Press

Interview with Maceman
Interview with Maceman
By James Ryce ( Sept 20 2008 )

JR: Who was it that you remember showed you something on an instrument that made you actually enjoy it and want to learn more?

Not who was the first person to show you a tune on a recorder because it was music class, but who made you stop and actually pay attention?

MM: I am not sure anyone showed me anything that made me want to continue.
I guess my parents had a big influence in the fact that because I was always drawn to music, they put me in violin lessons quite young. The deal was that if I remained in the lessons for 3 years, I would get to keep the violin, so It gave me a goal…. The day after the 3 years were completed however, I quit the lessons.
I had had enough of structured lessons and wanted to explore my creative side with what I had learned. I actually pawned off that violin to buy my first guitar. It was a ‘Kay’ which was basically a cheap Les Paul copy. I self taught myself guitar and used an old record player stereo system to plug-in the guitar for amplification as we couldn’t afford a real amp.


JR: So you started on the violin, can you still play one or do you despise the instrument?

MM: I never actually despised the instrument. I think because I was constrained in my learning (and I know that it is necessary to do that to learn an instrument formally), it caused me to want to get out of that situation and explore my music abilities… I stopped playing violin then only because it reminded me of that constraint, but I look back at that time fondly and have grown to really love the violin. I have picked it up since then and I can still remember and play one tune we were taught, but I never knew the name of it, and I am rusty of course, but I think I could relearn it given enough time….

JR: How many musical instruments can you play and which is your strongest?

MM: Currently I play piano and guitar, but I have been known to hit the drums, blow in a tenor sax, trombone, and recorder… even tried the Jew Harp for a while. I also play a good harmonica in the style of Dylan. Really, it has boiled down to what was needed at the time and I never really disliked any instruments although I do get bored with woodwind and metal type instruments. I find the piano and guitar to be the most expressive and soothing to me.


JR: Which is your favorite to play?

MM: Between Piano and Guitar I would say it is very mood dependent. There are times when I really don’t have interest in guitar at that moment but would really like to sit in front of a piano, and vice-versa…. So I have used this to my advantage and cycle the two to keep my creativity flowing.

JR: Out of all the instruments that you do not know how to play, which would you most like to be able to, and why?

MM: Hmmm. That is a good question. I am thinking I would like to learn the Sitar. I don’t know, I realize it is still a string instrument, but I just think it is neat. I would at least like one used on some of my upcoming songs, so may have to borrow one. I want a real sound, not emulated.
Maybe a Harp as well. I always like the Marx Bros movies when the segments of Harpo playing come in. He was such a pro harp player.

JR: Do you play any shows with your music?


MM: I used to play live quite a bit several years ago, before the family and all, but I haven’t really had a chance to do much live as of late. I was involved in the local scene mostly with various folk festivals and charity drives and such. They were quite fun and really helped develop the skill of playing in front of crowds. I remember fondly my first few times where I was so nervous that the audience only saw my back. I eventually turned around [laughs}.

Playing live tended to be what one did to reach the audience better, but with the internet age, there are many other ways to do just that. You don’t get the same personal connection however, and perhaps when the opportunity arises I may give it a whirl again.

JR: Did you perform your own music or was it mainly covers?


MM: Mostly my own material or original band material for the instances when I played live with various bands. We did some covers, but not a whole lot. When I did my solo performances, I went through phases of playing some covers of artists that really were influential to me at the time. I am thinking of Cat Stevens in particular. Even when I didn’t cover him, I had a lot of people who would come up afterwards and say “Wow, you sound just like Cat Stevens”. I felt good about that because it showed I was making good music.

JR: Do you remember the first song you wrote and when was that?

MM: Oh wow… This is tough to remember… Even when I was young, we had a ‘band’ which was really nothing more than a way to vent noise {laughs}, but it did indeed help to bring out creative expression. There were a few songs I started writing back then, probably circa 1982 or 83, that people in my family remember to this day. Sad Sad Song was pretty far back there and then I redid that one recently of course as I always liked it, but I think my oldest memory is a song called “You were mine”. It has a fantastic hook and melody for someone so young to write, to the point that people remember it to this day… I really need to bring that one up from the depths one day.

JR: When you write a song, what is your most common way to do it? Lyrics first? Music?

MM: This is an interesting question, one in which I have seen so many artist state so many different answer to, it makes one wonder if there is a right or wrong way. I think perhaps that the right way is the way that works for that individual.
In my case, I don’t think I have ever written a whole song in one pass before with lyrics or music. I mean, yes, I have written poems that I have added music to later, but that certainly isn’t my routine anymore. What seems to be the usual for me these days is that I will be tinkering on either the guitar or piano and will come across some nice chords or melody that I feel may have potential for a project. Then I normally will grab some paper and begin the writing stage with the instrument. So basically, I write simultaneously. There has been many times in doing this where I will get maybe halfway or so and then just stop because I have run out of ideas, but I find that the good songs hold up enough to draw me back to finish them. The music is completed first most times, but the storytelling sometimes takes many months before I feel it is ready. Then the fun really starts and it all comes together nicely.

JR: What song in the history of songs would make you say "I wish I had written that", and why?


MM: “Morning has Broken” by Cat Stevens. I always felt that I did write that song mentally and that he just beat me to it by being born earlier. That song blends together everything I feel is necessary in a lasting song, that is, wonderful instrumentation, amazing song structure, and most of all a spiritual message that praises the Creator. Just a wonderful song.

JR: What is your top 3 styles of music that you like to listen to most? List them top down.

MM: Oh, this is a tough one to answer really…. I mean, I admit I am so moody to start with, and music is very mood oriented, so in effect you are asking me what style calms the savage beast more frequently {laughs}.
I think I like a good solid Folk-Rock as my top choice, then maybe classic Rock, and then classical. Now that is interesting how those just blended together. Sometimes I see them as one genre depending on how they are worked out.
I mean, some of the greatest songs have a Rock base, then layers of classical are embedded in the music. To me, if the song can really be unique and entertaining then that is the genre for me.

JR: When writing a song, do you actually sit down and say "Okay, now I shall write a song" or do you just let something hit you and then work on it?

MM: I have some poems of long ago that have surfaced and have been made into songs, so in those cases they were well thought out and structured. But the norm is to let something ‘hit’ me. It can happen a number of ways, but I tend to be a very pensive person, often thinking about things to do with life and God and how this world functions and is dysfunctional at the same time {laughs}. So if I happen to be working out some music at the same time, often you will get a sense of what I was considering at the time manifesting itself in a song. That is pretty unstructured I would think.

JR: How would you feel if an "established" artist wanted to record versions of your songs?

MM: Established or not, I am a bit weirded out by the whole idea to be honest. This is one of the reasons I wrestle with the whole definition of a songwriter, I mean, by definition I should be able to write baton passable songs that others can easily use, yet I find myself attached to the music and words so much I wonder if I could actually do it. I guess I feel a comfort in the fact that many good bands have covered some of the greats and have added another dimension, if not improved some originals, and for the rest who made a train wreck…we’ll we don’t hear them much anyways. {laughs}

JR: What advice would you give others who want to either start song writing as either a hobby or possible career?

MM: Well these truly are two separate questions requiring different answers, and those answers will truly give insight to anyone starting out.
My experience in the industry is that if you are considering career songwriting, you’d better learn what the end client wants and learn the skills to please them. It is all about what the industry wants for songwriting, and there are indeed some ‘formulas’ to meet that end that are tried, tested and proven for success. Afterall, they are paying for music that sells and there is indeed an industry ‘sound’.
For hobby writing, it is all about you. You can write how you like and what you like, but be it known that you can’t expect to then turn around and say “Hey, Why doesn’t anyone like my music” or “Hey, You need to buy my songs because they are good”. It may work out that way, but you can’t expect it to happen because in most cases the two models are quite different. A person needs to decide what they want to do, and I have seen many artists do both, someone like and A side and a B side of songwriting.

JR: How does it make you feel to write a song? What is the feeling like when you have taken a song from a basic start to a fully finished tune?

MM: Well, the feeling of writing a well structured song and music to boot is just an amazing feeling that is indescribable. When concepts can be arranged appropriately on paper, and a good storytelling is apparent, it is just incredible. You can almost sense how others with feel about it as well, and that really thrills me. The process really begins for me after the songwriting stage. My biggest thrill is the music and composition, and when that all comes together like silver paint on golden canvass, it is a beautiful thing.

JR: What if anything would you have done differently "musically" when you were first starting out with music and writing?

MM: When I observe the talent behind those in the industry that I enjoy best, I realize that the majority have two factors working to their advantage, the first is an inherent ability to create good music, the second is a good understanding of classical music structure. Now that I look back in retrospect, I feel that I could have expressed myself so much better had I actually learned the technical side of things. I have often thought and even joked to people that if they ever invented a mechanism to put on my temples that can play aloud the musical pieces that are going through my head, it would knock people socks off. So If only I learned how to be able to perform what I think, it would be so much better…. I have come to appreciate when just a small sampling of that ‘head noise’ makes its way out.

JR: What do you enjoy more, the writing process or the performing, or even just the listening of the song after it is done?

MM: Definitely the final product. I mean, I really love when the song starts to take shape, there is a moment of time where that can be extremely exciting, and the longer the feeling of “wow, this is going to be good” lasts, the better you know the song could potentially be. And that is where the challenge starts for me, it is whether you can finish what you started, but with the added benefit of it sometimes coming out better than you originally imagined.

JR: On average, how long does it take for you to write the basics of a song?

MM: For me it tends to take quite some time. I write when an idea comes up. I don’t try to write. It just happens. Sometimes I will write 2-3 songs in a week (rarely), then nothing will come for months (more frequent), then volia, a few more songs happen! I think that it is what happens often with true creative writing. You write when something comes up.

JR: How long does it normally take to get one from start to a finished recorded tune?

MM: Well, there are just so many factors to consider in this one. How long does it take me to get a final song written? Can I get music to work accordingly? Do I have enough time or money to put it together? Are other musicians involved and are they available?
Home recording is so different than Studio recording for this very reason. At home you tend to do more yourself, yet that doesn’t speed up the creating process, nor does it necessarily speed up the recording process. Let’s say we get lucky and can write lyrics and music for a song in 2 weeks, then given that as a done deal, I would say another month would wrap things up for me… Seems so long when I think of it.

JR: Your vocal style has been, at times, mentioned in the same breathe as that of John Lennon. Although your vocals are distinctly you, what do you think of being compared to John Lennon and the Beatles?

MM: I do get this comparison quite often. Also Paul Simon has been another comparative. I think on the surface it is flattering because so many people loved John Lennon and his vocals, and I never really considered myself as a singer per se, so it is flattering. Vocally is all I would hope the comparison would go however, because there was so much about Lennon as a person that I am quite different from, especially in his outlook of religion, but that is another story…



JR: How many CD's have you released and what are the names of them?

MM: This year we produced and released two CD’s. The first one is an all acoustic classical instrumental CD called “Through the Eyes of the Children”. The second is a Folk-Rock album called “Desire and Despair”.

JR: Where could someone find them?

MM: Well, the main place is on CD baby, but because they are digitally distributed as well, there are many other places selling them as well. Basically, if one was to Google search the album names, they would easily find them.

JR: Could you describe the style of each CD?

MM: “Through the Eyes of the Children” is a very laid back soft instrumental album that goes through various styles such as baroque and Spanish sounding guitar. It is more suited for really relaxing and calming the nerves of the listener.
“Desire and Despair” is definitely a rockier album although there are some songs dispersed on it that are easy listening. Releasing such diverse albums in the same year was an interesting full-spectrum approach to covering all the angles so-to-speak. Rik Emmett did something very similar in the last few years where he had a heavier album and a classical album and I thought it was a neat idea.

JR: What one song on your second CD almost didn't make the cut, and what was the turning point for actually adding it to the CD?

MM: “Lonely Moon” was one song that I almost bypassed, but when I put the potential tunes out for feelers, it actually came out in the top 4 of everyone’s picks which surprised me. I really like the song, but I just never knew that it was a favourite of many. I already had 12 songs, not counting “The Calm”, which didn’t actually make the cut due to the fact I felt it needed some more work before going public, so Lonely Moon brought the number to 13 songs which I thought might be too many. But we went with 13 due to the overwhelming responses to it.

JR: What was the first song that you knew for sure was going on the CD and why?

MM: Probably “Fire and Rainfall”. It has been my personal favourite for a long time and I really felt I wanted it on my album. It tells the story of a tragic ending to a boys life that I witnessed when I was in my teens, and so this is sort of my In Memoriam to that event.




JR: Have you ever entered any singing or song writing contests?

MM: I entered a couple several years ago and had some success. I cannot remember the exact magazine name now, but it was a contest sponsored by CFNY 102.1 in Toronto who was looking for entrants with original music. I didn’t hear anything for several months, and then all of a sudden I received a phone call saying I came in 3rd place. I was thrilled. They gave me a choice of some prizes and the best package of the lot was home studio equipment and software. At the time, I wasn’t at all interested in home recording, but I knew the stuff had greatest value and I ended up selling it to various local music stores trying to get enough money out the prize to buy a good guitar, something I always wanted.
The residual allowed me to purchase a Taylor 614CE acoustic, and the one I use to this day to do my recordings. I just love it.

JR: How do you feel about contests in general?

MM: I think they must work, I mean there have been many success stories. I’ve wanted to enter more contests but I have always had the never ending experience of limited funds so it was never practical for me. When you have so many other things to spend money on in music, contests are really for surplus because it is such a gamble. I mean I could buy new equipment or studio time and see the results of that money, or I can gamble and try to win a contest or two, but if you don’t win you have nothing to show for. The contest I entered that won 3rd was a freebee and I think there are some of these around still, but I really haven’t had much time to source them out.

JR: Having listened to the Desire & Despair CD I have to say one of my favorites (there are many) is "High School". Can you tell me when and how that song came to be?

MM: High School is also one of my favourite as well. I have some really good memories from when we recorded that one and The Strain at Grant Avenue Studios in Hamilton. I really enjoyed working with Bob Doidge who was so well known for his producing and engineering work with many great people such as, Blue Rodeo, Crash Test Dummies, The Skydiggers, Gordon Lightfoot, Prairie Oyster….you name it…. I have fond memories of Paul Reimens as well who did most of the final mixes.
I think I wrote that song over a two or 3 month period back around 1999 0r 2000, just thinking about relationships in general. I wanted to write about the development of relationships and how people go through more than one relationship before they actually find the person they actually settle down with. It is almost a song about the human condition really, and I guess sometimes people refer to as it as ‘playing the field’ or ‘sowing your wild oats’, both terms which describe this time period that most experience. The process itself carries with it so much heartache and disappointment; one wonders why we even put ourselves through it. And that is really answered in this song.. “You said your love was forever, no- it wouldn’t fade to grey…and now there’s a hole where I had my soul, since you took your love away”. We all go through it because we really didn’t know it would just be a passing phase.

JR: Okay, so "High School" was partly based on real life or at least as you have seen it. Are most of your songs based on real life issues either you or someone you know have lived and seen?

Do you find it easier to write on real life, or "made up stories"?


MM: Yeah, I mean I think we all have had a relationship or two that we expected would last forever and it flopped for whatever reasons. However, I think I could have written this song even if it wasn’t my own experience, and in fact there is much in the lyrics that are not personal. I write by observation on many of my songs. I think it is harder for me to write made-up stories. It has to have at least some bearing on someone’s life experience for me to be able to capture it. I have tried doing a few made-up stories, and they really ended up sounding made-up and phoney.

JR: Maceman, thank-you so much for speaking with me today.

MM: Your welcome. My Pleasure.