Jan 302011
 

People often ask me about my songs, where they come from. “Which town are you talking about in that song?” “Was that song about one of your past relationships?” “Did you write that song for your wife?”

For me, most narrative songs are like writing short stories or tiny novels. I say “narrative” songs to mean those that tell a story. There are other songs that are more introspective, first-person, more about mental pictures, feelings, or impressions than about a story. A lot of my songs are narrative, just telling a story, like a novelist does.

When I write one of these narrative songs, I don’t try to tell the story of something that happened to me. If I wrote a novel, folks wouldn’t mistake it for an autobiography. A short story usually reads as fiction obviously, and we seldom get confused. But people often assume that songs and poems are truly and literally autobiographical. This assumption comes from the strong confessional emphasis in many poems and songs from the past two or three generations–“songs in the key of me” as the cliche goes.

I wrote a song about a year ago called “Jenny,” and it is on my latest CD, “People Really Live This Way.” “Jenny” is a vivid character and specific image in my mind, though she is pure fiction. Fair skin, straight blond hair, about five-three, petite, round glasses, smart, polite but reserved, wearing green overalls and brown shoes. I really tried to get the green overalls and brown shoes into the song somehow, but I just couldn’t. It would have been good to get the hair in there too, but no big deal. The song really doesn’t describe the characters’ appearances at all except for one thing, Jenny’s glasses.

Here are the lyrics.

Jenny was a college student.
Didn’t know what she was doing
when she came to help out at the food bank downtown.

I was just a guitar loser,
part-time job, full-time ruin.
I was working in the warehouse at the food bank downtown.

When we met she touched her glasses.
“I’m volunteering for one of my classes.
I guess you’ll help me out and show me around.”

Afternoons packing boxes,
sorting cans, moving palettes.
We were working hard till our hands got tired.

A winter’s day, the snow kept falling.
I was working all alone when she walked in.
She made some joke about the roads getting bad.

“Hey, I heard you were some kind of musician.”
“Yeah, I’m writing songs, well at least I’m trying.”
“Maybe you could sing a song for me?”

We sat on some empty boxes.
I sang my song, she said she liked it.
She read a poem she had brought for me.

It was dark, our hands were cold.
We were kissing, we were getting bold.
She took off … her glasses in the dark.

I remember every time it snows.

Weeks passed, she graduated.
She had a future, I was back-dated.
Like a joke, it makes you smile and then it’s gone.

Next summer I got a letter
from some place down in South America.
She was working for the Peace Corps, she said she was doing fine.

She said: You can count me as your friend,
though I doubt you’ll see my face again.
Those were the best damn kisses I ever had.

I remember every time it snows.

Jenny was a college student.
I was just a full-time ruin.
I remember every time it snows.

Here are all the autobiographical connections I can think of. I volunteered in a food bank warehouse once when I moved to Allentown PA in ’94. It was a big warehouse full of food, half organized and half not. Most of the people there were nice and friendly, but one guy there talked to me as if I were an idiot. Some months later I ran the office at a tiny, struggling church there in Allentown. One of the board members at the church arranged for two college students to volunteer with me as part of their social work program. The one student came once and never showed again, which was smart of her. The other kept showing up even though I didn’t have any work for her. She was just following the program, and so I went along too. And no, there was no romance going on during any of this. You could add in the guitar playing and song writing, and that is the entire autobiography behind the song.

So there, all the rest comes from my perverted imagination. Just fiction to entertain myself, and luckily this one also seems to entertain others when I perform it. Next time you here a good story song, try to think of it as a story rather than a true confession by the writer. Maybe it’s fiction, maybe autobiography, but you’ll have to do some sleuthing before you will know which.

You can find this song on Amazon and iTunes to download, just search for “Scott Malyszka” and you’ll find all my stuff. You can also buy the mp3s or CD at http://www.cdbaby.com/cd/scottmalyszka3

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Jan 122011
 

Here’s an interesting invention of mine. Yeah, I invented this, sure … so give me all the credit and royalties when y’all swipe it. (Ok, I know lots of other people practice like this, but it’s a new thing for me anyway.)

this is a new right-hand exercise that I’ve been using on flatpick guitar and on fiddle. I’m applying the concept of “paradiddles” from drum vocabulary to picking and bowing.

If you’re not familiar with paradiddles and other drum rudiments, just search the web and you’ll find lots about it. The key advantage of pulling paradiddles into picking and bowing is that they strengthen the independence of each stroke, make timing tighter, and thus richer and more explosive tone follows. A drummer wants left stick and right stick to be precise and independent. The same goes for pickers and fiddlers–work on these exercises to make your down stroke and up stroke more precise and independent.

Here are the three basic paradiddle exercises. Find a comfortable, relaxed speed on your metronome, and let your muscles nerd up for a while on this. The “d” means down stroke, “u” means up stroke. Play these patterns over some scales, one measure per scale tone. Or, get creative and play multiple scale tones per measure.

1. A measure of eighth notes: du dd ud uu

2. A measure of eighth-note triplets: dud udd udu duu

3. A measure of sixteenth notes: dudu dudd udud uduu

So there it is, just a simple idea that it’s good to break the “down followed by up followed by down” rule. Try doing these three exercises for a minute every day for the next week, and see if it helps your tone and timing. Then you can push the boundaries by playing these patterns at faster speeds, and by creating more complex patterns. Again, the goal here is that each stroke can be independent of the one before it, breaking the down-up-down-up habit.

I don’t recommend application of these paradiddles in actual performances. It’s just an exercise, just spending time in the gym to get ready for the tennis tournament.

I have some other right-hand exercises for guitar here at my music site.

Enjoy!

Jan 102011
 

A few months ago my artistic online friend Wendy gave me a suggestion to help focus on a task: Set a kitchen timer for 15 minutes and just do that task until the bell rings. Sounds simple, obvious, and pointless, right?

Well I tried it out while practicing for some recording work next week. I set the timer on my exercise bike (since I don’t practice in the kitchen) for 15 or 20 minutes and just played one tune over and over. Then I did it again for another tune I was working on. It was a good way to feel how 15 or 20 minutes of playing the same thing felt. It reminded me of breathing exercises, where you breathe in and out for 10 or 30 seconds to try to memorize in your body what that feels like.

Normally, I bounce from tune to tune, song to song when I practice. I do this to keep the “natural” flow of playing in mind, making my rehearsal somewhat like a performance. I have heard several classical guitar players and instructors advise that a musician should not practice the same piece repeatedly so that it doesn’t become mechanical or rote. The idea is to keep coming back to each piece with fresh focus and energy.

As I thought about how to practice for my recording session next week, I considered the one unique challenge in a studio: repetition. You got to record the same tune for five, six, ten takes. Sometimes you got to start a take over. You can’t bounce back and forth having your engineer set up one take, then set up for the next tune. In other words, you need to be ready to record the same track for thirty to sixty minutes and maintain your groove through all that repetition. That is a challenge that you will only find in a recording session, and it might ambush you if you’re not ready for it.

So I thought of my friend Wendy’s suggestion that was lying around on the corner of my brain, waiting to be used. Musicians, give it a try and see if it helps your stamina and groove. The one thing I found was that I was thinking really fast trying to notice mistakes so that I could fix them on the next go around. No stopping for a break to noodle and catch my breath, just keep playing for 20 minutes straight. No stopping to tinker with the metronome to try a different speed, just play that tune solid.

I kind of like it. Give it a try,and let me know what you think.

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Dec 062010
 

I’m wondering who’s sick of holiday music, and who can’t get enough of it. Just want to learn more about what folks feel about this topic. Please give some thoughtful comments to a few of these questions, to educate my mind a bit.

How many holiday albums are you buying this year?

How many free downloads of holiday tunes have you grabbed this year from artists’ websites?

Do you still listen to holiday CDs from years past? Or are they off in a box somewhere?

Do you like the old standards, or are there new compositions that are making you merry?

It’s mostly Christmas this time of year, but are you into any music for Hanukkah?

What’s the most annoying holiday music you’ve heard lately. (My vote is for Dylan’s album last year.)

Ok, thanks in advance if I can get some of you to speak your mind. Feel free to go off on other tangents, if your spontaneity is leading you there.

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Nov 272010
 

I plugged in my fiddle for a terrific gig with the Zen Consultants last night. The ZCs are a once-in-a-blue-moon folky rock group whose core consists of Larry Mediate on rhythm guitar, lead vocals, and overall leadership; Ron Goad on drums; and Bernie Muller-Tyme on lead guitar. Larry asked me to join on fiddle and Lucian Kowalski on bass for this gig at Bangkok Blues.

The restaurant has great Thai food and some American items too, like cheeseburgers and steaks. We were the first band of the night, playing for a bit over two hours. I say “folky” because most of this material could translate straight off to acoustic instruments no trouble. Leonard Cohen’s “Hallelujah,” the Beatles’s “Across The Universe,” Neil Young’s “Powder Finger,” Townes Van Zandt’s “Pancho And Lefty.”

Bernie does a great version of Nick Lowe’s “Peace Love & Understanding” where he stretches it out in a groove with dramatic dynamic shifts, and an extended improv talk in the middle. Bernie was in the a cappella group Da Vinci’s Notebook for ten years–a fabulous group who performed in a free improv mode. The man plays lead guitar in the same mind space, just plays and let’s the guitar talk. Not overpowering on the lead either–it’s a treat to hear a Telecaster just blending in. His playing reminds me of a good mandolin in a tight bluegrass circle.

Same goes for Ron and Lucian. Both guys are solid and just play. Lots of good blend with these guys, they follow Larry, and it really is easy to play with them. Not a lot of tight tricky parts for me. I just played fills and leads, tried my best to blend with my bluegrass mind.

My electric setup is a new deal for me. I put a Headway Band pickup around my #1 fiddle. The instrument is terribly dark in tone, which works great in Feel The Wag since we don’t have a bass player. The blend with hammered dulcimer feels really good with those guys, but I wasn’t sure if the dark tone would work plugged in. I plugged the fiddle into my little Vox 5w busking amp, put on a touch of chorus and went for a semi-cello warm tone. To me, the best-sounding electric violin tone is often more of a viola or cello mellowness, almost doing the role of a B3. I wasn’t going for the more squawky vocal electric fiddle tone like Richard Greene with SeaTrin. Richard was the lead in that group, but I’m just playing fills and warming up the soup a bit. It seemed to work pretty good last night. Folks said it was a bit tough to hear the fiddle for the first part of our set, but the sound guy turned it up a bit and folks could hear it.

We got a lot of compliments, some requests that we could fill and others we couldn’t. It was flattering to have some other excellent musicians there to hear us, including Dulci Taylor and Jim Clark. Bernie and I each took a ten-minute solo spot, playing guitar and singing, to give the other guys a break, and that worked well to keep the music going for the audience. I sold a few CDs, signed an autograph, got some folks to sign up for my email list, and met lots of really fun and sweet folks. I hope we get a chance to do this again soon.

Oct 172010
 

On my new CD, “People Really Live This Way,” I include a song called “Johnny Ramone” that deals with queer identity. The song has two first-person narrators. One is a male of unknown age remembering how his father and God seemed to be against him for possibly being gay. The other is the father struggling with the experience of having a feminine son. This two-narrator approach might remind you of Cat Stevens’s “Father And Son,” if you’re familiar with that song.

On my 2008 CD, “I Don’t Have Friends Anymore,” I recorded a song called “Everyone’s Just A Little Bit,” joking around and playing with the idea of the Kinsey scale. The scale says that being straight or gay is not a yes/no question, but a spectrum. The second verse also points out that talking about sex out loud is really another way of being “out,” since such frank talk is generally not allowed. It is definitely a song that gets some uncomfortable reactions when played live.

That first CD also has a song called “The Note,” in which the narrator describes a shy boy who writes a note. The note tells the adult narrator that the boy accepts his feminine side.

So how does a straight guy like me end up writing three songs about gender and queer identity on his first two CDs? I grew up in a small town in Western Pennsylvania where boy and girl were rigidly defined. Out of the hundreds of kids in my high school, there was not one kid who was out. All the queer kids were in the closet. I think about the simple statistics, that there were a significant number of gay kids who were afraid and confused growing up closeted in our town. I think about myself, a straight kid with a profound visual impairment, a skinny body, a strong feminine side to my personality, and a terrible feeling that I didn’t belong because I couldn’t compete in sports, the arts, or dating.

I spent about ten years as an evangelical Christian. I went to Bible college and seminary, and I know all the religious reasoning behind the idea that being queer is a sin. And before that, I grew up in a church that only allowed men to be in positions of authority. I heard all the talk that being gay was just as bad as having sex outside of marriage. The only problem was, I also knew quite a few evangelicals who were having sex outside of marriage.

I’ve heard stories from gay friends about how tough it is growing up, and how tough it is to be out as an adult in some places. I’ve also known two people who told me that they used to seek out young gay men just to beat them up.

Questions of queerness and gender are everywhere in America. My conscience and my emotions brought these three songs out of me, because there are just so many people who are not treated kindly and fairly. These songs are my way of taking a stand where few songwriters would dare to go.

You can read the lyrics for these songs at my website’s lyric page: http://www.feelthewag.com/lyrics.shtml

I’d be curious to hear some thoughts from others out there. What do you think?

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Sep 222010
 

Three years ago I found Danny Schmidt’s music on a sampler CD. Suddenly I couldn’t stop listening to his music, his brilliant lyrics and sweet voice. Two summers ago my wife and I couldn’t stop listening to Andrew McKnight’s “Something Worth Standing For” CD with its creative arrangements and intense message. Last year, it was Devon Sproule performing for an hour at Jammin Java that flipped my wig, her solo with an old semi-hollow electric singing funky pure poetry. All songwriters from Virginia, all from about an hour or two from us here in the DC suburbs.

So it’s no surprise that I’ve found this year’s Virginia heroes–Trent Wagler and the Steel Wheels from down around Harrisonburg and Staunton. Their CDs have been burning up my iTunes, a mountain-style quartet with total rock-and-roll energy. I caught these guys last night at the Tortilla Factory for the Reston-Herndon Folk Club monthly show, and they blew the place apart.

They performed as a trio with upright bass, fiddle, and Wagler on guitar, banjo, and lead vocals. (Their mandolin player was taking time off for a newborn daughter.) Not a flat tire in the crew. Brian on the bass was spot on walking and slapping the beat. Eric Brubaker plays strong, sweet, driving hard fiddle. Wagler’s picking is clean, strong, and fast. His lead vocals are high, strident, mountainy, rock-and-roll raspy and sweet. His voice reminds me of John Fogerty on the old CCR records, and a friend pointed out quite a resemblance to the old CCM rocker Larry Norman’s high bluesy voice.

The songs were mostly originals and totally original. The lyrics always mean a lot to me, and their words were real good. Like I said, it takes me maybe a year or so to find someone who is writing something that is fresh and captivating to me. These lyrics are thoughtful, yet you feel like you get it on the first listen. “When That Whistle Blows” slays me, a guy saying goodbye to his lady with her new man chopping wood in the back yard and their new baby on the floor, looking just like the narrator, heading off alone on a train.

The guys were chatting up everyone and a lot of fun to talk to. These guys have a couple more shows coming up soon in our area, and we’re already making plans with friends to get there.

Get this stuff on your iTunes, it’s all worth it. http://www.thesteelwheels.com

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Sep 202010
 

I had a blast yesterday playing at the Bluemont Fair. Every September the little town of Bluemont VA turns itself into a fabulous country fair with animals, deep-fried food, crafts, stuff for kids, and music stages all over the place.

I played a solo set for an hour at a stage by the children’s area. My material isn’t exactly the best fit for little kids, but it works. I had my parents there and a bunch of friends listening, and I got to meet other friendly musicians who were playing at the same stage before and after me.

Then Feel The Wag played for two hours at a great spot called “Plaster’s Field.” This is a wine-tasting area where a few of the local wineries were sharing their tastiness. We got there in time to catch a few numbers by Broken Pick, who were singing some nice country and folky rock things–very nice voices in this group. Our set went really great. We had a nice crowd circled around us with lots of applause and chatting. The performance spot really isn’t a stage of any kind. We just set up on the ground under some shady trees, and folks have tables and chairs around us. No PA, just playing out in the open. It really was a fun setup for us playing our old fiddle tunes totally unplugged. We’re thinking that next year we should make a push to get more gigs at some of these wineries here in the Blue Ridge foothills.

It was great to see so many friends. I didn’t get to hear much music this year, and I missed out on the pit beef and funnel cakes. I just didn’t have as much time because I didn’t go out for both days like past years.

Looking forward to next year. You can find out about the fair at http://www.bluemontfair.com

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Sep 072010
 

I had a lot of fun playing at Jammin Java last night at a Songwriters Association of Washington (SAW) show. It was great hearing a lot of guys I hadn’t heard before. I say “guys” because it somehow turned out to be an all-man show. There was a really nice crowd there to listen, including lots of other musicians and songwriters.

First was Nathaniel Brown, a young guy and a son of a folky musician. He sang with a hard style and sounded great. I got a CD from him, and I expect it to be some good basement grunge stuff with good lyrics, but I haven’t listened yet. Jim Heald was next, but I only caught a little of his stuff because I was in the green room. I did hear some nice chords, rising by whole tones, and I liked the little bit I heard of his singing, which reminded me of Mark heard’s high strident voice. Next was me, and I felt pretty good up there. The sound is usually real sweet at JJ, and it is easy to sing there. Sound guy Kirby did a nice job the whole night. I got some nice feedback afterward, including good comments for a new thing I tried called “Get Myself Together.”

Brother Lou was after me, and he sang some originals with a loud, raucous voice and clever lyrics, kind of like a more rowdy John Hyatt thing. Tom Whall played very tight, funky chords and licks on the guitar while singing in a high, clear tenor. I kept talking with people at our table about how slick and good he sounded. Tommy Rueckert played 12-string and sang in an early 70s style, including a James Taylor cover that got a great reaction from the crowd. Sol “Roots” also played a few numbers to help with sound check, doing sweet blues and reggae with some percussion buddies on the side. Former local folky Todd Crowley did two songs on his autoharp to switch up things, and host Ron Goad did his usual excellent job as emcee.

I did miss one performer, Karl Valentine, but I got to hear everyone else, and it was a treat. I got a copy of Jean Bayou’s new CD, and I’m looking forward to hearing that. These songwriter shows are always full of talented, creative people, and it’s always a treat to hear and meet other musicians.

SAW’s website is http://www.saw.org

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Aug 302010
 

I am looking for clients interested in free coaching to work with me as I start a creativity coach training in September. You may be interested in creative coaching if you have a creative personality and would like to see your endeavors grow and blossom.

Creativity coaching will help you …

Create more regularly
Get unstuck when facing a blank page or canvas
Choose and reach new goals
Face market challenges
Get better gigs
Deal with rejection and discouragement
Deal with existential doubts (Is my art meaningful? Does anyone else care about my poetry?)
Deal with the stresses that come with creating and performing
Work through practical problems (How to get my CD done, how to price my paintings)
Find your unique creative identity and style
Satisfy your creative personality

It is not psychotherapy, not treatment for clinical problems such as anxiety or depression disorders, and not a one-step solution to all your problems. It is a boost to your creative endeavors and a personalized dialog to grow your creative work.

If you are interested in this free coaching, write to me at scott@feelthewag.com to talk more about it.

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