In August of 2008, I recorded and released an album you know as See That Gleam — it was 12 tracks that I loved dearly; however, I felt the recording fell short of the vision. Of course, it doesn’t take a music production degree to recognize a short coming and this short coming has haunted me ever since.

As a blatant sufferer of OCD, I’ve mulled it over for years; Should I re-record See That Gleam or move on with my newer music? Is it worth re-visiting or should I just cut my losses and look to the future? Am I being hyper critical or is a re-recording truly justified? What are horse shoes? Are there horse socks? Is anybody listening to me?

A persistent burden.

It was early November of 2010 when the answer hit me like a ton of bricks — a resounding YES. Like a wave crashing over me, I was all at once convinced that re-visiting See That Gleam 2008 was the right thing to do as it would forever settle my soul and clear all doubt.

I was going to make it happen. Quickly.

Without hesitation, I instantly contacted my good buddy Laz who was the chief engineer at a local Nashville studio (I was living in Nashville at the time) and, as I had recently received of a $1,000 check for some design work, I asked him, How much studio time will you give me for $1,000? He agreed to block off a marathon week and we set the date for the Monday after Thanksgiving.

The goal was to track EVERYTHING in that one single week and while we didn’t quite finish EVERYTHING in that long-winded week of recording, we covered about 80% of what needed to be done: drums, guitar, vocals, harmonies, percussion, keys, strings and more.

Ask around; not many albums get tracked in one week.

All of that said, the bulk of the process was swift but there was an unfortunate delay in completing the final 20% chunk. While most of it was recorded at MEG Productions in Nashville within a matter of hours, some of the recording came back to Portland with me and the upright bass was just recently tracked in New York City by my enormously talented friend Logan Coale.

Three cities and five months later, I have finally received round one of the almost-final mixes. Another Gleam has found its form in 2011 and I’m proud to say, it has reached its potential and more than exceeded my expectations. It’s beautiful if you ask me.

To think, I started writing these songs in 2003, See That Gleam took raw shape in 2008 and at last, Another Gleam has been realized in its totality in 2011. A long process but well worth it.

While there is still some fine tuning to be done (mixing and mastering), the grunt work is finally finished and I’m ready to show it off. Please join me for the CD Release Party on Friday June 17th at Someday Lounge in Portland, OR. It is on that evening that I’ll finally release a version of a record that will stand in stone forever … plus two bonus tracks.

RIP See That Gleam … Welcome to the party Another Gleam.

BUY ANOTHER GLEAM!!

Track #4 off of my Long Before the Wheel EP is a short and sweet tune called Clover. While most of my songs are rather ambiguous and their meanings obscure, this one is fairly obvious.

There was a time in my life when I was — not lonely — but definitely ready to finally find that certain someone. With that in mind, I had always heard that if you want something badly enough, you should put it in the atmosphere and allow the universe to conspire to make it so. Cue this song.

I wrote Clover for the love I had not yet met — that rare clover hiding amongst the billion blades in the grass. I hoped this song would bring her my way…

DOWNLOAD CLOVER on CD Baby or iTunes!!

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CLOVER
by tyler stenson © 2010

As a man of chance, not much for fate,
My superstitions are hard to break.
But, if Lucky see, then Lucky do,
Then Clover I’ll be lucky to find you.

I’ve had a pocket-pair with an Ace up my sleeve
At an all-in table that boasted one King.
But, my luck has been known to wear walking shoes
So, Clover I’ll be lucky to find you.

Clover I’ll be lucky
To ever find something like you.
Please, Clover make me lucky.

In all the world there’s a billion blades
In the grass on the ground that all look the same.
I’ve combed them over- I’ve sifted through-
And Clover I’ll be lucky to find you.

Clover I’ll be lucky
To ever find something
So small and so lovely.
Yes, Clover I’ll be lucky if I ever find you.
Please, Clover make me lucky.

DOWNLOAD CLOVER on CD Baby or iTunes!!

It’s no secret that I am a huge fan of Josh Ritter. I’ve always said, as much as I revere his talent and tunes, it is his elegant brand and career path that have me intrigued — he’s genuine to the bone and it is obvious to anyone.

“I’m singing for the love of it — have mercy on the man that sings to be adored.” — Josh Ritter

All of that said, I had the opportunity to meet Josh a few years back after his show at the Aladdin Theater in Portland, OR. I practically chased him down to get my chance to speak with my then, idol. Of course, it was a younger me. I was star struck. I had bought a shirt at his merch table that I wanted signed and even had one of my CDs in my hand that I gave to him as I said, “I’d be honored to open for you someday. Any time. Anywhere.” I must have looked very professional as it was an old Rhetoric Tuesday CD that was covered with a single duct tape strip with a hand-written Lander on it, my new band name.

My optimism was comical.

Well, years have gone by and many bloody noses later, I had the chance to meet Josh again — but this time under a whole new set of circumstances. Without revealing my sources, I was placed on Josh Ritter’s guest list and given an exclusive after show pass. I would have the opportunity to meet Josh, but this time, I was told that he would know who I was and that he had heard my music. No shameless self-promotion necessary.

My girlfriend and I were led down the stairs into Lola’s Room where Josh was waiting to meet the small group of guests — we were two of five in total. He immediately recognized the others as obvious friends but we were strangers amongst them. So he walked over.

I won’t make it out to be a bigger story then it actually is; however, I will say, I spoke with Josh for about 10 minutes — about life, Nashville, his music and even some of mine. As much as I wanted to spray him with a fire hose of information, I refrained. With some simple niceties and multiple hugs goodbye (offered by him), I left with a skip in my step and a beaming smile.

I still have full intentions of opening for him someday but it will happen in its own season. For now, I’m happy for having gotten to met my idol — this time as peers. I won’t forget that night as long as I live.

As everyone knows, today is the NCAA College Football National Championship where the Oregon Ducks (12-0) take on the Auburn Tigers (13-0). What you might not know is that, at one point, I attended both schools. Oh, what to wear?

Yep, I attended Auburn University for my freshman year of college in 2001-2002. It was an absolute random chain of events that pulled me down South for my first time but I regret nothing. During that year I developed a deep love for Auburn football and have cheered War Eagle! on every gameday from that point forward.

Following my stint in the South, I decided to return home to the Great Northwest to attend the University of Oregon from 2002 to 2005 — eventually obtaining a degree in Journalism. These were some of the finest years of my life where I made amazing friends, learned about myself and harvested a love for Oregon Duck football.

Oregon vs Auburn

With that said, let it be known that I wake up every Saturday in the fall and cheer Auburn in the morning (SEC football airs early) and Ducks in the evening. I’ve had a fierce loyalty to both programs and it has never been a conflict of interests until today.

The stars have aligned and brought my two favorite teams to compete for the title. Again, oh, what to wear?

THE VERDICT: If you’re wondering which shirt I will be wearing and which team I will be cheering for on this polarizing day, in a resounding voice I say My Ducks.

Although I love Auburn football to the fullest and will continue to cheer for them on every other day that I live, for the sake of my alma mater, for the sake of Pac-10 football, for the sake of the State of Oregon and for the sake of the underdog … GO DUCKS!!

As you may or may not know, I’ve been in the recording studio since Thanksgiving working on a new album. I use that term loosely in the sense that it’s not an album with never-before-heard songs; rather, a complete re-recording of my 2008 album See That Gleam.

Though I care deeply for the songs themselves, I’ve always felt that the original recording of See That Gleam didn’t do them their full justice. I was younger then and didn’t quite know what I was doing. That said, from top to bottom, I have decided to re-track the album in its entirety and will be calling it Another Gleam.

Best decision ever.

There will be a full preview once the songs are completed; however, for the time being, I’d like to show you a glimpse at the differences between See That Gleam 2008 and Another Gleam.

NOTE: Keep in mind these tracks are NEITHER complete NOR mixed. I still need to add bass and other production elements. Though they are far from finished, just listen to the blatant difference.

COME AROUND 2008

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COME AROUND 2011

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FINGERTIP 2008

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FINGERTIP 2011

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OTHER TRACKS THAT YOU CAN LOOK FORWARD TO:
1. Big Hearts
2. Come Around
3. Babysitting the Cowboy
4. Cellophane
5. Better Be Us All
6. Paper Plane
7. Carry On
8. Fingertip
9. Popo Agie
10. Separate Things
11. Whistle Stop
12. The Bus
13. Feeling the Sun (bonus track)
14. Getting Old (bonus track)

BUY ANOTHER GLEAM!!

Inspiration is a funny thing — months ago, I felt inclined to write about the mystery woman of my dreams and even though Clover came to be, Old Man Muse must not have been finished with me. No, not quite.

After digging a little deeper, I’ve officially written a new song in the same vein as Clover called That I’ll Know You… and today’s live recording can be heard below. Simply put, it’s a love song for the woman that I thought might never show. Thought. Enjoy the new song.

That I’ll Know You…
by tyler stenson © 2010

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I’ve gotten good at being alone,
Through the Valentines and the Mistletoe,
Though I’ve tried to find my heart’s Muse-
Oh, that I’ll know you when I see you.

It’s not that I have never loved,
It’s that my timing has been a victim of
The Winds of Change-
My, how they blew.
Oh, that I’ll know you when I see you.

So, shine sun, shine
And burn brighter than the others
So that I might see your brand of beam
And want another and another.
I cannot call your name
Cause I don’t know who I’m calling to-
Oh, that I’ll know you when I see you.

I’ve pictured it one thousand times;
My hands have run the length of your spine,
Down to your thighs,
To your glass shoe.
Oh, that I’ll know you when I see you.

So, to my Love I haven’t met,
Where for art thou Juliet?
You see, I switched the lines
But the play reads true:
Oh, that I’ll know you when I see you.

So, shine sun, shine
And burn brighter than the others
So that I might see your brand of beam
And want another and another.
I cannot call your name
Cause I don’t know who I’m calling to-
Oh, that I’ll know you when I see you.

LIKE THIS SONG? THEN PLEASE VOTE FOR ME AS PORTLAND’S BEST MALE ARTIST: http://bit.ly/akdIA

Track #3 off of Long Before the Wheel is a mysterious gypsy tune about a very strange encounter I had while touring through San Louis Obispo, CA — simple show at the Cal Poly campus that turned into a full moon hike through Poly Canyon with a group of strangers.

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THAT MOON
by tyler stenson © 2010

Just before the summer,
I was playing my guitar
When a boy came from the audience
And motioned toward the stars.
He said it was a full moon
And It’s all the light we’ll need
For walking Poly Canyon … it’s a site to see.
He said, We’re walking Poly Canyon,
Come along, it’s a site to see.

So, we rose up in a clearing
That was filled with all these shapes
From all the heads of all these architects
That never grew tired of learning
Of Nature and Her systems
And how man can live within ‘em
And how the two can live as one
Just like it was long before the wheel and before the gun
-I wonder how they lived before the wheel and before the gun.

That moon was brighter than day
And who knows, maybe even God’s way to say:
Hey, I know by the looks of it
You’re human and you’re small
So, may that moon make you feel 10 feet tall.

I looked up at the two mountains
With that moon high up above ‘em
And it looked much like a pendant
Dangling from the neck of a woman.
With so much beauty there to offer,
There’s that much more to lose.
I said, This might be a stupid question
But do you suppose we’ve landed on that moon?
Oh, please forgive my stupid question,
But some would argue, that we’ve never touched that moon.

Scotty handed me a cig
And I burned it to the ground
And in the dirt, I turned those embers
Into something like a ghost town.
Then a man came out of nowhere-
He was the law but fair.
He said, On such a night like this,
You know it pains me,
But I have to ask you to leave.

That moon was brighter than day
And who knows, maybe even God’s way to say:
Hey, I know by the looks of it
You’re human and you’re small
So, may that moon make you feel 10 feet tall.

The sign said that the Lions
Would be hunting men like us
And that the Snakes had a taste
For human heels just above the dust
But that moon was all we needed
To be giants on that day
And to walk among the comforts
That no evil thing would dare to come our way.

That moon was brighter than day
And who knows, maybe even God’s way to say:
Hey, I know by the looks of it
You’re human and you’re small
So, may My moon make you feel 10 feet tall.

Hey, I know by the looks of it
You’re human and you’re small
So, may that moon make you feel 10 feet tall.

Track #2 off of Long Before the Wheel is a bittersweet ballad that was written for a special few — Scotland Barr and Kipp Crawford.

As the video and song suggests, Scotland passed away in September of 2009. When I heard the news, I began to write a song in his honor based on his song called Spanish Dust. Midway through writing the piece, in November, Kipp passed away tragically and, because this was a song for Music Men, I thought it highly appropriate to include him in the tribute.

I will never claim that I knew either of them extremely well but our brief passing in time had great effect. I will always remember them for their talents and their contribution to the Portland music community and beyond.

Read more about Scotland Barr
Read more about Kipp Crawford
DOWNLOAD DAFFODILS NOW

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DAFFODILS
by tyler stenson © 2010

Who was September
To decide it was time
To pull your pen from the page
That drew out your line
Since 1965?
-Long before your time.

May your fields be pure gold
And yellow like the loveliest sun.
May we hear your bones
Singing at the top of their lungs.
May all your fields be songs and daffodils.

Oh, then November
Would not be outdone
And dimmed that bright old smile
From an Ashland Son
That burned since ‘78
-Then all at once faded away.

May your fields be pure gold
And yellow like the loveliest sun.
May we hear your bones
Sounding out the beat of a drum.
May all your fields be songs and daffodils.

I for one, hope you found your Sun Years
And finally laid your eyes on some Spanish Dust.
Your words fill up our Paper Dixie Cups,
In a cheers to you,
One of the few who knew love.

So, may all your fields be pure gold
And yellow like the loveliest sun.
May we hear your bones
Singing at the top of their lungs.
May all your fields be songs and daffodils.

May all your fields be songs and daffodils.

DOWNLOAD DAFFODILS NOW

Track #1 off of Long Before the Wheel is a simple song called Leave Oregon. It was the first song I wrote after moving to Nashville and it’s therefore a vulnerable discussion of the West vs. East and the distance I felt from Home as a result.

What I like most about this song is that it’s deceptively motivational and even though it questions my move into the Lion’s Den of music (aka the Music City), I consider it to be a fearless march to war — much to gain, little to lose.

Enjoy Leave Oregon, no matter where you’re from — no matter where you’re going.

Leave Oregon will be released on Oct 2nd
At the Secret Society Ballroom in Portland, OR

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LEAVE OREGON
by tyler stenson © 2010

It’s the loudest sound;
When the heart knows what it wants and makes it known.
So, I’m leaving this town
Because it’s the season that changes all things into Gold.

But who am I to leave Oregon
When the rearview facing West holds all I love
And before me is October,
Where I might become my own fall,
But might never know my cards until I call?

Deep in the Lion’s Den
I’ve noticed Autumn holds a difference in the East;
Made up of different reds.
That color is bold, but just a lonely shade of dream.

So, who was I to leave Oregon
When the rearview facing West held all I loved
And before me was October,
Where I might become my own fall,
But might never know my cards until I call?

This is my loudest sound
And it’s meant for no one
But my loved ones in the West.
I’ll aim to make you proud
On a southern stage,
Lit by the lights, doing what I do best.

So, who was I to leave Oregon
When the rearview facing West held all I loved
And before me was October,
Where I might become my own fall,
But might never know my cards until I call?

I was asked to teach a songwriter’s workshop during a festival I recently played and although I was initially apprehensive, I was relieved to find how long-winded I became when I spoke on the subject. By no means do I claim to be the authority on songwriting; however, over the years I have accumulated a number of tips, tricks and unorthodox ticks that makes my process a bit more calculated.

Below is an outline of my discussion with the workshop audience — I think it will give you some things to think about as you approach your future songs. Good luck.

1.) KEEP A JOURNAL and/or WRITING BOOK

EXAMPLE: Many times I’ve stumbled upon a line or a word that made no sense when it was written; however, a year later, within the new context of my life, it made all the sense in the world. Whistle Stop, for example, was simply a cool word that I wrote down in my journal and it was a full year before it ever made sense.

When I first heard the word, I tried and tried to write a song but nothing in my vault of life experiences would support the theme. HOWEVER, a year later when I read that phrase in my journal, my brain immediately snapped into focus because of a current circumstance: my great friend had recently lost his mother. Even though Whistle Stop meant nothing to me a year prior, in that moment it screamed “life is a train … and since you never know when the next whistle stop will be, don’t whisper softly the things that you want loudly to be.” This delayed inspiration was a result of keeping a journal and re-visiting it often with a fresh perspective.

2A.) IF YOU’RE STRUGGLING FOR IDEAS, USE “A TECHNIQUE FOR PRODUCING IDEAS”

I studied advertising in college but because I knew songwriting was my call, every time I heard the word advertising, I would subliminally substitute it with songwriting. That said, I read a book called “A Technique for Producing Ideas” and even though it was about scheming ads, here is how it applies to the craft of songwriting.

Amazingly enough, upon reading this book, I realized the steps it described was how my brain was already working. It’s a 4 step process that is more natural than you might think:

STEP ONE – Gather Information
The goal here is to find a word or an idea (aka Whistle Stop) and collect every scrap of information that could support it. Collect nouns, read research papers, use wikipedia, interview people, etc.

STEP TWO – Grind and Explore
This step involves taking all of the raw information that you’ve gathered in step one and simply grinding it into the ground. Yes, stretch it, molest it and attempt to connect all of the dots while exploring all of the possible combinations. In this incubation period, you may not have the major break through; however, the goal is to leave no stone unturned and become overly acquainted with your information — to the point of exhaustion.

STEP 3 – Move On
It may be hard to do at times but step three suggests to simply walk away from the train wreck of thoughts in your head. Move on to the next project or song and clear your head. The argument here is that once you’ve collected all of your information and ground it into the ground, even though you’ve walked away from it consciencely, your sub-conscience has not forgotten about the task. While your conscience is away, your sub-conscience will play.

STEP 4 – Revisit with a New Perspective
Once you’ve completed the word jumble of steps one and two and then walked away for a time, come back with a fresh head and revisit the material. Again, even though you aren’t aware of it, your sub-conscience has been connecting dots without you even knowing it. You will find that upon your return, the idea has matured and your words will fall with much more precision.

NOTE: Even though I claim that I rarely write a song in one sitting, this process is the caveat. I have certainly schemed and schemed, walked away for a few months then returned to write the song in one sitting.

2B.) IF YOU ALREADY HAVE A SONG IDEA

If you’re lucky enough to already have a song title, theme or idea, here are a few very basic ideas that will help them reach their full potential.

3.) LISTEN TO THE SONG BEFORE IT’S WRITTEN

Most of my songs start with a chord progression on the guitar or piano and then I retrofit words afterward to fill the spaces. To me, fitting words into music is much easier than the alternative.

It may sound odd but when I have my chord progression established, I sit in my room, guitar in hand and play through the song about 10 times — filling the space with ad lib, mumbles, oooohs, aaaaahs, random lyric and whatever else decides to come out. I find that keeping an open mind and simply letting the sounds flow can be VERY telling.

What you’ll find is certain vowels poking up in the same place each time. You’ll find certain lines beginning with the same alliteration each time. You’ll find that amongst the chaos, there are constants. Embrace those constants and listen to them as if it’s the song revealing itself to you piece by piece.

After I’ve made a fool out of myself a dozen or so times and noted the revelations, I plot out the constants in a sort of road map and then back-fill the other information. It’s somewhat difficult to explain but when you know your anchor points, the rest of the content is immediately less random. If I know my second line wants to end with an “eeee” sound and the third line wants to start with a “B” alliteration, rather than pulling random thoughts from the air, the thought process is now: “What line can I think of that ends with an “eeee” rhyme while introducing a “B” alliteration?”

This step takes some confidence; however, I guarantee if you open your mind and let the unwritten song flow through you, you’ll find that it speaks to you — ultimately revealing little pieces of itself. By listening to the promptings, your song will assume a more natural feel because nothing was forced or contrived — on the contrary, it’s meant to be.

4.) LITTLE THINGS THAT WORK IN BIG WAYS

5.) GENERAL RULES, DOS, DON’TS, TOOLS, ETC