“I Would Prefer Not To” (Chris Moore original)

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!

“A Change is Gonna Come” (Sam Cooke electric cover) [Ep 3, Fall 2011]

By David Reed & Justin Hamilton:

David Reed and Justin Hamilton of Airplanes cover Sam Cooke’s beautiful 1964 track ”A Change is Gonna Come.”  (Shot in Dallas — 5/30/2011.)

[Editor’s Note: This is an interesting twist in the usual format of our Laptop Sessions.  First of all, this video isn’t being hosted on YouTube, and second, this is a two-man combo (increasingly rare here recently).  One beautifully subtle electric guitar and one passionate lead vocal make for the perfect cover song.  Enjoy — I know I did!]

A Change is Gonna Come — Cover by Airplanes from James Daniel on Vimeo.

“Off He Goes” by Pearl Jam – Chords, Tabs, and How to Play

“Off He Goes”
Pearl Jam

F – Am   F – Am   F – C   F – C

F – C                       F – C                                          Am
…     Know a man…        His face seems pulled and tense…
Am          F – C           F   –   C                 F      C      Am
Like he’s riding on a motorbike… in the strongest winds…
Am    F                     C      F                  C
So I approach with tact… suggest that he should relax…
C    F                  C         G             F
But he’s always moving much too fast…

F                                      Am         F                      Am
Said he’ll see me on the flipside… of this trip he’s taken for a ride.
Am            F – C     F      –     C      F   –   C
He’s been takin’… too much on… off he goes
C           F   –   C     F – C – Am           F            C
with his perfectly… unkept clothes… there he goes…

C       F – C – Am

Am   F                 C         F – C
He’s yet to come back…   but I see his picture…
F – C            F  –  C                      Am      F                 C
Doesn’t look the same up on the rack… We go way back…

C  F                     Am         F                                     Am
I wonder bout his insides… it’s like his thoughts are too big for his size…
Am           F – C      F                     C          F        C
He’s been taken… where?  I don’t know… off he goes
C           F   –   C     F – C – Am       F            C
with his perfectly… unkept hope… there he goes…

C              F          C        F         C
And now I rub my eyes… for he has returned
F – C                F – C                          F     –     C       –      Am
Seems my preconceptions are what should have been burned…
Am  F        C                   F           C
For he still smiles… and he’s still strong…
F              C                             F              C            F  –  C  –  Am
Nothing’s changed but the surrounding bullshit… that has grown…

Am  F             C        F             C
And now he’s home and we’re laughing…
F     –     C           F     –     C                F  –  C  –  Am
Like we always did… my same old… same old friend…

Am     F              C     F               C
Until a quarter to ten… I saw the strain creep in…
C   F            C                      F              C                       F  –  C  –  Am
He seemed distracted and I know just what is going to happen next…

Am      F    –    C         F   –   C
Before his first step… He is off again…

C                    F – C – Am
[F – C] x 4       F – C – Am
[F – C] x 3
F – C (strum; end on C)

** 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. **

“Odds and Ends” (Bob Dylan Cover)

For Bob Dylan chords / tabs / lyrics, CLICK HERE!

By Chris Moore:

Well, it may not have been recorded in my basement with an as-yet-unknown Canadian rock band, but this is the best version of “Odds and Ends” you’re going to get out of me!  I’ve always loved this song.  It sets the tone nicely for the 23 songs that follow.  Indeed, “Odds and Ends” encapsulates the spirit of The Basement Tapes: often absurd lyrics sung over raw yet warm instrumental tracks.  For Dylan, this set of songs signified his retreat from the “wild, mercury sound” of Blonde on Blonde and the wild world tour of 1966.  At the same time, you can listen as the Band begins to really gel and find their collective voice.

The primary reason I chose this song tonight — one of two that I will post tonight — is in honor of Dylan’s brand-new album being released tomorrow.  It is titled Together Through Life, and I’ve already recorded a Laptop Session of the lead track, “Beyond Here Lies Nothin.'”  There is at least one other song that’s been leaked online, but I’d rather save the other nine tracks for my first listen to the album as a whole.

Instead, I’ve gone back to this 1975 release of these 1968 recordings.

Why choose The Basement Tapes to cover now?

The answer, quite simply, is that I was too busy with other videos and writing to be able to record these songs a couple weeks ago when several Dylan albums — The Basement Tapes, New Morning, Dylan and the Dead — were reissued in digipack format.  I saw them in the stores, and although I really don’t see why anyone who already owns these albums would want to buy the updated versions (aside from sound quality, of course), I can’t help but feel it necessary to celebrate any and all attention that Dylan’s back catalog is given.

It hasn’t been all that long since I would scan the CD racks at stores like Sam Goody, FYE, Best Buy, Borders, and a host of others, looking for Dylan albums to complete my collection.  For a while, I would buy two at a time in an attempt to satiate my thirst for new Dylan material.  Although I don’t feel that same urgency for Dylan’s releases when I walk into a CD store, I have lost none of my passion and respect for his music.

As Jim knows and is probably already thinking (and he’s right), I’ll jump at any excuse to record a Dylan song!!

Okay, that’s it for the first post.  I need to save something to write about in my second post of the night, coming very shortly…

See you next session!