I’m happy to report that I just wrapped up recording a new record. It look a fair amount of time (okay, decades), but I think this is the album I’ve always meant to record — just me and my guitar.
Huge thanks to Danielle Goldsmith for engineering and mixing the record in Studio A at Tiny Telephone in San Francisco.
Fingers pressed tight
I clench the callous-making strings
And recall the thunder in your walls.
Smokey, Alfie, Jimmy Crucifix, and more
Held down the funkified groove
For the hounds at the gate and
An army of punks and rockers.
The carpet is worn,
The soda machine sold beer,
And my ears ring for joy.
Then, in a nanosecond eternity
A guitar cries in my dream,
A million candles ignite, and …
I pause to inhale one last blast of instant nirvana.
Thank you, Carole Lennon
And all the staff over the years
For the refuge you gave.
An hour or three at a time.
From the small rooms
To the soundstage
To the bones in the hallway.
As you dim the lights
And shut the door,
We salute you.
(Written to mark the closing of Lennon Studios’ hourly space – 1984 to 2020)
In these times of shelter-in-place, I’ve been thinking back to many of the amazing places RL and I have visited over the years. I look forward to a time when we can return to favorite spots and explore new destinations.
Thanks to John Vanderslice, Crystal Pascucci, and Carly Bond for bringing their talents to this song.
Thanks to those who listened to Put on the Pink Flamingos. It was great to recieve some very kind words, especially from the friend who called it “a seven-minute thirty-nine-second spiritual experience!”
Put on the Pink Flamingos is my tribute to the one-and-only Mike Otten.
Mike and I met as high school freshmen and first bonded over comic books, Star Trek, and rock-n-roll. Forty years later, it breaks my heart to say he is gone too soon.
He was a very creative person. And he was a huge supporter of my creative projects. I dedicate this piece to him. I think he would like it.
Huge thanks to Crystal Pascucci (cello), Danielle Goldsmith (recording engineer), Jacob Winik (mastering), John Vanderslice (Tiny Telephone), and Aimee Stevland (art).
Every so often, I transcribe articles or podcasts for the official Joni Mitchell website. I like volunteering to a site dedicated to ensuring Joni’s legacy — not that she needs any help in that regard. In any event, it’s fun and inspirational to learn new things about Joni Mitchell by working on these materials.
Here’s a recent transcript I did of a podcast about the importance of the album Blue.
Thanks to Music Existence for these and other fine words: “There are a lot of really credible songwriters making powerful music at the moment … I think that this guy’s most recent release is a compilation of color and creativity that would be tough for even the most accomplished of players to compete with.”
Thanks to Shock Ya! for the review — “The singer-songwriter’s contemplative and profound new album offers a thoughtful and quirky insight into his thoughts and views on love, and the lengths people must take in order to preserve those romantic connections in an ever-changing world.”
Someone needs to pinch me because I can’t believe it. It’s RELEASE DAY. It’s been a long, wonderful haul to make this album of original music. I hope you’ll take a few minutes to give it a spin. You can pick it up at all the usual places (like those listed below). Â
CD Baby: https://tinyurl.com/roenschcdbabycloud
Bandcamp: https://tinyurl.com/roenschbandcampcloud
iTunes: https://tinyurl.com/roenschitunescloud
Thanks again to all involved at Tiny Telephone Recording. You are a super-talented crew of dream-makers. John Vanderslice (producer), Jacob Winik (mastering), Carly Bond (guitar, vocals), Robert Shelton (keyboards, synthesizers), Jamie Riotto (bass, synthesizers), Jason Slota (drums, percussion), Crystal Pascucci (cello), and a special guest appearance by Andrew Dixon (saxophone). Big thanks also to Richard Osborn (photography) and Aimee Stevland (art design). Thank you all a million times.
Well, I never thought I’d get to play a song for Shawn Colvin, but that’s exactly what happened at the Frets and Refrains music camp.
After saying “prepare to be slaughtered” as I made my way to the hot seat, Shawn was super charitable in her feedback — as were my fellow classmates.
Other camp highlights included contributing a new jingle (“Welcome to the Chernobyl Big Top”) to a new eco-disaster-themed concept album and performing “Celluloid Dream,” “Don’t Forget to Pack Your Hand Grenade,” “Speak Your Mind,” “Nobody But You,” and “Trigger Finger” for various workshops and audiences.
All in all, a very good time in the Catskills.
