“Songs from The Bicycle Club” is a CD that accompanies Dave Schultz’ book, “The Bicycle Club”. This music is gritty Americana at its core. It is mostly about booze, love, one night stands and the blurry lines between those elements that exist in dark taverns and roadhouses.
Dave is unapologetic for the material. It is a style of music that began perhaps with Woody Guthrie and Johnny Cash but continued with songwriters like Bob Dylan and Steve Earle. Clearly, it is the edge of society that draws the attention of Dave Schultz.
For me, listening to this style of music is a lot like reading history or fiction. That is, we can listen to songs and experience a culture that is not our own.
For others, the reality of their own existence may resonate through the words and melodies of this music. I choose to offer only my judgment of the music in this context and leave moral judgments of my fellow man to those who are comfortable in such matters.
Similarly, the Blues is a very good example of understanding a part of culture through music, I think. When I started my retrospective into the Blues, I began to appreciate more than the music, I began to appreciate the culture from which it was drawn. I dare say that most folks would not want to live the life of a sharecropper, but many of the early blues were derived from the experience of farm workers in rural America during difficult times. But, this is not a purist form of blues and it is not about sharecroppers.
These are drinking songs. Drinking songs have existed for many centuries. The Irish, English and the Germans have long traditions of drinking songs that are generally festive. Americans also have drinking songs that are festive and light.
However, these songs are a bit darker at times. Some of these songs are about the counter culture of drugs and alcohol. We may debate whether it romanticizes the serious problem of substance abuse. However, the stories are based on cold hard facts that are difficult to ignore. Personally, I can appreciate the music as an art form without the need to experience it first hand. I have lost a lot of friends and relatives to substance abuse over the years, so I do not take the subject lightly. However, it is not for children. This music is entertainment for adults who are able to make decisions for themselves.
Now that I have exhausted all of my conservative caveats and disclaimers, I would like to say that I really like the songs on this CD. They are all well written and produced. Dave Schultz has a very nice way of putting interesting thoughts into simplistic terms that are universal in nature. In my opinion, it is the mark of a truly talented lyricist to create images that we are able to see in our minds. While his songs have great lyrics, they also have memorable melodies and Dave has a great singing voice! So, I believe Dave Schultz deserves a spot among the lofty ranks of great singer songwriters. Furthermore, I believe the members of Purple Hank are all very well suited for this variety of music, offering nice textures and demonstrating great skill as veteran performers.
January has a nice shuffle rhythm that creates some interesting images with a fantastic arrangement of instruments. The song ends with a refrain that is actually quite interesting. It starts with a nice change into a minor with added strings that are very appropriate. This moves into a major for the last two refrains. In short, January is a beautifully written song with a lasting effect.
Mary Jane is a wonderful love ballad that has nice images from Dave’s excellent use of lyrics and phrasing. The horns are a very nice touch. I love the emotion of this song that peaks with the repeated “Mary Jane” line at the end of the song.
All Boozed Up has a nice island feel with a rhumba style rhythm and Wes Montgomery style comping on guitar. The phrasing and lyrics are excellent. It is a festive drinking song with a nice counter melody in the scat line. The bridge also has a nice change in melody which moves into a flute break and a stop. I love the jazzy, slightly dissonant ending.
$200 is a great song about a girl down on her luck. The song creates the desired effect with great lines and slide guitar, giving the song a drunken sway. The hook line is very memorable in this song.
I love the guitar and organ intro to Virginia. It is a dialog song with a great, memorable chorus. The subject is well known among the late night bar crowd. It is a song of loneliness and hanging on to the last available companion for the night. The lyrics and melodies of this song are excellent.
Remember My Name is the ultimate drinking song. The oompah style tuba throughout with steel guitar creates a comical effect. I love the lyrics and the music in this song. The line, “I do not know you, but I recognize the Oldsmobile” is a classic line that will resonate very well among fans of Americana music. The vivid images, appropriate style, excellent arrangement and production of this song make it an instant classic.
Dave Schultz is an excellent singer songwriter with a tendency toward the artistically fertile ground of tavern life. His band, Purple Hank, is a group of experienced veterans of the stage and studio. Otherwise, this cd should have a sticker that warns listeners, “Do Not Try This At Home!” or “This Ain’t Your Momma’s Country Music!”
Wednesday, December 23, 2009
Sunday, September 27, 2009
Ivan Neville Featured at Columbia
I got a call from my friend Bill Boris this week. Bill is a jazz guitar professor at Columbia College in Chicago. He invited me to a concert at Columbia featuring Ivan Neville, son of recording artist Aaron Neville. I knew it would be a great show.
We arrived to a packed house just minutes before show time. The Music Center Concert Hall is located in the College of Music at 1014 S. Michigan Ave. It is a beautiful venue with excellent acoustics. As we made our way to our seats, we passed several rows of students holding their instruments. While I know there are pressures, I thought how wonderful it must be for aspiring artists to attend school and hang out with other artists all day. I suspect it is an enriching experience, particularly when you have an opportunity to work with a guy like Ivan Neville.
Ivan Neville is a multi-instrumentalist from New Orleans and a legacy. He is part of a great music family growing up in a city that is rich in music heritage and it is obvious that he takes his craft very seriously. Ivan Neville definitely has the voice and the chops, but he also has the understanding and appreciation of music that inspires others. Ivan played and sang on most of the songs performed.
Each of the directors spoke of Mr. Neville’s ability to teach and to participate with students on a variety of levels. He spent a week with the various ensembles helping them to write songs and to play a variety of styles on various instruments. It was also clear that Mr. Neville was able to help the students understand some of the finer elements enabling good students to become great performers.
All of this was quickly demonstrated as the Pop Rock Ensemble started to play their first song, Ugly Truth. Wow! I was immediately swept into the power and group coordination of this funk arrangement. Everyone knew their parts and stayed in the pocket to produce a beautiful sum of total parts that creates a funk groove. These students under the able direction of Ivan Neville and Bill Boris were able to capture the essence of the New Orleans sound. I could feel this music in my body and my heart. I could feel this music in my soul.
The second song by the Pop Rock Ensemble was Fortunate Son. I am a big fan of CCR and the beautiful simplicity of their songs. However, this is the best version of Fortunate Son I have ever heard. It was a funk version with all of the instruments playing in the right spaces at the right time. Tyler Berg on drums, Michael Byrnes on bass, Ben Joseph on Keys, Nate Graham on guitars with singers Jonathan McReynolds, LaShera Moore and Nicole Neff.
The Recording and Performance Ensemble A performed an original that was written in 1 hour and 20 minutes. I was amazed at the overall quality of this well crafted song. It had great melodies in the verse and chorus and the lead singer’s voice was perfectly suited for the style. Gary Yerkins is the Director of this Ensemble with Tyler Berg on drums, Mike Philpot on percussion, Ben Beutel on bass, Ryan Booker on Keyboard, Nathan Hanak and Derek Bahr on guitar, and singers Sam Cerniglia, Adam Dittman, David Paige, Tim Smisek, and Claire Stahlecker.
The Blues Performance Ensemble under the direction of Fernando Jones began with a tribute to the Queen of Blues, Koko Taylor. They pitched a Wang Dang Doodle all night long on this great blues standard. The group had a quick change allowing a few other students to participate on the next song, These Things. One of the guitar players looked a lot like Derek Trucks. Like Trucks, he was also using his fingers and playing a red Gibson SG. Cleve Minter and Vince Camerano on drums and percussion, Nicholas Fane on bass, Kelsey Hopper on keys, Tyler Anselmo, Eric Billitier, Jullian Bell, and Luc DeArmey on guitars, and singers Sara Garrett, Shea O’Brie, and Terrence Thomas.
The Pop Orchestra began with Same Thing which was another great funk song. This song was memorable with the repeated hook line “same thing” punctuated at the end. The next song, Shake It Off, is a Dumpstaphunk original. Mr. Neville played fills on the Hammond organ like a horn section and gave a solid vocal performance along with the group. The Ensemble is directed by Carey Deadman with Zach Himelhoch on drums, Nicholas Cole-Klaes on bass, Brian Pettis playing some jazzy lines on keys, Nate Hanak and David Paige on guitars and singers Alexis Fadl, Norris Jackson, Jessica Miller, and Sy Bar-Sheshet.
The Pop Rock Styles Ensemble began their performance with the great blues standard, Sweet Home Chicago. The vocals really shined on this song and they ended with great harmony. The piano fills were fantastic! The next song, Ivan’s Groove had a really nice bass, drum, and Hammond organ intro. I love the one string guitar interplay, chord comping and Ivan’s scat singing. Although there were no horns and there was nothing average about it, I got an Average White Band vibe on this song. This group was directed by Curtis Robinson with Tom Graham and Dan Green on drums, John Sundquist on bass, Aaron Garcia, Andrew Napier, and Adam Stahlberg on guitars, and singers Randy Bonds, Kiana LeCounte, and Eli Noll.
The R&B Ensemble opened with Stay What You Are. This song had a complex time signature which was performed very well with soulful lyrics. The next song was the great Sly Stone funk standard with perhaps the longest title in popular music, “I Want To Thank You For Lettin’ Me Be Mice Elf Again”. This song resonated with the crowd as everyone sang the hook line together. The Ensemble was directed by Chuck Webb with Dionte Johnson on drums, Tim Ipsen on bass, Dionte Cartwright on keys, Cesar Romero (the Joker) on guitar, and singers Ryan Booker, Sam Cerniglia, and Jonathan McReynolds.
The Recording and Performance Ensemble B performed All I Need (Real Thing). This song started with an a cappella rhythm. Every instrument and voice deserves recognition on this great arrangement directed by Gary Yerkins with Tyler Berg and Mike Philpot on drums, Ben Beutel on bass, Ryan Booker on keys, Nathan Hanak and Derek Bahr on guitars, and singers Sam Cerniglia, Adam Dittman, David Paige, Tim Smisek, and Claire Stahlecker.
The Pop Rock Ensemble opened big with Knock On Wood. I loved the funky guitar intro on Just Kissed My Baby. This group is directed by Nick Tremulis with Ian Cory, Michael Reddick, and Martin Rodriguez on drums, Matt Petron on bass, John Taylor Strieff on keys, Tyler Anselmo, Drew Smitthers, John Streich and Michael Lambert on guitars, and singers Samantha Foti, Morgan Hare, Norris Jackson, and Elissa Todd.
The Pop Jazz Fusion Ensemble opened with the great jazz standard, Cissy Strut. I really loved the combination of voices with Ivan and La Shera Moore. The second song was Got Soul, an Ivan Neville original. All of the musicians deserve recognition. Bill Boris is the Director with Tyler Berg on drums, Ben Beutel on bass, Charlie Coffeen on keys, Derek Bahr on guitar, Eric Mateo on alto sax, Daniel Andrade on tenor sax.
It was a fantastic performance with a great group of talented students. I believe I can pay the highest compliment to Ivan Neville in the funk vernacular. That is, he got “the stank”.
We arrived to a packed house just minutes before show time. The Music Center Concert Hall is located in the College of Music at 1014 S. Michigan Ave. It is a beautiful venue with excellent acoustics. As we made our way to our seats, we passed several rows of students holding their instruments. While I know there are pressures, I thought how wonderful it must be for aspiring artists to attend school and hang out with other artists all day. I suspect it is an enriching experience, particularly when you have an opportunity to work with a guy like Ivan Neville.
Ivan Neville is a multi-instrumentalist from New Orleans and a legacy. He is part of a great music family growing up in a city that is rich in music heritage and it is obvious that he takes his craft very seriously. Ivan Neville definitely has the voice and the chops, but he also has the understanding and appreciation of music that inspires others. Ivan played and sang on most of the songs performed.
Each of the directors spoke of Mr. Neville’s ability to teach and to participate with students on a variety of levels. He spent a week with the various ensembles helping them to write songs and to play a variety of styles on various instruments. It was also clear that Mr. Neville was able to help the students understand some of the finer elements enabling good students to become great performers.
All of this was quickly demonstrated as the Pop Rock Ensemble started to play their first song, Ugly Truth. Wow! I was immediately swept into the power and group coordination of this funk arrangement. Everyone knew their parts and stayed in the pocket to produce a beautiful sum of total parts that creates a funk groove. These students under the able direction of Ivan Neville and Bill Boris were able to capture the essence of the New Orleans sound. I could feel this music in my body and my heart. I could feel this music in my soul.
The second song by the Pop Rock Ensemble was Fortunate Son. I am a big fan of CCR and the beautiful simplicity of their songs. However, this is the best version of Fortunate Son I have ever heard. It was a funk version with all of the instruments playing in the right spaces at the right time. Tyler Berg on drums, Michael Byrnes on bass, Ben Joseph on Keys, Nate Graham on guitars with singers Jonathan McReynolds, LaShera Moore and Nicole Neff.
The Recording and Performance Ensemble A performed an original that was written in 1 hour and 20 minutes. I was amazed at the overall quality of this well crafted song. It had great melodies in the verse and chorus and the lead singer’s voice was perfectly suited for the style. Gary Yerkins is the Director of this Ensemble with Tyler Berg on drums, Mike Philpot on percussion, Ben Beutel on bass, Ryan Booker on Keyboard, Nathan Hanak and Derek Bahr on guitar, and singers Sam Cerniglia, Adam Dittman, David Paige, Tim Smisek, and Claire Stahlecker.
The Blues Performance Ensemble under the direction of Fernando Jones began with a tribute to the Queen of Blues, Koko Taylor. They pitched a Wang Dang Doodle all night long on this great blues standard. The group had a quick change allowing a few other students to participate on the next song, These Things. One of the guitar players looked a lot like Derek Trucks. Like Trucks, he was also using his fingers and playing a red Gibson SG. Cleve Minter and Vince Camerano on drums and percussion, Nicholas Fane on bass, Kelsey Hopper on keys, Tyler Anselmo, Eric Billitier, Jullian Bell, and Luc DeArmey on guitars, and singers Sara Garrett, Shea O’Brie, and Terrence Thomas.
The Pop Orchestra began with Same Thing which was another great funk song. This song was memorable with the repeated hook line “same thing” punctuated at the end. The next song, Shake It Off, is a Dumpstaphunk original. Mr. Neville played fills on the Hammond organ like a horn section and gave a solid vocal performance along with the group. The Ensemble is directed by Carey Deadman with Zach Himelhoch on drums, Nicholas Cole-Klaes on bass, Brian Pettis playing some jazzy lines on keys, Nate Hanak and David Paige on guitars and singers Alexis Fadl, Norris Jackson, Jessica Miller, and Sy Bar-Sheshet.
The Pop Rock Styles Ensemble began their performance with the great blues standard, Sweet Home Chicago. The vocals really shined on this song and they ended with great harmony. The piano fills were fantastic! The next song, Ivan’s Groove had a really nice bass, drum, and Hammond organ intro. I love the one string guitar interplay, chord comping and Ivan’s scat singing. Although there were no horns and there was nothing average about it, I got an Average White Band vibe on this song. This group was directed by Curtis Robinson with Tom Graham and Dan Green on drums, John Sundquist on bass, Aaron Garcia, Andrew Napier, and Adam Stahlberg on guitars, and singers Randy Bonds, Kiana LeCounte, and Eli Noll.
The R&B Ensemble opened with Stay What You Are. This song had a complex time signature which was performed very well with soulful lyrics. The next song was the great Sly Stone funk standard with perhaps the longest title in popular music, “I Want To Thank You For Lettin’ Me Be Mice Elf Again”. This song resonated with the crowd as everyone sang the hook line together. The Ensemble was directed by Chuck Webb with Dionte Johnson on drums, Tim Ipsen on bass, Dionte Cartwright on keys, Cesar Romero (the Joker) on guitar, and singers Ryan Booker, Sam Cerniglia, and Jonathan McReynolds.
The Recording and Performance Ensemble B performed All I Need (Real Thing). This song started with an a cappella rhythm. Every instrument and voice deserves recognition on this great arrangement directed by Gary Yerkins with Tyler Berg and Mike Philpot on drums, Ben Beutel on bass, Ryan Booker on keys, Nathan Hanak and Derek Bahr on guitars, and singers Sam Cerniglia, Adam Dittman, David Paige, Tim Smisek, and Claire Stahlecker.
The Pop Rock Ensemble opened big with Knock On Wood. I loved the funky guitar intro on Just Kissed My Baby. This group is directed by Nick Tremulis with Ian Cory, Michael Reddick, and Martin Rodriguez on drums, Matt Petron on bass, John Taylor Strieff on keys, Tyler Anselmo, Drew Smitthers, John Streich and Michael Lambert on guitars, and singers Samantha Foti, Morgan Hare, Norris Jackson, and Elissa Todd.
The Pop Jazz Fusion Ensemble opened with the great jazz standard, Cissy Strut. I really loved the combination of voices with Ivan and La Shera Moore. The second song was Got Soul, an Ivan Neville original. All of the musicians deserve recognition. Bill Boris is the Director with Tyler Berg on drums, Ben Beutel on bass, Charlie Coffeen on keys, Derek Bahr on guitar, Eric Mateo on alto sax, Daniel Andrade on tenor sax.
It was a fantastic performance with a great group of talented students. I believe I can pay the highest compliment to Ivan Neville in the funk vernacular. That is, he got “the stank”.
Thursday, September 24, 2009
Spotlight on Emerging Indie Artists, Vol. 5
Welcome to Spotlight on Emerging Indie Artists, Volume 5. I am very excited about Tina Sugandh. She recently sent me her rhythm oriented music along with a link to a video in which she teaches Ringo Starr to play the tabla. You can view this video on Muze Tube at the Bluemusepub channel on YouTube or by selecting the Muze Tube icon on Bluemusepublishing.com It is very funny and interesting.
I have always enjoyed a great variety of ethnic music and rhythms. I have also been very fortunate to have traveled to some parts of the world in which music is an important part of the culture.
Most recently, I spent some time listening to Indian music and trying to understand some of the rich musical heritage from that part of the world. The rhythms and modal quality of Indian music is exotic and intoxicating. However, I am interested in Indian music for personal reasons as well. My older son, Jacob married a lovely Indian girl named Boskya in Atlanta on August 22nd. I am still writing a song as a tribute to their commitment to each other and spent a little time researching the traditions of Indian wedding music. I was amazed. I even bought a shehnai and I am trying to teach myself to play it. Anyway, I do want to say how happy I am to welcome Bosky to our family and to say how much I enjoyed meeting her wonderful family and friends.
Indian music has begun to fuse into western styles and the results are phenomenal. Tina Sugandh is a very good example of this new style of music on her new cd called Tabla Girl. Tina plays the tabla which is a large drum.
The first song, Jao has a great drum intro with orchestration. The song has great melodies over the underlying rhythm and counterpoint vocals. It has a message that may resonate with a lot of women in both eastern and western cultures. Tina's voice is fantastic.
Bollywood Girl starts with a bit of alternating onomatopoeia and tabla drums. I've always wanted to use that word, onomatopoeia in a sentence. It is a great effect and the rhythm is intoxicating. I love the background strings throughout the song.
You Without Me has a nice change in style and tempo. It gives a great example of Tina's range of styles and her ability to sing. This song is relevant in today's adult contemporary market. It is a great love song with a nice hook.
HisStory is a nice play on words. The rhythm is great. The lyrics, phrasing and melodies are excellent. The instrumentation makes the music unique while providing music that is danceable. This music could resonate with a lot of folks. I love the build at the end with traditional drums and the punctuated outtro lyrics.
Stay has a haunting melody in the verse and is very memorable. This song has a lot of potential in radio, TV or film. I love the sitar fills. The lyrics are fantastic. The bridge has a little bit of a Sheryl Crow vibe to it. I love this song.
The production on all of this music is excellent. All of the songs are very good. One song, There Is No Alternative is an acrostic of Tina, which is a very clever play on words I think. There is little doubt in my mind that Tina has a very good future in music.
I have always enjoyed a great variety of ethnic music and rhythms. I have also been very fortunate to have traveled to some parts of the world in which music is an important part of the culture.
Most recently, I spent some time listening to Indian music and trying to understand some of the rich musical heritage from that part of the world. The rhythms and modal quality of Indian music is exotic and intoxicating. However, I am interested in Indian music for personal reasons as well. My older son, Jacob married a lovely Indian girl named Boskya in Atlanta on August 22nd. I am still writing a song as a tribute to their commitment to each other and spent a little time researching the traditions of Indian wedding music. I was amazed. I even bought a shehnai and I am trying to teach myself to play it. Anyway, I do want to say how happy I am to welcome Bosky to our family and to say how much I enjoyed meeting her wonderful family and friends.
Indian music has begun to fuse into western styles and the results are phenomenal. Tina Sugandh is a very good example of this new style of music on her new cd called Tabla Girl. Tina plays the tabla which is a large drum.
The first song, Jao has a great drum intro with orchestration. The song has great melodies over the underlying rhythm and counterpoint vocals. It has a message that may resonate with a lot of women in both eastern and western cultures. Tina's voice is fantastic.
Bollywood Girl starts with a bit of alternating onomatopoeia and tabla drums. I've always wanted to use that word, onomatopoeia in a sentence. It is a great effect and the rhythm is intoxicating. I love the background strings throughout the song.
You Without Me has a nice change in style and tempo. It gives a great example of Tina's range of styles and her ability to sing. This song is relevant in today's adult contemporary market. It is a great love song with a nice hook.
HisStory is a nice play on words. The rhythm is great. The lyrics, phrasing and melodies are excellent. The instrumentation makes the music unique while providing music that is danceable. This music could resonate with a lot of folks. I love the build at the end with traditional drums and the punctuated outtro lyrics.
Stay has a haunting melody in the verse and is very memorable. This song has a lot of potential in radio, TV or film. I love the sitar fills. The lyrics are fantastic. The bridge has a little bit of a Sheryl Crow vibe to it. I love this song.
The production on all of this music is excellent. All of the songs are very good. One song, There Is No Alternative is an acrostic of Tina, which is a very clever play on words I think. There is little doubt in my mind that Tina has a very good future in music.
Monday, July 6, 2009
Spotlight on Emerging Indie Artists, Volume 4
Hello and welcome to Spotlight on Indie Artists, Volume 4. I want to recognize a few indie artists on BlueMusePublishing.com that have uploaded some very interesting blues songs. However, I would like to describe my growing interest in the blues over the years as a preface.
I began a retrospective into the blues in my teens. The interest in this style or these styles of music started out perhaps by accident as BB King opened for ZZ Top at a concert that I attended in the 70's. Surprisingly, I was able to connect the dots during this tumultuous period of my life. It was the beginning of a rather long interest as it continues for me today.
The interest in the better known guys moved into relative obscurity as my collection of blues music started to grow. It was an education for me and the beginning of my interest in musicology. I wasn't aware at the time, but musicology is the historical and cultural study of music that also involves the relationship between various styles.
For me, the early blues breaks music down to the basic elements of rhythm and structure. Like all styles, it progresses toward other styles until the lines are blurred. We find folk blues, jump blues, blues rock, country blues, rhythm and
blues and the very sophisticated blues of jazz artists such as Miles Davis. Once again, it proves that genres are not discrete or clearly bound on all sides. Rather, genres are more like zones in a multidimensional, continuous spectrum of music style that is interconnected to all other styles.
I would like to start with a song by Memphis Kenny P called Trouble Like Water Trickles Down. This song is closer to the traditional blues in the structure and the style of the lyrics. Many of the early songs would repeat the first line and resolve back to the repeated line. Kenny does a great job creating lyrical images in this song. Kenny has a great voice and I love the shuffle rhythm in this song that picks up the "and" from the previous measure.
The next song by Memphis Kenny P, called Always Something, has a very definite Allman Brothers vibe to it. I love the simplicity of the lyrics that should resonate with anyone who has struggled in a relationship. Nice signature guitar lick throughout on this song and again, great vocals.
The next song is called Bluz Get Away by Stephen Monroe. I love the intro to this song with guitar and hand clapping as it grabs me right away. Stephen has a great voice and a great ability to play guitar and sing as he likes to perform solo. I love the lyrics to this song and the scat near the end.
Smitten and Resigned is a slow blues song by Stephen Monroe with great lyrics. I also love Stephen's voice in this song. Again, this is a solo song played and sung by Stephen. This song has a great ending.
I have covered this next song called Sorry I Lost Control by Stephen Monroe before. It is a great song that demonstrates the blurred lines between styles. It is blues, folk blues, and jazz all at the same time. The lyrics and scat are great in this song. Once again, a great ending.
This next group, Pure Grain, came to me through the mail. I love the creative packaging for this cd as it was wrapped in burlap. Very cool. The first song is Truckin' Song. This song has a great Dobro intro. The lyrics and vocals are
fantastic. I love the shuffle rhythm on this song. The bass and drums are locked up tight throughout. The Dobro break is great. Volume can be an issue for guitar players playing Dobro who like to be on top. Dobro sounds great to me when it is even in the mix such as this song.
Kid N Funk Blues by the group Pure Grain is a great rhythm oriented song with prominent drums and wah guitar. Again, I really like the lyrics and the vocals on this song. The guitar break is very well done and I love the tone. The bass and drums are again very tight.
I hope you will have a chance to check out these talented artists on Blue Muse.
I began a retrospective into the blues in my teens. The interest in this style or these styles of music started out perhaps by accident as BB King opened for ZZ Top at a concert that I attended in the 70's. Surprisingly, I was able to connect the dots during this tumultuous period of my life. It was the beginning of a rather long interest as it continues for me today.
The interest in the better known guys moved into relative obscurity as my collection of blues music started to grow. It was an education for me and the beginning of my interest in musicology. I wasn't aware at the time, but musicology is the historical and cultural study of music that also involves the relationship between various styles.
For me, the early blues breaks music down to the basic elements of rhythm and structure. Like all styles, it progresses toward other styles until the lines are blurred. We find folk blues, jump blues, blues rock, country blues, rhythm and
blues and the very sophisticated blues of jazz artists such as Miles Davis. Once again, it proves that genres are not discrete or clearly bound on all sides. Rather, genres are more like zones in a multidimensional, continuous spectrum of music style that is interconnected to all other styles.
I would like to start with a song by Memphis Kenny P called Trouble Like Water Trickles Down. This song is closer to the traditional blues in the structure and the style of the lyrics. Many of the early songs would repeat the first line and resolve back to the repeated line. Kenny does a great job creating lyrical images in this song. Kenny has a great voice and I love the shuffle rhythm in this song that picks up the "and" from the previous measure.
The next song by Memphis Kenny P, called Always Something, has a very definite Allman Brothers vibe to it. I love the simplicity of the lyrics that should resonate with anyone who has struggled in a relationship. Nice signature guitar lick throughout on this song and again, great vocals.
The next song is called Bluz Get Away by Stephen Monroe. I love the intro to this song with guitar and hand clapping as it grabs me right away. Stephen has a great voice and a great ability to play guitar and sing as he likes to perform solo. I love the lyrics to this song and the scat near the end.
Smitten and Resigned is a slow blues song by Stephen Monroe with great lyrics. I also love Stephen's voice in this song. Again, this is a solo song played and sung by Stephen. This song has a great ending.
I have covered this next song called Sorry I Lost Control by Stephen Monroe before. It is a great song that demonstrates the blurred lines between styles. It is blues, folk blues, and jazz all at the same time. The lyrics and scat are great in this song. Once again, a great ending.
This next group, Pure Grain, came to me through the mail. I love the creative packaging for this cd as it was wrapped in burlap. Very cool. The first song is Truckin' Song. This song has a great Dobro intro. The lyrics and vocals are
fantastic. I love the shuffle rhythm on this song. The bass and drums are locked up tight throughout. The Dobro break is great. Volume can be an issue for guitar players playing Dobro who like to be on top. Dobro sounds great to me when it is even in the mix such as this song.
Kid N Funk Blues by the group Pure Grain is a great rhythm oriented song with prominent drums and wah guitar. Again, I really like the lyrics and the vocals on this song. The guitar break is very well done and I love the tone. The bass and drums are again very tight.
I hope you will have a chance to check out these talented artists on Blue Muse.
Friday, June 26, 2009
Megastar, Michael Jackson Dead at 50
Michael Jackson was a phenomenally talented individual. Most folks seem to agree that he had some very deeply rooted issues going back perhaps to his childhood. I do not know the whole truth, but I think it is fair to say that he deserves a place among the all time greatest singer/songwriter/performers of all time.
Michael Jackson sold over 750 million titles in his lifetime. This places him in an elite group of entertainers including Elvis Presley, Bing Crosby, the Beatles, and much to the surprise of a lot of people, Mariah Caray.
I first remember the Jackson Five when I was maybe 12 years old. I had a few of their 45's including ABC and I'll Be There. I recall hearing two young girls singing I'll Be There in harmony as they walked home from grammar school one day. I did not know them, but they sounded really good to me.
A few years later, I bought a Motown set that had 3 or 4 lps. Those records are long gone, but I think I may have been the only white boy in Georgia who owned this particular set at the time. It had Marvin Gaye, the Jackson Five and the Supremes among many other notable Motown artists of the time. I remember taking the record set to a party at a friends house and putting the records on the stereo. I just remember how the girls at the party seemed to favor this music over the harder rock music. Nonetheless, I was brow beaten into submission by my peers and I no longer shared my facination with this music openly with my friends. I would listen to WRDW Radio (owned by James Brown) in my car when I was alone, but I would quickly switch back to the Top 40 station or my tape deck when friends were around. Nonetheless, it was the beginning of a long journey for me and it all started with the Jackson Five. I bought records by Stevie Wonder and Jimi Hendrix. When I got to college I started a retrospective of listening to blues artists like Muddy Waters, BB King, and Freddie King, a facination that continues today for me. I also still love funk and R&B music. But Michael Jackson's music was mostly dance and pop.
Anyway, many more years passed and I recall listening to Michael Jackson again when his song Billie Jean played at all the dance clubs. I was a lonely guy in a predominately male population at an engineering school, so dancing at the clubs was a way to get within a few feet of a female. I appreciated Michael Jackson, but not to the level of my wonderful wife. She loved Michael Jackson and still does. I admit that I was amazed by his dance moves, the relevance of his music and the shows that were drawing record crowds. This guy had a lot of everything. A great voice, great songs, great moves, and for a while, charm and boyish good looks.
I found out that Anne, my wife, was born in the same hospital as Michael Jackson in Gary, Indiana. My father-in-law loved to tell me that Michael's father, Joe had worked for him at Gary Works, a large steel plant that employed much of Gary's population during the late 50's and early 60's when Anne and Michael were born. I frequently played devil's advocate to Anne's insistance that Michael missed his childhood and was tormented by isolation and success. I would offer examples of his strange behaviors to counter her position, although I believed then and now that she was correct in her assertion. That is, I believe that Michael should have received help very early to deal with the childhood issues and spoils of mega-stardom. He certainly had the financial means to get help. I cannot help but wonder why he did not receive the guidance from friends and family. This story has become all too familiar. A very wealthy entertainer surrounded by sycophants.
We all witnessed a variety of transformations with Michael Jackson after Thriller. His appearance began to change and was seen many times with various veils to cover his face. He told the press that he had a skin disorder, but his skin color began to become much lighter. At some point, Michael indicated that he was teased about the size of his nose. His nose started to get smaller and smaller and his skin around his mouth started to change into a odd shape that reminded me of the cowardly lion on the Wizard of Oz. Perhaps it was no coincidence that Michael once had a role in the musical, The Wiz.
Then it was the children and Michael's insistance that sleeping with small boys was harmless. several allegations were made. The first involved a settlement of $20 million. The second was an undisclosed amount that was negotiated along with a final verdict of innocent. There were also many lawsuits that had no merit and it is not surprising given Michael's reported $500 million net worth during the pinnacle of his career. He made a few very good business decisions during this time, including the purchase of a significant portion of the Beatles song catalog. However, his career began to falter in the mid 90's and his extravagant spending quickly caught up with him. Michael was sometimes spending over a million dollars a day on lavish decorations and art for his home. Of course, everyone knows about the other stories of exorbitant spending including his Neverland ranch, a hyperbaric chamber, and rather large array of exotic live animals. He also attempted to buy the body of The Elephant Man, Joseph Merrick. Perhaps the incident that revealed the most about Michael, however, was dangling a very young son over a balcony in Paris. This was apparently too much for the public to dismiss as many began calling for the removal of the children from Jackson's custody.
Most recently, Michael had planned a comeback tour consisting of 50 shows in London. These shows were recently postponed, despite claims by his publicist that everything was going well. Several reports of various health issues continued to surface, but were somehow muted by a few earlier false incidents. It was to be, in his own words, "the final curtain call". Instead the final curtain call was at his rented mansion in Westwood.
On June 25th at 2:26 pm in Los Angeles, Michael died. The toxicology results of the autopsy are expected very soon, but there is much speculation that Michael's overall health had deteriorated significantly. There are also rumors of Michael abusing prescription drugs. Not many people would be surprised. I think it is interesting that Michael's doctor was at the residence and that someone had placed Christmas wreaths on the iron gates outside the home. However bizarre his life, I think I would like to remember Michael Jackson for his talent rather than his behaviors. It is not my place to judge another human being, so I will leave that up to God. I just hope that Michael is at peace.
Michael Jackson sold over 750 million titles in his lifetime. This places him in an elite group of entertainers including Elvis Presley, Bing Crosby, the Beatles, and much to the surprise of a lot of people, Mariah Caray.
I first remember the Jackson Five when I was maybe 12 years old. I had a few of their 45's including ABC and I'll Be There. I recall hearing two young girls singing I'll Be There in harmony as they walked home from grammar school one day. I did not know them, but they sounded really good to me.
A few years later, I bought a Motown set that had 3 or 4 lps. Those records are long gone, but I think I may have been the only white boy in Georgia who owned this particular set at the time. It had Marvin Gaye, the Jackson Five and the Supremes among many other notable Motown artists of the time. I remember taking the record set to a party at a friends house and putting the records on the stereo. I just remember how the girls at the party seemed to favor this music over the harder rock music. Nonetheless, I was brow beaten into submission by my peers and I no longer shared my facination with this music openly with my friends. I would listen to WRDW Radio (owned by James Brown) in my car when I was alone, but I would quickly switch back to the Top 40 station or my tape deck when friends were around. Nonetheless, it was the beginning of a long journey for me and it all started with the Jackson Five. I bought records by Stevie Wonder and Jimi Hendrix. When I got to college I started a retrospective of listening to blues artists like Muddy Waters, BB King, and Freddie King, a facination that continues today for me. I also still love funk and R&B music. But Michael Jackson's music was mostly dance and pop.
Anyway, many more years passed and I recall listening to Michael Jackson again when his song Billie Jean played at all the dance clubs. I was a lonely guy in a predominately male population at an engineering school, so dancing at the clubs was a way to get within a few feet of a female. I appreciated Michael Jackson, but not to the level of my wonderful wife. She loved Michael Jackson and still does. I admit that I was amazed by his dance moves, the relevance of his music and the shows that were drawing record crowds. This guy had a lot of everything. A great voice, great songs, great moves, and for a while, charm and boyish good looks.
I found out that Anne, my wife, was born in the same hospital as Michael Jackson in Gary, Indiana. My father-in-law loved to tell me that Michael's father, Joe had worked for him at Gary Works, a large steel plant that employed much of Gary's population during the late 50's and early 60's when Anne and Michael were born. I frequently played devil's advocate to Anne's insistance that Michael missed his childhood and was tormented by isolation and success. I would offer examples of his strange behaviors to counter her position, although I believed then and now that she was correct in her assertion. That is, I believe that Michael should have received help very early to deal with the childhood issues and spoils of mega-stardom. He certainly had the financial means to get help. I cannot help but wonder why he did not receive the guidance from friends and family. This story has become all too familiar. A very wealthy entertainer surrounded by sycophants.
We all witnessed a variety of transformations with Michael Jackson after Thriller. His appearance began to change and was seen many times with various veils to cover his face. He told the press that he had a skin disorder, but his skin color began to become much lighter. At some point, Michael indicated that he was teased about the size of his nose. His nose started to get smaller and smaller and his skin around his mouth started to change into a odd shape that reminded me of the cowardly lion on the Wizard of Oz. Perhaps it was no coincidence that Michael once had a role in the musical, The Wiz.
Then it was the children and Michael's insistance that sleeping with small boys was harmless. several allegations were made. The first involved a settlement of $20 million. The second was an undisclosed amount that was negotiated along with a final verdict of innocent. There were also many lawsuits that had no merit and it is not surprising given Michael's reported $500 million net worth during the pinnacle of his career. He made a few very good business decisions during this time, including the purchase of a significant portion of the Beatles song catalog. However, his career began to falter in the mid 90's and his extravagant spending quickly caught up with him. Michael was sometimes spending over a million dollars a day on lavish decorations and art for his home. Of course, everyone knows about the other stories of exorbitant spending including his Neverland ranch, a hyperbaric chamber, and rather large array of exotic live animals. He also attempted to buy the body of The Elephant Man, Joseph Merrick. Perhaps the incident that revealed the most about Michael, however, was dangling a very young son over a balcony in Paris. This was apparently too much for the public to dismiss as many began calling for the removal of the children from Jackson's custody.
Most recently, Michael had planned a comeback tour consisting of 50 shows in London. These shows were recently postponed, despite claims by his publicist that everything was going well. Several reports of various health issues continued to surface, but were somehow muted by a few earlier false incidents. It was to be, in his own words, "the final curtain call". Instead the final curtain call was at his rented mansion in Westwood.
On June 25th at 2:26 pm in Los Angeles, Michael died. The toxicology results of the autopsy are expected very soon, but there is much speculation that Michael's overall health had deteriorated significantly. There are also rumors of Michael abusing prescription drugs. Not many people would be surprised. I think it is interesting that Michael's doctor was at the residence and that someone had placed Christmas wreaths on the iron gates outside the home. However bizarre his life, I think I would like to remember Michael Jackson for his talent rather than his behaviors. It is not my place to judge another human being, so I will leave that up to God. I just hope that Michael is at peace.
Monday, June 22, 2009
Koko Taylor, The End of an Era
I was deeply saddened to hear that Koko Taylor passed away on June 5th in Chicago. Despite the inevitability of death, survivors feel the loss of those who pass before us.
In Koko's case, we also see the passing of an era. Koko was perhaps the last of a generation of notable women in this culture we call the blues. I do feel fortunate to have seen Koko perform live in the early 90's. She was an aging woman at that time, but she delivered in a way that would be exhausting for the youngest performer. This particular show was at the Variety Playhouse in Atlanta, a converted theater in Little Five Points. I attended with my friend, Joe. There were several other notable acts on the bill, but I do not recall anything about the others. I only remember Koko.
She came out dressed to the nines with a blond wig and she looked fantastic. Her band was tight, but she was in full command. She sang quite a few blues standards, but gave each one her signature voice. That voice! Powerful, gritty, raspy tones with spot on delivery. The sound of her voice was raw yet an integral part of the band, an instrument unto itself. She moved around on stage, engaged the audience, and put on a great show that left us all screaming for more. In short, she
pitched a Wang Dang Doodle that night.
There are only a few survivors from this era. For each one that passes, we lose part of the rich heritage that transformed music forever. There are a few who try to preserve the memory and the culture of the blues, but this music is not only a
particular sound or a rhythm, it is life itself. This music could only be authentically produced as part of an experience. A way that is no longer possible. It is now a part of history.
It is not that anyone really wants to live in such deplorable conditions. Most people do not. However, it is a way in which we remember what this generation endured. We honor them by preserving this authentic art form.
Like many others, I have attempted to play many of the great blues songs from these artists. But, I cannot truly understand the essence of this music and it will always be, at the very best, a form of tribute. Besides, today's blues is more likely to sound like jazz or rock at times, with amazing guitar licks and digital effects. Yes, there are some who do a good job of reproducing the original sounds, but a part of the culture is lost with the younger generations. It is the experience.
Unfortunately, almost all attempts to reproduce this music is still only a tribute and not to be mistaken for authentic blues from authentic blues artists. I think it is ok to be played as a tribute, but I think it is respectful to understand it as a tribute rather than the real deal. In the meantime, some blues purists need to lighten up a little bit, take a deep breath and enjoy the evolution of music rather than attempt to apply unrealistic standards on those who may give an occasional nod to the past.
While this era will soon be gone forever, some blues organizations help to preserve the culture of the blues. Some groups are also doing a great job of capturing at least a part of the blues, but with more refined sounds to please a different
audience. For example, The North Mississippi All Stars help to capture some elements of this passing era, but it remains influenced by rock and success. I like their music very much, but it is also a tribute.
At least from my perspective, we should honor this music by recognizing the impact that it had on our own culture. At the same time, I think it is ok to recognize and embrace the inevitable influence of later music styles that helped define our own lives. That is, I think that music culture is evolving and not a circle that can or will return to pure roots music as a means of coping with unimaginable conditions. Let's honor Koko by preserving her history while integrating her style into our own. In the meantime, we can also have some fun while singing and playing from our own experience.
In Koko's case, we also see the passing of an era. Koko was perhaps the last of a generation of notable women in this culture we call the blues. I do feel fortunate to have seen Koko perform live in the early 90's. She was an aging woman at that time, but she delivered in a way that would be exhausting for the youngest performer. This particular show was at the Variety Playhouse in Atlanta, a converted theater in Little Five Points. I attended with my friend, Joe. There were several other notable acts on the bill, but I do not recall anything about the others. I only remember Koko.
She came out dressed to the nines with a blond wig and she looked fantastic. Her band was tight, but she was in full command. She sang quite a few blues standards, but gave each one her signature voice. That voice! Powerful, gritty, raspy tones with spot on delivery. The sound of her voice was raw yet an integral part of the band, an instrument unto itself. She moved around on stage, engaged the audience, and put on a great show that left us all screaming for more. In short, she
pitched a Wang Dang Doodle that night.
There are only a few survivors from this era. For each one that passes, we lose part of the rich heritage that transformed music forever. There are a few who try to preserve the memory and the culture of the blues, but this music is not only a
particular sound or a rhythm, it is life itself. This music could only be authentically produced as part of an experience. A way that is no longer possible. It is now a part of history.
It is not that anyone really wants to live in such deplorable conditions. Most people do not. However, it is a way in which we remember what this generation endured. We honor them by preserving this authentic art form.
Like many others, I have attempted to play many of the great blues songs from these artists. But, I cannot truly understand the essence of this music and it will always be, at the very best, a form of tribute. Besides, today's blues is more likely to sound like jazz or rock at times, with amazing guitar licks and digital effects. Yes, there are some who do a good job of reproducing the original sounds, but a part of the culture is lost with the younger generations. It is the experience.
Unfortunately, almost all attempts to reproduce this music is still only a tribute and not to be mistaken for authentic blues from authentic blues artists. I think it is ok to be played as a tribute, but I think it is respectful to understand it as a tribute rather than the real deal. In the meantime, some blues purists need to lighten up a little bit, take a deep breath and enjoy the evolution of music rather than attempt to apply unrealistic standards on those who may give an occasional nod to the past.
While this era will soon be gone forever, some blues organizations help to preserve the culture of the blues. Some groups are also doing a great job of capturing at least a part of the blues, but with more refined sounds to please a different
audience. For example, The North Mississippi All Stars help to capture some elements of this passing era, but it remains influenced by rock and success. I like their music very much, but it is also a tribute.
At least from my perspective, we should honor this music by recognizing the impact that it had on our own culture. At the same time, I think it is ok to recognize and embrace the inevitable influence of later music styles that helped define our own lives. That is, I think that music culture is evolving and not a circle that can or will return to pure roots music as a means of coping with unimaginable conditions. Let's honor Koko by preserving her history while integrating her style into our own. In the meantime, we can also have some fun while singing and playing from our own experience.
Tuesday, June 9, 2009
Spotlight on Emerging Indie Artists, Vol 3
Welcome to a special edition of Spotlight on Emerging Indie Artists on Blue Muse Views and Reviews and on my podcast called Blue Muse Independent Voice. I would like to provide a review of select songs from the cd "Living Gifts" by the group, GraceFlock out of Peachtree City, Georgia. Of course, as always, I play the songs for you on the podcast which should post on the 10th.
I hope you will forgive me for my bias as I was once a part of this particular group. GraceFlock performs every Sunday at Christ Our Shepherd Lutheran Church. They have two excellent cd's, "Living Gifts" and "Alive In The Lamb". I happen to be a little bit partial to "Living Gifts". Maybe it is because I played the bass on many of the songs and added a few guitar parts. I also wrote one of the songs. However, I will not say which song. I hope you will check it out and perhaps devote a few minutes of your valuable time listening to the much more talented, remaining members of GraceFlock who continue to inspire folks on a weekly basis.
GraceFlock is Lans Rothfusz, Kathy Rothfusz, Brandon Rothfusz, Preston Rothfusz, Gary Pederson, Christie Pederson, Karla Dietmeyer, James Callison, Penny Kahley, Mark Summers, Sue Summers, Frank Trembley, Robin Merriman, and Karen Ladman. Lans and Gary write all of the original songs (with the one previously cited exception) while Kathy, Karla, and Christie assist with arrangements. They also provide workshops on developing successful contemporary services and they have a songbook coming out very soon to accompany their two cd's.
The first song I would like to review is one of my favorites. It is called "Eyes of Hope". This song was written by Gary Pederson after he witnessed the aftermath of Hurricane Katrina in Biloxi Mississippi in 2005. Gary was so moved by the expressions on the faces of the victims that he wrote this song. This song jumps out and grabs me right away as it has a beautiful melody with great lead vocals and harmonies. The instrumental,performed by Kathy Rothfusz on recorder, sends chills up and down my spine. Of course, the lyrics are wonderful, but the building counter vocals in the end are beautiful and may symbolize the growing number of voices of those who respond in difficult times.
"Think About These" with a haunting melody sung by Gary is again very well done with counter vocals by Christie Pederson. Kathy's flute instrumental is very appropriate in this setting. The bridge section is a wonderful addition to the song leading into added percussion and back to the prechorus and chorus.
The song "Sacrifice" is another one of my favorites from Living Gifts. This song starts with an interesting reggae style keyboard leading into wonderful melodies in the verse and chorus. I love the violin fills provided by Karla Dietmeyer when she was only in 9th grade, I think. Karla's violin solo is very appropriate for the style of this song. The counter vocals are wonderful, as well as the return to the keyboard in the ending.
The next song, "The Lost One" comes straight from scripture. Many of the other songs on "Living Gifts" come directly from scripture or from Luther's writings. I love the violin intro and the soft acoustic guitar and congas in this song. Gary's vocals are very strong on this song. The melodies in the verse, prechorus and chorus are wonderful. Christie's voice lends a lot to this song. The cello and violin break in the middle fits very well. It is almost like the celloist and the violinist are sisters. Wait a minute, they are sisters!
The last song in my brief review is "Joyful Noise II", a remake of an instrumental (appropriately titled "Joyful Noise I) that was recorded by Lans Rothfusz with his group in Oklahoma. The baby in the intro is Lans' oldest son Brandon who is now a senior in high school. I love the rhythm in this song that reminds me a little of the song, Tequila. Kathy's flute is amazing. I think she must have gone to school or something. This song is really inspiring to me.
All of these songs have great lyrics and rich textures that come from excellent songwriting, arrangement, singing, and instrumentation. In addition, the production quality is extraordinary, particularly given that it was done in the Rothfusz home studio. Not bad for a meteorologist!
Finally, GraceFlock is kicking off their Midwest Tour on June 14th in Peachtree City, Georgia. They will play at Christ Our Shepherd in Peachtree City on June 14th, Resurrection Lutheran in Newnan, GA on June 18th, First Lutheran in Alexandria, MN on June 24th, St. Matthew Lutheran in Columbia Heights, MN on the 25th, Christ Lutheran in Glencoe, MN on June 26th, Jackson Lake Lutheran in Amboy, MN on June 27th, Dale Lutheran in Kenyon, MN on June 28th, Good Shepherd Lutheran in Rochester, MN on June 28th, Zion Lutheran in Shawano, WI on June 29th, Bethel Lutheran in Madison, WI on June 30th, Word of Life Lutheran in Naperville, IL on July 1st, and Faith Lutheran in Washington, IL on July 2nd. Each show is at 7:00 p.m. except Kenyon, MN which is part of the 10:30 a.m. Worship Service.
I hope you will forgive me for my bias as I was once a part of this particular group. GraceFlock performs every Sunday at Christ Our Shepherd Lutheran Church. They have two excellent cd's, "Living Gifts" and "Alive In The Lamb". I happen to be a little bit partial to "Living Gifts". Maybe it is because I played the bass on many of the songs and added a few guitar parts. I also wrote one of the songs. However, I will not say which song. I hope you will check it out and perhaps devote a few minutes of your valuable time listening to the much more talented, remaining members of GraceFlock who continue to inspire folks on a weekly basis.
GraceFlock is Lans Rothfusz, Kathy Rothfusz, Brandon Rothfusz, Preston Rothfusz, Gary Pederson, Christie Pederson, Karla Dietmeyer, James Callison, Penny Kahley, Mark Summers, Sue Summers, Frank Trembley, Robin Merriman, and Karen Ladman. Lans and Gary write all of the original songs (with the one previously cited exception) while Kathy, Karla, and Christie assist with arrangements. They also provide workshops on developing successful contemporary services and they have a songbook coming out very soon to accompany their two cd's.
The first song I would like to review is one of my favorites. It is called "Eyes of Hope". This song was written by Gary Pederson after he witnessed the aftermath of Hurricane Katrina in Biloxi Mississippi in 2005. Gary was so moved by the expressions on the faces of the victims that he wrote this song. This song jumps out and grabs me right away as it has a beautiful melody with great lead vocals and harmonies. The instrumental,performed by Kathy Rothfusz on recorder, sends chills up and down my spine. Of course, the lyrics are wonderful, but the building counter vocals in the end are beautiful and may symbolize the growing number of voices of those who respond in difficult times.
"Think About These" with a haunting melody sung by Gary is again very well done with counter vocals by Christie Pederson. Kathy's flute instrumental is very appropriate in this setting. The bridge section is a wonderful addition to the song leading into added percussion and back to the prechorus and chorus.
The song "Sacrifice" is another one of my favorites from Living Gifts. This song starts with an interesting reggae style keyboard leading into wonderful melodies in the verse and chorus. I love the violin fills provided by Karla Dietmeyer when she was only in 9th grade, I think. Karla's violin solo is very appropriate for the style of this song. The counter vocals are wonderful, as well as the return to the keyboard in the ending.
The next song, "The Lost One" comes straight from scripture. Many of the other songs on "Living Gifts" come directly from scripture or from Luther's writings. I love the violin intro and the soft acoustic guitar and congas in this song. Gary's vocals are very strong on this song. The melodies in the verse, prechorus and chorus are wonderful. Christie's voice lends a lot to this song. The cello and violin break in the middle fits very well. It is almost like the celloist and the violinist are sisters. Wait a minute, they are sisters!
The last song in my brief review is "Joyful Noise II", a remake of an instrumental (appropriately titled "Joyful Noise I) that was recorded by Lans Rothfusz with his group in Oklahoma. The baby in the intro is Lans' oldest son Brandon who is now a senior in high school. I love the rhythm in this song that reminds me a little of the song, Tequila. Kathy's flute is amazing. I think she must have gone to school or something. This song is really inspiring to me.
All of these songs have great lyrics and rich textures that come from excellent songwriting, arrangement, singing, and instrumentation. In addition, the production quality is extraordinary, particularly given that it was done in the Rothfusz home studio. Not bad for a meteorologist!
Finally, GraceFlock is kicking off their Midwest Tour on June 14th in Peachtree City, Georgia. They will play at Christ Our Shepherd in Peachtree City on June 14th, Resurrection Lutheran in Newnan, GA on June 18th, First Lutheran in Alexandria, MN on June 24th, St. Matthew Lutheran in Columbia Heights, MN on the 25th, Christ Lutheran in Glencoe, MN on June 26th, Jackson Lake Lutheran in Amboy, MN on June 27th, Dale Lutheran in Kenyon, MN on June 28th, Good Shepherd Lutheran in Rochester, MN on June 28th, Zion Lutheran in Shawano, WI on June 29th, Bethel Lutheran in Madison, WI on June 30th, Word of Life Lutheran in Naperville, IL on July 1st, and Faith Lutheran in Washington, IL on July 2nd. Each show is at 7:00 p.m. except Kenyon, MN which is part of the 10:30 a.m. Worship Service.
Monday, June 1, 2009
Spotlight on Emerging Indie Artists, Vol 2
We have a growing number of talented folk artists at BlueMusePublishing.com so Volume Two of Spotlight on Emerging Indie Artists will be devoted to folk music.
Folk artists are generally known for their wonderfully artful lyrics and simplicity. However, folk music can also be a lot of fun and infuse elements of style and rhythm. I hope to provide a nice spectrum of folk music and styles, but I know that I must create new volumes to recognize many artists who I am unable to include in a single blog/podcast. I hope those artists will accept my apologies and my pledge to return to this wonderful genre.
I should say that I had one foot firmly planted in rock music while growing up in East Central Georgia, but the other foot was planted in folk. I was, and will always be, a fan of Simon & Garfunkel, Bob Dylan, and John Prine. I suppose I should also add that I needed at least two more feet as I loved country and R&B growing up, as well. I cannot help it, I love a variety of music.
I also love to travel, but this will be a virtual trip of music from England, Holland, Colorado, California, Nebraska, and New York.
Confoundry is a duo in England that writes beautiful music and lyrics. The song Watching Swans has a very nice arrangement of vocals, guitar, flute, and harmonies that, I think, paints a very nice picture to go with the lyrics. Please make sure you check out the beautiful flute intro on She Moves Through The Fair.
Vast Countenance is a group out of Amsterdam, Holland playing a variety of styles. However, their song, Afterglow, is very much in the folk genre. This song has very nice guitar, piano, viola, vocals and harmonies.
Wes & Victoria are a husband and wife team from Colorado that have a solid repertoire of original music. These two share their life's experience through their music. There is great instrumentation, with guitar, organ, and harp fills throughout many of their songs, but the vocals are also very good. The song, Trail of Tears has a lot of emotion. It is well written and produced with great instrumentation and vocals. I want to acknowledge the wonderful talent that is on this CD, The Ballad of Billy Saigon. Aside from Wes Hamil on guitar, there is also Albert Lee and the late, great Stephen Bruton. In addition, Victoria Hamil lends her very distinctive harp style throughout. Victoria has also recorded with Roy Rogers, Johnny Cash, and was featured in a film by Robert Altman.
Gil Garcia, from California, is more like Neil Young than Neil Young. I am particularly impressed with Gil's song, Songs. This song has the signature palm muting and phrasing of Neil Young, but Gil's distinct voice gives it life. I am really amazed at Gil's ability to play harp while playing the guitar. This is an extraordinary skill that I wish I had. There are also some very nice harmonies in the chorus. Please check out Gil Garcia at BlueMusePublishing.com.
Artist Stephen Monroe from Nebraska also has a great range of styles with a lot of folk blues and some jazzier tunes. I include Stephen because he is a solo artist playing a style that is part folk, part blues, part jazz. I really love his song, Sorry I Lost Control. It reminds me very much of John Hammond, Jr. There is also a very nice 20's effect at various times during the song.
The last artist featured in Volume Two, is Dan-O from New York. Dan-O is short for Dan O'Connor and his music also ranges in styles. His song Crowd in the Palace is written in a folk style. I am not certain of the meaning behind Dan-O's lyrics, but I am among those who like lyrics that lend themselves to interpretation. It certainly provides a little something for us to think about while we enjoy a well crafted song.
Friday, May 22, 2009
Review of The Indie Band Survival Guide
I recently read The Indie Band Survival Guide by Randy Chertkow and Jason Feehan. This book is extraordinarily readable, but is also a great reference for independent artists.
First of all, Chertkow and Feehan know what they are talking about. They experienced it first hand as part of their rock group, Beatnik Turtle. They have produced eighteen albums and they have written music for television and films, all without a label.
Right away, these guys do a great job of defining indie artists as well as the various support roles in the new music business. They also do a great job of describing the changing landscape of the music business.
This book is also honest and forthright regarding the challenges facing the indie artist. It places appropriate emphasis on the role of people in the development of any successful campaign.
I am particularly impressed with the layout of this great reference book and the use of specific examples that are woven into the detailed fabric of instruction. This reference provides an excellent overview of topics that include many marketing principles such as branding and creating effective web sites. There are many tips and resources that any indie artist should find useful in their endeavors to build a fan base. I especially like the section of the book devoted to getting noticed as it provides specific strategies.
The book provides sufficient information for developing a ground game, including how to get booked and how to make the best of each appearance. There is ample information about other elements of a successful ground campaign including pitching and various forms of direct promotion and publicity.
The Indie Band Survival Guide does a great job of describing intellectual property and rights.
The only issue that I have with this book is the application of The Long Tail to the product side of music. I read Chris Anderson's book, and I believe that it does apply to the distribution side of the music business. However, I am skeptical that it will apply to the production side of the music business as there is little justification to produce anything for one or two sales. If there are multitudes of distributors selling low volumes, then perhaps it might make a little more sense. Overall, on the production side, the tail needs to be more representative of the natural relationship between sales and quality. This, I believe, would be best represented by a linear relationship between popularity and quality. Of course, quality in this context must integrate the quality of the actual product with the quality of marketing and promotion in the real world.
In summary, if you have a great product (songs and ability to perform them) and you can apply the principles outlined in The Indie Band Survival Guide, then you have a reasonable chance of success. This book is well worth the $15 and I would consider it a must have for any indie artist.
Thursday, May 21, 2009
American Idol Delivers on a Human Level, Falters on Image
Thank you Kris Allen and Adam Lambert for a great Season 8 of American Idol. The talent level this year was noticebly higher as many of the contenders would have won it all in previous seasons.
First and foremost, Kris Allen demonstrated a huge range of talent as a singer and as a musician, playing both guitar and piano. It is clear to me that Kris has a broad appeal with a lot of charm.
Adam Lambert has extraordinary talent that is difficult to summarize. I will only say that he should not limit himself to singing. I suspect that Adam has a great career ahead of him on stage and in film.
Danny Gokey really sang his heart out last night on Lionel Richie's "Suddenly". This guy has a lot going for him and he definitely won the hearts of millions of viewers with his voice, personality and story.
Allison Iraheta performed very well despite her 16 years. I believe that she will find success, but I hope that she will also continue her education as 16 is too young to put 100% into a career as a performer in my humble opinion.
The show was entertaining, yet the human element is what makes it enjoyable for me. I suppose I am not a huge fan of the outdated, rock god mystique. I really like the genuine human side of recent winners and runners up on American Idol.
while Simon insists on putting the "bigger than life" spin on the whole enterprise (and it is, along with Simon Fuller, his enterprise), I think that Carrie Underwood should provide a clue about what is working in today's market. That is, Carrie Underwood has demonstrated huge sucess without falling into the whole image trap.
Yes, there are some stars who continue to follow this approach. Prince perhaps best demonstrates the image approach to stardom. The guy definitely has talent. But, I believe his success has been muted by his image and attitude. There is no telling how much money this guy left on the table by alienating millions who just don't have the stomach for his super ego and self indulgence.
Recent winners and runners up demonstrating success with some grace and humility include Carrie Underwood, David Cook, and David Archuleta. Chris Daughtry has a bit of a bad boy look, but I think he is smart enough to not allow the image thing to screw him up.
This years winner and runners up will undoubtedly do well to remain true to themselves. Kris Allen, Adam Lambert, and Danny Gokey all exemplify an element of grace and humility.
Ultimately, I believe there is a price to pay for relying on an image. Nothing bears this out quite so clearly as some of the performers from last night.
Rod Stewart still has a distinct voice. But, I think Rod had the right idea when he launched a rather successful comeback a few years ago singing love songs and standards. Last night, however, he went back to his earlier image. The problem is, Rod Stewart is in his 60's. There is nothing that screams "NO" so loudly as a 60 year old man trying to dance on live television. Rod would have been ok to sing his mega hit "Maggie May" without trying to bust a move. In addition, I think Rod would have looked a whole lot better in a tux than the garish plaid jacket. I know he loves his Scottish heritage, but he reminded me of the Rodney Dangerfield character in Caddie Shack whose line,"It looks good on you, though", seemed appropriate for the occasion.
KISS is in the same category. C'mon guys! This is the problem with the image thing. You all looked ridiculous. Your days are numbered. Actually, your days have already expired. It just doesn't make sense to rely on image forever. How old is Gene Simmons? Having a 60 year old man slinging his unusually large tongue out on television is not entertaining, unless it was intended as a parody of themselves. I'm sure the ladies in the nursing homes went wild.
Lionel Richie, Carlos Santana and Brian May were all respectable, I think. However, this should drive the point home. They were respectable from the beginning. They are not doomed to maintain an image that is unsustainable over time.
I can list a whole lot of failed artists who would like another chance, but most of us know who they are. I could include those who died, perhaps in part, as a result of having an outrageous image. However, I don't think it is in good taste. So, I will leave it to you, the reader, to consider for yourself.
In summary, American Idol is alive and well. Yet, I really believe the rock idol, poser image is gone. The market is much more diluted these days, and the numbers will no longer support the extravagance of the 70's and 80's. Besides, we are wrong if we want our entertainers to maintain images that ultimately lead to obsolescence and in some cases, self destruction. Our entertainers should have the right to be ordinary people, living ordinary lives. I happen to like an entertainer who can appreciate their good fortune with at least a little humility and grace.
Tuesday, May 19, 2009
Indie Music Marketing: The Importance of Comparison
Indie artists are at a disadvantage. While there are some who will dismiss any thought of comparing themselves to other artists, I would like to offer a different perspective.
The Problem for Indie Artists
First of all, the biggest problem for indie artists is gaining exposure through unfriendly systems. The traditional systems that are in place today were built around an industry that has many layers of interdependency. These layers of interdependency are the various services that are frankly necessary to operate at higher levels. Agency, management, and promotion are only a few of these services. Some of these systems may seem "unfriendly" because they are reliant on larger publishers and labels. For the larger labels, publishers and related services, self sufficiency threatens their source of income. If we were on the opposite side of the fence, we would view it the very same way.
However, as indies, we are not on their side of the fence by definition. We are indies, which, aside from being a genre unto itself, is short for independents.
Part of the Solution for Indie Artists
Indie artists must provide many of the services through friends, by themselves, or by paying for specific services. New systems are developing to assist indie artists, but they are unfortunately mired among scores of new services that are yet unproven. Either way, it is an uphill battle for an indie artist.
It is necessary for an indie artist to create paths for themselves that are not always clearly marked. I would suggest trying to look at yourself from the perspective of your potential market. It is not an easy exercise, because it could not be further from the core business of making music. In fact, it can be discouraging. Most artists already have enough to discourage them, so it becomes a critical part of survival, for some folks, to avoid anything that is discouraging. However, if you don't have the money to pay for this service, then you may need to be a little more resilient. So, if you can be brave for a minute, take a look at yourself from a real market perspective.
How Do You Find You?
First of all, how do you find you? It is perhaps a silly question to some folks, because you already know where you are. But, the vast majority of your market has no idea where you are. This is very difficult for many people to imagine, but it can be powerful. Stated differently, how do you rise above the crowd?
Who Do You Sound Like?
I think there are many ways to differentiate yourself, but I want to address one of the easiest techniques for drawing people to yourself. It is actually very simple. Who do you sound like? Do not be afraid to compare yourself to well known artists. Why? Because your market already knows these artists and it can be like a beacon of light leading back to you.
"But I am unique", you may say. Yes, you are unique. But, there are elements that can be compared to other artists, including your style, the sound of your voice, and perhaps something a little less noticeable such as your lyrical phrasing.
It is a little contradictory in that you are trying to differentiate yourself by comparing yourself to others. However, you can also paint a very nice composite picture of yourself through comparisons with more than one artist. I know most everyone has seen it before, but you might say that you sound like the Allman Brothers with the funk style of Mother's Finest. It creates a picture that can lead people to you through association with well known artists.
The Added Bonus
Guess what? There's more. You can use these artists as keywords to help your prospective fans find you a little easier. The well known artists do not mind as it also helps them, but it is a very descriptive way to drive potential fans to you. What is the beauty of using well known artists as keywords? They are well known so they are much more likely to be used in search strings.
I would only caution that you should take your time to get this characterization right. Using an artist that does not describe your style or sound does nothing to help you because there is nothing more frustrating to a potential fan than to be disappointed at a poorly characterized comparison.
Get a Second Opinion
You should ask others for their thoughts on comparisons. It is very difficult to be objective about yourself sometimes, so this can be very useful. Ask a lot of questions. Ask them how you are similar. That is, are you similar in terms of sound, or are you similar in terms of style?
Spread It Out
Finally, try to create a composite built on well known artists from different generations. This also helps to attract potential fans, as you may have an appeal to a larger demographic that may surprise you. If you are an older artist, don't dismiss the potential for younger fans and if you are a younger artist, don't dismiss the potential for older fans.
Sunday, May 10, 2009
Spotlight on Emerging Indie Artists
I would like to introduce a new feature for Blue Muse Views and Reviews Blog and Blue Muse Independent Voice Podcast called Spotlight on Emerging Indie Artists. There will be a regular half hour podcast feature with a compilation of brief reviews for 3 new indie artists. However, Volume 1 will be an extended one hour version of the podcast recognizing 6 new indie artists. While these artists are members of BlueMusePublishing.com, they are not signed with Blue Muse Publishing, Inc. and are under no obligation whatsoever. Also, I am not paid for my reviews or endorsements.
As indicated, each written feature will be accompanied by an associated podcast by the same title on Blue Muse
Independent Voice. Each podcast will include the comments from the written review plus it will feature the actual songs referenced.
Although this initial feature covers six groups that caught my attention, there were many more who could have been easily included if I were not constrained by time and space. Hopefully, I will be able to keep up with the very nice talent at BlueMusePublishing.com.
First of all, Jason Davis is very solidly in the Americana genre with a variety of very well written songs. The production quality on his recordings is excellent. I especially like the songs Wonderin and When We Were Happy.
Wonderin is very original, yet I get a Counting
Crows, Van Morrison and Jackson Browne vibe from the song. The structure and lyrics, as well as Jason's voice, are all great.
When We Were Happy is a slower tempo song that is again very original, but if Wilco had Leon Russell for a lead singer, this would be the perfect song for them. I hope you will listen to Jason's
other songs entitled Nashville, CA and Skeleton Key.
The next artist is a band called Victory Gin. These guys are from New Jersey, but you would never guess it to hear their music. The are also very much in the Americana genre with Dobro and banjo featured on many of their songs. While they have a lot of original songs, I especially like the songs
Home and Milk.
The song Home has a fantastic chorus that had me singing...."One day you'll be my corn fritter, long highway home". This song features nice guitar fills in the style of Duane Allman with a great bass break and then banjo fills at the end. This song is definitely an original and deserves airplay.
Milk is another original song that is very reminiscient of Wilco with a little more twang. I hope you will check out their other songs at Blue Muse.
The next group, Dixie Tradition, is very much today's country. These twin brothers have music in their DNA. I really like the songs Hold My Beer and Hardcore.
Hold My Beer is a great drinking song that seems to be based on a popular joke down South regarding a redneck's last words...."hold my beer, watch this". These guys are from Shreveport, Louisiana so you have to wonder where they get their inspiration since there isn't a redneck within several hundred miles of Shreveport. This music is very well written and performed.
Hardcore is another funny song that has great instruments, vocals, and rhythm with a great chorus. Please check out Dixie Tradition and please make sure you check out the excellent harmonies on National Anthem.
The next band, Reid, is very much in the hard rock genre. I am particularly impressed with the songs The Way It Should Be and John Lennon's Ghost.
The Way It Should Be is very reminiscient of Led Zeppelin style as well as the sound of the Robert Plant's voice. I am a great fan of Led Zeppelin, so this is a good thing in my book. This song features very nice guitar and violin as well as a nice bridge.
John Lennon's Ghost is a nice tribute to one of the greatest songwriters of all times. This song weaves a few of Lennon's classics into the lyrics and music. While some may scoff at this form of tribute song, I find it refreshing when an artist is willing to acknowledge an influence and pay open tribute with a
song.
Lachi is a singer-songwriter who plays piano. To me, her songs have the traditional elements that make a good song a great song, but there is also an originality in her style of music, lyrics, and the sound of her voice that makes her very interesting. I especially like the
songs These Words and Ugly Beautiful.
These Words moves quickly into a great shuffle rhythm with Lachi's very distinctive voice creating something between Rickie Lee Jones, Dolores O'Riordan, and Chrissy Hind. Ugly Beautiful seems introspective and bittersweet to me. The melody is lovely and I really like the rhythm of the song. The lyrics remind me of a Janis Ian song a little, but it is very unique and relevant.
Kotadama consists of two brothers from New South Wales, Australia. They have a very interesting sound that I can only describe as "new age outback". Stated differently, their sound is very original. My favorite songs are Calm Before the Storm and See You
Tonight.
Calm Before the Storm has a nice melody and beat. Not only is the style relevant in today's market, but I think the vocals will be very appealing. while you can hear the U2 influence, it remains distinctive and original.
See You Tonight is a nice change of tempo and style. Again, I believe this music coupled with their youth and Australian accents will appeal to teenage girls around the world.
Finally, I would like to thank Dano for the very nice interview with JD Wood in his ezine this past week.
All the best,
Del
As indicated, each written feature will be accompanied by an associated podcast by the same title on Blue Muse
Independent Voice. Each podcast will include the comments from the written review plus it will feature the actual songs referenced.
Although this initial feature covers six groups that caught my attention, there were many more who could have been easily included if I were not constrained by time and space. Hopefully, I will be able to keep up with the very nice talent at BlueMusePublishing.com.
First of all, Jason Davis is very solidly in the Americana genre with a variety of very well written songs. The production quality on his recordings is excellent. I especially like the songs Wonderin and When We Were Happy.
Wonderin is very original, yet I get a Counting
Crows, Van Morrison and Jackson Browne vibe from the song. The structure and lyrics, as well as Jason's voice, are all great.
When We Were Happy is a slower tempo song that is again very original, but if Wilco had Leon Russell for a lead singer, this would be the perfect song for them. I hope you will listen to Jason's
other songs entitled Nashville, CA and Skeleton Key.
The next artist is a band called Victory Gin. These guys are from New Jersey, but you would never guess it to hear their music. The are also very much in the Americana genre with Dobro and banjo featured on many of their songs. While they have a lot of original songs, I especially like the songs
Home and Milk.
The song Home has a fantastic chorus that had me singing...."One day you'll be my corn fritter, long highway home". This song features nice guitar fills in the style of Duane Allman with a great bass break and then banjo fills at the end. This song is definitely an original and deserves airplay.
Milk is another original song that is very reminiscient of Wilco with a little more twang. I hope you will check out their other songs at Blue Muse.
The next group, Dixie Tradition, is very much today's country. These twin brothers have music in their DNA. I really like the songs Hold My Beer and Hardcore.
Hold My Beer is a great drinking song that seems to be based on a popular joke down South regarding a redneck's last words...."hold my beer, watch this". These guys are from Shreveport, Louisiana so you have to wonder where they get their inspiration since there isn't a redneck within several hundred miles of Shreveport. This music is very well written and performed.
Hardcore is another funny song that has great instruments, vocals, and rhythm with a great chorus. Please check out Dixie Tradition and please make sure you check out the excellent harmonies on National Anthem.
The next band, Reid, is very much in the hard rock genre. I am particularly impressed with the songs The Way It Should Be and John Lennon's Ghost.
The Way It Should Be is very reminiscient of Led Zeppelin style as well as the sound of the Robert Plant's voice. I am a great fan of Led Zeppelin, so this is a good thing in my book. This song features very nice guitar and violin as well as a nice bridge.
John Lennon's Ghost is a nice tribute to one of the greatest songwriters of all times. This song weaves a few of Lennon's classics into the lyrics and music. While some may scoff at this form of tribute song, I find it refreshing when an artist is willing to acknowledge an influence and pay open tribute with a
song.
Lachi is a singer-songwriter who plays piano. To me, her songs have the traditional elements that make a good song a great song, but there is also an originality in her style of music, lyrics, and the sound of her voice that makes her very interesting. I especially like the
songs These Words and Ugly Beautiful.
These Words moves quickly into a great shuffle rhythm with Lachi's very distinctive voice creating something between Rickie Lee Jones, Dolores O'Riordan, and Chrissy Hind. Ugly Beautiful seems introspective and bittersweet to me. The melody is lovely and I really like the rhythm of the song. The lyrics remind me of a Janis Ian song a little, but it is very unique and relevant.
Kotadama consists of two brothers from New South Wales, Australia. They have a very interesting sound that I can only describe as "new age outback". Stated differently, their sound is very original. My favorite songs are Calm Before the Storm and See You
Tonight.
Calm Before the Storm has a nice melody and beat. Not only is the style relevant in today's market, but I think the vocals will be very appealing. while you can hear the U2 influence, it remains distinctive and original.
See You Tonight is a nice change of tempo and style. Again, I believe this music coupled with their youth and Australian accents will appeal to teenage girls around the world.
Finally, I would like to thank Dano for the very nice interview with JD Wood in his ezine this past week.
All the best,
Del
Tuesday, April 28, 2009
Effective Laws To Protect Music Must Be Enacted Immediately
Our laws are clearly failing the people who create music for a living. I recently learned that a friend's music has been offered at dozens of sites around the world for free without his permission. In this case, my friend followed all of the proper steps for protecting his music through the US Copyright Office, but the current laws in the US and abroad do not provide sufficient protection from piracy. There is noble intent within the laws that are designed to protect intellectual property, but there is no adequate provision or remedy to really prevent or to discourage piracy. In short, the current laws have no teeth.
While the Digital Millenium Copyright Act seems to support the owner's rights, it also limits the liability of the internet service providers who offer the means to distribute pirated materials. While I am not an attorney, it is clear to me that the burden of responsibility is 100% on the owners to pursue each violation. For each violation, the owner may issue a Cease and Desist letter, but must file a lawsuit within 14 days for each venue or the violator is allowed to put the material back up. In reality, there are so many violators that it is impossible to shut them all down by the time an illegal digital file is distributed online. I know the debate continues and new laws are being discussed, but time is running out for the vast majority of artists who are unincorporated and without sufficient funding to protect themselves.
Meanwhile, people seem to be increasingly indifferent to the impact this phenomenon has on the lives of innocent people who rely on their music for survival. Actually, it is the very same indifference that looters feel when the plate glass windows of a store are smashed during riots. That is, the numbers are generally in favor of the looters as the streets are temporarily outside of the control of law enforcement. It is the same because people know they risk very little (actually nothing) when they steal from their fellow man in the privacy of their homes. The reality of the actual crime is conveniently tucked away while they casually download songs from P2P sites. Indeed, many seemed to celebrate as the businesses who lived in excess during the 80's and 90's fell victim to the new music free for all. However, few like to think about the actual people who are now struggling to survive while their products are given away at the speed of light.
Well, in this case, I happen to know the victim. He lives in a small town in Germany with his wife and his 3 year old son. Their son recently returned from the hospital after being treated for pneumonia. Their home is very nicely furnished, but it is very small, particularly by American standards. The home is very old, so it is also very cold in the winter. Despite the difficulty of their situation, they are very happy people and they love to spend time together as a family, sometimes going for walks together. Going to a McDonald's is a very special treat for their little boy, but it is a rare treat. Perhaps they can go one time over a period of three or four weeks.
My friend has been writing songs for several years, but his professional music career as an engineer and performer spans 15 years. He is one of many talented artists who hopes to be discovered by a large publishing company or label. But he, like many others, must work to promote his own music or work with smaller indie labels. He does not have a team of lawyers to help him protect his music. He has 24 hours in a day, studio time, rehearsals, gigs that are sometimes hundreds of miles away, and bills to pay. He expresses his feelings in his music, but he is always cheerful, particularly around his young son. My friend is a modern day Bob Cratchett and ordinary citizens who demand their music for free are the modern day Ebeneezer Scrooges.
Most people recognize the need to live by a set of basic standards that we call law. Yes, we complain and make fun of those who practise law, but in reality, we do enjoy many of the benefits of a civilized society. We are able to live, work, play, and worship as we choose. However, we like to believe that we would remain civilized and respect the rights of others in the absence of law. As we are witnessing, this is clearly not the case. We can say there are laws to protect us from piracy, but laws that are not practical and do not protect people have little value. Therefore, we have ironically moved forward in our technological development to a new period of lawlessness. Perhaps it might help to consider what life might be like when people compare it to a world in which the results of their own work is offered for free.
Finally, I hope that most people realize the value of music in our lives. If not, perhaps one might think what life would be like without music in our lives. Of course, that must be very difficult because nobody seems to have the capacity or the time or the motivation to imagine such a thing. However, the idea that music is free is not sustainable over any appreciable length of time. How long will artists continue to produce music if there is no benefit or appreciation for their time and for their art? It is not surprising that children now do not understand the concept of music costing money. To them, it is like turning on the water faucet in the kitchen, except their parents pay for the water each month. I sincerely believe something will be done eventually, but the time to act is now.
We need effective international laws that will punish anyone in the chain of distribution in direct proportion to the level of the crime. I know, for example, that I have downloaded some files from P2P sites. While I am not proud to have been a part of this mess, I proudly offer to return this money tenfold to a fund that would benefit those who worked to create this music. However, rather than normal prison time, I recommend that we put the more serious offenders to work in camps to repay their debts by the same sweat and effort that was given away in equivalent dollars at the expense of the artists. I can hear the sites shutting down at the very prospect of placing violators under the jurisdiction of criminal law.
Monday, April 20, 2009
Review of In My Dreams
I really like the music from JD Wood's, "In My Dreams". I find myself repeatedly listening to each song in my car, on my I-pod, and on my computer.
While this music is mostly rock oriented adult contemporary, JD is clearly comfortable infusing several styles into his originals. Most of the songs have certain similarities to artists such as The Fray, Lenny Kravitz, Bon Jovi, and 70's group, Badfinger, but there are a few jazzier compositions with similarities to Harry Connick, Jr.. Otherwise, the music is uniquely JD Wood, a blend of powerful vocals and well-crafted songs.
As a whole, I suppose I am first impressed by the cohesive nature of the songs on this CD. Lyrically, it is about relationships and the songs tell stories of love found, love lost, and recovery from love lost. I am also impressed with the expressive nature of these songs and the appropriate musical settings. The melodies are nicely interwoven into sophisticated chord progressions and arrangements, producing a very desirable effect throughout the entire CD.
The title track, "In My Dreams" has a sweet intro that quickly morphs into syncopated orchestration. The song then moves seamlessly into a beautiful bridge and a majestic chorus. This song could easily find a place in film or television, but I found myself worrying a little about the overall content of the CD, despite having listened to only one song. My worries immediately dissipated as I moved to the second song.
I was surprised and refreshed by the groove of the second track, "Come and Tell". This song could very well have been a collaboration between Dr. John, Stevie Wonder and Badfinger. It starts out funky but moves quickly to a syncopated rock song. The bridge and the chorus deviate from both initial styles to create a refreshing melody in the style of Badfinger (or another group from the 60's and 70's starting with a B). I don't take this level of praise lightly, but this music deserves it. I found myself moving around in my chair while listening. I love this song!
Song three is a very cool jazz groove entitled "I Feel Alive" that is in the style of Harry Connick, Jr. The music is again syncopated and fun. All of the instruments are excellent with amazing arrangements. JD's singing evokes images of a jazz performer who is in command of his voice and very comfortable in this genre.
The fourth track, "Smile To My Face" starts with JD's superb piano that is quite reminiscent of Elton John with some very nice orchestration thrown in for effect. The song is a very nice love ballad that Barry Manilow would be proud to call his own. The bridge and the break are very well written and arranged, one of JD's many gifts.
The fifth track, "Tell Me Why", goes in a new direction with a ballad rock style that I could associate with Bon Jovi or Rob Thomas. The break is a bit retro on it's way to a hard rock orchestration style at the end.
"Love Made Me Blind" has a very tender intro and the chorus is dripping with emotion. This emotion is carried into a very nice string accompaniment. This song drifts into a bridge section. However, it really surprised me at the end with a strong hard rock change that caused the hair on my neck to stand up.
"It's Time To Say Goodbye" has a decidedly darker mood than any of the other songs. It is another very emotional song about parting ways. I believe this could be a song for the stage.
"Time Is Ticking Away" is another song in the rock ballad style reminiscent of Bon Jovi. The chorus is very good with a nice break. JD once again demonstrates his talent for composition with an appropriate bridge section and a final chorus.
"Welcome Back To Life" is another very cool jazz number. The bass in this song would make Stanley Clarke proud. The chorus section has a great hook and moves very nicely back to the orchestrated verse section. The bridge is too cool for words and it delivers once again with a song that sticks in your mind and keeps your interest throughout.
The Key starts with a syncopated piano and goes immediately to a very nice lift to the chorus. The melodies are very nice throughout, but the chorus melody is extraordinary. The bridge section is much harder but the return to the chorus is nothing short of spectacular.
Perhaps my favorite song on the entire CD, "I Am Strong" has a great hook. The song has the signature emotion, groove and melodic movement for JD Wood. This song builds very nicely and evokes the same emotions that you might get when you go to see a great "feel good movie" when the underdog is finally able to overcome adversity in the end.
It would be unfair to JD to compare this music to any one artist. This music embodies many of the rich textures in today's hot adult contemporary. Yet, there is an infusion of classic rock and jazz elements in this masterful collection. This music is not only cool, but it is enjoyable as each song is worthy of airplay. "In My Dreams" is available on CDBaby.com.
While this music is mostly rock oriented adult contemporary, JD is clearly comfortable infusing several styles into his originals. Most of the songs have certain similarities to artists such as The Fray, Lenny Kravitz, Bon Jovi, and 70's group, Badfinger, but there are a few jazzier compositions with similarities to Harry Connick, Jr.. Otherwise, the music is uniquely JD Wood, a blend of powerful vocals and well-crafted songs.
As a whole, I suppose I am first impressed by the cohesive nature of the songs on this CD. Lyrically, it is about relationships and the songs tell stories of love found, love lost, and recovery from love lost. I am also impressed with the expressive nature of these songs and the appropriate musical settings. The melodies are nicely interwoven into sophisticated chord progressions and arrangements, producing a very desirable effect throughout the entire CD.
The title track, "In My Dreams" has a sweet intro that quickly morphs into syncopated orchestration. The song then moves seamlessly into a beautiful bridge and a majestic chorus. This song could easily find a place in film or television, but I found myself worrying a little about the overall content of the CD, despite having listened to only one song. My worries immediately dissipated as I moved to the second song.
I was surprised and refreshed by the groove of the second track, "Come and Tell". This song could very well have been a collaboration between Dr. John, Stevie Wonder and Badfinger. It starts out funky but moves quickly to a syncopated rock song. The bridge and the chorus deviate from both initial styles to create a refreshing melody in the style of Badfinger (or another group from the 60's and 70's starting with a B). I don't take this level of praise lightly, but this music deserves it. I found myself moving around in my chair while listening. I love this song!
Song three is a very cool jazz groove entitled "I Feel Alive" that is in the style of Harry Connick, Jr. The music is again syncopated and fun. All of the instruments are excellent with amazing arrangements. JD's singing evokes images of a jazz performer who is in command of his voice and very comfortable in this genre.
The fourth track, "Smile To My Face" starts with JD's superb piano that is quite reminiscent of Elton John with some very nice orchestration thrown in for effect. The song is a very nice love ballad that Barry Manilow would be proud to call his own. The bridge and the break are very well written and arranged, one of JD's many gifts.
The fifth track, "Tell Me Why", goes in a new direction with a ballad rock style that I could associate with Bon Jovi or Rob Thomas. The break is a bit retro on it's way to a hard rock orchestration style at the end.
"Love Made Me Blind" has a very tender intro and the chorus is dripping with emotion. This emotion is carried into a very nice string accompaniment. This song drifts into a bridge section. However, it really surprised me at the end with a strong hard rock change that caused the hair on my neck to stand up.
"It's Time To Say Goodbye" has a decidedly darker mood than any of the other songs. It is another very emotional song about parting ways. I believe this could be a song for the stage.
"Time Is Ticking Away" is another song in the rock ballad style reminiscent of Bon Jovi. The chorus is very good with a nice break. JD once again demonstrates his talent for composition with an appropriate bridge section and a final chorus.
"Welcome Back To Life" is another very cool jazz number. The bass in this song would make Stanley Clarke proud. The chorus section has a great hook and moves very nicely back to the orchestrated verse section. The bridge is too cool for words and it delivers once again with a song that sticks in your mind and keeps your interest throughout.
The Key starts with a syncopated piano and goes immediately to a very nice lift to the chorus. The melodies are very nice throughout, but the chorus melody is extraordinary. The bridge section is much harder but the return to the chorus is nothing short of spectacular.
Perhaps my favorite song on the entire CD, "I Am Strong" has a great hook. The song has the signature emotion, groove and melodic movement for JD Wood. This song builds very nicely and evokes the same emotions that you might get when you go to see a great "feel good movie" when the underdog is finally able to overcome adversity in the end.
It would be unfair to JD to compare this music to any one artist. This music embodies many of the rich textures in today's hot adult contemporary. Yet, there is an infusion of classic rock and jazz elements in this masterful collection. This music is not only cool, but it is enjoyable as each song is worthy of airplay. "In My Dreams" is available on CDBaby.com.
Organization, The New Model for Success in Music
I think indie music will eventually find ways to compete on the national level with the big guys. As the dust continues to settle, I think a new landscape will start to emerge, providing more available resources to more people. The words may seem a bit hollow, as we are all hearing this on a regular basis. But what does it really mean? On a personal level, it may be easy for us to see. Yes, we can find someone online that will collaborate on a new song. However, on a larger level, more work must be done before real, more robust opportunities become available on a larger scale, benefitting all who deserve a chance to earn a living in the music business.
I make reference to the natural distribution of talent and make the point that compensation should ideally resemble the same natural distribution in my article entitled, Digital Music Sales, A Wedge Theory. Unfortunately, the distribution of money for music has been disproportionately concentrated on the "hits" end of the spectrum, leaving many very talented artists behind. I suspect this older model is very much responsible, at least in part, for the upheaval we are now witnessing.
So, along come the new models to replace the older business models. Not all of the new models will survive. Many will commit too many resources too early in the transition and will be eclipsed by a better idea with better timing. Of course, many will continuously monitor the landscape and change with the landscape. While success is a relative term, it is doubtful that any of the survivors are destined to become our next generation of Microsofts and Googles. The new models are more likely to be less top heavy than the older models, with pay structures that are much more balanced. Trust will become a very important element for survival and that trust will be built from fair compensation to the contributors. That is, the new generation of music entrepreneur is more likely to be your next door neighbor who mows his/her own lawn. While super stardom may remain an ultimate goal, it is likely that the artists will also be your neighbor, but there will be more of them and they will, at least, have a lawn to mow.
Organization will be the next phase in the development of indie music resources. While working independently to promote music, one quickly realizes the need for abundant resources. There are many services and groups forming to provide assistance, so it is only a matter of time before a real winning strategy becomes apparent for all of us to see. I believe that winning strategy will come from those who not only create the best music but who also understand how to form an organization to be embraced by those who create the music, first and foremost. I believe it can be achieved by providing a fair compensation model that is very much needed to fuel the engines for success.
In the meantime, the older models are changing to survive in this new environment. It only makes sense that the older models must compete on a more level playing field. Perhaps it is ironic, but I believe the older models are starting to look more like the newer models and the newer models are starting to look more like the older models. That is, the older models are now using Myspace and YouTube, while the new models must organize to compete with the larger budgets of the older models.
I make reference to the natural distribution of talent and make the point that compensation should ideally resemble the same natural distribution in my article entitled, Digital Music Sales, A Wedge Theory. Unfortunately, the distribution of money for music has been disproportionately concentrated on the "hits" end of the spectrum, leaving many very talented artists behind. I suspect this older model is very much responsible, at least in part, for the upheaval we are now witnessing.
So, along come the new models to replace the older business models. Not all of the new models will survive. Many will commit too many resources too early in the transition and will be eclipsed by a better idea with better timing. Of course, many will continuously monitor the landscape and change with the landscape. While success is a relative term, it is doubtful that any of the survivors are destined to become our next generation of Microsofts and Googles. The new models are more likely to be less top heavy than the older models, with pay structures that are much more balanced. Trust will become a very important element for survival and that trust will be built from fair compensation to the contributors. That is, the new generation of music entrepreneur is more likely to be your next door neighbor who mows his/her own lawn. While super stardom may remain an ultimate goal, it is likely that the artists will also be your neighbor, but there will be more of them and they will, at least, have a lawn to mow.
Organization will be the next phase in the development of indie music resources. While working independently to promote music, one quickly realizes the need for abundant resources. There are many services and groups forming to provide assistance, so it is only a matter of time before a real winning strategy becomes apparent for all of us to see. I believe that winning strategy will come from those who not only create the best music but who also understand how to form an organization to be embraced by those who create the music, first and foremost. I believe it can be achieved by providing a fair compensation model that is very much needed to fuel the engines for success.
In the meantime, the older models are changing to survive in this new environment. It only makes sense that the older models must compete on a more level playing field. Perhaps it is ironic, but I believe the older models are starting to look more like the newer models and the newer models are starting to look more like the older models. That is, the older models are now using Myspace and YouTube, while the new models must organize to compete with the larger budgets of the older models.
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