songwriting

What’s In My Mobile Songwriting Kit?

Kate Sloan

Now that I’ve written and recorded a new song every week for years at a time, I’ve gotten pretty good at making songs no matter where I am. While the vast majority of my songs over that time period have been created from start to finish at home, I’m something of a jetsetter these days (at least between New York and Toronto!), so I’ve sometimes written and/or recorded songs at my parents’ house in East York, in hotel rooms, and even outside in nature.

A common truism among creatives is that, as much as we love our fancy tools, true creativity comes from within, and can be achieved with rudimentary tools or sometimes no tools at all. When I’m at home, I have access to my full collection of instruments, my fancy audio interface and mic, and every notebook and songwriting text I’ve ever owned – but when I’m traveling, I have to pare down significantly. Here are the current contents of my “mobile songwriting kit,” as it were…

A notebook and pen/pencil

It all starts here! Truth be told, if push came to shove, I could write a song using just my notebook and pen, no instruments or other equipment required – it’s that vital! I typically take my journal with me when I travel, which is always a large hardcover ruled Moleskine, and will scribble lyrics in there, in between pages of melodramatic prose about my dating life, etc.

For the last year or so, I’ve also taken to carrying a Field Notes pocket notebook in my bag everywhere I go. It takes up practically no space, and is ideal for drafting lyrics on buses and subway trains, in waiting rooms, at cafés and bars, etc.

Choice of writing instrument is very personal to each writer; I’m partial to the two that I’ve got tattooed on me, Retro 51 Tornado pens and Blackwing pencils. Also love my rollerball Lamy Safari and Pilot Precise v5s. I switch back and forth between pen and pencil according to my mood – it’s always cool to see which lyric lines have been crossed out and rewritten (sometimes several times), but a pencil’s erasability can sometimes trick my brain into being less self-critical and perfectionistic, which is especially important in the early stages of drafting a song.

A ukulele

One of the best things about the ukulele is its portability. It’s not the best instrument if you want a solemn and/or full sound, but as Amanda Palmer says, “Chords are just chords. Give me any instrument that can make a couple of chords and I’ll give you a song in a few minutes.” Really, as long as I have access to a ukulele and something to write with/on, I can come up with a fully fleshed-out song literally anywhere.

I have way too many ukuleles, but my best option for travel and on-the-go usage is the Enya Nova soprano uke, which I bought specifically because it’s made of carbon fiber and is thus much more durable than my other ones. I have no qualms tossing it in a purse or suitcase, where it takes up minimal room because of how slim it is, and it sounds pretty good for its price point. (I wish I’d brought it with me on the Toronto trip I’m on currently, because the cheap uke I have here sounds like a tin can and barely holds a tune. I’ve still written many a song on it, though, which speaks to the ukulele’s utility!)

Novation Launchkey Mini

This has been one of my best songwriting purchases. It’s a tiny midi keyboard that I can plug into my computer, iPad, or phone. For songwriting purposes, I usually just open GarageBand and set the keyboard to sound like a normal piano. But when recording, I can make it sound like any instrument I want, from drums to bass to guitar to strings to woodwinds.

I have occasionally written songs using a piano app on my phone or iPad when I had no other instruments available to me, but I’d much rather play an actual keyboard with actual keys. This one takes up minimal room in a suitcase and I love it. I’ll typically pack this for short-term travel rather than bring a ukulele, because the keyboard is less likely to get damaged in transit and also forces me to break out of the ruts/habits I tend to get into when I’ve been writing on the uke a lot.

My iPhone

There are about a zillion ways a smartphone can help you with songwriting, but mainly I use just three apps in my process: Notes, for drafting/editing lyrics and storing song ideas; Voice Record Pro, where I capture little song fragments as they come to me and make demo recordings of songs as I’m writing them; and Rhymezone, which helps you find not only rhymes but also near-rhymes, synonyms, and antonyms. I’m usually flipping back and forth between these three apps the entire time I’m writing a song, with occasional diversions to google things when needed (chord shapes, music theory nuances, facts related to the topic of the song I’m writing, etc.).

My laptop

While it’s not crucial (especially since I can record on my phone or iPad mini if I need to), I prefer to use my computer to record finished songs. I’ll open up GarageBand, connect any mics or instruments I want to use, and build arrangements as needed in there. Currently I have a 2022 MacBook Air; I love it a lot.

Zoom H2n + tripod

It’s great to have a portable mic when recording music, even though the mic on my iPhone is serviceable if I’ve got nothing else. I’ve mostly used this recorder for vocals and ukulele parts.

One thing I really like about it is that you can plug it in and record with it directly into something like GarageBand, or you can just make recordings with it and then move them from the device’s SD card to wherever you’ll be processing/mixing/using them. This makes it a versatile part of my kit. I also use it as a podcast mic when I’m traveling.

Headphones

Useful while producing/mixing a song, obviously, but also during the songwriting process – if I have time, I’ll often listen to a song demo on loop while out on a walk, and it helps me notice any parts of the song that feel awkward or not-quite-right so I can edit them.

I’ll also sometimes listen to white noise in my noise-canceling AirPods while trying to write in public, because it blocks out any speech/music/etc. around me that might be distracting. (I’m not like Stephin Merritt; I could never write a song in a bar that was blasting bad music like he does!)

…and that’s pretty much it: everything I use to write songs when I’m away from home! Fellow songwriters, feel free to let me know in the comments what your mobile songwriting kit would consist of.

The 6 Best Songs I’ve Written About Sex This Year

Kate Sloan
Photo by mb

Been a minute since I mentioned my SongAWeek challenge here, dear readers, but it’s still going strong… Just yesterday I uploaded my 34th song of the year, in fact!

They’re not all about sex – some of them are about tattoos, fascism, dragonflies, Zionism, and gamer boys – but, well, you know me: sexuality is my favorite subject to write about, regardless of the medium. Today I’m gonna depart from my usual sexual prose, and instead share some sexual lyrics. Here are the six best sex-related songs I’ve written so far in 2025. (All are purchasable and streamable on Bandcamp, which is a great way to support my work so I can continue writing!)

Song title: The Natural Way
Song topic: Menstrual sex
How it came to be: The first voice memo in my songwriting process for this one is titled “countryish period sex concept.mp3” and begins with me muttering, “I don’t know why it’s a country song, but…” before launching into it. I had wanted to write a song about period sex for a long time, partly because I love the great Rachel Lark song on the same subject, but partly just ’cause I have a lot of strong opinions about period sex. I drafted the lyrics in my songwriting notebook and for some reason it just always sounded like a twangy country song in my head, complete with bad fake Southern accent. I considered a bunch of alternate titles, like “Red Wings,” “Hemophobia,” and “Just a Little Blood,” before settling on “The Natural Way.”

Lyrics:

It’s Friday night, it’s date night, and I’m just confirming plans
‘Cause I know what I wanna do tonight, and it involves you, man!
But perhaps we should postpone to a different night instead
‘Cause I just checked my panties and I see a bit of red…

I know we’ve never talked about it; I don’t know your stance
But I’m hoping you will part the crimson seas and take a chance
The best-laid plans for getting laid can quickly be undone
‘Cause a little hemophobia can ruin all the fun, so…

CHORUS:
Use your teeth to take my tampon out, and
Help relieve my cramps; I love to
Kill my pain the natural way
Red wings won’t let you fall
So leave a handprint on the wall
And then I’ll know for sure that you are gonna stay

How can you be horrified? It’s only menstruation
It happens every month to nearly half the population!
I’m not asking you to flay me, or to wrestle me in mud
I’m just askin’ for some passion, ’cause it’s just a bit of blood!

(repeat chorus)

I’ll respect your boundaries,  but I’ve got some of my own:
If you’d rather keep blood off your hands, I’d rather be alone
‘Cause at any time of day, and at any time of month
I deserve somebody who will faceplant in my cunt!

(repeat chorus)

Eat it raw and bloody like your steak
Get caught red-handed every ding-dong day!

Song title: Make It Hurt
Song topic: Masochism
How it came to be: I was lying in bed trying to get to sleep one night, when suddenly a line of a song popped into my head fully-formed: “Ooh baby, make it hurt; it doesn’t mean nothin’ unless it’s the worst.” I lumbered out of bed to dutifully record a voice memo so I wouldn’t forget this fragment overnight. The next morning I wrote the rest of the song, choosing a Dorian-mode chord progression, since that was the weekly theme in my online songwriters’ group that week. Pretty intuitive and easy songwriting process overall for this one, maybe because masochism is a subject I’d already dissected at length in many mediums before!

Lyrics:

CHORUS:
Ooh baby, make it hurt
It doesn’t mean nothin’ unless it’s the worst
It’s true, baby – you can flirt
But follow through – I want you to make it hurt

I’ve got particular tastes, unusual wishes
Like: sometimes a sprinkling of pain can be so delicious
Can you handle it? Will you question it? Say I’m out of my mind?
Or will you try it out? Make me cry it out? That’s a way to be kind, so…

(repeat chorus)

Your brain has been trained to be sweet and gentle
Well, that’s easily solved if the hurdles are mental
We could play pretend, like we’re childhood friends – you’re a villain with a plan
You’d be faking it til you’re making it; I believe that you can! So…

(repeat chorus)

Why do I always hurt myself,
Even when it’s through someone else?
Why do I push til I bruise and bleed?
Why is this what I need?

(repeat chorus)

Song title: Don’t Fuck People Who…
Song topic: The importance of having sexual standards
How it came to be: I had been on some dates with people who hadn’t asked me questions, and it bummed me out sufficiently that I had to process it through song. A couple days after writing it, I decided to add the little Vaudeville-y intro section at the beginning, to contextualize the rest of the song. Naturally, I had to wear my “Slut for Kindness” T-shirt in the video!

Lyrics:

I went through a slutty phase; I don’t regret my slutty days
They were mostly good, but sometimes bad
So, for all the other daters looking for a lover later,
Here is some advice I wish I’d had…

Don’t fuck people who don’t make you laugh – that’s a reasonable rule!
Yeah, don’t fuck people who don’t make you laugh, ’cause a sense of humor is cool
If they can’t even make you chuckle, don’t you think the way they fuck’ll also be a horrifying bore?
So, don’t fuck people who don’t make you laugh, ’cause life’s too fucking short!

Don’t fuck people who don’t ask you questions, ’cause curiosity is great
Yeah, don’t fuck people who don’t ask you questions – why are they even on a date?!
If they won’t show a scrap of interest, why would sex be any different? Trust me, ’cause I’ve seen it all before:
Please, don’t fuck people who don’t ask you questions, ’cause life’s too fucking short!

I know these rules may seem a bit restrictive
And sometimes, you’re just looking to get laid
I don’t mean to scare you – I just want to spare you
From all of the mistakes that I have made, so…

Don’t fuck people who make you feel bad – there’s no reason you should
Yeah, don’t fuck people who make you feel bad, ’cause you deserve to feel good!
First dates are for best behavior; it will not get better later – might as well just walk right out the door
Please, don’t fuck people who make you feel bad, ’cause life’s too fucking short for bad fucking!
Life’s too fucking short!

Song title: Hymen Hymn
Song topic: Virginity myths and slut-shaming
How it came to be: I was typing the word “hymen” at some point and accidentally typed “hymn” instead, and a song idea was born. Many months later, I fleshed it out into this, a satirical choral piece about shitty patriarchal virginity myths. It’s rare that I sing in a more classical style like this when performing my own songs, but I was an alto section leader in a children’s choir for several years as a youth and it’s fun to return to that choral vibe sometimes!

Lyrics:

All hail the hymen, the harbinger of sin
It stands guard at the opening, and will not let you in
Imbued with meaning and divinity,
It’s said to be a marker of virginity

All hail the hymen, doer of good deeds
Marking the event with an obligatory bleed
Some say it was nothing; some say it was the worst
Some say you reap just what you sow, and that is why it hurts

CHORUS:
Don’t push, don’t rush
Slow down your touch
I promise, if you put the time in,
You don’t have to hurt your hymen

All hail the hymen, scapegoat of the damned
Having or not having one determines who I am:
A virgin or a slut, insatiable or frigid
It’s not the most precise approach to diagnostics, is it?

All hail the hymen, so misunderstood
It is just a body part; it isn’t bad or good
And how can it be moral, how can it be right
To check a woman’s cherry on her wedding night?

(repeat chorus)

Song title: UTI
Song topic: Urinary tract infections
How it came to be: I started improvising this song over some basic chords at a time when I did indeed have a UTI. It was often an isolating and humbling experience in my twenties, when usually it would happen to me after a hookup with some random guy and I would feel left alone with the pain after we parted ways. It was interesting to try to capture that feeling in a song.

Lyrics:

I’ve got a UTI again; it makes me wanna cry again
I’m chugging cranberry, but still, I am very inflamed
I’ve got a UTI again, after sex with some guy again
He left quite some time ago; I don’t remember his name

The sad part: it’s my own fault – could’ve pissed the bacteria to hell
But as always, that’s the hard part: taking good care of myself

So I’ve got a UTI again – that’s $49.95 again
For the meds that I take for the ache from my gut to my knees
I’ve got a UTI again – I could go DIY again
I demand my D-Mannose! (I hope you don’t know what that means)

Should’ve stayed home in my room and played with my toys
‘Cause my body never trusts me when I’m with untrustworthy boys

I’ve got a UTI again, and it makes me bone-dry again
Pleasure is only a memory, a ghost I once knew
And I’m tired of the agony; I’m at odds with my anatomy
I’ve got a UTI again; I think I’m gonna cry again

Song title: Touch-Me-Not
Song topic: Asexuality
How it came to be: Kind of a silly origin story on this one… Late one night I was hanging out with some musical improv pals, and we started improvising songs over random instrumental tracks from YouTube. I got the suggestions of “sunglasses” and “bees,” and was given a beautiful, melancholy backing track to improvise over. My song was about using sunglasses as protection from a bee attack, and the chorus had goofy lyrics (“It’s only my shades/ that keep me safe from the bees/ from the bees…”) but had a super pretty melody, which I liked enough to record briefly on my phone that night before I went to sleep. That melody fragment ended up becoming the chorus of this song (“I like you so much, but/ don’t want you to touch me at all/ not at all”). I had been working on a song about the realization that I might be even further along the asexual spectrum than I’d realized, and I made practically no headway on it until I landed on this chorus, at which point the rest just flowed out of me. It’s a really personal and important song to me. 💜

Lyrics:

It’s been a lovely night, but I think I’ve had my fill
I don’t know how to say this, so I guess I just will:
It hasn’t been long enough since we first met
And the things I think you want, I don’t want yet

CHORUS:
I like you so much, but don’t want you to touch me at all
Not at all
I like you so much, but don’t want you to touch me at all
Not at all

There’s nothing wrong with going fast, but I like to go slow
Why do we like the things we like? Nobody really knows, but
You gotta work with what you got – make no apology
And there are things you like a lot, that I could take or leave

(repeat chorus)

I’m not a prude, I’m not a tease
It isn’t rude to say what I need
So you’ll be out late, loving someone
And I’ll be home alone, having so much fun!

(repeat chorus)

I don’t wanna do something that someday I might regret
I like you so much but don’t want you to touch me yet
I don’t wanna do something that someday I might regret
I like you so much but don’t want you to touch me

Q&A: What It Was Like to Write & Record 52 Songs in 52 Weeks

Kate Sloan

I’ve been having some convos with friends and family lately about the songwriting challenge I did this year, and have enjoyed explaining what made me want to do the challenge, what went into it, and what I took away from it. I found that lots of folks, especially other creatives, were interested in hearing about this – so I thought I’d write a blog post to wrap it all up!

 

Q. Wait. Did you really write and record 52 songs in 52 weeks?

A. Weirdly enough, I did.

 

Q. Why, though?

A. A fair question. A couple things happened within close proximity of each other last December: I wrapped up an educational program called “Meaningful Activity” that I’d been doing at my local chronic pain clinic, which had been leading me through a process of identifying my core values and the things that bring me the most joy, and figuring out how to do more of those things, more often, despite living with chronic pain and chronic fatigue. It came up over and over again in my worksheets and journal entries for that program that I missed music, cared about music, loved making music, and hadn’t been making nearly enough music. At the time that I did this program, I hadn’t written a song in nearly 4 years. In high school I used to crank out multiple songs a month sometimes. I realized I missed that and wanted to be doing significantly more of it.

The other thing that happened was that I spent a solid couple weeks living alone that month because my roommate had gone to stay with her family for the holidays, and I realized that a lot of my reticence to play music lately had been self-consciousness about being heard, but that I didn’t really need to worry about that because my sweet roommate had always expressed supportiveness about my music-making. So I started playing more songs, and even wrote a couple, and then thought, hey, wouldn’t I be happier if I was doing this every single week? So I assigned myself the challenge.

 

Q. Did you really think you’d be able to complete the challenge when you started it?

A. Honestly, no. I thought fatigue, pain, and/or apathy would get the better of me at some point and I’d call it quits. It felt equally possible that I would quit 7 months in or that I would quit after the first week. I think I just don’t believe in myself as much as I should, especially when it comes to professional goals.

 

Q. Where did you get ideas for your songs? Did it ever feel like you were running (or had run) out of ideas?

A. Coming up with conceptual/lyrical ideas is one of the hardest parts of the process for me, which is partly why I sometimes don’t even start with a conceptual/lyrical concept – I’ll start by improvising some lyrics and melodies over a chord progression and kind of just free-associate about what the music reminds me of. This approach can feel more like the song is revealing its theme to me, rather than me coming in with a predetermined theme of my own.

Aside from that – often I would see something in media that would inspire a song: “The Museum” was based on some lines lifted from an Oliver Sacks essay, “Love is Blind” is about the Netflix dating reality show of the same name, “Does He Know?” was inspired by a love triangle on the TV comedy Superstore, “Credit Card” was written soon after I watched The Tinder Swindler, “The Stage” was based on a scene from a documentary about the musical Spring Awakening, “Celia” was an ode to a character from the book The Seven Husbands of Evelyn Hugo, “Grandmaster” was a love song for a cult leader inspired by NXIVM’s Keith Raniere, and “Sisyphus” was about Nick Drake and some biographies I’d read of him.

Sometimes songs were inspired by conversations I’d had with people in my life: “Bi Enough” came out of a conversation with my therapist about bisexual impostor syndrome, “Doll” was based on a story a friend told me about his sex doll, and “Amicably” was about a friend’s relatively civil breakup.

Sometimes I would ask my Instagram or Twitter followers to submit a theme, quote, or idea to inspire a song; “Brave Little Girl” was one of those. Sometimes I would pull two tarot cards and ponder their meanings, separately or together, until a song idea appeared; “Mr. Mean” and “What If?” were some of these. Sometimes I would go to RandomWordGenerator.com and have it give me 3 random words to inspire a song; “Notice Me” and “Nobody Likes Me” were some of those. One time, a dream inspired a song; I wrote “Stay” after waking up from a terrible nightmare.

 

Q. What did you learn about songwriting from doing this challenge?

A. A WHOLE LOT. As with any artistic discipline, you definitely get to know your own creative process much more intimately when forced to spend time on it every week. I kept notes on what I learned/observed over the course of the year; here’s a few highlights:

  • I used to have a bad habit of recording and posting new songs immediately after writing them, rather than going through subsequent stages of editing and practicing the song to polish it up. You would think that having to crank out a song every week would’ve made this worse, but it actually made me better at letting songs breathe for a day or more after writing them, and practicing them enough that I could perform them well on camera, because I would always feel like, “Well, I have until Sunday to get this done. Might as well make it as good as I can within that timeframe.” By the end of the challenge, I would pretty much always listen to my initial demo a few times for 1-3 days after writing the song and make changes to anything that started to seem awkward or unpolished. I would also practice the song a lot more before recording it.
  • I quickly realized that it was CRUCIAL for me to have a reliable and searchable repository of ideas that I could pull from when I had writer’s block. I use the Notes app for conceptual ideas and lyrical fragments, and another app called Voice Record Pro to record and organize musical ideas, as well as demos to help me remember a song I’m writing/have already written. Realistically, I won’t always be able to immediately develop an idea that comes to me, because I have a job and stuff. So I had to get very disciplined about documenting even the tiniest snippets of ideas so that they’d be available when I needed them.
  • You’ll make some of your best art when it feels safe to make bad art. And because it was a weekly challenge, I knew that it was fine for some of the songs to be less good than I might otherwise prefer (though I think almost all of them are at least pretty good). Jonathan Mann, who has written a song every day for 14 years running, estimates that “70% are mediocre, 20% suck and 10% are awesome.” Sitting down with my list of 52 songs and ranking them, I did the math and found that I think 33% are great, 37% are good, 19% are mediocre and 11% are bad. I’m pretty happy with those numbers!
  • Whenever I felt stuck, I almost always found that switching things up helped inspire me. I’d play around on different instruments, try writing to loops in GarageBand, go to a different location to write, etc. It really helps.
  • Songwriting boosts my self-esteem! I admire great songwriters and their craft a lot, and it makes me feel so good about myself to write songs that I think are good. All the more reason to do it more often! I think this was also largely the reason I never really “half-assed” a song during this challenge – any time I considered taking the “easy way out” (like writing a song that was really simple, bad, or based on a song I’d written before), I knew I’d be disappointed with myself if I did that, so I didn’t.
  • Creativity requires rest. The resting phase is part of the creative process, not separate from it. After I write a song, I typically need to take at least a few days off from trying to write another one, or it just won’t work. I can use that time to “refill the well” by consuming media on a broad range of topics that might later inspire a song.

 

Q. What are your favorite songs from the challenge?

A. Sorry, they’re my babies; I refuse to pick just one. Instead, I will pick eight.

 

Q. But your whole thing is that you write about sex. What are the sexiest/kinkiest songs from the challenge?

A. If you want sexy and sex-adjacent, you want these:

 

Q. Are you going to keep writing and recording a song a week?

A. I actually have been. I don’t know how long I’ll continue it, but I felt a little sad that the challenge was ending and decided there was no reason I had to stop if I didn’t want to. You can always see the latest ones on my YouTube!

“A Song A Week” Challenge: Monthly Recap 12 of 12

Kate Sloan

Song 49/52: “Give Up the Ghost”

Lyrics:

I’m not saying I’ll never cry over you again
Not promising all of the love will be gone
I’m not saying we can go back to just being friends
I’m just saying I’ve gotta try to move on

‘Cause I’m over this
All this wistfully missing your kisses
I wish that I knew what’s coming next

Chorus:
But I gotta give up the ghost
Gotta set off on a brand new adventure without
The one who I love the most
No, I’m not crying; don’t know what you’re talking about
We were young, we were close
Don’t know much, but I know
It’s time that I give up the ghost

The lessons I learned from you will serve me well, I can tell
I’m sorry that I had to practice on you
It won’t be too long til I miss being under your spell
I’ll set you aside and I’ll power on through

‘Cause it’s been too long
Don’t want less than the best; I’m a mess and
I guess that I know what’s coming next

(repeat chorus)

This isn’t what I wanted
It’s like my heart is haunted
Whenever I feel cold, I know
That you’re the one who chills me so

You weren’t what I needed
By leaving, I’ve succeeded
Though it hurts in the moment, I’m glad that I’m goin’
And you should be too, now that we’re through

(repeat chorus)

 

Songwriting diary:

This one is silly: I was playing the latest Pokémon game, and the ghost-type gym leader has a line of dialogue after you win the battle where she says, “Givin’ up the ghost’s not really my style. I’ll let you have this one, though, baby.” It immediately made me think about a time when I was 23 or 24 and hopelessly in love with a friend who didn’t love me back in the same way, and one day I just got so sick and tired of the pining and crying and wishing and mourning that I wrote “GIVE UP THE GHOST” in big letters in my journal and decided it was time to make a concerted effort to move on.

Funnily enough, the expression “give up the ghost” actually does not mean what I thought it meant at the time, to give up on a hopeless pipe dream you’d been chasing. It actually means to die, expire, or stop functioning. But in a way, that’s apt too; it was my crush itself that had to eventually give up the ghost in order for me to move on with my life.

Anyway, when I saw that line in the Pokémon game, I thought the phrase seemed like a great potential song title, so I made a note of it and later returned to it, writing an entire set of lyrics in one go. Putting it to music the following day was fairly intuitive, as I’d been hearing a melody in my head while I wrote the words. I just basically improvised myself singing the lyrics over a simple chord progression and much of it remained as is.

Song 50/52: “Dirty Martini”

Lyrics:

Here’s to the dirty martini
It’s briny and boozy and cold
I really do think that whenever I drink
I forget that I’m gonna get old

Here’s to the dirty martini
Isn’t it gorgeous and grand?
Oh, I could never be gloomy
With a martini in my hand

Chorus:
An ounce of vermouth
Two ounces of gin
Half an ounce of olive brine
And throw some ice cubes in

Then stir up your dirty martini
And strain it and sip it and smile
Forget your most troubling troubles for a while

Here’s to the dirty martini
Available at every bar
They make me feel cool and I act like a fool
And I sometimes go slightly too far

Don’t offer me peachy bellinis
Too sweet and too tart and too cute
I’m dirty just like my martinis
And salty and cold and aloof

(repeat chorus)

Then stir up your dirty martini
To ward off your worries and fears
Isn’t it nice to be drinking
A cocktail as salty as tears?

No one will know you’ve been crying
Your cocktail’s as salty as tears

 

Songwriting diary:

One day I sat down to record a podcast, and – as I often do – I had made myself a martini to sip while recording. As I was setting up my mic and headphones, I pondered the idea of writing an ode to the dirty martini, since it’s a drink I love. I noted some potential lines quickly before starting the podcast, and later returned to them and fleshed out the rest of the words.

However, it took a couple of rewrites to get it how I wanted it, because originally it was a fairly straightforward ode to the drink itself, but I wanted it to have more of an emotional backbone, i.e. why is the narrator of this song feeling so enthusiastic about martinis? What is she trying to cope with or avoid by drinking? So I wrote some little hints of depression, avoidant behavior and other issues (all of which I indeed have) into the song.

The production aspect of this song was one of the most fun ones of any of the songs I’ve produced this year, because I incorporated some unusual-for-me percussion. I made an audio recording of the process of making the martini you see me sipping in the video, and edited the sounds of pouring, stirring, adding ice, etc. into the appropriate spots in the song. I also asked my very talented brother Max for advice on what kind of electronic drum part I should record, and he responded by sending me a complete drum track he’d recorded himself for the song – on a very short turnaround, I might add! Max is the best.

Song 51/52: “Agony”

Lyrics:

Am I in pain? Yes, he’s hurting me
Am I in love? Almost certainly
I’m not guilty; I fell slowly
And it’s agony now

Am I upset? I suppose I am
But damn, it feels good in the throes; I am
Slightly hooked on cryptic looks
And it’s agony now

I think we can both concede
That you want and I just need
I think we can both remember
How I sound when I plead

Does it feel good? Yes, of course it does
Do you love back? Not by choice; I was
Not allowed to haunt and hound you
And it’s agony now

Are you out late and betraying me?
Will you deny that you’re playing me?
Wanting answers is a hazard
And it’s agony now

I think we can both admit
That you make me feel like shit
I think we can both remember
When I couldn’t handle it

Bags are all packed – now I’m heading out
This is the drive I’ve been dreading, but
Now I’m free and much more me and
Moving on; I’m out, I’m gone
It’s all behind me now

 

Songwriting diary:

The first two lines of this song (“Am I in pain? Yes, he’s hurting me/ Am I in love? Almost certainly”) popped into my head months ago and I wrote them down. I went on to chip away at writing this song over the next several weeks, eventually completing it – but I didn’t really feel happy with it, so I didn’t record it until I went on vacation to Chicago. I’d been struggling to write a song while out of my usual environment, not least because traveling is exhausting for my fibro-ridden body, so I decided to take a bit of a “vacation” from the songwriting challenge as well by recording a song I’d already written but had never recorded. (I don’t think that’s cheating, and I make the rules!)

I reused Max’s drum part from the previous week’s song, since I needed another waltzy drum part and he had kindly sent me an editable version of the track. I sped it up to suit this song and I think it worked out well.

Song 52/52: “If You’re Alone for Christmas…”

Lyrics:

If you’re alone for Christmas, I hope you make a meal
That’s every bit as warm and cozy as I hope you feel
I hope you open presents, even if they’re from yourself
They still are worth receiving, even not from someone else

I hope you light a fire to warm your little toes
I hope you’ve got hot chocolate to warm your little nose
If you’re alone for Christmas, I really hope you know:
I’ll see you in the spring; I love you so

If you’re alone for Christmas, I hope you see your luck
You get to spend your day with you; I’m jealous, what the fuck!
I hope you watch the movies you like to watch with me
Like Home Alone and Elf and your old Die Hard DVD

I hope you eat some turkey, and that it tastes like home
And that the memories tide you over when you have to be alone
If you’re alone for Christmas, I really hope you know:
I’ll see you in the spring; I love you so
I’ll see you in the spring; I love you so

 

Songwriting diary:

As with so many song ideas, this one came to me in the shower. I think I was pondering all the friends and family members of mine who were facing the possibility of spending their holiday season alone, due to COVID risk and other factors.

I took a first pass at the lyrics but ultimately found I just wasn’t sure what one could say to comfort someone in that situation, so I asked my social media followers what they would want to say to a loved one who had to spend the holidays alone. Two ideas that I liked and ended up incorporating came from two different friends of mine: that they’re lucky they get to spend their day with such a cool person, and that there will be other opportunities to see each other in the future if we just wait awhile.

A few days after writing and recording this song, I was on my way to a family party at which I knew I’d be performing some songs for a group of family members including some small children, so I wrote a more kid-friendly (i.e. non-profane) version of the first two lines of the second verse, which I might even like better than my original words:

If you’re alone for Christmas, I hope you know you’re blessed
You get to spend your day with you, and you’re a perfect guest

 

Thank you so much for joining me on this Song A Week journey this year, friends! You can read all the posts from this series in the “songwriting” tag, and check out all the songs in my A Song A Week playlist on YouTube. Happy new year!

“A Song A Week” Challenge: Monthly Recap 11 of 12

Kate Sloan

Song 45/52: “What If?”

Lyrics:

You treat me so much better than my last love
I clearly carry scars from every past love
And though you buy me roses and ask me to dance
I can’t trust this sweet romance

I’m just as scared as ever that I’ll fall
I’m unprepared to tear down this wall
And though you spoil me with affection almost every day
I can’t trust the words you say, ’cause…

Chorus:
What if it’s all a lie?
What if you leave me alone like they all do?
What if you make me cry?
What if you block me so I can’t even call you?
What if you, what if you, what if you do?

You had to turn your phone off for a work thing
I couldn’t help but think that you were flirting
And though I don’t believe every feeling I feel
I can’t trust your love is real, ’cause…

(repeat chorus)

I once read a story about some spies
Who had to infiltrate communities in disguise
They must’ve done pretty well, ’cause they got the intel
After years-long relationships built on lies
Oh, what a nasty surprise!

(repeat chorus)

 

Songwriting diary:

I pulled a couple tarot cards to inspire a song this week and they were the Knight of Cups (romance, charm, beauty, sentiment, expressiveness) and The Moon (illusion, fear, anxiety, intuition, uncertainty). This combination made me think about the recurrent fears I’ve had in most of my romantic relationships that my partner might only be pretending to be into me, whether because they’re just polite or because they’re planning something malicious. (This has never really turned out to be the case but probably stems from a traumatic experience I had in my teens where a mean girl “pretended” to ask me out and then revealed she’d essentially been trolling me for the lolz.)

I wrote a complete set of lyrics inspired by that card pull, and made an a cappella recording of how I heard the melody in my head while I was writing it. A couple days later, I sat down at the piano and worked out some suitable chords for the melody I’d been hearing, making some changes to it in the process.

The bridge section is referencing a real news story about undercover cops getting into relationships with activists under false pretences in order to spy on them. I talked about how this story fuelled my already-troubling delusions in this story on the Bawdy Storytelling podcast.

Song 46/52: “Sisyphus”

Lyrics:

Slow and steady wins the war
Don’t know what I’m fighting for
Moon is pink and sky is dark
Somehow, somewhere, lost the spark

Are you ever gonna hear my echoed words?
Are you ever gonna like the things you’ve heard?
Are you ever gonna love me, love me, love me, love me now?

Chorus:
I’m still so small; whose fault is this?
I swear I feel like Sisyphus
I yell and groan when I’m pushing the stone
Every day feels the same
Sisyphus – that is my name

History has much to say
On we who’d rather work than play
River man has lost his oar
Don’t know who I’m rowing for

Are you ever gonna borrow from the past?
Are you ever gonna do what I did last?
Are you ever gonna hear me, hear me, hear me, hear me now?

(repeat chorus)

Time has told me that there’s not much time
(Not much time, not much time)
It passes coldly, like I did mine
(I did fine, I did fine)
The conversation, the situation’s wrong
(It’s all wrong, it’s all wrong)
But I’ll be pushing until the hill is gone

(repeat chorus)

 

Songwriting diary:

Another tarot pull inspired this song: the cards were Strength (courage, determination, power, dedication) and the Eight of Pentacles (apprenticeship, repetitive tasks, skill development, hard work, “slow and steady wins the race”). This combination made me think about the myth of Sisyphus, who was cursed to roll a boulder up a hill over and over again forever.

I had been thinking about Sisyphus recently because I’d just finished reading a couple of books about Nick Drake, the British folk singer-songwriter who, like Van Gogh, was plagued by mental health issues and didn’t experience true commercial success until after he had already died tragically. Nick famously had a copy of Albert Camus’s The Myth of Sisyphus on his nightstand when he died, and many have theorized that he related to Sisyphus’s plight, seeing both his career and his mental health as a constant, grueling uphill battle.

I wrote some lyrics from Nick’s perspective, ruminating on his lack of success and calling forward to future listeners, begging them to hear him and to be influenced by him. (This did indeed happen; he’s widely considered a cult hero in the music world now and has been cited as an influence by huge artists like Norah Jones, REM, Beck, and Belle & Sebastian.)

I threw in some references to Nick’s music throughout, including mentions of a “pink moon,” a “river man,” and the phrase “time has told me.” (Would strongly recommend clicking those links and listening to his music if you’re not already a Nick Drake convert; his songs are hypnotically beautiful and virtuosically played.) The line in the chorus, “Whose fault is this?” was also taken from a quote attributed to Nick by his producer Joe Boyd, as excerpted in Amanda Petrusich’s book Pink Moon (emphasis mine):

Boyd later described their brief interaction as grisly, telling the BBC: “His hair was dirty and he was unshaved and his fingernails were dirty and he was wearing a shabby coat. … He sat down and he immediately launched into this kind of tirade about his career, about money, and basically it was accusatory. And he said, ‘You told me I’m great, but nobody knows me. Nobody buys my records. I’m still living on handouts from the publishing company. I don’t understand. What’s wrong? Whose fault is this?’ And he was angry. And I tried to explain that there are no guarantees, that you can make a great record and sometimes it just doesn’t sell.”

Song 47/52: “Bad Girl”

Lyrics:

Late night, skin-tight dress gets caught on the
Windowsill mid-climb until it pulls
Free, like me, and off into the dark

My daddy is asleep; he doesn’t know
That he could not keep me dutiful
Doesn’t know I’m drinking in the park

Chorus:
I’m not a bad girl, I swear
Just want to let down my hair
When I’m a good girl by day
My other side just wants to play
And she gets carried away
She’s got a lot she wants to say

Beer and wine and kiss me in a tree
You are with the wildest part of me
Pulling you so close against my lips

Why do I feel so rebellious?
Wait, wait, strike that, no, don’t tell me, just
Block out all those questions with your kiss

(repeat chorus)

If I seem nervous
It’s ’cause I’m workin’
To be so perfect
When I feel worthless

If I seem stressed out
It’s ’cause I left out
All the realest parts of me
To be who they want me to be

(repeat chorus)

 

Songwriting diary:

Third tarot-inspired song in a row! I’ve been finding tarot cards really helpful lately because there is just an infinite number of topics I could potentially write songs about and it can be paralyzing to try to contemplate them all, so instead I pull two random tarot cards, meditate on their meanings, and write about whatever they remind me of.

For this one, I pulled The Emperor (authority, structure, a father figure, power, rules and regulations) and the Seven of Swords (betrayal, deception, getting away with something). That combo immediately made me think about teenagers rebelling against their parents, so I wrote these lyrics and then ended up putting them to music several days later when various other songwriting attempts that week didn’t produce results I felt were good enough.

While the verses of this song are about experiences I never actually had – sneaking out of the house unbeknownst to my parents to drink with friends in the park – I included some of my actual thoughts and feelings about the “good girl/bad girl” duality, something I’ve been discussing a bit in therapy lately. I have the phrase “good girl” tattooed on my thighs and even previously wrote a song called “Good Girl,” so it was interesting to explore the flipside of that goodness and how both of those girls exist within me.

Song 48/52: “Gun Control”

Lyrics:

Another shooting in the news today
Before the last one’s ink is dry
It’s getting old, getting so cliché
Everybody’s asking why

Why all they’ll give us is thoughts and prayers
Why it’s seeming like nobody cares
Give your local reps a ring
So they’ll get off their ass and do something

Chorus:
The devil wins – he’s on a roll
Let’s do him in with gun control
Use your conscience, search your soul
The time has come for gun control
Gun, gun, gun control (x3)
The time has come for gun control

It’s not as if the jury’s out
Read the stats; the facts don’t lie
I promise you can go without
So fewer kids will have to die

If I seem mad, it’s ’cause I am
‘Cause no one seems to give a damn
I feel unsafe at bars and malls
So give your local reps a call

(repeat chorus)

How many more lives will we have to lose?
How many more hearts will we break or bruise?
No amendment’s worth this pain
I feel like I’m going insane

(repeat chorus)

 

Songwriting diary:

I was going to bed one night, checked Twitter (never a good idea before sleep), saw that yet another mass shooting had occurred – there have been over 600 in the USA this year – and felt so angry and sad and despairing that I wrote some lyrics because I didn’t know what else to do with my feelings.

The following day, I grabbed a ukulele and set those words to music. The song was really simple musically so I felt it would be bolstered by some clips of politicians talking about gun control, which I edited in. I’ve long admired the powerful (and often hilarious) songs that people like Jonathan Mann and the Gregory Brothers can create with political clips, so it was an interesting challenge to take a crack at it myself.