Fork in the Road

We are lucky enough to share a decent-sized piece of the woods with my father, who lives in his geodesic dome in the middle, and my sister, who lives on the north end in an adorable cape tucked into a curve of Bump's Brook. My roots are deep here, so I may be biased, but Maine is simply spectacular, and our road is particularly nice. A couple of miles of it, where it skirts the Great Sidney Bog, is undeveloped, with no homes or even telephone poles, giving us a perfect view of each season's foliage and other natural bounty whenever we head toward town.

Technically, our driveway should have a name, according to town rules, since there are two households on it, but they've never made us do it. That means that we give directions by saying, "Go about three miles, turn left at our box number, drive across the stone bridge, and at the top of the driveway, don't go to the dome, bear left, past the barn, we're the other place..."

The Dome on Mellow Hill

Dad has it a little easier, since the dome is unmistakeable. Still, the driveway has a fork in it, and that has been nagging at me for a long time. One of the great gifts from my Dad has been his love of wordplay. More than once he has held a "proverbidioms" party, which meant that guests tried to figure out that a cedar tree wrapped in birch bark was meant to depict "Barking up the wrong tree," A recently dug hole with a playing card at the bottom was "ace in the hole," and so on. 
In that spirit, for his recent birthday, I used five feet of galvanized flashing, tin snips, and a center-punch to make him his very own landmark:

"Turn left when you come to the fork..."

 Needless to say, this was a lot of fun to wrap and present to him on his birthday, and he promptly mounted it on the woodshed. Now he can tell people to turn right at the fork, and we can tell people to turn left. 
Hmmm...I think it could be time for another Proverbidioms party!
 

Cup of Bliss and Snapping Sails

I have heard it said that a danger in songwriting is when your songs become too personal, too autobiographical. I can understand why that could be; I have written some songs at low points that, while very good, I'm not ready to share. When you're a sensitive songwriter-poet, one rocky spell, one terribly sad day, can send a song onto your pages that doesn't really represent your life. Some day I will share those songs, but not now. The "Wow. My Honey!" songs actually do represent my life, and I'm sharing those now. 

Cup of Bliss by Harper Meader

My song, Cup of Bliss, is an exception in a way, because it alludes to having trouble together. The line, "I don't know where we'll be tomorrow" really needs to be there, if only because it's true (and I know people deeply in love can relate) that my greatest fear is losing my Honey. What is also true, but couldn't be worked into the song, is that I know with my whole being that I can only be with Her going forward, or alone. More than anything, the song is about how as a poet I feel the depth and mystery of the world moving within me, demanding that I write it down somehow, that I sing it. Finding love has woken that side of me up in a way that I'm still coming to grips with. For me, the most powerful line, referring to a transformative dream that I will never forget, is "I'll keep my seat, the tiller-handle tightly held while the current rages."

The title, Cup of Bliss, is in fact a deliberate echo of Amos Lee, who is a major inspiration to me. My song is not really on-topic with his song, Cup of Sorrow, but that phrase has worked into my head far enough that it has become an important inner symbol of mine. It's hard to put into words, but the way we experience our world with those close to us is a cup that we drink together, and what kind of cup it is becomes an essential part of our shared experience. I'm truly blessed to share a cup of bliss.

For the musicians, I play this in standard tuning with the capo on two. Chords are Amaj7, A, E, Asus2, A7, and Ddim. I very much enjoy working with clustered chords that move together easily, and this set is very good that way.

 - - - - -

Snapping Sails by Harper Meader

When I first started playing mumblety-summat years ago, the music I most wanted to play was that of Gordon Bok, Stan Rogers, and Gordon Lightfoot. Whales and sails, hauling nets, hardened tars, schooners, clippers, sea-foam...oh, the language of sailing is so evocative, gut-level imagery for someone like me, with sailing in my genes! 

One day when I was practicing my way through all the love-songs that have come to me me recently, my Honey said, "You know, Harper, you really should write a sailing song since you love the sea so much..." I just nodded at the time, but one day at work, maybe a week later, Snapping Sails came to me, all in one sitting, and I like it very much. Of course, true to form, by the end of it, it's another love-song; I just can't help myself.

For the musicians, this one is dead easy. Standard tuning, using Am, F, Dm, G, and C. At the end of the chorus you'll need to do a little "add4" to the C chord with your pinky, and that's it. I play it two-fingered, but it strums well too.

Beloved Love and Snow Drift Love

We have a couple of fun new things going on at Ironwood Hollow, but no photos ready today for those posts, so they'll wait. In the meantime, if you'll indulge me, I'll just talk a little bit about a  couple of the songs that can be found at Harper Meader Bandcamp.

Life in our winter is simply amazing.

The oldest song on the CD is "Beloved Love", and it's dear to my heart. Honey and I knew that we were meant for each other. We longed to be together, and our lives were just not quite ready to allow us that gift of waking up to see the dawn together. For me, our precious moments of time together were the finest moments my heart had ever known, and I was caught in that perfect storm of being exactly where I wanted to be, needed to be, and knowing that it was fleeting. Dreading the dawn, because I would once again awake alone, and at the same time thanking whatever Gods or spirits had brought us together for showing me the answer to my heart's quest.

For the musicians, I use a four-finger picking pattern in regular tuning, sort of Gordon Lightfoot-style, and the chords are:  Dsus2, Am, B7, Em, and G.

The next oldest is "Snow Drift Love." I wrote this last summer, on a very hot day, knowing that soon we would be living together, that we would spend our winters together, awake together in the morning to see that amazing blanket of snow that sometimes stops everything here at Ironwood Hollow. My favorite word in the song is "dooryard," a quintessentially downneast term. I once met an Italian New Yorker, name of Gaitano, who had moved to Maine, and remember asking how he liked it here. He was thrilled. "Oh, the language is endlessly fascinating. Just today I learned to pronounce a new Maine word." Then he crossed his eyes, and carefully said it: doouh yaahd! Then he clapped his hands with delight, and said that he found our country ways so charming. 

...underneath is still the front yard we know...

He has gotten tired of our country ways, and gone back to the city, but Honey and I, who truly love when we can see our breath in the bedroom on a frosty morning, still love our country ways, and this song is from when I looked forward to sharing that together with her. I hope you like the song, and queue it up on a blustery February morning...Honey and I will be tucked in with our tea, living the life we dreamed of, storm-stayed together and loving it!

Oh, for the musicians, I play this one with an alternating two-finger pattern, regular tuning, and the chords are: E and Asus2 alternating for the verses, and A, E, and one B7 snuck in there, for the chorus. Very easy, and one of my favorite chord patterns.

Cordwood Masonry Acoustics

As I wrote last time, I'm excited (me, Mr. Mellow, excited, yup!) about the final appearance of some of my recorded music. Actually, 'excited' doesn't cover it; I'm having a hard time thinking about anything else, except for that new song I'm working on, which may be even better. The physical CDs just arrived, sounding great, and the cover art (photo by my Honey) came out perfectly. Since I can't think about anything else right now, I'm going to elaborate on this recording project.

Music from a cordwood masonry mead-hall!

I've been writing music for a long time, and in the last couple of years, after falling in love with my Honey, that creative impulse has just skyrocketed. Finding that my heart is where it belongs, finally, has been amazingly good for my writing and composing.

 Months ago I asked my friend James Lindenschmidt of Crafted Recordings, who has all kinds of recording expertise, for pointers about getting some recording done. To my delight, he offered to help out, volunteering his considerable skills, at least in part because he had been wanting to try some recording in our house. The mead-hall, our central room with twelve-foot-plus ceilings, cordwood walls, and an adjoining space with gracefully curved walls, has great acoustic qualities. 

His version of this may be different, but here's why I think the space is so good for music. Cordwood masonry is not flat. It has a combination of very hard and somewhat hard surfaces, curves, and little angled segments all over it. So while it bounces sound nicely (compared to a curtained room, for example), it doesn't sound at all like a tiled space or a stairwell, with that complicated echo on top of everything. Not only that, but it is a magical space, made by hand with love, using natural local materials, and it is the perfect place for me to record my music. After all, it's where I write most of it, and it's where my Honey and I first met. Unless somebody tells me otherwise, I'm going to go out on a limb and say that this is the first professional music recording in a cordwood masonry space!

James and I have much in common, including acoustic music, a similarly spiritual way of living in the world and a long-standing love of mead and mead-brewing. My first experience with his recording expertise was when he interviewed me years ago for his excellent blog, Bardic Brews. Back then, he made me feel very much at ease in front of a microphone, and this time was no different, except that it involved more microphones! Then he put in many hours fine-tuning everything for me. The end result is a very good presentation of my and my songwriting at its current best, and I can't say enough about how sweetly he worked with the very raw material. Please check out the music, which is downloadable from most mainstream venues, as Harper Meader's EP, "Honey."

Coming up, I'll talk in detail about some of the songs in particular, and also about why I like Bandcamp. Stay tuned...

Long Time Coming

Check out my (at last!) recording at bandcamp.com

I guess you may have noticed, if you are a regular reader of mine, that I have been absent for way too long. Sorry about that! Here's what's going on...

A long-time friend of mine, James Lindenschmidt of Bardic Brews and Crafted Recordings, offered to help me with some recording. I have been a musician for my whole adult life, playing folk harp, fingerstyle guitar, hammered dulcimer, and an assortment of other instruments, but in the recent past my songwriting went into overdrive, fed by the life changes that came with falling deeply in love. Happily, my musicianship has kept pace with my heart and my writing aspirations, and I have a steadily-growing collection of really good songs to show for it! 

I went into overdrive, consulting with my Honey about which were the best songs to break out with, practicing like mad, making sure I had the words just the way they should be...and new songs kept intruding! But eventually, just a couple of weeks ago, Jim came to Ironwood Hollow, toting all sorts of esoteric equipment, and Honey left us to our own devices. He told me that he has always wanted to try recording in our home, with its very unique acoustics that come from the cordwood masonry, the high ceilings, and the curved walls. 

Long story as short as possible, we had about three hours of good recording time all to ourselves, and in that time we recorded six of my songs. For each of them, I played my solo arrangement and sang at the same time, then went back and recorded a harmony track and a second guitar track in some cases. The one that sticks in my mind the most is when I said, "Jim, let me just hear the tune, and I'll play through the lead guitar, and see if I remember how it goes..." When I was finished, he just said, "Oh yeah, I was recording; that's great. What's next?" 

Six songs of spiritual love recorded in a cordwood masonry meadhall!

It was that kind of session. Jim's knowledge of recording and innate calm made it a pure pleasure. Followed by many hours of his skilled time mixing and mastering, one of the finest gifts I've ever received, this session has turned into an EP of a small sampling of my recent music. (An EP is an extended play, several songs, but not long enough to be called a CD). I have been working my way through the process of making the songs available, now that Jim has declared the tracks finished. Actual CDs are in process, and I'll post details about that when it's all set up. In the meantime, harpermeader.bandcamp.com is where to go to hear them. I hope you will purchase all or some of them for download! Bandcamp offers music affordably, with the option of paying anywhere from a minimum up to what you feel the music is worth. They will appear in the other usual venues shortly (itunes, amazon, etc), as that process does its thing. 

The changes in my life and my heart that my Honey has brought to me are only hinted at in these songs, but I am so pleased to be able to share a bit of that joy with you. There will be more, since I've determined to make songwriting a major part of my future. Stay tuned. Among these songs you will find a steamy celebration of midsummer loving (Magic in the Moonlight), a rousing sailing song (Snapping Sails), the perfect tune for when you're storm-stayed with your love (Snowdrift Love), a partial-capoed pattern-picked epic-love-song for the guitarists among us, with a nod to the great love-poet, Rumi, (The Glassblower's Breath), and more.

I hope that you like my work. My hope is that this project will fund the next recording, and that my love of music, words, spirit, life, and my Honey will become something more than a hobby, that it will bring a piece of that joy that is my life into the homes of many.

Okay, a final note...anywhere else you find my songs, they're likely to cost about the same, but at bandcamp, you get the lyrics for free, and you can hear the whole song right there before you decide to part with a dollar or two. Also, just sayin'...as one of my blog-readers, you know where to find me. If you play, and want to know my chords, or get a hint about the picking patterns that I use, you know where to find me. 

Songwriting Takes Me Over

You may have noticed that I've been quiet lately, and I apologize for that. One of the reasons is that I have been plowing what creative time I have into my songwriting. A good friend has offered to help me record three or so songs, and I have been working like crazy at polishing up my best five (or so) songs to prepare for that. The trouble is that Love and the Muse, encouraged by the remarkable love story that is my life now, keep sending me off to write more songs, and what I think of as my top five songs keeps changing!

My fervent wish to express my feelings and experiences in a way that touches hearts, that may even brighten somebody's world, has pushed my musical ability to new heights, which after many years of being fairly intermediate is a very pleasant surprise. Inspired by the likes of Amos Lee, Ray LaMontagne, K.D. Lang, Jack Johnson, Gregory Alan Isakov, and a few others, I'm writing music that would have been impossible for me two years ago. So when James, my recording friend, gets me set up, I think the results will be very good indeed.

Just for a sneak preview, Honey and I have decided almost for sure which songs are in the top three. The first one is a love song written back when we had very little time together. One night I wrote the words in my head while lying awake wishing dawn would never come, because she would have to leave. It's unabashedly emotional, grateful, wishing for the moment to never end. Partial lyrics are:

"Beloved love, wake to me!
I hear you speaking in your dreams,
Asking all the spirits 'round us
Why does dawn come?
Every time I wake to find you
Sleepy-eyed, my arms around you,
Waiting for your gaze to find mine,
I thank them!"

Number two was written last summer, when I was looking forward to having my Honey move in with me, imagining that we would be snowed in here in the Maine woods together, the inexorable, beautiful drift-building weather a powerful metaphor for the way our relationship has only become more beautiful over time. It's very "Mainish," even using one of my favorite local words, 'dooryard.' Partial lyrics are:

"That's the way our love grows,
Building slowly like these all-night snows.
Underneath it all, just like our dooryard,
Never changing since I fell so hard
For you, that's what you do to my heart!"

Number three is recent. I have always loved sailing songs. I imagine my sailing ancestors whispering to my soul that the sea is calling, that I should follow in their salty footsteps somehow. Maybe this song will satisfy them. Like nearly all of my songs these days, love makes an appearance, but at heart it's a song about the lure of the sea.

"Once I asked the captain what he looked for in his roaming,
He said sometimes he rounds Cape Horn, sailing back from Nome
And then it's all downwind from there until he plants his boots at home,
And that's all he said when I asked why..."

For the moment at least, these are the top contenders, but Love and the Muse keep distracting me with new ideas, and the songs are starting to pile up in my notebooks, about twenty so far. I'm champing at the bit to share them somehow, either by recording myself, or by finding homes for them with good recording artists. At least a few will make an appearance soon, recorded solo at Ironwood Hollow. Stay tuned!

Mud Season Musings

I'm going to start with a confession. My mom, a dyed-in-the-wool Mainer, moved to Florida quite a few years ago, and stayed there for most of the year, only coming home for Christmas and a little bit of the summer. My confession is that, among all the kids and step-kids, I'm the only one who never went to visit. My sister went, and even found parts of Florida that she liked. My step-brothers and step-sisters all went, and more than once. I even sent my daughter down alone on a plane, and she had a nice time. For myself, though, I just knew I would hate Florida.

As an avid reader of mystery novels, you'd think I would love it there, the home of not only Clinton "Skink" Tyree and Marion "Doc" Ford, but also of the father of Florida Tough Guys, Travis McGee. Nope, even that's not enough. The reason that I knew I wouldn't like it is that having a frost is so crazy there that it makes national news. That, and the fact the you could throw a frisbee over its highest point from its lowest point with little effort. Sorry, but this Maine boy likes his seasons, and his hills.

Ironwood Hollow Awaits Spring

Eventually, and sadly long after Mom gave it up and moved back home, I went to Florida for a weekend, and was completely vindicated. It's terrible there, or at least it is for me. The weather was mild, in the fifties, and people kept apologizing for the cold, as though their state was in breach of contract. There are no hills, neither up nor down, and that flatness applies to the weather as well. I couldn't wait to get back home, and will never go there again. That doesn't mean, of course, that I'll stop reading Randy White and Carl Hiaasen! This morning, snuggled in bed with my Honey and watching a drizzle feed the thriving crop of mud that is taking over our dooryard, we were talking about this, and realized that we both have the same prejudice.

Here it is; real, honest-to-god seasons, so that you have to change your wardrobe, either start a fire or open a lot of windows, and adjust to new waves of wildlife that follow those seasons, build character and give a shape to our lives. Yes, of course I get tired of shoveling and snow-blowing, of getting up before dawn to go out and be turned into Frosty while wrestling the old Gravely snowblower up and down our quarter-mile driveway, only to come in and shake life into my frozen fingers in front of a smoky fire. Yes, of course I can't wait for mud season to be over, when I don't know from day to day whether I'll end up frame-deep at the crest of the driveway, needing three men and a come-along to get out. Yes, of course I am ready for fall long before the mosquitoes, blackflies, and deer-flies have gotten tired of bleeding me dry in the hot sun. Absolutely, each season has its time, sometimes more than enough of it, and I keep having to adjust as one gives way to the next.

We can't imagine life without real seasons!

The point of it all, though, is that the process of loving, hating, and adjusting to, each new season is an enormously important part of what makes life interesting. I waited all summer to be able to kick through piles of autumn leaves with my Honey during our first fall season together. Then in the fall we both dreamed of being snowed in together, of watching the trees out the window, sagging under pillows of snow while we stayed snug under covers. Now we're eagerly awaiting that first day that's warm enough to sit on the porch in the sun, maybe with sweaters on. If every week were more or less the same, it would be like living in a house with only one book to read, wouldn't it? The sameness would be stifling. Sledding the car out through the deepening mud this morning, I celebrated in my head, thanking the universe for seasons, for cycles, for the woman who watches just as keenly as I do for that first touch of gold in the willows, then in the forsythia, then for the first north-bound goose, and then...and then...

Happy Mud Season!