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Songs from the Old House​/​MADRID

by Scott Brookman, Yani Martinelli and Friends

/
1.
I am the black owl/ they don’t get past me I sit forever the king of all I see You plant your garden, but its safety’s up to me I am the black owl/ they don’t get past me I am a stand-in for the real thing Just like a scarecrow/ we really make ‘em scream Look at your harvest! A suburban farmer’s dream I am the black owl/ they don’t get past me Just one look at me and the field mice all flee back under the mass-produced shed Withered stalks of corn, tomato loss forlorn / Am I to blame for this mess? Though I am mighty I’m cracking in the sun Soon I will splinter/ My workin’ days are done When talking about me be sure to say I’ve won I am the black owl (line ends here) But I am still here projecting wild fear frightening your tiniest foes Just one look at me and the field mice all flee (back under the mass-produced shed)
2.
I’m sittin’ in a house It’s true I used to live here for some time I’m sittin’ on the floor It’s true the chairs have all been taken I’m sittin’ on a rug The sofa’s here, but how I hate it (Other bit) Yoooooooooou would not believe the things that I have seen Yoooooooooou would not believe the things that I have seen ‘round here Oh I’ve seen ‘round here And you know there’s no mistaking dust for gold I’m sittin’ in the yard So it seems some guy still mows it Underneath a tree We planted it when I was younger (Other bit) Yoooooooooou would not believe the things that I have seen Yoooooooooou would not believe the things that I have seen ‘round here Oh I’ve seen ‘round here (And you know there’s no mistaking dust for gold) sung twice to end song.
3.
Thought you were the one but our little time together Makes me wish that you were ready to move on Makes me wish that I was ready to move on I understand that your heart is closed forever Still I swear there is no place I’d rather be (2X) Still I want to know what has happened and still haunts you Across the years how could you let it win? (2x) Chorus: ba, ba, ba….don’t take her from meeeeeeeeeeeeeeeeeee (2x) For years I waited for the showdown that would send you Forever right into my waiting arms (2X) It can never be for the bullet that has claimed you It took my heart as well as it took you (2x) Chorus: ba, ba, ba….don’t take her from meeeeeeeeeeeeeeeeeee (2.5x)
4.
Whatever she was she’s gone Whatever we had is gone Whatever it could have been Chorus: We’ll never know Left on a fine spring day Now we will never know how great it all might have been Whatever it takes to cry However if feels to die With never a chance to try Chorus: We’ll never know Left on a fine spring day Now we will never know how great it all might have been Unrepeated Middle Bit: Gone are the days; they were shorter than you’d think Gone are the days when we had some hope for love Wherever the ashes blow I know should just let go Whatever she was she’s gone Chorus: We’ll never know….left on a fine spring day
5.
Did you ever notice how so many little things go wrong? Say yeh, yeh, yeh/ aw yeh, yeh, yeh Ever get the feelin’ that someone has got it all worked out? Say yeh, yeh, yeh/ aw yeh, yeh, yeh Chorus: Floating so gently So High up in the sky So High up in the sky All your little problems have their roots in something you can’t see Say yeh, yeh, yeh/ aw yeh, yeh, yeh Now has come the time for you to look up and observe the skies Say yeh, yeh, yeh/ aw yeh, yeh, yeh Chorus: Floating so gently So High up in the sky So High up in the sky

about

This cd-ep sounds like nothing else in the multi-decade Scott Brookman canon.

The ep started with an experiment Yani Martinelli wanted to do: use my live video performances of songs as the main tracks alongside which she'd record a few tracks of herself. Then she'd mix and master. At first this was going to all happen on our phones! Then, because of storage issues on her phone, we made a bold move: use my .mp4 phone video recordings as planned, but her tracks would be recorded in the usual home studio way: decent mics and software. A blend of lo-fi and semi-pro resulted instead.

This is the way it shall be from here on out. No more chasing the dream of a great professional-sounding album. Let's just focus on songs. It takes me back to my beginnings in a very satisfying way. I now declare myself completely free of professionalism, the limitations of so-called pro-sound, the money-based cult of mixers and masterers, and musicians for hire. I reject the sound of all cds that were released after the only one I've ever mixed, or been particularly proud of as a whole, For Those Who Like POP. Based on "the audio rules," many things are wrong about it and that's why it is so satisfying. There are many individual songs on the other releases that sound fine, but just as many were ruined by too fussy mixing and, mastering, that in all cases, resulted in a "weak" sounding release. You get what you can't pay for.

The sound of this ep is sooooo much closer to how I've wanted my music to sound all along than any other release since the cassette days.

The songs range from whimsical narratives to painful true life tales of loss of life and love. Absent from the proceedings: MIDI programming, synthesizer sounds, bass and standard drum kits. Hmmmm...

credits

released August 1, 2018

All songs, words and music by Scott Brookman, BMI 2018. All Rights Reserved.

Album cover photo "Poppies at Nicht" by Yani Martinelli, who also designed the cover, of course.

Backing vocals, electric guitars, piano, percussion and mastering: Yani Martinelli
Mixing, sound engineer and keyboard flute solo on “High Aptitude Clouds”: Angus Siete.
Percussion on "High Aptitude Clouds": Mario Pilarte López.
Gear and home studio use: Samuel Gómez Batres

Everything happened, even some of the songwriting, between June 18 and August 1, 2018.

“I think is nice sounding, lo-fi, spontaneous and full-of-soul group of songs!”…Yani M.

“It definitely has the informal feel, the summer feel that we were looking for.”…Scott B.


For more of Yani's music visit: yanimartinelli.bandcamp.com

license

all rights reserved

tags

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