POSTCARDS IN THE SKY – Rich Paschall

David Archuleta Tour, a review, by Rich Paschall

If you wanted to know what was on the mind of a singer-songwriter, pop star, this was the event. A formerly-shy guy, who let his singing do his communicating, had plenty to say on his Spring 2019 tour. Some of it may have been a bit surprising, coming from the singer who came to prominence as a teenager on Star Search and runner-up on the 2007-2008 edition of American Idol.

The 25 city tour included stops at a number of City Winery locations across the country. These smaller venues allow for an intimate relationship between performer and audience.

City Winery, performance venue.

The Chicago location includes a restaurant and wine bar, and a separate 300 seat performance space where you can order food before the show and drinks throughout. If you arrive an hour or more early, you can chat with your waiter about the food on the special menu and the long wine list. Some patrons arrive closer to show time for the performance only. There is no need to order anything, no minimums required. You do have to have a show ticket, of course.

Archuleta’s tour was basically in support of his 16 track album, Postcards In The Sky. Originally released in 2017, the Official Music video for the title track was not released until March 2019.

Postcards in the sky
Saying what’s inside
Hoping you will fly away
And find a way to you
Postcards in the sky
Hoping you will fly away
And find a way to you

After a few songs, Archuleta explained to the audience the journey his life has been on. He rose to fame as the cute kid on American Idol and became a pop star with songs on the radio and requests for personal appearances. He toured the country, recorded albums and sang with the Mormon Tabernacle Choir. Then he surprised everyone at the end of 2011 with the announcement that he would do missionary work. He needed to do “Something That Has Nothing To Do With Me.” 

In March of 2012, he was off to the back roads of Chile and putting his singing career on hold. On his return two years later, he made some appearances and eventually moved from Utah to Nashville to work on music. But when he went to work with his producer on songwriting, as he explained to our audience, he was not sure he wanted to write, record, return to pop music. He just could not get back into it. It was suggested when he went to a previously scheduled session, that he write about what he was feeling.

“It occurred to me that maybe I can actually write about what I’m really going through instead of teenage love songs because that’s what people want to hear.”

I don’t wanna feel numb
Falling over all of my shadows
Yeah, I’m all done
‘Cause none of that ever really mattered
It hurts to live so wide awake, oh
But it’s a chance I can take
I won’t run run run
‘Cause I don’t wanna feel numb

Archuleta performs the songs from the Postcards album, and particularly Numb, the first song written for it, with an intensity you might not expect from the young artist. These are his personal messages. Postcards that he has sent off into the sky. They are there for you to grab. He is hoping that some of these messages will reach you and maybe you will send back a postcard of your own.

Now at 28 years old, David retains the boyish charm that made him a teenage sensation. He seems eager to share his story and explain the meaning of the types of songs he is writing now. He seemed at ease with the audience and even chatted with some of the fans close to the stage. One brought a poster depicting all his albums and David chatted for a few moments with the fan.

Postcards in the Sky

For those who followed David for the past dozen years, he sprinkled in a few early hits. Certainly, the boys and girls who followed at the start and are now young men and women would have been disappointed if they were not treated to a few memories. In this regard, he did not disappoint. A Little Too Not Over You was there early on and near the end, he reached back for Touch My Hand.

Here is the original music video for Touch My Hand from 10 years ago.  Just as he does in this array of video clips, he reached out to the crowd at the Chicago performance. I suspect he was not just trying to shake hands with those by the stage. He was really trying to reach them, as well as the entire room, with this show.

BRIAN WILSON, NO PIER PRESSURE – Rich Paschall

Young Voices and The Old Master, Rich Paschall

On the Brian Wilson “solo album,” as most seem to be calling it, Brian is only going solo on four of the 16 tracks,  When you consider that he is backed by a chorus of singers on those, then you may think he has more of a “Beach Boys” album than a solo affair.  The author of most of the Beach Boys hits, however, can not call it a Beach Boys album.  He doesn’t own the name.

The first guest performer has a song that was not well received by most critics.  “Runaway Dancer,” featuring Sebu (part of the duo Capital Cities), is nothing like the other tracks.  It has a heavy dance beat that screams “pop record.” Yes, it is laden with Wilson vocal work.  Wilson’s own voice can clearly be heard throughout.  Perhaps the new direction can be attributed to the work of Sebu Simonian off-site.  Wilson’s demo was titled “Talk of the Town,” when it was sent to Sebu, who recorded his vocals at another studio.  Sebu is also credited with “Additional production,” which could mean a lot of things.  If critics wanted just another Beach Boys tune, they didn’t get it.

“On the Island” brings an almost Bosa Nova beat and some sun and sand to the album.  The song features the work of “She and Him,” which would be Zooey Deschanel on vocals and M. Ward on electric guitar.  Deschanel’s vocal is perfect for the tune about being “lost in this island nation.”

One track is given over to an instrumental, well sort of anyway.  A mellow piece of jazz shows up as the fifth track of the deluxe album.  The very sounds suggest sunset over “Half Moon Bay.”  The work features Mark Isham on horn, but the Wilson touch is there too.  Voices are blended throughout to create harmonies giving this a soft and warm feeling.  It is a break from the other type of soft harmonies Wilson has layered throughout the album.

In case you think I loved every bit of this album, I must confess to be mystified by the song “Our Special Love.”  The track may have been the one slated to go to Frank Ocean. Wilson canceled him out, explaining that Ocean wanted to rap his performance.  If you think a driving dance tune was not well received by hard-core Beach Boys fans, just imagine a rap tune.  Peter Hollens, a You Tube generation performer if ever there was one, shows up instead.  Little of Hollens can be heard on the track as Wilson takes the lead on the chorus and the overproduced harmonies just about drown out much of Hollens work.  I am not even convinced the verses fit well with the chorus.  The music, uncharacteristic of a Wilson song, does not blend as you come to expect.

On the other hand, the light-hearted “Guess You Had To Be There,” featuring Kacey Musgraves on the verses with Wilson leading the Chorus is a perfect mix. The happy sounding tune is not as layered or overproduced.  A banjo mixed into the song seems to go with Musgraves work and one wonders if that is indeed her touch.  The lyric could easily be a commentary by Wilson on the ending of the Beach Boys 50th Anniversary tour.  Anyway, it all seems to fit.

The most energetic and contemporary sounding track features Nate Ruess of Fun.  Just like he does with the work in his own group, Ruess energizes “Saturday Night” and turns in a spirited performance.  Given author and composer credit along with Wilson and Joe Bennett, Ruess has a spirited contribution for the album.  Here is the live Soundstage performance:

The final track of the album, “The Last Song,” was originally scheduled to go to Lana Del Ray.  When the list of songs finally came out, her name was not to be found.  At first, Wilson told interviewers that Del Ray had canceled them, but it turns out that she actually recorded the vocal the previous year.  It was ultimately decided that the nostalgic piece about looking back on a career seemed to suit Brian Wilson much more than Lana Del Ray.  Was it the swan song of the music master?  No, Wilson never seems to run out of tunes.

Don’t be sad
There was a time and place for
what we had

If there was just another chance
for me to sing to you…

WITHOUT PEER – Rich Paschall

The Beach Boys had a successful 50th-anniversary album and tour in 2012.  It all ended rather spectacularly when Mike Love dismissed founding members Brian Wilson, Al Jardine and David Marks and went on with a crew of replacements.  He could do that because he owned the name, Beach Boys.  Wilson went on to make a new album in 2015 (reviewed below) with Jardine and a crew of young stars, No Pier Pressure.

The Beach “Boys” are still around and performing separately.  They have agreed to “reunite” for a Q&A session conducted by Rob Reiner to be played on August 10 on Sirius radio.  Undoubtedly the release of a new album with the Royal Philharmonic Orchestra played into this.  It is the old vocal recordings of hit tunes with the Orchestra arrangements added.  The CD is out now, the vinyl on August 15.

Brian Wilson’s No Pier Pressure, Rich Paschall

When the Beach Boys finally got back together in 2012 for a 50th Anniversary Tour, Brian Wilson, the musical genius behind the sound, agreed to sign on.  Wilson had been a nervous performer over the years, and there were many years he could not perform.  His mental health history not only is well-documented, but it was played out on-screen in the 2014 biopic, Love and Mercy.  After decades away from the often-feuding Beach Boys, Wilson was ready to go.

To start the anniversary year, Brian Wilson produced and arranged a brand new Beach Boys album, as well as having written most of the songs.  In true Beach Boys’ form, it was steeped in harmonies of the voices that had blended so well over the decades. Fans still revere their work for the unique sound.  The genius behind the Beach Boys had done it again.

L to R: Bruce Johnston and founding members Al Jardine, Brian Wilson, Mike Love, David Marks

Although Wilson did not originally want to perform many shows for an anniversary tour, he finally agreed to 50 shows for the 50th year.  The tour went so well, shows continued to be added.  There was some talk of yet another Beach Boys album in the future. By the time the “boys” got to their 75th show in London, Wilson, who was usually cloistered in a studio, was willing to continue. True to the Beach Boys history, the tour ended on a sour note.

Brian Wilson

Mike Love, frontman, lead singer on most of the hits, and owner of the name Beach Boys fired Wilson, Al Jardine and most of his crew.  The mastermind of the tour was stunned.

For his part, Love claimed he did not fire Wilson but had other commitments.

The other commitment turned out to be a tour with a stripped-down show and a crew of replacement Beach Boys.  Yes, he booked his own tour — even as the highly-acclaimed Wilson-engineered production was on the road.  Love, by the way, is Wilson’s cousin and a founding member of the Beach Boys along with Al Jardine.

The backlash was immediate.  Fans were outraged.  Love took to the LA Times to pen a letter claiming he would never fire Wilson.  He pleaded innocent.

Wilson fired back with his own letter: “What’s confusing is that by Mike not wanting or letting Al, David [Marks] and me tour with the band, it sort of feels like we’re being fired.”  David Marks is an original member of the Beach Boys and a neighbor to the Wilson Brothers and Love as they grew up.

The new album, That’s Why God Made The Radio, grew in popularity as the 50th Anniversary tour rolled on. “What’s a bummer to Al and me is that we have numerous offers to continue, so why wouldn’t we want to? We all poured our hearts and souls into that album and the fans rewarded us by giving us a Number Three debut on the Billboard charts and selling out our shows. We were all blown away by the response,” Wilson was reported in Rolling Stone as having written.

Wilson continued to perform over the next two years in a limited amount of shows.  Al Jardine and sometimes David Marks came along for the ride.  It is hard to say whether Love and his version of the Beach Boys or Wilson and Friends were more popular.

Brian Wilson

So was the idea of a new album dead?  Was Wilson near the end of a long and successful ride?  Was he ready to fade away while Love kept singing songs from the 1960s.

The answer was delivered loud and clear.  Wilson made 2015 one of the biggest years of his career.

Wilson went back to the studio and created a new album.  Perhaps it would have been one for the Beach Boys, but there are former Beach Boys and longtime Wilson musicians on hand to give it that Wilson-arranged, Beach Boys sound. The album debuted to strong reviews.  It is filled with songs you would expect from Wilson, along with a few surprises.

Wilson clearly could not take the lead on all of these songs, so there are plenty of artists on hand to share the parts.  Lead vocal credits are given to Brian Wilson, Al Jardine, one-time Beach Boy Blondie Chaplin, country singer Kacey Musgraves, YouTube star Peter Hollens, Zooey Deschanel (She & Him), Sebu Simonian (Capital Cities) and Nate Ruess (Fun.)  Some of them also get a songwriting credit and/or contribute background vocals.  David Marks contributed guitar work to two of the songs that featured Al Jardine.

A blast from the past comes from a new song, Sail Away, featuring the lead of Chaplin and Jardine.  It is reminiscent of Sloop John B and Sail On, Sailor and will evoke past Beach Boys hits.

Much of the new album was featured on a PBS Soundstage special, Brian Wilson & Friends.  There are also some other Wilson hits to thrill the live audience.  For some insights to other songs here’s the official Soundstage trailer:

Tuesday: New Voices energize No Pier Pressure
Read more on the Mike Love, Brian Wilson letters:
Brian Wilson to Mike Love,” Rolling Stone, October 9, 2012.
Sources also include: “Beach Boys, Royal Philharmonic Preview,” Rolling Stone, May 10, 2018.
Surviving Beach Boys To Reunite For Radio Q&A,” liveforlivemusic.com, July 26, 2018

AMERICA – Rich Paschall

With the fiftieth anniversary of the band looming on the horizon, Chicago has no intention of giving up.  Things have changed over the years, but remarkably, the sound remains as vibrant as ever.  Terry Kath, keyboards and bass, died of an accidental gun shot wound in 1978.  Peter Cetera left the band in 1985 for a solo career.  Original drummer Danny Seraphine was dismissed in 1990.  There are two sides (or more) to that story.  Original sax player Walt Parazaider, oldest of the group, does not make all the shows and is increasingly covered by Ray Hermann.  The current lineup as been together quite a while and their most recent album is a winner.  Chicago was inducted into the Rock and Roll Hall of Fame in 2016.

A view from Chicago, the band

Chicago has been around a long time. No, I don’t mean the city, I mean the band. In 1967, five guys from DePaul University recruited a sixth from Roosevelt University and started a band known as The Big Thing. Soon they recruited a tenor, moved to California, and changed their name to Chicago Transit Authority. In 1968 they released a self-titled, double album that included some of their biggest hits and led them down the road to a Hall of Fame career.  After threat of legal action by the home town transit authority, the band shortened its name and the rest is pop history.

Their pop, rock, jazz infused sound was ground breaking.  In an era of bands that included a guitar player, bass player, and a drummer, Chicago’s music majors were letting a trumpet, a trombone and a saxophone lead the way.  It was a sound that led to more groups backed by horns.

As with many bands of the time period, they had their share of songs with social messages.  A war protest song (It Better End Soon), a song following the moon-landing (Where Do We Go From Here?) and a political commentary (Dialogue, Part I & II).  They certainly did not rely on this type of song, but they were not afraid of them either.

As the decades rolled on they just may have relied a little more heavily on ballads and soft rock.  That’s why it is interesting to find that Chicago is back with another album, Chicago Now, aka Chicago XXXVI, with a heavy reliance on the type of horn sounds of their early years and a commentary on the American scene.

America, America is free!
America!
America is you and me!

America, the third track on the newly released album, was actually available for download in the fall of 2013.  With music and lyrics by founding member Lee Loughnane, it is not a throwback to another era, but a push forward for a band that has done something older bands are reluctant to do.  That is, put out an album of new material.

The dream was fading before our eyes
Take some time to revive it.
‘We the people’ must start right now
Don’t expect our leaders to show us how
They don’t have a clue what to do
If they knew how to stop this slide
We’d have seen some signs by now
To turn back the tide.

Lou Pardini provides keyboards and lead vocals for this anthem.  The beauty of the chorus and its tight harmony is in contrast to the attack of Pardini on the verses.  At times he is almost at a growling pace as he delivers his lines and the song’s message.

We can’t keep havin’ you make our rules
When you treat us common folk like fools
It’s time to stand up for our rights
Put congress in our political sights.
Make them pass laws that help us all
The Founding Fathers echo
Will be heard in the hall
By the people, for the people, everyone equal.

If you thought Chicago was gone, even though they tour every year and have periodically released new music, they are “NOW” back and they mean business. Watch the video below for the lyrics and yes, that is the Chicago skyline at the opening.  What did you expect?

BRIAN WILSON, NO PIER PRESSURE

Young Voices and The Old Master, Rich Paschall

On the new Brian Wilson “solo album,” as most seem to be calling it, Brian is only going solo on four of the 16 tracks,  When you consider that he is backed by a chorus of singers on those, then you may think he has more of a “Beach Boys” album than a solo affair.  The author of most of the Beach Boys hits, however, can not call it a Beach Boys album.  He doesn’t own the name.

The first guest performer has a song that was not well received by most critics.  “Runaway Dancer,” featuring Sebu (part of the duo Capital Cities), is nothing like the other tracks.  It has a heavy dance beat that screams “pop record.” Yes, it is laden with Wilson vocal work.  Wilson’s own voice can clearly be heard throughout.  Perhaps the new direction can be attributed to the work of Sebu Simonian off-site.  Wilson’s demo was titled “Talk of the Town,” when it was sent to Sebu, who recorded his vocals at another studio.  Sebu is also credited with “Additional production,” which could mean a lot of things.  If critics wanted just another Beach Boys tune, they didn’t get it.

“On the Island” brings an almost Bosa Nova beat and some sun and sand to the album.  The song features the work of “She and Him,” which would be Zooey Deschanel on vocals and M. Ward on electric guitar.  Deschanel’s vocal is perfect for the tune about being “lost in this island nation.”

One track is given over to an instrumental, well sort of anyway.  A mellow piece of jazz shows up as the fifth track of the deluxe album.  The very sounds suggest sunset over “Half Moon Bay.”  The work features Mark Isham on horn, but the Wilson touch is there too.  Voices are blended throughout to create harmonies  giving this a soft and warm feeling.  It is a break from the other type of soft harmonies Wilson has layered throughout the album.

In case you think I loved every bit of this album, I must confess to be mystified by the song “Our Special Love.”  The track may have been the one slated to go to Frank Ocean. Wilson cancelled him out, explaining that Ocean wanted to rap his performance.  If you think a driving dance tune was not well received by hard-core Beach Boys fans, just imagine a rap tune.  Peter Hollens, a You Tube generation performer if ever there was one, shows up instead.  Little of Hollens can be heard on the track as Wilson takes the lead on the chorus and the over produced harmonies just about drown out much of Hollens work.  I am not even convinced the verses fit well with the chorus.  The music, uncharacteristic of a Wilson song, does not blend as you come to expect.

On the other hand, the light-hearted “Guess You Had To Be There,” featuring Kacey Musgraves on the verses with Wilson leading the Chorus is a perfect mix. The happy sounding tune is not as layered or over produced.  A banjo mixed into the song  seems to go with Musgraves work and one wonders if that is indeed her touch.  The lyric could easily be commentary by Wilson on the ending of the Beach Boys 50th Anniversary tour.  Anyway, it all seems to fit.

The most energetic and contemporary sounding track features Nate Ruess of Fun.  Just like he does with the work in his own group, Ruess energizes “Saturday Night” and turns in a spirited performance.  Given author and composer credit along with Wilson and Joe Bennett, Ruess has a contribution that may well turn up on the radio stations this spring.  You will have to catch the live performance on PBS Soundstage or a tease of it in the trailer we put up yesterday.  Here is the audio:

The final track of the album, “The Last Song,” was originally scheduled to go to Lana Del Ray.  When the list of songs finally came out, her name was not to be found.  At first, Wilson told interviewers that Del Ray had cancelled them, but it turns out that she actually recorded the vocal last year.  It was ultimately decided that the nostalgic piece about looking back on a career seemed to suit Brian Wilson much more than Lana Del Ray.  Is it the swan song of the music master?  Perhaps it is, but Wilson never seems to run out of tunes.

Don’t be sad
There was a time and place for
what we had

If there was just another chance
for me to sing to you…

WITHOUT PEER

Brian Wilson’s No Pier Pressure, Rich Paschall

When the Beach Boys finally got back together in 2012 for a 50th Anniversary Tour, Brian Wilson, the musical genius behind the sound, agreed to sign on.  Wilson had been a nervous performer over the years, and there were many years he could not perform.  His mental health history not only is well documented, but it will be played out soon on-screen in the biopic, Love and Mercy.  After decades away from the often feuding Beach Boys, Wilson was ready to go.

To start the anniversary year, Brian Wilson produced and arranged a brand new Beach Boys album, as well as having written most of the songs.  In true Beach Boys’ form, it was steeped in harmonies of the voices that had blended so well over the decades. Fans still revere their work for the unique sound.  The genius behind the Beach Boys had done it again.

Although Wilson did not originally want to perform many shows for an anniversary tour, he finally agreed to 50 shows for the 50th year.  The tour went so well, shows continued to be added.  There was talk of yet another Beach Boys album in the future and by the time the “boys” got to their 75th show in London, Wilson, who was usually cloistered in a studio, was willing to continue. True to the Beach Boys history, the tour ended on a sour note.

Mike Love, front man, lead singer on most of the hits, and owner of the name Beach Boys, fired Wilson, Al Jardine and most of his crew.  The mastermind of the tour was stunned.  For his part Love claimed he did not fire Wilson but had other commitments.  The other commitment was to tour with a stripped down show and a crew of replacement Beach Boys.  Yes, he booked his own tour even as the highly acclaimed, Wilson engineered, production was on the road.  Love, by the way, is Wilson’s cousin and a founding member of the Beach Boys along with Al Jardine.

The backlash was immediate.  Fans were outraged.  Love took to the LA Times to pen a letter claiming he would never fire Wilson.  He pleaded innocent.  Wilson fired back with his own letter: “What’s confusing is that by Mike not wanting or letting Al, David [Marks] and me tour with the band, it sort of feels like we’re being fired.”  David Marks is an original member of the Beach Boys and a neighbor to the Wilson Brothers and Love as they grew up.

The new album, That’s Why God Made The Radio, grew in popularity as the 50th Anniversary tour rolled on. “What’s a bummer to Al and me is that we have numerous offers to continue, so why wouldn’t we want to? We all poured our hearts and souls into that album and the fans rewarded us by giving us a Number Three debut on the Billboard charts and selling out our shows. We were all blown away by the response,” Wilson was reported in Rolling Stone as having written.

Wilson continued to perform over the next two years in a limited amount of shows.  Al Jardine and sometimes David Marks came along for the ride.  It is hard to say whether Love and his version of the Beach Boys or Wilson and Friends were more popular.

So was the idea of a new album dead?  Was Wilson near the end of a long and successful ride?  Was he ready to fade away while Love kept singing songs from the 1960’s.  The answer was delivered loud and clear.  Wilson is about to make 2015 one of the biggest years of his career.

Wilson went back to the studio and created a new album.  Perhaps it would have been one for the Beach Boys, but there are former Beach Boys and longtime Wilson musicians on hand to give it that Wilson arranged, Beach Boys sound. The album debuted this month to strong reviews.  It is filled with songs you would expect from Wilson, along with a few surprises.

Wilson clearly could not take the lead on all of these songs, so there are plenty of artists on hand to share the parts.  Lead vocal credits are given to Brian Wilson, Al Jardine, one-time Beach Boy Blondie Chaplin, country singer Kacey Musgraves, You Tube star Peter Hollens, Zooey Deschanel (She & Him), Sebu Simonian (Capital Cities) and Nate Ruess (Fun.)  Some of them also get a song writing credit and/or contribute background vocals.  David Marks contributed guitar work to two of the songs that featured Al Jardine.

A blast from the past comes from a new song, Sail Away, featuring the lead of Chaplin and Jardine.  It is reminiscent of Sloop John B and Sail On, Sailor and will evoke past Beach Boys hits.

Much of the new album is featured on a PBS Soundstage special, Brian Wilson & Friends.  There are also some other Wilson hits to thrill the live audience.  For some insights to other songs here’s the official Soundstage trailer:

Tomorrow: New Voices energize No Pier Pressure
Read more on the Mike Love, Brian Wilson letters: http://www.rollingstone.com/music/news/brian-wilson-to-mike-love-it-sort-of-feels-like-we-re-being-fired-20121009#ixzz3XWsts54u
Follow us: @rollingstone on TwitterRollingStone on Facebook

LAYING DOWN THE MUSICAL LAW

Tom Joseph Law music, by Rich Paschall

There is no shortage of musicians on You Tube and other social media platforms who wish to become famous.  Some are actually rather good and just hoping to be noticed among a sea of musicians who are covering songs and offering their own work.  How do you get recognition?  How do you produce quality videos to post among the millions of videos already in cyberspace?  How do you stand out among the crowd?

Tom Law has been working steadily for years to become the next “over night sensation.”  Since joining You Tube in 2010, the British singer-songwriter has posted covers and collaborations, original songs and one man band videos.  Yes, Tom has 14 videos where he is playing all the instruments.  You may watch and be suitably impressed at this talent.

From photo shoot in Bath, England
From photo shoot in Bath, England

At age 25, Tom’s persistence, talent and good looks have brought him almost 79 thousand You Tube subscribers and over 3 and a half million views.  It is respectable for sure but there’s a higher level to achieve and that is his aim.

In order to raise some additional money to make quality videos, Tom has found Patreon.  It is a social media site aimed at bringing patrons together with their favorite artists.  This allows people to pledge gifts large and small for each project and the artist has the option of offering rewards, like free downloads of music.  Tom also offers some patrons the opportunity to “hangout” online for a private chat.  On a recent hangout, I got the opportunity to sit in.

A small group of supporters of Tom’s cover of Hozier’s “Take Me To Church”, eight I think, assembled last Saturday for the opportunity to talk with their favorite artist.  Tom’s video was one of those one man band videos, where he is singing and playing all the parts.  It certainly moves away from the more up tempo pop-like tunes I like, but it is a good choice for Tom, especially given the radio play of Hozier’s song with the driving refrain that sticks in your head.

Not being part of this particular group, I was pleased Tom gave me the chance to join the call.  I thought I would just hang out and listen and perhaps learn a few things.  However, the group seemed rather reserved and did not have much to say.  Perhaps they have had other hang-outs with Tom and asked a lot of the obvious questions already.  When Tom mentioned that he felt like he was doing all the talking, I decided to jump in.

The group may have been there to talk about “Take Me To Church,” but I had just seen Tom’s most recent cover of Ed Sheeran’s “Don’t” so it was fresh in my mind.  I decided to go there instead.  First I mentioned that Tom seemed to be apologizing in social media, even before the video appeared, about the “F” word in the song.  He was afraid some might not like it but felt it could not be eliminated.  Usually I find the use offensive, but in the context of Sheeran’s song, it obviously fits and is nothing sensational.  Tom thought of covering the sound over, but these sort of tricks just highlight a missing word we all know is there.

Next I wanted to know how does he put the pieces together when he is the lead singer, all the background singers and all the musicians.  It takes a great deal of patience as well as technical know-how to get this together.  If you watched the video, you may also wonder, “How does he do it?”

Without giving away secrets, as if I understood it all anyway, Tom starts with the main track, that is, the lead vocal.  From there he can add in the other instruments and background Toms until he gets all their parts down.  Yes, there is a lot of harmony going on.

Then, of course, Tom has to film all those Toms.  In order to be in time with the music, you can see the background singers are listening for their parts in the headphones.  When this is all done, I wanted to know how he syncs all this up so the timing is just right.  I thought the background crew would be rather tough, but Tom did not seem to think it was as difficult as some of the rest of the project.

“OK, Tom, how long did the whole process take?”  Tom thought about all the pieces of recording and filming and editing and finally decided it took about seven days and a LOT of hours to give us a video of three minutes and 47 seconds.  If you think Tom can make money off these things, there is little chance, since the song belongs to someone else.  However, it might give him the recognition to do other things.

He does have some of his own songs that you should give a chance. In fact, here’s the song “Give It a Chance” from an EP, Build From Zero.

After the song you will see a link below the video on You Tube that will lead you to a free album of covers by Tom.  Download it from Tom’s website.  If you are a social media junkie, subscribe to Tom’s You Tube and go to his “about” page and find links to all of Tom’s sites so you can stalk him around the internet and know what is coming next.  Give it a chance.