Song

Blog: Back To Aus

I had someone reply to one of my instagram posts during my time abroad. They said “I’m so excited to read your travel blog about this trip” &, unfortunately for them, there won’t be one for this past trip to Australia. Why? Because this past trip to Australia was fairly pedestrian, as was the intent for it. I will however fill you in on the “why,” the “how,” the “what,” but not the “who,” for that is a band out of the 60s from The UK…It’s fine, I’ll just stop this here & leave. Anyway, we will be, in sorts, doing a small itty bitty, teeny weenie, type of a travel blog, but it won’t be structured in days & will lean more into the traditional blog format that I do here. Sound good? No? There’s an ‘x’ at the top of your screen, see yourself out I guess.

(If this is the tone I’ll be taking for this we are all in for a wild ride I fear.)

Prologue

Back in July I decided it was time to start recording music again. I had a could songs that I thought were ready to be produced but when I reached out to Jess, my guy was busy. I mean booked out til October busy, & great for him! Absolutely great for him, he’s doing exciting things that are so beyond deserved! So I turned to a few other producers that I knew of in town to get their rates & availability. Unfortunately, a lot of them were out of budget for me or just entirely unavailable, which, great, absolutely charge what you know you’re worth & know the people you typically work with are comfortable with paying. It ultimately didn’t work out for me though so I reached out to Leena & Max in Adelaide, South Australia, to see their thoughts. Max formerly worked in production at Atlantic in LA & has been the producing head of Songbird Society since their studio got up & running a couple of years back. I also know of several people who have worked with him & their music sounds great! Max let me know his mobile & in person rates & I had a wild hair come over me. What if I just flew to Australia to work with him in person? I looked at the cost of flights, which ended up being around $300 total for me thanks to credit card points & it was decided upon!

Initially the idea was to go in September. Evan & I were going to go to Brisbane to attend a music conference there that Max, Leena, & Emma were all planning to go to, but the timing ended up being rushed & the renovations of Songbird were running behind. We instead opted for October/November with Max calling to talk to us about doing a songwriting camp for Leena’s birthday at the start of the month. So we booked flights & loitered. That’s not true, we kept very busy, I even got back in the studio with Jess to work on more music as well. We had also talked about throwing an “American Style Halloween Party” (Halloween isn’t really a big thing in Australia apparently) at the newly renovated Songbird Society, but they had just wrapped a long string of obligations, including hosting a very successful songwriting camp themselves, so we decided against it.

Aussie, Aussie, Aussie, Oi, Oi, Oi

I was elated to be back in Australia. Two times in one year?! WHAAAA?! & it was spring, one of my favorite seasons! We flew from Nashville to LA, LA to Auckland, Auckland to Adelaide. We’d never flown Air New Zealand before, but it was lovely, truly lovely! We departed the states on the 26th & arrived the morning of the 28th. Sounds like a hella long span of time, but you have to remember the international dateline, so we’d technically left the late afternoon of the 27th from Adelaide’s perspective & arrived the morning of the next day. Our plans were immediately thrown a bit of a wrench as Leena had developed Rhinovirus & I was dealing with some mysterious sinus ailment, of which the antibiotics that I started on the 25th were not helping in the slightest. So it was either also viral or was entirely my allergies being a brat (less Charli XCX, more snotty child). Additionally both Max & Leena were naturally pretty run down from all of the amazing work they had been doing the last couple of weeks, & we were fairly worn down from traveling, so we opted to delay the start to our production for a couple of days.

October 28th-31st

Our trip started with an immediate visit to the South Australia Music Awards, where Leena & Max were up for the award of “Best Recording Studio” for Songbird Society. We attended the event, Max & Leena were gracious enough to get us tickets, & we ran into literally everyone we’d ever met in the South Australian music community. It was a fun night all in all, some great performances from some of the nominees & an exciting look into the South Australian music world.

The next handful of days were spent revisiting some old favorites; brekkie at Seven Grounds, walks through the Adelaide Park Lands, pastries from Against The Grain, groceries from Woolworths, a pass through the Adelaide Central Market, hangs, vibes, recovery, etc..

At one point we ventured into the city to Adelaide’s OzAsia Festival, a festival the celebrates the arts of different creators & cultures across Asia, to see a friend of the Hurrell’s, San Dragan, perform. Naturally a festival celebrating Asian arts also included a ton of food stalls offering anything from Satay Squid to Kimbop to Nasi Goreng to Bao to Lumpia to Saag Paneer. Naturally we took advantage of this. We were met here by Max & Leena’s friend Alex & made the rounds.

Over the course of our time there I had Takoyaki (one of the only ways I’ll still eat octopus, they’re too intelligent), a Hojicha Affogato complete with Red Bean Paste, Indonesian Fried Chicken battered in crushed up instant ramen & Korean Buldak, some of Evan’s Chicken Curry, & a Taro/Pandan Soft Serve topped with fresh Jackfruit, Grass Jelly, & Tapioca Boba. All in all, I was living my best life.

On Halloween Sophie & her fiancé were kind enough to invite us all over for a halloween game night, Ev & I went into the city to get some bangin’ sandos at Bottega Bandito before heading back to Bowden & the studio to try & piece together some last minute Halloween costumes. After rummaging through Max & Leena’s closets we came up with some actually fairly solid costumes for the four of us. I went as Milo Thatch from Disney’s Atlantis, Evan went as a gender bent Ellie Sattler (Laura Dern) from Jurassic Park, Leena went as the Portland Frog (if you know, you know), & Max was a Manic Pixie Dream Girl. We had a wonderful evening of food, friends, & games, responsibly distanced as to not get the other guests ill.

November 1st

The following day was a stunner. The weather was sitting in the high 70s with a soft warm spring breeze, so we went to the beach. Max stayed behind to work on a mix for a different client, so Leena, Evan, & I went to Henley. We got sandwiches, fish tacos, & coffee at Joe’s Henley Beach, but also happened upon an amazing brand of coconut water, Sip Coco. It would become Leena & my hyper fixation the duration of the trip. I was partial to the pineapple, the passionfruit, & the ginger, where as she was really into the lychee flavor. Sip Coco, if you’re reading this, please distribute to The US ASAP. Emma met us after lunch & we walked down onto the beach, found a spot to plop & finished out the afternoon chatting & basking in the sun.

South Australia has been experiencing a really bad blue-green algae bloom since the tail end of last summer, (shout out to climate change & industrial farming for that one), so it can actually be dangerous to go to the beach/get in the water at times. The day we went, & the reason we went down to the beach so readily, was that the bloom was not showing that many signs of activity. Typically when the water is foamy & hella murky, it is an indicator of the bloom. If you’re headed to the beach in South Aus, especially with sensitive skin or a sensitive respiratory system, be advised on the current state of this aquatic bush fire.

Max joined us later in the afternoon, he & I went for a swim reassured by the ‘shark alarm plane’ passing overhead several times with no audible warning. Then we all dried off, wrapped up, & went back to the studio to get ready for dinner.

I’m realizing that this day, Nov 1st, is definitely shaping up similar to my normal travel blogs, I did warn you we may dip our toes into that realm from time to time, but all in all it was a fun day to speak on, especially going into dinner.

It’s worth noting here, as I have several times in other blogs, that I have a running travel list that Evan & I share in my phone. It gets updated near constantly & is sectioned off by Continent, Country, State/Territory, City, & even Borough/Neighborhood. I had added a plethora of stops to the Adelaide portion of the list, all of which were corroborated by fellow foodie, Alex, a few days prior at OzAsia. Dinner was one of the picks from my list. Tonight’s as +82 Pocha, a Korean street food restaurant tucked under a skyscraper in the CBD (Central Business District).

In short. It smacks. Hard. We ordered a plethora of things to share, all of which was outstanding. We got Kimchi Mondu Dumplings, Kimchi Jjigae (one of my absolute favorite Korean comfort foods), a Honey Butter Korean Fried Chicken (IYKYK Honey Butter Chips), Bulgogi, their housemate Honey Lemon Soju, &, what has become my new obsession, Truffle Parmesan Tteokbokki. Heavenly.

November 2nd-6th

The next day Max & I started production on my song, I was finally feeling well enough. We mostly spent the day building out the track, I played more bass guitar than I ever have in my life, but what we ended up getting was really cool & I can’t wait to be able to share it with you all! Early next year, I promise ;)

We hit a bunch of cafes the following day including a return to Seven Grounds & a trip to My Kingdom For A Horse where we met up, once again with Emma. We also did a bit of errand running around town for the week to follow.

We hit up He Said She Said in their new Prospect location on the 4th before returning to the studio to spend the afternoon filling in guitar parts & cleaning up some bits of the track. I once again became more of a ‘multi-instrumentalist’ than I typically am on the songs I record with producers, but I really surprised myself with guitar, much like I had on bass two days prior.

I ended the evening with a horrendous migraine that sent me to bed early for a couple hours, but I was eventually drawn out by the smell of the Smoked Brisket Pho we had ordered from Ông Vietnamese Kitchen. Y’all. Y’all. Bars. No notes.

We made our way out of town a bit the following afternoon, eventually ending up on a small hike just off the summit of Mount Lofty. We saw a singular Kangaroo (unusual), had a time doing a bit of call & response with some Lorikeets, & saw the biggest parrot I’ve ever seen, a Black Cockatoo. The sunset & the view from up top was outstanding as well. Afterwards we struggled & failed to find a salad for dinner, ending up at their local Indian spot, Taste Of Bollywood, which was lovely!

It’s worth noting when you go to Adelaide that it is very difficult to find vegetables on a menu. Even a quick scroll through Uber Eats shows you Pizza, Pasta, Burgers, Sandwiches, Pizza, Pizza, Pasta, Fried Korean, Pasta, Burgers, Noodle-y Thai, Pizza, Pasta, Dumplings, Noodle-y Thai, Sandwiches, & on, & on. We were desperate for something green & wouldn’t unfortunately get that until the next day.

The next day we made our way to Ballaboosta, a Mediterranean/Middle Eastern restaurant that had some really solid food & vegetables aplenty! We shared orders of Cauliflower with Tahini, Batata Harra, & a big Mediterranean Salad. Then I got Malfoof & Evan got Shish Tawook. Additionally we ordered a whole half of their Toblerone Cheesecake to take away for late when Emma was coming by to brainstorm for her short film with us!

We ending our after by tracking vocals for the song. Leena vocal produced & we cleared out the live room where Ev & I had been sleeping to set up for the session.

All in all I ended up singing or making various sounds for probably six hours total. Even though that was the case, I wasn’t overly tired vocally, which thanks to Leena’s guidance, was a very nice relief!

Emma joined us around eight or nine & we spent the rest of the evening laughing away & trying to propose ideas for a specific segment of Emma’s short film that was to be shot the following weekend over a rather varied, but delicious, order from Sunny’s Pizza.

November 7th & 8th

Initially, as read above, the plan was to have a writing camp for Leena’s birthday, but the more time went on the more it fell apart. It definitely wasn’t from a lack of trying or planning, especially on Max’s behalf, it just ended up not being a workable thing for most people involved. So we opted out in hopes of doing it again at some point soon! Instead we set about a day of “Leena’s Favorite Things.”

Morning began with decorating the house with streamers, lights, balloons, & of course, a dirty taro latte from Seven Grounds. We then took an uber down to Glenelg, the main popular beach town in the area, in an attempt to have lunch at Uniqorn Eats, a restaurant specializing in rainbow foods. Unfortunately, Uniqorn Eats had a sign on their door saying that they wouldn’t be open until 3pm so we putzed around the town for a bit before returning….unfortunately again, Uniqorn Eats didn’t have an open kitchen until 5pm even once they’d opened………wild. So we had to pivot & ended up at Bottega Gelateria (bae) & Beach Burrito Company for Birria Burritos.

After lunch we hoped a car back into town for some time at the arcade, a few drinks, & a couple of rounds of mini golf at Holey Moley.

On the way back to the studio we stopped off at Plant 4 to pick up Leena’s ‘birthday cake’ which consisted of two large boxes of the most bangin’ vegan cinnamon rolls I’ve ever had from one of the food stalls there. They came complete with an extra box filled with extra icing for the rolls.

The next day was also a part of the birthday celebrations. When Leena was in ADHD decision paralysis about not knowing what she wanted to do for her birthday, I had asked her if she could do anything at all, what it would be. Her answer to that was “lay on the floor & be covered in puppies.” I took that as a cue & turned to the internet. What I found was a puppy yoga class happening literally five streets over from their house & the day after her birthday. Leena had taken it upon herself to text a bunch of her friends, asking if they wanted to join, almost all of them did so she ended up booking out both sessions. Max, Emma, Evan, Ellie (Vocal Lab), Leena, & I all attended the first session, which was about 30 minutes of yoga followed by 30 minutes sat on the floor playing with cocker spaniel puppies. Then we left Leena there, went & grabbed a few groceries, & headed back to the studio to work some background vocals on the song, do a bit of fine tuning, & a bit of final additions before we were to head off in the next couple of days.

The majority of the second group of friends who did puppy yoga were the women whom Leena had met in her “New To Adelaide” group when she had first moved in. They came over following the session & we all had some of the cinnamon rolls, sat around chatting, & eventually shifted to watching various videos on their projector.

At some point here, Evan let slip to Max that I had been looking for some bottle brush essential oils to obtain before departing Australia, as the blooming bottle brush smelled outstanding, so he took it upon himself to make some. He went out front to their tree, cut off a branch, some leaves, & a flower or two & set them in oil to diffuse…olive oil…

The sentiment was there, truly. I appreciate him taking it upon himself & trying. Genuinely I do. It was endearing. Essential oils are made of pressing the plant in question, then that is mixed with an oil like jojoba, not olive. I thanked him for trying, then told him that he could use it for cooking, a statement I have since redacted as bottle brush is fatally toxic to ingest as it is a member of the Eucalyptus family. At least the wood parts are, the flowers & leaves are actually used in traditional medicines & teas. The infused olive oil has since been discarded…I hope.

November 9th & 10th

We started our final full day in Adelaide with brunch at Mister Sunshine’s. Ev & I split the Breakfast Gnocchi & the Steak Sandwich. The gnocchi was definitely the stand out here. Afterwards we dipped back to the studio to start packing up all of our things & put down just a feeeeeew more things on the track that my brain had thought up overnight.

Dinner was a group favorite, Busan Baby. We once again rallied the troops & went in for a shared smorgasbord of ‘busan’ Korean food. Emma once again attended, as did Alex, but we also added Kaurset to our dining party! Together we devoured Bulgogi Bibimbap, Giant Chicken Katsu, Japchae, Tteok-bokki, Soy Garlic Korean Fried Chicken, Ban Chan, & Kimchi. After dinner we went back to Bowden & visited Seven Grounds’ sister restaurant, Lunar Landing, for dessert. I got a Genmaicha Latte (Genmaicha is my absolute favorite tea & I was beyond excited to have it in latte form), a Pandan/Coconut Tiramisu, & some form of Mango/Passionfruit Mousse filled shell that was in the shape of a mango.

We wrapped our evening with a group watch of SNL & a lovely evening of lovely people & their company.

We had a late morning flight. Evan & I got up, did a final bit of picking up, & then of course headed down to Seven Grounds for one last Dirty Taro Latte & one last Salted Caramel Vietnamese Cold Brew. We got to the airport around 9:30am with our flight to Auckland departing around 11:55. We made it through security, got a bit of breakfast then boarded our flight leaving behind a laidback work holiday, close friends, & the warmth & renewal of spring.

Release: Consequences Of My Honesty

I had “consequences of my honesty” sitting in my notes app for about three or four months before it ever got written. Any time that I felt anything that I thought pertained to the topic I would drop it into the note & close it out until the next time I felt inspired by it. It wasn’t until Evan & I went to a write with Chase Coy that the song ended up flowing out & boy, did it flow out.

We had tried a few separate ideas with Chase but I think that none of us were really feeling & we actually got to the point where we were preparing to pack it up & call it for the day having not really written anything. I remember Evan had gone to the bathroom & Chase pulling up a random track that he’d been working on & something just clicked. I literally had packed up my bag & just happened to scroll by the idea for “consequences” & we were off to the races.

Majority of the first verse was just spewed from what I had written in my notes & I actually think it was almost written in its entirety by the time Evan returned to the room. We talked as we went along about how the idea had come to be & about how I felt around the content we were putting to page. The answer of “swept under the rug” came up which is where we ended up with our lovely chorus. Verse two was a bit of a talk through as we pieced together association. Aside from there being consequences for my honesty, what else did it feel like there had been consequences for? Which is where we landed on clarity. From there the song really built itself; the refrain sat in naturally & within 30 minutes to an hour we had finished the entirety of the song…which I then proceeded to sit on for almost five years.

I remember saying in a TikTok that I made a week or two ago that I felt like COMH (Consequences Of My Honesty) was a bit of a party trick that I would pull out from time to time. That it was this song that I had deep flowing emotions around, that was an ultimate expression of how I felt at the time, that I could never put out. I would bring it out when people were asking me to show them songs I’d written & I did so often so that I could get people to take me seriously as a writer & an artist. Not just one more CIS/Hetero White Guy who had nothing new to say in the country music space. I also felt like putting the song out would be a betrayal to my family, even though, in truth they were who had made me feel the way I did at the time that the song was written.

Now, I’m not here to throw anyone under the bus. I am not here to shame anyone or make myself seem holier than thou in anyway. I want to preface this before we go forward & talk about the story behind the song & its meaning & be completely transparent, open, & honest. I want to acknowledge the struggle, as there was one for a long while, but I also want to acknowledge the growth, because I am immensely grateful for the growth & effort that my parents put in to changing from where we were in June of 2019 to now. I applaud them for their willingness to listen & to have a myriad of hard conversations over the many years that led us here.

In March of 2019 I came out to my parents. I left them each handwritten notes explaining my (bi)sexuality, my taken relationship status to someone of the same gender, & how it was something that has been a part of me all of my life. I was visiting them in Kansas, passing through on my way back to Nashville with my former manager who I was helping move cross country from LA. Having grown up with ADHD & the cognitive processing that goes with that, I knew my parents would be reactionary. I also knew anything I said would fall on deaf ears at a certain point. I also knew myself & knew if I didn’t write down what I wanted to say that I would mess it up, become reactionary, become emotional, & breakdown. So I left them the notes in the morning on their pillows & made our way back to Nashville.

It was a painstakingly anxiety filled day, waiting for their response which I didn’t end up getting until probably 8 or 9 o’clock that evening in the form of a text. My father called me a coward for not telling them in person, even though I knew the fallout & told me my mother had been throwing up ever since reading the note. Additionally they sent an email to my former manager & chastised her for the “mishandling of my brand.” After that I didn’t hear from them for two to three weeks.

I lay all of this out because I think it has deep relevance to the song itself. I again, am not here to judge or punish anyone publicly for their actions or beliefs, as at the end of the day we are all humans who have deep ingrained belief systems that really don’t like it when someone chucks a rock at their hornets nest.

When I finally heard from them it was like nothing had happened. Like everything I’d said, the weeks I’d gone through in silence & in pain, amounted to nothing. It was all just swept under the rug. In psychology we call this “dishonest harmony” & it is something that affects older generations at an alarming rate. It is the notion that it is better to have harmony at any cost, even if it is entirely fabricated or glosses over a conflict. This song was written in that time period where I felt the weight of the dishonest harmony as well as was receiving the consequences of my honesty & clarity.

Again, many hard conversations & years later & we are all at a place that is lightyears beyond any improvement that I could have predicted.

In Feb/March of this year I started working on new music. Initially it was with my typical producer, Joshua Gleave. We were working on a song called “Woebegone.” Josh, who is on the road with Sam Hunt, found himself greatly disillusioned with producing & quit all together sending me a long list of recs whom I listened through & seriously contemplated. It was then that I remembered an old band mate of mine, Jess Grommet, had reached out asking me if I needed any demos done as he was now full time in the production space. I reached out not for a demo, but to see if he was full on producing as I knew he & I had similar taste in music. He sent me over a sample of some of the artists that he’d done projects for & I was blown away!

Jess & I met one rainy afternoon at Frothy Monkey in The Nations. We sat & conversed for almost two hours, catching up on life, music, etc etc. At the point where music was brought up I pitched him a few ideas that I felt I’d be cool working on. He knowingly asked if there was anything that I had written that I felt strongly about & COMH was brought up. I explained the song & the premise & told him frankly that I was nervous to cut the song as I knew it would require yet another hard conversation with my parents, but we agreed that it would be the song we would do & set a date to meet up again at his studio.

I kid you not when I tell you I waited until the night before our session to have that conversation with my parents. When I did, I told them exactly what the song pertained to, when it was written, why it was written, & why I felt it was important to put out, even if I knew that it would make them uncomfortable or that they simply would not like what I had to say. They were surprisingly cool with it.

Jess & I started tracking & over the span of 3-4 sessions had the song entirely pieced together, also adding in drums from Alec Parrish. We pulled inspiration from everywhere: The 1975, Taylor Swift, Brothers Osborne, Usher, & even Avatar: The Last Airbender. In addition to all of my precious releases! After we had it to a place that felt good we did two in person mix sessions & sent it off to Sterling Sound to be mastered by Adam Grover. The song was distributed by TooLost with PR by Trend PR & photo assets by Evan, & I am beyond proud of it!

Even leading up to the two or so days after the song came out I was anxious about its release. It was an incredibly vulnerable part of me that I had just shoved out into the world for feedback on. Additionally, my parents hadn’t heard the song, at their request, until after it had come out to the public. They apparently really like it. If I’m being honest, I’m over the moon with how COMH turned out. I think it has turned over a new leaf for me & allowed the walls that surrounded my creativity to come cascading down. For so long I was so afraid to say the wrong thing, to hurt someone close to me even though it was how I felt, & putting this out into the world has given me the permission to be authentic & open 100% in my music & writing. Even if the song is a “flop” I am beyond grateful for all that it has shown me & the freedom it has given me! I’m naturally also grateful to all of you out there who are streaming it & sharing it! It means the world!

Consequences Of My Honesty is available anywhere you listen to music! The acoustic version, that I self produced, will be out in just two weeks & you can pre-save it below! If you’re reading this after the 19th of July 2024 it’s already out & you can just stream it too!!!!

I am so beyond grateful for your continued support & for the love you’ve shown me & this song!!!

As always, much love to you all,

-C

Listen Here!!!
LISTEN TO THE ACOUSTIC VERSION HERE!!!

Obliterated (Acoustic Mix) by Charlie Rogers-Official Music Video

Two years ago today I released the Obliterated (Acoustic Mix). Over those past two years you all have shown that song a great deal of love so as a way of saying “thank you” I wanted to gift you all the previously unreleased one shot video for Obliterated (Acoustic Mix) that Evan & I shot in September of 2020.

The video is rough & unpolished but that’s how I always imagined it, shaky cam & all. I hope you enjoy it & know just how much I appreciate all of the love you have given this song over its lifetime.

Thank you all & much love!

-C

Blog: Just Another Late Night

On a chilly November Wednesday evening, back in 2017, gathered around my kitchen table with Evan Michael & Kate Cosentino was where “Just Another Late Night” was originally conceptualized. The title had been a note in my phone for even longer & for whatever reason the timing was right for this midweek write. Back in 2017 Kate, Evan, Kimi Most, & I used to do weekly Wednesday night writes. This song came out of one of those sessions as well as Kimi’s “Happy Birthday To Me," a song called “Dumb Drunk Self” that I still desperately hope Kate cuts, & innumerable other songs that we each have sitting on the shelf waiting for the timing to be right on their potential tracking. Given that she is not credited on this song, Kimi was obviously not a part of this particular week’s write for whatever reason so it became a collaboration between the three of us.

I remember writing down the title in my notes as almost exactly how it ended up “I need someone that will love me right, not just another late night.” To me the song sparks a memory from the early 2010s but for whatever reason I still hadn't found that “someone who would love me right.” Naturally it had been a while since any of the events in the memory had taken place but I still felt deeply attached to the idea & the song kind of poured out of us in the session.

From there the song became a staple in my set, I’ve been playing it in live settings ever since that night in 2017. I played it so much & so often that people who came to a lot of my sets began to know the words & I would get asked over & over when I planned to release it but for whatever reason it just kept getting pushed down the “to record” list. Cue 2020/2021.

I had just put out the acoustic mix of “Obliterated” & had gone in to record another song that is as of yet, still to be released. We wrapped the song & I felt I needed to put out something with a little more movement, enter “Just Another Late Night.” Going back in studio with Josh Gleave, we set out to finally bringing “Just Another Late Night” to life.

I wanted “Just Another Late Night” to feel almost like two separate songs because in the song, much like in life, we have moments of waining clarity. The verses act as the “quiet before the storm” that is each encounter the chorus brings. The verses are much more reserved allowing more space for the clock & hours to tick by in reflection. The chorus is cacophonous, it’s rambunctious & wild. It’s unhinged & without hesitation. Then we come to the bridge. The bridge to me is the “eye of the hurricane” it’s nothing but vocal & percussion that features a begging ultimatum from the narrator of the story. I wanted the song to reflect life, to have those moments of clarity that we all reflect on after & before the fact before we ultimately buy into the thing that’s destroying us one more time.

We’re now a week int the release of this song that we poured so much love & life into & I’m floored by the response I’ve had for it! Many blogs, playlists, websites, have all reached out asking to feature it. So many people have shared & as of this second we are sitting around 25,000 streams on Spotify!

I’d like to thank any & all of you who were a part of this song:

Evan Michael & Kate Cosentino for helping to write it!

Joshua Gleave for producing & dealing with my crazy artist ideas in addition to bass, keys, synth, & program instruments!

Lester Estelle Jr. for lending his mad drum skills!

Cole Phillips for crushing the guitar!

Jonathan Roye for mixing it so perfectly!

Mike Monseur for mastering!

&

OneRPM for distribution!

If you haven’t streamed or purchased “Just Another Late Night” I’ll drop the link to it here:

STREAM IT HERE!

As always, thank you for reading! Thank you for allowing me to do the art that I love & be the artist I am!

I’d also love to know your thoughts on the song & how it relates to you personally, so feel free to leave a comment below!

Much love to you all!

-C

Object Writing: Just Another Late Night

Reckless, we might’ve been. we were fearless, cause back then we didn’t care that we would be growing older, playing with aches & age, maybe time made us bolder & young love can’t help but fade away. But still you end up at my place every, single time. You’re always coming back my way when no one’ll hold you tight. I still save space for you, though I should make room for someone that’ll love me right, not just another late night. Tired, but I could sleep, you’re leaving me wired cause trying to keep a handle on the way that you need to use me. God, I must be insane. Somehow you phase right though the walls that I think I’ve made. But still you end up at my place every, single time. You’re always coming back my way when no one’ll hold you tight. I still save space for you, though I should make room for someone that’ll love me right, not just another late night. Please leave the keys with me next time you run cause I need to close the door on us. But still you’ll end up at my place every, single time. You’re always coming back my way when no one’ll hold you tight. I still save space for you, though I should make room for someone that’ll love me right, not just another late night.

Blog: Song Scammers

I was reminded this week of an occurrence that happened to me as well as a few other writers I know a couple of months ago. Someone, it seems, has been targeting the songwriting community, a community notorious for having sooooooo much money……, & scamming us.

I received a message a few months ago over Instagram DM. It was a “father” requesting that I, a songwriter, write his son, Solomon, a song for his birthday. I asked for details; what was he looking for, what level of production, what artists he liked, what things he wanted included in the song, etc. Here are the details I was given:

-It was Solomon’s 6th birthday

-Solomon loves Spider-man & Cat-Boy

-Solomon’s best friend’s name is Jena

-Solomon’s dog is named Maxxy

-Solomon’s father likes to “swing him around the room” so he can pretend to be Spider-Man

-He has Cat-Boy pajamas that he runs around the house in

-Solomon’s favorite artists are Jack Harlow, Justin Bieber, & Ed Sheeran

These were all the details I was given to include in this “birthday song” & it was to be in the style of one of the listed artists above. His “father” had also stated that an acoustic demo of the song would be fine, just vocal & acoustic guitar or piano. He was also apparently offering $500 dollars for this song.

I recruited Evan to help me with the song, offering to split the fee with him & we sat down & wrote the damned thing. I had been communicating with the client back & forth regarding the pay & how it would be sent. We’d agreed to PayPal I believe instead of a direct deposit & we were going to do $200 upon completion of the lyrics & the remaining $300 for the finished song & file.

After completing the song I messaged him & told him I was sending over lyrics for his approval & once he signed off on them I’d & got paid I’d send the song over. He then tried to pull some story about how one of his assistants had over extended his account on PayPal so it’d be a week or two before he could send money that way so instead he wanted to send the money direct deposit. I told him I wasn’t comfortable sending my account info over text but would request a direct pay if he could send me his phone number attached to the account. This is when he stopped responding.

I waited a few days before I reached out again, asking if he still wanted the song. No response. I tried again a few days later. No response. I waited a week, again, nothing.

I eventually let it go until we were having game night one night via zoom with our friends, Leena & Max, who live in Australia. I brought up this strange occurrence & they both immediately went white.

Apparently this account, or several other accounts of the like, had been going around targeting songwriters, asking them to write a song with the exact above listed details, & then stealing money from them. How were they doing that? Well, instead of $500 they’d send you several thousand, over extending your account which they’d ask you to refund. They’d then claim somewhere, whether it was their bank or wherever that they never got the funds returned & it would pull an additional several thousand from your account. Apparently this occurrence was happening all over the songwriting worlds of Nashville & LA specifically amongst up & coming or unsigned writers who aren’t exactly rolling in dough.

The reason I bring this up & chose this as my blog topic this week was because I was once again reached out to by a “father” asking me to write a birthday song for his “son, Solomon.”

If you are a writer reading this I want you to heed my warning & report these people. We have a hard enough time getting paid by the avenues that are supposed to pay us, looking at you streaming services, & many of us jump at an opportunity to make easy money like this but it’s a trap.

I’m going to post the lyrics to “Solomon’s Song” below so it doesn’t feel completely wasted, keep in mind we wrote it with the intent of modifications which, naturally, it never received. Enjoy I guess haha.

SOLOMON’S SONG

V1:

Solly, I see it slipping by

How you grow up every night

Something’s older in your eyes

And I’m blessed to get to be there by your side

So take me catboy to the fray

Grab your mask & Maxxy & let’s play

On our grand adventure tell me how you’ll save the day

C:

So I’ll keep swinging you around like Spider-Man

Just as long as these two arms of mine can stand.

I’ll place you high upon my shoulders

Through the endless world before you.

I promise I’ll do all I can

Solomon

V2:

Solly, I can’t believe that

The last six years have come & passed,

I’ve tried my best to make them last

But time’s a gift that we don’t get back

C:

So I’ll keep swinging you around like Spider-Man

Just as long as these two arms of mine can stand.

I’ll place you high upon my shoulders

Through the endless world before you.

I promise I’ll do all I can

Solomon

B:

So take me catboy to the fray

Grab your jams & Jena & let’s play

What grand adventure will you take us on today?

C:

So I’ll keep swinging you around like Spider-Man

Just as long as these two arms of mine can stand.

I’ll place you high upon my shoulders

Through the endless world before you.

I promise I’ll do all I can

Solomon

Blog: Yeah, I Guess I'm A Red State Blueneck.

Earlier this week the social media platform Tik Tok shot another independent artist’s song up the charts premiering it at #1 in all of country music & #4 in all music charts on iTunes. This time, however, I had the privilege of knowing one of the writers, Nell Maynard. Nell is a frequent co-writer & friend of mine & I honestly couldn’t be happier for her & this major win! The song in question is called “Blueneck” performed by Chris Housman, written by Housman, Maynard, & Tommy Kratzert, & produced by Kratzert & Matt Geroux. If you haven’t hear it I’ll attach it below, definitely give it a listen:

Music video for Chris Housman's new country song "Blueneck" (2021). Listen to the TikTok star his latest original song here!https://www.tiktok.com/@chrishous...

The song, if you didn’t click the above link, details what it’s like being a liberal redneck, or as the term has been coined here, a blueneck & I think its success out the gate is no accident. You see there are a lot of us in this world & in this industry who love country music but don’t align with the often bigoted stereotype that comes along with it. I think when you tell someone you work, listen to, perform, or write country music there’s a certain assumption that comes up in their mind around your political beliefs or the way you view human rights issues when for the most part, especially amongst the younger country music industry itself, that narrative is false. We as liberal fans & creators of the genre have been mostly excluded from the narrative of country music in favor of party songs about trucks & beer or loud boasting right leaning artists so much so that the stigma remains regarding country music but dear lord is this a much needed breath of fresh air.

I grew up loving country music of the late 90s, 00s, & 10s (up to a point) where I found grounding & representation in the stories being told. At a certain point, that shifted. We went from heartbreak ballads & story songs to just straight up Yee Yee or songs without purpose. I often find it ironic when ‘country purists” say pop country is killing country music when in reality pop country is one of the few forms of country that is maintaining the heart of country music, which boils doing to telling an honest story. Within the last year especially it seems the gates of relatable storytelling are once again being blown wide open in favor of demographics that are typically not represented in country.

I think it is worth noting that Housman is an out, gay country artist (as is Nell). Hailing from Kansas, much like myself, Chris embodies the country lifestyle & legacy & is more than worthy of inclusion in this genre. However, I fear that much like Mickey Guyton, Chris will face adversity simply for being who he is. As much as it pains me to admit, country still has a lot of gate keepers in the industry & in the fan base lest be forget the attempted “cancellation” of Little Big Town’s “Girl Crush.” Housman’s story is one that so many living in rural America face, we’re often forced to blend in or fake who we are as a survival tactic or we’re forced to alter parts of ourselves simply to fit in. That’s precisely why this song debuted at #1. This song blew up because so many people out there, like myself, like Chris, like Nell, feel exactly like this song’s album cover; we are little dots of blue swimming in a sea of red.

Think I’m even the slightest bit wrong? Go read the comment section on the link I inserted. Go to Chris’s Tik Tok & read the comments on the video he posted for the song. Go look at his instagram story. There is an overwhelming amount of people who didn’t know how badly they needed this song to validate who they are, to show them that they’re not wrong, that they’re just as valid in country music as their redneck counterparts. Country music is changing, quickly. This is evidence & a half of that, just like Guyton’s “Black Like Me” or Maren’s “Better Than We Found It” show. I for one can’t wait to see the direction it’s heading & hope to be a active part of the change as well! Until then I guess I’m a red state blueneck.

Congrats to all involved in this song! I’ll post the lyrics below so you all can give them a read!

Grew up with cornfields in every direction That's where I learned all of my lessons About life and living without fences In the land of the free to have opinions If you gotta job, you oughta make a living George Straight or George Gay, there's no difference People need help and I think that we should listen Three chords and my truth is I'm a good ole boy with a bleeding heart Just a homegrown hick with a hybrid car I think y'all means all and I know we all Just wanna know that we belong There's a lot more color in the mix Whеn you're loud and proud out in the sticks I am what I am, you get what you gеt Yeah, I guess I'm a red state Blueneck My American dream is wide open spaces Plenty of room for us all to be safe in Yeah, that's a future that I'm chasing So I'm gonna go make it I'm a good ole boy with a bleeding heart Just a homegrown hick with a hybrid car I think y'all means all and I know we all Just wanna know that we belong There's a lot more color in the mix When you're loud and proud out in the sticks I am what I am, you get what you get Yeah, I guess I'm a red state Blueneck Yeah, I'm a red state Blueneck Can a country kid wanna see the glass ceiling shatter? Wanna see a world where Black Lives Matter Liberty and Justice for just some of us Ain't how the heartland brought me up I'm a good ole boy with a bleeding heart Just a homegrown hick with a hybrid car I think y'all means all and I know we all Just wanna know that we belong There's a lot more color in the mix When you're loud and proud out in the sticks I am what I am, you get what you get Yeah, I guess I'm a red state Blueneck Yeah, I'm a red state Blueneck Yeah, I'm a red state Blueneck

Demo: Some People & Sketching Butterflies

Hey all,

Long time no write, yeah I know, I know I really need to get back to the Friday blogs. I hope you’ve been well during all the things the world keeps throwing our way. As some of you may know I decided, last month, to postpone May Demo of the Month out of solidarity with the Black Lives Matter movement, the timing wasn't right. So, this month I’ve posted two! Happy belated May & June!

The first is a song called “Some People” that I wrote with Matt Szlachetka, you can find more on him here:

SZLACHETKA

Anyway, here’s Some People:


The next original demo I did was a song I wrote with Mary Kutter called “Sketching Butterflies.” SB was an idea I’ve had in my notes for a while, the premise came from the idea that if one were to draw butterflies they’d have to do so quickly, getting all of the intricate details before it flies off just as we do with the little intimate moments in life. If you want to hear more from Mary find her here:

Mary Kutter

Otherwise, here’s “Sketching Butterflies”


Blog: Obliterated

About two & a half years ago I was sitting on the steps inside my former manager’s Hollywood apartment jotting lyrics into my notes app to a song, humming softly to each line that popped into my head, all while Danny sat less than three feet to my left at the computer programing a track. This song started as an idea I had in passing about those who had lost their love & never recovered, those whose hearts had been truly & utterly “Obliterated.” Fast forward to today when I’m having my first ever international feature release with an artist I’ve come to call a friend, Hektor Mass!

Don’t worry, don’t worry, I’m going to fill in the details from the last 2.5 years, I’m just currently in a bit of a state of disbelief that this song is finally seeing the light of day, especially in its current form!

If you don’t know songwriters there’s a little known fact about us that I think the outside world should know. Much like your Miranda Rights, anything you say or do can be used against you in a song. Thus many of us have hidden lists; in our phones, on our computers, in notebooks, on random post-it notes, of all the things we’ve heard in passing or all the thoughts that crossed our head that we think would make intriguing song ideas. As I mentioned above (see above), I had the idea for a completely decimated heart in passing. I’m not entirely sure how long it sat in my notes, but I don’t feel like it was there for that long before it got put to use.

The fire that ignited the idea for Obliterated, sonically, came from a song called “Lips on You” by Maroon 5. Danny, otherwise known as The Delta Mode, & I were driving around in Billie, our former manager’s, car & I had the aux. I put on the song & remarked about loving the production, to which Danny said “you know we should do something in the similar vein!” That was really all it took. We got back from BevMo & immediately got to work on the song.

I remember it not taking long to write. I remember it lyrically being a very stream of consciousness idea as Danny started to assemble the bones that would make up parts of the track you hear today. I’d pitch him lines, he’d tweak them lyrically or melodically or offer me another approach, but the song as a whole took about 30-45 minutes to write that day. I remember Danny & I had a long discussion regarding the use of the word “Obliterated” itself. At the time the idea was to do the song then potentially release it under The Delta Mode, so Danny’s concern was that German audiences, where he lives, wouldn’t be able to say/understand the word. My counterpoint was “good, make them look it up, drive more views to the song.” So the lyric stayed.

After the initial write was done Danny set up a small tracking mic in Billie’s closet. Truly a three foot by two foot space with a ceiling that sat about five and a half feet tall. For those that have never seen me in person, I’m a tall gent, 6’4” to be exact, so did I record vocals with my head cocked to the side, right up against the ceiling the whole time? You bet your ass I did.

The session itself happened at some point in the afternoon. I think I, myself, took a break & ventured down to Barry’s in Hollywood. By the time I got back Danny had taken Billie’s Ovation guitar & recorded a drop lick very reminiscent of Slash himself! Of course it had gone through compressors & filters galore to get from sounding like an acoustic guitar to an electric but parts of that guitar line are still present in the songs current form!

From there we had a very well produced demo, it got passed around amongst our friends & collaborators & everyone was head over heals for it, but I thought it was missing something. A second verse. See, at this point in time the song was just a verse, pre-chorus, chorus, & post chorus then it had a drop & would repeat everything save the verse a few times. I sat with the song for weeks trying to wrap my head around a second verse idea but I couldn’t for the life of me recapture the inspiration I had the afternoon it was written. So I took it to Evan Michael. Evan was very keen to write on the song, he loved the idea, the melody, etc. He was able to see the song from an outside perspective & find new angles to come at it with. And thus the second verse was born.

From here the song entered a series of disagreements. Danny would want one thing, I’d want another, we’d try to compromise to no avail; I am hardheaded after all. Danny himself claims to have done about a hundred different versions of the song but was never happy with it himself, so it was put on ice for about a year. The next time the song came up was to be under the newly minted Delta Mode, a group that expanded outside of just Danny & his brothers, in which the production would be cut back to the original demo, vocals would be recut, & the second verse would be added. However, it never came to be. Once again disagreements, misunderstandings, & life got in the way & the song was iced indefinitely.

Having finished that last paragraph I’d like to interject something here. Music is a creative medium, it is very personal. We all, as musicians & songwriters, want for our vision of a song, especially one that’s personal to us, to be our vision. It’s hard to let other people’s ideas in to that vision from time to time. No one is the bad guy in this situation, no one is to blame, we’re all on good terms still, there’s no need to take sides on any of this, it’s simply the music business. Got it? Okay, good. Onward we go.

Like I said, the song was on ice for quite a while. I had many friends asking when it’d be released or how & I honestly loved how much people loved the song, I knew it had to come out in some form. Enter fate.

A friend of mine from LA, who is a writer & artist began posting a lot of different things with a Spanish gent in LA. I was curious who he was as I’d never seen him in any of his stories in the past so I acquired. He told me his name was Hektor Mass a DJ/Producer in town from Barcelona whom he was showing around. I was told to check him out, so I did! I followed Hektor, added songs of his to my workout playlist, then we began to interact with one another over Instagram. This continued for a few months before I eventually ended up in Spain for Medusa during August of 2019 & who was the headliner for the opening party of Medusa Spain? Hektor Mass.

Unfortunately I missed Hektor’s set due to delays & I was honestly a little upset I wasn’t going to get to hear his music live or have the chance to meet him face to face. Call it manifestation or destiny or whatever but on the last night of Medusa who did I see at the bar? Hektor Mass. We struck up a brief conversation, I told him about “Obliterated” & he asked me to send his way. He loved the song but wanted to put his spin on it & make it his own.

From there I reconnected with Danny after about a year of distance & he sent over the stems for the original track and Hektor & I got to work in LA. Hektor wanted to keep a lot of the bones of the track, which we did, but this is the point in which we pulled Max Hurrell into the mix. Max is an incredibly talented young producer out of Adelaide, Australia who now resides in Los Angeles, someone I am also proud to call friend. Hektor, Max, & I sat down in small classroom studio at MI Hollywood & hashed out the song. We pulled up all stems, sorted through them, kept the ones we liked, ditched the ones we didn't, & began to move forward. At this point Hektor proposed a rewrite of the verse melody, siting that he wanted it to be more rhythmic with less space to give people something to dance to live. I struggled with the idea for a while, thinking I had to rewrite these lyrics I’d grown so attached to but in the end we were able to find a nice compromise! We pulled a lot of the same lyrics but added new ones in to fill the rhythmic chunks that were missing. We gutting the chorus instead opting for a verse, pre, chorus, verse, pre, chorus, drop, chorus, post chorus set-up!

Next we went to Capitol Records’ demo studios to retrack vocals. (Thanks Jenna!) It was honestly one of the most affirming yet grueling vocal sessions of my life. Max & Hektor were looking for a very specific vocal performance out of me, which after a while I believe they got! I sang higher & fuller than I think I have on most of my tracks & left the studio that night exhausted. I’m pretty sure we ended up cutting hours of just adlib vocal.

I went home to Nashville the next day but Max & Hektor continued working on the song over the next two to three weeks replacing a large chunk of the original track & adding a whole assortment of new melodic themes & ideas into the mix. I was blown away when they sent me the initial mix. Which we then sent off to Jonathan Roye here in Nashville to mix & then to Mike Monseur for master. Finally the song was complete!

After finalizing everything the song came out today, March 13th! There’s a lyric video here:


There are purchase links here:

Amazon Music
iTunes

Steaming Links:

Apple Music
Deezer
Google Play
Prime Music
Spotify
Tidal

Credits:

Performed By:

Hektor Mass, Charlie Rogers

Produced By:

Hektor Mass, Danny “The Delta Mode” Bernath, Max Hurrell

Written By:

Charlie Rogers, Danny “The Delta Mode” Bernath, Hektor Mass, Evan Michael

Drop Guitar By:

Danny “The Delta Mode” Bernath

Keys By:

Charlie Rogers, Hektor Mass, Danny “The Delta Mode” Bernath, Max Hurrell

Guitar By:

Danny “The Delta Mode” Bernath, Max Hurrell

Drums/Rhythm By:

Danny “The Delta Mode” Bernath, Max Hurrell

Synth By:

Hektor Mass, Danny “The Delta Mode” Bernath, Max Hurrell

Mixed By:

Jonathan Roye

Mastered By:

Mike Monseur