Sep 032012
 

Hey Kids!

I’m going to be on Butterflies Radio this Tuesday for their Twitter-Tuesday live interactive show! What’s that you ask? Well – While I’m on the show being interviewed by Mark & Carol you can ask questions via Twitter. Mention @allindie in your Tweet and your comment will be included in the conversation! How 21st Century is THAT!?!

The show is on Tuesday, Sept. 4 at 8PM EDT -

Here’s the link -http://www.butterfliesradio.com/home/twitter-tuesday-live/

See ya there!

Follow me on Twitter – @DarrylGregory
Follow Butterflies Radio – @AllIndie
Aug 102012
 

This is the seventh of 7 blog posts about the songs on my new CD “Big Texas Sky”. As part of this posting, ‘Prayer & Hallelujah’ will be available as a FREE download for a limited time.

This song began with a prayer. There is a Buddhist prayer that I had been using in my meditation that goes something like this:

May the pure light of Bodhicitta dawn in each and every heart and mind
Dispelling the darkness of suffering and confusion
Unstoppable until all sentient beings are fully illuminated

I had been trying to rewrite this prayer into a lyric for some time but really couldn’t find the right way to do it without sounding too Sunday school-ish. I had this little snippet of something floating around my journal in different usages.

Give me peace in my soul
Give me love
Let me rock-n-roll

It had been in the middle of a song that went nowhere and I had tried it in other ideas but to no avail. But this is the way things work in the creative world. All of those bits and pieces of some future whole work is floating around inside my brain. My wife refers to it as a kind of Tetris game. You remember that old video game where different shaped pieces float down and you have to manipulate them into the correct place. Well I think that’s what is going on subconsciously as I eat, walk, work out, sleep etc.

Also, in my head, Tetrising around, was the idea of writing my Hallelujah song (everyone has one from Cohen to Springsteen). I wanted to write a  celebration of life with a lyric that ended in the singer shouting Hallelujah! In my search for where to begin with that idea, I stumbled upon that snippet and began to think of the prayer I say almost everyday. How could I combine the two?

Here’s the first verse with the snippet:

Give me peace
In my soul
Give me love
Let me rock-n-roll
I’m gonna reach up into heaven
And touch the light of an angel’s wing
Bring it all back to my heart
So the world can hear me sing
Hallelujah

Here’s the second verse with more of the prayer concept intertwined:

May compasion light my way
Through these dark uncertain times
An irresistable call
Illuminates my heart and mind
All that I have taken in
I will spill out to those in need
The more I give from my treasure
The more I will receive and sing
Hallelujah

These two verses are played slowly and I thought it would be cool to throw in a little raucous gospel breakdown just to give a bit more life. The song then breaks into a rousing gospel section with a repeating refrain:

May we all feel the light of a brilliant love

I always get a great response from the audience when I play this section and they usually end up clapping along, just like in church! Love it? You can also get this phrase on a T-Shirt!

I put this song at the end of the album to sum it all up by saying that we all need some spiritual connection to get through all that life hands us. It’s the connection to family and friends that allows us to sing a Hallelujah every now and then.

When I began writing this song, the guitar part in the beginning prayer section reminded me of Led Zeppelin’s song “Ramble On”. The more I played it the more it touched that musical memory so much so that I almost abandoned the song entirely. But I loved the way it grooved with the lyrics and so I kept at it and it found it’s way onto the album. I do tip my hat to the mighty Zeppelin song by emulating that great bass line of John Paul Jones that stands out as a melodic counterpoint against the voice and guitar.

Take a listen and let me know what you think!

 

Jul 102012
 

07/09/12 Darryl Gregory Sat On The Couch

SHARED BY VINNY “BOND” MARINI

Hey All!!!

Here’s a recording of the interview I did with Vinny Bond Marini on his podcast called Music On The Couch. He was a gracious host and the conversation was lively and insightful. Vinny plays three of my songs: ‘How Do I Tell Her’, ‘Aunt Jean’s Piano’, and ‘Anywhere But Here’.

I hope you enjoy it – let us know what you think!

Peace

Darryl

Listen to Music On The Couchwith Vinny Bondon Blog Talk Radio
Jul 092012
 

This is the sixth of 7 blog posts about the songs on my new CD “Big Texas Sky”. As part of this posting, ‘Elegy for an Old Man’ will be available as a FREE download for a limited time.

I had this lyric in my notebook for the longest time and I even had a melody that went with it, but I could not get any farther than the four lines that I had:

I am an old man
I have an old man’s body
I have an old man’s memories
I see with old man’s eyes

I had no idea who this old man was and why he was saying what he was saying. I also couldn’t figure out if this was a verse or the chorus to the song, but I liked the melody and I liked how it felt haunting and resigned. And there it sat in my notebook for almost a year and a half. I’d often revisit and sing the melody and just draw a blank.

Then I got this insight. This man was dying. He was at Death’s door and he was making an accounting of his life. I thought about this and the song Streets of Laredo came instantly to mind. As I started to write down ideas of who and what this old man was saying I started to think about my own father and what he might have said to me if he had had the chance to.

My Dad passed away in 1985. Withered away from cancer after having been a strong presence in my life; a broad-shouldered, hard living man. He was from Texas and I always thought that if he had stayed in Texas instead of living in Cleveland, he would have been a cowboy.

I like how the four lines I had been staring at for so long became the chorus and I liked that the chorus started the song (very Beatles-esque) and tied the verses together. I don’t know if I did this intentionally, but it felt good and made sense as I played through the rough drafts.

The verses tell the old man’s story. The narrative starts out proud each time, but then ends up as a resignation to the situation at hand. I think the most telling line is in the second verse when when he relates hi interaction with his children:

My children whisper their good-byes 
They stare into my eyes 
In me they see their future compensation

I really thought that this song would not be received well. It’s kind of a downer. Surprisingly it has been the song that most people ask me about and want to talk about. Everybody has lost a loved one or a parent, especially at the age I am approaching, and we can relate to the resignation that this old man is talking about:

There ain’t nothing left for me 
No more Christmas mornings 
I’m tired to the marrow 
And I’m ready to die

A note about the arrangement. I wanted to originally have a very mellow piano and bass accompaniment interspersed with a very distorted guitar sound in the vein of RadioHead or Adrian Belew. I found that the sounds were very distracting and so I opted for a more chordal distorted guitar that, in my mind, represent the old man’s fists coming down on the table as he is about to relate his story.

Take a listen and let me know what you think. This will be available as a FREE DOWNLOAD until July 16, 2012.

 

May 302012
 

Boasting a Americana twang but also a rough moral sensibility and a cutting way with an image, Darryl Gregory’s Big Texas Sky is probably too edgy for country radio. It’s a shame.

Tracks like “Anywhere But Here,” “How Do I Tell Her” and “Working Man” pair swooning country laments with these hard-eyed measurements of damaged lives, tough choices and a country’s promises unkept. Gregory boasts a writerly attention to detail — something that, to paraphrase “Anywhere But Here,” keeps the best moments from Big Texas Sky from becoming a different book, but the same old story.

The opening segment of “Aunt Jean’s Piano” has the lasting emotional impact of a family recording, something passed down from one generation to the next, as Gregory is joined at first only by a fragile female voice and the aforementioned piano. When Gregory then moves into a touching, acoustic-driven rumination on the instrument’s place as a centerpiece of so many long-treasured memories, as he’s joined by a series of perfectly placed accompanists.

It’s a quiet and emotional triumph, and also something that stands in direct contrast to “Elegy for an Old Man” — which moves with an unyielding sense of lonely anger. Here, his main character has tried to invest in the happiness of others, has tried to do right, but has nevertheless ended up broken and alone.

Big Texas Sky doesn’t simply push forward the old bromides about this being a joint-stock world, and how we’re all in it together. Gregory makes it clear that there are winners and losers here, in life and in love. Throughout, he asks the big questions — and lets in big emotions.

“Prayer and Hallelujah,” for instance, is a wonder — at first, a heavy-rocking number, then a soul-lifting shout as Gregory sings the praises of steadfast faith and staying the course. “What About Love,” a sensual duet, embraces the uncertainty of passion, since that’s part of the journey, too.

(read the original post on the Something Else blog)

Author:  Nick DeRiso has explored jazz, blues, roots and rock music for Gannett News Service and USA Today, Blues Revue Magazine, AllAboutJazz.com, Rock.com, Popdose, Living Blues magazine, the Louisiana Folklife Program and NoDepression.com, among others. As a longtime newspaper editor, he was named columnist of the year five years in a row between 2003-07 by the Associated Press Managing Editors of Louisiana/Mississippi, the Louisiana Sports Writers Association and the Louisiana Press Association. DeRiso, who oversaw a daily publication that was named Top 10 in the nation by the Associated Press in 2006, also worked for a decade in radio, and has owned his own live music venue.