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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.
Listen to 'Gabe'
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
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.
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.
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 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.
Listen to 'Lyres String' v2
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 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!
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