Daveit Ferris – Invites for Drunk Lips
My first solo album. It was written and recorded within the same few weeks in early 2008. It was recorded at home using nothing more than one microphone, one acoustic guitar and one keyboard. I had absolutely no idea what i was doing [in production terms] whilst recording it; but that made it exciting. I had no plans to be a ‘solo artist’; i just wanted to start recording all the songs i was writing at the time. ‘For what it’s worth‘ and ‘Glitz & The Glamour‘ were recorded by Ryan Mitchell. All songs were written & performed by me.
3. Hold On
5. Megan Ward
6. Mend Me
7. For What It’s Worth
8. Fix Me
9. Glitz & The Glamour
10. Ps… I’ll Miss You
11. Both of My Wrists
- Eleven MP3s
- EP Artwork
- Lyric Booklet
*Please note that the CD is for illustrative purposes only - this is a downloadable product.
“This is a song that was never meant to be recorded for this album. I had figured it was more suited to the arrangements of my ‘second album’ track list. The intro guitar line has been around for years. I guess I just never found the time to work on it until now. Pretty simplistic song, standard progression (A-F#-E-D). But when i started to work a vocal hook into this for the first time, I really started liking it. It was too easy to start a chorus on an ‘A’, so i recorded the chorus music before even attempting a vocal melody for it, that way, I’d have to work something out, and I would avoid the perfect cadence of starting the chorus on an ‘A’. It was originally called ‘Connecting the Flights’, mainly because that line was initially the first line in the song (it’s now the fourth). Lyrically, i guess it’s a note to self. Relocation is always on the tip of my pen these days. But sometimes it’s just too hard to ‘cut ties’ overnight. The heat seekers will notice the plight of ecstasy when meeting someone at an airport. There’s no better feeling than being on new ground, with a new smile to keep you company”
“I wrote this song around December 2006. I can be specific with the date, simply because of who I wrote it for and about. The ‘plans’ in this song, were all things we genuinely wanted to do at the time. I recall writing this on piano, then I recorded it as Guitar-demo because I didn’t have a keyboard around at the time, and then I re-did it a few months later with my keyboard (mainly cause I didn’t like the guitar demo). I played it at a few acoustic shows, but I never really thought more about it. I would have probably forgotten the song forever had someone not left me a MySpace comment asking ‘is Firework on the album?’. I always found the sentiment of the chorus line quite endearing..‘You’re a firework / lighting up these skies"
“Probably my favourite track on the album as I write this. I really wanted to write a ‘self help’ song for myself. That in turn, I knew could offer some ‘chin up’ support to anyone who wanted to listen. It’s saying ‘I know things can get really hard, and the light at the end of the tunnel seems like a dead star, but if you hold on, you’ll make it’. I wanted to do something a little different in the middle section, and I got so weird that I had to remove lots of elements, because it was cluttered with random timings and instrumentation, that, although I loved, I didn’t think suited the ‘Chin Up’ nature of the song. This is the First appearance of strings on the record. Hold on!"
“’I can’t taste the perfume / I cant make the sadness disappear’. Sometimes it’s so easy to sit back and look at other people in life be happy, smile, advance in careers etc... And wonder why you can’t be that way. Sometimes it’s internal jealously and sometimes it laziness that stops people from achieving the same thing (or better) than the people they consider to be a ‘success’. The word ‘Perfume’ then, in this context, means ‘Happiness’. This song just.. happened Late one night, when I was sitting by my computer, with my headphones in my Roland Xp30 Keyboard. I remember writing the (simple) music in one sitting, and recording it there and then (because it was in headphones, it didn’t make any noise for that hour of night). I listened back the next morning and started to interweave a vocal line around it. The vocal on this track is the first & only ‘take’ I did, because, there’s such an uncertainty in my voice, from not fully knowing what the vocal melodies are, and a lot of ad-libing. The drums were added on the recommendation of a musical friend, who I’d sent the demo to. Thank you for the heads up!"
“Probably one of the fastest songs I’ve ever written. The lyrics were pretty much finalised the moment I started thinking. This song was wrote, and completely recorded in less than 45 minutes. The only change made after that time period, was when i decided to put the ‘it’s crazy.. But baby’ vocals over the middle section, after hearing them in my head on the first mixed playback. I wanted something ‘intentionally’ auto tuned on this album, and this section became the most perfect place to showcase that desire! This was one of the last songs recorded for the album, and one of my favourites because of the sentiment. The lyrics? Well they’re so obviously, obvious, aren’t they?"
“A nice reflective Piano Song. The lyrics are pretty much comparing two guys, who are fighting for the same girl’s attention. I was that guy once, I still had to get that story off my chest, and this was a perfect example of how i felt around that time. Affection will make you do crazy things, and god knows i have! It openly tears down the other person’s personality, if only for the sake of seeming like the better option. I think that’s something that everyone does, and i guess it’s a little bit instinctual. I opted to keep this one just piano and voice, because it’s something new to bring to this record. I’m a sucker for over dramatics when it comes to instrumentation on tracks, but this was one of the few times when i truly believed ‘less is more’. I had played around with some slight cellos and violins, but it ended up sounding a little ‘alien’. Nothing made the song more effective to my ears. I actually wrote this piano line on Mute’s (ex telephone bruises keyboardist) Grand Piano. It was incredibly out of tune, and in need of a re-do, but i mustered up the intro line one night before driving home, and worked on it from the moment my feet were inside my bedroom."
For What It's Worth
“A different vibe for the album. This track was a real change from my standard method of writing. I intentionally set out to use chords I’ve never used in any of my songs before (A7, anyone?). I knew that, when out of my comfort zone of G’s and E’s, I’d paint a different picture with new vocal scales to work with. I didn’t intend on this being so ‘jazzy’ to be honest, I just couldn’t settle on a solid rhythm for it, and this was the one I kept coming back to. The end section used to feature a bass drum, tambourine and hand claps, but Ryan decided to take them out at the last minute, because they didn’t really add anything compelling to the ending of the song. The middle section was added only for the sake of confusing people. As it has no purpose other than to bedazzle. This is defiantly not an example of the direction I’ll be taking in the future, but it’s difference, was compelling enough to make it part of this first album."
“This track has the longest history of song title changes ever! It was originally called ‘Stars & Glitterville’. But i liked that title so much; I stole it for a new song I’d written for ‘Telephone Bruises’. So i renamed it to ‘Press Undo’, but I didn’t like the way the title looked. So then I changed to ‘The brakes’, but then I thought the title came into the song too early to be relevant and memorable... Etc. The first two lines have been around since ‘Traffic Episode’ (My band back when i was 17). I’m about 5 years backdated in songs, so I tend to remember little parts from ancient, un-heard songs I’ve written, and recycle them into fresh ideas. I wanted to make ‘Mend Me’ have a ‘sister’ song, and i wanted the titles to both be very similar. And so it only took a second to figure out what the perfect title for this track should be. Like ‘Mend Me’, i wanted it to be piano based, to keep the similarities quite close. Lyrically, its dealing with mistakes and regret, something that’s a bit of a fixture on this record, I must admit."
Glitz & The Glamour
“This title is a phrase that i can be overheard saying when I’ve had a bunch to drink and someone starts asking me about musicians, and bands. It can mean a lot of different things to different people, and everyone will think differently of the intent behind the lyrics on this track. It tells a story from start to finish, and depicts certain characters and events that could be misconstrued, in the sense that, some lines are generalistic. But part of my liking of these lyrics, is because of that. This was recorded completely live, and although there’s some ‘off’ notes, I opted to keep them in just to retain that ‘take’. You can even hear my foot tapping the timing on the wooden floor. I wasn’t striving for perfection on this track, again, because i wanted to do something a little different for me. As long as I’m personally aware that I’m doing something different from my last exploits then I’m always going to be happy."
Ps .. I'll Miss You
“So the story goes.. I had this ‘Ps.. I’ll Miss you’ title in my head, and once i had sat down and gotten the lyric sentiments down on paper. I began to think about the context of the lyrics, and how they could be most effective. I instinctively chose to really keep the instrumentation simple, and not add anything other than 2 acoustic guitars. I liked the overall ‘dryness’ they resounded with. I wanted the lyrics to be at the forefront for this song. I wanted to make sure the person I wrote about it could hear every word and understand why I’d be saying every word. This is the only song on the album that used a ‘capo’ on. Simply because I wrote in Open e, and decided that it was way too ‘low’ for my voice to sing, so i capo’ed the second fret to ‘lift’ it a little bit."
Both of My Wrists
“Recorded around mid-evening while the next door neighbour’s kids were playing in their garden. It was supposed to sound a lot messier than it ended up. But it’s incredibly hard to sing purposely out of tune sometimes. If you listen, you can hear a kid making a ‘noise’ around the start of the ‘music’. This song was designed to be a ‘small and short closing’ track to the album, sounding haunting, and barely resembling a song, as such. There’s a little dry distortion on my voice. And that was accentuated by the fact i didn’t actually ‘sing’ at all on this song... I pretty much just soft-spoke all the lines and the distortion helped it sound like a whisper. The vinyl record scratch effect that runs through the track was from a loop pack on an Apple Mac that I cut + pasted to my preference. It matched up nicely to the morbid, unconnected, haunting idea, that was the basis for this in the first place, and it was a perfect ending to this album."