Turns Toward Dawn

This was fairly spontaneous.   We decided, more-or-less on the spot, to film this, more-or-less rehearsing. Kelsey Chapman and Brady Ross-Minton on vocals (no mikes) — singing the parts of Taura and Winston (respectively) in their song “Turns Toward Dawn” from EDEN IN BABYLON Copyright © 2019 by Andrew Michael Pope, with Andy at the Baldwin Grand. 

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Eleanor Rigby

The woman who joins in singing on this one is Kelsey Chapman, who is playing Taura, the leading female role in our production of Eden in Babylon.  There’s a kind of a subtle fury in this one; I like the way it came out.

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Norwegian Wood

The event  of the All Beatles show turns out so far to be a very warm gathering of medium attendance.  The Town Elders are there, a great rare appearance.  Then mostly my homeys whom I can identify among the visible audience members, if you wish.  I believe these videos are coming at me in chronological order, and these first two, Can’t Buy Me Love and Norwegian Wood, definitely took place before things got out of hand.   

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Can’t Buy Me Love

I apologize for the delay.  I’ve been waiting for clips from the All Beatles Show to start pouring into my inbox, which moment appears at long last to be now.   I’ll just post them in the order they come.  Here’s “Can’t Buy Me Love.”

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Hermit

I believe that we who write lyrics and music tend to remember the music we write better than we remember the lyrics.   At least, that is true of me, and especially if the song was written long ago, and then more-or-less abandoned.

The song that is featured today is something I wrote in April of 1976 in an effort to come out of a long period of isolation and creative famine.  I remember it took me a month to write the song.   This was also the first month of my now 42 years as a long-distance runner.  Writing this song was part of a complete lifestyle change.

Since it took me so long to squeeze it all out of me, I remembered the music very clearly, and continued to remember it over the years, even though I hardly ever played it.  But I forgot a lot of the lyrics, which I never sang.

At some point in the 42 years since I wrote the song “Hermit,” I forgot all about it.  But this past week, the song for some reason resurfaced in my consciousness.  This time, it had been so long, I didn’t even remember some of the music.   But as the week progressed, I remembered more and more of it; and I practiced it several times on the piano.

As for the lyrics?  Here are the ones I remember:

Shifting back and forth
Between one reckless thought and the next,
Trapped inside a rented room
Behind a world that’s too complex.

And later:

Your life is just a rented room!

Still later:

We all need our time to think –
But how much?  That’s all I ask!
You could spend a lifetime claiming you’re close to the cure,
But when life itself is such a task,
You’re never sure . . .
Never sure . .  .

Interesting.  I was 23 at the time.  I wonder why the song came back to me this week?  I hadn’t thought about it in years.  Here’s what it sounds like.

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Psychology of an Insecure Creative

Last night I sent the music to my song “The Very Same World” to Erika, the new Director of Music at my church.   This afternoon I found myself writing very nervously in my private diary.  Included were passages such as follows:  

I felt instantly horrible about the song I sent her the very first moment after I clicked on “send.”  Before I clicked on “send,” I thought my song had promise.  Immediately after knowing it would soon be scrutinized by a person of intimidating musical talent, I decided that the song sucked.

I chose that song, The Very Same World, only because of three things:

1. An earlier, faster version of it has gotten far more plays on my SoundCloud than any other song of mine.

2. When I sent my music to my brother, he singled out “The Very Same World” as the song he liked the best, calling it an “excellent composition” and “world class.”

3. When I sent the lyrics to my daughter, she got back to me saying they were “awesome!”

Other than that, no one has really commented on it. I don’t much like it myself.  I somewhat regret not finding the time today to get “Midnight Screams” to her instead.  But “Midnight Screams” forces the singer to extend a very high long “e” sound, odiously enough. I haven’t gotten around to changing the words yet, which might even involve changing the title, since that “e” sound is on the word “screams.’ Forget what high note it is specifically, but it’s high.

Later, after the church dinner, I spoke briefly with Erika.  During the brief conversation, I changed my mind.   I decided the “Same World” tune was good after all, because I heard myself sing a few lines from it.  The lines sounded good to me when I sang them, and I believe I saw Erika smile.

Most of all, however, when I timidly admitted that I had put the word “screams” on a long-held high note in “Midnight Screams,” forcing the singer to have to sing an extended long E vowel sound, Erika simply said:

 

The gallery for --> No Problem Smiley

She then amazed me with just about the most thrilling long E high note I’ve ever heard.  Nobody’s going to shout “verboten” at that good a voice  – and now I don’t have to change the title either.

I slept well last night.  My neurosis has been relieved.   

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Heart of the Arts

No doubt you’re aware by now that I’ve resumed my search for singers for the Eden in Babylon demo wholeheartedly, after being discouraged at an earlier stage, and sinking into an unweildy period of deep depression that I am determined to demolish.  Well, I’ve got some encouraging news to share with you!

I think I’ve found a singer for the main female part on my song  The Very Same World.  She’s the new Choir director at my church, a young woman involved with the Lionel Hampton School of Music.   She sings very well — and the song is in her range, too.

In the clip below, she would come in solo at 1:44, where you may notice a key change.  Prior to that, she would have entered at 1:06 (the first hook) with myself and a second female vocalist of unknown identity.  I can sing the main male part from the start – for now – but I’ll need three more voices for the second hook, coming in at 2:32.  I faded this version at 3:02, but you probably get the point.  In the one minute and forty-two seconds that follow, it only gets bigger.  And it’s all scored on Finale: piano, six voices, and all other instruments.

I only told her that there “might” be money in it, since after all, I’m not sure.  If she didn’t mind doing this one for free, that would certainly be very kind of her.  However, as far as requesting she sing the other two songs on the demo, it doesn’t seem right not to be able to pay her something.  It would be good if I could just get a team of three men and three women together, including myself.  If would be great if I could rehearse three songs in three rehearsals adequately before we record — and then proceed to pay them what they’re worth.   If I really want to find talented singers who can help me create a demo of decent quality, I need to pay each of them at least $125 for the three songs I’d like to put on the demo.  Then I can at least begin to submit the show to theater companies — with or without a complete piano-vocal score — because they’ll at least have some idea what the music sounds like when they read the script.  

The words below are those of the second hook.  The complete lyrics may be found here.  I put a picture of the entrance way to my new and favorite city, just so you can get a grasp of how golden it is, for me.  If I can pull this thing off anywhere, I can pull it off in Moscow, Idaho – in the city I knew absolutely nothing about before I found my home here on July 27, 2016 — in the Very Same City where I was born.  

The Very Same World
That has seen tragedy
Will now see majesty
Stand at her door.
The Very Same World
That had been torn apart
Will show her golden heart –
Let her heart pour
All over the world,
And put an end to shame.
That world will bear the name:
World Beyond War.

The Very Same World

from the new musical Eden in Babylon,
exploring the effects of homelessness on the young people of 21st Century America.
Copyright © 2017 by Andrew Michael Pope

All Rights Reserved.

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