is a town in New Jersey. Oh. And when I was first writing melodies, I wouldn't, I didn't know what to sing. I didn't want to sing anything.
So, I would just repeat things or do or make up words, you know, cock-toe twin style. And that's where the name Sabo came from. So, load Eye was just something I repeated because we would travel to Philadelphia to visit my grandparents and we'd pass a town called Load Eye. Okay.
All right. Time to stop talking. It's the end of mini music Monday. From raw impressions.
Thank you for listening.