Feeling entirely grateful for the 2nd half of 2018 which was much better than the first!
I’m super grateful for the live sound gigs I got this year (especially with The Piper’s Club who are most kind to me and have invested so much faith in me. With them I’ve really gotten the chance to be a sound engineer and learn about the job.) I’m not the most technically minded person and my nerves still get me, but I am a visionary and an extremely hard worker.
Without these gigs, I’d more than likely have chucked it all in by now- some people are utterly false and have no problem making me feel small in a crowded room. It’s entirely hard for me not to allow myself to feel that way.
It’s very easy to stay put in my music room and live in my bitter circle of loneliness and intermittent creativity. I felt so useless, alone and pointless. I despaired. Often. I literally needed someone to say “We want you to do this!”, and even though I brick it, it always goes well and people shower me with praise.
The gigs mean so much to me.
I’m grateful for the friends who reach out to me and check in on me and make me laugh. I’m grateful for the new friendly faces too. Thank you for being there.
And thank you to the false ones for f*cking off, out of my face.
And most of all thanks to my fiance for understanding me and still loving me. Thanks to my family for financial support this year (my worst year for money since 2008). I’m doing my best to kick anxieties in the arse, I’m starting to think my overthinking is utterly stupid and needless.
I’m grateful for my good health and my friends + families good health, the roof over my head, good food to eat, enough cash flowing to see me comfortable, my kitties and my freedom.
May 2019 be a fantastic year for you all. Thanks.
Thanks Rachel for the affirmation cards, this one is my favourite.
“One by One” is the new single from my friend, Conor Breen, aka Trist. I’m delighted to have contributed my violin to his wonderful music and I wish him the best of luck with his upcoming album release, The Cutting!
It’s not often (never before actually) that I blog about my old band, Black Daisy, though I have mentioned in my bio that I was lead guitarist and backing vocalist for the all female rock band. If you’re a first-time reader on this blog, I parted ways from the band in early 2009. The band was formed by myself and LA Halvey from the ashes of a band we found ourselves in which formed in autumn 2002. That band was named Ali, yes we all hated the name, but we couldn’t think of anything better so we ran with it (it was hoped we would get Bono’s attention! pfffff, as if!). We had high hopes and we actually did a few very cool gigs (Mountjoy Prison Christmas party 2003, MTV’s Breaking Point, a couple of appearances on RTE’s You’re a Star). The band eventually burned out but myself and the singer still had faith and we continued writing, recording, auditioning musicians and gigging. We eventually found the other half of the band circa mid-2007 (Nicki Billings from Wicklow on rhythm guitar and Asta Mileriene from Lithuania on drums) and became the last incarnation of Black Daisy. Well, until I was out of the picture but that’s a different story.
So the reason I’m blogging is because on this day 10 years ago, Black Daisy independently released our debut EP “Disturbing New Fashion”. It was available through downloadmusic.ie and a small number of Irish HMV and record shops.
We recorded it in Donabate (Fastlane Studio) with producer Stephen Brett (now CEO of InMusik), who said our drummer Asta, was a “machine” (she actually was though! you’ll never find a drummer who was on the beat like her). We had a lot of fun recording it and it happened very quickly. His studio was really cool, at the time I was interested in production but it was all a massive mystery to me. I couldn’t for the life of me tell you what DAW he used (probably Pro Tools) or anything like that but I remember how I felt and that’s always the important thing. We had such great giggles, I remember we all got on really well, Stephen was a lot of fun to work with, we felt at ease, he “got” us, he let us do what we wanted to do and he pushed us to try out new ideas. It was a cosy space to work in, not small but not massive. Perfect for us.
So before we went to studio and before we even started rehearsals, the songs were all demo-ed by myself. I had just discovered Apple’s Garageband and I put together all the tracks using drum loops, my recordings of guitars, basses and LAs vocals. We had lots of fun recording in my bedroom and at the time, we suddenly felt empowered with cheap recording gear. In fact I wrote “Disturbing New Fashion” by putting together a bunch of Apple drum loops, recording them onto my Boss Loop Station and overdubbing guitars and vox over and over. I wrote most of the lyrics too, inspired by a documentary about festivals- I remember they were talking in particular about Lollapalooza, and the phenomenon of people losing their **** in the pit at the gigs. How disturbed the audience seemed to the onlookers. I thought that was seriously cool, so that’s actually what the song’s about! I still have some of those demos knocking around, not the session files (I suffered a massive hard drive crash in 2010 and lost all my digital memories from Black Daisy- photos, music, videos- all gone to digital heaven), but I still have some of the stereo bounces on mini discs.
So anyways, our preproduction was really important, we spent a lot of time as a band in our rehearsal space (Monster Music in Blanchardstown was the BEST place ever), going over each and every detail of the songs. We were very mindful of our limited recording time and wanted to maximise whatever time we had by sorting out the nitty gritty in rehearsals. It wasn’t always fun but we learned how to play as a band and we actually gelled really well during that time.
I was always happy with the finished product and I’m still proud of it. However my role with the band at this stage was on borrowed time, as I didn’t forsee the Eurovision fiasco at this point and I had every faith that the band was moving forward in a healthy way. We were playing great gigs on the back of RTE’s You’re a Star series 6, writing new songs and getting on like a house on fire. 6 short months later, it all would change.
I suppose it’s only fitting that 10 years on, I’m in the middle of my music masters. It all seems like a lifetime ago, I suppose it was. I’m ever the sentimentalist. Being in Black Daisy was a huge part of my life infact, it was my way of life. Everything revolved around the band- my jobs, work hours, my clothes, what I spent my money on, getting up and down to Dublin, countless hours on Myspace plugging the band. I even put college on hold in 2002, and never thought I would get there until I had my BCFE interview in 2009.
Part of me still thinks: I shouldn’t have bothered, I should have went straight to college in 2002, I should have spent more time focusing on an actual proper job, what’s to show for all the politics and drama anyway?
But then, I’d have never experienced so many cool things: the epic recording studios, the knowledgeable music producers, the experienced session musicians, gigging all over the country, the road trips, the late night sleepover giggles, the tense photo shoots, the fun video shoots, the nerve-wrecking radio interviews, the exciting TV shows, doing each other’s hair and makeup, swopping outfits, the car breakdowns halfways down the country, the parties, the clubbing in Cork city, going to Galway for the craic because the show was postponed 24 hours and we didn’t want to go home, the saucy jokes, the dodgey rehearsal rooms in Temple Bar, the serious songwriting sessions, the hunt for band members, the excited fans kissing my biker boots at gigs, the people dancing to our music, blowing away skeptical men with crossed arms at gigs, making our home demos and of course, the girls. I’ve probably forgotten half of the shenanigans. Feck, I’ve actually played the Ambassador in Dublin! So yeah, it was a good thing. It was a life experience and I wouldn’t understand band politics and musician’s emotions as well as I do now, only for it. Maybe it’ll stand to me when I produce a new band in the future or when I engineer my next gig or when I become a teacher.
There’s still one or two CDs knocking around on Discogs and eBay if you’re at all interested. I still think it sounds effing awesome and believe we were something unique. I also think we were a band at the wrong time of the industry, when everything was up in chaos and no-one dared (or cared) to invest in talent. The EP is no longer available on iTunes but the “Disturbing New Fashion” video (directed by Zoe Kavanagh) is still on YouTube if you want a quick peak.
Two days after the Corrs played the Marquee, Cork and I’m still reeling. I have never felt such profound happiness, love, devotion and respect in all my life. Absolutely every little thing that happened at the concert was nothing short of amazing.
Where do I start?!
A Corrs fan from the word go, as a teenager I dreamed about the life the Corrs lived. Their astounding beauty and style coupled with their amazing music had me spellbound. How exquisite were Sharon Corr’s violin melodies? How angelic were Andrea’s vocals? How utterly mind-blowing was Caroline’s drumming? And how much did Jim rock his black and white Fender Strat and every other instrument he put his hands on?! I was ever-so-mildly obsessed!
Lansdowne Road happened. My first concert and my first time seeing the Corrs in real-life. I was truly smitten.
Next time I saw them was 2004 in the Point, Dublin. A very polite concert- in complete contrast to the dancing and celebrating in Lansdowne Road, the audience sat and clapped. I just wanted to scream “I love you Jim!!!” Nevermind- my sister did that for me! Jim looked up into the seating area in our direction in bewildered amusement!
That evening something amazing happened and we found ourselves invited backstage to meet and greet! How incredibly LUCKY were we?!!! We jumped up and down in excitement, fixed our hair, lashed on perfume and wondered out loud what on Earth were we going to say to the Corrs?!!!
When we got backstage we were in awe of our surroundings. The Corrs crew were like a family and were so warm and friendly to us. My knees went weak when I caught a glimpse of Jim peeping his head out of the band-room. There was my greatest inspiration!!!
When he came out, he was beaming. His smile broke my heart there and then (in the nicest possible way!). He looked ultra-cool in his black and white kicks, black jeans and grey camo t-shirt. Sporting a sexy, scruffy stubble and his hair spiked up, he was the picture of youthful joy and well-being.
I watched Jim (open-mouthed!) talking to the other lucky fans and suddenly manager John Hughes was by my side, chatting to us. I recognised him immediately. A moment after he drifted off, Andrea literally bounced over to us, talking excitedly about our pizza party she seen online while she was on her way down! She talked to us like a giggling school-girl and busily signed our merchandise and posed for selfies. Caroline was with her, much quieter and reserved but eager to say hello and graciously signed autographs and allowed photos. I was astounded by her natural beauty- herself and Andrea were total goddesses!
Breathless I turned around when I heard a very familiar voice “hiya Steffy!” there was Jim Corr himself smiling at me! I think I managed to squeak out a “hi” and threw my arms around him! He gave me the best hug of my life! We had our picture taken immediately and I introduced my boyfriend. Autograph signed during relaxed chitchat, I felt like we were talking to an old friend. I forgot it was the Jim Corr talking to us, it seemed like a garden party or a bbq and Jim was about to offer us a burger! He asked ME about my music and I managed to squeak something out! I gave him a soft teddy with a rose- a gesture of my humble love for him which he thanked me for 3 times!
Time to be moving out, the Corrs had to be on stage shortly! Sharon was talking fluent Spanish to a fan, I politely waited- enthralled by the sound of her voice. I loved her green sparkly eyeshadow- I told her so and she seemed genuinely pleased, having done it herself! She signed my White Light album twice (it was raining- she apologised for it! Good gracious lady, no need to apologise for that!) and let me take a photo! This was my second time meeting her and she was every bit as lovely and beautiful as I remembered!
Hurrying out I heard a shout “Hey Steffy!!!” I turned and Anto Drennan himself hurried toward me! Anto Drennan the legend himself recognised me!!!! We got a quick photo and a quick “great to see you again!” before we had to part ways! The Corrs were late for the stage and it was my fault! 😛 I still can’t believe my guitar hero called ME- what a perfect gentleman!!!!
Back in the Marquee, the Corrs did not disappoint! The concert was every bit as magical as the Point earlier this year. The band were tight, flawless and nothing short of insanely talented. One thing different from the Point was that the Corrs smiled much, much more this time. They never stopped smiling all night!!! The crowd out-sang the band during Runaway moving Andrea to near tears- her voice cracking in emotion. We danced the night away, bopping to our favourite Talk on Corners songs, Anto shredding his guitar solos like the string god that he is famous for, Keith Duffy pounding the bass through our hearts and each Corr shining on their instruments. The vocal harmonies were stellar- especially during Kiss of Life (my favourite track from White Light), those chorus “oohs” gave me goosebumps which still haven’t worn off yet.
The icing on an already amazing day was when the lovely security man gave me Jim’s setlist! I’ve always wanted one! I pressed it to my chest in pure joy and the people around me smiled- a stranger walking up to me saying “You deserve that setlist! I’m glad you got it!” Corrs fans are truly the nicest people on the planet!
The Corrs are amazingly kind and generous to have gifted us with these memories.
The Corrs give the world so much with their thoughtful, mature and poignant music.
The Corrs make the world a better place and inspire their fans to do the same and to enjoy life.
This is why the Corrs are so successful. White light surrounds them and they are earth angels.
Preview, buy and download songs from the album White Light, including ”I Do What I Like”, ”Bring On the Night”, ”White Light” and many more. Buy the album for €10.99. Songs start at €1.29: White Light by The Corrs on iTunes
For the creators and for the fans, active listeners or passive listeners, music has the power to move us all incredibly deeply. Sometimes we’re right here- in the moment and sometimes we’re floating in a sea of sounds- we blissfully lose ourselves for a tiny while.
And sometimes we’re both- Here and There.
The latest release My Names A, Your Names Zed from El Grey is exactly that.
If you’re already a fan of El Grey you’ll come to expect haunting, stunning and breathtaking vocal performances as standard. You’ll also expect crunchy beats mixed with a wash of synths and gentle acoustic guitars. You’ll also be aware that her music is deeply personal to her and each song is a little piece of her soul, committed to record.
Take all that you already know about El Grey and put a little twist on it. You won’t find this track anything like her previous release El Grey, but you will find her distinctive, trademark vocals affirming her ardent passion right here. Glistening synthy motifs bounce over and back a sound world of luscious piano playing and looped, reverberant vocals. Instantly you’re taken by the hand of El Grey herself into the infinite cosmos. If you haven’t gotten goosebumps multiple times within the first 60 seconds then you’re not ready for the journey she wishes to bring you on.
Hypnotic yet deeply grounding, her chanting vocal pulls you right into the centre. Looped over and over with additional harmonies, her voice guides the way- “Grab a coat, find a home”. While the chant gives way to a choir of swirly, angelic vocal expressions, we’re lifted further into the heavens, soaring high, looking for Home.
The mood changes somewhat after this point. You’ll hear a male voice enter- another new sound for El Grey. You’ll know that there’s something very special going on here- something very deep and very personal. In absolute contrast to what we’ve been listening to, she sings in her native tongue- and it works brilliantly. Switching languages in one song is a new and brave move for El Grey for she has something personal to say-revealing another dimension of herself and affirming her spirituality though her music.
For me the most poignant lyric comes in around the 7-minute mark- “It’s just one heartbeat away from you” with echoes of “one” bouncing around, underpinning it. The music producer in me loves that line. The sentiment in me loves it too. It’s a line I’d hang on to for dear life.
This recording is 100% live and one take only. There was no pre-production. There was no doctoring this up in post-production either. The barest moments of extraneous sounds pop in and out here and there but these are not faults. Such sounds tickle my imagination and for me, they add to the soundscape. The piece in its entirety has a completely natural feel and I’m certain the musicians lost themselves in this performances-lost themselves to find a little something on the way back.
You could use a multitude of words to describe this track (atmospheric, holy, meditative, serene, gripping, stunning, special…) and you could find a multitude of situations to enjoy it in – at home with a candle, on a long, night-drive home, walking around a busy city- for it’s completely immersive and completely El Grey.
I would like to share my major production project “Crystal Hearts”- a contemporary Celtic New Age song about the divine connection and eternal love of soulmates that I have been working on this semester. This is an alternative mix to what I’m being graded on and I hope you all enjoy listening to it as much as I did producing it! Love and light.
Composed by Stephanie Caffrey
Lyrics by Keith Caffrey and Stephanie Caffrey. Produced, recorded and mixed by Stephanie Caffrey.
A couple of weeks ago I brought my Zoom H4N handy recorder to my favourite secret beach- Dunany Point, Co. Louth.
Dunany Point (Dunany being the anglicisation of Dún Áine -the fort of Áine) is said to be a place of deep sorrow, where the beautiful Áine sat in her chair of stone and looked across the sea towards her love who never returned. It is said that the black rocks at the base of the cliff were Áine’s attempt to build a causeway so she could see her love one day. Alas, Áine never did see her love again and slowly went mad with grief.
This recording might be nice for those who wish to hear a mostly unvisited, unspoiled beach in a quiet corner of Ireland!
Please enjoy this recording and if you wish to use it in your project, don’t hesitate to ask for permission!
After a lovely reading week which turned out to be a brilliant balance of study, work, play AND industry experience (see recent post where I described my day recording location audio on a film set!), I’m all set and raring to start back to college (part 2 of semester 1) in the morning!
I’ve spent the last 6 weeks preparing for my music production project and tomorrow morning we go into the recording studio to start tracking! It’s an early start and I hope to record cajon, a guide vocal and acoustic guitars. I’ve chosen to realise a new Shock Sorrow song called “December”, myself and Keith Caffrey composed during the summer.
I’m very excited to have my classmate and good friend Shane Taaffe play cajon and new friend, bass master Ciarán O’Brien play double bass on this recording! I’ve never recorded both instruments before and I’m very excited! Keith Caffrey will of course be singing lead vocal, playing guitar parts (yes, a solo!) and a secret percussion instrument! 😉 I will of course be playing a small bit of guitar and maybe piano if I’m lucky, my regular studio partner Shauna Kearney will be assisting me (I can’t imagine being in studio without her actually!).
My mind is racing from the sheer excitement of this project and I’m getting ideas all over the place! “Oooh wouldn’t it sound great if I did this!” and “I’d love to slip in a little harmony there!”, it’s so easy to get carried away! The main point of this recording is to capture the sounds as accurately as possible, get the sounds right at the source! “I’ll fix it in the mix” attitude is bye-bye, out the window! There are of course plenty of other criteria to check, good production, instrumentation, record with hardware compression (mmmm Avalon baby) etc!
My primary aim is to record a polished studio version of this song that includes a full band of musicians but with a stripped back approach.
I aim to not only meet the instrumental requirements of this project brief but also extend beyond that by capturing one or two additional instruments and vocals, creating a sonically interesting and more varied recording.
I also aim to create a pleasant and relaxed working environment and enjoy a successful recording process.
I will post a blog tomorrow night about how the session went!
In other news I got to play an Irish harp tonight! I had such fun! Shane Taaffe is one seriously gifted musician, I already knew he is very talented with a guitar, cajon, voice, anything musical he puts his hands to, but I never got to hear him play Irish harp before now. Wow! I could have listened to him all night! Such beautiful music he played. I’m a big Irish trad fan from my fiddle days and lately my influences have been creeping back into my solo material. He played beautiful Turlough O’Carolan tunes, airs, reels and even treated me to “Nothing Else Matters” (Metallica), I pretty much just melted into the floor by then!
So! Expect a future recording featuring Shane Taaffe on the harp! I would dearly love to compose a traditional piece myself and record it. This will happen!
Off to pack my school bag and equipment bag for tomorrow, where’s that list I penned up? 🙂
I’m back and I have returned with my off-white Fender Stratocaster playing good old fashioned rock n roll music with the ultimate party band: the Full Moon Boogie Band!
Full Moon Boogie Band, the name says it all – bringing you home to the land of rockabilly and rock and roll with a twist and lots of style!
We are a five piece band,made up of passionate, energetic and professional musicians, playing songs from Elvis to Rihanna, Wanda Jackson to Beyoncé, all with a full moon rock n roll flavour.
We are currently available for bookings. Our show is fantastic entertainment for any event, from weddings to corporate events, we shall bring fun and a bop shoo wop to your event. We come with our own swingin, jivin’ and very alluring Full Moon dancers to add that extra sparkle to the show.
We have a full PA, Sound engineer and DJ that can be included. Also softer ceremony music can be included as part of the package.
For bookings and info, please contact us by email at firstname.lastname@example.org or by our Facebook page https://www.facebook.com/fullmoon.boogieband 🙂
A WOP BAM A LU WOP A WOP BAM BOO!!!
NEXT SHOW: THE BURLESQUE AND CABARET SEPTEMBER SHOW!