Twenty-twenty was a bizarre and tumultuous year for many people; however, to us, it felt like an extended off-tour season, which means mucho trabajo. Our tours run from March to November with occasional shows in January and February. In the off-season, we create more fun wares, write more songs, work on booking our next tour, etc. It's a well-needed, but work-laden pause, in our touring life.
Last year all of our shows were cancelled due to The Pandemic. And I was recovering from surgery. I had a prosthetic hip installed to enable me to walk without limping, wincing in pain after each step or falling. In the midst of this chaos, I decided to record the music that I had created over the past several years. Much of it was written and rehearsed on the road. And I ended up writing a ton more songs. In addition, I taught myself the art of cartography to aid me in creating an RPG module and I wrote a book, The Bardic Tales—songs and their stories of a roving bard. I thought that when The Pandemic was over, and I could book shows once again, that I would have a lot of new music and art to offer fans, potential fans and that dude who keeps screaming 'Freebird!' Not to mention the extreme satisfaction that I would feel after finally having the time to record my catalogue. I didn't realize that I would end up recording SEVEN albums and writing a book, but that's what I did.
In late November 2020, and under the pressure of my self-made deadline to record an EIGHTH album, I had a severe vocal strain due to my fifteen-hour workdays and my constant rehearsing/recording schedule. I failed to squeeze A.K. Murderwright into my 2020 production mayhem and lamented this frustrating vocal hiccup. However, I still attempted to do vocals and I ended up keeping the Motorhead-sounding chorus to Whiskey Bill. It seemed to go well with that character and it documented my vocal injury. That's what happens when I'm left to my own devices in a room full of instruments—I create. That's what artists do.
All this music was made in the living room of my 3rd floor flat on Macadoodle, my 2007 MacBook workhorse, using Logic Pro 9. Take that Foo Fighters. And a huge thanks goes out to my mixing and mastering engineer and friend, Ricky D, at Figment Mixing in Las Cruces, NM., for giving my music the professional, radio-ready touch it needed so that you can enjoy My Insane 2020 collection in all its glory and depravity.
The momentum that began in early 2020 has not relented.
I finished A.K. Murderwright after nursing my voice back to health earlier this year, and I’m working on several other projects TBA soon. In addition, my first RPG module is on the verge of completion. This year and a half-long writing, drawing and role-playing project kept me occupied in 2020 when I needed a break from practicing, rehearsing or recording. I am doubly excited to finish this work as I got to use my newfound cartography skills and do a ridiculous, fantasy write. I hope to have the final printed version in my hands by August 2021. Send me some good vibes.
Thanks for reading. And if you would like to support my music and art and contribute to the insanity that is Michael And The Michaels, you can purchase this fabulous collection: My Insane 2020.
In Music and Art we trust,