I'm perplexed why in almost a year this tune has not been finished as submitted to me.
When submitted, I was asked to provide percussive colors... which I did: including from my experience and
production values both a shaker first
and then the full drum track at the studio. The percussive colors were provided in advance of any other instrument
other than the vocals and acoustic guitar of the Artist.
I'm also perplexed why both the bass and drums are not mixed together with Mr. Tomlinson's vocal and guitar.
It was the lyrics and acoustic guitar that inspired my playing on this song, at which point I suggested that my band-mate,
(Don Klayman, bass, from the Guild of Sound/ATL, GA),
overdub his bass part on top of my percussive parts... which he did - and that very well
since we always synchronize together, musically speaking.
I trust that audiophiles will be able to distinguish between both renditions as presented here in two separate tracks!
Music is not a game nor a hobby for me... though it is fun, it is also a fulfillment of musical ethics.
As well, it is a passion upon which my entire life has been based with notable artists and projects over the last 35 years.
In my experience... this can be put to bed and let us dream upon the realities.
The music is there. Thank you All for the privilege of playing to this incredible song!
I believe the Composer of this song needs to hear the music he created that inspired the rest of us.
Though we're thousands of miles away, and Michael is not holding his breath,
Music is the only Universal Language That We Have Today Until...
Again, it was the lyrics that inspired my erstwhile contribution to this tune,
after which the bass was added.
In my opinion and experience, depending upon the market but more for the purity of the music,
there is nothing else that needs to be done w/Wild Horses aside from proper EQ & Mixing.
Reading the lyrics alone will inspire anyone with a heart and ear! Otherwise, call the Coroner!
Verse1a:
I see the earth below me
From a cloudless sky
I think of what I've lost
And what I'm never going to find
In spite of all the love around me
I grieve for what I leave behind
Verse1b:
I see a shadow moving
Along the great divide
I heard about horses running
Down the other side
Changing everything inside me
Bringing so much back alive
Chorus1a:
Painted pony long may you run
How I only wish I was young
Heading out on the wide open plains
Where I was born
Chorus1b:
But I'm up in this fathomless air
You're below on the ground way down there
For as long as you run
You will keep my hope alive
How I love it when wild horses run…
Verse2a:
I walk along the river
Watch the water flow
I wonder if I'm a swimmer or
If she'll ever let me go
Or will she hold me hold me like a lover,
Make me part of her own soul
Verse2b:
And then a great blue heron
In the shallow reeves
Opens up his wings and climbs to heaven over me
It's hard to see a circling heron and
Say you still do not believe
Chorus2a:
Painted pony, long may you run
How I only wish I was young
Heading out on the wide open plains
Where I was born
Chorus2b:
But I'm up in this fathomless air
You're below on the ground way down there
For as long as you run
You will keep my hope alive
How I love it when wild horses run.
Bridge:
Didn't you ever have a moment
Flow like love around you
And just feel a different thing
You look around, cannot define it
Nothing can describe the rousing beauty and this place
How I love it when it when wild heir (air)-mounts fly
Chorus:
Painted pony, long may you run
How I only wish I was young
Heading out on the wide open plains
Where I was born
But I'm up in this fathomless air
You're below on the ground way down there
For as long as you run
You will keep my hope alive
How I love it when wild horses run.
With lyrics & playing like this, what else does a musician/producer/engineer need toward the music?
Personally, I love it just like it is in the fashion of James Taylor with whom I attended
secondary school with at Milton Academy (1966).
And then there was Terrence Boylan who played in the same fashion and with whom I toured nationwide. And then there's
Bob Dylan for whom I recorded "Love In Durango" back in 1975 at RCA recording studios in NYC. It's funny that release garnered
a platinum award when artists like Michael Tomlinson have yet to break into the mainstream (if even that's a desire of his:
I hear you Michael... given where you live, you don't need it. Trust me.
My point is that with acoustic playing, there is a sensitivity to the music that goes beyond the
equipment recording it. If the playing is there (which it is), then forget about the details of
equipment! Forget about over-tweaking the parameters according to the specifications that are in a user's manual.
Forget about proper mike placement as if that has some influence upon the performance of the players. That stuff should be
intuitive to the engineer but transparent to the musician.
Just pay attention to the music and let that be the inspiration! [a perfect example would be the early days of Motown/Detroit
when all they had was one microphone in the room and an eight-track tape machine. Yet listen to those hits even till today!!!
It breaks my heart since I know all parties involved, but have yet to meet the Artist: Michael Tomlinson! I just have to tell the truth!
Hopefully one day Michael T., I'll see your face since I've often been in your part of the world!
Agape Love!
John Sussewell
Drums & Shaker
http://www.johnsussewell.com
P.S. But then again... Wild Horses are running... so perhaps all of our hopes are left alive!