Thursday, October 24, 2013

foggy Los Angeles morning.


Reclaim.

I sat on the bed beside your newly-showered body
wrapped in a damp towel
         eyes demanding; waiting.
You just want to know where my soul has drifted.
I enumerated all the ways I lost
myself to you - in years of unspoken
obligation; in the task at hand;
         the mission lovers are given,
until tears came down like rain
effortless in the presence of weighty clouds.
         you ask why.
I am mourning the loss
of who I am
when I am alone
a self unfettered by the sacrifice of loving
          another.

Tuesday, October 22, 2013

Buffalo and back.

A few things happened since my last post. I spent the weekend in Buffalo to showcase at the Mid-Atlantic NACA Convention.  Playing those conferences are always a mix of fun and stress. The best part is getting to hang out with students - for this particular conference, I gave away personalized kazoos and they helped to break the ice - while the hardest part is the showcase itself. I'm always over-thinking everything, from what songs I should play to what outfit I should wear. And when it's all done, I'm considering what I could have done better.  It's particularly more challenging this year because I have gotten into a few showcases (yay!), so there's extra pressure to do well. So far it's two down - one in Chattanooga in September and the other in Buffalo - and one more in Hartford next week. Wish me luck.
Last night I saw Laura Marling play in KTown and pretty much had my heart completely wrecked. She's so stunningly amazing. I've always loved her music, but I really couldn't connect with her the same way without seeing her. She prefers to have her vocal mic above, much taller than her, facing downward so she can reach up to it like a baby chick getting fed by its mother. It was both disconcerting and alluring. Her voice is flawless...even her flaws are flawless (there were a few mistakes I noticed, but I even hesitate to call them "mistakes" as such), and she exudes total technical prowess yet coolness onstage. She's very different from, say, Sara Bareilles or Ingrid Michaelson who are totally entertaining, funny and self-aware onstage...Laura is more subdued, and she reels you in by saying little. At one point she'd played about 5 songs without saying a word in between.  Anyway, I wish she'd sung my favorites, "Goodbye Old England" and the older "New Romantic," though the latter I don't blame her for not wanting to perform.  I think we songwriters are hesitant to touch on songs that are older...it's not that we don't think the songs are good, but I think something is lost in the performance when the personal connection is lost...when the story is long gone. When there's nothing more that can be done with the song. (Laura Marling, "Once I Was An Eagle")

Willy Mason opened the night, and he played an older song called "Oxygen." Funny, because he had a disclaimer for it, explaining that it was an old song but that he'd lately been wanting to sing it again (see what I mean?). Rob had put the song on a mix CD for me years ago, and I had always loved it. It was pretty great to hear it in person ("Oxygen" by Willy Mason). The song is simple and beautiful. Its approach reminds me of a song I've wrestled with for years called, "My Disaster," which I may or may not have finished.  I sang it for a songwriter friend I made in Nashville on my recent trip, and he seemed to feel it was done... so... maybe it is. 

I met some interesting folks on the plane ride to Buffalo. It's funny how many great conversations I've had in my few years of traveling here and there. One was a businessman who works with some high-profile musicians, who asked for my card. The other was a couple from Buffalo who have a nephew who is a musician/artist, and also recently graduated from NYU, my alma mater.  A few weeks ago, I met a couple who wound up coming to my show in Nashville; the wife even gave me one of her bracelets as a token. I guess what I do can be a so-called "conversation starter"... but I always think it sounds easier than it really is; seems more romantic than it really is...to be a musician, to travel, to make your own music. It'd be nice if that finely-crafted image could be carried in my heart always...I'm sure I would never be insecure, never wonder at what I am doing. But then it might also take the beauty out of everything.  

By the way, somewhat a non-sequitur, but here's a funny Vine video from some fans at Missouri Science & Technology singing "War!". These guys are way adorable.

Anyway.

Wednesday, October 16, 2013

Mixing signatures and structures.

I was up late last night starting a song. It was 1am and I was avoiding sleep. I'd started thinking about past relationships that were almosts-but-not-quite...thinking that a lot of the time I just didn't feel like the other person was letting me in as much as I wanted them to. That sort of unevenness seems to be an early sign of relationship problems to come. Anyway, I was messing with a rolling finger picking rhythm on the G# chord and started at the verse.  I know some people say starting with a chorus is a must for pop songs, but I wasn't sure this was going to be a pop song, and more often than not, I just want to go along with the song and see where it takes me when it gets to a "Chorus" moment.  What ended up happening was a Verse, Pre-chorus, Verse, Pre-chorus, Chorus pattern.  It's a little different, but something I've been gravitating towards the last couple of weeks.  I also gravitated towards the phrase, "from me."  I thought about the idea of repeating a phrase as a tag, but having it mean something slightly different each time... I also think the phrase "From me" sounds kind of nice at first, but in this song, is actually mellow and sad.

After some tweaking today, I wound up finishing the song. I think I'll end with the Pre-Chorus, rather than a Chorus, or a Chorus repeat. AND...this is a first for me, I think I will go into 3/4 time in the 2nd chorus.  I don't know exactly how it happened, but it felt very natural today. We will see how it sits tomorrow, if I can find time to play before my flight to Buffalo.

There is tweaking yet to be done... but here's that first bit that I wound up writing last night, along with edits from today:


From Me (Written by Alfa Garcia, BMI. (c) 2013. All Rights Reserved.)

Verse 1:
I try to speak to you / all casual and true
you speak in riddles back to me.
I wonder if it's just / the language that we have
I know you love your poetry

Pre:
But it seems I have to find 
a better man who doesn't hide
from me.

Verse 2:
You're such a wanderer / you're beautiful that way
and I would never tie you down
But your symbolic sighs / the overdrawn goodbyes
baby, they don't keep me 'round

Pre:
Lookin' for someone like you
who doesn't have to keep the truth
from me.

Chorus:
Tell me your secrets / tell me where do you go
I promise I'll keep it / I promise I'll let you go
when you want to be free.
----

In other news, I had my second rehearsal with drummer Kevin Jimenez, who will play with me at Room 5 on Nov. 22nd. I enjoy our weekly get-togethers, because it forces me to practice the older stuff, rather than get caught up solely in writing new songs.  I think songwriters are too quick to walk away from a song once it's written. I guess it's the artist's job from there...so if you're both (artist and songwriter), you carry a song with you a lot longer.  

That's it for now... will be in Buffalo playing a showcase with NACA this weekend. :)  More news when I return.

Sunday, October 13, 2013

Einstein on the Beach.

I topped off the birthday weekend by watching - rather, witnessing - "Einstein on the Beach," the seminal opera work composed by Philip Glass and directed by Robert Wilson, at the LA Opera.  I'd heard about this from my boyfriend Rob, who pretty much had the avant-garde 4-act opera on repeat in his car the last few months, even though I have to admit, the sounds kinda made me dizzy and nauseated (this is coming from a girl who's played in orchestra for a good chunk of her younger years).  Nonetheless, when I saw that Einstein was coming to LA, I told Rob all about it - like a good girlfriend, right?  He went and bought the "cheap" tickets, at a whopping $77 a pop.  (cue side-discussion about the accessibility of music, whether or not art is skewed by economic demographics, not to mention the fact that Kanye and Kim Kardashian apparently attended opening night in a Lamborghini, etc etc...)

Anyway, 4 hours long with no intermission, it features a cast that does it all - singing, dancing, remembering seemingly nonsensical lyrics and delivering them at lightning speed...as well as a great bunch of musicians, including a stellar violinist, who was also Einstein, (Jennifer Koh) that must have played repetitive half-scales for 40 minutes straight at one point. The work is supposedly a statement on time, space, etc. I won't pretend I really know because my head is still wrapping itself around what I experienced today; but I will say this - I enjoyed the opera a lot more when I could hear the music along with the visuals; I am thoroughly impressed by the cast for their sheer endurance and precision; and I really appreciated the rhythmic landscape of it all - even if, yes, it was very dizzying at times.  As a musician watching all this, I took comfort in watching the pit orchestra, and pretty much made a game out of trying to figure out the ever-changing time signatures.

Here's where you can give "Einstein on the Beach" a listen: http://grooveshark.com/#!/album/Einstein+On+The+Beach/3696937

And here's some info on it from LA Opera's website. Today was the last performance, but you never know when they'll put another one together again: http://www.laopera.com/season/13-14Season-at-a-Glance/Einstein/


Friday, October 11, 2013

It's my birthday.

Yes, here's that day again. Instead of getting down about getting older, I'm resolving to focus on the love I'm getting from all my friends and family.  So, OK...no more being emo about life's ongoing progression. :)  [deep breath]
  Also, I figure the best way to get my mind off it will be to play some music, so I'll be hosting the first-ever songwriter's round over at Renaissance Hotel LAX tonight along with some musical friends.


If you aren't familiar with a songwriter's round, that's because the only place it really happens is in Nashville, which is kind of ridiculous because it's a genius idea.  Sidenote* - another genius idea Nashville has is figuring out restaurant splits for the bill before the customer actually orders. (duh!) I digress -  so the way it works is there are a number of songwriters onstage at the same time, each songwriter plays one song at a time, rotating per song until the set is done.  It's a cool way to break up the set, plus it encourages songwriters to communicate with each other. Or at least, that's what happens during good rounds.  Personally, I think it's kind of awkward when songwriters sit up there and don't say anything to each other.  

So yes, if you're in LA and you don't have anything to do tonight, you should come check it out. No cover. Tip jar only. I'll be hosting. There will be happy hour food and drinks... oh and yes, you can buy me a birthday cocktail.  

Thursday, October 10, 2013

The fast ones // "Man On the Radio" (working song + audio)

I love when a song comes to me super fast.  It's like the songwriting-gods above have showered me with undeserved inspiration and I'm just sitting there with my hands open going, "yes, yes, give them to me."  Those moments are definitely rare, and it's best to take advantage of them when they come (usually that means dropping what I'm doing, grabbing a paper and pen and sitting there as long as it takes).  I always feel a little skeptical afterwards, though. I try to go over what I wrote and make sure I'm not just feeling too attached to it for some reason or another; I try to take a few steps back...  Still, is there anything more satisfying?

Here's one I wrote on my uke in about 15 minutes last week, the day after I got back from Nashville. Ironically, I had gone there to write new songs, and didn't finish a single one (unless you count the one I had started with my cowriter Marc last year and finally finished during the trip). I guess that's how it goes. What the gods give, they taketh away... ;)  Anyway, this one's about falling in love with a voice that you hear on the radio and being content with drawing up the whole love story in your head...without actually needing to meet the dude. Tell me I'm not the only one this happens to...

"Man on the Radio" 

written by Alfa Garcia (BMI) 2013. All Rights Reserved.


Oh boy, you don't know me but I think I know you
'cause there's something about the way you sing to me.
Like you've read into parts of me no one sees
and I can't help but fall for your understanding.

Oooooh, oooooh
Oooooh, oooooh. (repeat)

There is no need for a formal face-to-face
to be honest, I'm fine learning you line-by-line in my room.
'Cause in my head there is no one for me but you
I have got you pegged as a man with a plan, who's a good list'ner too
(yes, that's you)

Oooooh, oooooh
Oooooh, oooooh. (repeat)

I swear you're singing right to me
like I'm never out of reach.
Well, you must have found a back door to my heart
'cause it feels like you've been there from the start
and I know you don't know me, but I think that I love you
I think I love...love you. (repeats on this line?)
Man on the radio
Man on the radio
Man on the radio
Man on the radio... 
------------------------------------------

I had the chance to play this at FilAmFest in San Diego this weekend. It was my last song, and I think the reaction was pretty cool. Admittedly, though, this songs relies on the melody and delivery. I think there's a lot of room to make it one of those fun, short stints (it clocks in at just about 3 minutes) that elicits a quick reaction, rather than long-lasting thought.  I am not opposed to these kinds of songs... I think there's room for them.  But also, this one's just freakin' fun to sing.  :)  

Anyway, here's a rough track I did on my iPhone. In this version, I had switched the 2 parts of verse 2, but I think I'm going to go with the version in the lyrics above. Also, I pulled a little Bob Dylan towards the end... ha. I crack myself up.


Tuesday, October 8, 2013

A re-introduction.

  So, here we go.  I've had this blog for a little while now, but found that I wasn't really writing as regularly as I wanted to. There were a few reasons for this.  First - most common - I just didn't have enough time. Second: I'd find myself running into certain details of my life that I didn't feel like divulging on the Internet (I know, kinda shocking for a songwriter to want to withhold personal details, right?)  As a result, I'd just keep my ramblings to the old trusty journal.

Well, a week ago I was in Nashville sitting on the porch on a beautiful Fall day, thinking about where this whole singing/songwriting adventure has taken me in the last decade, and realizing, with some regret, how easily I've overlooked the details of such awesomeness.  For example, all the traveling I've gotten to do for the sake of music; all the "ah-ha" moments when a song comes together after hours of struggle; the fantastic co-writes (and not-so-fantastic ones too, those are learning experiences...), the friends I've made along the way; and the little discoveries that have slowly but surely made my life and my work more special to me (and hopefully to others).

It seemed, then, a given that I should get back to blogging.  And not just any blogging, but one that would have a focus.  So I thought ... the one thing that's a constant in my life - regardless of who's around me, what I'm doing to make ends meet, what struggles I'm dealing with - is music and songwriting.  So, in order to avoid all the uber-personal details, why not keep the blog on this focus?

Right, so this won't be the easiest thing. I know it still needs some development, but I'm willing to dive headlong into it without necessarily knowing what I'm doing (kinda like the first time I taught myself to swim...) ... and hopefully you guys will be along for the ride. :)  ... stay tuned. Plenty to come.