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MP3 Chuck Rogan - One or the Other
10 MP3 Songs in this album (45:03) !
Related styles: BLUES: Rockin'' Blues, URBAN/R&B: Southern Soul
People who are interested in Bob Dylan Tom Petty Wilco should consider this download.
Details:
Chuck Rogan - Vocals, Drums, Guitar, songwriter
New York born, and raised in Tampa Bay Florida, Chuck Rogan has been involved in music professionally on some level or another since 1988. He''s been playing the drums since 1976, and only recently picked up the guitar (2003) with informal lessons.
As a professional drummer, Chuck has long performed in different bands of different styles, both in Kansas City and cities across his home state of Florida.
One such band from Chuck''s current hometown of Gainesville, Florida, Tin Angel, recorded it''s, self-titled, debut record in 1995, featuring Chuck on the drums and background vocals.
Critically acclaimed, and regionally popular, Tin Angel''s release received radio airplay and also featured Rock And Roll Hall Of Fame member, and former Tom Petty and The Heartbreakers Drummer Stan Lynch, handling the percussion assignments beside Chuck''s drumming. (Lynch''s legendary resume'' includes a long and stellar career as the featured drummer himself on Tom Petty''s famous catalog of hits through 1994). ''One or The other'' features another Gainesville legend. The platinum selling and Nationally well-renowned Sister Hazel shared it''s co-founder and co-front man Andrew Copeland on varied back ground harmonies.
''One Or The Other'' marks Chuck Rogan''s debut as a solo recording artist. Chuck is excited to share his first record of original compositions, broaching the thematic of choices we all must make. These choices are discussed musically in and around other universal themes of love, blues, faith and doubt.
''One Or The Other'' includes 8 original compositions, including the title track, which is Chuck''s very first composition. This collection of honest inner and outer directed explorations, makes declarations, asks haunting questions, and offers vulnerable confessions of doubt and pain. The record also features two well reasoned and appropriately chosen, cover versions from Bob Dylan and Leon Russel, respectively. (see Chuck''s personal Liner Notes, below, for an in depth first hand exploration of the record''s genesis and it''s message(s)
The musical textures with which the choices of ''One or The other'' are woven around, have already received comparisons to Wilco, Neil Young, Tom Petty, and Bob Dylan. Chuck''s vocal and composition style is noticeably influenced by Rock, Folk, Blues, Gospel and Soul, and artists ranging from the legends like Bruce Springsteen, Mick Jagger and John Lennon to more modern stylists such as Jeff tweedy and Ryan Adams. The expression is disarmingly vulnerable and 100% honest. The record''s theme is universal, and the music is among some of the best recently recorded performances to come out of Florida''s own version of Austin , Gainesville Florida.
Liner Notes
The idea behind “One Or The Other” is loosely auto-biographical. The arc of the record’s story is based on certain transitions in my own life, with my own personal experiences, and imbued with my own faith, philosophies, doubts, struggles, triumphs, failures, and most of all, choices made on the way.
The decision however, was made in the early stages of composing the material, to maintain a universal accessibility. To maintain the honest interpretation of my experiences, and my own choices that were/are unique to me and my own course, while simultaneously establishing a touchstone for any interested audience. I wanted to take an artistic inventory on those choices that challenged me, helped me, and hurt me. Choices that continue to be as important in my life as ever, as well as in the lives of my family. I wanted to explore them honestly, confront them head on but intentionally avoiding value judgments. I wanted to expose the many different choices made, as vulnerably as I could, just as they were and are.
I wanted to use varied musical canvases, drawn from the same varied styles that have always spoken so effectively to me personally. Gospel, Blues, Soul, Rock, and Folk.
The songs were largely composed rapidly and at the risk of sounding trite, they wrote themselves as if they‘d been “ready“ for a long time.
I decidedly wanted to avoid evangelizing or testifying. This was not be that kind of record. The collection of thoughts, statements, and emotions gathered here, stand on their own I think, and a truth is told by the record’s end. This truth would suffice, and I was as careful as I could be to avoid adopting any type of authoritative tone, beyond what was necessary with creative license.
The benchmark, was to step out from the conventions of testimonials, or happy endings. To share the darker moments and weaknesses, the struggles and failures, as well as the triumphs of faith. Too often I think we edit our stories. Leaving others to believe their own struggles and failures are unique to them. That if they would simply “do this” or “do that” , believe “this” or :”that” then everything gets “fixed”. Too much over-simplification for my liking, and I certainly never could relate to “turning mysteries into fables”. So instead of aiming for a “moral of the story” simplicity, the essential target was to establish a steady flow thematically around the concept of “Choice“.
Choice is the operative component upon which the story plays itself out. From the title and track number 1, the question of choice is posited to both myself as the artist and the listener too. By the end of the record the listener receives my own answer to the lingering question in the title track. A choice is made in that second to last track. I then tagged that choice with a cover version of an old classic, that hopefully serves as a grateful offering to both my muse and any audience as well.
The idea of Choice has long been a source of fascination to me. As best as I can tell, Choice remains the one single element of the human condition beyond the hands of man, and based upon my personal spiritual beliefs, even beyond the hand of God. (“Free will”.) As long as we are functioning, we have the power to choose. My own observation is that even the persecuted, the imprisoned, the impoverished, and generally afflicted all preserve the power to choose what they will do with circumstances often beyond their own control, and how they will respond.
Even the least among us, maintain the ability to choose, and those of us with the most have no more or less of the same ability. Choice slays the excuse, strikes courses, digs dangerous holes, and builds powerful confidence.
Choice manifests destinies, it both starts families and lays them to ruin. Choices enrich lives and take them too.
When I consider the endless ripples that spring from the simple act of choice, it’s little wonder it holds such an artistic attraction. Though Warren Zevon once wrote “you can’t start it like a car and you can’t stop it with a gun”, love, it has long been said, is a verb not a noun. True love is always a choice, one with even more acuity after the emotions have come and gone.
But faith or fear are choices as well. Likewise, reason or intuition, doubt or hope, changing or staying the same.
It seems real symmetrical and poetic to me that Steve Stevens plays such a wide and significant musical role on the record. It was from a particularly important conversation with him in October of 2007, that I rediscovered this whole idea of “choice” like finding forgotten money in an old pair of pants. “It comes down to which choice you can live with” is close to what he said.
One of the those pivotal auditory moments where the world beyond the earpiece of the phone stops spinning, everything freezes, and the words physically echo with clarity and truth. The resonance blows the clouds of confusion away.
Not too long after that moment, the song “One Or The Other” was written and finished as it appears here.
From that one cut, a litter of related material ensued to form this record.
If only the complexities of choice, and life itself were as simple as “One Or The Other”, But then this is the intentional, and exploratory refrain of the record.
That after all, just maybe, it all is.
Chuck Rogan
March 2008
Gainesville, Fl
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