I remember the first time I listened to a Tori Amos album – it changed my idea of what a piano could do. It was Under The Pink, which I listened to all the way through a few times alone in my room. Before listening to Tori, my notions of piano music were limited to classical piano or vamped-chords and simple piano riffs of some of the pop music I knew. I’d finished all the classical piano grades with the RIAM, and was feeling a bit frustrated with the limited scope of the piano material I knew. Hearing Tori by chance on the radio, and checking out the piano books in a shop made me decide to get the albums. – yeah, I honestly looked through the piano books for Under The Pink and Little Earthquakes before ever hearing them.

But the opening notes of Pretty Good Year, the first track on the album, still sticks with me as one of my favourite piano lines, probably because it was the first of her songs I really heard at home, but mostly because it showed me that piano accompaniment can be melodic, fluid, and have a life of its own under the vocal melody line of a song. Every piano part on that album is absolutely gorgeous, musically interesting, and completely makes the songs something else.

When I was doing a few rough takes in my home studio, I knocked out two quick cover versions: the Under The Ivy one I posted about before, and a cover of Tori’s Donut Song from the album “Boys For Pele“. I was mostly messing about with my Roland RD 120, exploring the other instrument sounds on it, and certainly it’s not well recorded, played or sung, but it’s there, so I may as well put it out. I actually used one of the bass instrument voices on the digital piano, and added some of the Rhodes voice from it too, to see how they matched. It was mostly an experiment. I’ve dicked about with the song a small bit too, I’m afraid. But still. Oh, and I think I mentioned that it’s a not-great recording with bad mixing, yeah? I’d fix it up a bit, but at the moment I’m in Dublin, dogsitting. No, really.

Download audio file (doughnutsong.mp3)
Donut Song (Tori Amos cover – demo) (right click and download)

It’s not a patch on the original, which you should go and listen to (see the live video below), but it was an interesting experiment for me. It’s actually not one of the Tori songs that I’d usually play at all, but I think I was just in the mood for it that night. There are a few of her songs that I’ve loved and learned over the years, that always pop into sets or sessions every so often, but this is not really one of them. I guess it’s just a good song for a late night, home alone, dark bedroom with a piano.

I’ve had the house to myself again today, so after spending a while in town being sociable I came home and spent the evening playing with the cat, cooking dinner, and demoing a song.

This song is one that popped up in the video clips from a gig I did in January, so I’ve been wanting to start recording it in some way. I never really get to hear the songs until I hear a recording of them, as when you’re playing them it’s hard to be an outside listener too.

Regardless, this demo is scrappy: bum notes on the piano; bum notes in the vocals; rough sketch of the middle bit with the layers. Just generally a bit scrappy all round, but it gives a good idea of the whole song.

I’m not 100% sure of about this song yet – it feels too long, and I’m pondering whether I should cut a section, or merge some parts or something. As it stands, the lyrics were mostly written when I lived in the UK in 2005 or so, and the music was written when I was living in Galway a year ago at this stage. It’s a song that has kinda hung around for a while without really becoming anything until it just popped out while I was playing around with a piano idea one day.

Anyways, here’s the demo I put together this evening.

Download audio file (galwayraindemo.mp3)
Galway Rain (demo) (right-click and save to download)

Lyrics

The umbrellas are at full attack, and the rain falls on South Bank.
But it doesn’t feel the same as I remember Galway’s rain.

London’s become my friend for walks at 4am,
But it doesn’t compare to the line out to Renmore,
Singing “Stand By Me” in harmony,
Preaching the gospel of Kali.
I’ve become so used to London,
that I know my way around
Stuck in the back of my wallet,
is a map of the Underground

The umbrellas are at full attack, and the rain falls on South Bank.

I sometimes go for days without talking to someone,
Except the checkout girl at ASDA or someone on the phone,
In Galway I walk down Shop St
And am stopped by friends to chat.
I hate the crowds of London,
They’re all rushing off to somewhere,
Instead of ambling around Galway,
Eventually you’ll get there.

The umbrellas are at full attack, and the rain falls on South Bank.

In Galway you wait in doorways for the worst of the downpour to pass
Or walk through the lighter rain spotting tourists in plastic macs
You can sit outside Tigh Neachtain’s, and watch the city pass you by.

You’re still the one – I’ve got to get out of this city.
You’re still the one – I’ve got to get out…
I wanted you to call,
I wanted you to…
I wanted you to call.

The umbrellas are at full attack, and the rain falls on South Bank.
But it doesn’t feel the same as I remember Galway’s rain.

There’s a section in the demo where I think it’s clear that there’ll be a fuller instrumentation in the song from that point. This is one of those songs where the melody and piano part just came together at the same time. It’s a simple little song and I’ve grown rather fond of it. It’s about someone I know, sort of. But I guess it’s true that any song I write about someone I know, or something I’ve experience, is fictionalised in some way. Most of the elements remain, but altered just enough that I feel more comfortable with them.

Download audio file (rebel.mp3)
Rebel (demo)

Lyrics

Outside the door
she sits and waits
Not wanting to go in at all.

Cropped hair
Leather
Screaming for you

She put your head
under the blade
too many times, too many times

They say she ran away from herself
Too often
But I know,
I know that she’s in training

Running for miles,
She could run
For miles, for her.

The demo is just an idea of what it’ll be like – I think this is going to be a very richly arranged song when it is finished, and I hope that the person it is about likes the song. It’s quickly become one of my own personal favourites to sing.

Download audio file (phoenix.mp3)
Water Phoenix (demo) (right click and save to download)

The verses were bits and pieces from various places. Little ideas or leftovers from other songs, so in a way the song itself is a bit of a composite of a few different things.

The piano riff sticks in my head, and was the first part of the song to be written, in terms of the music. Once I’d sat with that for a while the rest of the song just fell into place and I had this little boppy little piano pop song that is great fun for me to play.

Download audio file (romance.mp3)
Is This What They Call Romance? (demo) (right-click and save to download)

In terms of instrumental music, I guess I’m influenced most by the kind of piano music that I like to play these days. Composers such as Lucovicio Einuadi, Philip Glass and Max Richter are some of my absolute favourites to listen to and to play. So, there’s a strong influence from their styles of music these days when I go to play something.

Download audio file (theme4.mp3)
mister ebby – theme 4

But even as I had started playing the song live a little, there was something missing in it, and I couldn’t hear what it was. Then an Allelujah I’d written for a amateur musical production inspired by the music of Sister Act (no joke), decided to slip into the song. It fitted, and definitely suited this song more than the choral arrangement of Kylie’s Can’t Get You Out Of My Head that I’d written it for initially. (again, I’m not joking. I still have that arrangement.)

But as soon as the Allelujah slipped into the song, I realised what the song was about, and it all became much clearer to me. The beautiful Meadhbh Sullivan added the vocals for the Allelujah parts for me, and the demo is a good idea of what the song will be.

Download audio file (tmademo.mp3)
mister ebby – Take Me Away (demo) featuring Meadhbh Sullivan

Lyrics

No I don’t belong here,
This isn’t my place,
I feel really ugly,
I feel like I’m a waste.

Somebody come and hold me
Somebody take my hand
This place is quite scary
Take me to a happier land.

And take me away – just like Dorothy
Fly me through the air to a land overseas
Take me away – I’m not worthy
Put me in a hole and just forget all about me
Don’t pass me by – please take notice
I love you so much, I love you so much.
Allelujah

I’ll peel off all my skin,
And look in deeper,
There must be something there,
There must be something creepier

And take me away – just like Dorothy
Fly me through the air to a land overseas
Take me away – I’m not worthy
Put me in a hole and just forget all about me
Don’t pass me by – please take notice
I love you so much, I love you so much.
Allelujah

All day long people looking at me
Staring a the monster lurking in me
So I check behind my eyes – searching me
I check into the mirror

But this piece was really shaped by that piano, actually, the sound of the piano is quite distinct, and I really would love to use it for some recording. My digital piano sounds just a little too bright and cheery for the music, in my opinion, but I’m probably just being a bit of a stickler.

Download audio file (themes123.mp3)
mister ebby – themes 1, 2, 3

It’s an example of what happens when I just sit and improvise at the piano, and the track itself is an excerpt of a longer improvised session.

I had been recording Anna Lee doing some of her songs, using the piano and just using the room for other tracks, and she was taking a break. So I pressed record and sat at the piano while she was gone. I improvised two separate tracks and just chilled out.

When I went later on and looked at what I’d recorded, I realised I’d set some levels badly, and any of the much louder moments in the improvisation were distorting noticeably. Thankfully, the quieter moments were coming through beautifully, and there was this whole middle section of the track that I just loved.

I edited out that middle section from the larger piece, and decided that I really liked how it sounded by itself. I named the track Bewerunge because that’s the name of the room it was recorded it.

The two main lecture rooms in the Music Department in NUI Maynooth are called the O’Callaghan Room and the Bewerunge Room. The piano in the Bewerunge room is where this track was recorded. It’s a beautiful piano, and I spent the three years of my music degree in one or the other of those rooms.

Download audio file (bewerunge.mp3)
download the mp3