Hi friends.

I would like to announce the official live-going of my new professional web site.

Here you will find my arranging/composing bio and samples of scores and arrangements I've done, plus bits about what I"m currently working on.

The fabulous DayKamp did the design, and the inimitable Grooveva took the photographs.

Have a look.
Have a listen.

Thanks.

I've never been the type to go ga-ga over celebrities. Sure, I live in LA and it's fun to be all "I just saw Danny Bonaduce in the supermarket!*" every so often, but I've met "rock stars" and "famous actors" before and I am really not all that affected by it. They're just people, after all, and I treat them as such.
EXCEPT...

I met one of of the people who's had tremendous influence on me as a musician and is an indispensable presence on two of my top five albums of all time.

I met Colin Blunstone.

My good friends The Charms played a set opening for the Zombies and Ian Hunter. They know of my affection for the Zombies and were kind enough to get me a backstage pass and introduce me. I was giddy upon sight of him. I couldn't believe I was going to not only be in the same room as, but also speak to this pop icon. So...Ellie and Joe from the Charms took me to his dressing room shortly before the Zombies were to go onstage. They gave me an introduction and Mr. Blunstone was polite as can be. Tall, soft-spoken, and a rather calming presence. We chatted a bit and I felt I just had to tell him that not only am I hugely moved by Odyssey and Oracle (like everyone, right?) but also his somewhat obscure first solo album One Year.** My verbal tribute went something like:

"I really would like you to know that One Year is one of my favorite albums ever, the songs and arrangements and your voice, it's all just beautiful and moving and...(tears spontaneously flow from the corners of my eyes. Shit!) ...and...I have to go now."

I couldn't believe i was actually CRYING! What a sap! I made a beeline for the Charms' dressing room and bawled. God, I'm nearly crying again just writing about it. Why did meeting this man affect me so profoundly? He is, after all, just a person.
An enormously gifted person who has changed the way I look at, listen to, and write music.





* actually happened
** previously blogged about here

There are fires all the time in southern California.
Since I've been here, though, there hasn't been one this close to home.
I was driving down the 134 when I saw the flames and smoke tearing through the Hollywod Hills.
When i got to work people were either gathered in front of the TV watching coverage of the blaze, or gathered in front of the south plate glass window, watching it "for reals," as they say out here. We're on the sixth floor and the view was incredible. The clouds of smoke were orange, then brown, then they mushroomed. Just looming. To see the thick smoke suspended there was to truly understand the meaning of "loom." Not since 9/11 have I felt so many people so impacted by one thing, all together. The gravity of the situations are incomparable....but the eerie, surreal feeling that was the moment, that moment when people know something bizarre is happening, and don't know what's going to happen next...that's what was similar.

I am a child of the 80s. ..

I listened to Casey Casem's American Top 40 religiously. I kept a notebook full of top 40 lists from each week. If I was going to be unable to listen to the broadcast, I'd assign one of my friends to do it for me.(With all the persuasive power the Queen of the Nerds should have, dammit!)

It happened then, as it happens now, as it's always happened, in any form of art, that the piece that makes one well-known is seldom one's best piece.

Oh, I liked "She Blinded Me with Science" just fine...though I admittedly preferred the follow-up, and much lesser known single, "Europa and the Pirate Twins."

Having reconnected with The Golden Age of Wireless, it's amazing to me what a great songwriter Thomas Dolby is, and how I didn't realize it before. (Well, I was 8. What was YOUR excuse?) Of course, "She Blinded Me..." obscured the rest of his work, the blessing and curse of a radio hit. Tis a shame, because "Airwaves," also on "...Wireless" is an absolutely gorgeous song. I don't even remember it from back in the day. I don't know if it was released as a single. I do know that if it was, it wasn't in Casey's Top 40. I was so wrapped up in Nick Rhodes and Simon LeBon that I didn't pay Poor Mr. Dolby enough mind.

"Airwaves," the melody, the lyrics, the arrangement...it's perfect. Perfect not in that polished "there's nothing wrong with it" way, but perfectly poignant. Perfect in that the reaction it gives me is ineffable. It would have made me cry as I listened to it over and over on the way to work this morning had I not been dodging traffic and pedestrians at breakneck speed.

So, yes, "Blinded" is fine, and I do still stand by "Eurpoa," but "Airwaves" just kills me. 

Oh, and "One of our Submarines" is damn good, too.

Thomas, we hardly knew ye... 

 

 

The PKO East Coast, our original lineup, played the Kimchee Records 10th anniversary party last Friday night, December 29, 2006, at the Middle East in Cambridge, MA. This show meant a lot to me on quite a few levels.

1. Bob and Andy at Kimchee believed in, and released the record of mine I am most proud of, "The Trouble with Success or How You Fit into the World." Bob was never a fan of my former bands, and the fact that this, my most ambitious and personal work, spoke to him meant that much more. No bullshitter, that Bob.

2. We were able to reunite with the original members of the PKO. We had two practices before the show, and things just clicked, really felt old times, but also like a fantastic present. (double entendre? eh, why not.)

3. With Meredith on violin and Chris on trumpet, the band was rounded out. I love playing with these folks. Sometimes I get arsey and don't feel like going to practice. (Can you BELEEB it?) These two always make it fun, and what makes it even more fun it that they are masters of their instruments. A little horsing around is a good thing, but not if you suck.

4. I love the whole Kimchee crew. Bob and his family are aces. His nine year old daughter, Madelyn, thinks I'm the shit, too. I hope this lasts as long as possible into her teen-hood. The bands we shared the bill with were, in Kimchee fashion, top notch, and not full of shit. Not a poseur in the bunch. When you cut that crap and just focus on the music it's such a relief, for both the performer and the listener. The Willard Grant Conspiracy were magical. Thalia Zedek is ineffable. (Andy wasn't there- I forgot to ask Bob what was up with that. What WAS up with that?)

5. The audience was just wonderful. Boston has a reputation for having "cool" rock show attendees. the sort who fold their arms and nod rather than get into whatever show they came to see. (Yeah, I've been guilty of this on occasion...) Not so on Friday. The room was packed, and people were dancing and singing along. I really felt like I was with everyone- no "us and them," just all of us, whether we were performing or not, were having a grand ol' time.
This, my friends, is what it's all about.

Thanks, Kimchee, for giving us the opportunity to experience not only this show, but all that went with it, and for believing in TTWS or HYFITW.

And before this gets too sappy, will someone please get me one of these?

I get obsessed with songs. Every so often I'll hear a piece of music that just grabs me where I live, if you will. As I write this I listen to Bernstein conducting Rhapsody in Blue, one of the most fantastic pieces of recorded music on the planet. It's even better than Gershwin playing and conducting it himself. An object of stalkings past.

My most recent victim is "Comment (If All Men are Truly Brothers)." I was driving down Sunset, listening to my iPod on shuffle, and on it came. The version I heard was on Wilco's live album, "Kicking Television." It took me completely aback. It sounded unlike anything Wilco's done that I'd heard. And I decided that, if in fact Jeff Tweedy wrote the fucker, I'd have to put a hit out on him because nobody can write that many fantastic songs and live. It just isn't fair. I repeated the song the whole way back to my apartment. Then I ran inside and couldn't get on AMG fast enough. I discovered that Tweedy did not write the song (he lives!), it was originally written and performed by the Watts 103rd Street Rhythm Band. I grabbed their version from iTunes. It's not that different from Wilco's, a little more soul than rock. I'm not sure why I took to the song so much. It does have a pizzicato string hook in the intro, I'm a bit of a sucker for that sort of thing in pop music, But the lyrics deliver a rather simplistic, idealistic message. I'm not usually into that, but for some reason here it just works for me. Plus, the buildup , the timing, the chorus, the resolution...it's just all so damn GOOD. Even if the message is cliche, the song isn't executed in a cliche way.

Then...trying to explain exactly why a song "gets" you is like trying to explain what blue looks like. It just has to do something ineffable for you, and this one does.
Cheggidout.

Why is it that Huey Lewis has never been busted for the fact that "Do You Believe in Love" has pretty much the exact same verse as ELO's "Sweet Talkin' Woman?"
After the whole Ray Parker Jr. incident...I mean...really.
Fess up Huey.
I've always reviled you, but if you come coco with this, I may upgrade to "dislike."


Note the irony of his shirt.

I am a member of a Los Angeles women's networking group. The purpose of the group is to have women help other women in the entertainment industry because, as we all know, it's been dominated by men since time immemorial. It's been very informative and the ladies are super-supportive of each other. No catty bullshit. These are women with lives who get shit done.

So I was surprised by the content of this email * that was sent to the group today:
* I have taken salient excerpts and x-d out names

Hi ladies!

I'm fairly new to the group and I'm still feeling my way around the site!
I apologize in advance, I'm not looking to "plug" myself... But I need help/advice...
I'm currently auditioning bandmembers for my band at Swing House in Hollywood. I didn't know that I was going to have financing for the band, but it turns out that there is an investor who's interested in financing the band and showcase... which dramatically changes my situation. I don't know that I want and or need financing at this point. I almost feel as if it would be better to wait... That being said, I have all sorts of people coming out to audition (man it's interesting!), and I gotta get the word out even more. So if you, and or
you know someone who knows any male musicians in their twenties who are looking for a serious project; please send them my way. It really is an amazing opportunity for a young guy to get his feet wet and be seen...

To hear the music go to http://www.myspace.com/xxxxxxxx
and to get an audition packet go to www.xxxxxx.com

Ladies thank you so much for reading this! I really appreciate your help!
I look forward to seeing you all soon!!

XXXXXX

Those who know me (and likely some who don't) will know why I was irked by this. I don't usually reply to group emails, but in this case I felt I had to:


XXXXX,
I am, in addition to a (member of this women's networking group), a guitarist, bassist, keyboardist, vocalist, composer, and arranger. I make music for a living- performing, writing for myself and other people, and doing orchestral arrangements.

I feel that I owe it to myself (and to other accomplished female musicians) to ask you this: Why are you only interested in auditioning male musicians for your band?
Especially as one of the quotes on your web site is, "with angst from her heart and passion from her soul, this little gal reminds us once again that IT'S NOT JUST A BOY'S CLUB."

I'd love to hear your reasons.

Thank you for your time.

Sincerely,

Paula Kelley

www.paulakelley.com
www.myspace.com/thepko


So...in addition to a couple of "Go Paula"s from other group members, I got this reply from the direct recipient of my message:


Paula,

I appreciate your question. And all I can tell you is that I have my reasons. This is a specific project, one that I have spend years putting together. I have played with many women. I write with many women. My closest friends and musical inspirations are women. This is not an ANTI woman thing. It's all part of a bigger picture... For now I'm looking for men.

I apologize if you feel insulted or confused because of what I'm looking for in regards to this band. You don't have to support it or me. All I can say to you is that you don't know me, and if you did you would understand that I do have my reasons. I know, not the best answer... but that's all I can give at this point.

As far as the quote goes... I have a list of quotes that were given to me by people in the music industry. That particular quote was given by a woman, who knows me well...

Again I apologize if I've offended you. In no way was that my intention.
Best
XXXX XXXXXX


Nice of her to reply, but rather unrewarding on the front.
Though I was (and still am) under the influence of prescription painkillers, I managed to compile this:


XXXXX,

Thanks for taking the time to respond.
And of course I support you in your endeavors, we're in the same, or at least a similar boat.

You haven't offended me, just roused my curiosity...but you have your reasons and I respect that.

I suppose my hackles were raised because I've been playing in bands for years, and when looking for people to play with me, only men would show up to audition. I begged women to be in my band but often they were too insecure in their abilities, or just not interested. Finally, I got a woman keyboardist in the band, and then a woman violin player...so we were three boys, three girls, and i had so much fun. Prior to that I had been on tour around the US and Europe as the only woman in the entire entourage and it was rough. Having talented female company was fantastic...and who wants to be in a van with all stinky guys?
This was when I lived in Boston.
Now I'm here and my band is a five piece with a woman trumpet player. I just conducted a string recording session that was half and half.
When seeking musicians, I never advertise for specific gender or age, just musical interests and abilities. I have played with some wonderful people from a vast background of ethnicities ...with varied experience...of both genders.

I have also played as a backing musician for a woman singer-songwriter. I played guitar and bass for her, and was dismissed because I wasn't innocuous enough. It's like she felt she was in competition with me. Women can get like that and it makes me sad.

I'm rambling, but...another thing...remember the Lilith Fair? (Of course you do.) It bothered me that it was meant to be an empowering this for women, but almost all of the bands had a woman singer with all male backing bands. I prefer it when women can play their instruments and be fabulous...front person, side person, drummer, bassoonist, what have you.


This is a women's networking group, so to advertise for all male musicians in your post just...got me a little riled.
I've always been the front person/songwriter/go-to-gal in my bands. It would piss me ROYAL when the sound guys would automatically ask one of the guys what we need...or when a fan would go up to a guy and say "your songs are great" and the guy would reply "thanks, Paula writes everything." and the guy would respond "but I mean the MUSIC." "She writes that too..." (these things have happened more than twice.)
Women are more than pretty front people. They can do the work. They can play. They can rock.

However, you have a vision, and you must follow that.

Sincerely,

Paula Kelley


AND... I didn't send it. What I did send was this:



XXXXXX-

Fair enough. Thanks for replying.

Oh, and of course I support you...we're in the same boat.
Or at least a similar one...

Yours,

Paula




I didn't send the in-depth, personal reply for a couple reasons...I didn't want to be misinterpreted and have people think I was bitter, and also, I wasn't sure I wanted to let people in that much. There is a small chance, though, that she may stumble into this section of MySpace and happen to read this very musing.

And if so, here's to ya.

PK

I've been working my tail off for my next record.
We've recorded basics (despite the trifling trip-up of our drummer quitting THE DAY WE WENT INTO THE STUDIO), some overdubs, and now are preparing for the first string session.

I write my scores using Sibelius. As I've been working on these new arrangements, Sib came out with an upgrade. Very convenient. (I could get into why the new version is better than the old. but I will certainly bore the pants off the majority of you. If you want to know, send me a message.) However. I installed it, cruised through the tutorial, and continued plopping notes on the virtual paper. Each time I tried to do a "save" a window would pop up telling me I must perform an action that seemed unnecessary to me. I'd try to do what it told me, fail, and go back to writing. Rather than click on the icon next time, I did a file save and that worked. So, I leave it for a while and return to it. Write, write, write, click on "save" icon. Same stupid questions. "What the fuck? I should really look into that later..." Write write write write...I'm really on a roll! write write write...pop up window: Sibelius has quit unexpectedly, blah blah blah.

I lost EVERYTHING I did after I did the file save. It was really good, and I couldn't remember it. My problem? I thought the upgraded version changed their "save" icon from a floppy disc to a CD. In fact, the CD is for "save audio." That's why it kept prompting me. I looked a little further to the left and saw the old faithful floppy disc icon. If anything's worse than losing half your work, it's losing half your work AND feeling like the moron of the century.

Why did I even admit this to you?

Anyway, would someone please pass the parchment?

...and I sing on it too.

Check out the page for more details.
It's quite a star-studded affair.

Click on this.