Songwraith Media LLC was finally formed in 2013 as a formal media production entity in support of a long-standing plan to jump into the music business. The crawl, walk, run model dictates Songwraith is currently working with a single artist until initial projects gain traction. Songwraith has already been approached to provide arrangement and production services based on Opposites, Magnets, and Fools. Please contact Songwraith to discuss your music–or if you are interested in guidance/opinions from one who recently stumbled through the process.
The early 70’s ushered in life-changing singer/songwriter albums like James Taylor’s Sweet Baby James and Simon and Garfunkel’s Bookends while centrist groups like Bread and America vied for top 40 slots with a few edgier songwriters (think Lightfoot and Dylan) and orchestrally-backed melodies written by Webb, Bacharach and similar giants. Folks paid attention; others fed on the inspiration. (While his friends were listening to rock, O’Reilly was listening to Alpert and buying albums based on the lyrics/poetry.) He developed an early love for music and turned it into a one-man road show in the late 70’s, playing hotel/motel lounges in the Northwest, as a summer theater musician in Jackson Hole, and even some time in small Canadian clubs (good name for a drink). It was during that run that he soon heard the writing on the wall and realized this approach to the music business would probably leave him up a tree without a paddle. So he joined the Marine Corps, leveraging a bachelor’s degree in music for a commission. 20 years zipped by and waltzed him into a post 9-11 chance to contribute to the national counterterrorism effort, but he found he was often humming to himself. So he dusted off his music and decided to establish himself as a real musician by composing, arranging, performing, and producing the whole shootin’ match for his first solo album, Opposites, Magnets and Fools. The album came from the heart–and life experiences–with even an irreverent tune about service in a war zone called “Carnival Ride.”
Album/CD # 2, “Serious Underscore” is all instrumental and a blend of New Age and Classical. It’s the soundtrack for that movie that you have been meaning to produce. Both “Underscore” and “Opposites” are the genuine article–all original–with music that emerged from places O’Reilly would not have known if he were playing your wedding or bar mitzvah.
Album #3, “The Life, O’Reilly” is back to the full-orchestra background and memorable melodies of “Opposites.” Although the fifth cut of the album, “The Drifter,” has had some success as a music video on YouTube, the album is not all folk. The title cut (“The Life”) has definite elements of funk, and “Another Shade of Blue” is certainly jazz. An album surprise is possibly “Willow Song” written in 1973, and copyrighted in 1974. It is jazz, composed back when I was a folk singer, with a minor seventh ushering one into the refrain. The bulk of the album is arguably “singer/songwriter,” arguably “indie folk,” arguably “folk-rock,” arguably “alternative folk,” arguably “new acoustic,” arguably “indie pop.” Too much arguing. All the tunes–as it turns out–are my personal favorites, but what else would I say? This particular production was nearly three years in the making.