To listen to the following demo tracks just click the play button. I'd love to hear your comments on these works in progress if you have any. Please post them in the Forum on the appropriate threads entitled "Please post any comments here".
	One More Second	Broken Music Tour Rehearsals © Jake Cohl
	Meeting Point (Vers2)
	Meeting Point
	Lost & Found (Vers2)
	Lost & Found
	Lyres String (Instr.)
	Gabe
	Count It Off
	London Paris Cardiff
	Three Souls
	Marcello/Iguazu
	Bachiana
	The Bridge
	Lyres String
	Barock
BIZ THINGS...  I thought I would take a moment to explain a few points about the business side of things. One thing that's been really important to me on this album is to make a record or testament of something I really believe in. I think I am arriving at that point. Now is the time I feel ready to make decisions about which would be the best outlet for this record. In other words, which should be the right label and why. The scenario I wanted to avoid was to do the deal first and then find the direction based on others' (the label's) expectations. I have done that before with a classical album I did. Although I am proud of its success I now see it isn't the real me so in effect not a true testament or qualification.  Shapes was signed by BBC Worldwide in UK. Then Decca/Universal signed it and released it worldwide. We have sold around 120,000 copies between both labels. This figure has far exceeded our expectations. These days the record business is so volatile that unless you balance the books with a project you get dropped. In the old days record companies thought more long term about artists and bands by nurturing them until they arrived at a point where they would not only mature with their artistry but balance the budget and sometimes sell millions. If U2 had been new these days I don't think they would have made it to the second album. When they released Joshua Tree everything changed for them and Island Records. Or worse, they might never have made that record. To put it in a nutshell, if you don't sell around 200,000 copies you are not really making it for the record companies. So you get dropped. This is why most major labels think short term by signing artists and bands they can be sure will sell or else the A&R (artists and repertoire person and usually the one who signs the band) guy gets fired. These acts include cheesy pop "artists" and reality show contestants. Sure, there are a few artists and bands that come through I really like but the majority are pretty awful and reflect the times we live in. Mostly one hit wonders, if they are lucky.  Do I want to be in this position? I don't need to be in this position. I want to work with a label that understands what it is I am doing. But unless I do, they won't. This is actually one of the hardest parts about making a record. The worst thing an artist can do is to listen or take direction from an A&R guy and make a record solely for the purpose of making money for the record company. A true artists shouldn't care. A sensible artist will take both these factors into consideration. These are some of the successful ones.  I have lined up meetings with a few major labels who are interested to know what it is I am up to. I will see them, play them this stuff, explain to them where I am going with it and then we can look in each others eyes and decide if we are making a connection or not. The great thing is I won't be changing my sound to fit anyone else's mould. I know what this is and I suspect you do too by now. I would seriously be letting myself and you down if I were to water this record down to fit any given genre: smooth jazz, crossover classical, world, instrumental jazz, etc. What this is is just what it is. I don't believe it can be categorised. This of course minimises my chances of being signed and then marketed in a major way (as with Shapes). We'll see.  But there is someone who does get this and what I am about. He is the guy who has released my other three records around Europe. He has a small label but a good and respected one (Third World outsold Shapes in Germany). We have become friends and he is also my agent. He totally gets this album. I have already decided I want to release this album with him for everywhere except USA. For US I will be considering a major label (or they will be "considering" me). America is a tough place because it is so huge. It's like fifty countries with different cultures, climates, trends etc. My Euro guy doesn't really know the territory well enough to just release it there and see what happens. If you want to be successful in America you have to "be" there and be seen to work for it.  I will keep you posted. But know this: I will not compromise my sound or direction for anyone. This album will remain something I believe in. If only one person buys it, really likes it and gets some meaning from it I will have achieved my goal.  Dom March 8, 2006

I've decided to start this section on the site as I thought it might be fun for you to share the journey with me over the next year or so until my new album - which I've already decided to call Fourth Wall - is completed. Hopefully, this will help you better understand the process of writing, arranging and producing an album like this.  
                                                     

April 21, 2006
Here is the final mix of One More Second. This tune means a lot to me for various reasons. I co-wrote this with my son Rufus who originally sang the melody I am playing on the guitar. My daughter Misty sings a couple of phrases in the chorus. My friend Dave Heath plays some stunning alto flute at the end. I feel this tune sets up the album nicely because it starts very simply and then slowly introduces some of the other elements to be found on the album. I hope you like it.

April 15, 2006
Here is the final order...

One More Second
The Bridge
Lost & Found
Three Souls
Meeting Point
London Paris Cardiff
Count is Off
Lyre's String
Gabe
Iguazu

I have mastered the album. I went there with my son Harley, Mike Lindup and Susan Gluth who is the German woman who has been shooting a documentary about me for the last two years. She spent the last few days staying with us. I was working to the last minute with Count it Off which has changed radically. It was great having Harley there with me because we are very close. Mike is a very close friend and also has very good ears for detail. I asked his advice a few times. There were occasions when I had to tune certain tracks up as little is 0.7 of a percent to match either the tune before or the one after any given track. I didn't use a tuner for this record so there were a few tuning issues. Mike has super sharp ears. The main determining factor with the order for me was the contrast in keys. The second was the tempos or feels. I have to listen to it one more time to approve the cut (as they say). This will be the last time I hear it for a few weeks. Then the studio will fed-ex it to the label in Germany and manufacturing will begin. I need to make a couple of small adjustments to the credits and off we go. The timing couldn't be more perfect because I am going away for two weeks with Sting for some shows in US and Central America. This will help take my mind off the project and just concentrate on his music. On my return I can start thinking about it again and if I have the nerve I might even listen to the album. I will then start planning a release date and launch with the label. It's all looking June/July'ish. I will be planning a couple of club shows in Germany to get this thing going. This is where I would love to present the album to you. I will get Mike, Rhani and Nicolas to join me in an intimate gig which you must come to. Details will follow. So that's it. I would like to play you one mix from the record but I don't know which one. Perhaps you could do one of your vote type things to find a tune you can agree on (see the poll in the forum). I don't want to play you the whole album for obvious reasons. But It has changed or developed quite a lot. 

So that's it. I am signing off now. I would like to thank you for making this journey with me. You have been wonderful companions. There have been a few ups and downs but the experience has made me richer. I have learnt a lot about my strengths and weaknesses (especially the latter). I can still hear faults which I now accept will always be there. But I am not perfect, nor ever will be. I am just trying to improve as a musician and person. I believe I have made some progress. Some might disagree. I think it's a question of acting one's age, musically. If I were to try and reproduce anything I have done in the past it would be comparable to a middle aged guy trying on an old pair of jeans only to look ridiculous. I could never do an album like First Touch again, nor would I ever want to. This album represents where I am in the universe now and my take on life and music today. Only time will tell if it is any good. No one has ever "got" any of my albums right away and most people have said "it's not as good as the last one". Those same people usually let me know they "get" it a year or two later. Then I make another album and the same happens again. This amuses me. I don't want you to get it right away. If you did I don't think it would say much about the music. It's like making friends. Some of my best friends were people I didn't understand from the get go. They made me want to know them. I tried to find meaning and a connection with them. We are friends for ever now. I sincerely hope you can find a connection and meaning in this album, Fourth Wall. 

Love,
   

April 11
I keep listening to the mixes and hear faults every time. Either I should just stop or seriously try and fix these flaws. The day before yesterday. I walked in to our kitchen and Fanny asked me if I had finished. I said I thought I had. Her response was "OK great, then can you take Pablo out for a walk now?". Not "Oh darling, congratulations, allow me to give you a back rub". Her response put the whole thing in to perspective. Basically, this album is not that important in the grand scheme of things. It is unlikely to bring on world peace or solve the world's famine crisis. It's just a collection of tunes put together by a musician who lives in London and plays the guitar for a living. No more and no less. But truth be known, I secretly want to change the world with this album (in a Dr Evil kind of way). Unless I believe I can this won't have been worth it. Two days until the birth of this album. I wonder what the stars have in store for this record (13th April 2006). I must contact my astrologer. I do know it will be an Aries like me. Creative, moody, etc. I will be in touch again soon.

April 6
I think I now have an order. I tried various combinations and ended up with One More Second as the opener and Iguazu as the closer. The reasons I didn't share this tune with you before were a) because I suddenly felt protective over my children and didn't want them exposed in this way. This is a very special tune to Rufus and I. I have now made it an instrumental but kept their backing vocals. b) because there is a female artist in Japan who has done a cover version of this tune with Rufus' lyrics. Long story. I didn't want our version to come out before hers. She really has done an amazing job with it (I hope you hear it some day) which Rufus and I are proud of. So it's more than likely One More Second will be the most heard title from Fourth Wall. My friend Dave Heath plays alto flute on this one and I am totally in to his performance. He nailed it. I am fairly convinced this is the best opener for the album. I hope you will agree. 

I am having my doubts about Count it Off. Either I have to do a radical mix or drop the tune entirely and just come up with another like I did with Meeting Point. It just doesn't seem to fit anywhere. Shame really because I like this tune. If I were a major pop artists this would be the sort of tune that would make the perfect B-side or bonus track to a single. Unfortunately that's what it sounds like to me today. I will try and save this one today and let you know if it lives or not. It's certainly on the critical list. It's kind of like the tunes are in a talent show and they are slowly slipping away. Another one has to go. It looks like it might be the boisterous one. I am being Simon Cowell and the nice guy.

March 29
As I listen to all the tunes I can't help thinking Meeting Point should open the album. It's strange and somewhat annoying because this was the fastest written tune on the album. And the last. I came up with the basic chord sequence in my hotel room in Cologne and then made up the rest on the spot. Nicolas threw one chord alteration which I liked. Rhani just got on with it and I didn't pay much attention to what he was doing because I was trying to arrange the thing while we were there with the microphones in front of us and the engineer ready to roll tape (these days it isn't tape but that's the term we still use). Once I was satisfied I had a scratch arrangement we rolled tape and settled for the second take. My intention at the time was to do all the editing on my return. But I haven't done that because it seems perfect. It's kind of ironic that this piece came together in a small hotel room on a rainy day in Cologne. Some writers and artists like to go to inspiring places to "find" themselves. This goes to show that it's an inside job. Everything one searches for comes from within (or that's the way I see it today). I now listen to Rhani and realise what an enormous contribution he has made to this tune. The melody for this one wrote itself. I didn't have to look hard for it. Why annoying? Because the others took so long to get together and the way I used the musicians was much more calculated. I have learnt a lesson here. If you use musicians you respect just let them get on with it and keep your mouth shut. It's a question of trust. The hard part is finding the right ones or getting the right "cast" together. I am also going through many "what if" scenarios in my head. What if I had done the whole album like this? What if I were to go back to Cologne for another session like this one? Is this album finished yet? Either Meeting Point was a lucky day out or I have finally found the best way of working. Fast. I also realise I want to record with this "crew" and in this way for the next album. I want to open with this tune simply because It feels like the right move and I believe it does bring the listener in to the album. Fanny really likes this one and when she talks I listen. I just hope my mother doesn't like it or else It won't be on the album. If you have any suggestions for openers I would love to hear them and why. I have two weeks to make the final running order.

March 24, 2006
I am relieved to inform you the album will live. I have heard the mixes and realize I just need to tweak them here and there. There might even be the odd drop-in or repair job but generally I think it's done. The party is almost over and it's time to pack my things and move on. I still won't do anything until I get back from my little trip on the 4th of April but what I can do is start thinking about the order. This is quite a hard but fun process. There are a few factors to think about when compiling an order. The first track should invite you in to the record as opposed to scare you off. It shouldn't necessarily be the "hit" (on this album there are certainly no hits). Neither should it be too challenging nor too simple to the ear (or at least that's the way I see it). The next one I like to think about is the last tune. My main rule with this is it should make you want to hear the whole thing again. Not just file it next to Glen, Steve, Marcus, Frankie, Dusty etc (my "cousins") and wait a decade before you might listen to it again. The last track should make you want to keep this record near the CD player at all times. Quite a challenge. Abba's greatest hits has been near mine for years. The running order should take a similar form as a piece of music. There has to be a feeling of momentum. This is where they tempos and keys are important. It's not a good idea to play two tunes of the same key next to each other or else there would be no real contrast between them. The same goes for tempos. Nor the same feeling. It's kind of like putting a set list together for a show. I enjoy doing this. I don't believe there are any throw away tunes on this album (dare I say) so I don't have to worry about putting the "good ones" near the beginning. So far I am inclined to put Lost & Found first because I think it reflects what this album is about. Plus it was written near the end when I knew the direction I was going. The Bridge or London Paris Cardiff could go last. Gabe would be to obvious an ending and maybe somewhat depressing (by the way, a certain someone, blonde, smooth, male and non singer played on LPC). I will take my iPod on the plane with various running orders and have the order by the time I go to mastering on the 13th of April. Quite likely the last minute. The artwork is going really well and I think you will like it. I really have the concept together and have found the right designer to realise it. Until next time...

March 17, 2006
I just did something I shouldn't have done. Big mistake! Mistake 1: to bring my iPod to France with me. Mistake 2: To listen to the mixes. They all sounded horrible and left me feeling depressed. I wanted to change everything about them. Not just the mixes but the performances. It's like taking a peek into your Christmas presents on Christmas Eve and badly wrapping them up again. It leaves you with a feeling of emptiness. Someone once described the definition of guilt to me which is exactly what I am going through right now. "Guilt is when you step outside your own set of rules" (and not necessarily what you have been taught what is right or wrong). It's just that I couldn't resist it because I had a moment to myself. OK, temptation is the perhaps the one I fell for. Time to regroup and hopefully have faith that they will sound OK on my return and I won't have to start all over again. God I hate my own incompetence. I will try and concentrate on something else now. My wife, children, the beautiful weather and food here in Aix en Provence.

March 15, 2006
Here is Meeting Point with a few overdubs. I want to illustrate the other extreme by showing the process I often go through with a tune. Once I have the initial idea I like to throw all the elements into it by dressing it with many layers. As you probably guessed I haven't made my deadline of today as there is too much going on at the moment. I need to get ready to go away and simply can't give total focus to all the mixes. I certainly don't want to rush them. My real deadline is April the 13th when I go to mastering. I have another little trip to go on with my "brother" shortly after I get back so I have a window to get this right. The other mixes seem to have gone really well. I will know for sure when I get back. But this tune is still work in progress. I will have fun undressing it on my return and finding its essence which might well be exactly like the original. But I do love the melody and at the moment can't live without it. But I will live without all of them for a week and come back with fresh ears for the final laps of this record. I am psyched!

March 12, 2006
Here is Meeting Point in it's original raw form. There are no overdubs except for a tambourine Rhani put down immediately after the take. I have since added a melody and Mike has done some stellar keyboards and doubled the simple melody I came up with which you will hear soon. I thought you might be interested to hear something just as is. I haven't had a chance to do anything this weekend. I thought it was too ambitious and I was right. I will continue tomorrow with the other mixes. For the time being here is Meeting Point.

March 11, 2006
I have mixed six tunes in this order: Lost & Found, Three Souls, Iguazu, One More Second, The Bridge and Meeting Point. Actually with Meeting Point I found myself on a roll with the guitar melody and extra bits and pieces. I love this tune so much. It's got a happy kind of atmosphere which is somewhat lacking on this album. I think it might be good to end the album with this tune. I will send you the mix soon. I have four more to mix: London Paris Cardiff (which will HAVE to be renamed), Gabe, Lyre's String and Count it Off. So that's it. Ten tunes. I will be mixing over this weekend which I don't normally do but I have to because I am going to France next week for eight days. I want this all done before I leave. On my return I want to listen very objectively to the mixes and it is at that point I will make notes on each track. Usually I write the first thing that comes to my head, no matter how trivial. Then I might recall any given tune and remix it. I have booked the mastering session for the 13th of April. Mastering is when they turn it into a record. It's quite a sophisticated process because it involves quite a few key adjustments. A mastering engineer is someone with superior ears. They can say it's too this or that or not enough whatever. They can ride the levels, perhaps add more low or higher frequency and in some cases compress any given section or track. They have every speaker configuration imaginable from the highest end Hi Fi set up to your grannies old system which probably only works on one side and has a fault. They try to make the record sound good on any system. Not just the one you mixed it on. They organize the record, take away all the glitches etc. To me it is a very exciting day out, comparable to going to hospital for the birth of a child. I am nervous about it because this is when I will "see" it for the first time. That sounds weird I know but it's been my experience that I don't really see it until it's over. Once it's done I can't change it and will have to take responsibility for it. This might include praise and criticism. I don't want to be in a position of justifying my intentions with this record although I know this might happen. It's a mixture of relief and sadness. I will probably feel depressed for a while as well as overjoyed. The timing is good though because soon I will be able to concentrate on what I love doing perhaps most of all. The day job. Time to get skinny, grow my hair and look like a homeless person again.

March 8, 2006
Here is a version of Lost & Found with Mike and without the some of the "lost" bass parts. I loved what we lost so much I asked Mike to play one of Nicolas' phrases. It gives the piece a completely different feel but I must say I prefer it. Perhaps it makes it more thematic and less "jam" sounding. While Mike was playing this tune I had this monotonous humming thing going in my head. I asked Mike to put me out of my misery by singing it. I think this kind of holds the tune together in a funny way. I also asked Mike to put a synth bass slightly left of Nicolas'. This just makes it funky. I am of course a funky white boy. I haven't transferred Rhani's performance on to this tune yet (I will do that today) but if you like this tune at all I know you will love what he did. It is now complete. Today I am also going to work on the new one Meeting Point. I am seriously on a mission now with this project. My aim is to have it all recorded and mixed by next Wednesday. I then go away with my family for a week. On my return I will fix everything. It's good to get some distance from it and come back with completely fresh ears. This will give me a chance to hear all the flaws. I will not listen to any of this stuff while I am away. One more thing: I had a phone call from a certain trumpet player yesterday who wants to make a small contribution to the record. Maybe this record is not over yet. Someone else wants a peek through that fourth wall. Can you guess which tune I might be thinking of? 

Boo!

March 4, 2006
I just got back from Cologne where Rhani joined me in the studio to lay down some percussion on the tracks. He lives there so it was more convenient for me to fly there than have him come here with all his stuff. He has so many different and exotic instruments he has collected over the years. That's what percussion players are like. They need to have it all there just in case they think of and then have access to a certain sound they need. Sometimes percussion players turn up to sessions with a van load of stuff only to be asked to play a shaker and a triangle. You just never know. We put the tunes up and I was in the control room going "YES YES RHANI that's it!" over Iguazu. I soon realised all he was doing was taking some of the bells and chimes out of his bag. The engineer thought that was funny. But it just sounded great. Eventually we homed in on the tunes and if course he was brilliant. I will probably only use about 20% of what he did because I want all the elements on this album to be sparse. It's quite frustrating for musicians to hear me say "hardly play a anything, keep it really simple and try not to groove". But when they hear the final mix they always agree with my strategy. Space is a wonderful thing in music, especially with percussion players. I don't need a percussion player to telegraph a feel that is already there. If one does it can cancel the feel of a piece of music. I really like little moments and then space because that makes more of a statement and connects better with the listener. Same applies with just about anything. I could expand on this for pages and pages. I will say this: Rhani delivered and I am very happy with his contribution. 

Nicolas came over from Belgium which was great because he is so enthusiastic about this project. He also played bass on Count It Off which sounds amazing. At the end of the session the three of us jammed and I came up with a new tune loosely based some chords I had been playing with earlier that day in my hotel room. It's turned into a lovely tune with no title yet. What I love about it is we are playing live with no overdubs (I will overdub a melody when I find one). This means there is another tune for the record. I think I will call it Meeting Point to reflect the feeling musicians experience when they connect with one another. This we did.

March 1, 2006
Mike came round and did some incredible things on this album. He SO knows what this album is about. I don't need to give Mike direction because he instinctively knows what this is. Probably more than I do which may sound strange but quite possibly true because as well as being part of my "orchestra" he is also playing the role of objective outsider looking in. Kind of the same as my role with Sting. I can bring fresh ideas to his tunes which brings them to life a bit more. He is coming back again today. It was a difficult day because Fanny had to go to the dentist and she left me with Pablo and Eva. There was a point when I was holding Eva, telling Pablo NOT to touch "that one" (buttons on the mixing desk) while engineering and interacting with Mike. Let's call it multitasking. My studio is quite a small space so this may have looked absurd. Anyway, disaster struck. While I was talking to Mike about the arrangement for Lost & Found Pablo was of course busy pressing the red buttons on the Hard Disk. These are his favourite because they light up. Cut to half an hour later. Where are Nicolas' cool bass parts in the middle of the tune? Where are they ***k? Houston we have a problem. My dear little Pablo managed to erase this. I felt nauseous. I gave Pablo a look he may never forget or want to see again. Anyway, I am a great believer that there is a master plan here which isn't mine. It's His. So I am getting over this and also figuring out a way to copy those segments from the rough mix (which you have heard) over to the new version which might sound strange. It might even sound cool. We'll see. Isn't it ironic the tune is called Lost & Found? It's living up to the name.

February 27, 2006
I have reached the point on this project where I need an extra boost with another element or new tune. Very often it's the last tune which holds the thing together. This one really does that. I am glad to say I have found it (or it has found me). I woke up feeling quite strange yesterday. One of those mornings when nothing feels right.  I didn't know how to get out of this rut. What I did do was go in to the studio and jam for no reason. I don't usually do this. Normally I work on something more specific. But this time I was playing away and out of nowhere came this little riff. It's like it dropped from the heavens. Thankfully I have become more adept at recognising these little miracles when they are in front of me. Of all days to be inspired like this! Someone told me that when fear knocks on the door and faith answers, there is no-one there. I would like to dedicate this concept to the new tune because that is exactly what happened. I just had faith at a time when I was out of sorts (a relation of fear) so I am grateful. I also pulled a little trump card for this one by doing it in open tuning (DADGAD). Sometimes it's good to just get away from the norm and see what happens. This is now my favourite tune. For now it's called Lost & Found. The title refers to the concept of faith being found again when it has been seeked. Without trying to sound religious I think I am talking about "seek God and you shall find Him". 

Since I wrote the above Nicolas Fiszman came over to play some bass on the album. He has played on Lost & Found, Three Souls, The Bridge and what used to be Take it All which is now called One More Second. I am saving the latter as the track you won't hear till it's over. Just a little wind-up. Tomorrow Mike Lindup will be coming over for a couple of days to make his contribution to various tunes. I go to Cologne on Friday to have Rhani Krija play on the album. After that I shall be mixing the thing. I am exhausted but very excited to be coming to the end. I have been reading and processing your thoughts on the artwork. I have a great concept which you will no doubt hear (and see) about soon.

February 11, 2006
I am now working to a deadline which means I need to start thinking about the artwork. So far I have been really happy with the other covers (except Shapes which isn't really me). You might not know this but the title First Touch was inspired by the photograph, not the other way around. When the photographer came to my house we set up a proper shoot with lights etc. They were really good pictures but the one I really liked most was the shot of my fingers on the guitar neck with my daughter Misty's fingers touching mine, hence the title First Touch. This picture was nearly discarded. There are various meanings here which one can delve into. Second Nature was set up to reflect the fact that all I do is play music. I wanted it to look like I was making something on my own and living in a world of my own. I think we achieved this. Third World was meant to reflect the things that influenced me with composing. Family and friends. Now to Fourth Wall. I have explained what this means to me and you have been a part of this process. I am interested to know what you think of these four pictures taken of me while I was in Corsica last summer for a guitar festival. The photographer's name is Petia Chtarkova. She asked if she could do some shots the morning after the show and I agreed. I didn't know what we would do with these but I told her if I liked them they might be used for who knows what. I believe these are quite interesting shots and capture the way I feel about this record. It's hard not to feel self conscious when looking at pictures of myself. Basically, I hate the sight of me. But what I like about these is they show how I feel. It's a combination of insecurity and confidence in my own skin. I particularly like the close up of me looking through my hair which is startlingly red which I have always felt a bit insecure about. It's like I am looking or hiding through curtains. I don't want to be seen but I want to see you. Anyway, here are four shots from this session. Comments are welcome on the message board!

February 10, 2006
I am sitting in the airline lounge at Heathrow airport London waiting for my connection to San Francisco trying to gather my thoughts and digest the last 24 hours. I did a show last night in India with Mike and Nicolas. I was there less than a day. I tried playing some of the new tunes which felt very risky because they don't know them as well as I do. But this gave me a chance to see (or hear) what their interpretation would be with this new material. Being musicians of very high calibre whom I respect and trust they rely on their instincts to interpret any given musical scenario. All I gave them was basic structures to Iguazu, and Three Souls (the same way a director might give actors a plot but no script). What they gave me (and the audience) was something very profound. In keeping with the concept of Fourth Wall my intention was to do just that, i.e. 'break the fourth wall' by putting them in a position of having to communicate their feelings not only to me but the audience. These feelings include insecurity, innocence, naivety, confidence, wit and for want of a better expression, balls. They didn't have the luxury of delving deep into any essence with these pieces because there was no preparation or time (maybe no real essence either). But sometimes this is exactly where the essence lies. Without going into any great detail as to what they actually played, I can say that I am re-thinking some of the arrangements. For instance, Mike's instinct was to sing on Three Souls. This was incredible and very moving. Nicolas played a bass line on Iguazu I never would have thought of etc etc. I must say I am very fortunate to be working with Mike who I have known since I was nineteen. He seems to instinctively know where I am coming from and where I am trying to go. He helps me come out more than I could on my own (no I am not gay). What these guys are doing is helping me break the fourth wall.

February 8, 2006
Here is a very rough version of Lyres String (instrumental) as per request. Instead of trying to change the way it was I recorded it from scratch. It is shorter and the arrangement is slightly different. I am off to India today and then I have to go away for a few days to work on another project. I get back the 15th. I might do this again when I have more time but for now this will give you an idea of how it could sound. It was all done first take so it is a little bit rough around the edges. There is no production on this, just two guitars.

February 6, 2006
I had another look at Lyre's String. Much as I love the vocal I don't see or hear how it fits in with the new direction. However, while listening to it I muted William's vocal and played his melody on the guitar and it really works. I haven't recorded it yet but I know it will be great. It's not at all challenging to play. It is very challenging to make it mean something especially without words. I need to find that zone (or Fanny and the kids need to go out for an hour). At least you all know what is behind this tune so you might have a better connection with it. If you want to know how it sounds just listen to the song and imagine the vocal isn't there and I am playing the melody instead. Or do you need me to demonstrate?

February 4, 2006
"Hi Dom, it's Pino". Pino Palladino is one of my best friends, band mates and arguably the greatest bass player alive. He called, asked if I was in town, and I said I was. He, like, me is a man of the moment so he then said "What are you doing right now Dom?". I told him I was recording my album while looking after Eva. Pablo is asleep and Fanny is having her hair done (she'll kill me if she reads this but at least I am not lying). I invited him over and asked him to bring his bass. He had been on tour with John Mayer for most of last year and is off again soon. If he's not with John, The Who, Paul Simon, Jeff Beck or anyone else he's here. This is when I get these calls. While we're having a cup of tea his phone rings and he says "Hi Eric... yeah sure, when?... OK I'll see you soon, got to go, bye". This wasn't any old Eric (think about it guys). After exchanging pleasantries and catching up he plugged his signature Fender Precision bass in and recorded "London Paris Cardiff" in one take. We made a couple of fixes and then it was done. He is the Cardiff element of the tune so I am really glad he is now on it. I don't need to put this up on the site because you have got the idea with this one. The structure is unlikely to change. Pino's performance will be on the final mix. Don't worry, there will be plenty of surprises on the final album. All will come together soon.

January 31, 2006
I am starting to see the finishing post. It's amazing how fast things can come together when you are really clear. It's not until LPC, Gabe, Three Souls and Count it Off came that I really had a direction, or something to go with Iguazu which I believe is very much a part of this album. There are some I have recorded that so don't fit with this project. I had an idea called Serenity a while back which I couldn't (or wouldn't) develop. Kind of like postponing that date with whoever only to find out when you are finally ready she is married with kids. I have no connection with Serenity anymore and do not wish to revive or rekindle something I can't have. Same goes for others. It's like I have taken a few steps back but am now ready to make leaps forward. Now I feel there is a definite shape to this thing. All I need to do is join the dots. I am so excited because today I have the luxury of three full hours to myself and Fourth Wall.

January 30, 2006
FURTHER NOTES ON "GABE"... I just wanted to make clear something about the vocals on this track. I don't see Claudia's performance as meant to be her playing the role of the child. To me her voice is meant as the voice of an angel who might be helping with the meditation of grief. If I were to visualise it I would see a kind of pre-Raphaelite figure singing to us while we grieve. When I said "sing as if you are dead" I kind of meant from heaven. I wanted Claudia to be a voice from the other side. I wouldn't be so bold or specific as to say "sing as if you are the dead child". It's more impressionistic than that. Because she is so young and relatively inexperienced she did a better job than someone who might be pro or overqualified. Believe it or not, I can't listen to this tune either. I will have to when I mix it so I think I will leave it for now. I need to cheer up. Why is my music so ****ing moody? I have to lighten up. See you soon,

January 27, 2006
WARNING: THIS NEXT TUNE IS DANGEROUSLY SAD. Here is my next instalment for the album. This was inspired by an email I got from someone called Lisa via the website who likes my music. She told me a heart wrenching story about her son, Gabriel, who died shortly after birth. If I remember rightly he only lived a matter of hours. I wrote back to her and told her I would write a piece of music for him on my next album. Here is that piece as promised. This is the other one Claudia (my niece) sang on. I really believe she nailed it. All I said to her was "sing from the grave. You are dead and this is your message to us". The message is a positive one which I believe reassures us (or anyone who's grieving) that everything is alright where she is. Gabriel lived a short life but like all of us it had a beginning and an end. As I said, this one is very sad but I also think it's encouraging. My wife loves it but says it makes her sad every time. She is the only person to have heard it other than Pablo and Eva. Now it's your turn.

January 25, 2006
Just so you know, I am making this album in a world of domesticity. A lot of the time I am holding Eva even while I am behind the controls, or playing with Pablo. He often walks in the studio while I am working. I am doing the dishes, cleaning the floor, clearing a mess here or there. I am picking kids up from school, spending time with my older ones. I am being a husband and I am extremely tired. But I do feel great. What this means is I only spend an hour or two hours maximum a day (if I am lucky) on this project. This means I have to make this time count. I can't afford to turn the equipment on, stare into space and wait for divine intervention or inspiration. The inspiration comes from being here and now. While I am doing this I make very specific plans as to what exactly I will be documenting when I have the time. This might explain why this is taking so long. But once again I have learnt something valuable from the experience. I don't know quite how to articulate what this is but trust me, I am a musician. Until next time.

January 21, 2006
I have set myself a deadline. I want this album completed by the end of February. This may seem like an impossible task but I need it. The last couple of weeks have been great for this record. The flautist Dave Heath (who played on Foi Boa from Second Nature) came and played on four tunes. I really think he's the best player in the world. He certainly has the best sound I have ever heard on a flute. (I wonder if Amy Fe would agree). My niece Claudia who is eighteen has been over to do some vocals on two tunes. She really has a lovely voice and I will be proud to be demonstrating her talents on this record. Things are moving along nicely and I am starting to think about the artwork. I will keep you posted. In the mean time here is a rough mix of a new track I put together with William. It's called Count it Off. Claudia and Dave are also on this. I like this tune because I am only playing one chord on the guitar all the way through which contrasts nicely with some of the more complicated arrangements. I make the changes with the keyboard and how I use the other elements. This has no form but this is exactly what I like about it. It is just an attitude. Until next time...

January 7, 2006
Since recording Three Souls and London Paris Cardiff I feel I have the sound I am looking for for this album. Unfortunately this means some of them don't work alongside each other with this new found direction. Therefore I am having second thoughts about two tunes. Marcello and Bachiana. I love both of these but don't really see how they fit on this album unless I drastically change their arrangements. I am happy with Iguazu and actually really like the way it comes from Marcello but I might have to change that too. I see Iguazu as a perfect start to the album but I want to re-record this one with a different attitude. I will be working on this from now on. I really do have focus with the way I want this record to sound now and am very excited with this new clarity. Up until now it has just been a few ideas that have enjoyed their own merit. Now I can and will make them work together. I will keep you posted.

January 3, 2006
Here is a new one I have been working on in my head during the Christmas period. I recorded it at 5:30am one morning after Eva woke up and then went back to sleep. This was originally a Tweeters tune which I never felt we did justice to. I have been meaning to record this for a while now so I am glad I have made a start. I feel it belongs to this project for various reasons not least the mood of it. This recording was done quite quickly and I was half asleep and certainly in a semi dream state so there are a few blemishes here and there but I think the overall message is good. Until I come up with a good title I am calling it London Paris Cardiff which represents the cities we all come from (me, Manu Katche and Pino Palladino respectively). I am tempted to add some production with a rhythm section, percussion, strings, flute, harmonica or whatever but for now this is the tune in its bare form. Hope you like it.

December 26, 2005
Here is the next instalment of Barock. I think I am getting the hang of it now. I have made three changes. First, I have made the opening phrases with just one guitar as opposed to two and mixed it much dryer which I think makes it simpler. Secondly, I have developed the outro much more in to a piece of its own. And third I have changed the title. I see this tune as three different entities which are totally reliant on each other. I couldn't possibly take one away without offending another. This makes me think of the dynamic that can happen between three people as opposed to two (if that makes any sense). Think of the way your children behave when they are in a group of three. This can work really well but sometimes there is tension there. I suppose I am dealing with this tension. So this is three stories or points of view that come together as one. Sticking with the Fourth Wall concept I see these three parts as three consecutive dances expressing whatever you want them to. This is now called Three Souls. My friend Adam Glasser played some chromatic harmonica on this which I really like. He played on Unify and A Cause from the Second Nature album I recorded in 1999. I hope you like it.

November 4, 2005
The Marcello tune is another one I worked out by ear by listening to a Glen Gould performance. I really love this piece and find it incredibly Italian and romantic. Italian music from this era is so strong in melody and emotion. There must be many ways of interpreting it but in the end I chose with this simple approach. The only twist was to make it merge (or segue) into Iguazu which is one of the first tunes I composed for this album. To me they go together very well because there is a strong contrast in feeling. The Marcello ends in a D major and Iguazu starts in a D minor type of chord which is quite dramatic. I enhanced this chord by playing it on keyboards but I am not entirely sold on the idea that it will 'live' on the final mix. What you will hear with Iguazu is everything or nothing muted. Over time and with some fine tuning with the arrangement I might end up making it more sparse but for now this is how I like it to be. I hope you enjoy it.

October 28, 2005
Sometimes it's necessary to detach myself from this journey and do or delve into something that doesn't belong to me. Imagine going on a long walk across a desert or forest and seeing some light far ahead of you with what looks like some activity. Do you keep going, or have a look? In this case I stopped, had a look, and made the experience part of my journey. The result is Bachiana. I love this piece of music so much it drives me crazy. I had fun with the arrangement and I hope Villa Lobos (the composer) won't turn in his grave should he hear it. I learnt this one by ear which is quite hard but very rewarding because doing it by ear gets you closer to the essence of the harmony. This is because you really have to use your ears to hear subtle intervals that on the page don't look like much. Learning something by ear is easier to remember because you are also using your heart. This is my experience. Hope you like it.

October 22, 2005
Imagine walking into a store and buying a really nice picture frame and then taking it home and placing it on the mantelpiece next to other photographs of your loved ones. Only thing is, you still have the 'demo' couple in the picture and not one of yours. Strange thought I know but the reason I am running it past you is to show you how I feel about a new tune I am working on at the moment. I have this great idea but don't have any familiarity with it whatsoever. I don't know where it belongs or where it came from but I don't want to discard it. This one feels like the uninvited guest who everyone wants to know even though they should know better. This is the 'naughty' tune. At the moment it is just a kind of a cheeky boyish motif (pretentious word for riff) and I am thinking of calling it Uninvited. This will be its code name until I come up with something better. I will keep you posted.

October 21, 2005
By periodically showing you these tunes I am really inviting you to play catch up with this project. Once you have heard all the pieces I have so far I think it will then start to get interesting because from then on I will be in no man's land. That is when the real essence of this concept will start to take shape because I will be sharing my ideas with you as and when they arrive kind of like straight from the oven (as on Lyres String). You will see me with all the cracks like you haven't before. Making music is a bit like cooking (I don't cook but have had conversations with some well known chefs whose creative process I can identify with). I will let you know when we arrive at this point. At the moment I am busy working on another project with another artist which means I won't resume work on Fourth Wall until the beginning of November. In the meantime I hope you get something out of The Bridge.

October 18, 2005
The next tune I want to share with you is The Bridge. I had a real struggle with this one and it took me a while to compose. It is quite a short piece but to me it is a very long story. Quite what that is I am not sure but this tune did come as a result of a dream I had while I was on the American tour earlier this year. Apparently a dream sequence lasts a very short time (REM) but when we wake up they seem to have lasted an eternity. The title refers to the bridge between the conscious and unconscious (an ideal space for creative people). It's a mysterious space full of wonder, hope and sometimes total confusion. When we are in this state we sometimes have very illogical thoughts but to us they make total sense. I hope you can find some sense in this one. This is actually my favourite tune I have written so far. I hope you like it. Statistics will tell me that my favourites are never yours, so I am prepared for this one to be no different.

October 14, 2005
Thank you all so much for sharing your thoughts on Barock with me (I do hate this title!). I am really pleased to see there are some new members to this site. You are all very welcome to this little world we have and I am sure you are going to make some good friends. I have been reading your thoughts on this tune. I am happy to see most of you like it but at the same time it must be known I welcome criticism of any kind. I am not looking for praise. Just a dialogue. Like I said in an earlier note you are welcome to come and go as you please. I am showing you my hand while not necessarily telling you how I am going to play it. I am sharing my thought process with you and you are sharing yours with mine. This is interaction. 

So here is my second instalment. I am sure you will be able to spot the main theme coming from Barock. This new version illustrates what can happen when an idea is approached from a completely different angle. Knowing which style to interpret my music is part of the struggle. There is no right or wrong way to arrange (unless of course you are Bach, Mozart, Satie etc.) In this case I have turned this into a song with the help of William. I like to think of all my pieces potentially being songs and this one is no exception. I am so thrilled at the opportunity to collaborate with William. He is becoming very much a part of my sound. I absolutely love his voice and his lyrics are perfect for this tune. You might think differently which is fine. This is after all the whole point of this exercise. To give you a choice. And a voice. I really hope you get something out of Lyres String. I will have some new music for you next week. 

(I am thinking of changing the title of Barock to Lyres String Reprise; to give the impression the instrumental version is taken from the song and not the other way round)

The Lyres String (lyrics by William Topley. The lyrics do not match entirely with the track - remember it is a work in progress!)

I don't want to hear the lyres string tonight
Let the night birds tongue fall quiet
I don't want to ring the fool's bell tonight
Or to feast by fire bright
For I've betrayed what I held most tight

I don't want to roll the whales bones tonight
Wear the falconer's blinkers tight
I don't want to taste her cold steel tonight
Hear the sirens' moon song bright

For I've been told that I don't belong
It's been hard believing
For I've been held through a trial so long
I've gone past forgiveness
Summer's light held a honeyed song
I've been asked in but I don't belong

Possessor, Aggressor
You dive like a ray through the fathoms of night
Still breathing, and deceiving,
Said I writhe in my cell to her demon's delight
Pretender, Surrender
She's been slaking the thirst of her heretic heart
If she wants you, she'll take you
You'll be walking the coals of her fire's delight
And she will leave you cold in the pearly light

Well I don't want to raid the King's cage tonight
Let the castle keep sleep tight
I don't hasten to steal your Queen's jewels tonight
To fly Africa's coast so wild
For I've been cold and I've fled the night
I know it's hard believing
For I've betrayed what I held most tight

October 11, 2005
It's a strange but liberating feeling knowing that some of you have now heard a rough recording I have done (Barock). As you can hear, the second part is unfinished. These sound like two completely different pieces to me and yet are reliant on each other. I will continue to work on the second part and let you hear it when I have put something together. But for now I will leave it and come back to it later confident that there is something there worth pursuing. I have just done a rough mix of the other version of Barock with William Topley. He has written some stunning lyrics so the song is now called Lyres String. (A lyre is a kind of baroque harp). I really like this little tune and feel tempted to have both versions on the album. Maybe the original Barock will be the reprise of Lyres String which could come near the end of the album. We'll see. Lyres String will be available to hear on the site on Friday when I'll also post the lyrics. When you've heard it let me know what you think.

October 9, 2005
I have made a big decision. Since I started the Fourth Wall diary I have felt a stronger bond with all of you. I feel like I am writing to a friend and sharing my journey with you which is quite an intimate experience. The title of this album is Fourth Wall. What does this mean to me? It means looking at you and perhaps showing you parts of me I wouldn't want you or anyone to know. Kind of like showing you my hand but not necessarily telling you how I am going to play it. It means showing you who I really am which includes some of my strengths and weaknesses. When people make records they show themselves the way they would like to be seen; a kind of fabrication or manipulation of character. What you never see (or hear) is the way it really is or what is behind the gloss, mixing, muting, comping, enhancement etc. Photographers and graphic artists use a similar type of wizardry to manufacture images for hiding defects and to highlight (and sometimes completely fabricate) strengths. In the world we live in I get the impression we don't need to be lied to anymore. I think people want and need to see things the way they really are. Kind of like the polar opposite to the eighties when we were happy to be stimulated by fabrication (or lies). This brings me to my point. I feel uncomfortable sharing these thoughts with you without you hearing the way this album is being made. You deserve more. I want to take this a step further by sharing the musical process with you, cracks and all. I am not worried about you hearing a track and then not buying the album because if you really want to know, I am not doing this for the money. I am genuinely just trying to grow as a musician and make a connection with you on many levels (although of course I wouldn't complain if you did buy it later).

What I intend to do, should you be interested, is share the journey with you on a regular basis so you can really see and hear how music develops and what we do to arrive at a conclusion. It might interest you to know, for example, that the rough version of a track is often better or more sincere than the final released version. Many artists don't see this because when they are so deep into a piece of music they often lose touch with its essence by concentrating too much on perfection (I have been guilty of this many times). Artists sometimes underestimate the way a listener processes music. Because non musicians don't understand the 'mechanics' of music they can only like something for what it is. We are guilty of losing touch with this. To put it clearly, musicians and artists become too anal with recording, thereby concealing all contact with the more genuine qualities of a piece of music which include innocence, vulnerability, pleasure and pain. All these elements very often get lost in the mix which can only let the listener down. A similarity you might relate to is when you see a picture of yourself (and rip it up) and think it's horrible when in fact to anyone else it's beautiful and vice versa. This is a very common problem with musicians, a bunch of extremely vain, introspective ****ers. I think you deserve to see this album the way it really is. I want to do this so you can make up your mind which "picture" you prefer before it might end up on the editing floor. Do you see my point? I hope so. The first tune I want to break the fourth wall with is Barock. I know this is a crap title, but as you know it is a working one only. In a few days I will then show you how this piece works with William Topley singing on it with an entirely different arrangement. A few weeks later it might change again and so on. I will send you the track I did with Rufus and Misty. I will continue doing this until you get bored with it because I won't. Maybe this album will never end, much in the same way my musical journey will last as long as I do. You are welcome to join me in this struggle at any point and get off any time you like. I do hope you get something out of this and please feel free to make any comments. I always value your thoughts.

October 5, 2005
My friend William Topley (the guy who sang on Denver Sun off Third World) came round couple of days ago. I was playing him Barock on my guitar (not the recorded version) and he started singing along with it. I really liked what he sang. Next thing you know we are working an arrangement to this tune and I completely ignored the fact this piece was already done. Not long after that I turn the gear on and we are recording it. I programmed a simple drum beat, laid down the guitar without thinking, put a bass on and then he sang. The whole thing didn't take more than an hour. I then drove him to the station and he went home. What I have is a beautiful track which I dare say I am proud of. I will not change it except for getting rid of little noises etc. We call this 'house work' in the trade. I am such a fan of William Topley. The great thing is we are also great friends. So Barock was is D minor, I then changed it to E minor. Now it is back to D minor again but with a completely different arrangement and with vocals. Only God knows what it will be next. Sometimes you need to try everything or all options before you know. Other times I guess you just know. Yesterday I was doing the 'house work' with headphones while Pablo was playing with my guitar. That didn't bother me. I actually like it when he storms in while I am working. But today I see my guitar is covered in chocolate (I can tell because I have licked it). It still sounds good even though the strings look a little weary. I have decided I am not changing the strings on this guitar until the album is over (kind of like deciding not to shave until such and such. Now when I see guys with long beards I wonder what they are waiting for). I am having a great time with this record. I'll keep you posted.

October 1, 2005
Busy times. I have recorded a version of Villa Lobos' Bachiana which is a stunning piece of music by the Brazilian composer. I took this from an Egberto Gismonti piano album from the 80's. I worked this one out by ear (like the Marcello). It is a real challenge working out the chords without the sheet music but I find it very satisfying doing it this way because it makes me feel more attached to the essence of the harmony. It's very difficult sometimes to pick out some of these chords which sometimes have hidden notes. These are the important notes or colours. It now looks like I am doing an album which consists of some classical tunes and some of my own. I suppose it's kind of like First Touch meets Shapes. I now don't see the point in recording two separate albums. All I am doing now is documenting who I am right now as a musician and this can't possibly go without the Marcello, Villa Lobos and of course Bach. I haven't yet chosen which Bach piece I will do but I am sure there will be at least one. The favourite is the G minor Partita (first one in the book for violin). It sounds like it was written for guitar. I have finished Barock which accidentally went into a new entity which I was just jamming at the end. I now think this is the missing link to this tune. I am really happy with the way Iguazu turned out. I did some synth and keyboard bass overdubs which really enhance the tune. The Bridge is complete. All is now called Take it All and I am thrilled with this one. Misty added a couple of ad lib vocals so it has become a real 'family' track. This is now one of my favourites. (I had to break the momentum by going to Poland with Sting to do a show. It is alleged there were close to half a million people at this show, the biggest in my career. Quite incredible playing to that many people). For some reason I can't get my head around recording Serenity. Call it lack of courage. The truth is more like I haven't got real direction with this one. It isn't really arranged. It is more a mood than a composition so I am now having second thoughts about it. Maybe it sucks, I don't know. So I will put this one aside (again) and continue with something else. Why not the Bach? I will let you know either way. 

September 16, 2005
Since I have got back from vacation I have been recording. I have made serious progress with this album. I started by recording Alessando Marcello's Concerto in D Minor (for piano) purely as an exercise to get me back into match fitness. The piece is beautiful and I got somewhat carried away with it. In fact I love it so much I think it's a keeper. When I finished it I started playing Iguazu. This sounded perfect next to the Marcello so I recorded it. They are now joined and complement oneanother. I made some real breakthroughs with Iguazu. I also recorded The Bridge which was very natural but quite hard to play accurately and loosely at the same time (this is something I strive for). I got there in the end and it's done. I also made a good discovery with that one. Rufus came here yesterday and we put down our duet. He wrote the song on the spot. This is how he wanted to do it and I agreed. So it was a magical day and he was amazing. I love this song so much. We are both proud of it. We are calling this one All for now but that may change. So I am now well into it and feel I have the right momentum to carry on. I will be doing this for the rest of the month and the first week of October. It's hard to describe what it feels like to be in this space. Call it a sort of madness. I am so immersed in this it must be hard for anyone to be near me as I appear to be on another planet. My wife told be about who she'd had lunch with which I acknowledged but I then asked her at dinner if she'd seen her friend (Sarah) recently? Today I will be recording Barock again. I have decided to change the key. This will be my first retake. I am seriously looking forward to recording Serenity. Maybe tomorrow. I will let you know how I get on.

July 15, 2005
Yesterday I recorded the first piece. It was a beautiful sunny day here in London. It took me less than an hour to do this because it was ready. I sat with my guitar going over it a couple of times at the kitchen table in the morning knowing I would be recording it very soon. Kind of like making final preparations for a speech or presentation. I was 90% secure with my plan and left the customary 10% for any little miracles or changes that would inevitably happen or arrive as they always do. On this occasion it was more like 80/20. An unexpected melodic accident came like a gift for which I am grateful. I am so excited and feel the relief of having disclosed some kind of deep secret within. It's hard to describe what it feels like to document one's thoughts. It's something like making a diary entry but in big letters or carved in stone and coloured in blood. I may sound over dramatic and maybe no one cares what I have to disclose but this is my story and it has to and had to be told. I have now set the pace for these admissions and look forward to making more of them. The tune I recorded has the working title of Barock which is of course pretty stupid. I will come up with a better title in due course.

June 10, 2005
Had a great day out with Rufus. I dropped Misty off to my school and then went to my lock-up to get the van. The driver and I then picked up Rufus and we headed down to the coast. It was a beautiful sunny day and we had a good chat. Rufus is very excited because he has got into Goldsmith's College (the Harvard of art schools). This is such a great result and he is so happy. So am I because I am glad he isn't just doing music. He has real talent as a painter but also writes songs and plays guitar. We had a good chat about this on the way there and back. We returned and I put all the gear in my studio (a room in my house). It is all there in cases now and I am feeling very excited about setting it all up. To me, musical equipment or a studio is like a church. It's a sacred place to go and pray. It's a place to show one's faith and in some cases a place to open up and confess. I take it very seriously. Some people write in the studio and I am not criticising them but I just don't do it that way. I don't like to go to that place unless I have something to say (or on a deeper lever, to share with my higher power). Now I do. I will set it up today and on Sunday will go away for a week. On my return I will go there. It can be quite a dark place sometimes. But there is always some light to be found in darkness. This is the light that shines brightly in my world. I will be sure to let you know how the first few days go.

June 8, 2005
6:00am, London. This morning I will be dropping Misty off to school and then picking up Rufus to go to the Isle of Wight which is a small island off the South coast of England. My parents have a place there that my sisters and I use whenever we want. It's a charming beach house right on the coast. We will be driving there in a van with a driver. Purpose: to pick up all my recording gear. I last used it there in December 2002 when I was recording Third World and incidentally where I came up with the concept for Shapes. This is a symbolic journey because once I open that equipment and then fire it up it will mean blood shed. Mine. I have some bleeding to do. I feel the strong need to get the tunes I have documented now while they are fresh and knowing I won't change them anymore. If I leave it any later they might suffer from being over cooked. Kind of like making a soufflé? Once I finish those tunes I will then pack it up again and probably take it back to the island and then carry on with the rest of the album. I am glad Rufus will come with me because he will be part of this journey that is becoming Fourth Wall. I feel I am coming to the end of the first act.

June 4, 2005
Time to get back into it now. I have left this for a while and feel ready now. It's quite depressing because I don't know what to say. I picked up the guitar yesterday (for the first time since I have been back) and played what I know so far. The tunes feel real and familiar enough to be sure they will live on the album. This is a good feeling but do I have any new ideas? Not a crotchet. I tried staring out into space looking for some message from the heavens but all I heard was Pablo and Misty laughing upstairs. But this IS the message. This is what I love. The ambient sound of family. Sounds in the kitchen, the bath running, phone ringing, door bell going, Fanny saying "put the rubbish (trash to you Americans) out", the dishwasher finishing its cycle, the neighbours doing whatever they do etc etc. I haven't heard these sounds consistently for over a year. This is what I am listening to now. Not the latest Coldplay album, Schumann, Sibelius, Bizet or even Bach. Call me weird but I like what I am listening to. This is the inspiration and this is the message. Now all I have to do is put it to music, or translate it to music. Help!

April 17, 2005
I am back. Been busy on this tour and haven't had much time or inclination to put any commitment in to Fourth Wall. We are now settled in Chicago for a few days and yesterday I played what I have so far. I must admit I am happy with what's there. The Bridge is pretty much completed. Barok and Iguazu work well together (although I am still trying to see what else can be done with Barok. I have been trying some variations). I still haven't visited Serenity even though I thought I was ready a week or so ago. Clearly not. The folk tune in the open tuning will definitely live. I will wait until Rufus and I can get together on that one. I have been listening a lot to a song by Stevie Wonder called Rocket Love (off the Hotter than July album) and I am so in love with this tune. To me it is crying out to be recorded as an instrumental. It feels very much like the kind of stuff I am into. I have a strong feeling I will make this a great moment for Fourth Wall. The harmony and emotion seems to fit with what I am doing. I also want to record The Winner Takes it All by Abba. While I am at it I have a version of the Star Spangled Banner worth recording. One of those three will make it on the record (I suspect it will be the Stevie track). So we are getting a plot now. Sometimes it's good to listen to music rather than trying to compose. I have been listening a lot recently and been inspired by the way some people construct music. Now it's my turn. Bring on Serenity!

April 6, 2005
My lovely Martin guitar (she is now called Martina) has been neglected on the Fourth Wall front for a few days, until yesterday here in Kelowna, BC. I was playing around with some different tunings (DADGCF) and came upon a delightful motif. It's strange because this is an idea I had completely forgotten about which just happened while I was in Montreal last year. I didn't think much of it at the time but remember playing it to my son Rufus on my return and he loved it. I was thinking about him a lot yesterday and decided to give it another crack. I really like this idea and it kind of reminds me of Looking For from First Touch. Very folky. It's begging to be a song so maybe this will be the song on the album and if so, Rufus will be singing it. I don't have a title for it yet. I think I will co-write this with him and see what he thinks. So I guess this is the first Fourth Wall idea. I have exhausted The Bridge and gone round the houses with different combinations. I really believe I have this one now so I can put it into hibernation until it's time to record it. Today is a day off and I feel up to having a go on Serenity. It's so beautiful here in BC and I find it inspiring. I am in a great mood. I am loving this tour and feel musically fit.

March 26, 2005
I have some real focus on The Bridge now. I felt the need to go back to the original idea (the key in the treasure hunt and the 'lost' dream idea) and work on it with a view to understanding it better. Now it's turning into a fugue. Originally it was just a series of notes in monotone that sounded very Bach like. It still sounds like that but I thought I would take it a step further by trying to write it as a fugue. The challenge now is to make it go into the new idea. So I am having to work backwards or towards something. It's like having a punch line without the set up. I will stay with this for a while until it's time to move on. The truth is I want to go to Serenity. This I am treating with the same anticipation one might feel about going on a date with someone you are fascinated by.

March 25, 2005
I am scared to go to Serenity in case I **ck it up. I know this is an important piece and I am respectful of it. I need to be more prepared mentally before I can go there. On a brighter note, The Bridge is my new companion. I am living with this tune now. It goes everywhere with me. This theme came to me from looking at the sun rise here in LA. It speaks to me about the glories, uncertainties and wonder of what the day ahead might bring. It's almost like an astrological reading. It's talking to me about what might be as long as I believe, have faith and above all, trust. Do I sound wacky? Maybe, but this is how it is for me. Today.

March 23, 2005
I am in Los Angeles now and woke up with jet lag at 3am. I had a package waiting for me with a new Martin Guitar which has been made for me with the view of doing a signature series (one of the perks). I started playing it looking out of the window to the LA skyline and played what I knew of The Bridge. Now I see what is happening. The opening notes were like a key to what I can only describe as a treasure hunt. I could now discard them and just start from the new idea. They led me to some music that just came out of nowhere. The ideas flowed so fast I couldn't keep up and was afraid to lose them. It's almost like the notes were writing themselves. Unbelievable. The last time this happened was when I (or something) wrote David (from First Touch). I now feel that perhaps what I have with this tune now is going to lead me to the next clue of this treasure hunt. It might be possible that Barock, Iguazu and The Bridge might be part of the same suite (they are in the same key). This is getting to be fun.

March 22, 2005
I made a connection with The Bridge. Even though I am not sure if this is it, I like whatever it is. It sounds familiar and I don't know if someone else has written this or not. I might have to ask some of my mates who might advise me. Actually I am worried I may have stolen it from Bach. Ill let you know.

March 20, 2005
I think I am getting close to finding the lost tune. Instead of looking for the notes I am more trying to access the feeling I had while I was having that coffee. I do know this: It is not a slow piece. I have a feeling it has a lot of movement and perhaps humour. I will call it The Bridge whether I find it or not. If not, then I will leave an empty space on the album with its own track number and title so we can all think a little bit about what we were dreaming the night before.

March 18, 2005
Very frustrating. I woke up this morning or I was woken up by what seemed like the most logical, perfect tune in my head. It is quite rare when one can move knowingly from the subconscious to the conscious. But now I can't remember it because I thought I wouldn't forget it. It seemed like I spent all night with this tune but I heard somewhere that dreams are very quick or not in real time. Even while I was awake making coffee at 6am I had it running through my head and was feeling quite chuffed with this new gift. I played chess online for about an hour and then tried to think of it again or access it. Was it there? Was it **ck. Idiot. On the last album I had a similar experience with a tune called Forgotten Dream. I worked hard to 'find' it and did the best I could but this time I don't have the slightest clue. If I can see or hear it again I will let you know.

March 16, 2005
I revisited Iguazu yesterday and it sounds almost finished. Last time I played it I thought it was a bit sketchy but now I can't think of changing it in any way. Maybe it is done. Barock sounds good although it's too short. I can't work out whether it's meant to be a short piece or not. Where does it say a composition 'must' be of a certain length? When I see some paintings I wonder if the artist asked him/herself the same question. If indeed it is a short piece it will be the intro to Iguazu. So I have three now. I feel I am getting wealthier. These pieces are like investments. The key is to know when to 'spend' it and what on. I have to nurture these tunes (or entities as I like to think of them) while still moving on. These three 'entities' will have to learn how to deal with new siblings which will very much affect their character and behaviour. We (I) will cross that bridge as and when or if this happens.

March 15, 2005
I have found it! This is so exciting. I was waiting for Sting, Shane and Josh to arrive for a rehearsal when Serenity came to me unexpectedly. Like a gift from heaven. It was very frustrating because we started work about a minute later. I must admit I was thinking about it during the rehearsal (act versus memory?...) and had to restrain myself from playing it. As soon as we had a break I went back to it. It's in B flat and has a slow 6/4 feel. The first chord is a kind A suspended over B flat. Don't ask me why. I don't ask 'Him'. Now it's my obligation (to Him) to work on it which I will. But the feeling of making a discovery like this is hard to put into words so I will put it into music especially for all of you. These tunes will be my story.

March 10, 2005
Haven't worked on any of the tunes recently due to the busy schedule here in Italy. Rehearsals are going extremely well and I am very excited about what we are creating here. I don't have a new tune per say but I DO have a feeling I want to emit. This is going to be one of those tunes created after the thought. I know the colour, shape, feeling and even aroma I am after. Now it's a question of putting it to music. I think I will meditate for a few minutes (when I find the time) and then just go for it. It will be called Serenity. I will let you know as soon as I have the first chord. Until then...

March 6, 2005
I am going to leave Iguazu alone for a while because I am satisfied I have a good enough sketch of it. There is of course more work to be done but I need to move on. Once I have more tunes up to this level I will start re-visiting them with more focus. It's like getting a team of players together. One can't pay too much attention to one while neglecting the others. Now I will be scouting for new ones and then see how they work together. So far I have Iguazu and Barok. I am going to Italy today. I can't think of a better place to find new entities for Fourth Wall.

March 4, 2005
Shane came over yesterday to roughly go through the songs for the Broken Music tour. We are leaving for Italy on Sunday to start rehearsals. When we finished I had a 'moment' of inspiration. After he left I ran through what I knew of Iguazu and when I got to the problem chord I stumbled upon a direction (chord) which I know in my heart is the right way forward with this piece. The reason I am calling it Iguazu is because the music reminds me of the way I felt when I was in my early twenties. I had a band called Iguazu and we did some recordings (none of which were released). I actually had a tune with this title too but this is now a homage to that guy in the early eighties. I was somewhat lost back then so I feel now it’s time to air those feelings. It’s such a great gift finding my way with a tune. It’s like magic. Shane is coming back today so hopefully after he leaves I will go further with it. I can’t wait to be in Italy because Sting has a beautiful chapel with acoustics to die for. I am sure I will find time to do more there.

March 1, 2005
Now I can see that Barock and the 7/8 one (now called Iguazu) are separate entities. But they definitely work well next to each other. Possibly merging from one another. I found a major breakthrough with the 7/8 tune. Trouble is it's got me into trouble because I have found myself on a chord and don't know where to go from there (here). But it's such magic though. I don't know where it came from but I do know I need to solve this. Kind of like finding a
really nice table and then having to re-design a room to fit around it. Sometimes I have to just ask God. The best time to write or compose or solve these problems is while I am driving because I am away from the instrument which means I have to use my wits, not chops. I am driving to Bath today to do a DVD for Guitarist magazine. Hopefully I will 'find' it by the time I get home. I am still on holiday which still means I am not full on writing but at times like this I get the best results. I feel these two tunes are setting the pace for Fourth Wall. Once there is a plot it can start writing itself. I am just the channel. Check in with you later...

February 24, 2005
I have been working on a piece which is inspired by the music of John Dowland. This is code named Barock. Since I have just come off tour I am not in full work mode so I just play it quietly while the TV is on or Pablo is playing in front of me. It's quite a serene piece in D minor. It seems to be going into another part which is more rhythmical (in 7/8 time) and I can't decide if they are two different pieces or not. Time will tell.

Fourth Wall - Diary of a Recording
 

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