Scattered Diamonds (2007 - 2009)
1. You Get Carried Away
2. City Halls
3. No Winter
4. Seeing Stars
5. A Little respect (Erasure)
6. Hopeless, Not Serious
7. Waiting To Fly
8. Girls Night
9. House Fire
10. (Devil) Beyond The Sea
11. Romans
12. Follow Me Around
13. At The Bottom/Untitled Ballad
14. Seasons To Ghosts
15. Excuse Me For Not Dying
NOTES:
This is a collection of songs recorded between 2008 and the present. I'm sure there are a few more in hiding, but that's for another time. Most of these songs plea for a full band arrangement, but I am currently without musicians - hopefully soon I will find a remedy and breathe proper life into these limp skeletons. In any case, this is what is, and I hope you find enjoyment in them.
All songs written, performed and recorded by David Berkovits, except where noted.
1. You Get Carried Away: I started writing this song in the winter of 2008 - January, I believe. I had the basic chord progression and chorus, but shelved it because I couldn't find a suitable bridge. Well, it still doesn't have one, so I guess it's not meant to. I finally recorded it about a month ago.
2. City Halls: This is one of the oldest songs in the bunch. I wrote and recorded it at the very early stages of planning the 'A Secret Conspiracy Against The Blues' record. I actually wanted to have Scott lay down some additional vocals and include it on the record, as a sort of companion piece to 'Vulture Politics'. For some reason or another, it never happened, and the song never made it on the record. A shame.
3. No Winter: This is an instrumental I wrote and recorded right after my move to Tel Aviv. I was overjoyed by the sunshine and the thought of cheating winter. I left New York in August so I would finally have an entire year without winter. I recorded most of the tracks in a cafe near my apartment. Although the song is meant to be a celebration of the sun, it has a very cold, distant winter-y sound. I think I was letting go of some ghosts that were clutching pretty fiercely; trying to kill an old state of mind. I guess I still do that with my songs.
4. Seeing Stars: This song came about pretty quickly, because the melody is probably stolen. This is my attempt at writing a traditional, ageless love song. I really like it and I plan to re-record it someday soon. It got its start as an improvised little bit at the end of another song, but it quickly demanded more serious attention. I gave it some. It was originally called 'Hymn For Her', but I settled on its current name after listening to an evening's worth of Django Reinhardt. Additional Vocals: Valentina Meytina.
5. A Little Respect: This is an Erasure song. Always been one of my favorites. Tina and I had a bit of fun with this one. I confess: I sped up the recording a bit. Additional Vocals: Valentina Meytina.
6. Hopeless, Not Serious: This instrumental was supposed to have words. I planned on finishing it and including it on the 'A Secret Conspiracy Against The Blues' record. I remember recording this at Scholes Street, using Scott's keyboard. It was meant to be a tiny ode to Heath Ledger. I heard the phrase "the situation is hopeless, not serious" in a fantastic Billy Wilder film and it stuck like glue. I felt it was an appropriate title to honor the passing of 'The Joker'.
7. Waiting To Fly: This is one of my favorites. It was written and recorded in an hour. That type of magic rarely happens to me, so when it does I cherish it greatly. This song is 100% inspired by Neil Young's 'Expecting To Fly'. I really, really love that song... and the recording. I guess I had it stuck in my head that I wanted to record my interpretation of that song. Additional Vocals: Valentina Meytina.
8. Girls Night: This is a sound experiment. The title says it all. Some girls were over and I was on the balcony recording them. I treated the voices on the spot while adding some affected piano. I made a tweak here and there, and this is what became of it. I didn't tell them I was recording, so as to not spoil the fun.
9. House Fire: This song came about pretty quickly. Upon arriving to Israel, I decided to abandon my old perfectionist recording style and embrace swiftness and inaccuracy. I found a chord progression I liked and this song was born. I think it carries homesickness somewhere within - no, I'm certain it does. I tried to do a version with Tina singing, but for some reason it just didn't work out.
10. (Devil) Beyond The Sea: This one also came in a flash. I had been wanting to write a song based upon what I call a 'prom night chord progression'. Finally, it happened. I planned to record a slow, quiet version of this, but once I hit record, things changed. Every track was recorded in 1 take. This was the quickest song I've ever committed to tape and I like it quite a bit.
11. Romans: I can't exactly remember the origin of this song, but I think it was Scholes Street. I was playing with the verses and chorus, but had no real structure. I vividly recall riding the L Train and piecing the song together. By the time I arrived in Brooklyn and picked up my guitar, it was done. Thomas helped with the 'oh oh oh' intro melody. I think this song drove him especially nuts.
12. Follow Me Around: This is the newest song to date. It came together quite nicely and I really like it. Has a jazzy type feel and I enjoy the way the chords fit together. This song could benefit from a loud, raucous rendition. It was originally titled 'Night Swarm'.
13. At The Bottom/Untitled Ballad: Dunno about this one. I guess it's my club song. I barely remember this one being built. I like Tina's Tarzan-like vocals. The 'Untitled Ballad' ended up being reconstructed and called 'Seeing Stars'. I'm quite aware that the lyrics are nonsense and that my voice is off, but it came about completely spontaneously, and there's charm in that. A germ of an idea appeared and I followed it. I'm glad I have a snapshot of the embryo, so to speak. Additional Vocals: Valentina Meytina.
14. Seasons To Ghosts: This is one of my favorites and it dates back to early 2007, if not sometime in 2006. Largely inspired by John Lennon. I've been trying to capture a 'ghost folk' sound for a while, and this song is a good example. It's got lots of breathing room, it's pretty, it's haunting and not quite there. I hope to re-record this with a bigger arrangement someday. Additional Vocals: Valentina Meytina.
15. Excuse Me For Not Dying: A song about how difficult it is to let go of something... even if that thing is killing you. Kinda of a menacing nostalgia, if you will.
1. You Get Carried Away: I started writing this song in the winter of 2008 - January, I believe. I had the basic chord progression and chorus, but shelved it because I couldn't find a suitable bridge. Well, it still doesn't have one, so I guess it's not meant to. I finally recorded it about a month ago.
2. City Halls: This is one of the oldest songs in the bunch. I wrote and recorded it at the very early stages of planning the 'A Secret Conspiracy Against The Blues' record. I actually wanted to have Scott lay down some additional vocals and include it on the record, as a sort of companion piece to 'Vulture Politics'. For some reason or another, it never happened, and the song never made it on the record. A shame.
3. No Winter: This is an instrumental I wrote and recorded right after my move to Tel Aviv. I was overjoyed by the sunshine and the thought of cheating winter. I left New York in August so I would finally have an entire year without winter. I recorded most of the tracks in a cafe near my apartment. Although the song is meant to be a celebration of the sun, it has a very cold, distant winter-y sound. I think I was letting go of some ghosts that were clutching pretty fiercely; trying to kill an old state of mind. I guess I still do that with my songs.
4. Seeing Stars: This song came about pretty quickly, because the melody is probably stolen. This is my attempt at writing a traditional, ageless love song. I really like it and I plan to re-record it someday soon. It got its start as an improvised little bit at the end of another song, but it quickly demanded more serious attention. I gave it some. It was originally called 'Hymn For Her', but I settled on its current name after listening to an evening's worth of Django Reinhardt. Additional Vocals: Valentina Meytina.
5. A Little Respect: This is an Erasure song. Always been one of my favorites. Tina and I had a bit of fun with this one. I confess: I sped up the recording a bit. Additional Vocals: Valentina Meytina.
6. Hopeless, Not Serious: This instrumental was supposed to have words. I planned on finishing it and including it on the 'A Secret Conspiracy Against The Blues' record. I remember recording this at Scholes Street, using Scott's keyboard. It was meant to be a tiny ode to Heath Ledger. I heard the phrase "the situation is hopeless, not serious" in a fantastic Billy Wilder film and it stuck like glue. I felt it was an appropriate title to honor the passing of 'The Joker'.
7. Waiting To Fly: This is one of my favorites. It was written and recorded in an hour. That type of magic rarely happens to me, so when it does I cherish it greatly. This song is 100% inspired by Neil Young's 'Expecting To Fly'. I really, really love that song... and the recording. I guess I had it stuck in my head that I wanted to record my interpretation of that song. Additional Vocals: Valentina Meytina.
8. Girls Night: This is a sound experiment. The title says it all. Some girls were over and I was on the balcony recording them. I treated the voices on the spot while adding some affected piano. I made a tweak here and there, and this is what became of it. I didn't tell them I was recording, so as to not spoil the fun.
9. House Fire: This song came about pretty quickly. Upon arriving to Israel, I decided to abandon my old perfectionist recording style and embrace swiftness and inaccuracy. I found a chord progression I liked and this song was born. I think it carries homesickness somewhere within - no, I'm certain it does. I tried to do a version with Tina singing, but for some reason it just didn't work out.
10. (Devil) Beyond The Sea: This one also came in a flash. I had been wanting to write a song based upon what I call a 'prom night chord progression'. Finally, it happened. I planned to record a slow, quiet version of this, but once I hit record, things changed. Every track was recorded in 1 take. This was the quickest song I've ever committed to tape and I like it quite a bit.
11. Romans: I can't exactly remember the origin of this song, but I think it was Scholes Street. I was playing with the verses and chorus, but had no real structure. I vividly recall riding the L Train and piecing the song together. By the time I arrived in Brooklyn and picked up my guitar, it was done. Thomas helped with the 'oh oh oh' intro melody. I think this song drove him especially nuts.
12. Follow Me Around: This is the newest song to date. It came together quite nicely and I really like it. Has a jazzy type feel and I enjoy the way the chords fit together. This song could benefit from a loud, raucous rendition. It was originally titled 'Night Swarm'.
13. At The Bottom/Untitled Ballad: Dunno about this one. I guess it's my club song. I barely remember this one being built. I like Tina's Tarzan-like vocals. The 'Untitled Ballad' ended up being reconstructed and called 'Seeing Stars'. I'm quite aware that the lyrics are nonsense and that my voice is off, but it came about completely spontaneously, and there's charm in that. A germ of an idea appeared and I followed it. I'm glad I have a snapshot of the embryo, so to speak. Additional Vocals: Valentina Meytina.
14. Seasons To Ghosts: This is one of my favorites and it dates back to early 2007, if not sometime in 2006. Largely inspired by John Lennon. I've been trying to capture a 'ghost folk' sound for a while, and this song is a good example. It's got lots of breathing room, it's pretty, it's haunting and not quite there. I hope to re-record this with a bigger arrangement someday. Additional Vocals: Valentina Meytina.
15. Excuse Me For Not Dying: A song about how difficult it is to let go of something... even if that thing is killing you. Kinda of a menacing nostalgia, if you will.
