march of the tinkertron

his is the march of the Tinkerton
a link in the daisy chain, stuck to the tinkerspot
I'm on a shelf, can you see me?
busy bee forgets where he puts things
bottles and cans, an old man
deep breath, life is a slow death
no view? I'll keep it handy for you
I'm on a shelf in the cupboard waiting
the shades are drawn and your light's on, Tinkerton
uninformed of the war, the megastore
the whole mob at the Oakland smoke shop
got the soldier's stomp, the cinderblock
keeping to one of seven
never again you reckon
short on time and life lines
short on songs, Tinkerton

Tinkertron

Original here: https://www.youtube.com/watch?v=x8dMx5eSHPE
Production by Richie Nelson
Mastering by Kjell Nelson


Smoke by Day by Real Don Music (Richie Dagger's Crime Remix)

First

Red Ribbon - Your Car

lyrics from "When the Night" by Oliver Ray

I've been a visitor here so long
visa's expired and I'm lost in a dream
the volcano sleeps on the lake
and I'm not sure when it'll wake
or how long, how long
we've got to wait
I feel I've been here 
a long time ago
the birds fly trailing ribbons for nests
and the clouds gather in the Southwest
I think it's time to step inside
the rainy season has arrived
how long
how long it's been
since I walked the path in the evening
how dark
how dark the way
when the night's stalking the day
I feel I've been here 
a long time ago

smooth deconstruction

Drunkle Sam

Limited to 200. Comes with a code for a free download.

When Linda Draper was a little girl, she thought Gene Vincent’s “Be-Bop-A-Lula” was written by her Dad. “It was my favorite song in the whole world,” she says. “I was five-years-old, and he would sing and play it on the piano.” Raised just north of New York City, Draper describes the scene, saying: “I’d dance around the room in the way that only little kids who are too young to be self-conscious know how to do.”

While growing up in a musical household with parents and siblings who are all musicians (father Frederick is a classical guitar virtuoso who studied with Andres Segovia), Draper listened to everything from Bach to “Bop” from an early age, soon moving on to the church choir and then to writing her own songs on the guitar as a teenager.

Draper’s musical path led to tours throughout the US and UK where she performed with Regina Spektor, Teddy Thompson, Kimya Dawson, Jesse Malin, and Mike Doughty of Soul Coughing among many others, and her varied influences were reflected in the half-dozen records that she released over the years, including four LPs recorded with legendary cult-icon, music producer Kramer (Ween, Low, Galaxie 500). Now, Draper gets back to basics with her upcoming album Edgewise, scheduled for release on May 21st, 2013.

“With this album, I feel I’ve come full circle,” she says. “I feel myself returning to the roots that originally sparked my enthusiasm for music.” Produced by fellow singer-songwriter Matt Keating, Edgewise will find fans in those who are equally as enamored of Leonard Cohen, Joni Mitchell, and Nick Drake as Draper is.

“One of my personal faves on the record is called ‘Hollow,’ which was actually partially inspired by Nick Drake,” Draper says of the album’s first single. On another album track, the dark “Shadow Of A Coal Mine,” Draper takes inspiration from Johnny Cash. The song is a favorite of her producer, Keating.

“I was humbled when Matt told me that he wanted to cover this song someday,” Draper says of Keating, the man she first worked with when they recorded a cover of Elton John’s “Goodbye Yellow Brick Road” together. “On the way to that recording session, I found out that my Great Aunt had passed away at 103-years-old,” Draper remembers. “I didn’t want to be a downer on the session, so I kept the news to myself, but I put all of my feelings of loss into the song that day.”

The story is a microcosm of Draper’s passion for singing and writing. “I feel like I’m better able to connect and convey what I am thinking, feeling and observing through music,” she says. “Sometimes things that are so close to the heart get lost in regular conversation, like trying to describe a dream.”

While Edgewise contains the serious overtones that once moved Time Out New York to compare Draper to Joan Baez, overall the record is generally more rock-n-roll oriented than previous efforts. “I’ve reconnected with the fun of recording, and have moved away from that cliché of the self-pitying folk-singer with a guitar,” Draper candidly jokes. “It’s a pitfall that countless singer-songwriters fall into, but misery is a bore.”

The record still maintains the gentle sway of Draper’s earlier recordings, but the elements of rhythm that came about when she was writing the album have compelled her to rock out a little more. Before she began recording Edgewise, Draper tried the tunes out on tour, becoming meticulous in her song selection, and spending time working to better her guitar playing in preparation for the studio.

“The album took nine months to make,” she says. “In a way, it’s my baby!” This familial description of Draper’s relationship with her music isn’t just for effect. Her earliest musical memories of dancing around the room with Dad on the piano inspire her to this day.

“I write songs to connect and to continue, through the music. For the odd-ball, the loser, and the loner that exists within us all. It’s a lot cheaper than therapy without any of the side-effects of medication,” she notes of the practical nature of her work, before adding more philosophically, “Someone once asked me if music is what I do for a living, and I responded, 'No, but it’s what I do for my life.'”

"Channeling the finger-plucked folk music of Joni Mitchell and Nick Drake...haunting...dark lyrics...she sings like a siren" - AMERICAN SONGWRITER

Side 1
01. Glass Palace
02. Right On Time
03. Hollow
04. Edgewise
05. Take It From Me

Side 2
06. Sleepwalkers
07. Shadow Of A Coal Mine
08. Blackbird
09. Live Wire
10. In Good Hands
11. So Long

Tinkertron

gabrielmintz

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Kayne O. [HR]

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