So, what's been happening since the last blog post? Quite a lot actually. I am delighted with the pace with which things have picked up and the opportunities that have come my way. I am actually feeling very lucky at the moment and hope that things continue the way they have. Let me summarise what has been happening since the last post.
Jim Gellatly's Amazing Radio Show
I was slowly being rocked back and forth as the bus ascended the road it was on. I had just recently taken a picture of a suitcase that was hilariously perched on top of a bus shelter, as you do. I checked my Blackberry and saw the wee red flashing light. I checked my phone and I had received an e-mail. It was from someone from Amazing Radio stating that Jim Gellatly had selected one of my songs from my amazingtunes account and would play it on his show that weekend. Elated, I was consumed in sheer delight. I couldn't wait to hear it. At this time I actually had no idea what track had been selected and I had to wait until the weekend to find out.
So on the Sunday, I sat there, with my mobile phone and watched the tracks come up on Jim's show on the Amazing Radio website. I excitedly scanned back and forwards through the tracks that had been played and were currently being played, to make sure I hadn't missed it. Then with great delight, my name appeared, 'Wullae Wright: Red Bridge'. I was delighted he had selected this track as I would regard it as one of my best songs. It was the acoustic Red Bridge from Opus. 1. A good few of my friends contacted me to let me know they had heard it and their support was amazing. I was absolutely delighted with Jim's description of Red Bridge, saying it had "...shades of acoustic Radiohead". For me, an unbelievably fantastic compliment.
Red Dragon Records - 'Renaissance' Compilation Album
Sourcing more people through Twitter to network with, I somehow found Red Dragon Records - or they found me, I do not remember. They were organising a compilation album entitled 'Renaissance' and were looking for unsigned musicians to contact them for this. So I did. I had always wanted my music to be featured on a compilation album as it would get some exposure and is generally just cool to be on. I had originally submitted 'Operation Payback' from my album 'Anonymous'. I received an e-mail from Red Dragon to say that one of my tracks had been shortlisted for the compilation album, and to ensure it makes it onto the album, I would have to get people to 'like' the track on a Red Dragon Facebook page. Excited, I had a look on the Facebook page and was surprised to find my track 'UFO' had been selected for the compilation album. I was delighted at this because the song was from the new album I'm working on, and would give it some exposure. I was contacted by music technology student Karis Amber Carise who told me she had selected 'UFO' for the shortlist. I was so thankful to her for selecting it and for her kind words about the song.
As a solo musician I had concerns that I would not be able to make high numbers for 'UFO' - as I was competing against bands who could have three or five band members and so have five times the amount of support as I would have. This did not dissuade me from trying. I persevered and contacted many people through different networking sites including Twitter, Facebook and Soundcloud. The amount of support I received was fantastic and I am incredibly thankful to everyone who helped out by sharing the link for the song and by suggesting it to friends etc. I had people I didn't even know like it, and some sending me lovely comments about the song. I was so grateful. I was particularly thankful to my wife who shared the link and got lots of her friends to like it etc. I'm also forever grateful to Stuart Carroll for his help with the strings on 'UFO' and for his constant support.
The number of likes for the track reached around 49 and sat at that number. Other songs were reaching into the 100s. I watched the progress of the other tracks. Red Dragon Records had put that they would selected the top four songs, with the most likes. I could see that I was not in the top four and thought that my shot of being on the album were over. To my absolute surprise I received an e-mail stating that Red Dragon Records had in fact selected six tracks instead of four, and I had a guaranteed place on the compilation album. I was absolutely delighted by this. I competed all necessary steps to ensure that there would be no problems with this. 'Renaissance' is expected for release on 07/01/2013. They are still going through the shortlist process with other bands, but I feel comfortable knowing that I am definitely on it. So thanks to everyone again, because I wouldn't be on it if it were not for all you guys and your support.
Niji Magazine Feature
I had mentioned in the previous post that I was awaiting Niji Magazine and their feature on my music. One day I was browsing through my Twitter account and clocked Niji Magazine and the feature on me. I was so excited and immediately had a look. It was excellent, putting audios up from Soundcloud and it was an edited version of my own short biography I had sent them. I was absolutely delighted by this.
http://nijimagazine.com/2012/10/introducing-wullae-wright/
Freaky Pug PR/Records
I was delighted to receive a message from Freaky Pug Records stating that they had including my last blog entry as a top feature in their online newspaper. I was so thankful to them for this, and was delighted that the lovely people at Freaky Pug had enjoyed the blog entry. After finding out about the Niji Magazine feature, I excitedly posted tweets etc about IT. I was so grateful to be told by Freaky Pug that they had included this feature as a top feature on their online newspaper too. This kind of support and exposure is absolutely amazing and much appreciated.
Freaky Pug has recently teamed up with Brit Rock Army to create a compilation album. I was very excited for them and thought that they would do such a great job with that. I did not hesitate to submit tracks to them for consideration - submitting 'UFO'. If shortlisted for the album, the process will be much the same as the Red Dragon process of people having to 'like' the track. I can only wait and see what happens.
Album/song Downloads
Since the last blog entry I have had quite a bit of success with my Album and individual song downloads. I was not expecting the level of downloads I have received and I am of course absolutely delight by this. I have had 17 album downloads and 8 song downloads. 'AFTER. THE. RUSH. HOUR'S. GONE' has been downloaded 7 times, 'Opus. 1' 3 times, 'In Cloud Cuckooland' 4 times, 'Anonymous' 2 times and 'Welcome to the Anonymous: Alternative Version' once. I've also had 'Red Bridge' downloaded 3 times, 'UFO' 3 times, 'Surveillance Society' once and 'La Rue. Noir. Paris (A Portrait of the Streets of Paris at Night)' once. This has been my most successful time for downloads ever, and this is all due to the support from everyone around me, so thank you everyone.
Exciting prospects
This is just some of what has been happening, aside from the odd bit of recording and editing. I have had an extremely amazing proposition recently, which I am currently in talks with. This is creating some very very exciting prospects for me and my music for 2013 and particularly 2014 if all goes as expected. Exciting times ahead people.
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
http://www.freakypug.co.uk
http://paper.li/FreakyPugPR/1348473678
http://phasecancellationcoffee.tumblr.com
http://www.jimgellatly.com
http://nijimagazine.com
Saturday, 3 November 2012
Monday, 8 October 2012
Radio, Reviews and Twitter I
The last few weeks to a month or so have been a complete and utter rollercoaster. Nothing could have prepared me for what has happened. As coherently as I can retell, I have had great support and interest in my music due to my endeavours through Twitter. I did not consciously go out my way at first, but as things snowballed, I decided to keep pushing.
Around the week starting Monday the 17th of September 2012, I was using my Twitter account. I had barely anyone following - around 20-30 people. I, likewise, was not following many people. This did not bother me, but I was obviously not going to get much attention this way. The whole and sole purpose of my Twitter account was to promote my music through it. I one day began looking for radio stations and blogs that reviewed unsigned musicians. I thought I would maybe contact a few amateur bloggers and see if they would review my music. So I browsed through the numerous suggestions Twitter threw out at me. Many caught my attention, and I decided to follow them, and blatantly just ask if they would review my music.
To my surprise, I have had quite a few people reply and act on my requests, which has never happened to me via this social networking site. I have had an online magazine Niji take details from me, and say they would do a feature on me and my music which I am delighted about - as I requested an album review. I am still waiting to see what they put up. I also sent information requested by Music Review Unsigned Magazine, which I am also waiting to see what happens. I have had other bloggers, etc state that they would have a look. I was extremely surprised to find one day that Radio presenter, DJ and music columnist Jim Gellatly had liked my Facebook page. This sort of attention is exactly what I am interested in getting for my music.
The most exciting and supportive individuals however, have been Freak Pug PR/Label, who asked around for unsigned musicians to complete a Q&A interview form to be featured on their website. I completed the details and sent it back to the lovely people at Freaky Pug, who put my Q&A interview up on their site a week or so later. The review is absolutely fantastic and I am so grateful to them for supporting myself and unsigned musicians like me. Freaky Pug described me as:
"Wullaes musical diversity and experimentalism provides an outstanding mix of sounds, from the beautifully haunting Red Bridge to the fantastically progressive Juxtaposition. This blend of styles reaches to each end of the music spectrum and pulls them unmercifully into one awesome set that will keep any audience truly captivated. Wullae can currently be found in and around Edinburgh where he is in the middle of recording his new album ‘The Orange Line'. Definitely one to look out for." - Freaky Pug (http://www.freakypug.co.uk/unsigned-interview)
I have also enjoyed some online radio play which I was not expecting at all. I have contacted people about airplay before, but nothing came of it. This time, it did. This is the first time I have had my recordings played on the radio. I played on Sunny Govan Radio in Glasgow in 2007 live, performing my songs 'Jinx' and 'A Butterfly, A Bouncy Castle and A Pole Joust'. I was so excited to be told that I would have my recordings played on air. What I found particularly interesting was the songs that the radio stations decided to choose. I was made aware by The Wall Rock Radio, that they had selected two of my songs to play on air. I was delighted and wanted to know which ones. They had selected 'Red Bridge' (AFTER. THE. RUSH. HOUR'S. GONE version), and 'Surveillance Society'. I was surprised with these song choices, but absolutely delighted they would play them, as I never regarded them as songs to be played on the radio. I later found that I had also been featured on the Unsigned Music Show's live online broadcast, playing my song 'Red Bridge' (AFTER. THE. RUSH. HOUR'S. GONE version). I had no idea they had selected it to be played, and only listened to it on their podcast - which is available here http://www.mixcloud.com/carlhutchinson/the-unsigned-music-show-with-greg-genre-19th-august/
I still await the Niji feature and to see what Music Review Unsigned has written. I am still currently going through Twitter and adding anyone relevant, and blatantly asking them for features etc. If you don't ask, you don't get. That's how I see it. Twitter has been an invaluable tool in networking with relevant people, and I will keep using it to my advantage.
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
http://www.freakpug.co.uk
Around the week starting Monday the 17th of September 2012, I was using my Twitter account. I had barely anyone following - around 20-30 people. I, likewise, was not following many people. This did not bother me, but I was obviously not going to get much attention this way. The whole and sole purpose of my Twitter account was to promote my music through it. I one day began looking for radio stations and blogs that reviewed unsigned musicians. I thought I would maybe contact a few amateur bloggers and see if they would review my music. So I browsed through the numerous suggestions Twitter threw out at me. Many caught my attention, and I decided to follow them, and blatantly just ask if they would review my music.
To my surprise, I have had quite a few people reply and act on my requests, which has never happened to me via this social networking site. I have had an online magazine Niji take details from me, and say they would do a feature on me and my music which I am delighted about - as I requested an album review. I am still waiting to see what they put up. I also sent information requested by Music Review Unsigned Magazine, which I am also waiting to see what happens. I have had other bloggers, etc state that they would have a look. I was extremely surprised to find one day that Radio presenter, DJ and music columnist Jim Gellatly had liked my Facebook page. This sort of attention is exactly what I am interested in getting for my music.
The most exciting and supportive individuals however, have been Freak Pug PR/Label, who asked around for unsigned musicians to complete a Q&A interview form to be featured on their website. I completed the details and sent it back to the lovely people at Freaky Pug, who put my Q&A interview up on their site a week or so later. The review is absolutely fantastic and I am so grateful to them for supporting myself and unsigned musicians like me. Freaky Pug described me as:
"Wullaes musical diversity and experimentalism provides an outstanding mix of sounds, from the beautifully haunting Red Bridge to the fantastically progressive Juxtaposition. This blend of styles reaches to each end of the music spectrum and pulls them unmercifully into one awesome set that will keep any audience truly captivated. Wullae can currently be found in and around Edinburgh where he is in the middle of recording his new album ‘The Orange Line'. Definitely one to look out for." - Freaky Pug (http://www.freakypug.co.uk/unsigned-interview)
I have also enjoyed some online radio play which I was not expecting at all. I have contacted people about airplay before, but nothing came of it. This time, it did. This is the first time I have had my recordings played on the radio. I played on Sunny Govan Radio in Glasgow in 2007 live, performing my songs 'Jinx' and 'A Butterfly, A Bouncy Castle and A Pole Joust'. I was so excited to be told that I would have my recordings played on air. What I found particularly interesting was the songs that the radio stations decided to choose. I was made aware by The Wall Rock Radio, that they had selected two of my songs to play on air. I was delighted and wanted to know which ones. They had selected 'Red Bridge' (AFTER. THE. RUSH. HOUR'S. GONE version), and 'Surveillance Society'. I was surprised with these song choices, but absolutely delighted they would play them, as I never regarded them as songs to be played on the radio. I later found that I had also been featured on the Unsigned Music Show's live online broadcast, playing my song 'Red Bridge' (AFTER. THE. RUSH. HOUR'S. GONE version). I had no idea they had selected it to be played, and only listened to it on their podcast - which is available here http://www.mixcloud.com/carlhutchinson/the-unsigned-music-show-with-greg-genre-19th-august/
I still await the Niji feature and to see what Music Review Unsigned has written. I am still currently going through Twitter and adding anyone relevant, and blatantly asking them for features etc. If you don't ask, you don't get. That's how I see it. Twitter has been an invaluable tool in networking with relevant people, and I will keep using it to my advantage.
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
http://www.freakpug.co.uk
Monday, 3 September 2012
Welcome to the Anonymous - Alternative Versions
Over one year on from the release of my music project Anonymous (2011), I was up late one night recently with not a lot to do. I was looking through the numerous music folders I have. I had always wanted to create a kind of bootleg style album, as I tend to hold on to a lot of my original versions of songs. I like to see the development of the songs. To see how they developed and changed over time, and what I eventually settled with.
I think I get this mentality from growing up listening to Radiohead. I was always able to source some kind of raw, rare version of a song before it was released. Then I would hear the album version and it would be totally different from the rare versions I'd heard previously. I always liked this. Made getting an album more exciting. It was interesting to see how the band had also developed the songs and ideas and sounds. So this is almost a kind of testament to that idea.
Welcome to the Anonymous - Alternative Versions (2012) is a collection of original, alternative, live versions and unheard songs. Anonymous began just before 2011, and I had written and recorded 4 tracks. I wasn't sure if the sound I was developing was the one I intended. I continued to develop the ideas anyway, and one day I got a virus on my computer that wiped all the songs. I then began recording the album from scratch, and came up with the version in 2011.
I later released I had gave my friend and musician Scott a loan of one of my pendrives with some music on it. This pendrive had the original Anonymous music on it. It took over a year for me to get this pendrive back. When I got it back, I had forgotten how good some of the recordings were. So I began putting these songs on this new album. I was content to make it an 8 track E.P, which I initially put it up as. However, as I looked on my computer at the other versions of Anonymous songs I made that people would not have heard, I thought it would be cool to add them all on an album. If people wanted to hear it, that's cool; if not, then I just like having the additional album. It is a good contrast to the original album, as there are quite a lot of acoustic versions.
So there it is. That is the logic behind the album. It is a collection of Anonymous songs, over 2011, that were not heard. It was compiled during a few nights, and the artwork was created in one night. This at the moment is the only project I have released in 2012. I enjoyed putting it together and I hope people enjoy listening to it.
Watch this space,
Wullae
http://wullaewright.bandcamp.com (find: Welcome to the Anonymous - Alternative Versions)
I think I get this mentality from growing up listening to Radiohead. I was always able to source some kind of raw, rare version of a song before it was released. Then I would hear the album version and it would be totally different from the rare versions I'd heard previously. I always liked this. Made getting an album more exciting. It was interesting to see how the band had also developed the songs and ideas and sounds. So this is almost a kind of testament to that idea.
Welcome to the Anonymous - Alternative Versions (2012) is a collection of original, alternative, live versions and unheard songs. Anonymous began just before 2011, and I had written and recorded 4 tracks. I wasn't sure if the sound I was developing was the one I intended. I continued to develop the ideas anyway, and one day I got a virus on my computer that wiped all the songs. I then began recording the album from scratch, and came up with the version in 2011.
I later released I had gave my friend and musician Scott a loan of one of my pendrives with some music on it. This pendrive had the original Anonymous music on it. It took over a year for me to get this pendrive back. When I got it back, I had forgotten how good some of the recordings were. So I began putting these songs on this new album. I was content to make it an 8 track E.P, which I initially put it up as. However, as I looked on my computer at the other versions of Anonymous songs I made that people would not have heard, I thought it would be cool to add them all on an album. If people wanted to hear it, that's cool; if not, then I just like having the additional album. It is a good contrast to the original album, as there are quite a lot of acoustic versions.
So there it is. That is the logic behind the album. It is a collection of Anonymous songs, over 2011, that were not heard. It was compiled during a few nights, and the artwork was created in one night. This at the moment is the only project I have released in 2012. I enjoyed putting it together and I hope people enjoy listening to it.
Watch this space,
Wullae
http://wullaewright.bandcamp.com (find: Welcome to the Anonymous - Alternative Versions)
Friday, 31 August 2012
The Orange Line: Track by Track
Even with many new personal changes in my life recently including the birth of my gorgeous son, I have been surprised to find time to record 'The Orange Line'. I had visions the project ending much like 'Under the Pyramids', whereby I ran out of time to complete the project, hence it became an E.P. 'The Orange Line was sitting at 5 songs only a few weeks ago. Due to sleepless nights etc since then, I have found the opportunity to record; and record I have. I have worked out 7 of the old songs from the Cassette Tapes from 1999-2002, which I have found tricky. These are song that I haven't played in a decade. I have struggled with a couple and in all honestly I don't think I will be able to work them out. The 7 I have worked out however are great songs - in my opinion, which have a new lease of life. Here is the album as it stands at the moment, track by track:
1. Unidentified Flying Object - Opening track, with long intro and strings. This song has input from my friend and musician Stuart Carroll who provided the strings. It has had a few compliments on the track already now, and is a strong opener. The track still required a lot of work.
2. A Stage with your own Fears - An old old song, it first half is a dark plucked tune. The original was only ever one acoustic. I re-learned the song, and have since put bass, and two sets of lead to it. It is a nice, quiet come down from U.F.O before it. The song, like all on the album at the moment still require a lot of work.
3. Roadtrippin' - An old song I use to really enjoy playing. I had pretty much remember this song even from all those years ago. It is simple but quite distinctive. In 2011 in a rehearsal studio preparing for a gig, I played the song. I then wrote a brand new song for 'Under the Pyramids' using the riff but slowed down; however the track didn't make it on the E.P. I recently recorded it as it was back then. I have added bass, and numerous pieces of lead - both distorted and clean. It is definitely one of the more upbeat tracks on the album. Can't wait to have this track complete.
4. Nostalgic - Another really old track. I found this song to be the most difficult to work out again of all the tracks. I really like the structure of the song. It is unusual, not your standard song. I recorded the main riff, then some lead and some bass. I have used the original cassette tape intro of me saying 'This is the Heads of State....with....Nostalgic...'.
5. Survived Unpromised Souls - The version on this album was originally recorded for Opus. 1. I thought I had included it on Opus. 1, but would have preferred to have used it on this album. Turns out I had not used it, so I have put the track on this album. I am unsure whether to add a couple of instruments, or to leave it as a purely acoustic track.
6. You Never Said Anything - Recorded previously, I am happy with this upbeat, pacing track. This song is mainly complete with bass, numerous lead and vocals. It may need another set of vocals and definitely needs drums. This track definitely helped set the tone or the rest of the album.
7. Living on the Edge - Dark and slow, this track was originally recorded in 2010 and was not used. I have used the original, added an electric built up intro of a new version I had been working on, and added numerous vocals and lead. It is definitely a song I wanted to put on the album.
8. Plasticland - Possibly one of the most upbeat songs I've ever written. I used to enjoy playing this song with Stuart Carroll years ago. I really wanted to work this song out, and it was a bit of a struggle. I have recorded a simple clean guitar riff and lead that Stuart wrote in the original version. I do not know what to do with track at the moment and is the track causing the biggest dilemma on the album. It has to be on it; but it has to be perfect.
9. Superhero - Possibly one the best songs I have ever written. I have made numerous versions of this song over the years and none of them have stuck. I have this electric version which is possibly one of the best versions I've recorded to date; however it definitely needs an acoustic in it. I am also still considering clarinet or maybe another wind instrument if someone is able to collab with me to do so. The song consists of rhythm, lead and vocals. The lead is the original lead written by Stuart Carroll.
10. Beware: Beckon Angels - A classic for us when we we're younger and in the band 'the Heads of State'. We played this song endlessly and had all part written for it. I found this song difficult to work out too. Finally got there, and have added bass, distorted rhythm and lead to it. The recording isn't as perfect as some of the others, so at the present time it needs a lot of producing and editing. So happy to have this track recorded though, the album wouldn't be the same with it.
11. A Story of a Wall - The first track to be nearly finished in its entirety. It has guitar effects, drums, rhythm, lead guitars and vocals. It also now has the original introduction from the cassette tapes saying "...this is called...A Story of a Wall". This song has received good feedback from other musicians on soundcloud, including Carmine who is currently working on a remix of the extended version of the song. This album version is shorter and editing differently from the version on Soundcloud.
12. All the Time - This was the first song I worked on for the album, and I have decided to use it as the outro to the album. The original version I began recording earlier in 2012 just was not sounding the way I was wanting. So recently I set to work on a new version. Got the tones correct inth rhythm guitar, added to sets of clean lead, and added a distorted rhythm build up with distorted lead. This track is so powerful at the moment, and I would like to add strings and maybe drums. It will sound fantastic with vocals in it, and it is the perfect end to The Orange Line journey.
I am very happy with the album at the moment. If I get time to record more songs and can work them out, then I will most definitely put them in the album too. I am content with this album as a 12 track piece. I would not have been content with anything less. Most songs on the album require vocals, which I will put in later at some point. Some songs could use improvements on the guitaring which I may do, and pretty much all of them need edited and produced to a better standard.
Many musicians etc state that before they release a new music album, it is the best work they have ever made. I do not believe that this is the best album I have ever recorded or made; I believe though that this piece defines me more than the rest. It is a true reflection of me musically and where I have come from. This album means a lot to me, and has been important to record. I have had a good amount of support from other musicians, particularly Stuart Carroll who recorded many of the original versions of the songs with me. I am very thankful to all these people. These factors have pushed me into recording possibly my last, and best, piece of work. Only time, motivation and the means will dictate what I do musically in the future. If I don't do anything else, I can feel settled knowing I made this album. In many ways I feel this album should have been the very first piece I ever released.
I doubt I will be finished this year by the end of 2012. I intend to get as many songs as perfect as I possibly can. I also intend to get numerous instruments I cannot play on the album, and so this will take time getting people willing to collab. So this is where I am with this album. I'm very excited about it.
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
1. Unidentified Flying Object - Opening track, with long intro and strings. This song has input from my friend and musician Stuart Carroll who provided the strings. It has had a few compliments on the track already now, and is a strong opener. The track still required a lot of work.
2. A Stage with your own Fears - An old old song, it first half is a dark plucked tune. The original was only ever one acoustic. I re-learned the song, and have since put bass, and two sets of lead to it. It is a nice, quiet come down from U.F.O before it. The song, like all on the album at the moment still require a lot of work.
3. Roadtrippin' - An old song I use to really enjoy playing. I had pretty much remember this song even from all those years ago. It is simple but quite distinctive. In 2011 in a rehearsal studio preparing for a gig, I played the song. I then wrote a brand new song for 'Under the Pyramids' using the riff but slowed down; however the track didn't make it on the E.P. I recently recorded it as it was back then. I have added bass, and numerous pieces of lead - both distorted and clean. It is definitely one of the more upbeat tracks on the album. Can't wait to have this track complete.
4. Nostalgic - Another really old track. I found this song to be the most difficult to work out again of all the tracks. I really like the structure of the song. It is unusual, not your standard song. I recorded the main riff, then some lead and some bass. I have used the original cassette tape intro of me saying 'This is the Heads of State....with....Nostalgic...'.
5. Survived Unpromised Souls - The version on this album was originally recorded for Opus. 1. I thought I had included it on Opus. 1, but would have preferred to have used it on this album. Turns out I had not used it, so I have put the track on this album. I am unsure whether to add a couple of instruments, or to leave it as a purely acoustic track.
6. You Never Said Anything - Recorded previously, I am happy with this upbeat, pacing track. This song is mainly complete with bass, numerous lead and vocals. It may need another set of vocals and definitely needs drums. This track definitely helped set the tone or the rest of the album.
7. Living on the Edge - Dark and slow, this track was originally recorded in 2010 and was not used. I have used the original, added an electric built up intro of a new version I had been working on, and added numerous vocals and lead. It is definitely a song I wanted to put on the album.
8. Plasticland - Possibly one of the most upbeat songs I've ever written. I used to enjoy playing this song with Stuart Carroll years ago. I really wanted to work this song out, and it was a bit of a struggle. I have recorded a simple clean guitar riff and lead that Stuart wrote in the original version. I do not know what to do with track at the moment and is the track causing the biggest dilemma on the album. It has to be on it; but it has to be perfect.
9. Superhero - Possibly one the best songs I have ever written. I have made numerous versions of this song over the years and none of them have stuck. I have this electric version which is possibly one of the best versions I've recorded to date; however it definitely needs an acoustic in it. I am also still considering clarinet or maybe another wind instrument if someone is able to collab with me to do so. The song consists of rhythm, lead and vocals. The lead is the original lead written by Stuart Carroll.
10. Beware: Beckon Angels - A classic for us when we we're younger and in the band 'the Heads of State'. We played this song endlessly and had all part written for it. I found this song difficult to work out too. Finally got there, and have added bass, distorted rhythm and lead to it. The recording isn't as perfect as some of the others, so at the present time it needs a lot of producing and editing. So happy to have this track recorded though, the album wouldn't be the same with it.
11. A Story of a Wall - The first track to be nearly finished in its entirety. It has guitar effects, drums, rhythm, lead guitars and vocals. It also now has the original introduction from the cassette tapes saying "...this is called...A Story of a Wall". This song has received good feedback from other musicians on soundcloud, including Carmine who is currently working on a remix of the extended version of the song. This album version is shorter and editing differently from the version on Soundcloud.
12. All the Time - This was the first song I worked on for the album, and I have decided to use it as the outro to the album. The original version I began recording earlier in 2012 just was not sounding the way I was wanting. So recently I set to work on a new version. Got the tones correct inth rhythm guitar, added to sets of clean lead, and added a distorted rhythm build up with distorted lead. This track is so powerful at the moment, and I would like to add strings and maybe drums. It will sound fantastic with vocals in it, and it is the perfect end to The Orange Line journey.
I am very happy with the album at the moment. If I get time to record more songs and can work them out, then I will most definitely put them in the album too. I am content with this album as a 12 track piece. I would not have been content with anything less. Most songs on the album require vocals, which I will put in later at some point. Some songs could use improvements on the guitaring which I may do, and pretty much all of them need edited and produced to a better standard.
Many musicians etc state that before they release a new music album, it is the best work they have ever made. I do not believe that this is the best album I have ever recorded or made; I believe though that this piece defines me more than the rest. It is a true reflection of me musically and where I have come from. This album means a lot to me, and has been important to record. I have had a good amount of support from other musicians, particularly Stuart Carroll who recorded many of the original versions of the songs with me. I am very thankful to all these people. These factors have pushed me into recording possibly my last, and best, piece of work. Only time, motivation and the means will dictate what I do musically in the future. If I don't do anything else, I can feel settled knowing I made this album. In many ways I feel this album should have been the very first piece I ever released.
I doubt I will be finished this year by the end of 2012. I intend to get as many songs as perfect as I possibly can. I also intend to get numerous instruments I cannot play on the album, and so this will take time getting people willing to collab. So this is where I am with this album. I'm very excited about it.
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
Thursday, 16 August 2012
Killer Clowns in Transit Vans - E.P Idea
A memory came back to me a few weeks ago. It was quite a dark, disturbing one and I questioned whether it was an accurate memory or just something I had maybe thought up by mistake. It was a memory from when I was about 5 or 6 years old. It was about a bridge I use to go under sometimes when I would be visiting people in the nearby areas at the time. It was an old stone train bridge and I remember thinking about how I thought someone dressed as a killer clown waiting in a van was there. I thought about this and remember how I thought that the clown was there to take children. I use to worry about walking under that bridge. I questioned whether this had actually happened to me, or if I were just making this up. I enquired on facebook whether anyone remember anything about a killer clown in a van.
I got a couple of replies from people who said that this apparently did happen. Schools at the time we telling kids to walk straight home, and not to go near blue Transit vans. Letters were issued to parents etc. One story on the internet goes that the Killer Clown was a psychiatric patient who escaped from Carstairs Hospital, South Lanarkshire, and drove around in a blue Transit van. He would offer kids sweets in playgrounds and if they declined, he would give them a Chelsea grin - cutting the face with a knife from ear to ear across their mouths. Apparently another version of the story goes that there were a few of these clowns, and they were known as the 'Chelsea Clowns'. This whole idea and story still fascinates me to this day. Was it real? If so, where are these guys now? It made me think about Childhood fears and phobias. I am now going to possibly make an E.P along this idea. It is personal to me, and maybe many people can relate to this too.
I have made this artwork for it, and intend to purely make songs from cut ups of old songs I have not used.
I got a couple of replies from people who said that this apparently did happen. Schools at the time we telling kids to walk straight home, and not to go near blue Transit vans. Letters were issued to parents etc. One story on the internet goes that the Killer Clown was a psychiatric patient who escaped from Carstairs Hospital, South Lanarkshire, and drove around in a blue Transit van. He would offer kids sweets in playgrounds and if they declined, he would give them a Chelsea grin - cutting the face with a knife from ear to ear across their mouths. Apparently another version of the story goes that there were a few of these clowns, and they were known as the 'Chelsea Clowns'. This whole idea and story still fascinates me to this day. Was it real? If so, where are these guys now? It made me think about Childhood fears and phobias. I am now going to possibly make an E.P along this idea. It is personal to me, and maybe many people can relate to this too.
I have made this artwork for it, and intend to purely make songs from cut ups of old songs I have not used.
Watch this space,
Wullae
The Orange Line: Update and Collaborations
The blog posts are few this year I know. This year has been no ordinary year for me. I have had to deal with numerous big personal life changes. All experiences I will no doubt write songs about in the future. For the time being, I have 'The Orange Line'. The progress has been leisurely, but moving at least. Here is a summary of what contributions and work has been made on the music project so far:
Unidentified Flying Object - When the last blog was written, U.F.O was sounding excellent. A standard Indie-style song, with numerous guitar riffs, consisting of different sections not a standardised Intro-verse-chorus-verse-solo-chorus-outro style set up. Since then I have made the most progress on this track. U.F.O is looking to be the benchmark to which all the other songs will need to live up to. My good friend and musician Stuart Carroll (http://soundcloud.com/stuartcarrollmusic1) had recently recorded some new songs himself, which were sounding excellent. The string arrangements were particularly good, and so I asked if he could provide me with strings for the song. He agreed, and kindly sent me a few sets. I arranged these with the song, and edited it all. The intro in particular sounds absolutely fantastic. This song will most definitely be the introductory song to the album when it is complete. It is just the perfect introduction. I myself have not had any time to record anything new on the track. I would like to put some new vocals, and layers of different vocals on the track, but I am not finding time to do so. I have also had a compliment on the song from a drummer Pat Elsley - who I will tell you more about later, saying that "just listening to 'u.f.o'. Love that intro!". I am extremely pleased with this song so far. I want to make it epic.
Superhero - I have the basic tune sitting, with just two guitars and a set of vocals. I would like to try and record a better set of vocals, but the conditions here are just not right to record them as the song is a very shouty one. I initially thought that Superhero could use some strings too, much like U.F.O, so again Stuart kindly sent me strings for this song; however after editing etc. it was just not working. So I thought about what might suit the song. It is very simple and I would like it to stay much that way, just simple and not a lot in it. I began to think a clarinet would sound nice in it. I contacted a Scottish Clarinet Quartet via soundcloud and asked if any of the members would be willing to contribute clarinet to the song. I have as yet not received an answer.
Plasticland - I had a small window of opportunity one day and relearned an old song, I regard as an old classic. I always thought it was quite a good song at the time I wrote it back in 1999-2000 time. So I learned this, and recorded a very basic simple electric version. I added three guitar riffs in the song and have left it at that at the moment. I have no idea what to do with it yet, but I will have some ideas no doubt.
Generally there have been a few musical developments alongside and outside of 'The Orange Line'. In relation to Mr Pat Elsley, this man followed me on Twitter. Seeing that he was a session drummer, I thought I'd take the risk of asking him if he would like to add some studio recorded drums to my songs. Surprisingly he got back to me quite interested. I was absolutely delighted, as I have never actually had any studio drums before in my music projects. Since then, Pat Elsley has listened to the songs I'd like drums for and said he will try and find time and see what he can do. This is very exciting for me.
I have also had another music collab possibly happening in the near future, with a Miss Simman Raphael Lerew. She is a singer/songwriter and is keen on doing some collaborative work with me. I likewise am extremely keen on doing a project on some music with her as her music is excellent. I would be very keen on having some female vocals on my work for the first time, possibly in some of 'The Orange Line' songs. We have discussed the idea of a collaboration only briefly, but both agree to the idea. This could be a very exciting venture.
On a sad note, and due to personal circumstances, I will be selling my much loved Danelectro DC-59. I have written so many songs on that guitar, having it from 2002. I will not then be able to record any guitar songs for the foreseeable once it is sold as my electro-acoustic and keyboard are still through in Glasgow at a family member's home. I will get them back eventually and begin recording the rest of 'The Orange Line'; however the rest of it will all be acoustic, and any more guitar songs in the future I record will be acoustic. I do not mind this fact too much as I am getting older and I think the acoustic would suit better anyway. I do love my Danelectro and it will be sad to part with it once it is sold.
That is all for now then. I am networking more and more with other musicians, which is making my music and my musical possibilities very exciting indeed. I have Carmine working on remixes of my music; have a friend contributing strings to my songs; a drummer willing to collab to add drums to my songs; and the likely collab with a female vocalist and musician. Things have been very interesting and I hope it keeps working out this way
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
http://www.twitter.com/wullaewright
Unidentified Flying Object - When the last blog was written, U.F.O was sounding excellent. A standard Indie-style song, with numerous guitar riffs, consisting of different sections not a standardised Intro-verse-chorus-verse-solo-chorus-outro style set up. Since then I have made the most progress on this track. U.F.O is looking to be the benchmark to which all the other songs will need to live up to. My good friend and musician Stuart Carroll (http://soundcloud.com/stuartcarrollmusic1) had recently recorded some new songs himself, which were sounding excellent. The string arrangements were particularly good, and so I asked if he could provide me with strings for the song. He agreed, and kindly sent me a few sets. I arranged these with the song, and edited it all. The intro in particular sounds absolutely fantastic. This song will most definitely be the introductory song to the album when it is complete. It is just the perfect introduction. I myself have not had any time to record anything new on the track. I would like to put some new vocals, and layers of different vocals on the track, but I am not finding time to do so. I have also had a compliment on the song from a drummer Pat Elsley - who I will tell you more about later, saying that "just listening to 'u.f.o'. Love that intro!". I am extremely pleased with this song so far. I want to make it epic.
Superhero - I have the basic tune sitting, with just two guitars and a set of vocals. I would like to try and record a better set of vocals, but the conditions here are just not right to record them as the song is a very shouty one. I initially thought that Superhero could use some strings too, much like U.F.O, so again Stuart kindly sent me strings for this song; however after editing etc. it was just not working. So I thought about what might suit the song. It is very simple and I would like it to stay much that way, just simple and not a lot in it. I began to think a clarinet would sound nice in it. I contacted a Scottish Clarinet Quartet via soundcloud and asked if any of the members would be willing to contribute clarinet to the song. I have as yet not received an answer.
Plasticland - I had a small window of opportunity one day and relearned an old song, I regard as an old classic. I always thought it was quite a good song at the time I wrote it back in 1999-2000 time. So I learned this, and recorded a very basic simple electric version. I added three guitar riffs in the song and have left it at that at the moment. I have no idea what to do with it yet, but I will have some ideas no doubt.
Generally there have been a few musical developments alongside and outside of 'The Orange Line'. In relation to Mr Pat Elsley, this man followed me on Twitter. Seeing that he was a session drummer, I thought I'd take the risk of asking him if he would like to add some studio recorded drums to my songs. Surprisingly he got back to me quite interested. I was absolutely delighted, as I have never actually had any studio drums before in my music projects. Since then, Pat Elsley has listened to the songs I'd like drums for and said he will try and find time and see what he can do. This is very exciting for me.
I have also had another music collab possibly happening in the near future, with a Miss Simman Raphael Lerew. She is a singer/songwriter and is keen on doing some collaborative work with me. I likewise am extremely keen on doing a project on some music with her as her music is excellent. I would be very keen on having some female vocals on my work for the first time, possibly in some of 'The Orange Line' songs. We have discussed the idea of a collaboration only briefly, but both agree to the idea. This could be a very exciting venture.
On a sad note, and due to personal circumstances, I will be selling my much loved Danelectro DC-59. I have written so many songs on that guitar, having it from 2002. I will not then be able to record any guitar songs for the foreseeable once it is sold as my electro-acoustic and keyboard are still through in Glasgow at a family member's home. I will get them back eventually and begin recording the rest of 'The Orange Line'; however the rest of it will all be acoustic, and any more guitar songs in the future I record will be acoustic. I do not mind this fact too much as I am getting older and I think the acoustic would suit better anyway. I do love my Danelectro and it will be sad to part with it once it is sold.
That is all for now then. I am networking more and more with other musicians, which is making my music and my musical possibilities very exciting indeed. I have Carmine working on remixes of my music; have a friend contributing strings to my songs; a drummer willing to collab to add drums to my songs; and the likely collab with a female vocalist and musician. Things have been very interesting and I hope it keeps working out this way
Watch this space,
Wullae
http://wullaewright.bandcamp.com
http://soundcloud.com/wullaewright
http://www.twitter.com/wullaewright
Subscribe to:
Posts (Atom)