THE EDGE
The Edge arose out of a need for something a little more "rock" in the set of songs I was playing. I don't often refer specifically to the places I get my inspiration (that's because most of the time I am not really sure myself...) but in this case, I have to give credit to an Irish band I saw in Sydney called The Frames. Sometimes you come across music that really resonates with you at a particular time in your life, and this was the case with the Frames when I saw them at The Metro in 2007. In short, they were breathtaking. The energy of the band on stage was really something to behold - unlike anything I had seen before in Sydney. I have since discovered (through listening to more music from Ireland) that a lot of Irish music seems to carry a similar dynamic - not just in terms of style, but in terms of the place it comes from. There's something real about it.
On this particular occasion, The Frames seemed to be having such a ball on stage it seemed like they could play forever. And when you see songs delivered with that type of passion, you realise the amount of power a song can have. It made me want to write just for the sake of it. To write so I could say I did. I don't think The Edge was the first song I wrote after I saw the gig, but I can say that the song in some respects was a throw-back to the "rockier" aspects of the Frames set. In any case, I owe Mr Hansard and co. a debt of gratitude for stoking the fire again. Because for a while there I thought the flame was gone for good.
It's funny how songs often reflect your mood at the time. The Edge was written during a period where I was doing a lot of writing, and enjoying the feeling of being inspired again. As a result, the song is about the types of things I was discussing above - the willingness to do things just for the sake of it, just so you can say you did, just because it feels good at the time. It wasn't an easy song to write, some of the lines took an eternity to finalise, and structurally it took a long time to figure out the exact form, but in the end I like to think that I managed to get the point across.
"The Edge" is a metaphor of sorts - you're standing at the cliff, and you're not sure if you want to jump, not sure if you'll remember how to fly. But you've always got to try, for better or worse, because that's the only way you'll know where it might take you. As I am typing this, I am realising that the themes are somewhat similar to "The Birds" (the song from last week). I guess in that period of my life, it was a time of rediscovery, so there is an element of hope that comes through in a lot of the songs on the album. Perhaps this is the line that best sums it up:
"The promise of this beginning could all turn to shit in the end, but I'll do it again and again and again".
Whenever you take a leap into the unknown there's always a risk it could go wrong, whatever it is you might be doing. But at the end of the day, I reckon it's worth taking that chance every time.
Two weeks to the launch, and two more songs on the album. Hope you've been enjoying the preview series. Next week - "Our Time".
Cheers,
Renny
--------------------------
THE EDGE
I’ve seen the edge, but I’ve never been this close before.
I’ve hedged my bets just to make it through this crooked war.
It’s tried to hold me down.
But I won’t be chained to the ground any more.
I’ve seen the edge, but I’ve never been this close.
Jump with me from this ledge, we’ll go further than we’ve been before.
Listen can you hear now, the old school bells
Ringing through the hallway,
It’s the end of the lesson, the start of the hard sell
Lay down what you know here, and take in what you see
Cause when the clock ticks down to zero, you won’t be needing me any more.
Any more.
The promise of this beginning could all turn to shit in the end,
But I’ll do it again, and again, and again.
Hope will take you, hope will break your fall.
So come with me, I’m leaving for us all. Don’t try to keep me safe.
Run like the wind my child, we’ll leap from this mountainside.
Into a place without concern.
Where the sun will rise and continue to burn.
Away from this angry world that wants you to turn, turn, turn.
It’s tried to hold me down.
But I’ve been here before and I won’t surrender buried neath the ground.
I just need a song to sing as I’m flying through the air
Cause when the clock ticks down to zero, I won’t be standing there any more.
Any more.
I’ve seen the edge, but I’ve never been this close before.
Vocals, Electric Guitars, Organ, Percussion – Renny
Drums – Matt Field
Bass – Pat Savina
News and updates from the musical adventures of Renny Field...
Sunday, October 25, 2009
Monday, October 19, 2009
THE ARENA Part 11 - The Birds
Hi folks,
Not long now till the tour kicks off. Looking forward to heading off around the country - hope to catch you somewhere along the way!
THE BIRDS
A few years back, I went to India for an extended holiday and borrowed a little half-sized guitar for the trip. I think I had hoped I might have some sort of Beatles-esque moment and suddenly write the 5 best albums of all time whilst doing Yoga for 10 hours a day at an Ashram in Rishikesh. Alas, I only managed ONE song the entire 9 weeks I was travelling (yes, just the one.. really... ), and that song has rarely ever seen the light of day since, courtesy of it being a little bit, um how should I put this...., rubbish! It's a bit of a comment on spiritual healing you see, but sadly nothing worth carrying a guitar round India for... The Indian public transport system is typically very user-UNfriendly, so the less baggage the better. Guitars (half-sized or otherwise...) not recommended!
Having said that, it wasn't all a lost cause, because in the middle of the trip I did manage to come up with a few bars of a song that would become The Birds. I can even remember where in fact - it was in a small room at the foothills of the Himalayas in a town called Mcleod Ganj, the home of the Dalai Llama. It was just an idea at the time, a few chords and a few words, nothing more, and to be honest I never thought it would turn into anything much because it didn't really seem like the type of thing I would play. So as with many of my ideas, I put it to one side for a few months, and it was only after returning to Australia that I decided to work on it a little bit more. Thus "The Birds" was born.
Whilst I often say this song is about working in office buildings (based on my own experience at the time), in a broader sense it's about comfort zones. It's about the places we put ourselves that feel "safe", and having the courage to step outside that "safe" place if you feel it's not right for you, or you need a change. That decision is not always an easy one, but I have always found it invariably leads you to where you need to be.
In my case, I was working as a book-keeper in the city and staring out my window each day at the maze of office blocks surrounding me. In a way, all those people at their desks reminded me of a whole bunch of birds sitting in a tree. Perched safely out of harms way, but at the same time missing out on the rest of the world outside. It wasn't that I was extremely unhappy at that time in my life, but I was acutely aware that I needed to move on - and the song came to me whilst that process of realisation was taking place. I am not a poster-boy for bold career moves by any means, but I am glad I was able to write something about the experience, because I think a lot of us are often faced with that type of decision. And, for me, the long-term benefits of stepping out of your comfort zone will always outweigh the short-term feelings of fear or uncertainty. (This is not something I am always able to put in to practice mind you, but I like to think I am improving).
And so you can hear at the end of the song - the lone bird has left the tree, has escaped from the madness, and can now look ahead to the future. It's an uncertain future, but at the same time a future filled with the promise of something new. A future to look forward to, because the journey is only just beginning...
Production-wise you will hear a lot of things on this track. From dancing violas to fluttering ukeleles to screeching recorders, meandering accordions and plenty more. Essentially, I tried to build the song based on the image of birds sitting (or playing) in a tree. So the different instruments I guess are different types of birds - all with their unique form of song or dance (personalities if you like) - hopping and singing around the tree as the song progresses. The sense of theatre/drama was also important to me, because the song has always had a cabaret element when I have played it live. I was incredibly frustrated at times with how long the album actually took to put together, but it was nice to have the time to work on a song like this and take it somewhere near the place I had imagined it might sound. It wasn't the easiest song to record, but I had a lot of fun with it.
A big thanks to the guys in the band, all of whom got right into the spirit of being "a bird in a tree" (as I asked them to before we tracked the song). Call me biased, but I reckon there's a lot of that energy in the final recording.
Thanks for tuning in. Next week - The Edge. A very different song to this one!
Cheers,
Renny
THE BIRDS
Look at all the birds, sitting in their favourite tree
Peering down at strangers, clinging to the branches in the ever-changing breeze
And everyone that’s come and gone
Has heard them sing the same old song year after year.
I could climb the highest branch, learn their little nesting dance.
But I still won’t belong here.
So don’t shed a tear for me, Cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down
Till whenever the wind sets me free.
Look at all the birds, sitting in their favourite tree.
Oh tell me please.
Do you think they’d care if I made them all aware
Of the beauty they never will see.
Everyone that’s come and gone
Has heard them sing the same old song year after year.
I could learn the same lines, chirp away in the confines
But I wanna say no, I wanna let go, I wanna keep breaking the rules.
So don’t shed a tear for me, cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down
Till whenever the wind sets me free.
Till whenever the wind sets me free.
Oh I know it’s never always easy, oh I know it’s never always fair.
But I’ll take my chances on fleeting romances.
Oh I know it’s never always easy, oh I know it’s never always fair
But the top of the tree, is never what it seems to be.
So don’t shed a tear for me, cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down soon
Please don’t shed a tear for me, cause I’ll drift with the falling leaves
And I’ll float down through the canopies with the butterflies and the centipedes
Till whenever the wind takes me.
Even if it breaks me.
What ever the wind makes me I’ll be. I’ll be.
Oh so don’t shed a tear for me.
Vocals, Acoustic Guitar, Piano, Glock, Keyboards, Ukelele, Clarinets, Recorders – Renny
Drums – Matt Field
Bass – Pat Savina
Violas – Carl St Jaques
Accordion and additional Piano – Kent Eastwood
Not long now till the tour kicks off. Looking forward to heading off around the country - hope to catch you somewhere along the way!
THE BIRDS
A few years back, I went to India for an extended holiday and borrowed a little half-sized guitar for the trip. I think I had hoped I might have some sort of Beatles-esque moment and suddenly write the 5 best albums of all time whilst doing Yoga for 10 hours a day at an Ashram in Rishikesh. Alas, I only managed ONE song the entire 9 weeks I was travelling (yes, just the one.. really... ), and that song has rarely ever seen the light of day since, courtesy of it being a little bit, um how should I put this...., rubbish! It's a bit of a comment on spiritual healing you see, but sadly nothing worth carrying a guitar round India for... The Indian public transport system is typically very user-UNfriendly, so the less baggage the better. Guitars (half-sized or otherwise...) not recommended!
Having said that, it wasn't all a lost cause, because in the middle of the trip I did manage to come up with a few bars of a song that would become The Birds. I can even remember where in fact - it was in a small room at the foothills of the Himalayas in a town called Mcleod Ganj, the home of the Dalai Llama. It was just an idea at the time, a few chords and a few words, nothing more, and to be honest I never thought it would turn into anything much because it didn't really seem like the type of thing I would play. So as with many of my ideas, I put it to one side for a few months, and it was only after returning to Australia that I decided to work on it a little bit more. Thus "The Birds" was born.
Whilst I often say this song is about working in office buildings (based on my own experience at the time), in a broader sense it's about comfort zones. It's about the places we put ourselves that feel "safe", and having the courage to step outside that "safe" place if you feel it's not right for you, or you need a change. That decision is not always an easy one, but I have always found it invariably leads you to where you need to be.
In my case, I was working as a book-keeper in the city and staring out my window each day at the maze of office blocks surrounding me. In a way, all those people at their desks reminded me of a whole bunch of birds sitting in a tree. Perched safely out of harms way, but at the same time missing out on the rest of the world outside. It wasn't that I was extremely unhappy at that time in my life, but I was acutely aware that I needed to move on - and the song came to me whilst that process of realisation was taking place. I am not a poster-boy for bold career moves by any means, but I am glad I was able to write something about the experience, because I think a lot of us are often faced with that type of decision. And, for me, the long-term benefits of stepping out of your comfort zone will always outweigh the short-term feelings of fear or uncertainty. (This is not something I am always able to put in to practice mind you, but I like to think I am improving).
And so you can hear at the end of the song - the lone bird has left the tree, has escaped from the madness, and can now look ahead to the future. It's an uncertain future, but at the same time a future filled with the promise of something new. A future to look forward to, because the journey is only just beginning...
Production-wise you will hear a lot of things on this track. From dancing violas to fluttering ukeleles to screeching recorders, meandering accordions and plenty more. Essentially, I tried to build the song based on the image of birds sitting (or playing) in a tree. So the different instruments I guess are different types of birds - all with their unique form of song or dance (personalities if you like) - hopping and singing around the tree as the song progresses. The sense of theatre/drama was also important to me, because the song has always had a cabaret element when I have played it live. I was incredibly frustrated at times with how long the album actually took to put together, but it was nice to have the time to work on a song like this and take it somewhere near the place I had imagined it might sound. It wasn't the easiest song to record, but I had a lot of fun with it.
A big thanks to the guys in the band, all of whom got right into the spirit of being "a bird in a tree" (as I asked them to before we tracked the song). Call me biased, but I reckon there's a lot of that energy in the final recording.
Thanks for tuning in. Next week - The Edge. A very different song to this one!
Cheers,
Renny
THE BIRDS
Look at all the birds, sitting in their favourite tree
Peering down at strangers, clinging to the branches in the ever-changing breeze
And everyone that’s come and gone
Has heard them sing the same old song year after year.
I could climb the highest branch, learn their little nesting dance.
But I still won’t belong here.
So don’t shed a tear for me, Cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down
Till whenever the wind sets me free.
Look at all the birds, sitting in their favourite tree.
Oh tell me please.
Do you think they’d care if I made them all aware
Of the beauty they never will see.
Everyone that’s come and gone
Has heard them sing the same old song year after year.
I could learn the same lines, chirp away in the confines
But I wanna say no, I wanna let go, I wanna keep breaking the rules.
So don’t shed a tear for me, cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down
Till whenever the wind sets me free.
Till whenever the wind sets me free.
Oh I know it’s never always easy, oh I know it’s never always fair.
But I’ll take my chances on fleeting romances.
Oh I know it’s never always easy, oh I know it’s never always fair
But the top of the tree, is never what it seems to be.
So don’t shed a tear for me, cause I’ll drift with the falling leaves.
And I’ll float down till I touch the ground, find a place to settle down soon
Please don’t shed a tear for me, cause I’ll drift with the falling leaves
And I’ll float down through the canopies with the butterflies and the centipedes
Till whenever the wind takes me.
Even if it breaks me.
What ever the wind makes me I’ll be. I’ll be.
Oh so don’t shed a tear for me.
Vocals, Acoustic Guitar, Piano, Glock, Keyboards, Ukelele, Clarinets, Recorders – Renny
Drums – Matt Field
Bass – Pat Savina
Violas – Carl St Jaques
Accordion and additional Piano – Kent Eastwood
Monday, October 12, 2009
THE ARENA Part 10 - Lonely Man
Hello again,
Lonely Man was a song I wrote a couple of years ago when I was doing a weekly myspace "challenge". (Actually a few of the songs on this album were from that same period). Basically I was trying to write a song each week and put it on myspace - not too much of a "challenge" for some I guess, but plenty hard enough for me considering the length of time it can take me to finish a song. In the end, I compromised a bit and posted the songs as they were, knowing I would probably have to revisit them at some point. In fact, I compromised a lot in some cases - some of them were not worth revisiting!
Funnily enough Lonely Man was one of the few songs I was actually able to post as a finished product, and it has never changed from that original form. I think that's because I never really expected to do anything with it. I have lots of songs like that - seemed like a good idea at the time, but on reflection... So it was a bit of a line ball decision as to whether or not this would make it on the album in the first place. In the end, I decided to go with it because I think it's a little bit different to the rest (at least not as obvious a choice), and I thought it deserved a place because it came from that same period of writing.
Production-wise then I wasn't really sure at all what I wanted to do with it. I can remember even the bass and drums being a little tricky to figure out when we tracked them. Essentially I didn't see a need to depart too far from the raw acoustic version, because the energy of the song seemed to stem from that context. Having said that, there was a natural build through the middle of the song that I had to capture, so it took a little bit of time to figure out what I was trying to do.
In the end, my big idea for this song came at the most unlikely time - when I was sick as a dog, suffering from the whooping cough. I decided to see what it would be like to layer some Tenor voices through the second half of the song (sort of a male choir singing in unison). Fortuitously, the fact that I was sick meant that I was able to produce a big deep tenor voice (which I wouldn't normally be able to do), and I ended up singing the same part 9 or 10 times to achieve the effect. Considering the song is called "Lonely Man", I can't be sure that having 10 tenor voices singing along was a good idea, but the concept seemed to work so I decided to run with it.
And you have to remember - it was me doing all the singing, and all the production, just on my ownsome. So really, I was a very lonely man at times. But that was sort of the point.
You'll also be able to hear a few Clarinet parts in this song. That's the instrument I learned (or was supposed to be learning) at school. It's a lonely sort of instrument the Clarinet, I think I used to get bored because I could only play one note at a time.... But I figured if it was going to feature on this album at all, then it would be on this track. It was a surprise to me that I was still able to play it at all, but strangely enough the keys etc all seemed vaguely familiar. A few off notes perhaps, but I think it worked out Ok in the end. And I must have been feeling the love for the Clarinet at that particular moment, because it has somehow found it's way on to Molly Mae as well!
Lyrics below. Next week - The Birds.
See you then,
Renny
------------------
LONELY MAN
.. .. .. .. .. .. ....
Lonely Man was a song I wrote a couple of years ago when I was doing a weekly myspace "challenge". (Actually a few of the songs on this album were from that same period). Basically I was trying to write a song each week and put it on myspace - not too much of a "challenge" for some I guess, but plenty hard enough for me considering the length of time it can take me to finish a song. In the end, I compromised a bit and posted the songs as they were, knowing I would probably have to revisit them at some point. In fact, I compromised a lot in some cases - some of them were not worth revisiting!
Funnily enough Lonely Man was one of the few songs I was actually able to post as a finished product, and it has never changed from that original form. I think that's because I never really expected to do anything with it. I have lots of songs like that - seemed like a good idea at the time, but on reflection... So it was a bit of a line ball decision as to whether or not this would make it on the album in the first place. In the end, I decided to go with it because I think it's a little bit different to the rest (at least not as obvious a choice), and I thought it deserved a place because it came from that same period of writing.
Production-wise then I wasn't really sure at all what I wanted to do with it. I can remember even the bass and drums being a little tricky to figure out when we tracked them. Essentially I didn't see a need to depart too far from the raw acoustic version, because the energy of the song seemed to stem from that context. Having said that, there was a natural build through the middle of the song that I had to capture, so it took a little bit of time to figure out what I was trying to do.
In the end, my big idea for this song came at the most unlikely time - when I was sick as a dog, suffering from the whooping cough. I decided to see what it would be like to layer some Tenor voices through the second half of the song (sort of a male choir singing in unison). Fortuitously, the fact that I was sick meant that I was able to produce a big deep tenor voice (which I wouldn't normally be able to do), and I ended up singing the same part 9 or 10 times to achieve the effect. Considering the song is called "Lonely Man", I can't be sure that having 10 tenor voices singing along was a good idea, but the concept seemed to work so I decided to run with it.
And you have to remember - it was me doing all the singing, and all the production, just on my ownsome. So really, I was a very lonely man at times. But that was sort of the point.
You'll also be able to hear a few Clarinet parts in this song. That's the instrument I learned (or was supposed to be learning) at school. It's a lonely sort of instrument the Clarinet, I think I used to get bored because I could only play one note at a time.... But I figured if it was going to feature on this album at all, then it would be on this track. It was a surprise to me that I was still able to play it at all, but strangely enough the keys etc all seemed vaguely familiar. A few off notes perhaps, but I think it worked out Ok in the end. And I must have been feeling the love for the Clarinet at that particular moment, because it has somehow found it's way on to Molly Mae as well!
Lyrics below. Next week - The Birds.
See you then,
Renny
------------------
LONELY MAN
.. .. .. .. .. .. ....
Take me in your arms now, cause I’m dying to accept this fate
Spin me while I’m hanging by this thread of yours
Cause there’s always one more twist that I can take.
And though we stand together now, we’re never on the level ground you see.
When it’s all said and done, when this two becomes one, will you remember me.
Will you remember me.
....
In your heart I’ll be a lonely man.
But I’ll come running every chance I can.
Every chance I can.
....
So the time has come again for you, I can just about predict the hour.
The days and nights escape me, another page is torn.
I guess I’ll make them up somehow.
Oh I never went to Paris with you girl, we never got to cruise the Nile
But over all the rapids, we held each other’s hands,
And it was good there for a while.
....
In your heart I’ll be a lonely man.
But I’ll come running every chance I can.
In your heart I’ll be a lonely man,
But I’m gonna stick it out here for as long as I can.
For as long as I can.
....
So come into my arms now, cause this could be our final squeeze.
So can we soak it up, can we take a minute
Please
....
Vocals, Acoustic Guitars, Clarinets, Tenor voices – Renny
Drums – Matt Field
Bass – Pat Savina
Thursday, October 08, 2009
The best steak sandwich and the worst cofffee in NSW
Hi folks, time for the October newsletter....
If you are visiting for the first time, Welcome and thanks for stopping by! If you’ve been here before, thanks for hanging in there. You know I love you.
If you'd like to know more about the best steak sandwich and the worst coffee, then scroll down. If you are after the latest music news (sort of the point of these things really...), then here it comes:
Only a month to go now till we are launching ALBUM NUMBER 3! There’s a great 10-piece band all ready to go, and it’s shaping up to be a big big night of music. Why not grab yourself a ticket to the launch party so you don’t miss out – they are going like McDonalds hotcakes at 10.29am…
“THE ARENA” ALBUM LAUNCH. SUN 8TH NOVEMBER.
OXFORD ART FACTORY, SYDNEY
38 Oxford Street, Darlinghurst.
With special guests Ten Thumb Tom and Lanie Lane.
Doors open 7.30, Music from 8pm.
Tickets on sale now!
http://www.moshtix.com.au/Event.aspx?id=30239&pLock=&vip=&skin=&ref
The Album will be officially released in stores and online on Fri 6th November. If you can’t make it to the big launch party, then there are a plenty of other shows to choose from. I am travelling right round the country in fact – Sydney, Melbourne, Hobart, Adelaide, Perth, Brisbane and a whole bunch of places in between. If you’ve got friends anywhere nearby, then feel free to drop them a line to let them know I am coming through. (And while you’re at it, if you wouldn’t mind asking if I they had a spare bed…..). For detailed information on the upcoming dates, then best to check online:
www.myspace.com/rennyfield
www.rennyfield.com
For those of you who don't like to click on links, here is the rough guide. Plenty more to come:
Wed 4/11 Lizottes, Kincumber, NSW
Fri 6/11 Red Bar, Cambridge Hotel, Newcastle, NSW
Sun 8/11 Oxford Art Factory, Sydney, NSW
Mon 9/11 Phoenix Bar, Canberra, ACT
Tues 10/11 Ruby’s Lounge, Belgrave, VIC
Thurs 12/11 The Wesley Anne, Melbourne, VIC
Fri 13/11 William Farrer Hotel, Wagga, NSW
Sat 14/11 Locomotive Hotel, Junee, NSW
Sun 15/11 Pure Pop Records, St Kilda (3pm), VIC
Sun 15/11 The Evelyn, Fitzroy (8pm), VIC
Tues 17/11 Republic Bar, Hobart, TAS
Wed 18/11 Irish Murphy’s, Launceston, TAS
Thurs 19/11 Grace Emily, Adelaide, SA
Fri 20/11 Swan Lounge, Fremantle, WA
Sun 22/11 Velvet Lounge, Flying Scotsman, Perth, WA
Fri 27/11 Kings Hotel, Bathurst, NSW
Sat 28/11 Oriental Hotel, Mudgee, NSW
Sun 29/11 Hotel Orange, Orange, NSW
Wed 2/12 Brass Monkey, Cronulla NSW
Fri 4/12 The Loft, Chevron Island, Gold Coast, QLD
Sun 6/12 The Troubadour, Brisbane, QLD
Mon 7/12 The Rails, Byron Bay, NSW
Wed 9/12 Guru Food Café, Bellingen, NSW
Thurs 10/12 Raval, Sydney, NSW
Fri 11/12 The Baroque Room, Carrington Inn, Katoomba, NSW
A nice little road trip for Sydney-siders in the last week of November which might be worth considering - Bathurst/Mudgee/Orange - always a lot of fun out West of the Blue Mountains. The outback is good for the soul.
I am still posting a track each week from the new album, plus a little blog about the song. This week I am up to No. 9 – Exploring – it’s an old favourite and a few of you have probably heard it before…
www.myspace.com/rennyfield
-------------------------------------------------
AUSTRALIAN STORY
You may be interested to know that some of my music (the track "Flying") was used on last week’s episode of Australian story. I have no idea how it got there – I am guessing probably an administrative error of some description – but hey I checked it out online and sure enough there it was. A moving piece of television about the aftermath of the black saturday bush fires which is worth a look (with or without my music).
http://www.abc.net.au/austory/specials/herbeauty/default.htm
------------------------------------------------
MOLLY MAE:
As I mentioned last month, the first single from the new album is now available on iTunes. There's also a bit of a review that someone was kind enough to write - apparently they didn't mind the song. Jump online and check it out if you so desire, and you could even try hitting the "buy" button if you're feeling adventurous. I like to think it's worth at least $1.69, considering it took me the best part of a year to record it...
Of course, if you can't figure out how to buy it online, you could always ring your local radio station (or a national one with a fondness for the letter J) and see if they'd play it for you. That way you'd get to hear it for FREE! Now that would be a good deal.
------------------------------------------------
THE BEST STEAK SANDWICH AND THE WORST COFFEE IN NSW
“What’s this all about?” I hear you ask. Well, I used “Rocktober” as the subject line for my newsletter this time last year (and probably the two before that) – I figured “The best steak sandwich…” was probably a little more interesting. And would you believe it, I actually did have the best steak sandwich AND the worst coffee all in the one day. Last Saturday in fact, really it was quite a treat.
The Steak Sandwich – well you could argue for and against it being the “best”, but on account of the fact that the diner (if you could call it that) in Stroud Road* (that’s the name of the town, not the street) is the only place in the State brave enough to advertise (on a big sign out the front) “The Best Steak Sandwich in NSW!”, then you’d have to give them the prize. Sure I have tasted better I suppose, but this was a fresh-cooked home made classic – a true Steak Sandwich in every sense of the word. Right down to the thick-diced steak, the lightly toasted tip-top white bread, the greasy onions that were cooked in a pan that has never really been cleaned properly, the black-and-gold BBQ sauce AND, most importantly, the little Aussie flag on a toothpick holding the whole thing together. Because let's be honest, that's the key to an authentic country-made steak sandwich - the little Aussie Flag - it wouldn't have been the same without it. Plus I asked for some fresh lettuce and tomato on mine, and the lady in the shop was more than happy to add the extras free of charge! In fact, the Stroud Road Steak Sambo is SO GOOD that they have even placed ANOTHER sign about 150m further down the road that reads:
“GO BACK! For the best steak sandwich in NSW”.
That’s the one that got me, I’ll admit it. I have managed to ignore it in the past, but on this occasion the pressure was simply too great. And the curiosity for that matter – it was worth a U-turn – that tiny little building in Stroud Road, how on earth could it have the best Steak sambo in NSW? Well folks, it just does. Because it says so.
*NB – You may be interested to know that “Stroud Road” is about 10 mins away from another town called “Stroud”. Sometimes it’s best not to ask questions.
As for the Coffee, well that wasn't in Stroud Road. I won't bore you with too many details (I've already done a pretty good job of that I think...), but let’s just say that it involved a late-night drive back to Sydney from Newcaslte, a 24-hr Mobil service station in Charlestown, a dodgy instant Cappuccino machine which only managed to fill half of my cup, and an over-zealous service station attendant who decided to charge me for TWO coffees because I hit the button again so I could leave the shop with a full coffee rather than just half a cup.
“That will be $5.90 sir”
“But it’s says $2.95"
“Yes, but you pressed the button TWICE.”
Sort of reminded me of that old Seinfeld sketch:
“You dipped the chip, you took a bite, and you dipped again!”
Suffice it to say, it was an argument I could not win. The evidence was on Camera you see. And at $5.90, it was truly the WORST coffee in NSW. Possibly the whole of Australia, but I’ll get to test that theory on the upcoming tour. And maybe you can help me out somewhere along the way! (Although I'd be just as happy for you to recommend a good coffee as well...).
Cheers for now, and as always thanks for your support.
See you out there somewhere soon.
Renny
If you are visiting for the first time, Welcome and thanks for stopping by! If you’ve been here before, thanks for hanging in there. You know I love you.
If you'd like to know more about the best steak sandwich and the worst coffee, then scroll down. If you are after the latest music news (sort of the point of these things really...), then here it comes:
Only a month to go now till we are launching ALBUM NUMBER 3! There’s a great 10-piece band all ready to go, and it’s shaping up to be a big big night of music. Why not grab yourself a ticket to the launch party so you don’t miss out – they are going like McDonalds hotcakes at 10.29am…
“THE ARENA” ALBUM LAUNCH. SUN 8TH NOVEMBER.
OXFORD ART FACTORY, SYDNEY
38 Oxford Street, Darlinghurst.
With special guests Ten Thumb Tom and Lanie Lane.
Doors open 7.30, Music from 8pm.
Tickets on sale now!
http://www.moshtix.com.au/Event.aspx?id=30239&pLock=&vip=&skin=&ref
The Album will be officially released in stores and online on Fri 6th November. If you can’t make it to the big launch party, then there are a plenty of other shows to choose from. I am travelling right round the country in fact – Sydney, Melbourne, Hobart, Adelaide, Perth, Brisbane and a whole bunch of places in between. If you’ve got friends anywhere nearby, then feel free to drop them a line to let them know I am coming through. (And while you’re at it, if you wouldn’t mind asking if I they had a spare bed…..). For detailed information on the upcoming dates, then best to check online:
www.myspace.com/rennyfield
www.rennyfield.com
For those of you who don't like to click on links, here is the rough guide. Plenty more to come:
Wed 4/11 Lizottes, Kincumber, NSW
Fri 6/11 Red Bar, Cambridge Hotel, Newcastle, NSW
Sun 8/11 Oxford Art Factory, Sydney, NSW
Mon 9/11 Phoenix Bar, Canberra, ACT
Tues 10/11 Ruby’s Lounge, Belgrave, VIC
Thurs 12/11 The Wesley Anne, Melbourne, VIC
Fri 13/11 William Farrer Hotel, Wagga, NSW
Sat 14/11 Locomotive Hotel, Junee, NSW
Sun 15/11 Pure Pop Records, St Kilda (3pm), VIC
Sun 15/11 The Evelyn, Fitzroy (8pm), VIC
Tues 17/11 Republic Bar, Hobart, TAS
Wed 18/11 Irish Murphy’s, Launceston, TAS
Thurs 19/11 Grace Emily, Adelaide, SA
Fri 20/11 Swan Lounge, Fremantle, WA
Sun 22/11 Velvet Lounge, Flying Scotsman, Perth, WA
Fri 27/11 Kings Hotel, Bathurst, NSW
Sat 28/11 Oriental Hotel, Mudgee, NSW
Sun 29/11 Hotel Orange, Orange, NSW
Wed 2/12 Brass Monkey, Cronulla NSW
Fri 4/12 The Loft, Chevron Island, Gold Coast, QLD
Sun 6/12 The Troubadour, Brisbane, QLD
Mon 7/12 The Rails, Byron Bay, NSW
Wed 9/12 Guru Food Café, Bellingen, NSW
Thurs 10/12 Raval, Sydney, NSW
Fri 11/12 The Baroque Room, Carrington Inn, Katoomba, NSW
A nice little road trip for Sydney-siders in the last week of November which might be worth considering - Bathurst/Mudgee/Orange - always a lot of fun out West of the Blue Mountains. The outback is good for the soul.
I am still posting a track each week from the new album, plus a little blog about the song. This week I am up to No. 9 – Exploring – it’s an old favourite and a few of you have probably heard it before…
www.myspace.com/rennyfield
-------------------------------------------------
AUSTRALIAN STORY
You may be interested to know that some of my music (the track "Flying") was used on last week’s episode of Australian story. I have no idea how it got there – I am guessing probably an administrative error of some description – but hey I checked it out online and sure enough there it was. A moving piece of television about the aftermath of the black saturday bush fires which is worth a look (with or without my music).
http://www.abc.net.au/austory/specials/herbeauty/default.htm
------------------------------------------------
MOLLY MAE:
As I mentioned last month, the first single from the new album is now available on iTunes. There's also a bit of a review that someone was kind enough to write - apparently they didn't mind the song. Jump online and check it out if you so desire, and you could even try hitting the "buy" button if you're feeling adventurous. I like to think it's worth at least $1.69, considering it took me the best part of a year to record it...
Of course, if you can't figure out how to buy it online, you could always ring your local radio station (or a national one with a fondness for the letter J) and see if they'd play it for you. That way you'd get to hear it for FREE! Now that would be a good deal.
------------------------------------------------
THE BEST STEAK SANDWICH AND THE WORST COFFEE IN NSW
“What’s this all about?” I hear you ask. Well, I used “Rocktober” as the subject line for my newsletter this time last year (and probably the two before that) – I figured “The best steak sandwich…” was probably a little more interesting. And would you believe it, I actually did have the best steak sandwich AND the worst coffee all in the one day. Last Saturday in fact, really it was quite a treat.
The Steak Sandwich – well you could argue for and against it being the “best”, but on account of the fact that the diner (if you could call it that) in Stroud Road* (that’s the name of the town, not the street) is the only place in the State brave enough to advertise (on a big sign out the front) “The Best Steak Sandwich in NSW!”, then you’d have to give them the prize. Sure I have tasted better I suppose, but this was a fresh-cooked home made classic – a true Steak Sandwich in every sense of the word. Right down to the thick-diced steak, the lightly toasted tip-top white bread, the greasy onions that were cooked in a pan that has never really been cleaned properly, the black-and-gold BBQ sauce AND, most importantly, the little Aussie flag on a toothpick holding the whole thing together. Because let's be honest, that's the key to an authentic country-made steak sandwich - the little Aussie Flag - it wouldn't have been the same without it. Plus I asked for some fresh lettuce and tomato on mine, and the lady in the shop was more than happy to add the extras free of charge! In fact, the Stroud Road Steak Sambo is SO GOOD that they have even placed ANOTHER sign about 150m further down the road that reads:
“GO BACK! For the best steak sandwich in NSW”.
That’s the one that got me, I’ll admit it. I have managed to ignore it in the past, but on this occasion the pressure was simply too great. And the curiosity for that matter – it was worth a U-turn – that tiny little building in Stroud Road, how on earth could it have the best Steak sambo in NSW? Well folks, it just does. Because it says so.
*NB – You may be interested to know that “Stroud Road” is about 10 mins away from another town called “Stroud”. Sometimes it’s best not to ask questions.
As for the Coffee, well that wasn't in Stroud Road. I won't bore you with too many details (I've already done a pretty good job of that I think...), but let’s just say that it involved a late-night drive back to Sydney from Newcaslte, a 24-hr Mobil service station in Charlestown, a dodgy instant Cappuccino machine which only managed to fill half of my cup, and an over-zealous service station attendant who decided to charge me for TWO coffees because I hit the button again so I could leave the shop with a full coffee rather than just half a cup.
“That will be $5.90 sir”
“But it’s says $2.95"
“Yes, but you pressed the button TWICE.”
Sort of reminded me of that old Seinfeld sketch:
“You dipped the chip, you took a bite, and you dipped again!”
Suffice it to say, it was an argument I could not win. The evidence was on Camera you see. And at $5.90, it was truly the WORST coffee in NSW. Possibly the whole of Australia, but I’ll get to test that theory on the upcoming tour. And maybe you can help me out somewhere along the way! (Although I'd be just as happy for you to recommend a good coffee as well...).
Cheers for now, and as always thanks for your support.
See you out there somewhere soon.
Renny
Monday, October 05, 2009
THE ARENA Part 9 - Exploring
Hello again.... nearly forgot this week. I have been away for a few days taking a bit of a break from the real world. Currently putting together a little story from the road, which I might try to post this week. I like to write travel stories you see - but you might have already picked that up.
Anyway - Exploring - this week's little number. For a long time there, Exploring was the only real "new" song I had. I had tried to write others, but they just wouldn't come. At least not in a way that made me want to finish them. As far as songs go, this was one of the quicker ones I have written. Normally the process for me is fairly painful, but I managed to get this one out in about a day. I think I had a gig that I was trying to finish it for. Often my songs have been created because of a perceived lack of a certain type of song in my live set - in this case I felt I was missing a bit of an up-beat toe-tapping number (for want of a better description). I certainly went for the "up-beat" vibe for that first show, but it has since mellowed a fair bit, and the energy on the album recording is pretty much how I imagined it should sound. A cruisy country number? Perhaps...
I can't say the lyrics are among my finest, but the point of the song was not to be complicated (as you might have guessed from the chorus). The point was to write something simple, easy to understand, easy to identify with. And when you are writing a simple song, it certainly helps if you know you only have a day to finish it!
My favourite memory from this song - and I often tell this story at my gigs - was when I played it in India one year on a hotel balcony. Travelling with my girlfriend at the time, we were both sitting on our balcony surveying the town of Agra (site of the Taj Mahal) and I decided it might be nice to get the guitar out. I had borrowed a half-sized guitar for the trip, essentially in the hope that I would have some sort of Beatles-esque moment and write 5 of the greatest albums of all time. In the end, I think I wrote one song, and it's not on this album.... nor is it likely to make an appearance on any of my future albums.
Anyway where was I - Exploring - that's right. So I pulled out my little half-size guitar and started to play Exploring, and as we looked down on the various rooftops about town, we noticed that the kids started to dance and clap their hands. As I continued, more and more kids joined in until the scene before us was pretty surreal. Dotted around the town of Agra, a series of rooftops with children laughing and dancing whilst their parents watched on smiling and clapping as well. I was a beautiful cross-cultural moment (if you could call it that - probably a slightly grander description than what I was after...), and a wonderful example of the power of music. I can't remember if I played the song twice or just did a super-extended chorus, but all the while I was thinking this was a pretty special moment. They had no idea what the song was about, no idea what I was saying, but the beauty of Indian kids is that they can find happiness in the simplest things, and on this occasion it was some weird white bloke playing his guitar on a hotel balcony. One of my fondest memories from my time in India that's for sure, almost out-weighing my disappointment that I wasn't able to write the 5 best albums of all time on my half-sized guitar.
The funniest part of that story was in fact the next day when I emerged from my hotel, and every second kid that I walked past pointed at me and went "Whiiiiyiyiyiyiyiyiyiyiyiyiyiyiyiyiyi" before laughing and running away (have a listen to the chorus of the song and you will understand...). All of a sudden, I was an overnight celebrity in Agra. Madness. I can't imagine if I played on a balcony in Sydney it would have the same effect. Most probably someone would just call the police.
If you are ever travelling in India with a half-size guitar (or even a full one for that matter...), you are more than welcome to play this song and give the hotel balcony experiment a try!
My thanks to Bill Chambers for agreeing to play the lap steel guitar on this recording. Also to the other people that helped put the song together (see below).
Next week - Lonely Man - 9 down, 5 to go - see you then.
Cheers,
Renny
---------------
EXPLORING
.. .. .. .. .. .. ....
Anyway - Exploring - this week's little number. For a long time there, Exploring was the only real "new" song I had. I had tried to write others, but they just wouldn't come. At least not in a way that made me want to finish them. As far as songs go, this was one of the quicker ones I have written. Normally the process for me is fairly painful, but I managed to get this one out in about a day. I think I had a gig that I was trying to finish it for. Often my songs have been created because of a perceived lack of a certain type of song in my live set - in this case I felt I was missing a bit of an up-beat toe-tapping number (for want of a better description). I certainly went for the "up-beat" vibe for that first show, but it has since mellowed a fair bit, and the energy on the album recording is pretty much how I imagined it should sound. A cruisy country number? Perhaps...
I can't say the lyrics are among my finest, but the point of the song was not to be complicated (as you might have guessed from the chorus). The point was to write something simple, easy to understand, easy to identify with. And when you are writing a simple song, it certainly helps if you know you only have a day to finish it!
My favourite memory from this song - and I often tell this story at my gigs - was when I played it in India one year on a hotel balcony. Travelling with my girlfriend at the time, we were both sitting on our balcony surveying the town of Agra (site of the Taj Mahal) and I decided it might be nice to get the guitar out. I had borrowed a half-sized guitar for the trip, essentially in the hope that I would have some sort of Beatles-esque moment and write 5 of the greatest albums of all time. In the end, I think I wrote one song, and it's not on this album.... nor is it likely to make an appearance on any of my future albums.
Anyway where was I - Exploring - that's right. So I pulled out my little half-size guitar and started to play Exploring, and as we looked down on the various rooftops about town, we noticed that the kids started to dance and clap their hands. As I continued, more and more kids joined in until the scene before us was pretty surreal. Dotted around the town of Agra, a series of rooftops with children laughing and dancing whilst their parents watched on smiling and clapping as well. I was a beautiful cross-cultural moment (if you could call it that - probably a slightly grander description than what I was after...), and a wonderful example of the power of music. I can't remember if I played the song twice or just did a super-extended chorus, but all the while I was thinking this was a pretty special moment. They had no idea what the song was about, no idea what I was saying, but the beauty of Indian kids is that they can find happiness in the simplest things, and on this occasion it was some weird white bloke playing his guitar on a hotel balcony. One of my fondest memories from my time in India that's for sure, almost out-weighing my disappointment that I wasn't able to write the 5 best albums of all time on my half-sized guitar.
The funniest part of that story was in fact the next day when I emerged from my hotel, and every second kid that I walked past pointed at me and went "Whiiiiyiyiyiyiyiyiyiyiyiyiyiyiyiyiyi" before laughing and running away (have a listen to the chorus of the song and you will understand...). All of a sudden, I was an overnight celebrity in Agra. Madness. I can't imagine if I played on a balcony in Sydney it would have the same effect. Most probably someone would just call the police.
If you are ever travelling in India with a half-size guitar (or even a full one for that matter...), you are more than welcome to play this song and give the hotel balcony experiment a try!
My thanks to Bill Chambers for agreeing to play the lap steel guitar on this recording. Also to the other people that helped put the song together (see below).
Next week - Lonely Man - 9 down, 5 to go - see you then.
Cheers,
Renny
---------------
EXPLORING
.. .. .. .. .. .. ....
No-one ever told me things could be this way
No-one ever told me what to do or what to say
Oh I woke up cold this morning, thinking of your smile
And thinking of you yawning, made me cry inside
....
No-one ever told me, things could be like this
No-one ever let me know about the things that I would miss
Oh I woke up cold this morning, thinking of your smile
Do you think that we can go exploring for a while
....
For a while. For a while.
Oh don’t let this be the end of you and me, can we try
....
No-one ever told me I could feel these things
No-one ever told me ‘bout the songs my heart could sing
Oh I woke up cold this morning, thinking of your smile
And thinking of you yawning made me cry inside
Oh I woke up cold this morning thinking of your smile
Do you think that we can go exploring for a while
....
For a while. For a while.
Oh don’t let this be the end of you and me, can we try.
Can we try. Can we try. Can we try.
....
Vocals, Acoustic Guitars, Piano, Keyboards, Ukelele, Glock – Renny
Drums, Percussion – Matt Field
Bass – Pat Savina
Backing Vocals – Sarah Humphreys, Sam Buckingham.
Lap Steel – Bill Chambers
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