It's Scary in Here
Someone once said they would kill themselves if they were ever inside my head, and that is where the title for the album comes from. It's not all that scary, but it is an interesting place. I tend to write instrumentals, but most of these pieces needed the lyrics to tell their stories - a little boy named Tic-Talk who tries to fire his grade school teacher; another one who is a willing accomplice in his father's armed robberies. Embarcadero/Mary Lightly/Rondo - a rock sonatina for San Francisco. Sometimes I think the pieces write themselves. I try to concentrate on the musicality of the pieces more than anything, but then I try to make them rock - and then I'll throw in a 180 degree directional change. "It's Scary In Here," is my 3rd full project, and the best I have done, to date. It started as about twenty pieces, and through the writing, rewriting, recording, and mixing, became the twelve pieces comprising the whole project. From start to finish it took about fourteen months. From a genre standpoint it is somewhere between classical music, rock, and progressive rock, but I intentionally kept the pieces shorter and listenable so as not to lose the listener's interest, hoping to pique their curiosity for the next piece. Under all of the tracks, guitars, bass, drums, and everything else making up each song - at the heart of it, is a piano - but it's hard to miss the amped Hammond organ taking over every so often - it's the Deep Purple and ELP influence kicking in. So, the piano is not always the most noticeable instrument - maybe barely heard at all, but the pieces are inevitably built around that, as the core instrument. There are a couple real guitar pieces - "Daddy's Car," is very much built around a twelve-string and Fender strat. You can hear a little Peter Green/early Fleetwood Mac influence in "I'm Scared Of Bohemians," while "Tic-Talk," and "Hound Of The Baskervilles," have some very upfront synthesizers. "Mary Lightly," is the sounds of Haight-Ashbury circa 1967 - The Airplane, The Byrds, It's A Beautiful Day. Someone said it sounded like early Beatles. I think they're wrong, but what a great compliment. The album was mastered by Mike Wells at Hyde St. Studios in San Francisco, which is where many of the classic San Francisco albums were recorded, and what a treat it was for me to get to feel, for just a little while, that I was part of that. I hope you like it.