The DEMO Project

THE GOALS

I had a few goals in mind when I started this project. One goal was to create an album that would remind me of the experiences I had in the ‘70s. When I was in high school and college, I would feel real excitement getting a new album by a favorite artist. I would bring the vinyl home, slit the seal, take out the sleeve, carefully remove the record by the edges, put it on the turntable, and lower the needle. Usually I would be listening through headphones while alternating between following the lyrics and reading the liner notes. The discoveries were amazing, from Alice Cooper to Yes, from Elton John to Jethro Tull, from Harry Chapin to ELP. Musically, it was the best of times. Although I knew I could never match the originality and talent, I conceptualized this album as one to listen through and discover. The degree to which I succeeded is for you to judge.

Another goal was to involve as many family members and friends as possible (especially those with some musical history). That started with the other two members of The DEMO Project who I’ve known since the 70s in Mishawaka, Indiana. I recorded novelty songs with Craig Schroeder and we made a couple “movies” back when video cameras were only black and white. From his days in high school band and a band in high school, Craig grew as a musician. He toured with Davy Jones of the Monkees and currently performs in a couple of bands. Charley Neises is a masterful bass player and recorded four CDs with The Basics. He currently records as a solo artist and has released 2 CDs and various singles. Getting these two to agree to contribute to this album was a dream come true for me. Additionally, I recruited Paul Schafer, the bass player from my old band, to contribute lyrics to a track. Tom Cooper, a former neighbor and current friend and Parrothead, added some acoustic guitar to a track. Ken Fozo, a high school friend with a rich musical history, added vocals to a track. My friend Julie (Charley’s wife) added vocals to a track and created the album cover. My friend since kindergarten, Barry Power, narrated a track. My wife, Sharon, added vocals to a couple tracks and contributed some much needed feedback throughout the project. All of my children and grandchildren appear on the album. For various reasons, three musical friends from my past are missing from this project (this is my only disappointment).

My major goal was to create a progressive rock album with songs that were meaningful, at least for me. With nods to friendship, love, and religion and some autobiographical insights, this album stands as something I hoped to accomplish after years away from music. I mostly hung up my guitar when I pursued a doctorate degree and became a professor of educational psychology. It was only when retirement was approaching, over 30 years later, that I started thinking about music and began recording songs. This album may not be the last thing I record, but my guess is that thanks to my contributors, it will be the best.

THE PROCESS

I basically knew the nature of all of the songs before writing and recording them. There would be an instrumental overture to open the album followed by two 5- to 10-minute songs. Then the long title song would consist of multiple parts reflecting different aspects of life (ok, mine in particular). I have referred to this as my autobiographical Close to the Edge. I listened to various progressive rock artists in preparation for each track; however, the final product seldom reflected the inspiration. I would take the idea for the song, write the lyrics, and bounce the lyrics off of Charley and Craig for approval or suggestions. I would then record tracks of guitar, keyboards, and a scratch drum track and vocal. This really wasn’t a “demo” because most of the tracks were used in the final mix. Craig would often make comments or suggestions, many of which my limited musical knowledge didn’t allow me to fully comprehend. Craig would add drums and flourishes. Charley added the bass. Craig referred to my lyric sheets as road maps because they would indicate where I wanted each of us to sing. 

This album was not recorded in a studio, nor were the players ever in the same room recording. The album was recorded using Apple’s GarageBand with tracks shared online through SoundCloud. “Demo” tracks would be posted with and without drums and vocals. Craig and Charley downloaded the tracks and created vocal and instrumental tracks. I then added those tracks and sometimes modified or added additional tracks and mixed them. Mixing was tedious, repetitive, and never completely satisfying.