#thebaronward

I have decided to combine my three independently produced seven-song EPs into one album to represent 2016-2017, which I will name Relics ’16-17. Fourteen of the twenty-one tunes have been selected, and this collection will take the place of my homemade EPs over the last two years on my merch table.  These are home recordings, in a home studio (a garage??)…but they don’t sound like it. They turned out pretty artsy!  How?

Well, I’ll tell you.  

First off, I was sponsored and pushed by my dear friend Kris Farm over a decade ago to learn, and fail, and learn again, how to produce quality tracks in a home studio.  I was tutored by my amazing friend Ryan Ferris for several years on techniques and tricks.  When I was lucky enough to find myself in a “real studio” with a “real engineer”, I paid more careful attention to the technical things going on than Anyone else suspected.  Obviously it is expensive for studio rental time, plus a producer, a studio engineer, a mastering engineer, a disc replication company and a promotions expert…in order to produce and share the Newest Songs…and is that investment worth anything more than personal vanity, if the record doesn’t “connect” with an audience “somewhere out there…”?  

I’ve got songs, and I believe in them, so here’s what I do to get them produced at home.  Thanks for reading my blog!

I start as soon as I first imagine a new tune.  It comes out of nowhere, and I get obsessed with it.  We make it to the demo stage after an aspect or two of it gets stuck in my head for around twelve hours.  Not every song idea gets to this stage!  

The drafting happens all inside my head, rolling through the hooks and turning over and over again in a meditative fog until they start to congeal into progressive parts.  Then, it is time to attempt to record a demo.  

I bide my time, imagining and drafting, until I come upon a day where I know I have a minimum of eight hours to myself.  

I clean The Space.  

I pull out all the instruments I think I might need.  

I pull out microphones, cables.  I wire everything up, create a computer file, link up all my inputs.

I try to relax, and let the music flow out of me.  By the time the first studio performance is done, I have a pretty good idea whether I should leave it as a solo performance piece, a raw piece...or spend some time layering it with various supporting instruments.  If I have enough time left in my "time block", I start This following process:

Tracking parts, first.  

Not worrying about "how they will settle in the overall, eventual, theoretical future mix"...just playing music, free and clear and as close to the original hauntings as I can muster.  

By the time I get through a few of these bursts, even for a three-minute song, my time block is usually up.  So I tear down, clean up entirely, and rest.

And reflect.

I imagine even more.

I try to relax.

If the tune is good enough, the intrinsic hooks continue to constantly pound in my head.  Sometimes, going through the initial demo process teaches me that the song idea itself is actually pretty dumb, and I abandon it!

I wait patiently for my next chance to do more work.  Maybe I burn a CD with whatever I have so far...and drive around listening to it both first thing in the morning on my drive to New Seasons, later at night, lots of various situations and in various moods, by myself.  Trying to get a grasp on whether or not I am on the right path with communicating this particular idea.  

In the few and best of cases, my original recording is built upon, layered, added to, explored with mixing techniques, and turned into something that I self-master and add to an EP that I give away at shows.  In many cases, something goes creatively wrong or gets lost in translation, and I face the daunting emotional task of STARTING OVER (OH GOD...this involves more waiting, the worst of all scenarios);

OR

adding to, re-adjusting, re-balancing, trying to work with that soon-to-be-elusive original "vision" and trying to make some kind of two to six minute "listening experience" that makes me "feel good"...like I have accomplished something, Done something, made my momentary existence worthwhile.

When I get to a stage where I feel like the recording itself makes sense to me, in a recorded, independent-listening, any-mood situation, I painstakingly remove all the technical errors, one by one, very carefully, as far as my knowledge will allow.  

I create artwork somehow, print it all up, and share.  Then, I spend the rest of my life second-guessing every aspect of the mix!  Each of the seven-song EPs from the past two years took about 4 months to track, mix, and finalize.

Thus, does the music advertised as “…Sessions” come to be found on a table labeled "make a small donation and take a free CD" or "Support Local Music" or some such wordage at a live performance of mine.  

"to Keep Us Close" (spring 2016)

"The Baron Ward Spring 2016 EP"

"Wherever I've Been, Wherever I Go" (fall 2016)

"About What You'd Expect" (March 2017)

“Relics ’16-17” —> (coming February 2018) (preview at https://soundcloud.com/chrisbaronmusic)

And Now:

Another successful trip to Texas and back, from May 10th to May 22nd.  Dawn and Henry picked The Baron Ward up on Wednesday in Houston, and we made it back to the beach that very night, after a Welcome Back dinner at Sake To Me in Lake Jackson (sushi!).  The beach house was cleaned up scrubbed and totally ready for us…and we were overcome with gratitude…and nerves, for the tests to come.

Thurs

Our first gig day was a double-header: Bridge Bait (Freeport) in the afternoon from 2-4, and Sake To Me (Lake Jackson) that night from 5-9.  Bridge Bait was another classic…hot sun, cool crowd, hoots and hollers, Here.We.Are.In.Texas.  We started off with an enthusiastic bang, and almost wore ourselves out those first two hours.  At Sake, we played acoustic in front of the aquarium, and the stage was nicely set, and the mellowness of it was perfect.  Friends were popping in left and right, including Billye and Sam, Matt and Julia, even Jake Riggs, who drove over from Austin to spend a couple days.  We met Dianna Chenevert.  We plan to book both places again in October.  

Fri

Once again: Bridge Bait in the afternoon…and by this point, the locals seemed to remember us…memories flooded back from prior years there, and we got some great pictures for Facebook and Instagram.  HUGE SALLY was fully present…I talked Jake into coming up to sing Never Rain Again, and after that, he just grabbed his guitar and started busting out.  The version of Emily we did that afternoon, with three-part harmony, is one of my favorite phone video performances ever.  We played Dido's that night, all acoustic, once again with Jake in the band.  We knew he had to take off on Saturday, so we made the most of that night, body-surfing in the ocean until 3a.  

Dianna

Dianna is a woman with a long history of acting, music booking, promoting, charity organizing, and social medianating.  This point in her life finds her with a worldwide network of friends, a son who once held an NFL contract in his hands (now he's a pastor and activist), a small yacht that she currently pilots between Florida and Freeport TX, and some fascinating memories that are steadily being transcribed into a memoir.  She made a connection with The Baron Ward through Henry and Dortha Pekar, our stellar and hospitable hosts in the Texas Gulf.  We hung out for the next ten days straight.  

Columbia Lakes Resort

La Casona was our Saturday night show: the mexican restaurant that resides at Columbia Lakes Resort.  The last time I was at this place, it was 2010.  Will Downing was alive and jamming.  Jake and Megan and I were staying in "The Beatles Room", a rental cottage on the premises.  We were all in the midst of a visionary cacophony that was shivering our connections to each other.  There was tension, there was venturin', there was raw interaction.  

Now that I am sitting in the future drinking coffee and scotch, I realize fully just how foundational that trip was for William and I, for Dawn and I, for Megan and I, for Jake and I.  Small memories came rushing back as I walked the grounds.

The gig itself was outdoors and very pleasant.  John Downing was there…so we sang him His song, "Johnny On The Farm" (Track #1 on Will's forthcoming, postheumous third album).  We shot more videos with Dianna.  And then we ate mixed fajitas, charro beans, y guacamole.  Home by midnight, with a check in hand, and with an inkling that it was all getting stronger.  

Mothers Day

We played a long brunch set at Dido’s on Sunday morning, and then we climbed aboard Nancy and Fred and Bob's paddleboat.  It was a glorious ride up the Brazos River!  We played a few songs, told a few jokes, whipped out a dance number for Sissy and Fred, and of course, dedicated everything to Captain Bob.  This show marked the first time we were requested to play "Outlaws" (another Will Downing tune from that third album) more than three times in the same set ("…umm, we already played that, it was our first song" … "Well Play it again!")  We actually obliged…and that dustballed into performing it three or more times per night for the rest of the trip…hm…

Mon-Wed

We had these days off, and spent them writing, rehearsing, filming videos with Dianna at the Yacht Club and on her boat…beach walking, beach cleaning, swimming, brisket smoking, string buying, email writing, TURTLE PATROLLING.  

Yes, on Tuesday May 16th, we witnessed a Galveston scientist and her crack team evaluate a sea turtle nest site, and prepare to dig up the eggs and transport them to South Padre Island, a protected area.  They measured the lengths, made notes on the facts.  They drove a regular truck.  I wrote a song.  We filmed a very short version standing in the surf and put it on Facebook.  We debuted it live on Friday afternoon…and as of this writing, its been requested at every single show I've played since then.  Thank you to Henry for putting that short video up on FB and sharing it around.  Thank you to Dors for not being annoyed at the catchy annoying melody, and memorizing the lyrics real quick.  Thank You to the scientists who actually do the real work.  I never got her name…

The Haus'

Wursthaus in Lake Jackson was one of my first big gigs in the area: 2014.  It was a leap-of-faith solo jaunt in the midst of a Huge Sally tour.  Huge stayed behind in Austin, and I rented a car and drove out on an instinct.  I met Dido's, Wursthaus, and Bridge Bait on this fateful trip.  Richard Wood and I made a connection, and ever since, he has booked my band when we come through!  First, it was Thursday night at Growler’s Pourhaus, his new place.  Our local friend Eli opened the night with a startlingly funny introduction, and we had a Great time with the staff and all our fans.  Then on Friday we did the Wursthaus thing.  Both nights were super fun, high-energy, and with an aura of peace, professionalism, and power.  I can't recommend these two spots in Lake Jackson highly enough.  Both have inventive menus, both pride themselves on their beer selections, and both hire real good people.  

The Heights, Houston

We met Jeannette Waldie, and saw Houston's superb house concert venue Visionary Heights.  Wow.  Doverlaff House Concerts in Portland has a surprisingly similar outlook on lifestyle, community, and song circles…they are two thousand miles apart, and have never met, and yet have each arrived at the, I SAY, right conclusions!  Jeannette's son Owen, Ted Miller, and Ken Gaines also play a big role in this vibrant and seriously interesting Scene.  We met a new band member: the amazing Addison Freeman.  He is a multi-instrumentalist, songwriter-singer, and comfortable jammer.  We hung out with him nonstop our last two days.  He is invited to come up to Oregon in July and join us for quite a few gigs.  Can't wait to welcome Addison to the Pacific Northwest!

Its good to be home.  Oregon is beautiful.  Texas is welcoming, amazing, a unique experience.  And yes, turns out not where but who you're with that really matters.

Every recording project begins with a heady, driving confidence; a self-perpetuating optimism; a pride and a care for the eventual Grande result.  The almost inevitable apathetic reception is never imagined, until it is too late!  

A friend of mine, Paul Dage, wrote: "A man does what he's got to do, eventually."

I lost most of my bands, and circles one by one over the last three years.  Instead of giving up, I taught myself to play their instruments in my home recording space.  The result is three different seven-song EPs: to Keep Us Close (April 2016); Wherever I've Been, Wherever I Go (October 2016); and About What You'd Expect (March 2017).  Since 2014's Light Up The Sky, I've stayed busy.  Thank you to those of you who have followed along thus far.  And thanks for reading my blog, which you will enjoy!  

I am a pure singer-songwriter at this point, and despite what you may hear on the recordings, when I perform live, these songs have a lone acoustic guitar, a lone voice.  Its never felt like a hobby…more like a Love.  I've played with a lot of great musicians.  I found myself getting quite emotionally involved in our projects, and stuck with them loyally through slow and fast times.  I appreciated more than they will ever know their individual senses of style.  As it turned out, we "never made the scene", we never did much of anything commercially, and although such an idea of "success" was always my overall Goal personally ("the band Works!  It Works...!!" I always wanted to say), I stuck with my bandmates out of blind love and pure loyalty.  

Once everyone had melted away, I found myself left with a very empty feeling.  This was 2015.  I wanted things to be different.  But they weren't.  

to Keep Us Close was an eruption of creativity that I just had to share, in a desperate attempt to stay connected and make musical progress.  Wherever I've Been, Wherever I Go is a thesis, and a reflection of the road I travel to get to get to my mental state.  About What You'd Expect picks up the story at present, and hints at a future you can't help but expect.  It tells of an artist slowly deteriorated by external apathies and eventual isolation.  He withdraws permission for himself to Be creative.  This does not halt the music, though…just makes the colors sound darker.

I feel comfortable with my six steel strings.  Songs begin, and end up, here.  When it came time to add the other instruments to these tracks, things turned out how they would, I suppose.  

Joe Bass was the ultimate bass player for my style of songwriting, for close to a decade.  His natural nuances and approach to the instrument are what I modeled the entire bass composition around.  Sad that we are not playing together anymore…but his influence is all over this collection of songs.  I played the bass the way I thought he would have.  He would have done a better job overall…but this was supposed to be a personal challenge for me.

Dusty Beats is a stalwart favorite of mine, for all time.  Working creatively with a drummer was never easier than with him.  When left to my own devices to perform percussion tracks, his skill in the pocket turned out to be beyond my ability to channel.  I don't possess his steady sense of pace.  Leo Aguirre is the percussionist that I model the latest performances after.  Leo is wildly creative with backbeats, upbeats, and fills…and his influence is found throughout these songs on the percussion side.  Trying to imitate what I think he would do.  I.Love.Leo's.Style.  He would have done a better job overall…but this was supposed to be a personal challenge for me.

The Artist felt the finger of self-pressure, self-expectations pushing down.  It would be a long time, but that did not deter…it stimulated.  It motivated and drove.  The ultimate imagined result was going to be Grande.  

He knew that it was much about the journey…and had taken time to note many interesting things along his way.  He had been wholly present, for many and a few more than many, times.  But he also wanted to get to the future as fast as he could, driving driving.  He could see the jelly bean clear on the horizon, and had even on occasion gazed into its predictive depths.  The ultimate end result is supposed to be Grande.

He hears echoes and voices and wonders if there might be a deep end he someday won't crawl out of.

He lost the desire to play the game…to play anything at all…for a significant amount of time.

He gazed around at his city, and all the people who seemed lost in it.  

He reflects that the universe really doesn't care!

My favorite track is #2.  Thank you for listening and I hope to see you around the bend,

Chris

https://soundcloud.com/chrisbaronmusic

Hello, Chris here.  Boy has it been a long fall.  2016 summer and fall was GREAT for The Baron Ward.  Busy.  Lots of music.  Lots of driving.  Lots of car time.  I have been writing on my own (2 new solo EPs), and Dors and I have been writing some new tunes for the Road.  Lots of stuff has happened, and he and I have grown more fond of each other every month, every trip, every show.  I can't catch you up in detail…just know that its Good.

The near future is what counts.

The Baron Ward is looking to get serious again as a core.  This is a cool thing.  Getting out and around and meeting people through Music once again has been revitalizing my life from the inside out.  I am healthier, more positive, and more optimistic than ever before…well, since I was 21 at least.  You know how it goes.  I still have nagging negative narratives, ferocious fake fantasy conversations, and diabolically debilitating doubts…they are getting more easily squashed, chuckled off as ridiculous, un-bought.  

Our goals for this year are to travel the country, through music.  We don't want to hide out in our home city, our routine, our Bubble.  We want to get dirty, get loud, get friendly, and Earn it All.  The new songs are excellentifying.  Since recording and releasing our spring 2016 EP from our home studio, we've tracked with Daniel Work / Mike Snyder / John Dwyer (part of a Portland band called 'The Noted'), Gabe Johnston @ Falcon Recording Studios (downtown Portland), and James Book @ Ninkasi in Eugene.  We've sharpened our resolve to break into the festival circuit, taking advice from seasoned vets like Dan Weber, Doverlaff, the late Lisa Lepine (RIP Dear Sweet Lisa!), James Book…and we will make our own luck through and through.

[B]aron’s Blog.

Today’s topic: The last four days of the Texas Spring Tour.

One month back from the tour, and I reflect.  

Travel is the Leveler.  The greatest, purest mirror.  The five of us learned more about ourselves, individually, and also about each other.  Thirteen sets in twelve days.  Two great indicators of character to me: How you handle yourself under stress/pressure, and How you handle hospitality and kindness.  

Dors blogged about a good bulk of the trip already.  For me, the last four days were magic.  Faced with financial disaster due to high rental car prices (we needed something for five people, with two weeks-worth of luggage, plus instruments, plus CDs and t-shirts), we jumped into the last four situations with a very ready attitude: it was time to Kick Ass.  

Wursthaus on Thursday in Lake Jackson was a Huge Success.  We got generous hospitality and also a song request (an original song!) from the owner Richard.  We found some fellow Avett Brothers fans by performing an obscure cover, whom we saw Again on Saturday afternoon at the bait shop gig.

Friday night at Ronnie's ice house was one of those where everyone looks you up and down on your way in, and the bartender asks "ya'll are not a rap group, are ya?"  But we won 'em over with a high-energy three-hour set, and Megan Cronin was a star.

The next afternoon, outside of Bridge Bait in Freeport, a truck pulled up and two guys hollered "Hey, ya'll are the band from Ronnie's!  We loved it!  Have some shots!"  And they pulled out a half gallon of canadian whiskey and started pouring shots…from their car.  Then, we went into the bait shop, where we knew there was an opening, but we weren't actually booked…and they agreed to give us a chance.  Our Wursthaus friends showed up to cheer us along, and we rocked that bait shop.  Hard.  Check out K8npdx's photos for proof!  

Saturday, The Local in Lake Jackson was very hospitable, and had a Killer menu.  We were very grateful to be given a chance to perform there!  For our Portland fans, it was kind of like Prontobella (Clackamas) meets Sauce Box (downtown).  The bartender there is very talented.  

Sunday, we finished out at Dido's, just like last year.  We rocked our tired bodies for about three hours, unplugged; we caused a rainstorm by stomping barefoot in the middle of "Searchlights In Mexico"; and finished the tour out in intimate fashion by singing "The Beacon" to each other in a circle in the middle of the patio.  We were given succulents by the owners.

Today’s Topic: Texas Spring Tour 2016, Day 3.

Here we are on Day 3 of the Remember Will 2016 spring tour.  In February 2015, I was solo, from Austin to the Rio Grande Valley to Surfside Beach/Lake Jackson.  This year, we are a crew of five: Megan Cronin on violin, Dors Ward on vocals and shakers, K8npdx on photo/video/socialmedia management, and Erin Ward on merchandise.  Going on any road trip, especially when your only chance to afford it is based on merch sales, performance contracts, and the appreciations of others...is a tremendous leap of faith.  You never know what to expect.  

THANK YOU so much to Dosey Doe, in Conroe TX.  It was our first night, just landed, and we walked in, and were greeted with the kindnesses that travelers desperately need: coffee, water, dinner plates, and gifts of hand towels.  They had never met us, probably never heard us (other than the booking agent), and there was barely anybody there at the gorgeous big room venue.  But we were inspired, and ripped off our ‘power set’.  Soundman Kevin Langford is apparently a sonic genius, and a highly skilled vibe technician as well.  I loved Dosey Doe, and am very very grateful we were lucky enough to get a booking, and be able to pull it off.  It set the tour off Right, convincing us we were doing the right thing.  Later that night, we drove 2 hours south to Surfside Beach to stay with my friends Henry and Dortha Pekar, set up by their daughter Dawn, our main local promoter for the trip!

Dawn stayed up late to meet us, and the next day, we met up with her at our first Will Tribute gig...at Dido’s in Brazoria!  Fred and Nancy were incredibly kind to me last year, booking me two nights in a row and befriending a lone traveling musician playing weird music that they had never heard before.  This year, I knew, of all the places that I wanted to return to, Dido’s was at the top of my list.  The show was so much fun, and we met a lot of great people.  I had met much of Will’s family and local fans before of course, and Megan had met a few as well, and it was very cool to be able to introduce Dors to everyone!  There was much goodwill (ha!).  We performed a full set of Will Downing tribute music, and then a short set of our originals.  We were asked to come back on Sunday the 24th, our last day before heading home, and perform on their boat tour!  

Night 3: Brownsville.  My first time ever in this particular town.  El Hueso De Fraille means “The Home that is all Fired Up”.  I know good musicians when I see them, and I know good people.  These folks were the BEST people.  EVER.  Their story is fantastic.  Follow them on Facebook for current events, and their website is http://www.brownsvillecafe.com/.  They are multi-talented instrumentally and vocally as a “family & friends band”, and have a stage countenance that bespeaks great depth of character, the same on, the same off.  This place is truly a GEM.  It reminds me of Artichoke Music in Portland Oregon, when the place was under the direction and vision of Richard Columbo.  We got to jam with Dabs’ trumpet player Walton (sp?)...and his ear and skills are quite pleasing.  We were beyond honored and excited to have been a part of what was an insanely magical night, and want very much to have a chance to come back.  GO TO THIS PLACE if you are EVER anywhere near Brownsville...its worth the trip.  

 William Downing was my former bandmate, and my friend.  He lived in the Rio Grande Valley in south Texas until he passed away in 2012.  When Will recorded Outside The Mission, his first album, in Portland Oregon in 2007, he and his mom were invited to stay at my friend Dors Ward's house, where I was also staying as it were.  The album took a week to make, and in that time, Barons and Wards and Downings intermingled.  Rob Lewis produced that album, his first…and then went on to produce much more music, including 2008's Claire Avenue, 2009's unreleased I Ain't So Dumb, and of course Huge Sally's Cold-hearted Bastard and my Searchlights In Mexico.  William's songs always struck me as brilliant and beautiful… and I was most certainly biased.  Of this widespread community of musicians and makers, Will was closest to Rob, and then Jake Riggs of Huge Sally and myself…but Dors was there from the very beginning of it all.

 And that is why it is so cool that The Baron Ward will go to Texas in April 2016 and perform a Remember Will Downing Tribute Tour, with Megan Cronin accompanying on viola.  Of course Dors and I have snuck a few of Will's songs into our setlist over the years…but this is going to be Different.  

 William lived his last days in the Rio Grande Valley in south Texas, in the town of Mercedes.  We will visit "The Valley" and perform at La Palapa, Johnny Downing's farm and restaurant.  We will perform in the town of Surfside and Brazoria county, where Will's surviving immediate family have made their home.  We will reunite with Huge Sally and Jake Riggs in the Austin area.  We will Remember Will Downing.

Here's the link to last year's tour page:

https://www.facebook.com/ChrisBaronPlaysWillDowning

Today’s Topic: The Baron Ward at Black Forest in Eugene Oregon

The Baron Ward had a whale of a time at Black Forest this past Saturday night!

First of all, Thank You to Disorderly Davis, Portland phenom rock band performer, for inviting The Baron Ward to link up with his friend Jack and the Portland rock band Demure.  Through Demure, we also got to know Eugene band Station Wag.  

Everyone was super cool and gracious.  The music was high-energy and felt good all night.  Demure is GREAT at performing as a band, and they are set to go on a brief tour over the next month that includes key dates in southern California and Honolulu Hawaii as well.  Station Wag are a very down-to-earth rock band featuring Ana, a really cool female Les Paul guitar jammer and very charismatic female singer Candace.  Dors liked the singer.  A lot.  In fact, The Baron Ward is looking for a female lead singer to do a duet with Dors in the studio for our song "Just A Bit".  I told Dors he can pick whoever and we'll make it happen.  So far, the candidates he's expressed most interest in are Candace from Station Wag, and Heather Jo Cahill from Portland band The Git Rights Gospel Revue (we met them at Salvage Works this past summer).  I liked 'em both too.  Hey girls, if you're reading this…get ahold of us!  If not, we'll track you down eventually and ask at least one of you about this idea!

I also want to thank our Eugene fans for showing up.  I got to catch up with my Great friends Mark and Shari Kincade and their family, my old drummer from my very first high school band Steve Gillete, my Tall Firs friend Matt and his sweet Lady Holly, and my parents even came down!  We met Brandi who took a moment to hang out with us and even bought us a shot of tequila!  And final thought, I used to play at Black Forest back in the days of Evelate, and always thought it was cool that the venue had a great big aquarium facing the stage.  They still had it!

Dors and I really enjoyed our brief set, and really appreciated K8npdx for not only riding down with us and kickin' the vibes, but for filming the whole night.  I've already seen some of the stills, and a brief clip of us performing "Pour Me Oakshire" and it looks really good…really as always!

Next up for Baron Ward, working on getting a short homemade album put together so we can give it away at our shows…while simultaneously putting together a slick professional full-band studio album with a local Portland producer…