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My studio is out in the barn and I didn't want to go hang out in the studio. I don't want to leave the dogs alone all day by screwing around in my studio. I just set up a microphone right here and woke up every morning with my cup of coffee, a composition notebook, and a pen. I approached the microphone and I improvised to the melodies every day as I woke up. As I'm getting older, I'm finding my morning more psychedelic and more productive than trying to stay up late when I have no energy left.
I'm finding the morning hours more magical than the evening hours. I figured it out. The melodies came. The words came. He recorded and oversaw the recording of the cello and the French horn in New York, where he lives now. Then we met in Portland at a beautiful studio called Flora Recording and Playback.
For three days, I replaced all my demo vocals and scratch piano tracks and we mixed it and it was done. That's awesome. This record itself, at least to me, sounds very different than some of your other solo albums under your name. It feels a little bit more somber and rawer compared to some of your other albums.
It seems like almost kind of like a change in scenery as well as a kind of a change in approach or lack thereof sparked a lot of this stuff. Von Till: Yeah, it was magic because it was not preconceived. In no part of it, say, for maybe the week where I was forcing myself to investigate Randall's claim that I should sing on it, it never felt like I was working. It just kind of felt like everything was just falling into place. I've been learning this all along the way. Again, that's how the whole solo project started.
I still think it's a great sounding record without my harsh croak all over the top of it. I really like it both ways, and because I never felt like I created it, I can actually listen to this one. That brings me to another question I had. Do you believe that the opposite is the case with some of the solo material? Though it doesn't seem to be the case for this new album, did you find yourself kind of dipping back into some of the things that you tried before and thought maybe I can find some inspiration or some ideas out of this?
Von Till: No, I don't really like to listen to my own music. Maybe some ideas might stick around for a long time. Maybe there's an idea it might be a decade old that didn't work, that all of a sudden finds its voice, you know, but as far as listening to it or considering it, no, not really.
Whenever it gets that mental, it seems to suck, to be perfectly frank. I know some people are very gifted in making cerebral music and it's never been my gift. I really have to stumble into things. I guess my gift is learning how to create environments and time and space for myself to allow those things to flow.
I have a very busy lifestyle. I don't have a lot of time to be creative—a full-time job, running a record label, managing all of our business stuff, and being a parent and a husband—it doesn't leave a whole lot of free time. So, when I have a couple of hours, they have to count.
You mentioned that up until the last little bits—until Randall convinced you to sing over it—that it was an ambient record. Taking the lyrics to this album or some of your other solo albums and then comparing it to some of the poems that you've written for this collection, do you find that one is a little bit harder than the other? Do you find that writing for lyrics to fit a song is different than normal poetry? Von Till: I don't know if it's harder, but they're very different. They serve two completely different purposes.
Lyrics for me, I've never written words first. I have always written music first—in every context. So, for me, lyrics have to serve the song. They have to complement and exist within this musical framework. Before you even think about meaning, they have to have a certain rhythm, a certain cadence, certain energy.
What vowel sound do I want to hang on, you know? If I know I'm going to hang on this long vowel sound, I've got to find a word that makes sense because it's sometimes it's like trying to translate voices in the wind or through the trees or whatever. Sometimes they come out of nowhere and you can transcribe—like you're breaking some kind of code.
But other times I've got to dig through my journals and find words. I've written poetry my entire adult life. I've just never published it. It's always kind of lived and died in my personal journals or been reduced to lyric fodder where I rob lines as I need. Even phrases or half-lines, anything I can use to make the lyrics work with the song. Song lyrics, meaning wise, might in some ways be more lenient because you have the music to frame the emotional reaction of the words to give it a context.
Lyrics could start off as a collage of translated secret code mixed with four or five lines stolen from poems of completely different episodes in my life which—if anybody else knew what I was referring to when I wrote those lines, they would make no sense together—but they take on a whole new life in this new context of a song.
Sometimes I kind of know what they mean. Sometimes I have no idea what they mean. Or, I may never know. They may remain a mystery and I'm good with that. But poems, they have to say everything they want to say and give all the emotion that you want to give with no musical backdrop.
They have to own a little piece of real estate on a piece of paper. I think it has to look right. Where you start and end the line, make a big difference. Looking at the difference between the lyrics of the new record and these 23 untitled poems that are the primary purpose for the book, I stole two lines from one of the poems for one of the songs.
That was the impetus for making the book. I felt so guilty stealing these two lines—the best lines from the poem—and it seemed like I just killed that poem because without those two lines, the poem sucks and now I can't use it.
I mean, not that I had any plans to show anybody my poem, but I felt the poem was nice just the way it was. Maybe I'm going to allow some things to have their own life as poems.
When I had completed 23 of them, none of them had titles. My first thought was maybe I'll go to Kinko's and make a chapbook, give it to friends. Then the more I thought about it, the more I thought this kind of work has presented itself to me. I went back to thinking you need to honor the muse sometimes and if I had the courage. And then if I release it simultaneously with my new record, maybe some people will be interested in checking it out.
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It also looks fine in NS7. Must be a browser issue. Didn't look like this in IE5 about a month or so ago. I can't really remember exactly when I noticed it. I took a snapshot of the screen which I hope can be deleted later without issue. Ebonyskye , 16 September UTC. The peach color at the bottom of the color key, what's it represent? For when you don't put in a type.
Please apply the current sandbox to this template. Specifically this involves tweaking the chronology heading for video albums and adding support for a "Director" field.
This will make the font-size in the caption consistent with the font-size in the chronology, and more importantly decrease the line-height in the caption and chronology sections. See examples of the changes here and here. Hey Guys! What I'm trying to do is make sure the rows all appear as the same heigh, but every so often, the lines get blown out in size see some of the articles that links there to see what I'm talking about. Anybody know how this can be fixed, retaining the knockout function i.
I'm asking here because, well, this seems to get a little more trafffic than some other places. Help here would be great, especially considering the increasing number of discogs this is being used on not to mention, the increasingly higher profile artists' discographies having it placed in them. Is there a need for a new type, Split album?
Some of the titles mentioned on that page have articles already. Adding border to the image link would add a light, 1px border around it, just to distinguish its edges. Below is a copy of the first several lines of the template, with my additions in large, bold text. I was wondering if it's possible to have more than one Alternative covers on one article as the extra album 2 template just replaces the old one and displays the latest album cover.
I am trying to put two alternative covers on the article Iowa album but I'm not sure if it's possible with this template. So is it possible any other way? Rezter talk , 23 December UTC. Thank you that worked a charm! Wouldn't it be more useful if the link in the "artist chronology" field could link to the artists discography? And to the artist if no link is given?
Somethingvacant talk , 8 January UTC. Since some bootleg albums have articles such as In My Ghetto , that type of album should be added to the album types. The colour should be the same colour as the video album code colour is. This should be done or the articles about bootleg albums won't have a skin for their own. Rappingwonders talk , 18 January UTC. Is there a place for certification in the infobox, ie. I know that the singles infobox has a spot for it.
Grk talk , 23 January UTC. The template says a piped link to the year is preferred for reviews. But what's wrong with inline citations? Surely either format is acceptable as long as the article is consistent. Dedication 2 uses inline refs and it looks just fine. Especially when the infobox reviews are later used as references anyway likely in a "Critical reception" section , inline refs seem more flexible.
Spellcast talk , 21 February UTC. Ongoing discussion here touches on an issue covered by this infobox.
The release date section is currently in fairly wide use for future albums. So, an article might read "Released: March 25, " today February 28, I started to remove some of these, enduring that the date, if sourced, was in the body of the article, for reasons detailed in the admin note referenced above. I also indicated some other possible solutions to this that I feel are warrented. I am inviting the editor from the admin notice and one other to join this discussion.
Mdsummermsw talk , 28 February UTC. The documentation requires that the start date template should be used for the release date section; however, it is rarely used, even though it should be. I suggest placing an empty start date template in the code for people to copy and paste. The Singles sub-template appears to be specifically crafted for the Monobook skin.
Needs fixing. Any reason why album article's infobox are turning on the left hand side of the page now rather than the right hand side as is the norm. Okay, shouldn't IMDb be pulled out of all wiki templates? Genres are very important in pages about albums, I think it's necessary to restore this section soever. Vziel talk , 10 October UTC. What do we think? Ok, I've been fiddling with this here.
I'm trying to use Template:Collapsible list , but this makes the coloured bit around "Professional reviews" look too narrow. Anyone got any bright ideas? We're live! Looks good to me.SOMETIMES I FEEL LIKE A MOTHERLESS CHILD KE ca early Columbia Recording Studio, 34 Music Sq. East, Nashville, TN - Charlie Rich (Producer: Billy Sherrill) AMERICA, THE BEAUTIFUL /KE ca. November Columbia Recording Studio, 34 Music Sq. East, Nashville, TN - Charlie Rich and Janie Fricke (Producer: Billy Sherrill).