As I have been alternating new (original) songs and covers, it’s time for me to re-imagine this hit (recorded in 1980 but released as a single in 1981) from Daryl Hall and John Oates, with Sara Allen also given song-writing credit. I can’t possibly replicate Daryl Hall’s energetic vocal or mimic the particular rock genre — characterized later as “yacht rock.” The tempo of my version is somewhat faster, but with the snare drum slowed down into a half-time feel and a decidedly more bluesy articulation.

I wrote this song in January and February of 2021, then worked on the piano/vocal arrangement for another month or so, recording it live on March 21, 2021 (while simultaneously shooting the video using my iPod Touch mounted on a tripod perched precariously with one leg on the piano and the other two legs straddling my computer keyboard. This is a love song of sorts with my own intuited jazz-inflected chord changes. Try out a 14-bar verse yourself: | Cmaj7 | Eb | Dm | C# | E | Emaj7 | Dm – G | repeat. Or perhaps you would prefer to try the 9-bar chorus: | Cmaj7 | Fm – C# | B | Bb | Ebm – B | Amaj7 | Ab | C# | Fm | Dm – G |. And sorry for mixing up flats and sharps: it’s how I understand the changes, even if it doesn’t correspond to proper musical notation.

Find links to all my music here.

In my chronological quest to record covers of songs that were somehow influential in my musical/emotional development, I’ve finally left the 1970s! Inaugurating the new decade is Bruce Springsteen’s fine working-class anthem, “The River,” first released in 1980. The truth is, I didn’t really know the song until much later, but still…

This version is recorded live, at least the basic piano and vocals, with the video recorded simultaneously from two vantage points: the sucky iSight camera in my old iMac, and my relatively new iPod touch mounted on a tripod behind the piano (visible in the iMac segments). I then added acoustic guitar, harmonica, and—using Logic Pro’s software instruments—drums and bass. I edited the video using Final Cut Pro, making everything black and white in order to work around the horrible color quality of the iMac video segments. In this respect, I must disagree with Paul Simon’s assessment in “Kodachrome” that “everything looks worse in black and white.” In fact, the opposite is often true.

All of my music and music videos can be found here.

This is a song written out of desperation: I needed some “material” and so decided to write about my daily walk down the hill to the Ithaca Commons (more or less) and then back up the hill. The images in the video that I shot to document the walk became the subject of the song, albeit with a bit of poetic license intended to draw some larger meaning from the experience.

Find lyrics and other production notes on the official “Walking In Circles” website. And find links to all my music and music videos here.

I’ve been recording covers of songs—one from each year starting in 1963, with a different artist each time. I’m excited to be saying goodbye to the 1970s with this semi-acoustic cover of Tom Petty’s classic song from one of the best albums of 1979: “Damn the Torpedoes.”

Find links to more covers and original compositions on my music homepage.

[Updated May 31, 2020: I embedded a new, more elaborate version of the song and video below; the original “live” performance can be seen here.] I wrote and recorded this song—Stuck Here in a Box—over Memorial Day weekend, 2020, locked down at home during the covid-19 pandemic. The “box” in the song’s title references the multiple frames in a Zoom meeting, within which one eventually begins to feel trapped.

I was only marginally aware of Warren Zevon back in 1978 when he released his Excitable Boy album, which contained the song, “Lawyers, Guns and Money.” However, I did become a fan later, and I offer this more-or-less acoustic cover consisting primarily of vocals, guitar, and harmonica. I did add a bit of kick drum and bass to provide some propulsion in certain places; also I added some organ and piano in the bridge and some piano in the fade-out. These instruments (kick drum, bass, organ, and piano) are actually so-called software instruments played live on my midi-enabled Yamaha P-60 digital piano. I mixed it all using Logic Pro X and shot the video with my new iPod Touch, edited using Final Cut Pro. Oh, and the hand claps are really just my hands clapping.

Links to all of my songs can be found here.

I decided to enter the NPR Tiny Desk contest by submitting a video of an original song. My entry is a song I wrote in 2008 based on a game of Scrabble. In fact, this was the first time that my daughter Jennie beat me, and she beat me on her last turn by placing the word “SQUINTS” on a triple-word square, with the letter “Q” on a double-letter square. As all Scrabble players know, “squints,” being a seven-letter word, gets you 50 extra points; doubling the value of “Q” gets you 20 points; and placing the whole thing on a triple-word square, well, that gets you so many points that—although I was comfortably ahead at that point and assured of victory—I actually lost the game in dramatic fashion on the last play. So, here’s the new video, live and acoustic (the original video and recording from 2008 can be found here).

I’m up to 1977 in my chronological quest to record songs that were influential in my musical development. The rule I’ve set for myself is that I can only record one song by any given artist or group, and only one song for each year. This particular choice has a rather nasty lyric, but—what can I say—I’m a sucker for these rock ballads.

Links to all my music can be found here.

This is a song that I started writing in high school (1970 or earlier) but only finished this month—50 years later. I had only written the chorus, so the verses and bridge are new.

More details, including lyrics, are here.