 01)
Therefore Fanfare [0:53]
02) Unactualized Possible [remix ‘02] [5:48]
03) Innocent Ignorance [1:52]
04) The Depths Of Your Embrace [4:46]
05) My New Addiction (Jacki Sue) [4:04]
06) Serenade (I Am Not A Psycho!)
[3:23]
07) Sonatina in G minor
[1:46]
08) Hum A Few Bars [inst. remix ‘02]
[4:06]
09) The Waitress [inst.] [4:01]
10) Verse Wears Thin
[4:23]
11) [there is NO track 11]
12) U.P. [high-speed dub] [3:58]
After the non-existent success of Still
Haven’t Walked, I thought I’d record some more songs for
my own pleasure, which is why I recorded all the SHW
songs in the first place. Therefore, One Can’t
Conclude only has three newly written songs, really.
It has fresh recordings of three older songs as well. Filling
up the rest of the album are six tracks that were thrown together
rather quickly. All told, TOCC is not a wasted
effort, though. It serves as a non-mediocre second album which
isn’t necessarily trying to top the “debut,” but merely
continue the musical efforts the first one started.
Browse
Selected Lyrics • View
Album Artwork • Buy Album from mp3.com
There’s not much to say about the
conception and writing of this album. The “hit single” was
written from some notes I took after conversations with my
philosophical friend on unactualized possible worlds. Unactualized
Possible remains to be one of my favorites because of
several things. The guitar riff that permeates the verses is
fun to play over the drum patterns. It’s catchy. I
also love the 4/4 to 6/8 switch and back in the chorus. Die
hard fans of my music and writing will find that I do that in quite
a few songs.
When I was younger and owned albums
on tape, I would play them in my two-deck player, which had a
high-speed dub feature. When dubbing, you could hear the
original playing about about 1.5 to 2 times faster than
normal. I never dubbed anything, really, but I liked listening
to my favorite recordings in this way. The bass would stand
out more, since it was pitch-shifted up into a different
range. Never minding the “chipmunk” vocals, I liked the
way harmonies sounded up a sixth or so. I still do this.
And now, since most .wav editing applications have
pitch-shifting features, it’s even easier. I just shift
things up eight or nine half-steps, and they sound just like they
did on my tape player. So … because I liked Unactualized
Possible so much, and because it is rather a long song, and
drags (in some people’s opinions), I decided to actually save the
file created when I “high-speed dubbed” it. And it is now
track twelve. It starts out shifted a fourth down (and sounds
like a Nirvana song!), but soon goes up, and since it just rocks
along, I thought others might enjoy hearing it.
Jacki was a Denny’s waitress and
really liked the drawings of Tori Amos that I used to do while
drinking the coffee she (Jacki, not Tori) served to me. I
asked her out because she was so cool, but she still had issues with
her boyfriend, whom she had completely ranted about for several of
the previous months that I regulared at that Denny’s. Oh
well, she has a song now, and I have no idea where she is, since
that Denny’s is now an abandoned building (which still leaves the
half-illuminated Denny’s sign aglow at night). My New
Addiction (Jacki Sue) was originally conceived as a Boston
song, rock music at its finest. This recording was an
experiment into old 50’s style ballads.
The Sonatina in G minor
was an assignment for a music class in college, but it wasn’t
typical of the period it was supposed to sound like it was written
in. Who can blame me? I live in this century and
my creative compositional abilities surfaced in places when perhaps
they shouldn’t have. But it was a composition
assignment. The result was this really cool piece that I added
to the album, no matter what grade it got.
Another one of my favorite songs is Serenade
(I Am Not A Psycho!), which was written in about a
day. I’m glad when a good idea for a song inspires me to
complete it rather quickly instead of being written down as
incomplete lines in a notebook and then I have no idea how to flesh
them out when I come across them weeks later with no context for
recalling just what it was that made the original inspiration a
nifty song idea in the first place. And I had been looking for
a good place to try a I-IV-iv-V-I progression. That C,
Cm, D sounds really cool.
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©2003 Brian Michael
Weidemann