Words and Errata – The Vocal Edition Ep 002
So episode two of the Words and Errata blog (the audio edition) are up on SoundCloud now.
And it’s rather an interesting thing to post these. I’ve always been a talker – getting up in front of people and yapping hasn’t ever been an issue for me. Doesn’t matter the size of the house either. I’ve performed in very large houses. That part isn’t an issue. What is weird for me is that I seem to be of two minds on this whole audio thing. I mean, I love that I am just talking and riffing on topics that are running around in my head – a snapshot capture of a moment in time. Yet, it is still somehow permanent as a piece of my personal history that is out in the digital ether now. Forever committed.
You see, I come from an era where we didn’t do that sort of thing. It was still fresh in everyone else’s minds what having too much information out there about yourself can give over too much power in your life. There was a reason to play things close to your chest. I am not so convinced you can do that anymore.
So today’s ramble is a mental wandering over topics related to the second 3 M/Musketeers Podcast that I am a co-host on that show. We had our first guest author – noted Gay Romance/Erotica writer – BRAD VANCE. I’ve known Brad for a few years now and he’s always been such a gem of a guy to correspond with, and it was truly lovely to hear his voice and interact with him.
If you’ve not read any of his works then I highly recommend that you do. While I discuss Given the Circumstance by him, any of his books are worth buying and reading.
So what am I rambling on this time around?
In this week’s mental musings (after we’ve recorded our FIRST guest author podcast!!)-
1) Episode thoughts with guest author – Brad Vance
2) The referendum in Ireland (wrap up and thoughts)
3) Audioblogging vs written blogs
4) Writing in general (periods of no writing)
5) The business side of writing
6) Successful writing
7) Influences (John Rechy and Gordon Merrick)
8) Alone in a sea of support
9) My semi-autobiography (pits and pratfalls) Boyhood of a Contrarian Nature
10) Gay men as an outlier (the advantage of being so)
I also look forward to Brandon Witt who is on deck for the next episode. Can’t wait to get to that discussion as it promises to be a great one!
So May 29th, Brad Vance will hit the podcast waves. Keep an eye out for it and subscribe via SoundCloud or iTunes.
Until Next Time…
A BIG Heaping Serving of DC #AWESOMESAUCE
So I am all about DC Comics. Don’t get me wrong. Marvel, Dark Horse, etc. — they’re all worthy publishers of great comics. I am a comic geek from way back — back when TV’s were in black and white and the family remote was me (“get up kid and turn the station…” — that sort of thing).
Given that I am over the moon (as I have said since it was first announced) that Jason Momoa is Aquaman!
I FUCKING LOVE MOMOA and AQUAMAN!
It’s a match made geek-boy fandom!
Well the DC universe has been fairly low-key in the cinema realm. Not so for TV. It has only been expanding. I am giddy with the possibilities of where it’s all going to go.
But now we have something that I wasn’t expecting on the rise. LEGENDS OF TOMORROW (coming this fall to the CW)!
If you’ve not seen anything about it (and you’d have to live under a rock not to – jussayin’) then take a gander at this:
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This looks VERY promising for further expanding on the DC universe in TVland. But hey, I’ll blab about it very shortly. I have tons to go through and impart my 2 cents on what it all means.
Just a quick post to let ya all know I am geeking out on the rise in my favorite heroes and heroines of my boyhood years! Can Wonder Woman be too far off now?!
One can only hope…
Until next time…
When Reviews Fail Authors
Much Ado about – Wow, uh, really?
Okay, so bear with me here… I’m mentally rambling on an concept that I want to chew on. Tangents will abound. My sincere apologies if you aren’t quite in the mood for it. Don’t say you haven’t been warned …
So I know people are entitled to their opinions. I know that those comments and feelings that they have on any topic is part of the game. I get that. Having spent a great portion of my life on the stage and having to deal with people’s opinions of the work on offer at the time is part of the gig that I signed on for.
But in this information age I think that it carries far more weight that it’s worth really.
And before anyone grouses out there about my going off on a tangent (you were warned, after all) we all best remember that trolling is a very real thing and can be very detrimental (if not outright scary) when it comes knocking at your door.
The problem is that everyone who isn’t a content creator thinks that their opinion trumps all who came before or after. And sometimes, shockingly enough, touted as being more profound than the creator who did the, uh, ya know: creating!
And I get that we want some sort of feedback as a creator. It is part of the cycle, isn’t it?
But then I read several reviews (and, to be clear, they aren’t all regarding novels, either) where the “review” is little more than a synopsis or a book report of what happened. If we all wanted to know that why would we read the book or see the movie or whatever?
I’ve always said I want an honest review of the work – with all of it’s blemishes and beauty marks as they may be. I am not afraid of criticism – as long as it is warranted. Haters who just love to bash something or do the equivalent of a “drive-by” assassination of the work simply for their own personal aggrandizement or back patting, is rather pathetic and will get an instant cold shoulder from me.
BUT, if you have a specific gripe or take on an element of the work that didn’t work for you – yay you! Doesn’t mean I have to buy into it as its creator – after all it is still my baby. My creation, my world.
So why the rant? Why the extolling and waxing prosaic on trolls, wanna be reviewers, and general haters?
Because I am sort of over the whole “what do you think about it.” At least on a personal level. I think Gore Vidal said it best when it came to the style of a writer:
“Style is knowing who you are, what you want to say, and not giving a damn.” ― Gore Vidal
Great words. I’ve taken them to heart really. But then again, Vidal pretty much has been a beacon of intellect for me – it’s where I ground myself as a creator. So for me, as an author, I am really not so wrapped up in what others think to the point where it could cause me grief (especially if it appears they have an axe to grind with my work or are just generally mean spirited – that sort of muck rises to the top like floaters in the ocean from a broken sewage main).
What I do sort of grouse about is the terrible language that seems to permeate most of those reviews. In one I saw someone wrote that they didn’t like the vocabulary used (when it was clear that they meant dialog – I won’t cite the actual work out of kindness to its “author”). And they went so far as to confuse dialog with inner-monologue. These aren’t esoteric terms, people. And I re-read it several times to make sure that it was dialog that was the intended meaning. It was. But they used vocabulary – why?
Alas, sadly, that wasn’t the only instance.
In a very real way I sort of see the logic of why in traditional publishing they had that whole gatekeeping to qualify for publishing. Agents and inquiry letters were involved. There was a certain symmetry to it. And a real effort had to be made by an author to be heard. Now, not so much. They were there to ensure that the work was of, at the very least, a certain degree of quality. Experts who knew of proper story construct and characterizations.
Now, with the way things are anyone can (and often do) publish their works and are clearly in it for the adoration they think they so richly deserve. Most of the self-pubbed stuff out there is shit – poorly written, constructed and edited (Jesus, are there ever some crap-assed editors out there). And I am not saying this because I’m a Bitter Betty and want adoration coming my way. It’d be nice but it is NOT a requirement on my part. I will write either way. Why? Because I like what I am doing with it. I like putting worlds together, having characters grapple with it all. I love fleshing out their idiosyncrasies and foibles that have them blunder spectacularly to whip up the inherent drama (as a great opera singer friend of mine once said whilst we were backstage waiting to go on: no one ever comes to a happy opera – meaning: drama drives all).
And even in comedy, there has to be a small sliver of pathos or drama to create those peaks and valleys that allow us that a-ha moment of enlightenment that tickles both our funny bone and our intellect.
But for the most part, I think most reviewers voice an opinion to see their own name in print somewhere. Oddly enough, I actually read reviews. Not because I am envious of some other author being lauded upon to the point that brown-nosing is involved. Or as SJD Peterson once told me:
“…to the point where they are blowing so much sunshine up my backside that I get a sunburn from it.”
Yeah, I get that. There are those reviews where the audience member is simply enthralled with the idea that they are in some way interacting with the author on a personal level and need to praise them to ensure their being counted amongst the author’s favorites. And to a small degree, in some instances, that is sort of true (in a slightly, tilt-your-head-like-the-RCA-Victor-Dog sort of way). I mean it is no different than someone gushing over their celebrity crush or admiration for say, Benedict Cumberbatch’s latest work. I may applaud his performance, I may swoon over his choices as a fellow thespian – I may even be so lucky to have half-a-minute to converse with Cumberbatch himself and tell him so. Does that mean my opinion should be elevated because of this? No. I may have interacted with him but in no way does it mean I take whatever he created and say it has anything to do with me (other than a shared experience).
But with books, I dunno. I mean, they are a bit more intimate because it is just you, the reader, and the author who is imparting their imaginary (in the works of fiction) worlds to you. So in a very real way it is an audience of one. I get why so many readers feel a kinship with their favorite writers. But that line does get blurred by them an awful lot.
And let’s be honest here. Most of what is out there isn’t written for longevity in the populace. It isn’t written for posterity sake. It’s fluff – pure and simple. Most of it is written from the firm belief that “this one will crack through and become a big time best-seller.” It’s all about the sale, isn’t it?
The majority of them don’t make it. In fact, most never will. I read somewhere that like the world economy, the author spectrum is that 5% of authors make nearly all of the money made in books while the other 95% scramble for monetary crumbs. Oh there’ll be those fleeting books who find an audience several years or decades later (some even finding their “mass” audience and adoration after its author has long departed this mortal coil).
But it doesn’t mean that the reader has any real claim on the work at all. They may invest themselves in the work, they may even draw analogies from it and liken the experiences of their beloved characters to their own mundane existence, but they are never really a part of the work. Not to my mind, at any rate.
Take my latest, Angels of Mercy. Marco, Elliot and the rest of the ensemble cast have no knowledge of the reader’s part in the story (even if Elliot feigns breaking the fourth wall and addressing the reader directly – yeah, okay, that might’ve been a bad example on my part). They will continue to tell their tale the same way every time the book is opened and someone reads it’s opening line:
“My day at the Q went pretty much like any other day.”
Elliot will always begin the story this way. He won’t alter it for the reader because the reader may be in a particular mood. Those words will be the exact same thing each time the book is opened and read. Period.
Yet, as a reader, those same words can mean a great deal of things given the kind of day they are having. The reader does imbue a part of themselves into it on their part. So I get the connection to the work. But to my mind, and way of thinking, it doesn’t (or shouldn’t) change the dynamic of the work. Unless, of course, that the work was created with the sole intention of selling like hot-cakes. Then we’re talking a sell-out sort of arrangement and not a work that was created because its creator was artistically inspired to create something from a whole lot of nothing.
I get why audiences exist. I get that they will have a takeaway from the experience. But what I grouse about is that there are some pretty fucking stupid people out there who don’t have the life experience (some are born, live and die in the same patch of land they’ve been on their whole lives – how myopic can you get? I mean even a poor man can start walking one direction and be somewhere totally foreign to them within a day), they don’t stretch the meaning of their existence to grow and see what life truly has to offer. In most cases, they just have a general languishing apathy toward anything that would remotely give new meaning to their existence – save for the random book or movie they might experience.
Unfortunately, those are usually the same individuals who feel compelled to write about works as if they have something to offer in the conversation. I come to this conclusion because of people I’ve talked with who are avid readers but purposely do NOT review the books they read. Why? Because they either don’t have the time or the inclination to share their ideas with anyone else. They are in it (reading) for their own personal gain or pleasure from it.
So what are we left with? Book report reviews (seriously, I saw one that made a feeble attempt at a real review by writing a small and concise synopsis of the work before their actual review – thankfully they did their best to avoid spoilers for any blog/review readers who might happen upon the piece). Yet when they moved on from that brief book report, the actual review consisted primarily of expounding upon the synopsis they just wrote- thereby completely negating why they wrote the synopsis in the first place, leaving the last few sentences as bread crumbs on actually reviewing the work at all.
What are my author pal’s takeaways from it? “We don’t read them unless they’re great.”
Yeah I get that. It’s a lot of hard (and often very lonely) work that goes into them. Appreciation is nice if just for the – “wow, you really did that, didn’t you” sort of thing and not necessarily because it has any real entertaining value to it. Purely an appreciation of the mechanics and effort involved. And that’s a very good thing to feel from others – just an acknowledgment of the accomplishment of finishing it.
That’s great! Well done, you!
Fabulous words to hear, indeed. But the rest of it? Eh, not so much. Then there’s the added issue of authors who have padded reviews. Works that are reviewed by readers who just laud the work when it’s only been out for a day or so. Wow, uh, really? I mean when I released Angels of Mercy – Volume One: Elliot, one other author had 7 reviews ON THE SAME DAY OF RELEASE?! How in the fuck is that possible? I mean I know there are beta readers but seriously, this author writes a “book” every couple of weeks. I’ve read one of them – not much to get worked up over. Very thin plot, weakly drawn characters (despite how many fans were gushing about the powerful writing involved).
Seriously, is the bar that fucking low, now?
Perhaps that’s why the life-experienced deprived individual has a voice now. Because the works themselves are not very meaty to begin with. And the brevity of the works… what’s up with that? I can’t be bothered with a short novel. I know some love them. I am not of their lot. Not by a bloody long shot. Hell, I wrote HO’M,O – Henry O’Malley, Omega (a.k.a. – The Shrill of Sparrows (thanks Amazon for that clusterfuck of titles)) as a short novel and it KILLED me to be so damned curtailed in the writing. While I don’t think the story suffered from weakness in the prose because of this, it isn’t what I would’ve originally done. But it was a NaNoWriMo story so I knew it was going to be short as it was written in a month as part of the NaNoWriMo challenge.
But yeah, maybe the rise in mediocre reviews is because there is a lower standard of the works that are out there. I don’t know. I do know that by and large, I am somewhat disinclined to just buy a work because it’s on the cheap and got a boat load of 5 star reviews. Though I am just as guilty of playing the 5 star game. And it rankles me that I do. I struggle with it constantly. But I hired a mainstream promo group and they’re all about the self-promotion as my part in the game – I paid good money for it so I gotta be “all in.“ I bargained for that when I hired them so yeah, guilty as charged on that score. Actually, if it’s on the cheap that is usually a BIG red flag for me. Not saying it has to be worthy of competing with a bracelet from Tiffany’s where price is concerned, but a 99¢ priced novel or novella isn’t going to make me want to buy it on price alone. I played that game early on with my e-reader and have a ton of books I’ve tossed aside as unworthy of my attention.
Instead I’ll read crap-assed review after crap-assed review until I find one that I think is well written and THEY will be my barometer of whether it will interest me or not. In most cases I am simply disappointed that 95-98% of the reviews out there hold very little resemblance to an actual in-depth review that takes a serious look at the work at hand.
And that’s a real shame. I maintain that I will always trade thinly written 5 star reviews for a single gay or questioning boy who decides what I wrote spoke to him and his world – that I made that sort of connection to someone else, who like me, was desperate for a voice to say – You’re okay kid. Things are gonna be okay, somehow. Confirmation that my world, as imaginary as it might be, gave him a bright beacon of light to find a way in his own. That review may not be the best written, but if I can get a strong sense that it’s written with heart and deeply felt? Yeah, that’ll get my vote every time. I look for those reviews. I may write for me. But I also write for that guy and it’s those reviews that matter to me most.
Until next time …
Don’t forget about the rafflecopter author giveaway (I am taking part in this event) – to benefit LGBTQ charities and causes. Adding our voices to combat bigotry and homophobia.
Displaced Queer Youth is at an epidemic level. We need to do whatever we can (if you can’t give money then tweet and blog the event to other social media outlets and networks). Do what you can to get involved and help these youngsters find some place safe and supportive to show them that their lives do matter.
Thank YOU for your support!
Pre-Release Album Review –
Steve Grand’s “All–American Boy“
Official Release Date – March 24, 2015.
Music is truly the universal language. As a word-smith and a former opera singer myself, I often use music as the inspirational source of my own works. Steve has already been there for me once with my werewolves of Sparrows Hollow. With the release of his first complete album, I think I may have found a musical landscape that I can root the main character of another work of mine – Angels of Mercy.
So onto the review:
Is it possible to produce a seminal work on a first offering? Without a doubt this offering by Steve Grand makes a very strong case for it.
Mr. Grand hasn’t just delivered on his promise to produce an album worthy of crowd sourcing; he’s set a very high bar for those who follow. All-American Boy is not only a brilliant artistic offering, but it is also worthy of going down in the annals of gay history as truly emblematic of what we, as gay people, can bring to the table – both creatively and emotively. Steve hasn’t only amassed a brilliant and often times hypnotic work, his lyrics are purposeful and thought provoking. There is a strong emotive core through the work from the first track to the last.
Simply put: there isn’t a single weak track in the lot.
There is an infectious and emotive quality here that transcends the work – a positivity of what living honestly can bring out in a person. All-American Boy is a work that we should all be proud of, whether you were a part of his dream or not, because the prose and melodies will resonate for some time to come – he has captured what is core to us all, no matter what orientation you may be or how you self-identify. All-American Boy is at times bold (We Are The Night – FINALLY we gays have a quality anthem of our own), unapologetically audacious (Run), reflective (Back to California), to outright sexy (Soakin’ Wet).
The songs here are indicative of our hopes, our fears, our loves and our losses. They represent the many facets that make up the rich and vibrant tapestry of our community – an often times well-worn with feelings of euphoria of first/new love (STAY), crushing blows of unrequited love (All-American Boy) or somewhere in-between (Lovin’ Again) that we immediately connect with the work. Steve is a master wordsmith and a wizard with pop hooks that deep dive into who we are as gay men, or by distilling it even further, as people within the scope of humanity.
In one breath he will flash the honesty of how we live our lives as gay men but then as quickly as it comes, he moves onto an emotion or visualization that anyone can connect with. Why this is so important is that Steve is drawing a line to how being gay is merely a facet of who we are, that it is only one element that makes each of us as priceless as a Stradivarius. He deftly speaks to both, while wrapping you in a wall of sound that is instantly reminiscent of the classic sound of Philly from the sixties as it is fresh and modern of today. I think this is Steve’s strongest suit – he clearly knows what threads to pull on within ourselves, within our shared human context and emotive cores and he weaves a wondrous musical tapestry that belongs along other monumental offerings throughout the ages (Carole King’s Tapestry, immediately comes to mind). That this is his first official offering is truly awesome to hear and speaks to a journey that only shows a bright future ahead.
The collection of production talent Steve has entrusted his baby to are all to be commended on a vibrant and engaging effort. The band is spot on and never lets up emotively even if they do so musically for effect.
I, for one, cannot think of a better way to have spent my money than on Steve’s project. Truly the emotive dividends it will repay me over the years have no measure or value you can place upon them. They are immediately priceless as they are unabashedly presented – honest, true, and adeptly woven. This is music that draws upon nearly every facet of the collective American songbook. As an older cat in the gayborhood, and a writer and musician myself, I am grateful that as I see my golden years before me that we are leaving our future stories in such capable and loving hands. I am honored to have been a small part of his dream. The project has exceeded every hope I could have for it and Steve’s generosity and sheer brilliance of spirit bubbles to the surface of each song like luxurious cream in a good cup of joe – both familiar and inviting all at the same time. This is a brilliant and defining moment for Steve and crew. I hope they are truly proud of their effort, because the effort couldn’t be brighter than 10 or 10 million supernovas in the heavens above.
The only draw back? I want more.
Onto the track break down:
So why do you think I have any reason to post this sort of track-by-track review? Well, as I’ve stated above in my summation, I was a Kickstarter backer to the project. So in a manner of speaking, I was a producer. Certainly not a high-roller, mind you, but a producer of sorts, nonetheless.
Additionally, I was a DJ during the 80s and 90s and have a massive vinyl and digital music collection. I followed the music rags religiously (back then), am a classically trained (union card carrying member – under a different name) opera singer, and I am a novelist/author. Word-smithing is my game. I am also an honest, out gay man who writes about our lives in a literature format. So I think that gives me a certain degree of cred to speak to this work.
Oh, and sidebar – can I just say “YAY!” for an album that doesn’t FADE OUT at the end of each song? I LOVE that about this album! Ready-made for live performance. Bang on brilliant in my book!
But enough about me. This is about Steve’s offering – so let’s get to it shall we?
Track One: Say You’ll Love Me
Admittedly, while I am generally beyond pleased with the entire offering on this album I was a bit surprised that this was the first track (initially, that is). Not that it is a bad song. As I’ve said already there really isn’t a weak track in the work. But Say You’ll Love Me does do one thing from nearly the first note – it hooks – instantly bringing to me those long car drives that you instantly want to sing along with. The beat is infectious and begs rapping your hand on the steering wheel (not that I advocate being distracted while driving – just to be clear). But the lyrics hit you square in the face with the opening line:
“Close the door,” he says,
“This will only be a minute.”
But sometimes minutes can get
caught in suspension.
Immediately you’re caught up in the moment. He’s put you square in the central character of the song, a place many of us have been before – love of a good friend that goes unrequited (in this instance because the guy in question is straight – and so many gay men have been in this exact position (sometimes more than we want to admit)). Where the title track of this album wallows a bit in the pain of unrequited love, Say You’ll Love Me speaks clearly of the promise of the road not taken. This song is straight up novella – it is short, concise but never wavers in deep diving into those painful and complicated moments we all have had when a love isn’t returned. The licking of wounds to make things last, even if it isn’t the outcome you’d like.
Musically, this one is a roller-coaster ride of the wonderment that can be if the road were taken – if societal conditioning and norms didn’t preclude honest conversation between two caring adults. So you get the dreamlike state of being when Steve soars with the possibilities of what could be if the guy in question would say yes. But like Icarus, the dream dies during flight and we’re cast back down to the reality of it all and the soaring chords and drums are quelled so Steve can rebuild his case to offer something else. It’s all for naught, but the vibrancy and soaring dream is a lasting one long after the final chord is struck.
In the end, I realized after listening to the whole album, there really couldn’t be any other choice as the opener. The intimacy of his friend telling him to “close the door” is like a deep musical journey we’re all about to begin. So you schooled me on that one, Steve. Excellent choice – I stand corrected.
Track Two: Red, White and Blue
The pain of love on the rocks rings true here. The melodies and musical choices are reminiscent of classic Mellencamp, with a smattering of The Knack, INXS or Springfield while bubbling along with the sort of songs that were prevalent during the eighties. This is music that is timely as it is timeless. The hand-claps are a brilliant touch that connects us all to our collective musical and emotive pasts where being in bad relationships that flashed and burned ruled our hearts only to find ourselves trying to hang onto something that probably shouldn’t be but we can’t help ourselves. I mean, c’mon – haven’t we all had those bad boy relationships? Yeah, well pour another whiskey and let this one play – this is our new theme song.
Track Three: We Are The Night
Okay, sidebar here – I played this for my granddaughter who recently had a boy in her school tell her he’s gay. They’re thirteen. Now, to be honest, I’ve told her that she should get herself a GBF because they can both get through the hellish years of high school together. Told her that’s how I did it, and she could too. So when her friend at school in her class, who knew she had two gay granddads as we are quite active at her school, came out to her she was ecstatic that she had her GBF. They’ve sort of been inseparable since then. It’s a lovely thing to watch. So that’s the setting for what I am about to say with this song.
WE QUEERS FINALLY HAVE AN ANTHEM TO CALL OUR OWN! (Yeah, I am sorta screaming that to the sky).
And let’s not mince words here: this is for ALL the queer youth/community out there that need EVERY ONE OF OUR VOICES of support and love. Well, Steve has definitively laid down the gauntlet on the best way to proclaim we’re here and we have to really support one another. This is a fantastic song for reasons that go way beyond the scope of just being gay, or bi or whatever. It is for all the kids and adults who have always felt on the outside. This is a song for the rest of us. This is the song I would have cried over coming back to me from my headphones (okay, I teared up a little just remembering my hellish teen years that happened so long ago). This song would’ve been so welcome in my small insular world back then. I know it was a different era, but Steve, this song healed that young, confused 16 year old me who was trying to sort out what it all meant. You’ve gone a long way to putting those terrifying and lingering feelings to rest. I can’t thank you enough for these healing words. That you include the spoken part that addresses and includes the trans community at a time when tolerance, understanding and most of all, support and love is desperately needed for these amazing and vibrant people is truly a lovely thing to behold.
Aces in my book. Nothing short of it. This is a song for the ages.
Easily, with one exception, my absolute favorite track on the album (which I’ll come to anon in this review – just keep my granddaughter and her GBF in mind when I get there, okay?).
Track Four: All-American Boy
Now we’ve come to the track that started it all.
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There isn’t much to add here other than this one is a classic already just because it is firmly entrenched in the collective musical consciousness of those who were deeply affected by the song and the powerfully drawn and produced video that began this journey for everyone involved.
No words can adequately express the importance of this song in this album. There was no other way to bring this project to life without giving this titular song its well-deserved and proper due.
It has an infused church-like gospel quality that speaks to the soul and spirit of love, whether accepted or left unrequited. It is what we all strive for and whether successful or not, we strive to carry it forward despite the wins or losses along the way.
Track Five: Soakin’ Wet
Rick Springfield, much? Okay, but you know what? Unlike that classic rock song, this one reeks of sexiness that tosses caution to the wind and just revels in the euphoria of the moment. The way the second verse comes back to you from the raucous and driving chorus is like a memory that has been lingering too long in the dust of time only to slam you in the face with memories and feelings you thought you forgot about until (in the case of this song) “he’s” back. Yeah, this is full-on clothes off time folks. Water, wet exposed bodies and heartfelt memories that goad you to do something completely rash and in the moment that you can’t help yourself and just runaway with it all – this song captures that moment wonderfully without crossing the line to being too pop or schmaltzy. It’s infectious and brings a little summer fun in the dead of winter. A bright and bouncing beat and melody that will have you humming and singing along like you knew this song from way back and like the memories of the two characters in the song, you might even find that you think Steve had planted this in our heads a long time ago and only now just pulled it to the fore and we all go – “Oh yeah! I remember this one…” It’s eerily that familiar.
Classic and new in one package. Full-on awesome-sauce.
Track Six: Lovin’ Again
This one was a delightful surprise. It has a subtle jazz influenced verse line that exhibits Steve’s broad and adept reach into different aspects of our collective American songbook. It has all the impact of classic Billy Joel and those classic rock anthems of love gone awry and how the heart will have what the heart wants even if it is the worst thing for us. The backing vocals are a lovely if simplistic element that give it that rock anthem feel.
Track Seven: Whiskey Crime
Okay, so before I got to this rustic gem I was sensing that Steve had a theme going here. Does the guy get a kickback from every time he mentions whiskey? Seriously, bro – wtf? I mean I like Diet Coke (sorry don’t imbibe here as it is a serious issue with Native Americans) but I don’t think I would set so many songs with it. But hey, that’s just me, I suppose.
That being said, I have to say I love this track, mostly because of its rustic honky-tonk feel. It lends itself to the bar-back doubling as your psychiatrist. The only downside? I am not sure the mix with the backing vocals is where it needs to be. I think a little more forward with them would have balanced the mix a bit better. I am willing to concede that not having heard it but I think they are getting lost in the mix – especially since they are shown to brilliant effect as the opening to the song.
Track Eight: STAY
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Well, now he’s gone and done it. This one is the best example of what Steve does so well. He calls up so many elements of our rich musical past and gives us something for everyone – no matter what your musical tastes have been to this point. This is a full-on party song about the discovery of new love. I loved this song so much I mention it in one of my books (Angels of Mercy – Volume 2: Marco (shameless plug below, so sue me: it’s my blog)). The reason for including it in my own works? Well, it’s mostly because this one was released shortly after the viral video storm that was All-American Boy. Everyone was expecting country again and when it first starts with the mandolins you think – okay, yeah. But then we get horns and claps and all sorts of elements from differing walks of our musical life.
It captures how that wow factor moment of being caught up in someone new to where you don’t see much beyond them because they shine so brightly is what drives this song home emotively. Unlike Whiskey Crime the backing vocals here are spot on and are fully present in the mix. They immediately call up the exuberance of youth and of new love – where everything is just amazing and wonderful. It beckons you to stomp your feet, clap along and join in the chorus. You can’t help yourself – it’s simply that good. My summer song is set – for this year or any other.
It made such an indelible impression that I mention it in my own work. Stay will do just that – STAY.
Track Nine: Next to Me
While not a weak number, this one is a small diversion from the other tracks in that it is rather light on the lyrical element and plays to our baser desires – which isn’t a bad thing. It’s a fun song that will no doubt be a crowd-pleaser when performed live. This song begs for live performance – a crowd stirrer of the highest order. I can already see the audience jumpin’ around in a happy frenzy as Steve calls the shots from the stage.
Titillatingly Magical …
Track Ten: Time
Nothing hits closer to home for an audience than story-telling songs. They are part of the collective consciousness and are easily the most enduring. Here the lyrics take on a poetic quality – descriptive from the heart. This isn’t headspace talking here; it’s what the heart wants. It’s what the heart remembers. It’s what we want to remember most – even after a breakup. You want to hold onto those things that made it all worthwhile.
The mix of this song is really quite lovely. The balance is spot-on. I even loved the synth keyboard string arrangements (thank God the mix held it back from sounding like synths playing strings! Coming from a classical background I am all about REAL string sections but understand when budgets won’t allow for it. I just can’t stand synth strings that scream: hey, I’m playing fake strings here! It’s like nails on a chalk board for me. This mix carefully avoids that mishap).
Track Eleven: Better Off
Love lost. Yeah, we’ve all pretty much got our war stories there. This is very much like an ethereal ode to the death of love, the parting of ways, the rising above the mean and harsh words that often accompany a break up. It’s often a foolish exercise in how petty we can be in life. Nothing hurts more than love gone sour – no matter where the source of that love springs from. Steve sets this poetic ode to love-lost in the cosmos because it is a collective story that we can all relate to. It is expertly drawn and deftly executed. The mix of the song gifts you with an aural layering that the song requires to drive the expansive emotive message home.
Track Twelve: Run
I read somewhere that Steve wrote this on the porch of a friend’s house one morning with a bottle of whiskey (would it be anything else? I mean, c’mon, really?). This one is where the inexperience of youth rears its often ugly head. Where the “I don’t give a shit” rises and tries desperately to drown out the noise that surrounds them to the point of going bat-shit cray-cray. What else is there to do but Run? (Like how I worked that in? *cue rim shot* Okay, I agree. It’s smarmy – I’ll stop now).
The song is driving from the moment the first notes are struck and it never lets up. Like the flash in the pan a youngster can go through (James Dean, River Phoenix or Heath Ledger are just a few well-known instances that come to mind) where that mentality can also lead to a tragic and oft times untimely end. It is as much a cautionary tale as it is an anthem to the audacity of youth. It’s brash, it’s harsh and totally in your face unapologetic. But we were all there at one time. I look back now and think – what the fuck was I thinking? Yeah, some truly monumental moments of epic fucked-upness in my closet. This song brought all of that to the fore. Gee, thanks Steve! (<— Just Kidding)
Track Thirteen: Back to California
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Okay, remember that little side story I told you about my granddaughter and her new GBF? Yeah well this afternoon I played her the video for it. The song took on a whole new meaning for me (and by extension for her). I’d seen the video before but it didn’t distill itself with such clarity and soul cutting bite as it did this afternoon.
I put it on for her to let her see how a story played out between a teen girl and her GBF. Whether this was an auto or semi-biographical moment that Steve actually went through or not is almost beside the point (no disrespect to the author – I am all about your words, Steve – as an author I sincerely mean that in ways you just don’t know). No, what was of import here was that as she watched it, she began to draw her own conclusions of what the possibilities for her and her new GBF have in store for them both.
She’s spending the night over at his house as I write this. So while I commend Steve for putting this together (maybe even from his own past) I found I used to think about the girl in my life that was my bestie back in the day and how we did everything we could to keep each other sane throughout high school. Only now, having watched my granddaughter watch the video and its message and watching her eyes lighting up with where it could go for the both of them, I saw something truly magical take root. The torch was being passed to another generation of gay boys finding a girl they can confide in and hold close. I am truly proud of her for being there for him. He’ll need her loyalty more than he knows. Thankfully, his family is fully supportive, so no danger there.
So yeah, out of all the songs on this album this song means the most. It is the most sentimental for reasons that transcend the offering here. But that’s what makes the whole project so brilliant and all-encompassing. It is a body of work that stands individually but when combined is a powerhouse of creative spirit and musical expression.
So are there any drawbacks to the album? It can’t ALL be positive, right?
Okay, I’ll grant you. Some of the mixes weren’t what I would’ve done but those are creative choices by the team that Steve surrounds himself with. I have to respect that – and I do. Deeply. As a content creator myself I am all about respecting the craft of others.
There is a single thing I thought was missing though – a simple piano and voice piece. Back to California is a truly lovely piece, my favorite as I’ve explained earlier, but there is something so gripping about a singer and a solitary instrument that was lacking from this album. That’s not a bad thing in and of itself, I just found I would’ve liked this one pit-stop somewhere to quiet things down a bit. The wall of sound can be overbearing at times – despite the masterful musical breaths the songs take within themselves. A simplistic element, letting Steve shine as solo, was something I found wanting from the work. Perhaps next time he’ll grace us with such an offering.
The studio musicians (whether they are Steve’s actual performing band or not) were all expertly chosen which only elevates the work to a prominent level, easily putting it on par with larger studio offerings and in my opinion, easily exceeding the miasma of over-processed work that is flooding the market. Steve is a brilliant and engaging personality. He is thoughtful and respectful of our collective gay history, he has a steady eye to his future but knows that there is no sense of entitlement, he is all too aware that his current rise is on the backs of those who were courageous before him. This is why I respect this man and his dream so much. Our lives and loves, the efforts we put into reaching our own equality are in very capable hands with Mr. Grand and his crew.
As an older cat, I gotta say – “Dayum brotha – you really got it goin’ on, don’tcha?”
At the time I wrote my (soon to be released – 4/1/15) first epic work, I reached out to my other musical muse, Jay Brannan who allowed me to quote from his works in my novel Angels of Mercy Volume One – Elliot (it’s about an out but terminally shy artistic gay young man in his senior year who does everything he can not to be seen, suddenly finds himself in the arms of the highest profile jock on campus). Jay was kind enough to allow me to quote a line or two of his songs in the book as my main character is emotively rooted in Jay’s darker aspects of gay life (he’s a gay fanboy for Jay).
So on balance I wanted Marco (his jock boyfriend) to have someone else to root himself in. With All-American Boy, I think I’ve found that album. Marco is a quarterback at the high school and I could totally see him digging what Steve’s message is all about. I already have him mentioning the song STAY in the work. But now he too can root himself in a musically emotive core. So thanks Steve. I know you were an inspiration for my werewolves of Sparrows Hollow (my first release) but now you’ve given me a broad canvas to emotively write about a jock who never wavers in his love of the boy who always questions if what they have is real. Is it true? Because gay boys often have to do that to stay safe. The world is changing; we are evolving (even if, at times, it appears we take just as many steps back as we do forward). But I write from the same source as Steve and Jay do: about our collective experiences, about our lives as we live them, with an eye to our future but mindfully respectful of our shared past.
Until next time …
Angels of Mercy – The Print Edition Cover Reveal
I’ve waffled enough on this. To release it or not. Look for a lit agent or not. Traditional pub or not. I went back and forth so many times I started to see myself coming. I’ve tugged on my beta readers like you can’t imagine – trying to think through every permutation I could come up with to getting it out there. The print edition is a whopping 540 pages! I just came to the conclusion that no traditional publisher was going to touch the work because I am so new, so untested in the market place.
And ultimately, I knew I wouldn’t compromise too much on the work as it is. I’ve edited the hell out of it, shaving close to 60K words from the original version and it is still a large book. But others have previewed it and said they can’t think of a single thing to cut/edit. Everything in it is relevant to Elliot’s voice and the story he has to tell.
And it is Elliot’s voice in this book that I must honor! <— (You’ve no idea how much I need to defend that last line.)
Elliot and Marco’s story is a deeply personal one. It was one of the fastest works I’ve written (just over several months). Yet the torture I put myself through on whether or not to release it was mind-numbingly overwhelming at times. I knew it was edited and is a very clean manuscript.
But it has so many things that several people who’ve been self-pubbing told me were no-no’s: it ends on a cliff-hanger. It isn’t a M/M romance genre read. It doesn’t fit the mold even though it is one of the strongest stories about two men loving one another with all the trials, tribulations and utter euphoria of first (and in their case) lasting love that I believe is out there.
Will it ever find a readership (the one I know it deserves)? Who knows? I know that my debating it has got to stop because that is what will ultimately kill it before it has a chance to fly. Elliot must see the light for himself now. My boys must fly.
On the wings of Angels …
So without any more waffling – I give you the print cover release as it stands right now with CreateSpace (Amazon). I hope to release it late this month or early in April. Fingers crossed. The work might cost a small fortune in printed form. So yeah, there’s that to consider. I just don’t want to compromise what my boys have to say. It is what it is.