living room music

There’s a tempo they want. A sound quality they want. There are subjects they won’t air. The music industry (like any other successful industry) is about formulas and rules.

Follow them, and you will succeed in it as a songwriter and, for better or worse, likely remain a part of it for life. Incidentally, the formula looks like this:

This Brightness plus that Tempo plus this Timing and that Song Duration
multiplied by
LOUDNESS (imperative for chart-topping success this century),
divided by
such-and-such Chord Structure plus Harmonic Complexity = Chart Hit

If that’s the business you’re in, you keep doing this, because it brings you rewards. The tradeoff is that you end up with a body of contemporary hits that are cookie-cutter and calculated. Not anything meant to last.

If you’d made the choice not to follow the rules, then you have freedom to make something that could last. Like, living room music.

Before it was an industry, before Nashville, before Honky Tonk, before Rockabilly, country music truly was living room music. It had this timeless, front-porch quality to it. Much of it very dark and brooding, and depressing and tragic. And beautiful.

I aim with most every song I write to absorb some of that and evoke the past time, but at the same time make something new. Hopefully, something special and very cool to enough people.

This lofty height can only be reached from a place of autonomy. Without record companies, or radio dials, or A&R executives in the middle.

I have never made up a song with an ear or an eye for the marketplace. “Will it touch someone, and will it last?” is always what I’m up against.

I know how to make up that other kind of music. I choose not to. I choose to make quirky, alt-country songs I believe in, instead.

When a song is a hit and makes the artist famous, popular culture declares the song is great art. But of course, popular is not a measure of art. There are many things you can do to get everyone to hear and download your music that have nothing to do with whether it’s great art, just as there are many ways to sell a novel or increase your blog readership.

Do what you believe, not what’s going to make you popular.

OK, break time’s over. Back to my plain but very wonderful little studio up the stairs.

livingroommusic

 

 

masterpiece

masterpiece

The thing I most dreaded when I began making up songs as a teenager was being struck down by an F-150 before the world could hear my masterpiece.

Not so much anymore.

These days I don’t sit and wonder if my next song will be liked by hundreds of thousands of people. I don’t care whether the world will consider it a major work. I make up songs for one reason: to get free.

Songwriting makes my feelings manageable. Some people fight or pray their way out of really painful situations; I just have to tell you how bad it felt. The grief is released, mastered in a sense, through the work. I am able to move forward from it — you never move on from grief, you only move forward — after that transcendent moment when suddenly it’s art.  To be able to do that makes the song, for me, a masterpiece.

It has a little something to do with craft, skill and workmanship. It has nothing to do with being popular. (If the goal is to be popular, then it’s all about the judgment of the world.)

It has everything to do with carving the battle scars deep into the work itself.

As long as I’m satisfied that the song I’m writing has that character, I know that even if, in the grand scheme of things, it’s the perfect emblem of unimportance, even if it’s mortal and has provided but a moment or two of consolation or healing, it will still be a masterpiece of sorts. It will be, if only for a little while, my masterpiece.

messengers

Driving home from a show late at night with the windows down offers its own music if I’m paying attention:

A frozen lake breaking apart in the middle of winter …

The angular song of an unseen screech-owl …

Half-crying stars out on the interstate, semis blowing their horns below …

The sound of the highway brushing against the car window, with daylight
still miles away.

A train blazing the tightrope strung across the interstate doesn’t sing her song so much as murmur it beneath her steely breath in a whisper bordering on an ambient hum. Her words, those sparks flying off into the still dark fields, remind me that I’m held aloft on a tightrope myself, and the rest of my life is far below me. For this moment I know where I’m going, just like that train, but who knows about tomorrow?

The owl, the stars, the train: Life is filled with sweet message bearers, bringing and imparting grace. You have only to wait, they will find you. And when they do, you will keep searching for them everywhere, for years,  while right beside you, the tracks they are leaving resemble notes of a mysterious song.

messengers

warm spot

When I was 18 or 19, I decided I was going to get a gig at a famously dusty and dim, folk music club in New York City. Its purple neon beacon, hanging three feet below the century-old pressed-tin roof, blared two city blocks, a kind of downtown iconography.

It was the kind of place where you could just feel the years, the presence of all those wanderers and dreamers who took the stage there. I wanted to stand on the same small stage at the end of the long room of brick and wood as those artists. I wanted to see my name outside on the hand-drawn marquee.

I went down there every Tuesday, for months, and waited. Months turned into, well, a year.

I got to know the owner. He would listen to me sing and say, “no, not yet.” He had a few suggestions, too: “Learn how to use the microphone.” “Your original songs are better than your cover songs, so don’t bother with covers.” And I would say, “well, thank you, but when am I actually going to get a gig?” And he was, like, “no.”

After a year it occurred to me: go to a different place. Go to a different place. I was so determined up until then to sing here that it never really dawned on me to go somewhere else. Finally I did, to an indie music club a few short blocks away. The audience was different there, they were into different sounds. I began to resemble someone who wasn’t waiting anymore.

Sometimes you just have to move from over there to over here, because they keep saying no over there. As an artist you have to feel that for yourself: when you’re in the right place, or when you really have to move on, or back off, or let the flow of life take you elsewhere.

This is probably the most important thing I learned early on: figuring out when I’m in the wrong place and going onto the path where I need to be. It’s like being in the ocean, and feeling a warm spot and then feeling a cold spot. You have to be able to move to the warm spot, away from the cold one. That’s how a new anything – art, a following, anything – takes shape.

You can always change your spot. You can change your audience, too. But you, the artist, do not get to decide the truth of what they want and believe.

warmspot

 

threads

My latest song was inspired by a lovers’ spat I witnessed outside the movie theater here in town. It’s about a terrible, terrible betrayal, and the possibility of moving from the brokenness to happiness, if only for a few moments.

When you’re a songwriter living in a small town you hear more things, about all sorts of people —

Those two parting angrily on the street, leaving their love affair hanging by a thread …

The grammar school teacher who retires after 36 years … the heartworn glow of the movie marquee that says, “Thanks Mrs. R for everything” …

Old timers settling world affairs at the donut shop, their opinions steeled with stubbornness and age …

Young girls, beautiful as warm countries, cheering on the school basketball team on a Friday night, living life as it is, thread by thread.

So many of the songs I make up are tapestries of other people’s threads. Nothing but the musical strand that binds them is my own.

Sometimes I think I need a large city. But you see so little of the world there: we slip easily into our private lives, drift into minorities. In the little towns there just aren’t enough folks for that.

In the city, I would only have read about things in the paper. I wouldn’t have picked up all the threads.

threads

simple lives

I give my songs such simple lives, they give me such beautiful tragedies. They seem to have a way of letting me know what’s going on.

Each helps me tell the truth as I see and hear it at that moment.

Two Winters is the oldest song on my little record. It’s about a heart encountering, accepting, and learning to live from its brokenness.

Please listen, share, buy.

words and music by Tony Starling Kidd

© Buffalo Spoon Records

truth and lies

There’s a misguided belief that just because you play an acoustic guitar and sing in a near-whisper close to the microphone, it makes you more honest than singer-songwriters who attempt to create an experience of truth in some other way.

Here’s the truth: Some songs are meant to calm you down. Some are meant to stir you up.

Some are transcendental, and some are just really dumb.

The religious hymn, praise to the king … songs filled with the sorrows of a dissolving marriage, or an inventory of lovers … they all have a place.

The dark, brave, thoughtful and serenely startling songs … tracks we can dance to, anthems we revolt to, beats we bounce to and sounds we make love to … they all have a place.

We may crawl out of a song feeling more in love, or younger, or angrier, or wiser, clutching a secret message of small meaning or nothing, nothing. We might seem lost. We might seem happy. There are a hundred different states of human yearning, and people need to feel them all.

What matters is that when a songwriter comes along with a pure heart and something to say, we listen.

truthlies