Poor Man

Poor Man
Written 2011
Version 1- Recorded 2011
Version 2-  Whiskey Doubles, Recorded 2014

No matter where my musical future takes me, this will be a song that I can always come back to and be proud of. It's a fairly simple and straight-forward song, but has enough intricacies to keep the listener engaged. I always tell folks, "This was the first song I wrote on banjo," and I think you can hear a little of that excitement and exploration in the original recording. After Of the North decided on the folk direction, this song was written and became our most accessible tune. It has stuck with me throughout the tenure of OTN, and now into Whiskey Doubles.

• The first version was recorded with no microphones, just the wonderful on-board mic of the MacBook. Before I bought my Zoom recorder, I would record all of my ideas straight into Garageband and build on them right away. The more I think on it, that's probably a contributing factor as to why I started adding instruments right away and didn't focus on the song itself. It was right there and I liked how the song sounded, so I just went ahead. Nowadays, when I record on to my Zoom, I record multiple versions of the same guitar accompaniment until it is right. Then I typically try to sing with the recording and craft some lyrics. Adding instruments has almost been removed from the equation. 
• Version 1 is almost more of a sketch than anything else, but I'm pretty sure I gave this to the band as a completed song. From there were worked out some structural things. Though the banjo part has nearly stayed the same the entire time.
• In Version 2, aside from more instruments and better quality, you'll also hear more dynamics and an alteration to the verse's chords. Rather than stay on C, the second phrase shifts to an Am. After 3 years of playing this song, I began to feel it needed something more. So I started exploring the chord progression, adding more chords and things like that. But in the end that little tweak is enough to keep it alive.
• When I started this blog, I didn't want to use any recordings from Whiskey Doubles CDs, but I cannot find any other versions other than these two. I'm kind of glad, though, because this really demonstrates the beginning and end of the song's evolution (so far)
• The banjo/vocal melody line on the verse is where everything stems from. At the time, I had no idea that I was writing in mixed meter, and admittedly have never taken the time to figure it out. It's a funny thing, because I don't think audience members hear it either.

Too Early (Climbed to the Top)

Too Early (Climbed to the Top)
Written and Recorded 2010

This is essentially a sketch, not a complete song. I had the music for a while before trying to put vocals to it, but it just never went anywhere. I love the soundscape that I created, but there was some sort of roadblock in the way that never let me finish. The first part of the title, "Too Early," refers to the fact that I thought it was too early in the morning when I started this song. Pretty deep stuff.

• I remember starting with the drums on this. The MIDI drums in Logic aren't too bad and I really loved the groove. Then I added in the static noises as well, not sure why, but I like it.
• If memory serves, I had the melody line and was doing my typical game of singing the line with whatever syllables feel right. It's funny how I often I find myself ending phrases with the "ooo" sound, and this sketch actually helped me discover that.
• Being early on in the Baraboo days, I was still working on finding my voice. While this song does extend to some of my higher range, I sing with a lack of authority and confidence, especially on the "This mountain's coming down" line. Singing it now, it is still up there, but I sound much different. Again, I have to attribute a lot of that to the community choir director we had there. 
• I'm not sure what happened at the end. I think I started a new loop too early and never bothered to fix it.
• I still wish there was more of this, but even now there is a block there. I'll keep this sketch and maybe it will surface again in the future.

Drift and Stray

Drift and Stray
Written and Recorded 2007

I have to say, this song is a little difficult for me listen to. I keep yelling at myself, "Nathan!!! This song isn't in your range!!! Change the freaking key!!!" So it's taken me a while to get past that part of this and share it with you. "Drift and Stray" is another one that was recorded in the Spring Break session of recording at my friend Zach's apartment. I wrote the song a month or so before and specifically waited to record a full version until then. It was supposed to be a pseudo romantic song, but it definitely comes off as creepy... really listening to the lyrics, this may be a song about murder. OH WELL!

• I have to say it again, CHANGE THE KEY!!! As you can tell in the first few lines, this song is well out of my range in the lower register. Maybe I wrote it in the morning? Who knows. But I still hadn't discovered the magic of changing keys to better fit my voice. The chorus fits nicely, but those verses...that's rough. Sorry folks.
• I enjoy the chord progressions on this song. They are simple and leave a lot of room for some interesting things with the melody. Did I do those interesting things? No, I did not.
• For the most part, the melody is just outlining the triads of the chords. This could work for some parts, but it happens for the verse AND the chorus...in the same rhythm. This was written at a time when I was learning a lot of music theory and started analyzing songs that I liked. I remember particularly seeing a pattern in a lot of Muse songs, where solos and melody parts would simply be outlining the notes in the chords. I thought I had unlocked the musical key to catchy lines. I am proud to say I was incorrect, but it was an interesting observation and I learned from it.
• The first guitar solo was my attempt at a Pink Floyd solo. Zach did the second one. It is not the worst part of the song.
• I tried to make the verses interesting with backing vocals that would start a line and hold a note/word. It's a cool effect that I haven't used since and would consider trying again. 
• Like I said, this is a rough one, but it happened. And as you can see, it taught me quite a lot. In this case, I learned what NOT to do.
• Side note: Hooray for drum loops!

Edge of the World

Edge of the World

Written and Recorded 2013

This song has seen a lot of stage time over the years and has undergone some instrumentation changes as well. Written in the second half of Of the North's time, "Edge of the World" was one of my more catchy songs at the time. I remember sending this demo off and getting a reply from Kent that was something along the lines of "Thanks for getting this stuck in my head all day." I felt it had great energy  and broke up our setlist nicely. We still play this song in Whiskey Doubles and recorded it on our first EP, Honey Creek. Nowadays, I use it as a positive song to insert into a setlist. I see a lot of smiles from first-time listeners on this one.

• The song is pretty simple, using just four chords. I wanted it to be a straight forward folk tune that anyone could play. It captures the feel pretty well at this tempo.
• The extended, solo intro that you hear has since been axed. It made the already long song, much longer. Truth be told, I didn't practice it that much so I tended to biff the opening in some way. Cutting that section helps the song move along significantly better.
• There are two instrumental sections. The first was intended to be a drastic change of dynamic after the first big chorus. I don't know if we've every fully captured that effect, but I do enjoy the extra section there. The second instrumental section was intended to be (if you'll forgive the expression) balls to the walls. It's hard to go from fortissimo to fortissississimo and have it be any sorts of effective. Perhaps some revisions are in order after analyzing this!
• I thought the multiple instrumentals would also give it more of an old timey folk feel to it. Kent does a nice cello line in there that is complimented by flute (formerly trumpet.) I think it does the job, mimicking a fiddle interlude you'd find on an old Irish tune.
• Lyrically, I would describe this as "pleasant." It's a very positive message about moving through life and that hard times make us stronger. I have similar messages in many of my songs, but this song's narrator is a bit happier than others.
• I've always like the line in the second half of the second verse. It is a complete play on "Row, Row, Row Your Boat" and while nobody has ever mentioned to me that they recognize the connection, I think internally people hear those words rearranged and know it's something familiar. It's a bit cheesy, but I though it was clever!
• If you'd like to hear the current version, see us live and buy one of the last copies of the Honey Creek EP or buy it on iTunes.

BONUS ROUND: Someday

Someday (Strokes Cover)
Arranged and Recorded 2013

Covers are usually an extremely important part of an original band's repertoire. They showcase a band's influences and give an audience something familiar. Let me be clear by saying I do not believe this is vital to a band's live show. It can be cool if a band takes a song and makes it their own, but it also runs the risk of being "schtick." I also feel that depending on the popularity of the cover, it can overshadow the original work that an artist is trying to put out into the world.

Covering songs in the Folk/Americana genres is especially dangerous ground. For instance, if you want to cover a classic song like "Take Me Home, Country Roads" by John Denver, you pretty much have to do an exact replica of that song in terms of tempo, feel, and harmonies or go completely the opposite...almost making it unrecognizable. But why make it unrecognizable if it's a cover? And who can really do justice to that kind of legendary song? Not many bands. Then if you do a song that isn't necessarily popular, but is important to your songwriting or band's approach to music, it's just another song that people won't recognize. It's a tough game to play.

During the reign of Of the North, I tried a different approach. Instead of focusing on the live show, I took songs that I loved (or were requested in some cases) that weren't really in our style, and made them our style. BUT I only recorded them and released them for free on Bandcamp. There is only one song that made it to the regular live show, but thats another story. I found it to be a very useful exercise in arranging and creativity, and it gave fans a different sense of connection. It was a lot of fun!

"Someday" is one of my favorite songs by The Strokes. Their first three albums have been extremely influential to me. I had always felt that songs off their first record, Is This It, would lend themselves nicely to the folk genre. They are built around simple chord progressions and can be catchy as hell. There's an inherent energy in that album that transfers nicely to other arrangements. Here's my attempt at "Someday," complete with terrible trumpet playing by yours truly. All in all, I enjoy this one a lot.

Shine Clown

Shine Clown
Written and recorded 2010

Oh the joys of naming songs. While I wrote the riff for this song, I couldn't stop visualizing one of those bouncy balls with the big red star, then stripes of blue and yellow...which reminds me of a clown. But the way the synth sounded, it reminded me of an old school NES or Gameboy game...not sure why that equals the shine part of the title. But there you have that little gem.

• I count the riff as one progression despite having three different sounding sections to it. There's the minor riff, major riff, then the turnaround. They flow into each other and one isn't meant to be there without the other.
• This is an incomplete sketch, but it's one of my favorite nuggets that came from this time. I always wanted it to grow to something more.
• Even in this minute and half I wanted it to build. Truth be told, I looped the badass synth and drums. I think I could only play the whole riff once without messing up, so I cheated. Whoops.
• I took one or two passes at a guitar part/solo, so this is how far I got. There's definitely potential there, but I peak too early I think. 
• This is just so busy, I could never figure out anything else to go over it or follow it. Perhaps it would have been a good NES soundtrack that endlessly repeats until you beat the level. The game Wizards and Warriors had that. It was both fantastic and terrible at the same time.

Recollection

Recollection
Written and Recorded 2004

Now presenting Nathan Honoré as BUSH!!! Yeah, I went through grunge phase (about 10 years too late.) This song was one of the two that I had written for my high school rock band. I mostly just played bass and did backing vocals with them. We were together for about 3 years and probably played a handful of gigs, but it was incredibly helpful in my development. My bass playing moved up by leaps and bounds, and I also learned how to play in a band, how my part fit, etc.

It's fun to look back now and see how badly I wanted to be Gavin Rossdale. And this song is pretty fun too, teen angst running rampant, calling people "fake." It should be noted that this recording is actually of that band, then known as Plow. We recorded in some guy's pseudo-studio in Port Washington in my senior year of high school. We felt pretty damn cool "heading to the studio."

• The opening riff is probably a blatant ripoff of something on "Sixteen Stone," and my performance of it is pretty messy. Even Zach's lead guitar part sounds like Bush.
• "Life ain't no gravy train." This line came about because of a book a idioms I found while working my summer job as a janitor at St. Matthias. Just another thing I was doing other than actually working.
• As a whole, this song flows pretty well. The structure is solid and keeps moving. Even the bridge builds into the final chorus in a powerful way.
• Many of the backing vocal parts were done at the suggestion of the "Engineer." He was really into the echo thing. But the double tracking on the lead vocals does add some weight to those lines. Though I was trying to emulate a metalcore band called Poison the Well. Here's a link to the specific song that has some nice vocal around 38 seconds...beware, the rest of this song is not for the weak of heart.
• Needless to say that I was trying really hard to be a lot different things. A great time for experimentation!