Are we on the Same Page? Do we ride the same wave? No I don’t wanna want you, if you don’t feel the same….. are we on the Same Page?
by Sage Suede
Hi, I’m Sage Suede. This is my first blog post on mysoundposter.com! I have another blog on SageSuede.com and SageSuede.tumblr.com.
A little about me: I started my website in 2015 and released DIAMONDBACK Demo in 2017. DIAMONDBACK Demo was recorded in Northeastern’s Snell Library with an iPhone, while I attended classes full time. Later, I released a compilation of free tracks on my website called 2018 Freebies Bangers. It changes languages a few times. I’m a polyglot, so I change my mind a lot lol.
Recently I had the opportunity to interview Greg Connors about his new single “Future Nostalgia.” As I was listening, I was so drawn into the track, which prompted further listening to Connors’ vast cannon of eclectic material. I found his songs speak to me in a familiar voice, both vulnerable and comfortable. His melodic, yet ‘cut the crap’, self-styled phrasing dances with a deliberately off-kilter, sweetly angular guitar motion.
“Are you gonna be ok speaking to him?” she says.
“Yeah sure, why?” I say.
“It’s just that some people totally freak out when they meet him,” she says.
I’m standing outside of a studio door at BBC 6 music, and the nice girl who is chaperoning me is asking if I’m gonna be ok meeting Bruce Dickinson.
There were a few years there–the late 60’s and early 70’s–when underground FM radio thrived in Chicago. FM was new then, not yet corporate, and it offered, on weak frequencies, some very eclectic and adventurous broadcasting. I’d stay up late at night and record from the radio—musicians I’d never heard, but who fascinated me: Sibelius, Rahsaan Roland Kirk, Skip James, Ornette Coleman, Doc Boggs. The tapes had no genre boundaries or even taste parameters, really–half the time I didn’t even know if I exactly liked the stuff I was recording. I didn’t yet have enough musical context to fully appreciate it. But I craved the soundscapes the tapes created. Avant garde and folk musics seemed much the same to me. It was all musical texture—fresh and new, especially the stuff that was old.
I was taught that to be a true musician, one has to make a choice between a social life and success. This is a concept that I have struggled with for the past two years before writing Sunset Club. I first became introduced to the idea of being a performer with classical music, mainly opera. To be a successful classical musician, one must spend all their free time practicing, learning, thinking, and breathing music. That isn’t the life for everyone.