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A review! 3-out-5 stars for Fearless Freep
My music is reviewed in this week’s Vegas Seven magazine, one of the weekly rags covering the weekend scene in the city. An acquaintance at work writes the regular music column. He’s got his own band, a self-described “post-apocalyptic doom death metal band” called Dead Neon, which I’ve seen a few times. I told him about my own DIY hobby a while ago and gave him a copy of This Island Life, which he gently made fun of. When I gave him a copy of YSYIC after a work meeting, I expected much the same result. Certainly, I didn’t expect him to like it. He emailed me about 20 minutes after I gave him the cd, said he listened to some of it on the car ride back to his office and enjoyed what he heard. He wanted to know where people could get the music online. “Why?” I wrote back, genuinely surprised. “You going to write about it?” So that was what prompted my bandcamp Website. I have been patiently waiting for this week’s edition of the magazine ever since, kind of nervous about what he would write. When he told me he put my real name (not just Fearless Freep) in the write-up, I was really nervous. But he was kind, and it feels good to be featured. He likened my voice to Tom Petty’s (yeah!) and he described subjects of my songs as “characters pushed to desperate margins by their thwarted desires and skewed loyalties.” The guitars, he wrote, are “in your face,” which seems funny because this whole thing was recorded with a crappy single 8″ practice amplifier, not a particularly in-your-face rig. Though I think he meant the phrase more in terms of the guitars being so prominent t in the mix – not all that common in an age of synthesized radio rock. In the end, I got 3-of-5 stars on the rating system. Fair … and totally cool! I kept a few copies for posterity.
One Cent: I don’t have any sense!
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girl i’ve counted two times now
you’ve given me the runaround
you don’t wanna put me down before you pick me up
maybe the third time’s a charm
you know i’d never twist your arm
but i swear on this here guitar that i’m not giving up
what do you think? should i heed your advice
and write you out of my life?
it’s all right …
darlin’ if the world was flat
i’d walk you to the edge and back
throw a penny down and down
to see if it would make sound
i’d watch that penny fall
one cent ain’t worth nothin’ at all
it’s never gonna make us rich
unless you make a wish on it
c’mon now, what do you say?
i won’t keep you out too late
or have i made a big mistake …
mistake in asking you?
girl i think you wanna go
yeah i just got this hunch you know
from up above, down below
so i press on through
should i heed your advice
and write you out of my life?
it’s allright …
Dive In … to the past
…
This was one of the first songs I ever wrote, Dive Right In, circa 1998. It’s about making music without really knowing how to make music … or play guitar … or arrange a song, etc. The first time I recorded it, I didn’t realize I was swinging the beat in my head – didn’t know what swing time was, in fact. That makes programming drums and software instruments pretty hard. No wonder it never sounded right to me!
I can’t remember if I wrote this song before I started calling my music project Fearless Freep, or after. It was right around the same time. I remember thinking how the lyrics dovetailed with the name, which is an obscure reference to a bugs bunny cartoon. You know the one – Yosemite Sam drafts Bugs at gunpoint into a high-dive act when the real performer, Fearless Freep, fails to show up by curtain time. Hilarity ensures. Of course Bugs gets the upper hand. Later, when I found a band already existed called Fearless Freep, I was devastated for five minutes.
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Dive Right In
But you know I’m gonna dive right in
Cause it’s the best way that I know to begin again
C’mon – it’s easy, believe me, when you dive right in
Right in
There’s no right, and honey there’s no wrong
You can take a left, you take a right, you keep moving on
There’s no wrong turns now
There’s only lessons to learn now
When we dive right in
Right in
C’mon in now, the water’s fine
Forget your towel, you’re gonna drip dry
Sink or swim ’cause there’s no better time than now
C’mon give it a try
And dive right in
Right in
You can live your life by one little rule
You can just dip a toe, you could drown in it too
So c’mon
Do what you will now
But I’ll drink my fill now
I’m gonna dive right in
Right in
Pack my suit I’m leaving tonight
I’m off I’m gonna find out the rest of life
Maybe we’ll meet another time
But now I’m gonna find of a little peace (piece) of (my) mind
But you know I’m gonna dive
right
in
now …
Caution Yellow: Out of lemons, rock
Got stood up for a date recently. It’s ok though; got a nice little rocker of a song out of it. Caution Yellow is below.

Loving my new toy.
In other news I am LOVING my new guitar interface. So much easier to play clean and monitor what I’m playing – now the only sound I hear is post-effects. Before, I was just micing a crappy practice amplifier. Lots of speaker hiss, ambient noise (the dishwasher, air conditioner, etc.), and I could always hear the raw sound sound from the speaker beneath the monitor sound in the headphones. Annoying … but no longer. Now, my only excuse for the guitar not sounding great is that I am not a great guitar player. Working on it.
This is the first song w/ the new setup: interface and Garageband 9 – got a new computer, too. I am discovering a few cool new things in the new version of Garageband. Thank you, Apple, for totally kicking ass!
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Caution Yellow
here I am again, waiting on a girl
and she’s late
Maybe she’s not coming at all
call it flaky, call it fate
but i’d really like …
like the chance …
the chance to read the tattoo that she hides
so i’ll go for broke, hell i’m broken anyway
it’s caution yellow as i accelerate through the light
driving home again
all alone again
she never showed up
any fool could see
anyone but me would give up
but i’d really like …
like the chance …
the chance to read the tattoo that she hides
so i’ll go for broke, hell i’m broken anyway
it’s caution yellow as i accelerate through the light
accelerate through the light
is it green?
is it red?
if it’s yellow, stop ahead …
here i am again waiting on some girl to show up
it don’t look like she’s coming at all
and that’s just pretty fucked up
but i’d really like …
like the chance …
the chance to read the tattoo that she hides
so i’ll go for broke
hell i’m broken anyway
it’s caution yellow as i accelerate through the light
OMFG! Download the new record, FREE
Hello Freepers! I know you’re Freeping excited about the new record, You’re Still You in Camouflage.
The good news is, you don’t have to wait any longer. Go to my new bandcamp Website and download the entire thing now in the format of your choice! OMFG!!
For future reference, you can always use the FREEP MUSIC DOWNLOADS hyperlink at the right.
For you email subscribers, the website is: http://www.fearlessfreep.bandcamp.com. You’ll definitely want to bookmark it or add it to your favorites!
From the site, you can stream every song on 2009’s This Island Life and the just-released You’re Still You in Camouflage. There are several free downloads between both records. If you want whole albums, YSYIC is free – at least for right now. This Island Life can be purchased in its entirety for $8. It’s worth it, just ask my Mom!
Rock on!
C
A Freeway View: What is truth?

The next record: You're still you in camouflage
…
Hello Freep Nation. Long time, no post. But fear not – or LESS! The new record is done except for some mixing. More info on that later.
Meantime, below is a new tune called A Freeway View. I’ve found as I’m writing more that things tend to get less autobiographical, or that the autobiographical stuff gets jumbled all up with other material. That’s the case here. I’ve added “true” and “false” statements below so you can see what I mean.
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A Freeway View
I’m pulling full-time duty for a part-time job (false)
My apartment’s a mess (true, but not too bad)
My ma’ raised a slob (not really)
I got an empty fish tank (nope)
And couple guitars, but no food (true on both counts)
And I know the remote’s around here somewhere (i know where it is)
But there’s nothing on the tube (true. tv sucks)
So I don’t effin’ care
I crank the amp (true)
Until the lady upstairs calls the super (false. she’s never complained)
Honey, can we take it slow?
Cause I’m a long, long way from home (true)
And there’s so much I don’t know (true, but i’d never admit it)
Be my family tonight
There’s some Chinese take-out at the back of the fridge (false. there’s some tuna salad and tomato that i gotta throw out though)
I got a view of the freeway and the railroad bridge (false)
If I could make her come back
Just by flicking a switch then I would (false. hehe)
I got a couple good friends, we drink a couple of pints (true. i have great friends!)
Our motto’s ‘Fake it ‘til we make it’ (false. but it’s good motto.)
That’s the secret to life
There’s no rhyme or no reason
No way to ask why
Cause it’s useless
Honey, can we take it slow?
Cause I’m a long, long way from home
And there’s so much I don’t know
Be my family tonight
We can talk in circles
We all got something to prove
We’re all terrible liars
They can see our lips move (i don’t know what any of that means. i stole the main rhyme from a paul westerberg song)
It’s a sign, we can run, but not hide
From our youth
Yeah, what do they say about pride, before the fall?
It doesn’t matter to me (not exactly up on my Bible reading)
Cause I got none at all (false)
I’m go stay out late maybe
Find me a tall brunette (nope, cause it’s a work night)
It’s a Cinderella story, sad but true
You can take it or exchange it
For an IOU
But in the end it don’t matter
Cause you never pay for what you get (just making up rhymes, here)
Honey, let’s just take it slow
Cause I’m a long, long way from home
And there’s so much I don’t know
Be my family tonight
That’s right
Be my family tonight …
76 miles to an oldie-but-a-goody
…

I have a lot of songs about driving.
Here’s an oldie-but-a-goody. It’s the second time I’ve recorded this song: 76 Miles (Fife)
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I was thinking about this tune the other day after a friend made a comment about my last song – that it had “two parts that didn’t go together.” She was talking about the bridge, which I re-did. In that case, she was right. The two parts didn’t belong. (See previous posts.)
But sometimes I like songs that jam seemingly incongruous parts together, as this one does. The main part of the song is 4/4 time. But the chorus is in 3/4 time AND at three-quarter speed. It makes for a drastic change – and it makes it tough to record the transition. But the effect is neat.
The song is about the four-hour drive from K-zoo to Petoskey when I used to live up north. There was a place where the divided highway ended around a little town called Fife Lake (shout out!) and there was a highway mileage sign indicating Petoskey was still 76 miles away. Hence – “the end of the highway, but not the end of the road …”
The few folks out there familiar with version one will note a few changes. The first two verses are re-phrased to stretch out over twice as many measures, and are minor lyrical changes. The bridge is entirely different.
Like a bridge over oiled water
I changed the bridge around. The old one was too grating.
The words to the bridge are similar to the old one, but it’s not in double time.
“You said out of sight would be out of mind/ that’s what you led us to believe / but we’ve come to find that what comes in with the tide – it doesn’t wash back out to sea”
Small Cuts: Stacking up layers

This guy is amazing. I am not amazing, but it doesn't stop me from trying!
…
Man, this tune was a struggle from the get-go. Sometimes it’s the seemingly simple ones that are the hardest. That was certainly the case here.
The inspiration for this one was actually a couple of different U2 songs. I’d just watched It Might Get Loud, the guitar documentary that features Jimmy Paige, Jack White and The Edge. If you haven’t seen it already, check it out; it’s not to be missed.
I find The Edge’s guitar playing really inspiring. His playing is extremely efficient. He uses effects to great (cough) effect. Simple ideas, polished to perfection. He makes look and sound really, really easy. It isn’t.
The two U2 songs I was thinking of were So Cruel, from the Achtung Baby record, and All I Want Is You, from Rattle and Hum. Both are simple progressions, primarily built on two chords, with extremely in-depth layers and arrangements.
As a songwriter, it’s tough to hang in there for more than a few bars with only two chords – soon it starts to sound repetitive. The trick keeping it interesting is two-fold. One, your melody over the foundational chord changes has to be catchy and varied. That’s true in every tune, but it’s especially true over extremely simple changes. Second, you’ve got to dress your simple progression in some snazzy, complimentary layers. Edge makes that seem easy. If only it were so …
I have no idea how many tracks were used to record All I Want Is You. Probably a lot more 28, which is how many total tracks my song has. Not all of those tracks are on at once of course, but in some places there are as many as 15 or 16 tracks going simultaneously, include 7 or 8 guitar parts.
Keeping track of all of those tracks is a logistical challenge. It’s tough on the processor, too. The computer kept bogging down when I was trying to record the vocal (generally the last thing), which has never happened before.
Those difficulties aside, the hardest part about having that many guitars is just … well … having that many guitars. There’s a reason most bands don’t have more than two or three guitars on stage at once; things get muddy really quickly. When you start stacking stuff on a simple riff, parts that sound great on their own sound terrible together. It’s easy to get swamped in the sound, or to wander so far into the sonic landscape you’re building that you lose sight of the way out …
I nearly didn’t get out of this tune – at least not out of the finished side. I was ready to throw in the towel after spending several fruitless hours only to come back the next day and realize some of what I had was okay. Pretty good, in fact. Like any journey, once I was past the mid-point and saw the way out, it got easier.
It’s called Small Cuts. I’m happy with it, which is good considering the amount of time involved. Here it is:
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You can also watch a video of me singing an early demo of the vocal on my FB page. It’s five minutes of your life you won’t get back. : )
One last word about the bridge – I really like it. I wanted it to have a spontaneous, unexpected feel. Because the rest of the song is so simple (read “predictable”), I thought it was important to break the middle up, lest a listener become complacent. In addition to changing up the chord progression rather suddenly, I did a solo which I only loosely mapped out, in terms of the notes. Then, I didn’t practice it at all. I just hit record and played. The take in the song is take number two – the fasted solo I’ve ever done. I think it sounds pretty good (keep in mind that I can’t really play guitar that well!)
Lyrics below:
Small Cuts
You’re too far gone
You gave up too many chances, to the point of fault
All that’s left is to blame – Who’s right? Who’s wrong?
We circle endlessly
We make small cuts
We find bitter pleasure in our lack of trust
But sooner or later there’s one of us
That’s gonna go too far and cut too deep
chorus: You know when you’re gone
I’ll be here holdin’ on
Through the night
At the dawn
To watch you stray
You kneel on the floor
You make the sign of the cross before going to war
But the only thing of which I’m really sure of
Is that He ain’t gonna take your side
There’ll be no surrender
No white flag to raise, just stupid pride to defend
We fill in the trenches just to dig ‘em up again
We’re running out of places to hide
(chorus)
I may miss you now
But I got the common sense it takes to keep my head down
Maybe climb in a foxhole deep underground
And wait ‘til the coast is clear
And I might get lost
But this time I won’t follow you girl, whatever the cost
Who was it called it over? – Yeah, you always were the boss
So go find yourself a new volunteer
(chorus x2)
The (whole) Wave
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The Wave
I got two damn cars
Both need baths
One don’t start
I like to wait until dark, drop the top down and look up at the stars
The highway wind
The highway sounds
I could keep on driving, get the hell out of town
But I know there’s no escape from this place
It’s optimistic, it’s down in flames
You know love it’s hard to say
We search the city for a complicated truth:
the water mark from the receding wave
that left the wreckage that we all sift through
The years fly by, it’s true
You climb in a cannon
You light up the fuse
And right before the big boom
We realize just how much we stand lose
The highway winds
The highway sounds
We could keep on driving, get the hell out of town
But we know it’s just another mirage
‘Cause you’re still you in camouflage
…
Strange memories on this nervous evening
Seems like an era since we left San Francisco
And as we watch the great wave receding
We realize history is hard to know
We realize history is hard to know …
So less than five years on
We climb up the hillside and look beyond
To see the high-water line
Where the wave rolled back and left us behind
The highway calls
The pull of the road
You could redline the needle
Set a course for home
But you know that could never go back
Just comb the desert for artifacts
…