Post by michael on Oct 10, 2005 0:48:40 GMT -5
This is the second installment of background stories concerning my songs from "Surface Tension" . I have a long-standing promise to friends and fans to share these details. With this forum I can make it happen.
Please note that these details are mostly pulled from the diary I kept during those days. Here, I will include some details about the recording process, participating musicians, guitar gear used and word for word excerpts from my diary. At the bottom of these pages will be pertinent links.
I will post the diary in it's entirety sometime in the future.
I Feel The Winds Of God Today
Traditional, arranged by Michael Earhart
Origin of the tune:
The melody of this tune has been around for a long time, and has at least one other title, “In The Fen Country” arranged by Ralph Vaughn Williams. There is also a tune by Van Morrison (I forget the title) that has this melody.
Here are the lyrics of this tune, composed by Jessie Adams in 1906:
The protaganist represented in these lyrics strikes me as a lonely soul. It has a bitter, mournful quality to it. This is someone who is leaning entirely on God, not because it is the right thing to do (it is, of course), but for lack of a friend. I wonder what happened to him that caused this exile to the sea? Or am I completely off base here? Let me know what you think.
In the studio:
This song started and finished quicker than any other on the album, but that’s not to say there wasn’t trouble.
My biggest problem in the studio was my ego. I thought I could make do without a click track. I could not have been more wrong. I discovered to my dismay that I have a broken internal clock, and this tune, like many others on this CD, really managed to drive home the point of using a metronome when practicing. My desire to record without a click track was poorly thought out and poorly executed. I thought that the songs would sound more life like without a precise pace. The opposite is actually true. If the tempo is consistant, there is freedom to play wherever one wishes; on the beat, behind the beat, etc. Never again! I always use a click now.
I try to make an issue of this to my students as well; a metronome, properly used, can be a musician’s best friend. Guitarist Pete Hutlinger said it best: when practicing with a metronome don't just have it on and moving in the background; listen to where the beats are falling, and play there.
Back to the tune: the middle section that moves simply from A flat minor – G flat minor – F flat minor was improvised on the spot. I liked the feel of it, so I left it in.
Guitar talk:
Performed on the Taylor 414CE, tuned down a half step. The intro sound of the wind blowing and the chimes were created using a Roland GR-30 guitar synthesizer with my GK-30 equipped Parker Fly Deluxe acting as the controller.
On a side note, I was performing this tune at a Starbucks in Arlington, Texas about a month after the CD release and a pretty lady sitting at a table right next to me sang the words in a beautiful contralto, softly but with authority, as I played it. I re-arranged the tune right there and then, just in case she knew the words to all of the verses.
She did.
Man, experiences like that motivate me to keep on doing this. I got goose bumps listening to her. I felt privileged to have been a part of the music that evening.
August 7, 2001:
The third tune, ‘Winds of God’, was next, and boy do I have timing issues! Not to mention accuracy issues. That song took the rest of the afternoon to complete, and I’m not sure I’m going to keep what I have. I’m still listening to it. Nick came up with a great plan for this song, after several false starts. We broke the song down into sections and I concentrated on playing each section ONLY, and by letting the last note die gradually, and by punching me in close to the end of each section, we were able to piece the song together bit by bit. I recorded 4 verses of the song, doubling up on the guitar parts in some sections (THAT sounds good), and I added a rhythm/strumming part that I’ve never done before. I had to stop and write down the chords at one point, because I was having trouble remembering them! I also put a resolve on the end I’ve never played before and it sounds real good.
Nick is really getting into this recording. He says it is so much different from what he is used to, and the music is really speaking to him. He also says I’m the best guitarist he’s worked with yet, but that is real hard to believe...
To purchase "Surface Tension" (featuring "I Feel The Winds Of God Today): www.cdbaby.com/cd/earhart
Taylor guitars: www.taylorguitars.com/
Roland:www.rolandus.com/
Pete Huttlinger:www.petehuttlinger.com/
Starbucks:www.starbucks.com/
Ralph Vaughn Williams:www.rvwsociety.com/
Van Morrison: www.vanmorrison.co.uk/
Please note that these details are mostly pulled from the diary I kept during those days. Here, I will include some details about the recording process, participating musicians, guitar gear used and word for word excerpts from my diary. At the bottom of these pages will be pertinent links.
I will post the diary in it's entirety sometime in the future.
I Feel The Winds Of God Today
I Feel The Winds Of God Today
Traditional, arranged by Michael Earhart
Origin of the tune:
The melody of this tune has been around for a long time, and has at least one other title, “In The Fen Country” arranged by Ralph Vaughn Williams. There is also a tune by Van Morrison (I forget the title) that has this melody.
Here are the lyrics of this tune, composed by Jessie Adams in 1906:
I feel the winds of God today; today my sail I lift,
Though heavy, oft with drenching spray, and torn with many a rift;
If hope but light the water’s crest, and Christ my bark will use,
I’ll seek the seas at His behest, and brave another cruise.
It is the wind of God that dries my vain regretful tears,
Until with braver thoughts shall rise the purer, brighter years;
If cast on shores of selfish ease or pleasure I should be;
Lord, let me feel Thy freshening breeze, and I’ll put back to sea.
If ever I forget Thy love and how that love was shown,
Lift high the blood red flag above; it bears Thy Name alone.
Great Pilot of my onward way, Thou wilt not let me drift;
I feel the winds of God today, today my sail I lift.
Though heavy, oft with drenching spray, and torn with many a rift;
If hope but light the water’s crest, and Christ my bark will use,
I’ll seek the seas at His behest, and brave another cruise.
It is the wind of God that dries my vain regretful tears,
Until with braver thoughts shall rise the purer, brighter years;
If cast on shores of selfish ease or pleasure I should be;
Lord, let me feel Thy freshening breeze, and I’ll put back to sea.
If ever I forget Thy love and how that love was shown,
Lift high the blood red flag above; it bears Thy Name alone.
Great Pilot of my onward way, Thou wilt not let me drift;
I feel the winds of God today, today my sail I lift.
The protaganist represented in these lyrics strikes me as a lonely soul. It has a bitter, mournful quality to it. This is someone who is leaning entirely on God, not because it is the right thing to do (it is, of course), but for lack of a friend. I wonder what happened to him that caused this exile to the sea? Or am I completely off base here? Let me know what you think.
In the studio:
This song started and finished quicker than any other on the album, but that’s not to say there wasn’t trouble.
My biggest problem in the studio was my ego. I thought I could make do without a click track. I could not have been more wrong. I discovered to my dismay that I have a broken internal clock, and this tune, like many others on this CD, really managed to drive home the point of using a metronome when practicing. My desire to record without a click track was poorly thought out and poorly executed. I thought that the songs would sound more life like without a precise pace. The opposite is actually true. If the tempo is consistant, there is freedom to play wherever one wishes; on the beat, behind the beat, etc. Never again! I always use a click now.
I try to make an issue of this to my students as well; a metronome, properly used, can be a musician’s best friend. Guitarist Pete Hutlinger said it best: when practicing with a metronome don't just have it on and moving in the background; listen to where the beats are falling, and play there.
Back to the tune: the middle section that moves simply from A flat minor – G flat minor – F flat minor was improvised on the spot. I liked the feel of it, so I left it in.
Guitar talk:
Performed on the Taylor 414CE, tuned down a half step. The intro sound of the wind blowing and the chimes were created using a Roland GR-30 guitar synthesizer with my GK-30 equipped Parker Fly Deluxe acting as the controller.
On a side note, I was performing this tune at a Starbucks in Arlington, Texas about a month after the CD release and a pretty lady sitting at a table right next to me sang the words in a beautiful contralto, softly but with authority, as I played it. I re-arranged the tune right there and then, just in case she knew the words to all of the verses.
She did.
Man, experiences like that motivate me to keep on doing this. I got goose bumps listening to her. I felt privileged to have been a part of the music that evening.
Diary Excerpt:
August 7, 2001:
The third tune, ‘Winds of God’, was next, and boy do I have timing issues! Not to mention accuracy issues. That song took the rest of the afternoon to complete, and I’m not sure I’m going to keep what I have. I’m still listening to it. Nick came up with a great plan for this song, after several false starts. We broke the song down into sections and I concentrated on playing each section ONLY, and by letting the last note die gradually, and by punching me in close to the end of each section, we were able to piece the song together bit by bit. I recorded 4 verses of the song, doubling up on the guitar parts in some sections (THAT sounds good), and I added a rhythm/strumming part that I’ve never done before. I had to stop and write down the chords at one point, because I was having trouble remembering them! I also put a resolve on the end I’ve never played before and it sounds real good.
Nick is really getting into this recording. He says it is so much different from what he is used to, and the music is really speaking to him. He also says I’m the best guitarist he’s worked with yet, but that is real hard to believe...
To be continued...
To purchase "Surface Tension" (featuring "I Feel The Winds Of God Today): www.cdbaby.com/cd/earhart
Taylor guitars: www.taylorguitars.com/
Roland:www.rolandus.com/
Pete Huttlinger:www.petehuttlinger.com/
Starbucks:www.starbucks.com/
Ralph Vaughn Williams:www.rvwsociety.com/
Van Morrison: www.vanmorrison.co.uk/