On Friday, March 13th 2020, school ended for the year. We had no idea at the time, of course, but students were not to set foot in the school building again. For undergraduates this was, although a big deal, not necessarily catastrophic. For seniors, though, it was everything. Prom. Concerts. The spring musical. Graduation. Everything gone, and even worse, it was a slow drip of cancellations over many weeks until we realized there was nothing left. We spent some time figuring out how to teach our classes into computer screens, but the bigger questions were left unanswered; namely, how do we replace the irreplaceable things? With my daughter a senior herself, I had a decent insight into what they were going through. There’s nothing that can take the place of a concert, but technology still allows us to make music. So that’s what we did. Every senior, instead of polishing and performing their usual classical solo, picked a piece to record, for an album we would release by graduation (whatever that ended up being). For copyright purposes, we needed to stick to either original music, or songs that were at least a hundred years old. We ended up going down a rabbit hole of 1890s hits, looking for those that still somehow spoke to us in the modern age (and trying not to be horrified by how incredibly racist so many of the other songs were). This was the beginning of what became “From the Inside Out”.
“Wayfaring Stranger” was the first song chosen for the album, after “You Love”. There was never any question that it would be a feature for Colby Dagwan Santos, whose unique voice and wonderful sense of ornamentation were a perfect fit for this plaintive old folk song from the early 19th century. The arrangement is in 4/4, rather than the original 3/4, with a mix of strings, slide guitar, and old Fender amp vibrato. I had Emmylou Harris in my brain, the whole time we were recording it, even though the song sounds nothing like her version. Her inspiration gave us this, though, and we are incredibly grateful.
I started “You Love” about three years ago, as a lyric-writing exercise. I do these a lot, because writing lyrics is a never-ending struggle to fill a bucket with a hole in it. If I can occupy my mind with arbitrary rules about rhyme structure, then I don’t spend as much time wondering what in the world to write in the first place. Also, I thought it would be fun to write something in second person, like “Captain Jack” or “Kid Charlemagne”, except about love and hope and not, y’know, junkies. It took a while to finish, and then sat in a note on my iPad for even longer. Eventually, I was looking for something to use as my next choral piece, so I wrote the arrangement over the summer, and taught it to Vocal Ensemble soon after our winter concert. We were on track to perform this new piece at the RIMEA Choral Festival in March, and then the world went into lockdown. We would have recorded it anyway, but once COVID-19 took over, we couldn’t even use our meager recording facilities at the school. So each student sang their part into a phone, while listening to the backing track with earplugs, and we began the INCREDIBLY TEDIOUS task of manually assembling a chorus. I’d guess that each track took at least an hour and a half of cleanup before it was in decent-enough shape to add to the project. Then the real fun started, with lining up entrances, fixing timing and tuning, and just generally being obsessive. The audio for this three-minute song probably took eighty hours of work. I’m not complaining, though; we got something special, and it sounds like what they sound like when they sing together, which is to say, fantastic.
We left school in March, on Friday the 13th, telling each other, “well, see you in a month or so!”. We knew that we probably weren’t going back, but no one was ready to process what that actually meant. In the two months following, everything on the school calendar was canceled: concerts, the spring musical (Legally Blonde!), proms, class awards, graduation. The country has endured a terrible year, with tragic losses. However, our high school seniors have endured a different kind of terrible year. While their families have lost income, and possibly loved ones, they have also lost all of the milestone events to which young people look forward for most of their school careers. Each year at Mt. Hope, we do a recording project with Vocal Ensemble, our audition choir. The first couple were graduation songs (see “To Belong” and “Timeless”), which we were honored to present at the graduation ceremonies their respective years. For 2020, we had a new choral piece, entitled “You Love”, which we had planned to debut at the RIMEA state choral festival. This festival was, of course, canceled, so we were at a loss as to what to do with it. Out of sheer desperation, and a desire for a project around which we could rally, we decided to record it remotely. Twenty students, all singing into their respective iPhones, on a choral song that relies on precise timing and shared dynamics. WHAT COULD GO WRONG? Also, since the difficulty level evidently wasn’t already high enough, we figured we could record all of our seniors’ solos, and make an entire album out of the resulting material.
WHAT COULD GO WRONG?
Well, so, a lot. However, we stumbled into a fantastic project, which brought us together in a myriad of ways, and which gave our last quarter of the school year real purpose. Over the next few posts, I’ll document what we did to make “From The Inside, Out”, as well as the accompanying videos and fundraising project. If you would like to cheat a little and find out ahead of time how to contribute, click here.
I wrote the song “Rejoice Tonight” in 2006, for the first cd we released as St. Luke’s Church Contemporary Choir. Honestly, it was so thrown together that I didn’t have all of the sections, and had to have Ryan (was it Ryan? I think it was Ryan) play drums while I pantomimed where I guessed we would put the stops. Then I brought the tracks home and completely rewrote it anyway. Having said that, it’s been pretty popular over the years, and is still an absolute must-play on Christmas Eve. So I was psyched, and honored, to have it covered by the OLG Young Adult Choir from Hoboken, NJ. Led by Bill Turtle, this group released their first album, “Love’s Pure Light“, in November of 2019. It’s a wonderful mix of standards and contemporary music, and you should listen to it all year round. Why is Christmas music only for Christmas, anyway?
Some of my favorite bands/songwriters/composers: Elvis Costello, Black Sabbath, Freddie King, Mozart, Thelonious Monk, The Monkees, The Go-Gos, Iron Maiden, Bill Lloyd, David Conte, Kenny Burrell, Telemann, Dave Brubeck, and about a million others. I was so incredibly fortunate that I was able to major in songwriting in college. It still feels like I won the lottery, just with tuition. Since it’s my thing, I’ve written a bunch of songs for friends in the business, over the years. “Town Librarian” was meant for the great Professor Harp, “As The Sun Fell” and “That Look” for James Montgomery, the instrumental “Play This, Pete” for Neal Vitullo, as well as songs for Black and White, Ted Stevens, and Erik Narwhal. We did demos of most of them, some pretty elaborate. Imagine how gratifying it was to hear these amazing musicians play my songs! Seriously, you’ll have to imagine it, since I never actually gave them away when we were done. I have a problem letting go, it seems. The good news is that most of these will be on the upcoming D.J. Lauria Band anthology, due out in November. Most of the artists named above are still performing (with the heartbreaking exception of Erik), so I’ll probably contact them all to say, “Hey, I wrote you a song twenty years ago. Wanna hear it?” At this rate, I might get one of them recorded before I pay off my student loans.