I was at the library with my kids. After they had excitedly filled their arms with books, they asked me if I wanted to get anything. “Good question,” I thought. “Maybe I do.”

We wandered over to the audio book section (not much of interest today) and then to the CD section. In the “International” section, I discovered an Italian pop singer, Laura Pausini.

It’s well-crafted pop. And I’ve really enjoyed it. I may try to learn a bit more about her.

But one part of a song startlingly disappointed me. She switches over to English. And, when she does that, it suddenly becomes somewhat average to me. Maybe it’s the fact that the English words were so simple. Maybe it was just the song.

I’ve had the same problem with Brazilian pop singer Ivan Lins. I absolutely love some of his native tongue work, but have no desire to replay his English work – (well, at least what I’ve heard of it).

There is something about the sound of a foreign tongue that is so attractive.
Maybe it is the beauty of the language itself. . .

I think the attraction I experience may have something to do with the simple fact that it is “foreign” and therefore captures my attention as something new. Maybe Pausini’s Italian fans love it when she changes up for that reason?

I think there is a lesson or two in there somewhere – maybe one lesson is trying to find ways to incorporate something “fresh” into our work? Maybe another lesson is to stick to what comes most naturally?

What do you think?

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Ben Delzer is a singer/songwriter/guitarist and leader of the indie band (with which I also play), standing mavis. I took a couple minutes to ask the following questions of him. Give this first MustardCast (aka Podcast) a listen. I hope his striving to make more of his passions will encourage you to make more of yours.

Length of the MustardCast:
13 min 41 sec

If you have iTunes, you can play the MustardCast now.

Otherwise, you can Download MustardCast #1 Featuring Ben Delzer of standing mavis (7.8 mb)

Features:
Some clips from standing mavis as well as interesting discussion around the following topics:

• Ultimately, do you feel this is your calling?
• What is the purpose of music to you?
• How do you balance that with responsibilities of family?
• What do you need from your spouse to help you stay motivated to create?
• How are you most often misunderstood?
• Discuss your approach to songwriting (i.e., music first, lyrics first, etc.)

I’m in the process of mixing down one of the songs highlighted in this MustardCast. I’ll post a link when that is ready for download.

You can learn a bit more about standing mavis and listen to a few studio and live tracks at their MySpace site: www.myspace.com/standingmavis.

BTW, please tell me what you think of these. I have a nice line up of interviews set up and I really want to make these as beneficial as possible to you.

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What goes on in a drummer’s head when he’s waiting for his daughter to finish dessert? Beats go on. That’s what.

You’ve probably seen the incontrollable drummer twitch that turns into tapping, hitting, or banging whatever is close by, right?

I’m not actually too bad at that, but the other night I did find myself finger tapping out a beat on an empty glass while Alissa finished her dessert. The glass sounded pretty cool.

So, as soon as I could get the kids to bed, I rushed down to my drum kit and quickly laid down a scratch version the groove. (“Scratch” meaning it’s not necessarily perfect. And, yes, my kids can sleep while I drum – amazing!)

Here’s one “open high-hat” version and a “ride cymbal” version that also have some congas and a shaker mixed in – I think that adds a little something to it. (It also shows me I have to work up my conga chops a bit more!)

• Alissa’s Dessert Groove (high-hat version)
• Alissa’s Dessert Groove (ride cymbal version)

For you non-drummers – can you tell the difference in the sounds of the groove? Which do you like better?

Where to Start a Song
As someone who writes / records songs at times by myself, I often have to decide where to start a song. Does it start with the lyrics? A guitar riff? A beat?

Really, it could be any of those. But I often start with lyrics. I think, though, that it can spur creativity by changing it up. I don’t know what this groove might turn into yet.

What does it make you think of? How does it make you feel? What else do you hear fitting well with this groove? Do you hear anything else in your head while listening to these grooves? If so, what?

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I performed a couple sets of music yesterday. Leading a group of mostly younger (read “20-somethings”) musicians. Four performances of about 30 minutes each. Couple, maybe 300 in each session. One of my friends saw a performance and asked me about my delivery of one of the songs and why I didn’t just “let loose.”

I actually thought I was giving a fairly impassioned delivery. Today, though, as I reflect more on it, I realize that maybe he saw something I didn’t.

Inhibition.

Sometimes it’s unconscious.

A fear to simply express that raw emotion. To feel. Really feel. To be me. Man, that is what the best music is able to do. It is so much more than technique or having a great voice – it is the ability to confidently deliver authentic emotions to your audience.

I have my excuses for yesterday. But I don’t want to use them.

I want to give an emotional delivery that moves people at the deepest level.

And I’m thankful for friends that will point things like that out to me.

Do you have people you can trust to be honest with you about your craft?

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This is a random post, but I was looking for chords to Lincoln Brewster’s song “Can’t Deny” and I couldn’t find them online. So, if you happen to be looking for them, I’ll save you just a couple moments. And, no, I won’t say I am 100% sure on this, but it worked for my needs. Good luck!

Verses:
(E F#) A B

Pre-chorus (I don’t know, But I know):
D E

Chorus:
F# E A B

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