All posts by Rob Roper

About Rob Roper

Rob Roper is a songwriter, guitar player, and singer.

My Music Career (Part 10) Back to School for Music

(This is the 15th chapter in this series about my music career. All the previous chapters in this series can be found on the column to the right. Go here to start at the beginning.)

Back to School

While working with professional musicians in the studio during the recording of Misfit and The Other Side of Nowhere, as well as working with classically-trained violinist Paul Ermisch in Scupanon, the gap in my knowledge of music theory between me and them became painfully obvious. I decided to address that shortcoming. I bought a music theory textbook with the idea that I would learn on my own, but that didn’t work out; I lack the self-discipline. And if I was serious about being a professional musician, shouldn’t I learn the fundamentals? I had the time, having volunteered for a layoff from my day job (see Part 8 in this series). So, in the fall of 2015, at the age of 61, I went back to school at Metro State University in Denver.

For the next two years, I began my days by filling my backpack with music textbooks, notebooks, staff paper, pencils and erasers, and walked 8 blocks to the light rail station. 12 minutes after boarding the train, I would step off at the Metro State University campus in downtown Denver and walk to class. After stopping for a coffee or capucchino first, of course.

Evans light rail station in Denver, 8 blocks from my house
Old cafe on the Auraria campus in Denver

I was able to attend classes for free under a program they had for people 60 years old and over. Each semester I took Music Theory and Theory Lab, and Piano Class. I took another music class each semester as well. The free program excluded private lessons, so I wasn’t able to do that. If I had, I would have also taken private lessons on my instrument, learn to sight-read, and would have been tested by a “jury” at the end of each semester, like the real music majors were. But I did take piano class for 4 semesters, as required of all music majors. I was tested in those classes, including having to sight-read pieces put in front of me that I had never seen before. That was a difficult thing for this rock and folk guitar player. The last time I had sight-read music was when I took guitar lessons at the age of 12.

Q: How do you get a guitar player to turn down his amp?
A: Put music in front of him.

Most of the students in my classes were right out of high school, but there were a few others, who, like me, had gone back to school at an older age. I was initially worked how the 18-year-olds would treat me. Would they laugh and make fun of the “old guy?” But most of them accepted me. I would see the same ones semester after semester, and we would become friends. The only ones who weren’t friendly were the girls who were voice performance majors. I am sad to say that the stuckup diva stereotype was real.

The King Center, where music classes were held.

Music Theory

For those of you who have taken music theory, you know what it was like. For those who haven’t, it’s difficult to describe. It sounds intimidating. It is hard. There is a lot of homework, and you have to put the time in. I’ve heard it called a weed-out class, to separate out those who aren’t serious about a music career. And indeed, on my first day of Theory II class, I noticed a lot of people missing from Theory 1.

The Music Theory class was lecture, with written tests. Theory 1 begins with rhythm, key signatures, intervals, the major and minor scales. Then how triad chords are formed based on the scales. Then it moves on to voice-leading, or chord progressions. Things get progressively more complex, with Theory 2,3 and 4 building on the foundations of the previous classes.

First Music Theory test

Theory Lab consisted of interval recognition, rhythm recognition and sight-reading, melody recognition and sight-singing, and chord and chord-progression recognition. To learn intervals, for example, the instructor would play two notes on the piano, and you had to name the interval– major 3rd, minor 7th, etc. For melody, the teacher would play a melody on the piano, and you had to write it on staff paper. And then the opposite– you would be given a written melody, and you had to sing it with correct pitches. Similarly for rhythm.

Try this website and see if you can recognize intervals.

Music Theory Lab first test
Rhythm sight-singing exercises
Melody sight-singing exercises

Theory was hard for me. Lab was especially difficult for me. I really had to work at it; I had to put a lot of hours on the homework, especially the lab homework. That took discipline. I had to do the homework, whether I was tired, or “in the mood” for it, or not. But I did it. I passed the classes. I think I got A’s on all four Theory semesters, and probably B’s on lab.

Theory 1 Final Exam
Theory 1 Lab final exam

Composition

In my fourth semester, the Spring 2017 semester, I took Basic Techniques of Composition. Composition majors are required to take this in order to qualify for the composition program. We met once a week, and had to compose a brief piece each week. The mid-term and final exams were longer compositions– 3 to 5 minutes, for piano, clarinet and flute. I am very proud of my compositions, especially my final, which I named “The Journey,” as a tribute to the last two years I had spent as a music student at Metro St.

“The Journey” has three major sections, with short transitional sections between each. The four Music Theory semesters roughly correspond to the major eras of classical music. Theory 1 and 2 are from the Classical period, roughly the 18th century. Theory 3 roughly corresponds to the 19th century Romantic era, and Theory 4 roughly corresponds to the 20th century Modernist era.

I wanted the music of “The Journey” to include components from all three eras, to represent what I learned in my journey through music theory. The piece begins with 20th century influence– in neigher major or minor mode, but in C Lydian mode. The piano has a rock style, and the clarinet and flute counterpoint melodies are jazz-tinged. The tempo is Allegro (moderately fast).

The transition between the first and second parts is 12-tone serial, also from the Modernist era. It begins with the clarinet jazz riff of the first part, now played by the flute, then repeats it rhythmically but with different tones. The rest continues following the 12-tone serial rules

The second main part, at Adagio tempo (slow) represents the Romantic era. It consists of a four-chord progression in A minor consisting of four-tone seventh chords, with the clarinet or flute frequently adding a 5th tone– the 9th. As with late Romantic era music, the emphasis is on the chords and colors, rather than melody.

The transition is a short, minimalist piano solo to setup the final part in C major at Allegro tempo. It repeats the piano riff of the first part, but now in C major. The jazzy flute and clarinet return, but the harmonies mostly conform to the Classical era.

One of the things we were required to learn was music notation software, Finale and Sibelius. I chose Finale to use for my compositions. Finale allows you to listen back to your compositions played with MIDI software instruments. Here is an mp3 of a MIDI instrument performance of “The Journey.”

What I Learned (Besides Music Theory)

These were two of the best years of my life. In these two years, I developed a whole new respect for people with music degrees. I saw how hard you have to work to pass those classes. The enormous amount of homework and practice. The sacrifices. The images of college students partying every day doesn’t include a lot of music majors. When I encounter someone with a music degree now, I have an idea what they went through. And I can make assumptions about what they know. I don’t need to audition them; I know they are good on their instrument.

And I can speak their language. I know how to communicate with professional musicians now. During the recording sessions for my latest project, I noticed that I was much more comfortable and confident directing the musicians on what I wanted them to do for my songs.

My singing abilities benefited from Music Theory Lab. Learning to recognize intervals, and sing intervals, has helped my pitch accuracy.

Music theory and composition classes will help my songwriting. The songs on the album I’m recording now were mostly written before I went back to school. My next batch of songs and instrumentals will have more interesting rhythms, melodies and chord progressions. But don’t worry– I’ll still write some simple folk and rock songs. 🙂

Finally, my two-year “journey” through music school confirmed for me that a music career was my calling. I felt comfortable in that environment. There were so many times when I said to myself, “I belong here. These are my people. I’m one of them.” I couldn’t continue past two years because my savings were exhausted, and, even though I was now 63 and eligible for Social Security, I didn’t have enough money in my IRA to retire. So I took one last job in the IT industry as a UNIX system administrator. I worked that job for 20 months, and saved as much as I could, building up my retirement fund. But even though that was the best day job I had ever had, in terms of pay and working conditions, I couldn’t wait to get off work at 5pm and begin my other job– my real job– music. In September, 2019, I quit that job– my last day job– and have been full-time music ever since.

Next: 2017-2020. Play live with my two bands, Scupanon and Electric Poetry.

My Music Career (Part 9) Word

(This is the 14th chapter in this semi-autobiographical series. This chapter was initially in the form of an email sent to my music fan email list on September 24, 2020. It has been slightly edited for this blog. All the previous chapters in this series can be found on the column to the right. Go here to start at the beginning.)

Digital “Album Cover” for Word

I wrote the 3 songs of Word at different times, and recorded home demos of them.  In 2015, in parallel with my Total Flower Chaos recording project, I took these 3 songs to Brian Hunter, engineer at Sawtelle Studio at Swallow Hill, to remix at professional-level quality.  Brian had engineered Me and The Other Side of Nowhere, so I trusted his expertise.  We also re-recorded the vocals, and, in some cases, we edited and/or added some things to the songs.  I then released the 3 songs as a digital-only EP called Word.  Here’s a description of the 3 songs.

Wave the Flag and Give ’em God (2006)

I got the idea for this song in 2006, while walking with my handheld digital recorder to a Chinese restaurant near my house.  I was thinking about how politicians use patriotism and religion to manipulate people.  I wrote in character of a cynical campaign manager advising his rather dull candidate;  it was obvious at the time that my models were Karl Rove and George Bush.  I also referenced Bill Clinton, during the verse where the campaign manager advises him, “you need to start going to church.”  When Clinton was impeached, I noticed that, all of the sudden, there were photos and videos of him and HIllary attending church, which we had never seen before.  To me it was an obvious attempt to suck up to the religious right that was calling for his impeachment.

For the music, I programmed a hip-hop beat on my drum machine, and recorded electric bass and two electric guitar layers.  I then recorded the spoken word vocals.  I mixed it myself.  I included it as a hidden track on my first acoustic CD as a songwriter, Some Songs I Wrote

While re-mixing it with Brian Hunter in 2016, I sampled the ending of speeches by the last three presidents, saying “God Bless America.”  In the song, the campaign manager advises the candidate:

I want you to end every speech by saying
“God Bless America”
Those 3 words are so powerful
Those 3 words alone will get you millions of votes
Those 3 words combine the two things
patriotism and religion
that allow you to manipulate the common people.
So that’s why I say:
Wave the flag, and give ’em God.
Wave the flag, and give ’em God.

You can listen to, and download, the remix of Wave the Flag and Give ’em God on my Bandcamp site.

Indigenous  (2008-2009)

I’m not going to discuss the lyrics of this song here, because it has a surprise ending, and I don’t want to give it away.  But also the politics of this song need an explanation that would be too lengthy for an email.  Someday I will write a separate blog about it instead.  Suffice to say that the topic is the impact of European colonial settlements on indigenous people.  But not the indigenous people that you think, hence the surprise.

They ridiculed our religion
They ridiculed our way of life
They said we were backward people
They said they brought “civilization” to a backward land
They lied about our history
Some of them even said we were never here when they arrived
But we
were here.

The music of Indigenous is perhaps my most creative and adventurous.  I used a synthesizer to simulate non-western instruments.  It’s definitely the best synth playing I’ve ever done.  I created beat on GarageBand that wasn’t a typical kick drum/snare sound.  Then I added western instruments that I know how to play– acoustic guitar, electric guitar and electric bass.  For the song outro, I play a guitar solo on a heavily distorted electric guitar.  My model for this solo was Carlos Santana, because he plays with so much emotion, and you can hear it.  I think it’s one of my best– if not my best– guitar solo.

Like the other two songs, I took the tracks I recorded at home to Brian Hunter at Swallow Hill.  I re-recorded the vocal, and Brian remixed the tracks.  Check it out on my Bandcamp site.

Accept, Embrace, Surrender (2012-2013)

There is a 4-day class series given every year at the Song School by Paul Reisler, called Directed Writing.  In that class, Paul pairs everyone up with a random person, and you exchange stories about “something that changed you as a person.”  (It was at this class in 2004 that I met Lori Cook, and she wrote “Little White Boy.”)  My friend, Nancy Farmer, took this class in 2011, and was paired up with a singer-songwriter by the name of Joe Stevens.  Joe’s story was that he had been born a girl, but it never felt right.  He always felt like a boy.  As a young adult, he decided to make the change.  This was the story Nancy had to write a song about– and she did– but she felt like she had not done the story justice, and wanted to write a new song for Joe.  I met Nancy at the Song School the following year, in 2012, and she told me about it.  I was intrigued by the challenge, and offered to co-write, and she accepted. 

We began work on it at the Song School in 2012, and continued into the fall.  I had recently seen the documentary movie “Free Style,” which is about free style rapping.  People gather in small groups and take turns rapping.  It all has to be improvised on the spot– nothing can be previously written– and it of course has to rhyme.  And around the same time I saw the Eminem movie, “8 Mile,” which is about “battles,” another form of improvisational rapping. 

After seeing those movies, I decided to try free styling while walking around my neighborhood with my handheld digital recorder.  I had no plans to be a rapper, but I thought it might help me generate some lines for songs, particularly for the song I was doing with Nancy for Joe.  It was very fruitful– I got a lot of potential lines from it.  But in hearing myself back on the recordings, it occurred to me that this style– hip hop– seemed to fit the subject matter.  Hip hop rap has attitude;  it’s defiant.  And what is more defiant that transforming your gender, and becoming who you really are?

I told this to Nancy.  She was less acquainted with hip hop than I was, but she was willing to give it a go.  I drove up to Jamestown, Colorado, where she lives, and we walked around Jamestown free-styling and recording it.  Nancy took to it like a fish to water.  She came up with great lines.  We soon had enough material, and now just had to put it together in a coherent form.

For the music, I decided to make it a blend of hip hop, folk and rock.  I programmed the drum machine, and recorded it all the instruments at home.  I rapped the verses, and Nancy sang the chorus.  Nancy also doubled some of the rapped verse lines for emphasis, in true hip-hop style.  I then mixed it, and we played it for Joe at the 2013 Song School.

I don’t know who I am
but I’ve got my suspicions
What you see isn’t me
and the signs point in both directions

In 2015 I took the tracks to Brian Hunter at Swallow Hill, and he added some effects and remixed it.  Please have a listen to Accept, Embrace, Surrender by Rob Roper and Nancy Farmer on my Bandcamp site, and download it if you like it.

The Release of Word

Word was released in January, 2016.  Given the decline in CD sales, I decided to release the 3 songs of Word in digital form only, for download and streaming.  You can listen to them on most of the streaming services, such as Apple Music, Tidal, Deezer, Amazon Prime, Spotify, etc.  But please consider buying the downloads, since even a $1 download pays 500-1000 times more than a steam.  And Bandcamp allows you to pay more than a dollar if you want to help the artist.  All download money helps me pay for future recording projects.

Word Artwork

Since I didn’t release Word as a CD, I didn’t hire a graphics artist to design the CD artwork.  But I needed a pseudo-album cover for the digital release, so I created a simple text cover, as you can see above.  Boring.  I’m hoping to find a fan who is a graphics artist who would like to volunteer their time and skills to design an “album cover” for Word. Better yet, artwork for each of the 3 songs. It could be a different artist for each song. I would love that. But alas, I have not found such a person yet. Email me if you’re interested: rob@robroper.com

Next: I go back to school to study music theory.

My Music Career (Part 8) Total Flower Chaos

(This is the 13th chapter in this semi-autobiographical series. This chapter was initially in the form of an email sent to my music fan email list on July 29, 2020. It has been edited for this blog. All the previous chapters in this series can be found on the column to the right. Go here to start at the beginning.)

Music Full Time!

When I moved to Denver in the Spring of 2000, I took a job with Sun Microsystems working in field service. I did troubleshooting and maintenance on the servers and storage systems in datacenters– the computer hardware you don’t see when you’re texting on your cellphone, or reading email on your computer. But Sun’s rise in the computer industry was peaking, and the company began losing money and laying people off almost every year beginning around 2004, the year I committed to songwriting in earnest. I heard that the layoff packages were quite generous– about a full year’s pay. It got me thinking: I wonder how much more could I accomplish if I didn’t have a day job; if I could devote all my time to writing songs?

Each year after that, I was envious of the people who were laid off. In 2007, during my annual review, I told my boss that I wanted to be laid off. I don’t think he took me seriously. Layoffs continued year after year, and I was never chosen. I had become recognized as one of the best people in our group. I had the fatal flaw of taking pride in my work.

I went through two other bosses, and in 2013, I told my new boss that I wanted to be laid off in the next round. I told him I had saved a year-and-a-half’s pay from all the overtime we had been forced to work, and that I had no kids dependent on me, and that I wanted to do music full-time. I told him that I knew that laying people off was the worst thing a manager had to do, so I would do him a favor and let him layoff someone who wanted to be laidoff. He thanked me and said he would let me know.

Four months later, in February, 2014, he called me, and asked, “Do you really want to do this? Because you’re one of my best workers.” I said yes, I really do. I was overjoyed; I was practically hyperventilating. He said I could pick my date. I chose a date 5 weeks later– March 14, 2014. On that date I became a full-time musician.

I knew that, unless I got a lucky break, the savings would run out eventually, and I would have to take another day job. But I was going to take advantage of this for as long as I could. It felt great; it felt natural, waking up in the morning and going to work, not for The Man, but for my music.

You dared to resist
You blew ’em off with a kiss
You could have stayed in the shade
But your heart would have paid

You left behind a world of grey
You had to see the colors play
It was just a stop along
The Way

–from “The Way” Copyright © by Rob Roper 2018

Colorado Gigs and a Vacation to the Northwest

Around this time, my acoustic trio, Scupanon, was making progress, playing more gigs in more venues.  Dorian had completed its demo recording in February and was finally ready to gig.  In early July, I took a 3-week vacation to the Pacific Northwest.  Having never been in that part of the country, I took my time and drove through Wyoming and Idaho. 

I wanted to check out the music scene in Portland and Seattle.  Not having a day job, I was considering touring as a solo singer-songwriter, so I brought an acoustic guitar with the goal of playing a couple of open mics and testing the waters.  In Portland, I played an open mic at the Artichoke Cafe, a folk music venue.  I was then invited to play a set at a show later that week.  I was also invited to play a short set at a singer-songwriter showcase at the White Eagle in Portland. 

The White Eagle in Portland, 2014

Then I drove to Seattle, where I had an interesting little epiphany.  I went to live music bar, and there was a guy playing solo acoustic.  A person sitting at the bar next to me asked, “Do you know who that is?”  He said the guy’s name and that he was in such-and-such rock band, who I hadn’t heard of.  Frankly, I wasn’t impressed; I didn’t think he was any better than me.  But everyone in the bar sat in raptured silence, as if it was Kurt Cobain playing solo acoustic.  That got me thinking about my musical image.  I never really wanted to be a solo singer-songwriter.  I always enjoyed playing with people in a band.  I realized that I wanted to be like that guy– a guy who is known for his rock band, and plays solo occasionally.  That ended my flirtation with being a touring solo singer-songwriter. 

Total Flower Chaos

Dorian played its first gig at the Larimer Lounge in Denver on July 27, 2014, and would continue playing gigs into the fall and Spring of 2015.  I continued co-writing songs with them, but at the same time, I was writing other rock songs that didn’t fit the Dorian style.  I decided to make a solo rock record, and, in December, 2014, I contacted Evergroove Studio in the mountains outside Evergreen, Colorado, and scheduled sessions for June, 2015.

Evergroove Studio

At this time I only had one finished rock song with lyrics, “The Voice of Doubt.”  Everything else was just rough ideas– a chord progression or a riff.  I had hundreds of these.  I had read in interviews that The Cure, The Church and Sonic Youth– 3 of my favorite bands– all wrote songs by writing and recording the music first, and then the lyricist would write lyrics.  I decided to try that technique.  So my first goal was to get the music composed and recorded in demo form for several songs.  I would write lyrics later.  I worked furiously on that for the next 5 months.  Meanwhile I was not only gigging with Scupanon and Dorian, but doing all the promotional and admininstrative work for both bands.  I was busy.  But I had no day job!

By May, 2015, I had a handful of song demos recorded, without lyrics.  I was ready to go into the studio.  I ran a Kickstarter Crowdfunding Project and raised $4,000– about half of the projected cost.  I covered the rest from my savings.

The Recording of Roses

The engineer and co-producer, Brad Smalling, brought in Cameron Hays to play bass and help with the song arrangements, and Ben Waligoske for lead guitar.  I recruited Dorian’s drummer, Jon Cox, to play drums.  We met a couple of times and rehearsed.  I told the “band” that I was open to suggestions on the arrangements, and the songs were changed even while recording in the studio.  I decided to record the basic tracks live in the studio– drums, bass and two guitars.  That was done in late June, 2015.

After the basics were recorded, I came back in July and recorded more guitar layers, and Ben recorded guitar solos for all the songs except “Carmine’s Dream.”  Brad brought jazz keyboardist Adam Bodine in to add keyboard parts.  He mainly played Evergroove’s Hammond B2 organ with the rotating Leslie speaker. 

Setup for drums, bass and rhythm guitar recording
Adam Bodine

I mentioned before that I wanted to use the technique of some of my favorite bands and write lyrics after the music was completed.  But I struggled with that, and decided to compose melodies on guitar instead, and make it a pure instrumental rock album.  One of the songs, The “Voice of Doubt,” already had lyrics, written years before.  It didn’t make sense to only have one song with lyrics on the album, so I I decided to hold it for a later album.  In 2019 I released it as a Total Flower Chaos single.

I spent the second half of the summer and the early fall composing and recording melodies and other guitar layers for the songs.  Mixing and mastering was completed in February, 2016. 

Album Title and Artwork

Many years before this, I was walking past a neighbor’s house, and their yard was all flowers.  And the flowers weren’t neatly arranged like a landscaping company would do.  It was wild, chaotic and natural-looking.  I stopped and looked at it and smiled, and said to myself, “this is total flower chaos.”  I then immediately said to myself, “hey!  That’s a good name for a band!”  I decided to make this new album with the Total Flower Chaos bandname, with the idea that I would form the band with that name after releasing it.  But the band idea took a detour, as we will see in a future chapter in this series.

Photo I took of my neighbor’s yard. “Total Flower Chaos”

In March, 2016, I hired Nick Jackson, who did the artwork for my second CD, Me, to design the artwork for the album.  I sent him photos of my neighbor’s yard, as well as photos from my front yard flower garden.  Nick chose a photo of the neighbor’s yard that featured roses.  He used software to distort it and I loved the design (see photo).  I decided to name the album Roses as a result of his design.  I also used his design for a Total Flower Chaos tshirt.  The tshirts were completed in May, 2016, and finally everything was in place for the release. 

On June 7, 2016, Roses by Total Flower Chaos was released. 

“Roses” by Total Flower Chaos album cover

How was Roses received?

The $8,000 I raised for the album was just enough to pay for the cost of recording, mixing, mastering, artwork, replication of 300 CDs, and digital distribution.  There was no money for promotion. 

As for the reception from my fans, the truth is, it was largely ignored.  I sold less than 10 CDs and downloads.  But actually, I expected a cool reception because most of you had become fans because of my acoustic performances and albums, and were probably bewildered by this instrumental psychedelic, hard rock album.  I realize that most people aren’t like me– loving both hard rock and folk music.  But I have met a few people who really like it.  “Black Mountain” seems to be the favorite song.

What I learned from Roses

I’m quite proud of Roses.  As a music composer and guitarist, it was a major step forward for me, another step beyond what I had done with Dorian.  I used 5 different guiitar tunings on these songs.  I blended hard rock and metal with Cure-like clean guitar melodies, Church-like psychedlic music and Sonic Youth-style noise.  I learned how to compose melodies on guitar– check out what I did with “Carmine’s Dream.”  If you had told me a year earlier that I would make an instrumental rock album, with composed guitar melodies, I would have told you you’re crazy, I could never do that.  But I did.  And it’s good!  And Roses was a step towards the original goal I had when I took up songwriting in 2004– to write rock songs and lead a rock band. 

Smell the Roses!

If you haven’t yet, please give a listen to the 5 songs of Roses.  You can listen for free at the Total Flower Chaos Bandcamp site.  (Note that this is a different site than the Rob Roper Bandcamp site.)  If you like the music, you can buy the Roses CD with it’s beautiful artwork on the Bandcamp site. You can also buy the CD at any of my live shows, whenever things get going again!  I will autograph any CD if you request it.  You can also download the album or individual songs on the Bandcamp site.  Bandcamp allows you to pay more than the listed price, if you want to help me recover some of my investment, and raise money to record my next album.

Total Flower Chaos songs are also available on all the streaming services like Apple Music, Spotify, Pandora, etc..  I have created a Spotify playlist of the 5 instrumentals plus the single, “Voice of Doubt.”  But keep in mind that a $1 download pays 1000 times more than a stream, so please consider downloading your favorite songs on the Bandcamp site.

Coming next:  my 3-song spoken word EP, Word, released in the same year as Roses

My Music Career (Part 7) Scupanon and Dorian

(This is the 12th chapter in this semi-autobiographical series. This chapter was initially in the form of an email sent to my music fan email list on July 19, 2020. It has been edited for this blog. All the previous chapters in this series can be found on the column to the right. Go here to start at the beginning.)

Scupanon

Soon after releasing The Other Side of Nowhere in December, 2012, I met Sam Caston at my neighborhood bar.  I immediately detected the southern accent, and found out he was from my home state of Mississippi.  We talked music, and he said he was a percussionist and played congas in a salsa band.  I had hired studio musician Daren Hahn to play hand drums on The Other Side of Nowhere and liked how it fit with my songs, so I invited Sam to join my band.  He did, turning the duo of violinist Paul Ermisch and I into a trio.

Photo by Debi Kennedy

We played several gigs on the Colorado Front Range in 2013 under my name, but I wanted to adopt a bandname to give Sam and Paul credit for their contributions.  I also thought a band might be more appealing to the people who book venues than an individual name.  We each proposed ideas, but settled on Sam’s idea of Scupanon, a wild grape that he used to pick as a young boy in Mississippi.  We continued to play as a trio, now Scupanon, in 2014.  Then Sam decided to move to Fort Collins where his salsa bandmates were based, so he had to leave the band.  In the last couple of years, however, Sam has rejoined us a few times, especially when we play gigs in northern Colorado.  I have uploaded several live recordings of Scupanon during these years to The Misfit Club site, and will continue to sort through all the ones I have and upload more. 

Scupanon at the Park House, Denver, 2014. Photo by Debi Kennedy.

After Sam left, Paul and I decided to keep the name Scupanon, and we went throught a couple of percussionists and upright bass players, but mainly played as a duo the next couple of years.  Meanwhile….

Dorian

… I was itching to play rock music.  My folk personality was being satisfied but my rock personality was not.  What to do?  I could have tried to form a rock band, but I was doing all the work for Scupanon– bookings, promotion, etc.– and knew that I didn’t have time to lead another band.  I thought if I joined another band as just a role player– a guitar player– then I could get my rock thang on without too much extra work. 

In the Spring of 2013, I replied to a Craigslist ad for a guitarist for a band in the style of The Smiths and The Cure, two bands whose guitar styles I like.  The ad was placed by singer and lyricist Adrian Ritchey and bassist and songwriter Dave Bakulski.  They had written one song together, Dave had written some songs for a previous band, and Adrian had some lyrics that I put music to.  I also handed off music ideas to Adrian and he wrote lyrics for them.  In other cases, songs came from the band jamming.  I finished a song I had started back in 2005, “You Dug Your Grave,” and contributed that.  We then found a drummer, Jon Cox.  Adrian named the band “Dorian,” after Oscar Wilde’s novel, The Picture of Dorian Grey.

Dorian at the Larimer Lounge, Denver, 2014.
Dorian at the Larimer Lounge, Denver, 2014.

We would need demo recordings and a website to get gigs, so I recommended engineer Brian Hunter, who had recorded Me and The Other Side of Nowhere for me.  We worked out of his Mousetrap Studio in Denver.  I set up a Reverbnation site for us.  That site is still up, and you can hear the 6 demos that we did there.  We continued writing more songs together after the demo was made, but never recorded them.  I have a few live recordings of them, which I will put on the Misfit Club website, as well as the 6 demos. 

Recording for Dorian at the Mouse Trap, Denver, 2014.
Being silly at the Mouse Trap during the mix of Dorian’s demo CD.

I said that I just wanted to be a role player in this band, but the work wasn’t getting done, so I did it, because I wanted to play!  We played several gigs in the Denver area between July, 2014 and June, 2015, mostly as a result of my efforts.  Meanwhile I was handling all the administrative work for Scupanon as well.  That couldn’t go on.  I couldn’t continue doing all the work for two bands, plus…

… I had decided to take on two more projects:  I wanted make a record of the new rock songs I was writing, that were heavier than Dorian’s style.  And I had decided to go back to school at Metro St. University in Denver to study music theory.  (These two things will be the subject of the next email.)  I had to cut something.  So I met with the guys of Dorian in August, 2015 and told them I had to quit the band. 

What I Learned from Dorian

Dorian was a good learning experience for me in many ways.  It got me booking, and playing gigs at rock venues in Denver, as opposed to the acoustic venues I had been playing solo and with Scupanon.  My songwriting improved.  I learned how to write music for another person’s lyrics, or in some cases, lyrics with a melody.  I had to improve my guitar skills to play in this band, and I’m quite proud of my work on these songs.

Next: Going music full-time, and Total Flower Chaos.

My Music Career (Part 6) The Other Side of Nowhere

(This is the 12th chapter in my autobiographical series. This chapter was initially in the form of an email sent to my music fan email list on July 14, 2020. It has been edited for this blog. All the previous chapters in this series can be found on the column to the right. Go here to start at the beginning.)

When Misfit was released in May, 2011, I wanted to play gigs and promote the album.  But there were problems getting the band back together, so I decided to just play acoustic gigs as a duo with violinist Paul Ermisch.  Paul came from a a classical violin background, as opposed to a country or bluegrass fiddle background, and I liked what he added to my songs.  So I wanted to make a new recording that reflected how we sounded as a duo, both for getting gigs, and for the fans who liked our music.

Paul and I at Michelangelo’s Coffee House in Denver, 2011.

The other motivation for the new album was that I wanted to record some of the songs that I had been playing live, but had been left off of Misfit.  These songs were “Sea of Hope,” “Let’s go to the Mountains,” “The Man in the Movies” and “The Other Side of Nowhere.”  I also decided to record two songs on Misfit that I was playing very differently as an acoustic duo, “Misfit” and “Falling into Heaven.”  I also decided to include a rework of “Let it Go,” a song from my first album, Some Songs I Wrote.  Finally, I included a cover song I had been playing, “Trouble on the Way,” written by Tim Riordan, a friend I had made at my first Song School in Lyons in 2004.

Recording The Other Side of Nowhere

Work on the new record began in 2012, about a year after the release of Misfit.  I chose Sawtelle Studio at Swallow Hill, where I had recorded Me in 2009.  I had been happy by the work of the engineer, Brian Hunter.  This time, I engaged Brian as a co-producer along with me.  Unlike Misfit, I didn’t turn over complete control over the arrangements to someone else.  This time, I worked as a team with Brian, kicking around ideas, we me getting the final vote. 

My initial plan was for it to just be Paul on violin and me on acoustic guitar and voice, to reflect how we sounded live.  This was also motivated by cost– after spending $34,000 on Misfit and getting almost no return, I couldn’t afford another financial disaster.  But Brian gently coaxed me into bringing in other instruments.  The end result was a bigger sound than just Paul and me, but minimal enough that we could still honestly say it sounded like our live gigs. 

Artwork and Release

I decided to name the album after one of the songs, The Other Side of Nowhere.  I hired Scott McCormick for the photography and artwork, and asked him to come up with something that reflected the title.  Scott photographed Paul and me, and came up with the idea of a prison with a ladder on the wall, showing that someone had escaped to “the other side.”  I wanted to give Paul more than the usual credit in the list of musicians, so I put his name on the cover.

The Other Side of Nowhere was released in December, 2012.  Unlike Misfit, I did not spend money on promotion.  Still, it cost me $8,000, of which I never made more than a couple hundred dollars in revenue.  Like Misfit, it was paid for by working a massive amount of overtime on my day job.  While everyone else would be spending their Friday and Saturday nights having a good time, I would be stuck in a loud, ugly datacenter somewhere, replacing parts on a server.  Not fun at all.  The only thing that kept me from total depression during those times was knowing that the time-and-a-half pay was paying for my music.

You walk through this world
but you can’t find your song
Doing what you should, not what you want
And the last time I saw you,
You were drunk on despair
I’ll be waiting on the Other Side of Nowhere

What I Learned

I took a couple of guitar lessons prior to recording this album, and so my guitar playing improved.  I continued working on my singing, and I think it’s better on this record than on Misfit.  After recording my guitar parts first, I settled into the role of producer, learning how to direct the other studio musicians.  Watching how John McVey handled the studio musicians on Misfit no doubt helped me in this regard.  Finally, I learned how to co-produce with Brian;  when to go with his judgement, and when to trust my own. 

Reviews of The Other Side of Nowhere

Like Misfit, the new album got good reviews, both from professional reviewers as well as fans.  Here’s a couple:

from Tim Wenger of the Colorado Music Buzz magazine:

“Rob Roper brings occasional violin and drum instrumentation out alongside his eloquent guitar work on his new record The Other Side of Nowhere. The title track is the most definitive of Roper’s sound: a bit slow, yet melodic; ambient, yet strangely catchy. It is acoustic rock with Roper’s own unique touch on it, and it echoes with Colorado flavor… His music sounds like what you would hear in a small high-country café, there are touches of country as well as some faster paced rock riffs that stand out at just the right times.”

from Misfit Club member Millie Phillips:

“Rob Roper tells the stories of those of us who will never be be rich or famous; stories of failure, struggle, dreams, and modest victories, often with wry humor and an unsentimental, hard-earned hopefulness. The acoustic arrangements are quite different from the electric band-based ones on his previous CD Misfit. Both styles are just as good, and this CD has the added treat of featuring some amazing violin playing by Paul Ermisch.”

You can read all the reviews on The Other Side of Nowhere page on my website.

How to Get The Other Side of Nowhere

You can buy The Other Side of Nowhere CDs at my Bandcamp site, or at any of my live shows.  You can also download the album or individual songs at my Bandcamp site.  Bandcamp allows you to play more than the listed price, if you want to give the artist a little extra help.  CD and download purchases help me raise money to record new music.

The Other Side of Nowhere songs are also available on all the streaming services like Apple Music, Spotify, Pandora, etc., and I encourage you to do so.  I have created a Spotify playlist of all my songs, just search for it.  But keep in mind that the revenue from those services is insignificant, and won’t help me raise money for new music.  A $1 download pays 1000 times more than a stream.  So please consider downloading your favorite songs on my Bandcamp site.

Next: Two bands, Scupanon and Dorian