Lots of news today...or at least a couple of choice bits of information.

I've finished the mixing and mastering for the new album and it has been submitted to CDBaby for distribution. I did end up re-mixing a couple of tracks earlier today, but the seventh mix was gold for most of them. Sooner or later you just have to let your songs go and stop finagling with the details. Again, that distribution can take a while since CDBaby are not the fastest bunch in the world when it comes to sending one's album to the various streaming/download companies around the world. Too, those companies themselves can take a long time to make a new album available...unless of course your name is Taylor Swift or Drake. I'll certainly let you know when the album is available.

The other news that you'll certainly be interested in (and surprised by, most likely) is that tonight I, and former long-time BOK members George Nipe III and Randy Simpson, will be getting together with a drummer (I only know that his first name is Matt) to jam on a few old Book of Kills songs. This is sort of a get acquainted thing. I don't want to imply just yet that there's a new band that's going to work towards playing some live shows! If that happens down the road, great! But right now, as I said, it's more a get together and see what happens thing.

"Some guy said to me, 'Don't you think you're too old to sing rock n' roll'? I said, 'You'd better check with Mick Jagger.'" -- Cher

"Things began to go wrong when I was seventeen. My band’s twenty-year-old lead guitarist earned seven years in jail for a drug-fuelled spree of violence. The other band members were quick to let go of their musical dreams, but I never did. They did the 'mature' thing: After writing off the band as a teenage fantasy, they got real jobs and made some money. They called it growing up. I called it giving up." -- Mark Rice

 "If I hadn't heard rock and roll on the radio, I would have had no idea there was life on this planet." -- Lou Reed

(Speaking of Lou Reed, I just finished watching the new Velvet Underground documentary by Todd Haynes. It's really really good, but I think in some ways it's more about examining Andy Warhol and the New York art scene of the 1960s than creating a definitive portrait (like that's even possible) of the band. It's a can't miss film though if you have any interest in VU.)


I hope you had a groovy Thanksgiving, if you celebrate that particular holiday, of course. Ours was excellent. Good food and lots of family.

I think I'll be uploading the new album to CBBaby for distribution today. I'm in the middle of the seventh (yeah, seventh) mix. Keep in mind that mixing involves putting all of the individual tracks together which involves not just volume levels, but compression, equalizing, editing, placing each instrument somewhere in the "sound stage", as well as various audio effects such as echo, spread and reverb. It's complicated. Fun, but complicated and at times quite tedious. The new MacBook Pro 14" that I bought a few weeks ago has made things easier. I wish I'd had it when I started recording this album! 

"You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac." -- Jimmy Iovine

"I'm a recording studio guy, an engineer, a songwriter and a guitar player, in that order." -- J.J. Cale

"Everything has changed since I started recording in 1972. But the very things that have opened up this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things." -- Jeffrey Osborne


If you go to the music page, you'll find a new, brief track ("She's Such A Beautiful Girl"), an outtake from the 2021 recording sessions for the newest BOK album! If you've been following the progress of the album from the start, you'll recall that the very first song I recorded featured a middle section distinctly different from the rest of the arrangement. I believe I recorded four different possibilities, eventually settling on the fourth and final one that I came up with. Until recently, I considered sticking this on the album at the end, but it just didn't quite fit in with everything else so I cut it.


I've finished the cover for the streaming version of the album. I will be uploading everything probably early next week. After that, it's up to CDBaby to okay the release and send it to the various streaming services around the world. I'll let you know when the album is available for your ears. I've never spent this much time writing and recording a new album, but then things are different from the way they used to be when it was simply easier to find time consistently to work on music. Now it's more a case of catch as catch can when it comes to time and energy. Believe it or not, I rarely had more than a couple hours early in the morning three days a week to work on writing and recording! 


Mixing and mastering takes SO FREAKING LONG. I guess I'm a bit overly exacting when it comes to the whole process. And I know that one day down the road I'll listen to the "finished" masters, long after they've been sent to the streaming services, and find many of them completely lacking in some way or another. Perhaps the truth is I'll never be satisfied with any of my masters. That goes a long way towards explaining why so many professional producers and engineers advise amateur musicians to hire an actual mastering expert if they can afford to do so. I can't, so that's not an issue. Anyway, I'm on the last mile on the road to finishing the album. 

"It's a very interesting thing because I can start mixing a song and leave the room and come back and maybe just slide one lever to a certain point, and it just - it's a certain feeling that it gives you when you know it's right." -- Dr. Dre

"When something is coming off of a Neve board and being laid down on tape, it's like a warm blanket for the brain. When you're working in a digital form, it's so harsh; it's almost painful. Your ears get more fatigued if you're mixing all day." -- Jenny Lewis

Paul [Simon] has more, I think, of a feel for the stage. Whereas I have it more for the notes themselves. I love record making and mixing, arranging, producing. That I love. I love to make beautiful things, but I don't like to perform." -- Art Garfunkel 


I'm going to distance myself from the album for a couple days. I've gone through four mixes and masters and I've probably listened to every single song 40-50 times, so I need to let myself "forget" everything for a little while and come back to them with fresh ears before I make the final push next week. I actually spent an hour this morning partially re-recording a few vocals, mainly backing ones, and then re-mixing for another hour or so.


I am finished with the writing and recording part for now. I wrapped up the fifteenth song a couple days ago. I'm making a second mix of each song and I'll burn a compact disc (yeah, some folks still listen to them!) for George III to listen to. I like this album very much. I think it's better than I KNOW WE CAN SAVE OUR WORLD. Honest. I think it compares favorably with THIS IS YOUR BOOK OF KILLS and DIFFERENT, though I guess it doesn't have the anthems that DIFFERENT had. I think I'm pretty much through with writing anthems. I suppose you get to a certain age and they don't really seem to interest you so much anymore.

"Often, when we say it is 'too late' for us to begin something, what we are really saying is that we aren’t willing to be a beginner. But when we are willing to dip our toe in, even just a little, we are rewarded with a sense of youthful wonder. Never give in, never give in, never, never, never, never." — Winston Churchill


I've laid down drums and a couple guitar tracks for the fifteenth, and final, song. I only have a few lines of lyrics, however. Whether or not I'll finish this one today or not is up in the air. Seems iffy, at best. 

"My discussion with Keith Richards about the creative process led me to believe that there's an invisible presence of a stream of ever-flowing creativity that we overhear--all you have to do is pull up the antenna and dial it in. This presence allows you to maintain your sense of origin and move forward." -- Billy Gibbons


I finished #14 a couple days ago. I'm now focusing on the 15th and final song for this album. It's hard to believe that I began work on the first song on May 14. I suspect this is the longest period of time I've ever spent working on one album. But, as I've noted before, working deliberately has really let me think a little more carefully about the arrangements for each song. On several occasions, I've completely thrown out a recording and started all over. 

Tomorrow I am supposed to get a new MacBook Pro which, according to what I've read on several sites, will allow me to work with a significant greater number of tracks per song. On several occasions during these sessions I've had to simply stop work on a song because I couldn't add anymore tracks. That would have presented a serious problem for George trying to add vocals and bass. We'll see tomorrow just how much my track load is expanded!


I made decent headway today on the fourteenth, and penultimate, track, laying down drums, bass and some rudimentary guitar. I also wrote the lyrics. I have a very good idea what sort of arrangement I want to construct for this track. As you well know from reading updates on this page, getting the lyrics written is pretty much half the battle for me. I'm feeling more and more confident that I'll finish the preliminary recording sessions late next week, as long as nothing unexpected interferes. 


Number 13 is finished. All 1:45 of it. I hope that I can write and record the next to last song over these next two days. I also hope that I can come up with two really good songs to bring the album to a strong close. No idea at all where the muse will take me for these final couple of works.

I'll be chopping the News page down to size again soon. The usual warnings and advisories apply.

"I'm not in control of my muse. My muse does all the work." -- Ray Bradbury 


Mary Lou and I are back from a little vacation.

Tomorrow I'll finish up song #13. I only need to work out a few lines of the lyrics and add a lead guitar and this one's done. That leaves TWO more! Perhaps I can finish the preliminary recordings next week. Then I'll send mp3s of them to George III and he can figure out what sort of contributions vocally and instrumentally that he could possibly add. Then it's on to the final mix down and mastering.

I've studied mastering as practiced by some pretty good pros both on YouTube (of course) and by going back to a collection of articles I've accumulated over the years from various sources and I've come up with a "formula" of sorts that I've discovered makes the final tracks sound quite a bit more powerful than they've sounded in the past. 


I think the latest track will end up working out, though the one before that (which I'd set aside previously) just isn't a good fit with the rest of the recordings I've made thus far. I'll need to re-do the lead vocal and harmony and a couple of small guitar bits and then I'll be moving on to #13. Three and a half tracks left!

Top ten all-time "best selling" BOK albums as of October 2021:

1. Songs for a Played Out Generation (2004 compilation)
2. Wasp 51! (2003)
3. The Haunted Life (1992)
4. Big Business Monkey, Volume Six (2018)
5. In My Room: The Best of Book of Kills, Volume One (1994)
6. The Fear + Whiskey Anthology (2013)
7. Different (2007)
8. Saint Judas (1995)
9. All About You (2002)
10. Wee Jim's Blackeye (1993)


The last two weeks have been kind of a wash as far as progress on the album goes. The last song I was working on (#12 below) just didn't do it for me. It somehow didn't seem to fit in with everything else that I'd already recorded. So, although it was 90% done as far as the instrumentals, I decided to set it aside, at least for now. Perhaps if there's another BIG BUSINESS MONKEY down the road it'll show up there. Then I started on another song and ended up dumping almost everything I'd done on it, including the vocals. I've partially re-recorded it but I can't say for sure whether or not I'll continue working on it next week. It's a good song; I just can't seem to find the sounds that make it come together. 

"Nothing in this world can take the place of persistence. Talent will not: nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not: the world is full of educated derelicts. Persistence and determination alone are omnipotent." -- Calvin Coolidge


I made some pretty substantial progress on the newest song (#12). This one is UNDOUBTEDLY the most difficult track I've yet worked on during the sessions for this latest album. It involves several very different, very sudden and (probably) very odd changes in tempo. I don't imagine I'll get any time to work on it much this weekend, but I should be able to wrap it up by next Tuesday or Wednesday. I have some ideas for the arrangement that having a few days to think about will prove helpful.


#11 is in the can. It was without doubt the easiest thing to complete thus far. #12 will probably (actually there's no "probably" about will) be the weirdest song on the album. I won't try to explain it and I haven't even begun to write it, let alone record it, but I know what I'm going to do. I'll be attempting something I've never tried before...not a new genre or what have you, but a song that simply doesn't follow the "rules" of construction. I have a few hours left this week to work on it. I'll see what I can get started. 

"I hope that in this year to come, you make mistakes. Because if you are making mistakes, then you are making new things, trying new things, learning, living, pushing yourself, changing yourself, changing your world. You're doing things you've never done before, and more importantly, you're doing something." -- Neil Gaiman


I'm continuing to try to bring some new ideas to the arrangements of these songs. For example, the very first thing I wrote for this album includes a sort of string quartet bridge that comes out of nowhere right in the middle of the song. The track I just put aside till I come back to it when preliminary recording is done features some loose bluesy Mississippi style horns. Before I'm done, there'll be some even more unusual little touches, some of which I've already got in mind before I've even written the songs.

"Unless you open yourself up to trying new things, you can't find what you love." -- Anonymous

"Life is trying things to see if they work." -- Ray Bradbury

"You don't need to have everything figured out. Try new things. Experiment. Mess up. Start over." -- Anonymous

"If you're trying to live life, really live it, you should, in my opinion, try to expand all aspects of your life. Open yourself to new ideas and new things even if you find you don't like them in the end. At least knowing them has taken you that much further along into being a more experienced and well-rounded person in this world." -- Josh Barnett

"I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind." -- Brian Eno


I'm 95% done with the latest song. I have a few small guitar parts to add to it later, but I'm setting it aside for now and moving on to the next track. It turned out to be a heck of a lot better than I thought it would be when I considered dropping it just a few days ago. Glad I didn't! The next song will be far less complex. Mainly another acoustic thing. No lyrics yet. No chords. No nothing. But it will come as the songs always do. Where they come from, I don't know. But they're out there in the ether and I've been blessed to be allowed to birth far more than my share over the past 30 years. Maybe because I treat each song with love and decency. Each one is alive. Each one deserves everything I can give it.

 "All songs are living ghosts. And long for a living voice." -- Brendan Kennelly

 "Beware the lollipop of mediocrity; lick it once, and you will suck forever." -- Brian Wilson

 "If you do not try and force it, a song will find the proper moment to come to life." -- Valerie Simpson

 "Each song has its own secret that's different from another song, and each has its own life. Sometimes it has to be teased out, whereas other times it might come fast. There are no laws about songwriting or producing." --  Mark Knopfler

"I write all the time; I do not stop. I love it. It is a fascinating and endless pool of ideas and thoughts." -- Mark Chadwick


I finally got time to write the lyrics for the song I started last week and, honestly, they came far quicker than those of any other thing I've written for this latest album. I think it was extremely fortuitous that I left the song alone for several days because I was quite close to bagging it. Going back to it today with fresh ears, I realized that it was definitely worth putting in whatever additional work I need to do to finish it. I still think it's going to take tomorrow and Thursday to come up with the relatively complex arrangement that I have in mind.

I've listened to the material I've (mostly) completed already and I honestly wonder if anyone will even get what I'm doing, not that I'm doing anything mind-blowingly different, but I think BOK music has always required some effort to get into on the part of those who listen to it. And these days, if you can't capture someone's attention within the first twenty seconds of a song, you're probably not gonna get them to listen to your stuff. But I'm going to do what I want to do. That's the way it has always been and the way it'll always be.

"I believe in creative control. No matter what anyone makes, they should have control over it."

"The ideas dictate everything, you have to be true to that or you're dead."

-- David Lynch


Man, this latest song has kicked my ass. It has proven to be super labor intensive. And honestly, I'm making up new pieces of the arrangement just about every single step of the way. It's going to take a good part of whatever free time I have next week just to finish this one up. I hope that somehow the remaining stuff isn't quite so difficult. I honestly thought more than once about giving up on this one and simply going for something a little simpler, but I guess if I've put in this much time and effort it'll be worth it to see where I end up.


Finished the acoustic song. On to the next one (#9, I think) which I am planning to be an all out rocker. Short and punchy and hooky. 

“I wish I were one of those people who wrote songs quickly. But I’m not. So it takes me a great deal of time to find out what the song is.” -- Leonard Cohen

“It is only natural to pattern yourself after someone. But you can’t just copy someone. If you like someone’s work, the important thing is to be exposed to everything that person has been exposed to.” -- Bob Dylan

“For a songwriter, you don’t really go to songwriting school; you learn by listening to tunes. And you try to understand them and take them apart and see what they’re made of and wonder if you can make one, too.” -- Tom Waits


Next track will be a slower acoustic based number. I'm on the down slope with seven tracks to go before the album drops. Of course, George III will be adding his contributions before I head to the final mixing sessions.

I love recording music.

"I like being in a recording studio. I like watching a song go from the simplicity of the original music." -- Grace Slick

"I always think my job is like any other job. Every job has good and bad parts, and mine is to be a musician. I know why I started making music and I always knew there was no plan B. I'm passionate about it. I love being in the recording studio and researching sounds with the possibility of discovering something new. That motivates me." -- Rosalia

"I consider the recording studio [the place] where I was born." -- Jimmy Iovine


I'm wrapping up #8 today. I finished the music stuff yesterday and wrote the lyrics early this morning and I'll lay down the vocal a little later today. It looks like I'm going to be finishing off a song a week and since I want to write and record fifteen songs for this album, we're most likely looking at a November release. George Nipe III is still planning on adding some vocals/bass, but I don't think that'll add any significant additional time to a projected completion date. 

On this day in 1965, the Hollywood Reporter ran this classified ad: "Madness folk & roll musicians, singers wanted for acting roles in new TV show. Parts for 4 insane boys." 437 insane boys applied for the job.


If this album were to be released on vinyl (it won't be, of course), I would be finished now with side one. I have had, since I began these sessions, a fairly clear idea of what shape the album would take, down to the number of tracks on each "side". I envisioned a side one where some of the songs would be rather longer than normal (for me at least), a bit less "ordinary" as far as the arrangements go, and perhaps not quite as structured in terms of a typical rock and roll verse/chorus/bridge pattern as I've more often than not used in the past. Side two, on the other hand, will feature 8 relatively brief, get in/get out, tracks which should make them a little easier to write and record. I have the idea for the next track already in mind.


Finished with the latest. On to number 8. This one was by far the easiest to do the instrumental part for because it was quite simple, but (even though the lyrics consisted of only eight lines total) it was very difficult coming up with any suitable lyrics until the first couple lines just sort of magically appeared in my head while I was driving and from then it was relatively easy to come up with the remaining words.

On this day in 1994, Brian Temples, Dustin Bugg, and I were already searching for a new lead guitarist after having played our very first gig the night before at the Little Grill in Harrisonburg, Virginia. The three of us, and Michael Johnson, our lead guitarist to that point, had mutually agreed to part ways after a variety of creative differences, among other problems, surfaced immediately after the show. A pity. Folks had packed the Grill to bursting to see us and the response to our rather brief ten song set had been rapturous. It wouldn't be long, though, before George Finch would join us to create the so-called "classic" line-up.


Vocals are done for the latest track. On to...what is this? Number six? Seven? I've kinda lost count. I'm thinking the album will feature fifteen tracks. While some of the songs I've already recorded run anywhere from three to five+ minutes, most of the remaining stuff will be shorter and sweeter. 

If you're wondering why I'm waiting till all the tracks have been recorded before I go back to each one and add various small vocal and instrumental touches, the reason is simple: I've always recorded rather quickly (and often written songs literally while I recorded them). This time, because I've been forced to work much slower, I've used the slowdown to reassess what each song's arrangement needs after I've had lots of time to think about it. Many times I've found while listening to a song that's in the can that I can hear various things I should've added or changed. Now I've been afforded the luxury of doing just that...I can add or change stuff on a leisurely pace.


The latest song just needs the lead vocal which I don't think will be hard to lay down. Maybe down the road I'll end up adding a few little embellishments. I won't have a chance to do any recording until Tuesday, however. Of course, I'll head on to the next song this week. I haven't a clue what the next one will be like, but as always I'm pretty sure the next one will come to me quickly in whatever form that might be.

Good time to be a Beatles fan, eh? What with George's ALL THINGS MUST PASS super deluxe package just recently released and The Beatles's LET IT BE super deluxe record on the way in (I think) October.

"I love the idea that records don’t get old. We get old around records. And when Paul McCartney or John Lennon are performing [on Beatles recordings], they’re in their late 20s, and they will always be that age. And nowadays with the global jukebox we have to deal with these days, people listen to Ed Sheeran next to the Beatles next to Duran Duran next to whoever it is, and there’s no reason why the Beatles shouldn’t sound as aurally impressive as Ed Sheeran, who is the same age as the Beatles were when they did Abbey Road." -- Giles Martin


I miss you already, Charlie,

I've written the lyrics for the next song and have the chords and arrangement about 80% worked out. And as a matter of fact, I've already started recording the song. I hope to get a considerable amount of work done tomorrow while the puppy takes naps. (Have I mentioned that we got a new dog back in June? A Boston Terrier. He's extremely demanding right now. First time we've had a dog in three years.) There are so many demands on my time right now and so few opportunities during any one week to just focus on making music; it's a wonder I get anything done, honestly. This new song goes through quite a few changes. I think when the album is finally done (some time in late fall perhaps?) regular BOK listeners will find it to be a rather different (and yet somehow very comfortingly the same) collection of songs.

"I wanted to play drums because I fell in love with the glitter and the lights, but it wasn't about adulation. It was being up there playing." -- Charlie Watts


Just got back from a relaxing three day stay at Colonial Beach on the banks of the Potomac River. If you've never been there or never even heard of it, it's a small, rather boring little place that's never very crowded (except for their Biker's Week in September) and almost always very relaxed. The place has quite a history as a once rather popular bathing and fishing resort from the late 19th century to the mid 20th century. It was actually named "Virginia's best beach" by USAToday in 2018, though that certainly didn't increase its popularity. And I'm not sure why I'm telling you all this...

It bears noting that the great Joe Strummer was born on this day in 1952.

"Everyone has got to realize you can't hold onto the past if you want any future. Each second should lead to the next one." -- Joe Strummer


I did indeed add some organ and a little tambourine. That one's done now until, of course, it's time to review every arrangement and mix, at which point I'm pretty certain I'll add various minor touches to every single song. I have an idea what I'll do for the next song. Won't have much time, though, to work on anything for the rest of the week.

On this day in 1991, Nirvana shot their great video for "Smells Like Teen Spirit".

"When there's so much left to do, why spend your time focusing on things you've already done, counting trophies or telling stories about the good old days?" -- Dave Grohl 


I'm largely done with the newest song. Lyrics written. Vocals sung. Guitars and drums played. I think I'm going to add a bit of organ to the end of the track and maybe some subtle percussion here and there.

Steep Canyon Rangers were excellent as always. And as always it rained for part of the show. But at least we didn't experience a gusher of a thunderstorm like back in 2019 when my wife and I saw them, also at the Lime Kiln. So it has rained every time we've seen the Rangers in concert.

Apparently Spotify has dealt with several lawsuits involving shady payment practices. Here's a short accounting of just one recent example, if you're interested.

A couple of momentous events occurred on this day:

In 1962, Ringo Starr replaced Pete Best as the drummer for The Beatles.

In 1974, the Ramones made their live debut at CBGB's in New York City.

And, of course, on this day in 1977, the King, Elvis Presley, died at his home in Memphis of an overdose of prescription drugs. 


I try not to whine more than once every month or two about how pitiful streaming services (in particular Spotify) treat the musicians that make their businesses possible, but I think it's time to whine today. A song of mine (actually my rendition of the old classic "Dink's Song" which I recorded for one of the Single of the Month discs a few years back) has proven quite popular on streaming services. In fact, it was streamed on Spotify last month 194 times (a LOT for an unknown "homemade music" artist). How much did Spotify think 194 streams were worth? 66 cents. That's about a third of one cent per listen. Thanks, Spotify! Your generosity apparently knows no bounds!

Tonight my wife and I and a couple friends will be in Lexington, Virginia at the famous Lime Kiln Theater to see the great Steep Canyon Rangers. I first saw them as the opening act for Old Crow Medicine Show and thought they were every bit as good as Old Crow and since I've been lucky enough to see them four times. Unfortunately, it has rained three out of four of those times (I've only seen them outdoors) and it's calling for thunderstorms tonight. (I should mention that we've been in a lengthy drought but of course it's supposed to rain when we go see an act outdoors.) Think good thoughts for us!

No more rain! No more rain! No more rain!


Fifth song is about 3/4's done. But I still have to write lyrics and add some instrumental odds and ends to it. I'd like to think that it'll be wrapped up by tomorrow, but I'd also like to think that the world is ready to combat the pending climate catastrophe. If I can keep up the pace, I think this will be a really good record...up there perhaps with THIS IS YOUR BOOK OF KILLS. It's really all about finding the long-term inspiration (and the free time) to complete a 14-15 track project. I envy professional musicians who can throw virtually all of their time and energy into their music. With me it's often a matter of having fifteen minutes in between having to take the dog for a walk and making dinner and running upstairs to lay down the bass to a song.

"I could write a song now if I had to. But I don't think it would necessarily be good. You've got to have some real, very real, inspiration. But to look for it too hard is ridiculous. If it feels like music, then probably some level of inspiration is working. The you just start to play. play 'Walk Don't Run' for half an hour, or whatever has come into your mind, and from there you'll move oof that into something. You'll find a couple changes, or a lyric, that comes into your mind." -- Tom Petty


I've moved on to the next track. I've got most of the chords, as well as some ideas for the arrangement, worked out. No lyrics yet. But that's usually the way it goes. The lyrics are the toughest thing and almost invariably come last. And quite often, after I think I'm done with them, I end up re-writing a line or two. Sometimes an entire verse.


Honestly, taking this project very, very slowly is proving to be a good thing. I've afforded myself the time to try out various arrangements, and vocal and instrumental takes. Days after "finishing" a track, I've realized that I could do this or do that and make the track just that much better. I'm pretty much finished with the latest song. I do have to tidy up the vocals tomorrow and I'll be done with it. Then it's on to the next one which will be a lot more melodic and hook-y than this one's proven to be.

On this day in 1962, Robert Zimmerman officially changed his name to Bob Dylan.

"When you feel in your gut what you are and then dynamically pursue it - don't back down and don't give up - then you're going to mystify a lot of folks." -- Bob Dylan


As is so often the case, my best-laid plans for an "acoustic-oriented" track kinda fell through and I ended up with booming, reverb-y distorted drums and a couple or three overdriven tracks of guitar. And, yeah, a vocal filtered through a guitar fuzzbox. Seemed in the end to be the right place to go for the next song on the album. 

I just realized how often I make albums with their tracks in the exact order that I record them in. I'm not so sure that that's a common way of constructing a rock and roll record. 

"If you don't know where you're going, you'll end up some place else." -- Yogi Berra


I've started real work on the next song finally. It'll be more of an acoustic oriented thing. I've already written some of the lyrics and a pretty good handle on the chords and arrangement. I'm starting to think that maybe this "forced" very slow process might prove to be good for the album. I usually rush through songs and sometimes find myself wishing I'd done this or that after finishing and publishing a track. Now I'm working so slowly that I'm allowing myself lots of time to think through things and come up with ideas that I might not hit upon otherwise.

On this day in 2003, the line-up of Casey and Jane Firkin, Bill Bird, Randy Simpson and Jim played their [probably] last-ever show at the Little Grill. I don't remember a thing about the gig. The set
listWooly Bully-->Don't Stop The Scream, Jesco White, Nelson, Accidentally Naked, Cave In, AntiMan, Caroline, Style--> Bad Person, Clever, Running, Killing Time Again, I Hang Heavy-->Then I Kissed Her, If You Want It.


I'm "finished" with the third track. By finished I mean that I'm moving on to the next song. When I'm done with this project, I'll go back to each track, listen to it and add whatever additional instrumentation/vocals I think are still needed. I have an idea what I want to do with the next song...more of an acoustic/electric thing this time. No lyrics yet. They rarely come before I've gotten the chords and a tentative arrangement down.

Don't be surprised if it takes several months to wrap this album up.

On this day in 2020, the fabulously talented and criminally under-appreciated Emitt Rhodes died at the age of 70. His 1970 solo debut, EMITT RHODES, remains to this day one of my very most favorite albums, though the four subsequent releases from the early '70s are all excellent as well. Rhodes was a home recording pioneer. You can read much more about him and how he put together his debut record here.


This weekend my wife and I, thanks to the generosity of some friends, were able to attend a day of music at the Red Wing Roots Festival in nearby Mount Solon. It was obviously a joyous occasion for just about everyone in attendance. Because we had a small puppy at home, we weren't able to stay for more than a few hours and unfortunately had to miss performances by the Mavericks (their first real live show since the pandemic began) and Yarn, and that was a bummer, but we couldn't leave the dog locked up in a cage for 10-12 hours. 

Anyway, I wore an old t-shirt of mine that I purchased way back in 2003 when Book of Kills played the SoundQuilt Festival in Gore, Virginia. (That performance, by the way, was the last ever by the Casey & Jane Firkin, Randy Simpson, Bill Bird and Jim Shelley line-up.) As my wife and I wound our way through hundreds of festival-goers on the way back to our car, someone noticed my shirt and stopped me to tell me that they fondly remembered me and my band from our SoundQuilt and CecilFest performances 18 years earlier. "Hey, did you know," he said, "that CecilFest is going on this weekend?" I did not know that. In fact, I'd always been told that CecilFest had ceased not long after our show there. Apparently, friends of the festival still convene yearly on a much smaller scale and still jam. I have good memories of that gig. It's hard to believe that we played there (at Natural Chimneys, the very same place at which the Red Wing Festival is held yearly) on this day way back in 2003! 

Oh...after shaking hands with the fellow, I started off again for the parking lot and was immediately met by another guy (I think the sound man for the main stage) who gave me a big hug and told me how good it was to see me again. No idea who he was but it was great to see him! 

"One of the things about live music that's so incredibly important and can't be replaced and automated is the common focus of a room full of people having that human contact and being immersed in the sensory overload of a rock concert." -- John Rzeznik


On this day in 1964, former musician Courtney Love was born. Jeez, Courtney Love is pushing 60!

On this day in 1975, Jack White was born. And Jack White is pushing 50!

On this day in 1977, Elvis Costello quit his day job at Elizabeth Arden Cosmetics to become a full time musician. 

On this day in 1995, the Grateful Dead gave their last-ever concert with head man Jerry Garcia. Jerry died just a month later in a drug rehab center.

"What makes the most money for this business? Dead rock stars." -- Courtney Love

"Any man with a microphone can tell you what he loves the most." -- Jack White

"I don't feel any form of music is beyond me in the sense of that I don't understand it or I don't have some love for some part of it." -- Elvis Costello

"You have to get past the idea that music has to be one thing. To be alive in America is to hear all kinds of music constantly: radio, records, churches, cats on the street, everywhere music. And with records, the whole history of music is open to everyone who wants to hear it." -- Jerry Garcia


That track I started working on back in late June? The one that I had to add a guitar solo and write a couple more verses? I did finally record the guitar solo (a first take), although I have to record another one that comes later in the song. And I did write one verse, though I haven't even laid down the vocal for that verse yet. I still have another verse to write obviously.

What's the hold-up this time? Well, six days ago we got a new puppy. A tiny ten week old Boston Terrier. And because my wife still works three days a week (and because on her off days I generally don't do any recording at all), I have spent the days she's had to work doing almost nothing except tending to the puppy's every need. Recording is virtually impossible with the puppy in my care. So, writing and recording has come to a stand-still. Hell, I didn't even play golf this week because I didn't want to leave the dog in a cage for six or seven hours while I was away.

As some of you know, I sell old books online (along with the occasional band t-shirt) on eBay and in the past six days since we got the dog I haven't created a single new listing. I love the dog to death, but the little fellow has pretty much eaten up every second of my very limited free time. 

Thanks to some friends, we have tickets to the Red Wings Roots Festival this weekend at Natural Chimneys. If you haven't heard of it, it's a long-running (8-9 years now?) festival featuring various old-time, roots, folk and country inflected bands (many with a little rock and roll/rhythm and blues in their make-up) that unspools over the course of three days. I've only been to a couple of their festivals, but the shows I saw were all really great, most notably the fantastic Steep Canyon Rangers. I don't think Fear + Whiskey would've been too out of place playing there. This year I'm looking forward to seeing Yarn (a band F + W played with in 2011), The Mavericks and the Dustbowl Revival. We won't be able to spend a lot of time there because we can't leave our puppy alone for too long (and we can't take him with us), but I'm hoping we're able to catch at least 4-5 performances.


Sorry that I've really neglected the website lately. Late spring and summer are very busy times for me as far as friends and family go. Seems like there's always something going on. If I were a rich and famous rock star, perhaps I'd devote a bit more time to spinning fab stories about my rock star life and music (or at least my publicist would), but I'm just an unknown amateur musician making music 'cause I can't not make music, hoping that 3 or 4 folks somewhere in the world might wanna listen to what I write and record. So, I'm going to be pretty lax about regularly attending to in the meantime. Ditto the new album...

Speaking of which...I've worked fitfully on the outro that I alluded to in the previous post and I'm nearly done with the preliminary multi-track. Still have a guitar solo to play and a couple verses to write and sing though. Who knows when I'll get that done!

As of June 30, 2021, the top ten most streamed BOK albums of all time:
1. Songs For A Played Out Generation (2004)

2. WASP 51! (2003)
3. The Haunted Life (1992)
4. Big Business Monkey, Volume Six (2018)
5. In My Room: The Best of Book of Kills, Volume One (1994)
6. Different (2007)
7. All About You (2002)
8. Wee Jim's Blackeye (1993)
9. The Strange One (Demos & Outtakes) (2010)
10. Detritus (1994)

If you're wondering why Songs For A Played Out Generation is always "number one", it's because it was the first album, by a couple years, that I ever made available for streaming and downloading. It was an attempt to make available some of the "better" songs I'd created over the years. Uploading an album was fairly expensive and not particularly profitable. The same holds true today, at least for little known musicians, but at least I can afford to upload music a bit more readily. Actually, when I uploaded Songs For A Played Out Generation way back in 2004, Apple and Amazon Music didn't even exist and people were still largely downloading individual songs, most of it "illegally"!


I'm now giving mp3's of the songs I'm working on not only to George III, but (former BOK drummer/collaborator) Mike Hicks and (former BOK guitarist/collaborator) Randy Simpson. George and Mike will be able to work on the multi-tracks at their homes and then send back to me whatever they've done. Randy could be a bit more problematic since I don't know if he's got access to a Mac and the capacity to work with very large files. We'll work it out.

I worked on a couple of different tracks today, one sort of a transitional bit and the other a sort of coda-type thing for one of the "finished" songs that speeds through about five different movements all in the course of three minutes. Then I'll have to somehow figure out how to jam all this stuff together...


I'll be wrapping up my work on the second song today, mainly some vocals and perhaps one or two instrumental touches here and there. Then I'll be sending mp3's of the songs to George (see previous updates). I will have a couple of days with some free time this week to begin work on the third song. No idea where I want to go with number three. I'll know when I get there.


I'll be sending two "completed" songs to George Nipe III this coming week so he can come up with bass and vocal parts to add to what I've already done. As I continue to write and record, I'll also continue to send George a couple songs at a time for him to work on. I don't know if he'll simply add parts on his machine and send them back to me or if we'll get together periodically and record in person. 


I think that trying to communicate what sort of music I'm making this time around is probably useless. Mainly because I can't seem to find my direction yet. I think the problem is that I've had very little free time to work on music and the rather complicated direction I'd gone in was too time-consuming for the limited amount of time I had and will have in the foreseeable future. So perhaps what I need to do is to cut everything back...that is, to find a stark new direction that will allow me to work quickly. Think maybe Dylan's JOHN WESLEY HARDING when everyone else on earth was trying to emulate the monumental complex arrangements of the Beatles's SGT. PEPPER'S LONELY HEARTS CLUB BAND.


The second song is evolving. This one has sort of taken a left turn into something completely different from what I had envisioned when I was beginning work on it last week. Now I'm heading into that sort of long drone-y type thing that I messed around with way back in 1993-1994, a type of song I haven't tried to write in years. Who knows where it will end up? I know what I want the lyrics to be about but I really haven't written many words so far...just a few phrases.

On this day twenty years ago, Book of Kills played a benefit concert for the Young Film Makers of Harrisonburg, Virginia. I think we made them a lot of money to buy equipment like cameras, tape, and so forth. I don't remember much about the show other than the fact that we did not play particularly well, but no one seemed to notice and apparently thought we were "great". The set list: I Hang Heavy-->Up In Flames-->Can't Stand It Anymore, Running, Rain, Money, Cave In, Killing Time Again, Gemini, Why Won't You?. Strange set list.


I have essentially finished the first song. I ended up recording a sort of glorified string quartet for the problematic middle section. The song is not really finished: I talked to George Nipe III yesterday (he was out for a Memorial Day lunch) and he said he'd love to work on the album, primarily adding bass and vocal parts. So what I'm going to do is create a near-done track for each new song, send it to George and let him work out parts and make suggestions on how the song's arrangement might be improved and then eventually let him record whatever parts he has to offer. 

I have a vague idea of what I want to do next. The second song will be even more involved, and strange, than the first one. 

"If we don't change, we don't grow. If we don't grow, we aren't really living." -- Gail Sheehy

"There is no 'right' way to make art. The only wrong is in not trying, not doing. Don’t put barriers up that aren’t there — just get to work and make something." -- Lisa Golightly

"The experience of surprise is a sign of one's readiness to grow." -- Sidney Jourard


I will be quite busy today with Memorial Day gatherings, but tomorrow I should have a significant amount of time to finish the first song. In fact, I'll guarantee you that I come up with the middle passage that I've been stymied by thus far. Stay tuned. 

By the way, I'll be cutting more updates on this page soon, so if you're inclined to go back and read any of the past entries, do so soon.


 I've recorded four completely different middle passages for the first song and I just can't seem to come up with something I really like. That doesn't mean I'm giving up. I'll just continue to record more stuff until I finally come up with something that works. The recordings I've made thus far haven't been done in vain, however; I realized rather belatedly that one of them actually fits as a sort of coda (a concluding passage) to the material I've finished. So the first song has already taken on a new form that I didn't anticipate. That's a cool thing about writing and recording new songs. Surprises seem to appear almost every time I start a new session and lead me into a totally unanticipated direction. To repeat a couple of quotations by Lindsey Buckingham that I used here months ago:

"When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process." 

"I love to be in the studio. That's what I like to do best."


Still working out the middle of the first song. It's hard to explain this one. It starts off with a fairly straightforward little piece of rock and roll and then slides into a brief orchestral thing and then suddenly pops back into a rock and roll outro and it's all over in 2 1/2 minutes. And I think that kind of characterizes how the whole album will be. More than a little off the wall. Every song will have some sort of out of the blue thing about it. And it's going to take a long time to put it all together. But I think it'll be worth it. 

Here's another recommendation (see the 4/29/2021 entry) of a BOK song that has pretty much never gotten much notice: Take a listen to the original recording of "I Leave Her There Till She Rings 3 Times" on the WRITING ON THE WALL (BIG BUSINESS MONKEY VOLUME 3), then listen to the live 2017 version of the song and how it was transformed into something better when George Nipe III, Garfield Banks and I worked out a new arrangement. You can find that track on SONGS FROM 206 HIGH STREET - BIG BUSINESS MONKEY, VOLUME SEVEN.


I've begun recording. As I said previously, there's no deadline for this album, or whatever it ends up being. 

I talked to Randy [Simpson] today about possibly starting the process for finding musicians for a new band. We'll see what happens.

Last night at a little get-together at a friend's house, she insisted on playing the old BOK Live at Alston's 2003 DVD for some folks who'd never seen BOK in action. They were [thankfully] quite impressed, especially by the segment featuring "Sweet" and the medley of "Why Won't You?-->Up In Flames-->Can't Stand It Anymore". Their reaction really made me long for the exquisite pain of playing live again.

"If you have stage fright, it never goes away. But then I wonder: is the key to that magical performance because of the fear?" -- Stevie Nicks

"The truth is, I hate to perform. I get such bad stage fright, it makes me physically ill." -- Rivers Cuomo

"I have stage fright every single concert I've ever done. I have at least four or five minutes of it. It's absolute living hell." -- Brian Wilson

"I've never told anyone this. But I suffer from terrible stage fright. True. You can't tell though, can you? Unbelievable, the panic. I nearly die of fear before I go on stage. Something wicked. I can't eat a thing the day before a gig. It'd make me vomit." -- John Lydon (Johnny Rotten)

"I had stage fright for years and years, and I could hear it in my singing. But since I've done it so often for so many years, you'd think that I'd relax a little bit, and I think that I have." -- Johnny Mathis