https://gideonconn1.bandcamp.com/album/being-gideon
Although I have been Gideon my whole life, BEING GIDEON began in May 2017. Having not written a song for three years since ‘Hip Hop Original’, (released 2015 on Wah Wah 45s) ‘Hey Diana’ (pronounced Dee-anna) was somewhat of a surprise. It’s a silly romantic gesture set in old school hip hop with a big beat, a slow tempo and a hot guitar lick. Musically, it represented a major recording break through. Take away the held chord, allow plenty of space between the bass and the organ/guitar in the treble and leave the mid-range completely free for the vocals. Game changer.
The recording process with engineer producer John Hughes was even slicker than on Hip Hop Original. I put the idea for the main groove through a loop pedal and send a phone recording to John who prepares an interpretation of the beat ready for me to lay down the instruments and vocals in the studio. John pings over the first mix a few days later. Minimum of fuss. Years of collaboration mean that John knows how to translate my language into sounds.
“Something’s missing from the vocals – they should sound a bit more wheueioim”
“Do you mean autotune?”
I’ve always been a believer in working with what I’ve got, which happens to be a mellow tone Epiphone Les Paul copy, a Roland RS300X and a Digitech Jamm solo. Keeps it self contained. But I wanted the warmth of analogue bass, so I borrowed a 1964 Futurama from Aidan Smith. The pick ups sound unique and the short neck is perfect for people who don’t play bass.
Aside from discovering a new sound with ‘Hey Diana’, which is always at the heart of my musical journey, I remembered how much I enjoyed being in the studio. The switch had been flicked and the songs started to flow.
Straight after ‘Hey Diana’ came ‘It’s Your Turn’. Light the touch paper and stand well back. It’s a hip hop party banger like no other and it drives like Little Eva’s locomotion.
It was written on the motorway between Reading and Manchester. An extended journey due to a few wrong turns when my mind was occupied thinking of things that it could be your turn for and juggling them into the right order. The track was prepared the following day at my work space and spiritual home – The Wonder Inn. A creative hub and multi event space in the centre of Manchester that brightened peoples lives for the three years it existed. It appropriately provided the setting for the album cover image, a photo of Gideon drawing Gideon, created by Kris Extance , using a torch and a long camera exposure.
The drum pattern for ‘It’s Your Turn’ was borrowed from a long standing cover arrangement of Deception by Blackalicious. To this I added a percussive two chord strummed rhythm, made by resting the bar finger lightly over the fretboard, which gave the groove its punch and distinction.
At this point I broke the news to John that we were probably working on an album, ‘if that would be alright with him.’
Songs started spewing out of my mind and fingers like telegrams at the WW2 foreign office.
‘21’ is a down tempo nostalgic and personal reflection on my art degree days. A time of unfettered creativity and unrequited loves. The snare snaps, the bass throbs, the electric guitar soothes and the pitch bend organ moans with sexual repression.
‘Good friends’ pays homage to Biz Markie’s ‘Just a friend’ and introduces you to a few of the people that have meant a lot to me over the years.
The arrangement for ‘One Way Love’ gives a subtle derisory poke to contemporary pop. Boy likes Girl, Girl says not right now and Boy ignores her because he is not in the market for a rejection. Featuring Hannah Ashcroft as the voice of Girl.
‘The Master’ is derived from the slow movement of Beethoven’s 7th and provides an insight into my musical heroes of jazz, soul, hip hop and classical (although only the ones whose names conveniently scan). The verse tells of the importance of musical legacy, for which time holds the key.
13 tracks and an hour later, the album finishes with ‘Singing’, featuring the voices of Tom Briggs and Kirsty Almeida. It’s an uplifting finale, with emotive harmonies and a positive outlook on what it means to be a songwriter.
‘I had been writing again, it was exciting again, though I was in a room all on my own I was a Titan again.’
See you in another 3 years.
