Words and Errata – The Vocal Edition – Ep 001
Words and Errata – The Vocal Edition – Ep 001
SA Collins – Words and Errata – The Vocal Edition
So our first show is in the can and has been getting quite a few listens (not in the hundreds or thousands yet, but it’ll get there. Of that I have no doubt).
If you haven’t listened to it and you have a penchant for reading M/M (Gay) Literature Fiction, then why aren’t you listening to it? It’s all we talk about!
https://soundcloud.com/3mmusketeers/3-mmusketeers-podcast-ep001-all-for-fun-and-fun-for-all
At any rate, one thing each of my co-hosts (Jayne Lockwood and Vance Bastian) and I wanted to do was post our thoughts after a given show is released. Sort of riffing on where our heads are at thinking back on it all. So this is the first of those types of sidebar postings about where my head is at (oh Lord, I hope this doesn’t put people off from trying my works – my mental ramblings are a constant source of humor for my husband – don’t say I didn’t warn you!).
So here is my first verbal stream of consciousness posting. I hope you enjoy it as an augmentation of what we did in the main podcast.
So what do I ramble about this time around?
- Initial thoughts on the show
- The referendum (22) in Ireland, my feelings about my Russian queer brothers and sisters
- Thoughts about authors and readers joining the show
- Passion in writing
- Being understood in your works
- Angels of Mercy (What else?)
- Henry O’Malley, Omega (HO’M,O)
- Penny Dreadful as inspiration (John Logan fanboy here)
- The Flash
- Poor writing or cop outs in writing for Television
- Guaca-“mole” and the whole weirdness of this manitou like mole on my face and how it up and disappeared in like 2 days – WTF?
- Stream of consciousness comes to a close (for now)
Next week on 3M/Musketeers Podcast? BRAD VANCE! And we are simply over the moon about this! Please join us for that episode.
NOW available on iTunes (search for 3MMusketeers Podcast) or under Arts/Literature!!
Until next time …
SA C
Something Wicked(ly Awesome) This Way Comes…
Something Wicked(ly Awesome)
This Way Comes …
The podcast banner
Sorry there haven’t been any recent posts. I’ve been busy with Angels of Mercy Vol 2 and Quarrel of Sparrows and something else I am really excited about.
AUTHORS! READERS! Lend us your ears!
Along with author pals Vance Bastian and Jayne Lockwood on a slightly audacious endeavor – we’ve put together a M/M podcast where authors (and their readers) roundtable topics, the art of the craft, and the worlds we create. It is intended to be a forum for authors from across the multiple sub-genres who want to discuss their works from the author’s perspective that they may not have much in the way of opportunity to do. Interviews are often limiting, and the range of what can be discussed is usually fairly focused.
https://soundcloud.com/3mmusketeers/3-mmusketeers-podcast-ep001-all-for-fun-and-fun-for-all
This isn’t that type of podcast.
Authors will grouse. Authors will praise or rant about others in the field or works that were an absolute struggle to get out into the world.
And we’re not limiting it to authors alone.
READERS! You too, can be part of the conversation. The intent is to foster and engender that sort of discussion not only amongst ourselves as authors, but also with the readers who buy our works. We invite this sort of discussion across the table between the two parts of producing and consuming the works.
Episode one will be out shortly (within the week if we can swing it – the ep is recorded and edited – it’s just up to distribution to get it out there).
You can find us on the web at 3mmusketeerspodcast.
Our Twitter account is – @3mmusketeers
You can email us at 3mmusketeerspodcast@akwekon.com
Please join us for the release – (to be updated when we have a firm date this week).
3M/Musketeers Podcast is a Akwekon Media production in association with VanceBastian.com, LadyJAuthor.com, and SACollins.com. All rights reserved where applicable.
The Ups and Downs of it all…
The Ups and Downs of it all …
So the past couple of days have had me pondering what I am doing. I mean, I’ll write no matter what. It’s what’s consuming me creatively. I’ve set aside the singing and the theater work in favor of an “all in” thrust in writing.
To be honest, I don’t know what I am doing with it all. I mean, I know what my stories are, but the mechanics of writing, editing, publishing, promoting (the part I hate the most but it’s got to be done), it’s all a journey into the vast unknown. I read blog posts like mad on the subject. I read reviews to see what people are saying about what others write (not because I am looking for the ‘next big thing’ because I know I’ll never be one of those writers). But yeah, just a general observation on it all.
Angels of Mercy – Volume 1: Elliot
So last night I spied a two star review of Angels. Needless to say I had a grim set to my mouth. I knew this was coming. It doesn’t shake me up. I’ve been in theater long enough to know that people will say what they want to say about it. There’s no debate that goes on. It’s done and over with well before you can engage. Anything after that is a mere grab for … but, but, please LIKE me! Yeah, I so am not that guy.
The 2 star review in all is weird assed glory.
I guess what trips me up about it though is that the review doesn’t make sense. I mean, I get that it wasn’t for him. Fine – done dead deal but there are things under the hood that my hubby pointed out to me that said something altogether different.
Let’s take it apart, shall we?
The first statement is rather straight-forward and he’s entitled to his opinion. No arguments there:
Sorry, but these characters were poorly written.
Grammatically speaking he’s incorrect. I’ve had several people, many of who have been in the biz long enough and ALL have said it’s the cleanest manuscript they’ve read in a long time. My editor knows his grammar (having come from a long line of educators that stretch back to the early 1800’s – this family is VERY old skool when it comes to grammatics). As to character development itself, his sphere of those he knows in life must be woefully short of color and variation. Because each of these characters is rooted in someone real and it culls from their own lives. So uh, mmm, okay. Just sayin’…
Then there’s the next couple of lines of the review that is sort of push/pull against each other. He’s not clear about what got to him (though, make no mistake, I was pushing his buttons):
The teenage boys talk like middle aged Ivy League men that are absurdly gushing about everlasting love. These are not teenagers. Too much angst and pre-teen type of relationship. It just didn’t ring true.
So which is it? Are they Ivy League men or are they riddled with “pre-teen angsty relationship” – they can’t be both. I make it very clear that Elliot, like myself, was a cultivator of words and emotions FAR beyond his years. It was the only thing in his arsenal to make his quick getaways from bullies in school. I even make it a point to have Elliot cop to the fact that he knows it is a smoke screen, that it isn’t real. It was, in fact, how I survived school. I have this in my own writings FROM that age (sidebar: I was tested to have a college level grammar comprehension in the third grade). As I’ve said before, these situations and character points come from real life. They’re just told in a fictitious manner. So he didn’t think it rang true. He’s entitled to his opinion. I’ve no qualms there. But then we get to the meat of his ire:
And, worst of all–a cliff hanger ending. Are you kidding me?!? 540 pages and you can’t give us some sort of ending? That really annoyed me. Why invest all this time and energy in reading this pot-boiler when there is no answers to ANY of the questions raised in the story? To me, that’s unforgivable. I will not be reading this author again.
So now I knew what I was dealing with here. A M/M romance reader applying the rigid trope rules that I rail against. BINGO! I had my culprit (not that I needed one, but it was an interesting post-mortem of the review that I was curious about). So 1) The BOOK TITLE clearly states Volume One – implying there will be others. It does continue and as such, it WON’T by it’s very nature, answer questions. Volume one is concerned with posing questions, not answering them. The answers come later. 2) I emotively got to him, whether he’ll concede to that or not. So in my estimation, bang on brilliant. I WANT emotive responses to the work. Good, bad or indifferent (well, actually the indifferent ones will probably hurt me the most).
I also in the write up before you buy say it is a character study work. That means that it is more concerned with the character as he is, and not the situation he finds himself in. It is meant to walk away knowing how he processes his world. And let’s be clear about this. As first person POV, you are ONLY getting his internal voice. The reader is woefully short on Marco’s take on things. You only get a wisp of an impression of him and it’s filtered through how Elliot processes things. It’s how he hears it. We’ll get a very different voice when Marco picks up the tale in book 2.
And lastly, the dreaded cliff-hanger. Let’s talk about that one. I was warned by fellow authors I would get dinged for that. I DON’T FUCKING CARE! (My ire is not at my author buds, just to be clear – I am railing at expectations that are placed on works before the author has the platform to weave their story – that is what I am railing against) It is, what it is. If you won’t read my stuff later, bully for you. I am not going to beg for it. Move on, nothing to see here. I’ll still write. I’ll still publish. It’s not a threat to that, bud, just sayin’.
Cliff hangers, by their very nature, will never have a trite ending. They aren’t written that way. I apologize if the guy didn’t comprehend this in the write-up I have attached to the book on all of the sites, but it is clear that he didn’t read or comprehend what he was buying. He bought it thinking that it was standard romance fare. I make it abundantly clear it is not.
My hubby also pointed out one other thing to me. Why continue to read it if it was so awful a work? I’ve started many a book and pitched it aside because it didn’t do anything for me. But the hubby, ever the clinical psychiatrist he used to be in a previous professional life, pointed out that the book did get to him. The emotive response that threads his review is very clear.
The hubby’s takeaway: he has poor reading comprehension skills. Having read other reviews by him, I tend to agree. His vision of what works and what doesn’t is rather pointed and narrow. Not that I’m saying it to sooth ruffled feathers on my part. They aren’t ruffled. It is all part of me trying to understand how people process. This is what I put INTO my own works. I am truly fascinated by it all.
** SPOILER ALERT **
(Highlight it to see it, ignore this next bit if you don’t want to know about a plot point in the book – it’s fairly significant)
The cliff hanger is the physical beating Elliot (the main character) goes through at the hands of his boyfriends teammates who are through with his corrupting of their beloved captain of the team. It deals with homophobia in the worst possible way – through violence. At the end you don’t know what happens to Elliot. I knew going in that this would kick the reader hard in the rubber parts. But it is what happens. We often don’t know what the outcome will be. That was intended from the moment I started to write Angels. It’s not an easy read. It’s not meant to be. It’s not an easy thing to write. But I do want the reader to invest in Elliot and his world. He WILL rise and be greater than anyone expects from his tragedy. In a very real way, what didn’t kill him does make him stronger. Far stronger than his boyfriend can comprehend.
** END SPOILER**
The hubby said that clearly the reviewer was emotively moved by it as evidenced in his real pointed angst in the work. It’s not a romance read. There will be no big bow or a litany of answers at the end. IT’S NOT THAT KIND OF BOOK.
Never was …
Moving on …
So this morning I woke up to two rather lovely things in my in-box:
First up, I appear to be a finalist in a review competition.
The Shrill of Sparrows – the reworked abridged edition as sold by Amazon.
It’s just a lovely thing to see this happen for Shrill/HO’M,O as it was such a clusterfuck of a novel release. Just that it was mentioned was a totally unexpected honor.
That was a lovely thing to see (esp. after the small shrug I had over the 2 star Angels review above).
Second up – a real (honest) look at my Angels of Mercy – Volume One: Elliot novel.
And boy, did it ever kick me in the BEST possible way. So here’s the drill on why I am sort of gun shy about Angels: I feel that the work will be largely misunderstood. I know what it is, and what the intent is. But readers pick the work up with a precept of what they think they are getting when they buy it (as evidenced in my angst ridden two star review above). So when I offered it up to the reviewers at Saguaro Moon Reviews, I didn’t think they would get to it so quickly. They did, and how.
4 out of 5 Moons – I’ll take it!
The work was only given to them a short while back so I was sort of stunned that it was out there already. The reviewer seemed think it was a page turner (good, that’s what I was hoping for) and she didn’t hold me to the hard and fast tropes of a romance read – which it’s most definitely not. Honesty in the approach was a really lovely thing to hope for. That’s all I ask. Even with the two star review above, I’ve no hard feelings about it. He’ll move onto things he enjoys more. That’s as it should be. My works are obviously too dark for his literary world. That’s okay. I’ll take that for what it is. No harm, no foul (even if he’s put off anyone else who are hard and fast in their romance tropes to give something else a try). Eh, they probably wouldn’t like it or get it either. So yeah, maybe it’s best if they don’t buy it at any rate.
Writing is a very lonely business. It’s cathartic as all hell, but it is a lonely thing. Your thoughts, your creativity on paper or on a computer screen. But it’s just you and the keyboard/pen hammering out a world word for word, feeling by feeling, with all the ups and downs of a real emotive roller-coaster.
I wouldn’t have it any other way.
Until next time …
SA C
Angels of Mercy – Volume One: Elliot RELEASED!
It’s official
Angels of Mercy – Volume One: Elliot
(His Summer of Love)
is NOW available!
(Already labelled a BEST-SELLER in pre-sales!)
The cover artwork for Angels of Mercy – Volume One: Elliot
My first serious work that began over a year ago and I can’t believe it’s release is finally here!
You can find it at the following locations for purchase:
AllRomance/OmniLit (Best Seller Status)
From the cover of the book –
On the cusp of his senior year at Mercy High, Elliot Donahey, an out but terminally shy gay young man who keeps to the shadows – never wanting to be seen or noticed – suddenly finds himself in the arms of the highest profile jock on campus, local star quarterback, Marco Sforza. Their lives, and those closest to them will never be the same.
Set against the backdrop of competitive sports, this character study work deep dives into the lives of these young men who each must “play the game” so Marco can continue to play the game he loves. They are just trying to find some small slice of happiness to call their own amidst their hellish final year of high school.
Author’s Note: Angels of Mercy is first and foremost, a character study. A great deal of it is inner-monologue. Elliot will pause the action, will break momentum as he grapples with his world – all the while flipping a finger to the fourth wall. He knows you’re there. It was far more important to me as its author (and a gay man) that the reader come away with the whys of Elliot’s choices in how he navigates his often tumultuous world. The same can be said of Marco (his jock boyfriend) who will pick up the tale with Volume Two (due summer of 2015).
I’ve read much queer literature and what I find rather interesting is that for the majority of it, very little is written about the character’s headspace. When you live in a world where you constantly have to be vigilant as you navigate through, it can make for some very powerful storytelling. That is my goal in writing these boys’ lives. I want the reader who may not be queer themselves to come away with what it might be like to be in a gayboy’s shoes – constantly polling and pulse-checking your world because your very survival depends upon it. All of that while you hope, you secretly pray, that you’ll find someone who will see you too and find they can’t live without you in their world. A small slice of happiness to call your own. And though you do everything to keep to yourself, you may still run into those who find your very existence threatens who they are and how they think the world should run. I pull no punches with this work. They are hormonally charged eighteen year old young men who are sexually active. While the sex is present in the work it is not gratuitous in that the main character does evolve from his physical intimacy with his high-profile boyfriend. It is not a genre romance read either, though it has a very strong romance threaded in the work. These elements bring a light to their world that attracts all the wrong attention.
In a time where more queer youth are coming out to their teammates and their loved ones, I find that work of this nature is both timely and necessary to tell. I hope you’ll find it as interesting and provocative a read as I believe it is.
A BIG THANK YOU to Jay Brannan who was my musical muse for the project. Rob Me Blind is such a truly brilliant album and I couldn’t have my boys as deeply and emotively rooted were it not for this musical inspiration that came from the brilliant and talented bard of Jay Brannan. Please do search him out on the web and on iTunes. You will NOT be sorry you did!
The album that inspired me to write Angels of Mercy.
Pre-Release Album Review – Steve Grand’s “All-American Boy”
Pre-Release Album Review –
Steve Grand’s “All–American Boy“
Grand fanboy here and proud of it! #teamproud #teamgrandfam
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:
Bottom Line:
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.
All-Amercian Boy cover art
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.
‘Nuff said.
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.
Angels of Mercy – Volume 2: Marco
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.
Other Thoughts:
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?”
Angels of Mercy – Volume 1: Elliot
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).
The album that inspired me to write Angels of Mercy.
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 …
SA C