Writing nowhere songs for nobody

While in New York City, I spent some intense sessions writing songs with my super good friend and writing partner Verena, aka Céline Dijon of our band Nous Non Plus. She and I began writing together in 2000 (!) and if you watch TV and/or movies or listen to college radio, you might have heard some of the songs we’ve written and recorded together with our bandmates.

These days, I write so much: for my own blog, for VinoWire, and for so many other blogs to which I contribute openly or anonymously as a ghost writer. Everything I write is published almost immediately.

The process of songwriting is the exact opposite: we come up with an idea, we play around with it, we improvise melodies and discuss the subject, and we flesh out the lyrics. In our case, I usually have a riff or a song structure and then Verena writes the melodies and lyrics. But that’s just the BEGINNING of the process. We then record the demo and start fine tuning it. If we decide that we want to release a given song, we will rerecord it and then set into motion all the elements that go into a release: rehearsing, recording, mixing, mastering, artwork for the album, and ultimately a new record — a process that takes months and months. In the meantime, these works are just nowhere songs for nobody (although I always play them for Tracie P).

Recording technology is so accessible these days. All you need is a decent computer and relatively inexpensive software and hardware (a tube-powered microphone preamp, a digital-to-analog interface, and a decent microphone). When I started working the recording arts at 19 years old (some 24 years ago), we used expensive 24-track tape machines that used 2-inch-wide reels of tape!

We took a break from the intense process of songwriting for a visit from the newest member of the Nous Non Plus family, Vivian, with her dad (and NN+ drummer) Harry Covert.

Buona domenica, ya’ll! Have a great Sunday…