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#tbt cabin life, in the midst if winter, Mendocino. There is a reason I was looking at these old photos but I will be annoyingly vague and just say that I’m a bit overwhelmed sometimes with the amazing amazing good fortune that has come my way and the even more amazing people who are forever in my grateful thoughts. Very very, Lucky.

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I just felt like putting this up tonight.

It’s a fine Summer night. Is it the end of Summer? That’s what I hear. Me and Cinco are tending to the empty home while the rest of the pack is off at FYF Fest. Slowdive is playing. Hmm. I wish I was there. It was sold out.

I’ve mostly finished up on a big buffet of music I’m going to serve up in the near future. I’m happy with the work done and mostly the feeling of the songs.

Los Angeles for me: still and ever just past my fingertips somehow. It’s there, I push at it, brush it aside like curtains. But I have yet to pass through.

It’s a good city after all, and there are just so many surfaces you could attach your mirrors to here. Everyone is beautiful and larger than life, even if just in their own minds.

There aren’t country lanes, nature revery is rare, and the general balance leans one way and then the next, undecided. It’s menacing and inviting at once.

Blah blah poetic yada yada. Meaning: I’m here, making music in my dear studio with my dear cellos and my dear thoughts and I’m not on that damn stage at this damn point in this damn city.

That’s my check in.

Hope this version of this song fits with your time and place.

REVERIES
REVERIES
Valley Of Gold - Instrumental Version
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Just back to the city from the woods. Um I think I left something and have to go back. #360pano #countryboyatheart #thefaraway (at Kings Canyon & Sequoia National Parks)

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#tbt 1999, at the sfo airport about to go to Europe. Pete musta been on tour. Love this picture has been in my studio wherever I make music since then…

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F# (F Sharp) is the note that I need to play most often in my life. That's because on my first cello the F# was a "Wolf Tone" or "Wolf Note"... legend has it that every cello has one, a note that which resonates so dissonantly with the tuning of the instrument that when you go to play it it comes out sounding like a growl, or a hungry cat. Which, frankly, when I was first learning could have been any note. But lo and behold today I am doing this super intensive recording playing one note at a time for a long time and even though the F# Wolf Tone is not pronounced as this instrument as my first cello, my fingers/ear/brain have learned to BELIEVE that it will sound bad. And then it does! How's that for intentionality?

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Was reminded that yesterday was June 12 and thus of one of my more gut kicker songs emotionally “Week Of June 12”. Decided to put up that whole album “Still Dream” because it was requested and though I was hesitant I was happy to discover I did not hate it as much as I thought. In fact I did not hate it at all.

That might sound a bit weird, hating your own album, but albums can get to be like siblings growing up: you love them, you can’t live without them, you would do anything for them, and you secretly even like them. But you get this closeness and it’s just irritating. Especially when they won’t just go away.

Still Dream is my second full album. I wish I could tell you I remember exactly the true story of its release so I’ll tell you the true myth (I’m pretty sure this is right) of it. It was the end of my first year of college, I should say the end of OUR first year of college because in the Merrill Dorms (and beyond) at UC Santa Cruz we had this kind of incredible circle of friends. Like you do as a freshman in the dorms.

So, Week Of June 12 is a song about leaving all that. Geez I still get kind of emotional thinking about it because the thing is: I wasn’t wrong that all that was over and it was sad. Beautifully preserved in the amber minds but my inkling to resist time, which haunts all my music, was correct.

That said, no matter how much of a terrific disgrace it felt to somehow leave our 18 and 19 year old selves behind, thankfully the fear of what that meant for me transmuted into 1,000,000 other achingly beautiful moments and friendships.

In other words:
“as the lights zoom by and the sunset stalls,
wonder for me child
what we leave inside these walls
and as the passions rest
you can feel it in your chest
take your last breath left
start the breathless quest”

Hope you enjoy the album. As a PS I chose not to include two songs which I am kind of embarrassed by, but they come with the “bonus” version of the album if you buy it.

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I’ve been in this weird place in life right now where things are moving at light speed forward and days are busy and full, and also where, with my music, I am working countless hours and making seemingly no progress at all.

That happens. I wonder, I really do, if it is me procrastinating subconsciously on wrapping up new albums. It really is a scary thing… once you’re done it’s like… ok: does you likey? what should I work on now?

My thing is mixing. Mixing is when you put all the instruments together at a reasonable volume AND you somehow make it exciting AND you make it sound good on ALL stereos/headphones/cars. It’s not an easy feat and amazingly talented people make a living just doing that end of things. Paying a professional is a little pricey for me though, sadly. So sadly.

I would love nothing more than to take these tracks and send them off to someone to mix and master for me if for no other reason that tragically I get really really sick of these songs by the time I release an album. It’s not that they aren’t good songs, it’s that if they are I wouldn’t know.

Hearing them literally hundreds of times takes the excitement of what’s around the corner out of it. And I think that that is music’s big shazam, surprise, like comedy. Even if you’ve heard OK Computer 673 times, there’s a pretty good chance that you forgot how the tone of that guitar just makes sense for that solo, even though it shouldn’t. Something like that. Or is Caravan before or after Into The Mystic. Etc.

So today though it’s back to the grindstone. Honestly it would be a lot easier to mix my own material if I weren’t so addicted to bass. I listen to a lot of heavy low end music, not at all the more acoustic music I’m mixing. I cannot get enough bass. But too much bass drowns out the high end and it all sounds like mud.

I’ve been guilty of this bass addiction with pretty much every album I’ve ever released. This time I think I might try the recommended balance of things. That’s ok. It’s like following a recipe instead of (my preferred) throwing whatever you have in the kitchen together “artfully”. Recipe seems boring but could be the most amazing. Regardless it probably won’t be a disappointment. Intuitive kitchen-ing? Yeah. That can fail miserably.

I do not subscribe to this belief for songwriting though. No no no. The kitchen of songwriting (for me, don’t mind/care what others do) is not a place for cookbooks. Never ever. Maybe that’s why I’m so well known!

Yeah, I mean, the formula for big pop songs really works. But I just can’t help but feel that it is… not my thing to follow a song formula. And that’s a specific take on the process. The whole songwriter genre is a relatively new thing, but I do believe in it. That one person’s take on creating something is worth the tunneling required to follow/get there.

Well. There you have it.

So here’s the plan:

Finish mixing

Give you some pieces of the album along the way the next few months

Tour and see you and play

Repeat

Bye!