guitar Archives - CRAIG WESTWOOD

With the Sky

Craig — Sun, 28 Apr 2024 15:02:00 +0000

With the Sky was written in 2011, just after I checked out as a pilot. It’s had various tweaks and changes to the lyrics since then, but essentially the tune has remained the same.

I wrote it as a nod to the ballooning community, especially for those people who gave up their time for free and helped me to train to be a pilot. The majority of these belong to the British Balloon and Airship Club (BBAC), and for people in the UK, if you want to get involved with ballooning, then that’s a good place to start in terms of finding people near to you who will help you take part.

It’s very much a “pay-it-forward” community, in that it’s best to find a balloon team, help out with being part of the chase-crew, whilst you decide whether ballooning as a sport is really for you. Claire and I got involved in ballooning in 2001, and we were crew members for a number of teams until late 2007, when Claire ‘checked out’ as a pilot, and then we bought our first balloon, enabling me to train afterwards.

Essentially then, it took me nearly 4 years to train as a pilot. Partly due to the fact that I was sharing balloon time with Claire, who was still a novice pilot herself.

What I hoped to convey in the song, was life as a balloonist (or is it a “loonist?”). The fact we’re always watching the sky, looking at weather forecasts, checking out the wind speed, looking toward the tops of the trees even, in the sheer hope that the winds will be calm enough for us to fly. A lot of the time, especially when we lived in the UK (and we were up North as well….), those hopes were often dashed by turbulence, fog, and, more often, rain.

I don’t think that there’s been another song written about ballooning as such since Fifth Dimension’s “Up, Up and Away” in the 1960s. So, it’s really a modern slant on ballooning, from a pilot’s perspective. There’s no doubt in my mind, and I’ve seen significant changes in the weather since 2001, that the weather patterns are worsening. There are far less calm flyable winds since we began ballooning in the. early noughties. Some of our ballooning colleagues who’ve been flying since the 60s, 70s and 80s have said that those weather changes are even more significant since they began flying even.

So the “Give me another window in the weather” line in the song is a plea for just the chance to fly, which is becoming more and more the balloonist’s anthem, I think.

With the Sky was released on March 8th.

It’s on Spotify:

You can find the video here:

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All Guitar Vero Contest, Part 3

Craig — Fri, 15 Nov 2019 14:40:00 +0000

Day 3 of our trip was a drive to El Cajon, near San Diego, and a visit to Taylor Guitars.

Kendall and Nikke picked us up at the hotel quite early, and it was a good two hour drive to El Cajon.

A personal highlight for me was just the music and the chat on that trip, in both directions. We talked about many things, Kendall knew a lot about the area, and pointed out many landmarks as he drove; and Nikke played us some really good music, across a variety of genres, quite a lot I wasn’t familiar with, and definitely stuff I will investigate later. We talked a lot about Vero too, and where they see things are going for this relatively new social network.

When we arrived at El Cajon, it was 10 degrees hotter than Santa Monica. Just getting out of the car hit you with a sheer wall of heat. I was very grateful that day for the car’s air conditioning. We’d arranged to meet Tim Godwin, another of the contest judges and artist (development) director at Taylor Guitars, for lunch. An interesting fact I learned about Tim is that he knew another Yorkshire Brit, and as he explained that he was singing in a Joe Cocker tribute band, aptly named (if you know Joe Cocker’s material) ‘Mad Dogs and an Englishman’, I realised at once he was talking about Jason Feddy, an ex-pat, now living in Laguna Beach, that my friends and I used to go and watch play regularly in Harrogate Blues Bar. Small world, innit?

A lovely touch to the welcome at Taylor Guitars, was to see my name on the notice board as we entered. Pete went to work setting up his camera, and filmed a great deal around the factory as the tour progressed. The tour runs across two buildings on the plot at El Cajon. Now and again, as we ventured outside to look at the raw wood store, and as we crossed between one building and another, we walked back into that wall of heat. Phew!

Our tour guide took us around the factory and explained every stage in the development of guitars, from the raw material, to the finished products. I will save the rest for a later post, when I get chance to show some of Pete’s video footage too, I hope. I understand that Taylor run these tours daily, so, I f you are ever visiting the San Diego area, and want to know more about Taylor, how they make guitars, their processes end-to-end, and their sustainability ethos, I would highly recommend this tour, and especially so, if you’re a Taylor Guitars geek like me (link here)*.

*Update – Since the Covid-19 pandemic, Taylor Guitars has been forced to suspend its tours for the time being. I hope this resumes soon.

The last stage of the tour was a look at the ‘Guitar Gallery’. Taylor actively invite guests to take guitars off the wall, and try out as many as they want. I have to say, I immediately fell in love with a PS14, and had a jam with Kendall, who’d got himself one of the other V-Series guitars to play. My choice was a beautiful instrument, lovely to play, and certainly one for the wish list!

A scenic trip back to Santa Monica and dinner with Nikke and Kendall en route made up yet another amazing day. Sadly, it was the end of our time with our hosts from Vero, though we had another couple of days to roam and explore L.A.. What superb hosts, and I feel mighty privileged to have had their exclusive company for such a time. A trip I will always treasure.

Lastly, there are so many people to thank: Nikke and Kendall, our amazing hosts at Vero; Tim Godwin and the staff at Taylor Guitars; Norman Harris, Michael Lemmo, Nick Dias, and the rest of the staff at Norman’s Rare Guitars; Mark Rivett and Dylan at the All Guitar Network; plus the ever-helpful and friendly staff at the Wyndham Hotel, Santa Monica On the Pier. Last but not least, my good buddy Pete Bennett, of Bigworld Productions, whose knowledge and good company were so invaluable, and our partners Claire and Alison, who keenly organised us both via FaceTime at strange times of the day and night.

Fondest memories made.

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All Guitar Vero Contest, Part 2

Craig — Mon, 11 Nov 2019 16:32:00 +0000

As my poor wife Claire was unable to come on this trip (long story), my friend Pete, who we were staying with in France at the time, was free. As he’s also an independent film-maker, he kindly offered to document the trip.

I didn’t sleep much on the flight across to Los Angeles. Aircraft seats are just not comfortable, despite the ability to electronically dim the windows on a 787. We landed at LAX around 3:30 pm, spent a little bit of time getting through passport checks, and then some more time, waiting for a driver to appear, who I think was waiting the wrong side of the airport, and then we were on our way.

The Wyndham Santa Monica is literally a minute’s walk from Santa Monica pier. A lovely spot. Nikke and Kendall from Vero had arranged to meet us, and just give us a little guided walking tour of the Pier, and the surrounding area. Then they suggested we stop and have a bite to eat and a beer at one of the restaurants on the roadside facing the beach, where we got to know each other, and watched the sunset behind the roadside palm trees. Then Kendall and Nikke left us to ur own devices for the evening, as we wanted to explore a bit further, and stave off the jet lag at least until bedtime, where we hoped we might sleep better, ready for our trip to Norman’s the following day.

Anyway, despite all good intentions, and a good strategy to combat the jet lag, I think I had about 3 hours sleep. The body clock is a complicated system, and this had thoroughly messed up my circadian rhythm. Pete on the other hand, having been in New York a few weeks prior to this, and much more used to travelling than me, had had a better night. We walked up to Santa Monica boulevard and grabbed a pavement-side breakfast. Coffee was the most important wake-me-up component.

Kendall and Nikke picked us up at the hotel and Kendall drove us down to Ventura Boulevard, Tarzana, where the famous Norman’s Rare Guitars store is situated.

Norm’s, as it’s now affectionately called, was established in the mid 70s by Norman Harris, who made his name as a musician forging connections with guitarists through the buying and selling of rare and highly sought after guitars. His store has been frequented by many A-list guitarists, including Joe Bonamassa, T-Bone Burnett, Slash, Mike Campbell, Joe Walsh, and the late Tom Petty, to name but a few, and Norman himself is now considered to be one of the guitar industry’s foremost experts on vintage guitars. A few years ago, Norman’s Rare Guitars launched its own YouTube channel, and now has a following of well over 380,000 subscribers, myself included, broadcasting their featured guitars of the day, with resident and guest performers who turn up to play these amazing and interesting guitars, acoustic and electric, giving the store such a refreshing and unique perspective on the world of guitars, and upon the LA guitar scene as well.

Next door to the left of Norman’s Rare Guitars, is the more recently launched All Guitar Network, another project of Norm’s, and the perfect partner to the store, in that it has access to the store’s guitar collection, but it also is taking the subject of guitars to a whole new level.

Hosted and co-ordinated by musician and composer Mark Rivett, AGN has a greater focus on learning, it is establishing itself as the go-to channel for guitar news, views, tutorials, and features with guest musicians, such as Joe Bonamassa, Tim Pierce, Josh Smith and David Becker, as well as the resident store musicians and presenters: Michael Lemmo, Nick Dias and Norman himself, who are also a focal part of the AGN network too.

As the All Guitar Vero Contest is a partnership prize of Vero, Norman’s, the All Guitar Network, and Taylor Guitars, there’s a lot of people behind this for me to thank. Anyway, the prize involved me picking up my new signed Taylor 717 Grand Pacific Builder’s Edition Guitar, and so we called in to AGN first to meet Mark, where he introduced me to the guitar, though the formal presentation was to be next door at Norman’s. I was immediately struck by the quality of the case itself.

I had a little time to open it up, revealing the guitar in all it’s glory. Signed by many, including the Contest judges Tim Pierce and Michael Lemmo, I was keen to take it out and examine it further. But the waiting area at AGN wasn’t the place, besides, they were keen to shoot the presentation and a little ‘jam session’ with Michael before the store opened at 11. So, we all ventured next door. Tim Pierce, I was sad to hear, wasn’t able to make it, so it was just going to be Michael and me.

I’m 6 feet tall, but Michael is about 6ft 3” or 4”. My son Tom is 6’ 5”, so I’m getting used to this younger generation getting progressively taller. Fortunately we were sat on the famous sofa at Norman’s, so I don’t look too short on the video that Dylan shot from the All Guitar Network. Rather than detune and play the winning piece, I opted for standard tuning, and another song: “Watching The Rain’, so typically English for the scorching heat of L.A.:

Maybe it was the sheer over-tiredness, but I really didn’t feel at all nervous. Listening back, I’m not only pleased with my own performance, but I’m still impressed by the talent of Michael Lemmo, that he could listen once to me playing a couple of verses and choruses, and then pull off a complete accompaniment like that. Awesome!

Next off, we went next door, for me to be interviewed by Mark for the AGN channel. I pre-warned Mark of my tendency to suffer from the “Dreaded Erms”, or hesitation, on camera, and I must say that, like Michael, he put me completely at ease, though you’ll see there are a number of jump-cuts in the interview. I really haven’t mastered talking on camera yet, and I really do prefer a script. They did a superb edit on it though, I think. They really did make me look almost a natural… Great work, guys!

Vero – True Social

Norman’s Rare Guitars

All Guitar Network

Taylor Guitars

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All Guitar Vero Contest, Part 1

Craig — Sat, 28 Sep 2019 08:12:00 +0000

I joined the Vero network back in late January/early February as I saw KT Tunstall announce the first #VeroGreatGuitarGiveaway contest, and I thought I might give it a shot. I then got ridiculously busy with other work, and the contest – and the networking – just got put on hold.

I have been following Norman’s Rare Guitars for a good while, more than a year if not two, as I follow quite a number of musicians and creatives now on YouTube, and other channels too. One cannot learn about musicianship, performance and the music business alone, and it’s worth finding inspiration from people you like on YouTube, as well as other social media.

I could devote an entire blog (or two) just to the people I follow, and why, but that’s for another time. Suffice it to say that Norm’s ‘Guitar of the Day’ features had become regular viewing for me, and particularly the very talented presenters were already familiar: Michael Lemmo, Jen (behind the camera), Todd, Nick, and of course, Norman Harris himself, plus guest players that over time have included: Joe Bonamassa, session-man Tim Pierce, actor and guitarist Frank Stallone (Sylvester’s brother), Marc Mann and Steve Postell, to name but a handful.

So when I saw Norman’s Rare Guitars announcing a second #AllGuitarVeroContest, with Tim Pierce (another YouTuber that I follow) and Michael Lemmo as judges, I have to say it awakened my interest again. As I’m already a fan of Taylor Guitars, the main prize of a Taylor 717 Grand Pacific was really appealing, as well as the four runner up prizes of Taylor Academy Series guitars too. The entry: a one-minute guitar piece of my own composition, seemed do-able, and I thought I might stand a chance of winning maybe a runner-up prize, but I’m no flashy lead guitarist, so I didn’t expect much, more a chance of making a few new friends on Vero if it caught someone’s ears.

Previously, I had posted short clips of a new song in progress: ‘Whispers of Home’, onto Instagram, and showed its progress from simple ‘noodled’ idea to recorded song, called: ‘Anatomy of a New Song’, and so I knew the end-sequence could fit nicely into just under a minute. I recorded it in one take on the 20th June, and submitted it off to Vero, and their competition partners the All Guitar Network, Taylor Guitars, and Norm’s, with a little tongue-in-cheek intro, from ‘Westy’s Cabin’ (my garage-studio really). And then got busy again…

As one or two of you readers might know, my wife Claire and I have a strange hobby (to some, anyway) in that we fly hot air balloons. In particular, once the Summer season begins we can be away quite a bit, in particular late-July-early-August time we head off to France for our favourite mass European gathering of flying ‘loonies in Chambley, Lorraine region, officially now the largest line-up and launch of hot-air balloons in the World.

We had just completed our ten-day tour of Chambley and were visiting friends elsewhere in France, when, by chance, I had interrupted sleep one night (after one too many cognacs…), and was sat up in bed at 3am looking at my phone messages. Lucky that I did, because one of them was a chat text from Nikke at Vero, saying that I had won the All Guitar Vero Contest, and that she had been trying to contact me!

and the winner is…….???

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Playing Live Again

Craig — Mon, 01 Jul 2019 10:07:00 +0000

It’s so nice to be getting out again after so long. I can’t express how much my upper arm injury had limited my goals, and, although I could just switch emphasis and concentrate on other stuff, having to protect the arm really did put a dampener on my enthusiasm.

That said, it’s easy to fall into bad habits. Although the arm has been recovering for a while now, it was easy to tell myself to “protect the arm, protect the arm!” as an excuse to not go back to playing regularly too early.

Anyway – it was time… blow off the cobwebs, and get back out into the unsuspecting world.

My first plan was to aim to play at least once a week… somewhere.

Straight off the bat I have the offer of a gig from Scott Doonican of The Bar-Steward Sons of Val Doonican at the Old School House in Barnsley. Good on yer, mate, and thank you. It’s now been pushed back till January due to a scheduling issue on our original date, but I’m looking forward to it.

Then I literally went onto the Open Mic Finder site (link) and made a list of all the nearby open mics, and made contact by email/facebook.

Next, I contacted a total unknown… A venue known simply as Small Seeds, in Huddersfield. I did wait a few days to get a response from the email, but they were very encouraging. They invite all musicians locally, as well as poets, to come on down and play/read their material at the aptly titled Acoustic Club every Tuesday evening after 9pm.

It’s a lovely spot, very rustic looking stage, and there’s no mics or amplification, so this REALLY IS acoustic only. The nice thing too is they provide an acoustic guitar for those who simply want to turn up and play; and there’s an upright piano there as well if you want to play that too.

Next up I contacted Pete Long, whom I’d met through Andrew when he ran the Acoustic Circus open mics at the Taproom in Batley. He’s moved on from the Taproom, and is now hosting Acoustic Circus open mics once monthly from the West End pub in Gomersal. He also runs another Acoustic Circus Session once a month in St Mary’s Church in Gomersall too.

Pete himself is a really good guitarist and songwriter by the way, just check out VanRay on Spotify or iTunes…

Anyway – as soon as I made contact, Pete offered me a half-hour guest slot at the West End. This kinda threw me in the deep end, but I was glad of it. It blew out the cobwebs and got me thinking about a set again, rather than just the usual two or three odd songs that you get to do at a ‘normal’ open mic.

One thing I have realised though: playing ‘Whispers of Home’ with its drop tuning is a difficult song to put in the set, wherever you put it. I’ve tried retuning the guitar mid-set, and, unless you’re a good raconteur whilst you’re re-tuning, you’re asking a lot of patience from the audience whilst you mess about. The only alternative is to swap guitars. Here’s where my poor old EKO E20 lets me down, as the old Barcus Berry piezo bridge pickup I fitted 25+ years ago really isn’t up to it any more. Feedback from the audience is that it just wasn’t as good sounding as my Taylor 214. So – at some point, to do this justice, I’m going to need to change the E20 for something better, or just get better at re-tuning the 214 mid-set.

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Pickles Fest

Craig — Tue, 11 Sep 2018 18:31:00 +0000

This was a long standing invite from old friends ‘Red’ and Heather Pryce, for their Annual festival in Cenarth, near Cardigan, in West Wales. Because of the overly hot summer, this had been cancelled from it’s original July date, because fire-risk (and lack of water supplies in case of fire) had prevented the Festival from going ahead.

Anyway, on the back of my successful gig at Electric Cabaret, Claire and I planned to do the five hour drive South West-wards, plus dog Sophie, as we were going to stay with Pat and Chris, Heather’s parents, afterwards. I’d planned for an early start, as this would give us plenty of time for stops, dog walks, and chance to stop at Pat and Chris’s, freshen-up, and upload some of the gear from the car. At least, that was the plan…

First of all, as I went to fill up the car, I noticed we had a puncture. “No worries,” I thought, as there’s a tyre repair station in our village. Luckily, it opens at 8am, and it was just 8:02. Anyway, within just over half an hour, I was filling up with fuel, but also, having to re-pressurise my tyres, as the repairers had more-than over-inflated my newly fixed tyre…

It was now 9am. I get home to find Sophie has diarrhoea, and won’t eat. We have a ritual where I give her dog treats to encourage her to eat something, and then, after her stomach settles, she’ll eat something. Today it wasn’t going to work. So, by 9:45, we decide to set off, wondering if we were due for ‘doggie accidents’ on the way. Fortunately for us, she settled.

Driving rain for most of the journey made this trip arduous, as well as slow. We find out after ringing Chris, that my set has been brought forward to 15:50, and I’m first on stage. We finally arrived at 15:25. Enough time for me to carry gear to the stage, to do a quick sound check, and then start playing.

Again I kept my set short, and though I could have had 45 minutes I ended at 35. My arm had had enough, what with all of the driving as well. Lovely to catch up with our friends and watch the other acts, some very talented performers, including Big Joe Bone, and of course Red’s own band: Red and the Hogweeds.

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Performance Session

Craig — Wed, 16 Nov 2016 23:11:00 +0000

A really great session today with Andrew. I’ve introduced another three songs to the set: Taken to Another, and new songs Waiting on the World and Till the Day is Done, the latter having literally been written last week. I’ve suggested a slide guitar approach with this last one to Andrew. The improvised accompaniment he’s done today really works, I think, and it’s down to formalising this in the next few weeks before we perform it. Thanks Andrew for the pic.

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Half-way point review

Craig — Mon, 07 Nov 2016 22:53:00 +0000

Actually, it’s a little more than half-way now on the Artist Development Course, but I felt as if Matthew, Andrew and I needed to get our heads together and plan the next period and be a bit more productive. Anyway, I called a meeting…

Where we are right now: Recording Course complete; Watching the Rain in progress; The Nonsense Song in progress; Mixing course is now underway on week one after some delays.

General feedback from my close friends on hearing the new version of Watching the Rain has meant that we need to take some practical steps to improve the song. Last week I’d sent across a list of changes, which, I understand, Matthew’s worked on.

The coaching so far has been an enjoyable and liberating process. Who would have thought that I would even be able to get up on a stage and perform my work six months ago? Certainly not me. Big praise for Andrew particularly here, but also for Matthew, who has equipped me with vocal warm-ups and a way of pulling a bit more out of the vocal chords than I ever expected. Credit also for Matthew, who has shown me tips and tracks in recording and mixing during the recording sessions we’ve had, and some tips as to which plugins he uses in his DAW.

I thought it was necessary for the meeting to re-focus on my goals and aims here, and so I mentioned that although we are looking to produce five songs to mastered level here, my aim is beyond that…. to an album. I’ve chosen to put more into performance coaching now, moving forward, as it’s the live side of things that needs to improve and grow.

I also wanted to discuss which five tracks to record… The fact is, since beginning this process my songwriting has become more frequent, to the point now where I’d say I’m writing at least one song a week. My enthusiasm is always for the newer stuff, but, as Matthew rightly pointed out as we spoke, to everyone else, ALL of my songs are new! That is, except perhaps for my ‘inner circle’ of friends who have been good enough to listen to the older stuff and give me feedback and encouragement.

Anyway – I’m tasked this week with providing a third song for Matthew to begin work on. I’ve chosen Get Out of This, perhaps one of my favourite of the ‘old set’. Lastly, we’ve still to decide on the remainder, but there are a couple of songs I’d like to explore which maybe weren’t on the list of five to begin with.

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Guitar Repairs

Craig — Mon, 22 Aug 2016 20:54:00 +0000

It was rather evident during my sessions with Andrew that my old EKO E20 had seen better days. The lower frets have been worn for some time and it was becoming increasingly difficult to hold down any kind of chord without buzzing or ripping my fingers apart. I’d got to the point of putting it aside and even considered replacing it, despite it still being my favourite acoustic guitar for it’s warm, almost bass-y sound.

I’d been asking musician friends about any luthiers they might know. The good ones all seemed too far away. Andrew finally put me in touch with Ben ‘Beej’ Shand, a guy that he uses for all of his guitars, and, though I made a few attempts to call him (he tours as a guitar tech with a few well-known bands), he has a workshop quite close to the centre of Leeds.

Anyway, when I rang and told him I had an EKO, he said: “Don’t tell me, I’ll tell you what the problems are…” anyway, he rattled off the symptoms, and was right on the nose with most of it. Anyway, he offered to re-fret the guitar, re-set the action and clean up the machine heads. Turn around time – a week. Actually, as I was on holiday for two weeks after that, he had three weeks to do this.

Now I have it back it is, once again, a pleasure to play, and my guitar of preference. Great job, Beej!

Ben’s website is here: http://www.beejguitars.co.uk

I’ll be in touch soon, as I’ve got one or two guitars that could use a little improvement…

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Open Mic at ‘The Hop’

Craig — Tue, 19 Jul 2016 08:25:00 +0000

I’m so pleased to say that despite the initial nerves, my section went very well, I think. I fluffed my words a couple of times and my mic usage was a bit erratic, but I don’t think it mattered too much. The Hop was quite empty (I guess Monday night isn’t going to be as packed out as a Friday or Saturday), so really I was just singing to my guests, Claire, Ken and Pat, plus the other artists that 360 manage and their guests. So – it was a lovely informal evening, not too much pressure, and chance to build up my confidence and improve technique on a live rig.

It’s nice also to see how well the others are doing: Zoe, Carla and Harry were also singing last night, and they clearly seemed more confident than I was. I elected to go first as I thought that it would be better to do my little set, and not prolong the nerves any longer than necessary. It’s nice that we all perform in very different genres and therefore don’t have to be competitive in any way. We are all there to develop our skills, build stage confidence and build our repertoire.

With the first one behind me, I think I’ve finally laid the ghosts of past stage disasters to rest. I’m very grateful to Ken and Pat (and Claire of course) for coming to support me, and of course to Andrew for being my backing and lead guitarist. Ken has video-ed the set, (pics are taken from the video) which I may or may not put up at some point. I’m very highly critical watching stuff back like this, and there’s certainly room for improvement. To me, the sound at a live gig is never as good as when you were there – even for the pro performers, and you watch it back and you think: “Blimey, I didn’t realise he was singing flat there on the night…” But that’s the downside of recording with a phone, and not directly from the stage mixer. Perhaps next time we can do this, and see what we really sound like…

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First recording session

Craig — Thu, 19 May 2016 09:47:00 +0000

Finally got in touch with Andrew last Tuesday, who texted me to say that he and Matthew were starting to record the tracks the next day… “Hang on a minute…” I thought, “…where do I fit into all this?” Turns out they were planning to do the session without me. Anyway, I promptly texted back to voice my desire to be included in the process, after all, these are my songs, and I want to be involved in the sessions. So it was then re-scheduled for Friday morning. I have to say that I’m used to having complete creative control, and “letting go” is very difficult.

Once I arrived on the Friday morning, it was revealed that some of their ‘artists’ don’t actually get involved in the recording side of things at all, they just turn up and sing, and let Matthew and Andrew sort out the rest. Now I’m not that kind of person at all: I’m a very ‘hands-on’ guy, and especially since to date I have recorded all my own instrumentation. Still, I have asked for them to tell me when they are next scheduling in sessions, and to invite me along.

So – We started with the track I had sent across to Matthew: Watching the Rain. He has put all of the audio tracks I’ve exported into Cubase, and roughly mixed them. Then he had Andrew, with his steel strung acoustic, playing layered guitar over my backing track.

First impressions: I must say, Andrew’s style of playing is more than a little different to mine. I just got the impression that he felt restricted with me being there, listening to him playing along to my DI (direct input) guitar. It sounded a little awkward with Andrew trying to emulate my style of finger-picking. At one point Matthew asked me to record my guitar part again over the top of Andrew’s parts using his steel guitar, but he faded this low into the mix, so I’m not sure if he really wanted to use this, but perhaps it was an attempt to include me in on the session. I really felt that they just wanted to record all of the session themselves, and I was in the way.

Anyway, with several layers guitar parts recorded, strummed, some flourishes added, a few other textured guitar playing, mostly double-tracked, and with time running out (I think they’d only scheduled in and hour and a half, and this was running to two hours), Andrew started to play cajon over the guitar, quite a vigorous pattern of playing that, to me, didn’t suit the ‘feel’ of the piece. All the time in the session I found myself saying “Keep this gentle… Keep this simple…” as it’s a gentle song. Again I feel they have other ideas for this.

Anyway, to save us clashing here, I have concluded that I will let them run with this one. How else am I going to find out what they’re capable of? At the end of the day though, I’m here to learn the processes, and to pick up the recording and mixing side of things for myself. The recordings then are a bonus. I guess if I want to record my music in my own way, then I can still do this at home.

Further to this session, Andrew has asked me if I want to work on my live performance. My task for this week is to come up with some covers that I might want to play at an ‘open mic’ night… I told them that my last stage performance (some 30 years ago) was pretty disastrous, and this put me off performance. I said I wanted to work on building some confidence first.

Neither Matthew nor Andrew are very much about prompting students to book sessions, I’m starting to learn that it’s very much you having to chase them, rather than the other way around…

Addendum to this entry is that I’ve contacted Andrew and now booked a couple of lessons, to work on stage performance coaching, and I have an open mic to visit and watch next Monday evening… I guess it pays to not be afraid to chase people up!

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