The melody was written in 2009, the lyrics were written as a poem in 2013, and their combined music baby I recorded and named "The Minor" in 2018. Life seems to fulfill itself eventually ....
I went to work on combining said melody and poem after hearing the album "The River" by Herbie Hancock. Herbie rearranges Joni Mitchell's poetry/songs (The Letters) and then has legends like Tina Turner and Leanord Cohen sing 'em. Let's just say, it blew my mind and "All I Want" stayed on repeat for at least 6 weeks. Not that I’m comparing this track to those arrangements (at all) but like all good music it did its job and inspired its listener.
The melody we used, I had played about a million years ago, when my kids were little and their nap time each day was my respite. I should have been doing laundry or catching up on things but instead I'd sit at the piano in the front room surrounded by bay windows and pretty white walls, and muse until one of the kids found me. If I kept playing the same notes (melody) week after week I'd record it. This particular melody happened to be one that stuck.
I'll admit. It's pretty meta to write a song in a minor key and then name it "the minor" but I couldn't resist on this one. Minor keys are my favorite and this one needed it as title, too. I'm not the only one obsessed with minor keys. Universally, us humans describe them as "the least justifiable, the most feminine, the prettiest, the saddest of keys" (Wikipedia). The song is about love missing each other and therefore not being love in the end. Both parties have their insecurities, their hangups, their excuses and sadly love (as potential) gets missed. However, you can't hope for what you have so the wanting part is what the beautiful hoping parts are all derived from .... and that stuff is simply the prettiest, the most hopeful, least justifiable, most feminine, prettiest, saddest.
My recordings happened to all be in D minor, which is exceptionally sad and that made me ... exceptionally happy!
I'm proud of this track for a few reasons. One of them is the fun fact that I directed this one on my own. One might call it producing (or bossing around) and to my amusement everyone let me. Sure it cost twice as much and took twice as long but that just means the tune automatically gets extra points (producer said so) and I get extra notches on my belt ... gearing up for the next round. Don't get me wrong. I have a few names in mind who I'd prefer to take over the producing role one day, but for this song I stuck my neck out and it worked.
We recorded at Blue Door Studio and Greg Diarra was absolutely perfect on keys, as well as Ben Hedquist on upright base, and Ryan Anthony on drums. It took us one short session and these pros read from a lead sheet and then intuitively nailed the rest. Gotta love that!
Sounding like I'm alone in a dark cave is exactly how I prefer to record but when it comes time for mixing vocals a dry rather than wet mix typically ends up making the cut. Noah, owner of Blue Door Studio, navigated those wishes and used the newest BENSON VOCAL STRING REVERB UNIT that I want to say is one of the first models (or first model) from CHRIS BENSON. I'm in love with the sound and gawd those amps are pretty! Nathan from Vault Mastering put the final touches on the Master and there ya have it .... #theminor. Hope you all enjoy!