• YouTube Playalistic

    Hello from the future! When I completed this project in 2021, most of the videos were housed at WordPress.com because I wanted to avoid using any other third party platforms as an experiment, and ended up doing some testing and providing feedback as VideoPress changed a lot that year.

    Now that I’ve left Automattic, there’s a rather pricey plan on this blog that includes the big swath of storage needed for 365 videos that I wasn’t too diligent about compressing, so I’ve moved all the videos to YouTube.

    You can find them in this playlist, or embedded (painstakingly, ugh) in the 365 posts of songs on this website.

  • Aftermatter, liner notes, data noises, etc.

    At the beginning of 2021, when I decided to record a song every day, my logic went like this:

    I want to get better at playing guitar and singing; 
    I should practice every day; I would be more motivated to practice every day if I had some commitment to a project;
    I have never been good about learning songs and playing them all the way through;
    I would be more likely to follow through on practicing and/or learning a whole song every day if I were blogging about it.

    So how did it go? I definitely improved when it comes to looking at the chords to a song for the first time and playing it through. I can pick up the guitar and play most vaguely familiar songs without hesitation.

    The quality of the songs, my singing, playing, recording, etc. was rather variable. There’s no correlation to time/effort/technology spent in production, either. I learned a lot about how to use Garageband, specifically, and some broad concepts about recording software and gear, but barely scratched the surface, and although I love me some overly complicated multi-track layering with effects, some of the best songs are of course just me and the guitar, recorded with my phone.

    Soon, I’m going to curate a little “top 10” or “favorites” list or something and tag them all so they show up on one page here.

    Total artists: 219
    (There’s some wiggle room here. The “Billy Bragg & Wilco” album is notably different from Wilco, so I separated it. There might be more than one incarnation of “Palace” here. But non-Pavement Malkmus and non-Beatles Lennon and non-Garfunkel Simon are all rightfully separated in the count.)

    Most frequent artists:

    Bob Dylan11
    Wilco8
    The Band7
    Leonard Cohen7
    Johnny Cash7
    Grateful Dead7
    REM6
    Fleet Foxes6
    Beatles6
    Arcade Fire6

    Super-interested in the final tally here. My “favorite” bands mostly don’t show up — Stereolab songs required multiple tracks and were challenging to play and sing. The Sea And Cake songs, aside from Parasol, were hard to find any useful chords or tab for, and/or challenging to play. Arcade Fire made the top 10, though and Vampire Weekend is not far behind with 5 songs.

    Most surprising here is REM, which factored in later in the year after I listened to a podcast about them and revisited all their albums from when I was paying attention.

    Familiarity was the key to the most frequently selected artists, I think, along with “I can sing this Bob Dylan song on the beach house porch with my phone propped up against a beer can” vibes.

    Kinda wanna graph the frequency of artist across the whole year here — 61 artists appear twice or more; that leaves a long tail of 158 artists with one song each. OK, I did it.

    Gender (for some value of gender):

    • Songs: 311 male singers / 54 female singers.
    • Artists: 174 male artists / 47 female artists (note, that adds up to 221, because I counted Arcade Fire and Fleetwood Mac twice, depending on who is singing.)

    I obviously could’ve done better here. I didn’t like the way the numbers were going, and did 10 straight “female” songs in November.

    Decade:

    While writing this post, it occurred to me it would be fun to see what time periods I was most fixated on. Having not gathered this data as I went along, this was kinda time consuming! Sure, I know the Poison song is from the 1980s without looking it up, but do you have any idea how many of these songs were just on either side of 1969/1970 or 1989/1990? I actually don’t know, because I didn’t write down the whole year when I just spent hours (over the course of the past week since Jan. 1, at the time of this parenthetical) gathering the decade.

    199080
    197070
    198066
    196047
    200038
    201036
    195016
    20206
    19403
    19301
    19201
    18701

    I mean, that tracks. I was a teenager in the 1990s, so they win, every time. The oldest song is “Home On The Range,” which is the 1870 there. The newest? I think I played “Juanita” the week Sturgill Simpson released it.

    What else?

    What other data should I pull together?

    My next post will probably be some sort of top 10 / favorites / to-remix lists.

  • day 365: El Año Viejo

    El Año Viejo, by Tony Camargo.

    Well, this is it. Day 365. I will not be recording a song tomorrow.

    I have lots of things to say about this project, and the journey I’ve been on this year exploring these songs, my memories of them, the data about them, and maybe remixing or rerecording some for sure, but for now, I am excited to be done.

    This song is one of two time-honored traditional New Year’s Eve songs I learned from my wife’s family. (The other song is Cinco Pa’ Las Doce.) This one is not Venezuelan — the original songwriter and singer is Colombian; Tony Camargo, who recorded the most popular version (and the one I’m familiar with) is from Mexico — but it seems to be popular everywhere.

    The words to the song — and there are not that many, come down to this:

    I won’t forget the old year, because it brought me very good things: a goat, a black donkey, a white mare, and a good mother-in-law.

  • day 364: I Wanna Be Sedated

    I Wanna Be Sedated, by the Ramones.

    As we have previously established, I am decidedly not punk rock, so this song is the Ramones song I know best. Seemed like the obvious choice for Dec. 30, though, depending on when you start and stop counting, etc.

    //

    Listen for the dog barking, but she fell back asleep, perhaps lulled by the dulcet tones? The electric guitar was actually too quiet – most of what you’re hearing is a separate track with the acoustic playing rhythm, using Garageband effects for distortion.

    ONE MORE DAY.

  • day 363: Naima

    Naima, by John Coltrane.

    I’ve been working on this song for the better part of 25 years! I remember looking up the chords for the first time, in the dial-up years, in my New York apartment, learning the bits of it and trying to keep bringing it back from memory often. I put it on the list for this project early on, and doing But Not For Me a while back gave me a lot of confidence to just try it today. Full send.

    I will not attempt to do my relationship with John Coltrane’s music justice here, but it should be enough to say that at times it has been religious for me. It has appeared in a film school project that I am particularly proud of (in that it was completed, and was, absolutely, entirely mine.) I’ve had the Blue Train poster on my bedroom wall, and the Love Supreme cover hung in offices. I’ve read and forgotten at least two Coltrane biographies, and I’ve bought reissues and remasters and probably, between CDs and vinyl and appearances on Miles and Monk records, own more of John Coltrane’s music than anyone else’s.

    Naima in particular stands out in my mind as an unmatched piece of melody and complexity. Imagine the pressure, when you are Literally John Coltrane at arguably the peak of your powers, authoring what would become Giant Steps, writing a song for literally your wife. Who you would go on to split up with, and marry a piano player, who also played harp, named Alice, and I’m not sure there’s a matching number called “Alice,” because by then Coltrane was floating in outer space, musically, and honestly, Alice’s records for the next few years are better than the last couple years of Coltrane’s music, after A Love Supreme, at least.

    Enough about Coltrane.

    //

    It’s an instrumental, near the end, and the last day I woke up not knowing what I was going to play, and the first day in a long time I knew the number of the day without looking it up.

  • day 362: Once Bitten, Twice Shy

    Once Bitten, Twice Shy, by Great White.

    Two hair metal-adjacent bands in a row? OK, yes. That happened. Not every song can be Wilco or Dylan or The Band or Fleet Foxes, though many of these songs have been those songs.

    This song is indeed another cassingle-grade issue from the late 1980s, if I recall correctly. It’s fun, and I’ve always liked it, and Last Christmas reminded me of it.

    //

    I didn’t get all the piano parts, but I did some on the second guitar (acoustic with Garageband effects, because it’s late for electric, and the dog is not a fan, and she is calm tonight.

  • day 361: More Than Words

    More Than Words, by Extreme.

    I am, again, exhausted, and it is puppy-related. It turns out recording multi-track songs requiring the patience of a puppy to sit still in a windowless office for an hour or so at a time is… not a thing? Good thing we’re on vacation and my only job right now is to train and entertain this dog. 😉

    I’m not tired enough to not do More Than Words with no rehearsal, not tuning down for it, and in approximately 1.2 takes, though.

    You’ve probably heard this song! Many times! I owned the cassingle, I’m pretty sure, before Hole Hearted also dropped, and at that I point I think I bought the… [checks release dates] CD? I think I might’ve had a CD of this. The rest of it was kinda metal. But not that metal. I think? Or am I thinking of Queensryche? Ooh, I could do that song… but the year is winding down quickly. We’re almost done here.

  • day 360: Christmastime in the Mountains

    Christmastime in the Mountains, by Palace Songs.

    Reader, I did not intentionally take Boxing Day off from this project. Rather, I spent a good hour or two on a longer project, was happily interrupted by a Spider Man movie, a dog park, takeout dinner, and after those three events, I was dead tired, and drawn into playing videogames with both my kids on their new Nintendo, literally a dream come true for all involved, and then, I am not making this up, some of us watched some of a Little Prince movie.

    I slept well.

    I didn’t even remember that I had slacked off on day 360 until I walked the dog this morning, and found myself quietly humming this song, which I had on my Christmas music list (I mean, sort of, right?), and realized I had better go and sing it real quick. I think this is the third Palace song I’ve done off the Hope EP? If I had a few more days, I would finish the rest.

    This is the second time I have been late in 360 days, which seems not bad at all.

  • day 359: Happy Xmas (War Is Over)

    Happy Xmas (War Is Over), by John Lennon and Yoko Ono.

    I sang this song late in the long run of my childhood Christmas Day celebrations, which were always at the home of the couple who became best friends with my parents before I was born. Their teenagers were my babysitters, and the ones who taught me about Duran Duran, and the importance of a Barbi dreamhouse, and of above-ground swimming pools, briefly. They lived over our back fence diagonally, and with as much time as we spent in our yards those days, and as much time as we spent at each other’s houses, especially our annual drive around the block for Christmas, it seemed like they were family.

    Our singalongs evolved into talent shows, and the group of families that got together on Christmas Day included some ringers (not me) who you may have seen on stage or screen at various moments in the 1990s or later.

    The year I sang this, I must’ve been an angry teenager, and/or the (first) Gulf War might’ve been looming, or long over, idk. I remember singing it, doing some sort of serviceable job. I wonder now if I played the Bm or if I transposed the whole song to avoid it? Who knows.

    //

    Merry Christmas!

  • day 358: Niño Lindo

    Niño Lindo, a Venezuelan traditional aguinaldo, a Christmas carol.

    When my wife’s family lived in Venezuela, we spent every Christmas there, and I had the joy of celebrating with hallacas, aguinaldos, pan de jamón, and lots of other traditions. The first Venezuelan Christmas music I heard, including this song, was probably Morella Muñoz y Quinteto Contrapunto, who continue to amaze me, most likely at my wife’s Italian grandmother’s apartment, while we made hallacas the first Christmas I spent there, which turned out to be in the middle of a general strike, and trouble at the not-yet-nationalized oil company. It was a fun trip. We always mixed languages and cultures, with Italian and Spanish — well, mostly Sicily and the Canary Islands — taking senior roles, while Venezuela made up the balance, and the occasional surprise latkes when holidays overlapped.

    Going to mass in Venezuela, by default, is a thing. We went to a larger church at times, on Sundays and Christmas Eve, but for a couple years right after we got married, my in-laws attended a smaller, neighborhood church, where I heard and danced and sang aguinaldos at the crack of dawn for days leading up to Christmas Eve, midnight mass. I know we all have “It’s not Christmas until…” boxes we like to check, and “It’s not Christmas until we sing Niño Lindo at midnight mass on Nochebuena” was my thing in those years.