Two Releases Spring 2016

You might be thinking that I’m showing favoritism by once again announcing a release by UK artist Dave Migman. It’s certainly true that I like his work and would love to enlarge his audience. It’s also true that he’s relatively prolific. While most of us seem to be running our children around town or getting sucked into another season of some television show or other (now that we can stream whole seasons over a weekend, why bother with anything else?) he’s busy making stuff. Not that artists don’t deserve a little relaxation and a chance to fill themself with the mental equivalent of a Twinkie but, really, we’re usually happier making stuff.

Dave Migman - Learning How To Live And Die - Learning How To Live And Die 3

A drawing from Learning How to Live and Die. Copyright Dave Migman.

Migman’s most recent release on Bandcamp, Learning How to Live and Die, has many of his delightful drawings. His writing, as always, is visceral, blood and sinews, corporeal, tangible, and in-your-face outraged. That is, he’ll probably offend your finer sensibilities and get himself thrown out of any polite discussion of office politics. The sounds here, behind the words, are spartan, especially compared to his last release iPadded Cell, and, as always, help build a sense of immediacy and intensity.

Another drawing from Learning How to Live and Die. Copyright Dave Migman.

Another drawing from Learning How to Live and Die. Copyright Dave Migman.

According to the notes on Bandcamp’s page, these works were originally “dogcasts” written and performed in 2012 for Doghorn publishing. Then, “This version has been re-edited, scooped and hollowed and then pumped with reinforced concrete. Some readings are recent, others old. It recounts a journey through Greece back in 2007 and much was written under the influence of Grecian Village white wine, while staring at the gathering dusk.”

A third drawing from Learning to Live and Die. Copyright Dave Migman.

A third drawing from Learning to Live and Die. Copyright Dave Migman.

I hope you have the time and money to venture over to Bandcamp to buy all his recordings. (I think all his downloads are name-your-price.)

Also available at Bandcamp is my own collection, 20 Years Frozen for
All Time, with selections spanning 1996-2016. Compared to my previous retrospective collection, 15 Years of Prattle and Din, this one better represents my earlier, pre-computer years of recording.  It is a 2-disc collection (though it downloads as a single stream of twenty-one compositions) lasting over 2 1/2 hours. It’s hard to do anything else while listening to any kind of spoken word, so this could be quite a chore to listen to. The collection includes a 72-page booklet, both in standard PDF and in a printable version (set out in 12-page signatures that need to be collated, trimmed, and bound), and binding instructions. The content of several recordings and certainly that of the booklet are sexually explicit and not appropriate for all ages or philosophical states of mind. The booklet is thick with biographical detail, forays into my recording history (which you can find in even greater detail on my blog Prattle and Din), essays on the creative process, the texts for all included recordings, as well as some notes specific to each recording (again, you can find much more on the blog).

Drawing 105 from Laughing Water. 6"x 8" graphite and acrylic on Rieves BFK. Early to mid-1990s. One of the more socially acceptable (that is, less explicit and therefore less "offensive") drawings from the series. Copyright Michael Myshack.

Drawing 105 from Laughing Water. 6″x 8″ graphite and acrylic on Rieves BFK. Early to mid-1990s. One of the more socially acceptable (that is, less explicit and therefore less “offensive”) drawings from the series. Copyright Michael Myshack.

Drawing 107 from Laughing Water. 6"x8" graphite and acrylic on Rieves BFK. Circa early to mid-1990s. Another "tame" image from the booklet. Copyright Michael Myshack.

Drawing 107 from Laughing Water. 6″x8″ graphite and acrylic on Rieves BFK. Circa early to mid-1990s. Another “tame” image from the booklet. Copyright Michael Myshack.



A Recording Memoir

A recording memoir? Like spending months in the studio with rock stars? Endless drama and creativity? Even those books (try Tony Visconti, Glyn Johns, or Phill Brown) give a hint of day after day at a control surface playing knob and fader ballet. It’s rarely glamorous. The excitement is a bit more rarefied, that sense of a job well done.

That story is becoming legend as even professional musicians do more and more of their recording alone at their home studio. They might still have some interesting tales of life on the road but their recording experiences are becoming as dull as any amateur’s, possibly not even getting to play with those cool looking faders and knobs, just sitting at a computer’s monitor clicking the mouse between takes.

Welcome to the blank screen of infinite creativity. It’s just you and the machine. I hope you can work together. It need not be as intimidating as it seems, maybe even less so than a blank sheet of paper.

Last November (2014) I began to write down my experiences in recording as I attempted to make the transition from clueless to creative. The memoir would be Prattle and Din. I spent most of my free time for the next nine months bringing the tale up to date, as of August 2015, telling the story of each recording as well as of my (mis)adventures with technology. That’s almost twenty years of me and the machines, beginning in March 1996 on a 4-track cassette portable studio. Since 2002 I’ve been working on a computer with DAWs and virtual instruments and processors. Don’t worry, I haven’t become some sort of jaded technocrat; I’ve managed to remain true to my roots and am still pretty seriously clueless.

Of the reasons for me to write of my experiences recording poetry and music (or other sounds), other than to just get it out of my system, I think the most important is that I can inform and warn (and maybe entertain) others who would attempt to create a similar art. I’ve tried a variety of home recording solutions, both hardware and software. Along with the articles telling of each individual composition, its aggregation and evolution, I have posts on microphones, software instruments, effects units, analog and digital portable studios, et cetera. Learn from my mistakes (buy a preamp for your mic!). My experiences are limited so I’ve added numerous links to every article.

I might also inspire you to get beyond some of the conventions of music to try more experimental ways of producing sound. If you think a pop song or classical music is the best thing ever and that’s what you want backing your poetry, by all means. But, really, there’s no reason to get stuck with convention. Everything, absolutely everything has music making potential. It’s just a matter of capturing those sounds and then doing something with them, whether leaving them natural sounding or mangling them beyond recognition (just taking something out of context is often enough). The sound manipulating possibilities within computer software make this very exciting to play with. And if you’re a poet you probably already like playing with sound.

If you have experience recording my story might just be a bit of nostalgia and a source of argument (for instance, I do not glorify recording on a 4-track). Checking out someone’s instruments and tools in recording is quite a bit like checking out someone’s library—it seems to be the geek alternative to butt sniffing (I reek amateur).

I almost forgot, you might have an interest in my recordings and want to know more about them. Almost every post has a story about the sounds I’ve used, maybe something about how they were processed, and how they were put together. There are often photos of the recording tools and of household objects turned into musical instruments. There are screen shots of how the sounds are laid out on a DAW’s timeline, showing the structure of the thing. There is the poem itself (or rant or dream) and often some background information as to what was going on in my life when I wrote it and how it evolved over time, if it was an early work.

I want more people making this kind of nonsense—poetry and other sounds—so it is in my self-interest that I convince you it’s worth your time. I just want to kick back and enjoy what you’ve done. I want the luxury of being a fan.

Sylvian/Wright, Migman, and myself

Some recent releases of recorded poetry and music…

2014 David Sylvian released a recording of a project he had begun in 2011 when he paid a visit to poet Franz Wright and recorded Wright reading poems from Kindertotenwald, There’s a Light That Enters Houses with No Other House in Sight.

I had not heard about it until this summer, about two months after Wright had died (May 14, 2015). I had no problem ordering the CD from Amazon but I’ve since heard that it’s already hard to come by. Start emailing Samadhi Sound to let them know it’s their obligation to keep this in print and available (at least through them, if they’ve got problems with the big distributors). I understand that it’s expensive to print LPs and CDs and to keep them on hand but there’s no reason to not have a download available.

Dave Migman has released another album available for purchase at Bandcamp, In the Fine Night We Marched…we’re testing my memory here, I think this is part 2 of The March. The storyline is a retelling based on his notes of a walk from the Pyrenees to Fisterra, along the Via Franca, in 2013. The musical aspect of the record is different from most of his solo albums, which tend to have a DIY punk edge of rough guitar backing his voice (try The March, part 1), while his collaborations with Spleen have a rich electronic backdrop. The music here is primarily synthesized but sparser than Spleen’s style. If I remember correctly he said this album was made in Garage Band.

To help tell the story on my recording memoir Prattle and Din about what I was doing in 2011, just before I began posting my recordings on SoundCloud for all to hear, I re-issued an anniversary collection from that year, 15 Years of Prattle and Din, and put it on Bandcamp. Originally I burned about ten CD copies to give to friends: so, to me, it’s something of a joke to say it’s been re-issued. Most of the compositions were recent (as of 2011) but a couple of them, such as “Music, the Beginning” and “Evil 1”, are recreations of things I’d first recorded in 1996. It’s not particularly representative of my oeuvre in that it lacks stylistic diversity. That is, I tried to put together a fairly cohesive album.

Cryo Is Not Meant to Last

Since creating Poetry and Other Sounds a couple years ago I’ve started two other blogs, both of which have been more successful at cracking open my imagination.

Poetry and Other Sounds is the noble idea, a place for people to connect and learn and, I’d hoped, communicate. It must go dormant until I’m in a different place in my life or until someone else with more time and a more journalistic personality revives it. I’m pretty much clueless as to what’s going on in the world, artistically or otherwise; a more engaged personality is needed.

The Naked Old Man is the ignoble idea. It was meant to be a place for me to rant. Considering how opinionated I am you’d think it would be a non-stop flow of words. Maybe it’s that the plan has been degraded by thought and conscience until I’m mentally stifled. I hope I overcome that weakness. Or adapt to it. I think over time there will be many more posts.

Prattle and Din is my most recent blog and it could be of interest to you, which is why I’m writing this now, and seems to be the thing I actually need to be working on. It’s a memoir of my experiences recording my poems and sounds.

As I work on Prattle and Din it begins to shape itself. The original intent of just telling a linear narrative leading from composition to composition broke down, maybe, even before I started. There are side stories and back stories. There are brief forays into technology as I would stumble into each new tool and, sort of, learn to use it, and I have to tell you about that. There are personal and social events intruding upon creativity and the process of production. The world collapses and sometimes I go down with it and fail to produce anything for years at a stretch (I’ve been making art for so many decades—never living off it—that to have a long fallow period does not alarm me in any way).

Prattle and Din is a story that solidifies in March, 1996 and covers the creation of over 80 audio compositions since then. It’ll take me awhile to jot it all down.

Telling the tale of my recordings is the one way in which I can continue the ideal of Poetry and Other Sounds.

May the frost be with you.

Do You Really Want to Be Heard?

The music the adults would listen to when I was a kid, in the 1960s, always had the band at the far end of a very large room, barely audible, and the vocalist practically sitting in your lap. This is the pop mix and it’s still in use today, though part of the rhythm section might be turned up enough for you to always feel the thump in your rump (or wherever it hits you and makes you want to dance).

I loved hearing a rock mix, really coming into its own around 1970 when I was starting to collect records, where the singer is just another member of the band.

Just compare Andy Williams’ recording of Moon River with Black Sabbath’s Paranoid, you’ll immediately hear what I’m talking about. If you were to have these songs as background in a crowded room, such as a restaurant, you’d only hear Williams’ voice. Black Sabbath…unless it was played loudly enough to be annoying you might not hear at all. It would just be a garbled mess.

How to mix music and poetry has been an ongoing discussion/debate/argument—depending on how much investment someone has in the outcome and how threatened they feel by criticism—I’ve been having with poets, musicians, and DJs on, as well as with friends and family.

As I’ve stated, I like the rock mix. I like having the vocal down in the mix not lording it over the other sounds. But I’ve come to the other side, the pop side, with regard to poetry and music. I think I may be consorting with the devil. I’m almost certainly betraying Art (that stuff with that capital A).

Most of my life I’ve created in response to some inarticulate need, some bizarre drive to put things on paper or canvas, to noodle around with images and then words and most recently to do unnatural things to sound. I have rarely made things to please others or to communicate with them. I’d say it’s more how I think, or how I document stages of a thought, so I’d only be trying to communicate with myself. I certainly haven’t done it for money.

But in the past few years, since the spring of 2011, I’ve been posting my recordings on and other human beings have been interested enough and gracious enough to listen to what I’ve been doing. I think I owe them a little consideration, even if I’m still only trying to communicate with myself.

I’ve started to develop my recording and mixing technique in a more sociable direction (not necessarily improving it): primarily, I’ve been using a lot more compression and EQ.

When you speak, the first phonemes, as well as the first words, have more wind behind them, more energy, and will sound much louder than the rest of the sentence. Your first word or two will be loud and clear and possibly overloading the microphone and circuits whereas the end of the sentence will trail off into silence. This varies from person to person depending on their reading/speaking technique, how well they preserve their air supply and how often they pause for breath, as well as how full of wind they are (I’m not going to play with the windiness of any particular poet, myself included). I’m not very physical and I tend to be a mumbler, so when I record myself I drift off into nothingness more often than not. My technique makes it hard for people to hear what I’ve said.

The easiest way of dealing with this is to use compression. As the word implies, compression squeezes things, in this case sound. Your loudest sounds will be squashed so they no longer jump out compared to the other sounds. It gives you headroom, which means that you can turn up the volume of the whole sentence, before you overload and distort your equipment and digits. (This is what they do in radio and TV, especially in advertising, to make things seem louder.) A lot of compression makes everything sound like crap, there’s no longer any dynamic range. Also, it brings up the noise floor: as soon as you have more headroom to raise the overall volume you also raise the volume of the noise, such as circuit noise, tape hiss, ambient noise, computer fans, et cetera (to some extent this can be dealt with by using noise reduction software, but often only in the spaces between the words, depending on the quality of your software and how much and what type of noise).

Because all of the vocal is now louder from compression but without the spikes at the beginning of words, I can make my voice sound louder than the surrounding sounds without overloading the mix. It’ll be easier to hear what I say. The sentences will not trail off the way they did in the original recording.

The other thing I’ve started doing is to tweak the EQ in the mix. What this means is to accentuate or diminish different frequencies to make various sounds or my voice stand out against the others. I’m not going to dwell on this. A quick and rough example should be enough.

Let’s say your voice is not real high, not real low. It probably competes for sonic space with most stringed instruments and parts of a drum kit, such as the snare and cymbals. (I rarely use conventional instruments or samples of them but more than likely you do. Either way, whether using a guitar or a washing machine, the premise is the same.) I will lower the volume on my voice below, say, 500 Hz, or 300, because not much of the articulation is at the low end. That’s where the vowels are. I’ll save that range for other sound sources, let them have their say. But I will bump the EQ a little around 1000 Hz (or 1 kHz) because that’s the area that speech is most legible. That’s where you’re most likely to recognize individual words. It’s the range of articulation. Along with that boost to my voice, I’ll tone down some of the other sounds (for instance, I might notch the guitar part a little around the same frequency range, at least while I’m speaking).

Exactly how much EQ and compression are not just a matter of taste but reflect the kind of instrumentation you’re using and how much you want your words to be heard. If you’re doing just voice or voice with a very quiet and subtle background you might not want to tweak it much, or not at all if you’re a purist. If you’ve got a lot going on, perhaps going for some version of a “wall of sound”, you’ll probably want to make some major changes to the levels.

Enough said about the technology. I want to say more about the history of how I came to more of a pop mix and what the debate is about.

When I started posting my recordings I received comments from listeners who couldn’t hear what I was saying. I’m calling what I write poetry and the idea is that the word is god, so, yeah, they should be able to hear the word. Some of these people were native speakers of English, so this means that they simply can’t hear what I’m saying. Others were only somewhat acquainted with English: first, to accommodate them I started posting the text on the song page; then, to make it even easier, I started posting the text as a comment on the track itself (so at least with the old soundcloud interface they could read it while listening, without having to leave the page they were on).

So far this has done nothing to change the esthetic object. It’s put me out a little, time wise, but the recording remains the same.

But it was still stressful for the listener. That’s when I started digging into my recordings and altering the levels, both in the mix (changing the compression and EQ as well as volume of one track against another) and in the mastering stage, where I can shape the overall sound. This did change the esthetic object. This pushed me from my beloved rock mix to the dread pop mix. (Okay. Art people aren’t supposed to like anything pop, unless it’s an ironically cynical spoofing of pop. Despite how weird and unfriendly my recordings are, I’m actually a pretty mainstream kind of guy. I am not pure. I am most definitely not high art. And, ultimately, I have no pedigree or credentials. Let’s just say I’m a poseur. So, really, by using a more pop sensibility I’m only violating my own taste and not staining my everlasting artistic soul. The soul that I don’t have: I’ve just decided that I’m an artistic golem.)

Sorry for the digression.

Another detail of mixing that I’d forgotten, which brings me out of both the pop and rock esthetic, is that I use little or no reverb. It’s called mixing dry. (I think Lou Reed is one of the few name artists who doesn’t, or didn’t, sweeten his voice with reverb. I will process the hell out of my voice but really don’t want to use reverb. This has nothing to do with Lou Reed’s choices.) I came to this decision because my arrangements are very busy (let’s be honest: cluttered) and even a little reverb made my words that much harder to hear. I came to this conclusion probably ten years before I started posting online. The conclusion to be drawn from that fact is that I couldn’t even understand myself.

The original use of reverb, it’s reason for being once people started recording in a studio rather than a concert hall, was to give the recording a sense of place. It was there to make the band sound like they were in a better room than the one they were actually in. But almost immediately musicians and recording engineers started using reverb as an effect, to sweeten the sound, to give parts of the recording a little something special.

This has now become a source of sonic nightmares, and I don’t mean the creation of recordings that strive to express a nightmare or to capture the dissociation of a nightmare. I mean that reverb is now used to turn music into a sludge of sounds in competing spaces. Anyone who has recently gotten their first effects unit or software with reverb has made garbage (myself most definitely included, even though I was trying to be restrained). The worst of it, though, isn’t the excess of reverb but the conflicting echoes. Almost every instrument, especially electronic synths and samplers, will have its own reverb. So, in the finished recording, you could have it sounding as though each instrument was played in a different room. On top of which the whole composition might be awash in a unifying reverb. I guarantee you will have trouble understanding the poet’s words when reverb has gotten out of control.

Now we get back to the conflicts of opinion and why I often give offense…

It is common for the musicians working with poets, as well as poets themselves, especially those new to the tools of recording, to put the voice low in the mix and to use a lot of reverb. As I’ve now stated, I object to this not for esthetic reasons but for the sake of the listener.

With a song it doesn’t always matter that the listener can’t hear every word that’s sung (in fact, it’s often a kindness). Even when people sing along they aren’t conscious of the words. They couldn’t tell you what the singer just said or what it meant. It’s really just a flow of sounds. Even when the lyricist is superb and the listener should be paying attention that’s rarely the case.

Poetry and any other kind of spoken word demands more of you. When someone talks to you it’s normal to pay attention. You have to listen a little more closely, like it or not. Already, recorded poetry is making demands that a song wouldn’t. Then, if you have the voice so it’s barely audible, buried in the mix and drowning in reverb, you’re forcing the listener to stop whatever it is that they’re doing so they can hear what you’ve got to say. And you’re a poet and think, of course, they should do that. This is poetry. This is serious. Or, you might be thinking that it’s poetry and no one’s going to listen, ever, so who cares if the words are intelligible. Either way, you’re not really taking into account another person’s experience.

Most listeners will turn you off and look for something a little less demanding. Something that fits better in the background of their life. That’s just a fact. No one owes you their attention. No one owes you anything. Good bye, ego.

One of the arguments for more of a rock mix is that most listeners now days have the recording plugged into or around their ears. They aren’t listening on speakers and they’ll hear every word.

Another argument is that a collaboration or remix is not going to be the only version of the poem and that you can link to a clearer recording of the words. Of course my child would be pointing that out to me. I think of listening to music on a dedicated medium such as an LP or CD or tape on a device connected only to other audio devices, such as an amp and speakers. Link? What does that mean?

Yet another point of view, says my partner in a very loud voice, is that a very large percentage of the Earth’s population has better hearing than I.

Of course there’s still the esthetic argument, that it has to work as a whole. I would say the musicians, DJs, and remixers are thinking of how all the pieces fit together, of how they all interact sonically rather than intellectually, and that having the voice stand out would destroy the whole.

And then there’s just plain attitude: I’ll do as I please and the audience can follow me. Which may or may not be a statement of arrogance. Or a matter of integrity. Or insensitivity.

I’m sure there are plenty of other ways of looking at this. Please share your opinions. Dialog is just about all we’ve got.

I don’t really care how you make your recording. I don’t really care how you mix it or whether or not I can hear your words. And if you’re collaborating with me, using my words, I actually don’t care how you do that, either (ideally we both have a go at the material and I can mix it however I please).

What I do want is for you to think about what you’re doing, to have a conscious moment before you give your art and your work to the world. Do you want people to hear your words? Do you want to make it easy for them to listen or do you think they should go out of their way to hear you? Do you want your recording to work as a whole, your voice just another sound? With modern recording technology you can have it all with little or no extra expense. You can very easily make alternate mixes, let your audience download a dozen versions of everything you do. You can trust your audience to make a few decisions of their own.

If you’re a poet, a recording poet, you’ll probably never have a large audience. But maybe a few thousand people would like to hear what you have to say. Think about what their experience is. For most of us there’s an unconscious step in the creative process where you’re more of a conduit or vessel than a human being. But after that it’s a matter of editing the gift, of continuing to shape it, whatever that “it” is, into a public object, a work of art, a shared experience.

Give a little thought and care as to what that object will be.

I’ll part with two examples of my own. The first, Psychedelic Baby of Death, is something I recorded in 1998 or 1999, and is a good example of how hard it can be to hear what I’m saying. My voice is competing with an air compressor (for a nebulizer) and an electric guitar as well as an excess of reverb on all the sound sources. I’ve tried to master it so my voice would be more audible (can’t get rid of all that reverb no matter what I do) but it still requires a lot of effort on the listener’s part.

The other recording is My Soul. This was created in June, 2012, well after I started posting on, and does a much better job of taking into consideration the listener’s experience.

In case the recordings are not available for streaming, as often seems the case with soundcloud, these are the direct links to the song pages (though of course they might be down as well):

Second post script, October 12, 2013: Several weeks ago I received help from but could not correctly interpret what I was being told. They suggested I switch to HTML and re-paste the links. I don’t know anything about HTML nor how I would do this, and said so. What they meant, and what someone at WordPress said more clearly, is that I need to use the text editor rather than the visual editor. You can toggle between the two tabs at the top of your editor page. That seems to have fixed the problem.

This is a recurrent problem I have with technical support. We don’t speak the same language and it’s rare that there’s anyone on the support end who understands the subject and can still communicate with those of us who do not. (Does this remind you of math and science teachers?)

I thank people at both and for their assistance.

Post script, September 8, 2013: In response to David McCooey’s comment regarding his own struggles with the balance of voice to sound, I think the point of the article, though not quite blatantly stated, is that we have no way of predicting the environmental circumstances of the listener. It also, I suppose, pits the creator, who would like to control the final outcome of their creation, against the consumer, who’d like to personalize that precious object to fit their own needs and tastes. Other than wanting to see artists recompensed for their labor, I think we creators need to learn to let go (I know I’m having trouble with this). Once the work has reached the public it is no longer ours. The recipients of our work have now begun to invest it with their own needs and imaginings and emotions, it’s begun to fill their dreams as it once filled ours, it has begun to reshape how they see the world.…I think my digression here is to say that I wish the audience could have the same tools I have—multitrack audio software—to remix the compositions to suit themselves, to bring the vocal down when listening on headphones and to bring it up when listening in the car.

Outside Broadcast

For over two years I’ve been hoping there’d be a way to hear the works of David McCooey beyond the confines of the few tracks he’s posted on Finally, he’s released an album of his poetry soundtracks, as he refers to them, a mixture of music, sound design, and poetry: Outside Broadcast.

And now I’m a pretty happy guy.

So many of us producing this sort of poetry and music thing are not musicians or recording engineers and the results tend to be pretty ragged. The poetry might be excellent. The performance or reading of the poetry, however you want to think of it, might also be fine. The choices of sounds and how they’re pieced together might be interesting and moving. In general, the idea of what we’re trying to do might be brilliant. But unless we’re collaborating with musicians and engineers the results can be hard on the ear.

Not so on McCooey’s recordings. I’ve accused him of being too professional sounding. Thankfully he took that as a compliment. Everything fits together here. The poems are excellent and his reading voice is very pleasing, capturing the emotion driving the words with a quietly subdued passion. The music and sound design are beautifully crafted and well played. The recording, mixing, and mastering are all clear with everything perfectly balanced and placed. In other words, this sounds like a professionally made record.

Am I complaining? Though I tend to like things a little rougher around the edges, with a least a touch of punkish incompetence, no, I’m not complaining. Nor do I complain about Steeley Dan records. The tastefulness and sophistication are a little beyond my rural roots; so, for me, the task is to enjoy without feeling threatened by a superior talent.

Since I’m having trouble with the soundcloud player and this recording showing up, here’s the link directly to Darkness Speaks:

Music for Words, with Words

There’s someone in Sheffield who thinks he’s The Only Michael. He might be the only one who matters, and I certainly won’t contest that claim, though there are probably a billion of us who would say he’s not the only Michael—talk about overused names.

I discovered his postings on, probably via Mark Goodwin‘s group Air to Hear, about a year ago, when I first began to write for this blog, and have had it in mind to spread the word. (Now that I look back on his page, Music for Words, I find that I’ve favorited almost all his tracks. Beautiful work.) These are collaborations with poets.…I think I had it in mind to do a large article on poet/musician collaborations.

That was then, and I may or may not be able to follow up on those impulses.

He’s now doing something I find much more exciting: a radio program of music and poetry and interviews all on the subject of combining music and literature: Music for Words on Basic.FM.

I awoke to this:

(August 10, 2013. I’ve just noticed that Michael is not keeping his broadcasts on for long. Sorry. You’ll just need to check in with the other links. Again, here’s his page link.)

These are Michael’s stated goals:

“Music For Words with The Only Michael, is a monthly exploration of the recorded word and past and present collaborations between poets, story writers, musicians and composers.

“From the familiar to the strange, the missing link to the cutting edge, Music For Words showcases the many ways that speech and music can enhance and inspire each other to make something new, entertaining and compelling.”

I’m hoping he’s not inflexible in needing to present collaborations. There are some of us who are doing all of it, sound and word. (Actually, it’s possible he’s already strayed from that premise: I think Mark Goodwin’s piece is entirely self-produced.)

I also hope this first program isn’t too indicative of the tone of work he’ll be showcasing. It’s excellent. But it puts to mind why rock and roll sounded so exciting all those decades ago. I would like to hear something a little more open wound, a bit rougher around the edges. What I’ve been hearing, just on, runs from the pompous to the genteel to the timid to the mythical to the gutter or the totally common and familiar, as happens with both poetry and our own lives. I would like to hear a wider range of poetic voices introduced to this broadcast.

That having been said, all the work I’ve found on Music for Words at and everything in this broadcast keeps the poet’s voice at the forefront so you’re not struggling to hear what was said. Michael Harding himself has an excellent sense of combining his music with the writer’s words, complimenting and drawing out the emotive content.

The other suggestion I would make is that there be more notes to each broadcast when it’s posted on, such as clearly stating who the artists are and any links or purchasing information.

Michael, I await your next broadcast.