This is a video that was shot before I even found the studio that I ended up recording the album in. The morning of this shoot the camera assist, Yvonne Ryan, mentioned Charthouse Studios to me, and gave me the contact info of Ian McNulty, who ended up engineering and mixing the record. The band Yvonne is in, Ambience Affair, had recorded at that studio, and she knew that they had recently put a piano in.
The video was shot by Mark Willis of Bluestack Records, who also very kindly did my promo video for my fundit campaign, and my brother Phil Brett was taking care of the sound. The video was intended for a larger project the two guys had in mind, but I’m told there’s been problems with the external hard drive Mark had stored the footage on. I hope they didn’t lose all that work. Hard drive failures are annoying as hell, as I recently was reminded myself.
However, this one long shot take survives, and the guys put it together for me, for which I’m very grateful.
This song is on the album, in a more fleshed out version with drums, bass and cello, but in this video it’s just me and a piano in Charlie Byrne’s Bookshop in Galway.
fund:it, the crowdfunding service I used to raise cash for my album recording has been going now for over 6 months, and they’ve released a video about what was achieved over their first 6 months. They asked me if I had any music that they might be able to use for the video, and as it happens I had recorded one of my piano instrumental pieces on the last day of the piano & vocal tracking in the studio recording sessions. I’d an hour or two to spare and ended up knocking out a live version of “I Wish You Were Here” as well as the piano instrumental piece.
The song has ended up on the tracklisting for the album, and the instrumental is planned as a bonus track for the digital version of the record going out to those people who funded my project. But, now you can hear an edit of that track used in the video about Fund:it’s first 6 months, which they have entered into the “Better Together” competition in the hope of winning some money towards helping to develop and improve the service they provide. Please click on the link and consider voting for their entry, which will help enable other creative projects happen through the use of crowdfunding.
Here’s the video:
I’m heading off to get the record mastered later this week, having gotten to the point where I have final mixes that I’m happy with, and a record that I’m quite proud of. The artwork is still being developed with print artist Grace Mitchell, and I’m excited to see the work she has been doing all coming together to result in the final packaging for the record. We are planning to hand print and make the packaging for a limited number of the records, and everyone who bought the cd through fund:it will be getting one of those copies. I’m looking forward to having a finished product and I really hope that people who hear the record like it as much as I do.
Later this month, I also have a little gig on the 24th at the “Song Cycle” showcase night Upstairs in Whelan’s in Dublin, and the Cork Jazz Festival on the 30th. So, if you are knocking around either city around those days, drop in and you’ll get to hear some of the songs from the record before it is out, as well as some of the material I’ve held over for the next one, and newer songs I’ve been writing more recently.
Seriously, it’s like crack to me. I think I can probably blame my parents for this one quite successfully: my dad has always sung in the local church choir, and my mother introduced us all to the wonderful songwriter Melanie, and this song in particular:
It can seem cliché to throw in a choir for some extra emotion, but there’s something really rousing about a group of different voices coming together as one. The combination of all those different vocal timbres creates something very special indeed. Even if they’re just singing in unison, there’s so much power in a group of voices.
I’ve been in choirs since I was really young, and have a major soft spot for choral music as a result. Last year I was conducting a choir for the first time properly – previously I’d set up a mini choir for an amateur production of Sister Act that I arranged all the music for. That’s a long story for another time. But, it was my first experience of properly arranging music for a group of other people to sing, and I was completely hooked. I think I arranged about half of the material I got the NUIG choir to sing last year – stuff that varied from Elvis songs to Swedish folksongs.
Speaking of Swedish music, one of my favourite guilty pleasure songs with choirs is by the Swedish band The Ark, who some people probably remember mostly for their Eurovision entry in 2007. However, I remember them mostly for a Swedish friend of mine who was rather obsessed with them and introduced me to their music. This particular song is one that has stayed with me since, mostly for the choir entry in it. The song itself is pretty straight forward and quite emo lyrically, but the interplay between the choir and the lead singer in the last section of the song is absolutely stellar.
And I must take a moment to thank @donalmulligan, who reminded me of this great track that I first heard on the Pet Shop Boys “Back To Mine” compilation. Incidentally, you may also have heard it recently on the Channel 4 show “Sirens”, which I recommend watching btw. I lost that PSB compilation in the Great Hard Drive Crash of 2011, but I’m glad that youtube is there so I can still find these tracks to listen to. Try not to dance in your seat as you listen to it.
But it seems pretty obvious that the love of choral music, and the years spent either singing in or conducting choirs, would have some effect on the kind of music that I write. That certainly does seem to be the case, listening back to the mixes. I realised that I have 10-part harmony at one point in one of the songs, and there’s a definite choral feel to that particular song. However, it’s definitely a different thing to be layering up different vocal lines with your own voice, and working with a choir. Maybe I’ll put together a little choral group to sing live with me so I can really get those vocal textures live that are on the record.
For a long time, all I really knew of Sinéad O’Connor was her famous cover of “Nothing Compares 2 U”, and little bits of other songs I heard on the radio. But one of my brothers gave me a present of her Best Of cd when I was a teenager, and I was blown away by just how good she is.
Her debut album is a powerful record, and she has always been an arresting live performer. Even when wearing boots and a unitard.
There was a conversation on a forum recently about what songs from Sinéad O’Connor would make a great introduction to her work, and most of my own choices were from her pre-2001 output, as I didn’t really enjoy Sean Nós Nua / Theology etc. But, I’ve liked what I’ve heard from the new material that is being recorded at the moment.
However, this song is one of those that seems to appear on many “best of Sinéad” lists, and she absolutely nails it live:
Her voice is simply astonishing. She is one of those singers who you argue could sing anything and sell it.