(cover star courtesy of awkwardfamilyphotosdotcom)
Whew, what a weekend. A nice four-day holiday weekend certainly allows for much Diefenbaker activity, don't it? For those of you reading this in Canada that have no idea what I'm talking about: haha, screw you! Anyway, please allow me to share a sure-to-be-incomplete overview of the weekend with you, at least the parts of it that relate to perpetually struggling Baltimore-based rock n' roll band Diefenbaker...
So we doubled up on band practices on Friday and Saturday night, partially to try to make up for some of the skipped ones and attempt to get some of the momentum back and partially because, what the hell, we could run as late as we wanted - post-Thursday we had nowhere to be the next day. Also, we attempted to go more than an hour for each practice. I think we ended up clocking in at just over an hour on Friday night, then probably around an hour and a half Saturday. Yay us.
Mandatory run-throughs of "Maybe Michelle" both nights (still the only song that has a keyboard part done, which frustrates, but it's a minor bitch), and I'm pretty sure we did "Differential Speed" (formerly known as "Speed Doesn't Kill") both nights as well, which was recently added to the repertoire. Of all the originals we've worked on, Shari's changed the melody on "Differential Speed" more than any of the others and the song's certainly benefitted. It's a bit tiring for me to play, especially multiple times in a row, because it's fairly fast and it's all punky, down-strummed chord bashing, but I guess that's how, as I quipped on Friday night, Jasper Future from Art Brut stays so thin. Off-topic: I'm hilarious. Anyway...
We also ran through "Interstate 80" (Saturday night only, I believe) and debuted, from my most recent set of demos, "Deafening"! It premiered Friday night and was worked on further during Saturday's practice, after which a brief, impromptu, "VH1 storytellers" segment broke out where I went into detail about the origins of the song. It fortunately was not recorded, as it layed bare the awfulness of my inspirations as a songwriter. So now I have time to craft a web of half-truths and outright fabrications regarding the song's origin and meaning that will be fit for public consumption, as I've done with virtually all other aspects of Diefenbaker. Good times.
Post the Saturday practice (the more drunken and lively of the two), we immediately adjourned to the former Official Diefenbaker Practice Space (AKA my office) and listened to a series of absolutely atrocious covers of Wham!'s hit holiday single "Last Christmas", which inevitably led to us deciding that we need to cover it as well, though cover specifically the version done by Yuji Oda and Butch Walker for the opening credits of the Japanese soap opera of the same name (now the above image makes sense, doesn't it?). Later, we discussed the need to hire a bass player, which led to one of the best concepts I think we've ever come up with: hiring our good friend Jon Hoffman of Clayton, NJ, (AKA poopbear or, as I like to call him "The Hoff") for the job, and having him stand behind us on stage wearing a red mountie suit, a la Constable Benton Fraser, RCMP, while he played. Off-topic: we're hilarious. Anyway...
Peripherally, I've just about finished another new song (well, the melody's not new, it's been around for a while... but I just whipped the lyrics into shape over the holiday weekend) that I think is very promising. It's called "Mine" - watch this space for more, kids, I think it's gonna be big... either that or it sucks and Shari will completely shoot it down. I can never tell.
Now if you'll excuse me, I have to go transcribe the lyrics for the Oda/Walker cover of "Last Christmas". Seriously, that's what I'm going to do right after I post this. Livin' the dream!
Johnny D.
