Playing Your Own Music

I write my own songs. Not everyone does. I’d wager that it’s fair to say that many solo performers and bands that you’ll see at Maine’s various live entertainment venues this summer play mainly covers.

Don’t get me wrong, covers are fine. In order to fill a three-hour setlist, I play covers. Lots of people like to hear songs they’re familiar with. In fact, there’s a reason grounded in psychology for this and why covers are popular and often, necessary for gigging musicians to perform.

Petr Janata who is an associate professor of psychology at UC Davis’ Center for Mind and Brain indicates that the popularity of cover tunes is that when humans hear a familiar piece of music, it serves as “a soundtrack for a mental movie that starts playing in our head.” Janata states that songs can summon up “memories of a particular person or place, and you might all of a sudden see that person’s face in your mind’s eye.”

Is there a place for original music—certainly. Should I be playing all my own songs all night long? Probably not, at least not this year.

But, I do like coming up with my own songs.

Two weeks ago, I played the Kennebunk Farmers’ Market. My understanding was that it might lead to something semi-regular. Now, I’m not so sure.

I do know this. I got lots of $1 and $5 dollar tips. That tells me that people who heard me appreciated my music and they made a tangible show of their appreciation. I also wrote a new song just for that morning, about farmers’ markets in general.

I played it last week during a short video segment I call “Breakfast with Baumer.”

Here is “The Farmers’ Market Song.”

Launching Rock and Roll Church-Sunday Service

New England-style Congregational Church (Maine Memory Network)

There was a time when salvation really mattered to me. Perhaps it still does—just in a different way than before.

Music has been something that has offered me a way forward following the tragic death of my son, Mark. Back in August 2018, I never thought I’d be sitting here, promoting a Facebook live event—especially not an event like Rock and Roll Church.

What do I hope to accomplish with a facsimile of a Sunday morning worship service, sans the usual spiritual trappings? Actually, music has a spiritual component that’s often overlooked. I mean, Larry Norman, the father of contemporary Christian music, did ask the question, “why should the devil have all the good music?” Really! Norman knew that music was a medium that could be used powerfully—in his case—to glorify the god who he believed in and exalted in his music.

With a new EP out and songs that I’ve been playing now for a few months, I thought the time was right to roll out a setlist made up of these songs and a few others. Also, as COVID has shut down regular opportunities to play each week via open mics and gigs at music venues, this is a good time to develop some momentum with regular streaming gigs.

I plan to play for an hour or so. I’ll blend a few covers and I’ll probably offer some between song banter, some thoughts on things going on in the world, and a bit of background about the songs I’ll be playing.

Come on down to the First Congregational Bunker Rock Church of Lo-Fi Salvation and join the JimBaumerMe/aka, Reverend Jimi as he shepherd rock lovers through a unique rock and roll experience.

Rock and Roll Church
Facebook Live
Sunday10am

Get Back to Rock and Roll!!

Death Don’t Have No Mercy

Some friends have heard my Jorma Kaukonen story. It was years ago when I was much younger and less well-versed about the personal effects of one particular song he covered frequently (don’t remember if he played it that night, or not).

Kaukonen was an idol of mine, a member of a personal shortlist of musicians that I’ve never grown tired of listening to, reading about, or contemplating their body of work. And in Kaukonen’s case, I’ve had the privilege of hearing him live, too.

My story centers on Raoul’s Roadside Attraction, a small, intimate club on Forest Avenue, the kind of place that was a bit larger than your living room, but not so big that the music and performer got lost in the space. “Intimate” comes to mind as a descriptor. It was likely 1989. Continue reading