By Maurice Davis:
Maurice Davis singing Jeff Buckley’s version of “Hallelujah,” a song originally composed by Leonard Cohen.
[Editors Note: Recorded with a professional studio, Maurice’s sound quality on this acoustic cover song music video is top notch. His voice and finger-picking skills clearly make this song a perfect fit for him, and we hope you enjoy these six minutes of peaceful, if somber, music.]
To see how it’s played in the cover song music video, CLICK HERE!
“A Winter’s Tale”
The Moody Blues
Intro: F Bb F Bb F C F
F Bb
The nights are colder now
Am Bb
Maybe I should close the door
F C Dm
And anyway the snow has covered all your footsteps
Gm C
And I can follow you no more
The fire still burns at night
My memories are warm and clear
F
But everybody knows
C Bb C F
It’s hard to be alone at this time of year
F Bb
It was only a winter’s tale
Just another winter’s tale
And why should the world take notice
F C
Of one more love that’s failed?
F Bb
A love that can never be
Though it meant a lot to you and me
F
On a world-wide scale
C F
We’re just another winter’s tale
Instrumental: F C Dm Dm/C/Bb C F
While I stand alone
A bell is ringing far away
I wonder if you’re here
I wonder if you’re listening
I wonder where you are today
Good luck, I wish you well
For all that wishes may be worth
I hope that love and strength
Are with you for the length
Of your time on earth
CHORUS
Instrumental
CHORUS
Instrumental (x2)
Sing the following over the end of the instrumental:
Bb C F C – F
We’re just another winter’s tale.
** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **
By Chris Moore:
Hello and welcome to another edition of Original Wednesday here at the Laptop Sessions!
Tonight, I’m happy to present the second installment of my summer preview series of my forthcoming album The 2010 Project. I began recording demos a few months ago, as I mentioned in a previous post, and now I’ve officially hacked out a track listing. There will be thirteen tracks, all of which are fully composed now and have been recorded in demo form — a few of the demos are more fully produced, but minimally.
Now, I’m at the phase where I’m putting together the tools I need to record. With the help of a friend, I’ve recently picked up a set of seriously great headphones, which will be a necessary component of the mixing process. He also helped me pick out a USB microphone that I’ve been experimenting with this week. There is a line in and external mic plug that I may use if I’d like to refine the sound quality as I begin to record the tracks in a couple weeks. Finally, I had to replace my guitar pedal, which I had to throw away a few months ago when I pulled it out of storage and found the batteries had leaked. I tried to clean it out, but it was too far gone. So, I just got the latest Zoom pedal, which I can’t wait to try out!
Which brings me to the track I’m unveiling today. Previously, this has only been played for two people: my girlfriend and one of my dearest friends of all time. Both encouraged me that the new music I’ve been writing is among my best, so I’m hoping to make them proud by the time I’ve finished recording this new album.
And it’s about time — this marks four years since Love Out of Fashion!
“I Would Prefer Not To” will be the second track on the album, following “No Lights, No Sound.” Those of you English majors out there will pick up on the allusion to the Herman Melville short story “Bartleby, the Scrivener: A Story of Wall Street.” The verses are as simple as they come, only two chords: D and A. When I record the studio version, I hope to flesh out the riff I have in my mind and make that more catchy. The chorus is more interesting and, as in my favorite songs by artists like Bob Dylan, Mike Fusco, and others, the lyrics change slightly each time around. The song deals with the conflicts that arise from not wanting to disappoint others, but also needing to follow your impulses and passions. It’s a very personal song, critical at times — though it’s meant to be more confident than scathing — and I think there is a universal quality to it, regardless of its personal nature.
Without further ado, I give you my acoustic performance of “I Would Prefer Not To.” I hope you like it, and that you’ll continue to check back for more Original Wednesdays in the near future.
See you next session!
By Chris Moore:
Well, there’s a first time for everything. And I feel pretty confident as I write this that I am, indeed, the first of the Laptop Sessioneers to record a song from the alternative country genre. This is “Screen Door,” a song from band Uncle Tupelo, which is credited with being one of the pioneers of the alt-country genre.
Even as I write this, I have to chuckle a bit. I mean, truly, how many different genres can the music industry possibly conceive? How many categories do we really need? It’s not quite alternative. It’s not quite country. Let’s call it “Alternative Country”!
What’s next, Alternative Pop?
Classical Ska?
But, seriously, I find this all very interesting. I first heard Uncle Tupelo a couple months ago when I bought their essential tracks compilation 89/93: An Anthology. How does one find oneself motivated to buy an alt country album? Well, you may be aware that I’ve recently discovered and really gotten into the band Wilco. And, if you know me, you know that I need to know the broad history and backstories of bands that I get into.
So, let’s step back for a moment. Uncle Tupelo was active between 1987 and 1994, originally comprised of lead songwriter and singer Jay Farrar, his brothers Wade and Dade, and Jeff Tweedy. Tweedy quickly progressed into a second songwriter and lead singer of the band. His influence was two-fold — he was responsible for booking a lot of early gigs and, through several name changes before arriving at this one and multiple band member additions and replacements, he advocated for the punk rock sound that he had been impressed with when he initially heard Farrar and his brothers play. Dade disagreed and left the band shortly after Tweedy’s arrival.
Eventually, as the tale goes, tensions developed between Farrar and Tweedy over which direction the music should go until, finally, Farrar announced that he would be leaving the band. They played their final gig in 1994, and Farrar went off to form a new band, Son Volt. Meanwhile, Tweedy and all the other members of Uncle Tupelo reformed under the name Wilco.
So, after a lengthy explanation, there you have it — my interest in Wilco’s roots found me in the checkout line at Borders New Britain, Uncle Tupelo CD in hand. Ironically, one of my favorite songs on the album is merely a demo — a rough, but fully arranged track titled “Outdone.” Another song that got my interest is the first track on the compilation. “No Depression,” also the title of their debut album, is a song written and originally performed by the Carter Family (then referred to as “No Depression in Heaven”). Now, in 1936, “the Depression” had an entirely different meaning than it did for Uncle Tupelo in 1990. I love how this song was able to survive and take on a new meaning.
I still haven’t taken the time to check out Son Volt, but I wouldn’t say that I’m a huge fan of Uncle Tupelo, really. I am rapidly becoming an avid Jeff Tweedy and Wilco fan. Even Wilco’s debut album (A.M. in 1995), which Tweedy himself referred to as their attempt to “tread some water with a perceived audience,” is head and shoulders above the Uncle Tupelo CD, in my humble opinion. I can’t believe I’ve only heard three of the six Wilco studio albums…
Lots more to look forward to!
Without further ado, I’ll let you get to the actual video. I chose “Screen Door” because it’s deceptively simple. It could be taken as a Southern anthem about people sitting on their front porches, singing songs, and dealing with the heat. However, the chorus adds an interesting angle — “We don’t care what happens outside the screen door,” Tweedy sings. It’s an interesting social statement that I think applies in all parts of the country. In New England, for instance, it may not be the screen door, but we certainly have developed a sense of apathy for those who pass by us, outside our circle of friends, family, and colleagues.
And now I’ll actually let the song speak for itself.
See you next session!