Having grown up seeing images of the Beatles recording at Abbey Road, I’ve always wondered what it was like inside a recording studio. I finally got my chance. Last weekend, my musician friends abducted me to record a theme song to my new ebook: Tarot: The Magician. The results were tremendous.
The “John Lennon” of the group was Bradley Coy. This was a surreal experience for me in many ways, not the least being that I taught this young man back when he was in sixth grade. He was phenomenal musician then and even better now.
Bradley Coy with Mark C. Jackson in the foreground.
He recycled an old melody he’d written to create the “theme song” for my book. Now I know what you’re thinking: books don’t have theme songs. So true. But book trailers do. I have animated a book trailer. Being that I have only enough knowledge of music to be dangerous, I wanted some sort of professional song to score the 40 seconds of animated trailer.
Given my druthers, I probably would have lifted a song, ran it backward through some filters. It wouldn’t have been good, but serviceable. Fortunately, Bradley materialized form the musical woodwork and transformed his melody into a perfect compliment to the atmosphere of the book.
We visited the recording studio of David Morgan, who has outfitted his room with more guitars and sound equipment than the average Guitar Center. He had recorded plenty of albums there for local artists, but he was curious about scoring music to a video. It turned out to more tricky than you’d think.
David Morgan suggesting how to match the music to the video.
Bradley would play the melody flawlessly, but the timing to the video eluded him. Or he’d nail it, only to boff a chord near the end. Thankfully we had the guiding presence of Mark C. Jackson, a fellow musician and writer. He knew that the first dozen takes were simply warm up for the real performance. As we neared that “perfect” moment, his energy spiked. He leapt out of his seat to encourage Bradley to create the perfect mixture of melancholy and gloominess (yes, that’s the tone for the book).
Mark C Jackson suggesting how to line up the music with the video.
Bradley’s whole take on the melody was one of a vintage piano with a vaudevillian touch. He and I both share a yen for the Beats and the Surrealists. It seemed natural that the music for a surrealistic novel be a riff from the 1930s.
Bradley seriously contemplating the melody.
What was I doing during all this? Not a lot. Mostly I played the documenter, snapping pictures to capture the moment. Bradley finally nailed it, leaving the end of the melody dangling like an unanswered question. It might bug some people, but for me, it was simply perfect.
There I am, observing all of this. I get writing. But music recording baffles me.
You can listen to the track here. The full trailer will be revealed at the end of May.
Tim Kane
On the third day of rain they had killed so many crabs inside the house that Pelayo had to cross his drenched courtyard and throw them into the sea, because the newborn child had a temperature all night and they thought it was due to the stench. The world had been sad since Tuesday. Sea and sky were a single ash-gray thing and the sands of the beach, which on March nights glimmered like powdered light, had become a stew of mud and rotten shellfish. The light was so weak at noon that when Pelayo was coming back to the house after throwing away the crabs, it was hard for him to see what it was that was moving and groaning in the rear of the courtyard. He had to go very close to see that it was an old man, a very old man, lying face down in the mud, who, in spite of his tremendous efforts, couldn’t get up, impeded by his enormous wings.
Tim Kane Books 