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Yesterday evening, in expressing that I felt that these posts were not as engaging as the MTAE ones were, I said to my techy-helper person: "Can you look up the numbers?"; meaning how frequently my newer posts were being viewed. I share this because a) these take time to write that I don't have (aren't we all busy these days?), and b) I'm not one to share if no one's listening.

'Is there anyone out there…?'

So if you are reading this, thank you; because the numbers as such proved me wrong. And although some media have wondered why I'd bother being so open about what is always an insecure process, I've said it was because of the compliments I've received; that in essence, there was something to learn in the sharing that had inspired other artists, and that these days, for SP World, transparency is best.

RTB (Roy Thomas Baker) called the little licks and melodies and drum hits between vocals 'motifs', and since The Shredder and I hooked up my Music Machine Synth we are motif-rich; or motif-laden even. And by stealing an unused riff from Monday's session I built a whole other song yesterday. A song worth liking.

Of course I ask myself what the difference is: between a song written at a piano, and a song I make on the fly against an attractive, pulsating landscape. Hard to define, but I'd offer that when something feels good, it is good; and pretty chords are easy to come by but don't always *translate up* to rock and roll.

Excitement is best, I mean.

It's the way I/we/they made GISH and so on, taking flyers on these snapshots of electricity. Some ideas endure, some wither away. That's the madness.

No one asked me for a title on Tuesday's tune, so there isn't one. For now we'll call it ORUM 2. Today's work is to tackle SOLARA, once and for all; strumming downward on the mystical, pyramidic D.


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