Newsflash! It seems that Swedish media finally have “discovered” Soundshine! In the new issue of “Studio” (4-2013) which is a music magazine specializing in recording and music production (and that I’m an avid reader of myself) you will find a three hour(!) long “mix video” featuring myself talking about the writing, recording, and production of my song “Never Mine” which as many of you know is the opening track of my solo debut album Soundshine. (Feel free to have a listen on the Spotify player to the right!).
The magazine says (kindly) that Soundshine is a “fantastic solo debut” and that it’s “sprängfyllt med gnistrande poppärlor” which would be something like “filled to the brim with glimmering pop pearls”. Don’t know if that works in English though… Should anyone (except for me) be on the look for nice praise over the album in “real” English you can also check out Hooks and Harmony who named Soundshine the album of the year (followed by interview here).
In the STUDIO interview I talk about how the idea for the verse melody came to me already back in 2006 and how I reworked it over a two year to period until I finally was happy with it and how the song was put on hold while The Merrymakers were still active (or should we say inactive?) as a band but became an obvious choice for me to include on my album once I was a solo artist. By then it was up to no one but me to decide whether my songs were good enough or not – and guess if they were! (Insert laughter here…)
I also discuss at length about the choice of co-producer (and drummer) Andreas Dahlbäck, session musicians Anders Petterson, Rikard Lidhamn and more, and you will see unique video clips from the recording, how the drums were miked etc. Above all the mix video contains a detailed run-through on-screen insight into my Logic (recording software) project. There you will see which instruments are part of the arrangement and how they were recorded and treated from a production perspective.
Also, in the last part of video you get to meet Marcus Black who mixed the whole album where he discusses his approach to mixing in general and to the mix of “Never Mine” in detail (with an on-screen run-through of his Pro Tools project). At the very end we talk a little bit about the mastering at Abbey Road and you will be invited to see the mastering room of senior engineer Steve Rooke who apart from my album has worked with among many, many other artists Paul McCartney and George Harrison. Not to mention the recent re-mastering of The Beatles themselves.
The magazine also features an article about myself and the recording of Soundshine. So if you are in Sweden (or know Swedish) and you are interested in the above I hope you find your way to the magazine store this month. Or if you’re living the modern digital life you can buy it as a pdf here.
UPDATE: As en Easter egg STUDIO magazine is offering the video link for free! Just click the picture below to get access to the three hour video (in eight parts). Remember to click the HD symbol so it becomes grey (not white) in order to get high quality.
A million big humble thanks to chief editor Mats Stålbröst and business manager Andreas Hedberg at STUDIO for showing an interest in my music and sharing it with their readers.
Please let me know what you think about the article in the comment section below or at my Facebook Page.
What “a day in the life”! Recording at ABBEY ROAD STUDIOS!!!
I have always loved the Beatles. And I will surely do ’til the day I die. One of the biggest highlights in my “Beatles career” was to be able to spend a day in legendary Studio 2 at Abbey Road to record an alternate version of my song “Never Mine” which is the opening track of my debut album Soundshine. Check out the video and continue reading below for full background story.
Since my first visit to London back in 1990 I have never missed the opportunity while in town to visit the famous crossing at Abbey Road. But until 2011 I had never been able to actually enter the building. It was in May when I did it for the first time since I (in a strike of megalomania) had chosen this legendary place for the mastering of Soundshine. Read more about this occasion in this blog post.
Little did I know then that the doors would open for me again only six months later, and this time to RECORD in frickin’ Studio 2!!! Yes, THAT studio…!
I wrote then; “today we’re not here to try to change music history but more to study the process of how music history was made from within the actual room were a big part of it was created. I hope to be able to share the result with you sometime in a not too distant future”. That distant future is NOW! Almost fourteen months later…! The reasons for the delay are many. One being that Thomas Juth who took the initiative (which I will be forever grateful for!) is a highly demanded sound engineer in London and therefore hasn’t been able to find the time to work on the mix from this little “hobby project” (although very close to his heart). Thomas is a really sweet (and also cool) guy who has worked with many great names and I mean GREAT(!). Read more about his impressive track record on his own home page.
However, when I was asked to be part of a free download sampler (yes that’s where you’ll find the song I’m talking about here!) released by the music blog Real Gone (who by the way made a really nice review of Soundshine here) I decided it was time to have a proper mix made. The mix is a combination of Thomas Juths ground work and Soundshine engineer Marcus Black’s fine adjustments.
I really wanted to be able to offer a video clip as well but there was no time and no money (as always…). But then Christmas came I and went to Spain with my wife to spend time with her family. And in between tapas, dinners, family life, and a gig at Festival Alta Fidelidad in Madrid, I finally found some time to take my first, stumbling steps as a video editor using Final Cut Pro X. And with the very little rough material I had from my iPhone standing on a tripod (and a couple of other cell phones in the room) I’ve tried to make a little video documenting this very special moment.
It was really a day in paradise for us Beatle geeks and we spent more than half of the precious ten hours staring at Beatles microphones and Beatles compressor and that kind of stuff. The recording became kind of secondary and something we really did “just for fun”. Considering all this I’m really happy with the final result. It’s obvious that we do not hide our love for the Beatles in the way it’s produced and played. And that’s also my reason for not releasing it on Spotify or iTunes or on CD. As much as I love the Beatles, and to play their songs, I don’t want my own stuff to be TOO Beatlesque and end up being categorized next to The Rutles.
To put even more weight into this occasion I decided to write a little piece of lyrics for this world premiere:
It was fourteen months ago today
Thomas Juth invited me to play
To try to recreate the Beatles style
was guaranteed to raise a smile
So may I introduce to you
The song you’ve known for just a year
David Myhr’s “Never Mine” in Abbey Roooooooooooaddd….
Special thanks to Thomas Juth and his brother Fredrik Juth (who played bass and drums) for inviting me to this very special occasion. Thanks also to Michael Bianco, Dyre Gormensen who were part of the recording process. And to Andrew Campbell at Lojinx who co-ordinated the Real Gone release. To Amy Campbell for shooting some nice photos (including the one above) at Abbey Road. And to Henrik Irgens and my wife Paula who also made the day even more pleasant through their sheer presence.
It’s time to say goodbye to the year of 2012 and I want to do it by saying thank you to all you wonderful people who have been involved in one way or another in the events surrounding the release of my solo debut album Soundshine.
To do so I have put together a four minute long slide show that will take you through memorable moments from recording sessions in Stockholm and at Abbey Road in London to gigs in Tokyo, Osaka, Madrid, Burgos, London, Stockholm, and Piteå. But more importantly it shows some of all the great meetings I’ve had with music lovers, music colleagues, fans, friends, family, band mates, record label and music publishing people, and a couple of idols as well.
The soundtrack consists of a medley of all the songs on Soundshine in a “don’t bore us – get to the chorus” fashion. The photos were taken by among others Amy Campbell, Paula and Carol Muñoz Macaya, Kiki Fukuzumi, Jonas Förare, but also by many more… thanks!
So, from the bottom of my heart – thank you to each and everyone who has supported the release of Soundshine (and that includes all of you who didn’t end up in the slide show as well)!
Hope to see you all again in a not too distant future!
Six months before the Japanese release of Soundshine and nine months before the European release I entered the main stage at PDOL (an abbreviation for “Piteå Dansar och Ler”
which is Swedish for “Piteå dances and smiles”). It’s an annual street festival in my former home town Piteåway up north in Sweden which usually gather at least some 25,000 visitors.
For the occasion I used the same backing band as I did on my premiere show in Piteå earlier the same year. Andreas Dahlbäck on drums who also played drums on the album and acted as my sounding board in the recording process which led to me entitling him “co-producer” of the album. Robert van der Zwan (Poplabbet) and Krille Eriksson played guitars, Erik Jonsson (The Fix) played bass, and Joel Sjödin (Mankind) played keyboards. An amazing backing group if you ask me. Furthermore we were joined on two songs by the horn section Horny Minds from local blues heroes Ramblin’ Minds, and last but not least we were honored to have one of the finest Swedish current female pop artists around… Edith Backlund!
I have played at this festival a few times before over the last twenty years, both with the Merrymakers in the 90′s, not to mention our short “revival” in 2007, and also at reunions of my early bands from my youth (Ant-Mansson and 2nd Hand B band). I’ve also played there with the ABBA tribute band Super Trouper in which I play the part of Benny Andersson. However, this was the first time that I entered the main stage of the festival, and what’s more as a solo artist. In that sense it was kind of a big moment for me so I decided to document it properly which included renting a multi-track recorder and hire a film crew.
Time has proved it difficult to come out to meet audiences in other countries with a full backing band. Instead I’ve made solo acoustic gigs – like for instance in Spain in March. It’s true, there are rare exceptions like when I played in Tokyo with local backing musicians or in London on the Lojinx release party where I had a full band. But as the situation is right now it doesn’t look like a proper world tour with a full backing group is happening…
Therefore, I am now very pleased to be able to share this live experience and fond memory with anyone, anywhere, who might be interested. The 47 minute film documents not only the entire show including all the talk between the songs (subtitled in English – only for you!), but also a little bit of life back stage including the nervous artist only seconds before going on stage and the after show hugs while the credits are running to the soundtrack of the re-mix of Looking for a life.
Put on your best headphones, get your beverage, sit back, and enjoy! A splendid time is guaranteed for all! I really hope you like what you see and hear and if you do, please feel free to comment, and of course to share. For those of you who want to have a high quality, hi res experience, I am open for burning DVD’s of the occasion. Don’t hesitate to contact me in order to discuss the practicalities…
And hopefully one day I’ll be able to bring the band, come to YOUR town and play IRL!
Following the “incredible success” (hey, I got one comment, didn’t I!?) of this summer’s posting of the chords for “Looking For A Life” (check it out even if you already did – updated layout!) it’s time to take up guitar practicing again. We’ll just have to move in from the camp fires to the in-door log fire. In today’s acoustic guitar master class by senior lecturer Myhr we’re going to study the famous chords of C and F. Well there’s one or two more but not many. We’re talking basic stuff here! However what’s a F/C? Easy! That’s a F but using the 5th note (the C) as the bass note. Em/G? Same way of thinking. Use your logic! The C -> F/C is a popular trick used many times in rock history. For instance in “Like a rolling stone”, “Angel of Harlem”, “I’ve gotta feeling” (though in the key of A), and many more. And now my song from my album Soundshine called “Don’t say no” can be added to the list.
So, all you acoustic guitar strummers out there – by “popular demand”, or at least from P J in Florida and his dogs (see comment to the previous blog plost) – here’s the lyrics and chords for “Don’t say no” (please comment if the font size is to tiny or if you find other problems) :
Feel free to listen to the song by clicking the Spotify widget to the right (song #7).
And if you want inspiration on how to strum this song with your right hand and how to move your body while playing in a classic Petty / Jeff Lynne style check out this video from the actual moment of recording please feel free to enjoy this video (blame my MacBook for making the image mirrored after filming with PhotoBooth…):
Remember to not keep pushing your dreams away! Thanks a lot for stopping by!
On June 2nd I will be performing solo acoustic live at the legendary venue Mosebacke in Stockholm. The evening will be filled with music with the main act being “the greatest band you never heard of”: The Mommyheads.
Here’s a picture of me and Adam Elk and one of me and Michael Holt from my home studio when he recorded the great solo for “Got you where he wanted” on my new album Soundshine.
As the devoted Mommyheads-fan Anders Lundquist from the on-line publication Obladoo (who made an interview with me a while ago) put it the Mommyheads play “Great, intelligent pop music with a progressive twist. Influences: XTC, The Beatles, Radiohead, The Band, Gabriel-era Genesis and King Crimson.”
Also sharing bill with The Mommyheads this night you will You Say France and I Whistle and The Loulou Sisters. We are all invited personally by the Mommyheads for this goodbye party celebrating (or should I say mourning?) the end off their European tour.
Rocker and singer-songwriter David Myhr is our musical guest this Saturday afternoon on The Time Machine discussing his album “Soundshine”. Join us in the radio chat room and listen at http://ttm.popchats.com/
So big thanks to THE WORD for picking my song – and a big welcome to the supposed hordes of readers who stumbled in to my web page after having heard my song or seen the video. Please feel free to browse through and enjoy old blog posts and also to follow me (and say “hi”) on Facebook or Twitter. And find out how to get your copy of Soundshine here!
Thanks also to my European label Lojinx who made my album available in the U.K. Read about the signing here. I’m fully aware that selling pop music to Great Britain is somewhat like selling sand to the Arabs. But I must say I feel that there’s a lack of current melodic guitar based pop out there – especially of the happy, uplifting kind. So my album Soundshine is my way of trying to contribute to the genre. Some, like for instance Real Gone, hints I might have succeeded; “Soundshine does exactly what it claims – twelve pieces of great sounding pop which mostly act as a welcome ray of sunshine”. Also, Americana-UK reports “doctors in Sweden prescribe this CD as a cure for seasonal affective disorder” which I talked about in my previous blog post.
It’s so fine, it’s sunshine, it’s THE WORD – love!
So what’s the world like after the release of my solo debut album Soundshine a little more than a month ago? Do people talk about a “before and after Soundshine” effect? Maybe it’s too early to tell… ?After all the sound of the album is what I usually call “timeless” (sounds better than “dated”, doesn’t it?) and therefore I hope it will live on for years to come.
Since the release I’ve received messages from happy record buyers both on Facebook, Twitter and e-mail saying incredibly nice things about the album. (You can be one yourself – no matter where you live – by ordering it from the David Myhr Store!). And that’s really what makes it all worthwhile. It’s such a thrill knowing that the CD is now spinning in car stereos and the mp3′s streaming out of computers and iPods in the U.K., the U.S., Japan, Spain, Sweden, Italy, France, Germany, and hopefully many more countries. I want to thank you all for those messages – your feedback means the world to me! Please keep the thumbs-up coming for a year or so in order to avoid me sinking into the post-production-depression that I’ve been fearing since I started the recordings two years ago.
There’s also been a bunch of reviews – above all in the blog world – and I thought I’d share some of them with you. Starting of today with a review from americanaUK written by David Cowling that gives Soundshine a 7 out of 10 saying it’s “sheer unadulterated pop music, sheer unadulterated delight” and that it contains “a kaleidoscope of major chords, of bouncy melodies with everything fine-tuned for pleasure”
Here we are now… this is it! Today’s the day! The wait is over! My solo debut album Soundshine is released!
I could go on forever about how happy I am, how proud I am, how fourteen years have passed since I last, as an artist myself, released an album. I could talk about all the hard work behind the recording, about all the talented people who helped me to make the music come alive and made the sound shine. I could talk for hours about all the millions of creative decisions that were made along the way, the ups and downs, about periods of excitement, but also about struggles and periods of doubt. I could write in length about how incredibly difficult it has been to find the right record labels for me, and what a relief it was when I finally did so. And I could go on about the craziness of putting my own personal economy at risk by recording and releasing this album in an era of ongoing devaluation of music. But instead of all this I would simply like to quote the great Neil Innes saying: “I’ve suffered for my music. Now it’s your turn!”
You can start suffering right away by listening through a four minute teaser of the entire album in a “don’t bore us – get to the chorus” fashion…
For those of you who would have preferred me to write about some of the stuff mentioned above I encourage and welcome you to browse through the old entries in my blog here on my official web page which covers my activities over the last twelve months and to follow (by “liking”) and read my status updates on my Facebook page that goes back 21 months which was when the first notes on Soundshine were recorded.