:: anne in the attic ::

::::: ANNE IN THE ATTIC :::::

:: anne in the attic :: bloghome :: my music site :: view profile | contact ::

[::..recommended..::]
:: Tape Op [>]
:: deviantART [>]
:: Pandora Radio [>]
:: Sub Pop Records [>]
:: KCRW [>]
:: Air America Radio [>]
:: BOAR.COM [>]
:: Basic Rights Oregon [>]
[::..my blog archives..::]
February 2003 March 2003 April 2003 May 2003 June 2003 July 2003 August 2003 September 2003 October 2003 November 2003 December 2003 January 2004 February 2004 March 2004 April 2004 May 2004 June 2004 August 2004 September 2004 October 2004 November 2004 December 2004 January 2005 February 2005 March 2005 April 2005 May 2005 June 2005 July 2005 August 2005 September 2005 October 2005 November 2005 December 2005 January 2006 February 2006 March 2006 April 2006 May 2006 June 2006 July 2006 August 2006 September 2006 October 2006 November 2006 December 2006 January 2007 February 2007 March 2007 April 2007 May 2007 June 2007 July 2007 August 2007 September 2007 October 2007 November 2007 December 2007 January 2008 February 2008 March 2008 April 2008 May 2008 July 2008 January 2009

:: Monday, May 05, 2008 ::

I had my own little Woodstock this weekend, just me in my studio. I recorded a cover and posted it, and taught myself some other songs, mostly in avoidance of the growing house chore list of Spring [no matter, next week is slated for that~ my first vacation of the year].

These last couple of days I've been taking my cue from the words and music of Elliott Smith. I mean, even his demo-slash-discards are so far in orbit from anything most people can create that it's astounding. It's at once inspiring and discouraging. "Playing things too safe is a popular way to fail." Elliott said that once in an interview. So, okay.

I came across a song of his that I'd never really heard before [or if I had, I hadn't listened]: the Jackpot Studio demo of "Cecilia Amanda." This resulted from a down-the-rabbit-hole link-fest starting with a MySpace music page called "Steven Paul Smith," his given name. I had gone there because I was looking for something else.

Anyway, glad I did, because after that, something clicked. Today, a song I've been struggling with for years finally came clear to me... just all of a sudden, which is kind of how it is for me: epiphany or darkness-- there is no in between. The picking structure and chords of Elliott Smith's "Angeles" kicked in and I have been polishing it off and on all day, among other things. I attribute a somewhat catalytic effect to having recently learning Gary Jules' "Pills," which has a "Freight Train" fingerpick to it, with a 4/4-to-2/4 rhythm. I spent some time breaking it down because I really dug the song, and it seemed only barely out of reach. So, as has happened quite a bit in the last year or two, plowing through the learning curve of a song that's over my head has proven helpful in learning other songs. Well, duh.

But I guess I didn't realize the scope of some of these basic styles. I remember being bored at the prospect of rote-learning "Freight Train" when studying with Walker, so I never paid it much mind. But now I realize the muscle memory he was after. It's a do-it-in-your-sleep kind of motion that frees up your mind to play all sorts of other things over the top of it, or mess around with variations. The technique is strengthening. And now I hear it in everything. Isn't that just the way?

:: Anne 5:22 AM [smartass remarks] ::
...