In celebration of Halloween I’ve released a new single My Heart Has Been Broken By One Unfit To Name, from a soon to be released 7-inch.
See the horror/Lynchian like video here with scenes from UK film, Where the Dogs Divide Her. I was asked to create the song based on a poem they wrote for a specific scene.
When I was a teen, I would creep down the stairs once my family was asleep, and under dim light I would quietly play improvisational spooky mood music on my mom’s synthesizer. I was most drawn to making up somber creepy toned sounds and circus ditties on keyboards. It’s just always been this way since my Great Grandma Jones gave me her 1940s Italian chord organ.
Pre-order/stream can be found at Bandcamp. Each fancy 7” will come with a sleeve designed by myself.
I’m also working on my second LP, which forecasts to be released sometime in the second half of 2014.
Many moons ago, I wrote a lullaby entitled, ‘Sweet Dreams’ for my niece’s first birthday which also happens to be Summer Solstice. Here is a cherished moment when I first performed Sweet Dreams for her.
Sweet Dreams will also be featured on my next solo album currently in progress.
Here is my song that I produced in 2005 for my Double Feature Creatures release on Teen Sound Records in Italy. I’m playing electric guitar, bass, guiro, vibraslap and vocals. My friend Sean is on drums, Rosemary speaks with me at the beginning of the song and plays tambourine during the course’s and we sing the bah’s in harmony together… and my friend Ken is on the keyboards. Ken is the grandson of John Logie Baird, who invented the Television which sparked the inception of the BBC.
This was a song intended for The Double Feature Creatures but the band had quit on me so we never really got into performing this song in the 90s. I did perform the song quite a bit though with my rebound band, Tijuana Knievel and during my solo performances with Ken accompanying me as a duo followed by other accompaniment later on. I felt it appropriate however to add this to the The Double Feature Creatures ‘Return!’ album along with 2 other tracks recorded (Sourdough and Subconscious Superhero/Hercules) in 2005 to add to the rest of the mid 90s recordings.
Have a listen! :) PS.. The hot pants thing was inspired by growing up listening to the Jimmy Castor Bunch and wearing vintage 60s hot pants outfits during my 20s!! And the drum beat was inspired by my love for the tune Barbarella Psychedella and the percussive stuff was inspired by tunes I dug like Santana’s, Black Magic Woman and another tune on the tip of my tongue, I’ll post it later!
Hot off the griddle! Here is my latest video for my song, The Marching Song. You can listen to this tune and my full album, Tapping Trees in a Trinket Box of Treasure either through iTunes or http://christineleakey.bandcamp.com
Here is SUCH a heart warming story VERY close to home for me. ♥ One of my best friends during my teens is this great gal, Jeannette who’s parents, Stewart and Lily Jean have always shown those who know them what kind hearted people they are…
Well, they just GAVE for free this wonderful GIFT back home to performer Justin Hines… Please watch! This is happy news, something the world always has room for! ♥
The ARP 2600 is yet another fabulous analog keyboard featured on Tapping Trees in a Trinket Box of Treasure and performed by my very talented friend, Maurizio Guarini from the band Goblin on my track, The Day My Flower Died. He just released a solo album entitled Creatures from a Drawer that I recommend you check out!
Maurizio asked if I it would be fine to play a midi version but I said no, to please play the authentic ARP 2600. So he turned it on, warmed it up in his studio and he and his lovely Cinzia and I enjoyed a delicious pesto meal she prepared. We spoke about the meaning of the song and then Maurizio proceeded to tap into that tune and its meaning more-so than any other could have! It was very fascinating to watch him work the patches.
This is the Orchestron which is not featured on my album Tapping Trees in a Trinket Box of Treasure as much as I’d hoped. What was meant to be a 3 day recording session became a 1.5 day session as the keyboards arrived a day late to the studio. It was also very muggy weather which impacted the quality of sound and the studio rented wasn’t cool enough so that was a challenge for the time crunch.
Anyhow, as you can hear, this was mostly used with Kraftwerk and some of the sounds I had intended on using for the album had never been recorded on an album before. There is a bit of Orchestron on my album that you can hear though… You will just have to purchase my CD to find out in the liner notes! ;) Or see if you can hear any of the sounds on my album here: http://christineleakey.bandcamp.com. The way I used these organs were quite delicate.
This keyboard is similar to the Optigan that I used with disks and disks from the Optigan are playable on the Orchestron but not fully functional. This was a more serious machine for its time compared to the Optigan which I believe was created for more of a home use purpose.
Here is a Chamberlin which is also on my Tapping Trees in a Trinket Box of Treasure album. This was my favourite machine to play of all the keyboards that I rented and what’s great about it is all of the sound samples were recorded by the Lawrence Welk Orchestra which I watched every week as a very young girl. (I loved the bubbles, the chandeliers, the orchestra boxes, the flutes and the singers. I especially loved the Lennon Sisters and Cissy and Bobby.)
The American made Chamberlin predates the British made Mellotron. I used two separate Chamberlin M1 keyboards on my album. One was the standard M1 model with the common sounds and the other was a very rare M1 model that Mr. Chamberlin had created for his own personal use which features harp sounds which you can hear on a couple of my tracks to not be confused with Sahra’s Celtic Harp. You can hear it best on my track entitled, Trinket which was an improvisational piece at the end of a long recording session day.
It was an absolute honour to play such museum quality rarities. Here is an old demonstration of a Chamberlin Music Master model which is a much bulkier model from the M1 however shares some of the same sounds.
Another fabulous instrument you can hear sprinkled throughout my Tapping Trees in a Trinket Box of Treasure album is the Mellotron.
I first laid my eyes on one in ‘94 at Cross Eyed Bear Studios where I was the studios first ever client. The owner, Chris Bromwich had very poor vision and so he showed me the ropes on how to use the mixing board and left the studio, letting me create a recording which I made and gave to my mother as a Christmas present. Bromwich expressed to me that he had a dream to buy a church and transform it into a recording studio. That he did and then along came Glen Marshall and Dan Achen from Catherine North Studios who brought in their gear and set up shop at the church along with their name, while Chris kept his studio in the basement.
It was at this old church where I recorded the vocal and guitar bed tracks for my album with Dan who has since passed on. Since ‘94, I had this vision to record my solo work with such keyboards and so I was thrilled to access them. I spent hours going through Mellotron tapes, some of which have never been used on recordings and made a list along with all my other very detailed production lists which I had been working on for years for this album release. I got very, very particular as I had 14 years to steep my album making.
Most were excited when I shared with them about my plans for the album however the engineer who approached me to work my the album (when I was about to book Canterbury in Toronto) thought renting these dinosaurs were unnecessary, troublesome and ambitious vs using digital sample versions. Not to me… Afterwards he agreed once he saw what I obtained for the album making.
I’ve always loved the analog route where ever possible and I had always planned to use real instruments vs digital samples wherever possible.
Once upon a music time, a 10 month baby named Christine began to whistle. Then at 3, she sang made up songs to her dog. She took piano from a belching nun at 9, and taught herself guitar at 22.
Since then, Christine has formed bands, written hundreds of songs, appeared on radio and TV, toured, recorded and produced her own music, collaborated with other recording artists, released her music on a label in Europe and in an award winning documentary.
After the dissolution of her bands, Christine began to focus on her solo work with a goal to record a full length album. She had shared the stage with a variety of acts ranging from chamber music to mainstream like Ween, Junior Kimbrough and Iggy Pop. Iggy’s reaction to her performance at the Detroit State Theatre was, “Wow, wow, wow!” While things were looking promising musically along with some recording offers, everything came to a halt when an injury left Christine unable to play guitar.
Christine is now back on her musical path and ready to release her debut solo album, Tapping Trees in a Trinket Box of Treasure. Its lush cinematic, dreamy, pop elements put a fresh spin on fusion that beg a new definition with every listen.
Her album features: Chris Gartner and Great Bob Scott (Thinbuckle), Maurizio Guarini (Goblin), Maryem Tollar, Ernie Tollar, Ravi Naimpally, Linda Ronstadt's Artistic Director and Pianist Jon Gilutin, 60's EMI/Abbey Road Studios veteran Mark Wirtz, and many others.
In addition to the album featuring a whole array of organic wind, reed, string and world instruments, this album also features a very rare collection of vintage and museum quality keyboards including the Chamberlin, Mellotron, Optigan, Orchestron and ARP 2600.
"Tapping Trees in a Trinket Box is what would happen if Karen Carpenter went into outer space with Tom Waits and gave birth to Syd Barrett."