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Friday, February 08, 2008
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Current mood:  inquisitive
If there was ever an "Influence: Volume 2" CD, and you could request a song, what would you like to hear Shaw Blades cover?
The Shaw Blades Team
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Sunday, December 02, 2007
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Hello Friends,
As I look out my hotel room window at the overcast skies, with my flannel shirt, wool coat and scarf on, about to head out to the store here on the day of our seventh to the last show of the tour, it's very clear that the seasons have changed since we hit the road in early November. The show has evolved in a beautiful way since the first night in Petaluma. On that night, so infused with adrenaline, what may have been lacking in nuances that only come from playing night after night, the performance was more than compensated by the pure enthusiasm and excitement of getting back together after months of anticipation. We've come a long way since then.
Now, with eighteen shows under our belts, we have gotten to that wonderful place which in my own personal experience seems achievable only when your body is feeling the cumulative effect of all these elements: The miles you have to log to make it happen, the strange mix of food and dining times (it's not unusual to have breakfast at noon, skip lunch, get creative to find time for dinner, and often abandon that concept rather than eat before you go to bed), the erratic sleep/no sleep patterns, trying to avoid overusing your our voices during the day as we try to explain why we are not doing interviews or meet and greets, taking what might appear to be extreme measures to avoid exposure to people with colds and flu, and all these things that at the end of the day determine whether you have a great performance or a marginal one.
The net result is that we've been having some incredible nights on stage, finding moments of synchronicity that make all these daily obstacles virtually meaningless to us. There are so many little moments where magic happens, a new little dynamic shift, a vocal crescendo or decrescendo, a mistake that's picked up on by the other two members and turned into a new creation, that we are immediately renewed and refreshed and realize it's our small price of admission into this all too brief bubble of musical nirvana.
As much as we all can't wait to be reunited with our families, to be home to enjoy this holiday season, we know that there are only a handful of opportunities remaining to reach the summit of this mountain before we pack it in until the next time, whenever that is, there is a mixture of emotions as the days click by.
To the family of Lonny Heckman, who sadly passed away on Tuesday, thank you for sharing your experience, allowing us get to know your son by letting us see where he came from when you all showed up to see us in Allentown. In this strange twist of fate we have come to know and respect Lonny and the beautiful example he set in how he lived his all to short life only after it came to an end. His rise to fame and public awareness during his last days is a beautiful story which will live on for years to come.
Had we stayed home and not accepted these offers to perform, we would have missed out on all these beautiful life experiences.
We thank you all for these unforgettable days and nights.
Join us if you can while it lasts!
With love,
Tommy Shaw
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Sunday, October 21, 2007
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Greetings again!
Yes, Jack, I, with the help of Will Evankovich will soon be at it again, touching down as many times as possible between November 7 in Petaluma, CA and December 8 in Nashville. It's been a busy year for us in our other lives, but we didn't feel right without taking a lap around the country for second serving of our own special recipe of music and fun.
We hope you will join us if you see us on the map anywhere close to your address. Come prepared to sing along and have a few laughs at our expense. As you may have noticed, it's a no-holds-barred, no-notes-too-hi-for-us-to-attempt and no-song-unworthy-of-taking-a-shot-at-if-we-feel-like-we-can-pull-it-off kind of an evening when we strap on the acoustic guitars and park ourselves in front of you in our traveling living room, where as always, you may just be invited to be a couch potato and even sing along.
In the meantime, listen to us on Howard Stern's Sirius Radio program on October 24th where we will once again show you that we are willing to get up at sunrise, shower, warm up, and make it to his studio in Midtown Manhattan and perform for you at 8 AM with Howard as the ringmaster.
Counting down now, to the next chapter of Shaw Blades!
See you soon!!!
TS
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Friday, August 10, 2007
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Hey everyone,
Shaw/Blades is hitting the road again! The first few dates are now posted, but there are more to come, so stay tuned!
See you on the road, and if you haven't already checked out our latest album, "Influence", what are you waiting for?
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Saturday, November 04, 2006
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SHAW BLADES
Influence
This album has been years in the making. The recording process didn't take years, but the concept had been looming in our conversations for a long time. We'd always sat around with a couple of guitars and play songs we both knew from our younger days, spontaneous harmonizing and all that but we slowly eased into the idea of making a record.
From the day Jack Blades showed up on my doorstep on the Upper West Side of Manhattan in 1989, we discovered our chemistry as writers almost immediately. I'm not even sure if we noticed how our voices blended. It just happened and I think we took it for granted, because we were focused on jumping into the Damn Yankees experiment to see if it worked. Jack was in my laundry room downstairs as he was settling in and I heard him sing "I don't wanna hear about it--any more..." I went over to the piano and played, "Can you take me high enough?" and then called down for him to come up because I thought the two parts worked well together. Before the rinse cycle was completed we'd written the song. That's been our experience time and again working together. As writers were like two old friends who finish each other's sentences. We became best friends as a result of the music and the experiences we had because of it.
After two albums and two world tours with Damn Yankees we decided to do our first SHAW BLADES album. We flipped a coin to see whose name went first. Typical of how simple we've always kept things. When we formed Damn Yankees, I had been trying along with James Young to get STYX back together for three years and despite lawyers, managers and our best efforts we could not get all the members in a room at the same time, much less reunite the band. Damn Yankees was a sit down at a sandwich joint, a "Let's do it this way," and it was a done deal.
The SHAW BLADES "Hallucination" album was a departure from Damn Yankees in that it was more acoustic in nature, not nearly as heavy and more organically produced. Producer Don Gehman coined the term "car parts" for some of the vocal parts we DIDN'T sing, suggesting we leave those for people who were listening on their car stereos to sing out loud with us. To this day, people who know and own Hallucination tell us they have it in their car CD player and love to sing along.
On "Influence" we went song by song; some we held very close to the original versions, while on others we departed from the familiar arrangements and made them our own. We played all the instruments except for drums and an occasional keyboard parts which meant that some of the embellishments from the originals were reproduced with sounds from the guitar.
"Summer Breeze" has lots of interesting textures on the original Seals and Crofts recording, and I did my best to bring them to life by muting the strings to recreate percussion sounds and so on. It was like painting a picture with only primary colors, mixing our own shades as we went along.
"Your Move" was a combination of tipping our hat to the original, separating it from the second half of Yes' version and bookending it with an original composition.
"Lucky Man" was one we wanted to stay the course on, remaking it as close to the original as possible. Since neither of us were good enough keyboard players to play the Keith Emerson MOOG solo, I dug out this old pedal I'd gotten from Digitech years before but had never plugged in--a pedal that allowed you to do dive bombs up or down by manipulating the pedal and settings. This gave us the same kind of portamento solo energy as the original but made it our own at the same time.
"For What Its Worth" was one of the first songs we recorded, an experiment to see how we sounded covering a classic, this one from Stephen Stills when he was in Buffalo Springfield. We got braver as we went along, taking Simon and Garfunkel's "I Am A Rock" to a whole other level. I'm surprised no one has ever cut that in a heavier version. It was a natural.
Jack's son Colin, a very experimental songwriter himself, is always playing with different tunings and he showed me this tuning that he said was a typical Johnny Reznik (Goo-Goo Dolls) tuning. I tried "Dance With Me" and it came to life in a way I'd never heard it. I'd played that song in bars back before I joined STYX, but the original was sounding a little too sweet for us in that form. This tuning gave it some darkness, which set the lyrics in a more introspective tone. Jack's bass, Randy Mitchell's drum loops, and a little sprinkling of mandolin dust was all this one needed.
On a Carousel" by the Hollies was one that almost suffered by us getting it more in tune than theirs. All of these originals were recorded long before the days of digital auto tuning. Nowadays, people's ears can detect the slightest imperfection in vocal performances. If you listen to pop country music from this current era, they have made auto-tuning into part of the art form. Vocal choruses are so perfectly in tune now that if you were to look at the sound wave it would be smooth as glass. If the Hollies were recording those songs today, chances are the producer would use these tools to make their vocals perfect, thereby removing that particular human side of their sound. We were careful to try and keep our own humanity present throughout "Influence," but especially in our version of "On a Carousel."
TS
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