Well, I’m here writing this as a therapy session.

Today we lost one of the most beautifully talented women of rock to the stupid fate of a life that got out of her control. When addiction takes over, it’s a huge challenge to overcome that. I know as a man who has dealt with varying levels of it in my life.

I don’t care who reads this post, I honestly don’t. I’m in no way trying to gain traffic to my blog via this. I could care less about how many hits I get in a day or whatever other bullshit that comes along with being a music blogger. Such as being “first to post” of a new leaked track or some other shit like that. If I wanted to be “first to post” the death of Amy Winehouse I would shut this blog down forever. I just needed to put all of the thoughts that are swirling around in my head down into words.

I remember sitting around with my good friend, Chris Russell (one of the few guys along with my friend Will Tchakirides who I can ramble on about music with) and spinning Back to Black. I actually believe it was Chris who first sat me down and showed me that record and then never could get it off of repeat. As lovers of soul, she brought something amazing into our musical library. I’ll never forget that day and the way her voice and songs made me feel. And then it was my father who excitedly found The Zutons version of “Valerie” after we shared so many listens of Amy’s cut together. So many amazing memories.

I’m sad and mad all at once. Chris and I watched her fall further and further into her habits and just sat there and wished for more music from her. We sadly said “Amy, just give us another album please”. Sounds terrible to think of it on a day like today when the news is so fresh on my mind, but we did. And we never got that other album. (although Will and Chris did point out that we’ll probably get some Jeff Buckley-esque cuts that will get released) But it’s not the same. I wanted her to have another beautiful piece of work that she was proud of to put under her belt.

Hopefully she can be remembered for her amazing talent and not all the media crap regarding her substance issues. It’s a shame that the media had to narrow in on that so much but Amy really did bring it on herself. To get up onstage and give some of those terrible performances made it almost impossible to watch her. Seeing this brilliant band back such a beautiful woman with this one of a kind voice that couldn’t even be performed because of her state of mind. It makes me terribly sad.

Well, I’m not sure what else to say. I’ll leave it with this. I love you and will miss you, Amy. But also, fuck you, Amy and all of her peers, family and friends. Why couldn’t you have done more. The world knew she needed help. And I am obviously not close enough to know what happened but she was 27 for fuck sake. I’m 28 and I’ve had people care and help out for me whenever I’ve started to head down the wrong path. Why couldn’t you have had the same love and help I’ve received in my life?

You will be missed.

Thanks for the music.

I’ve never been a big fan except for one standout tune, ‘It Ain’t Over ‘Til It’s Over’. This might be one of the best songs I’ve heard an artist come out with over my musically critical listening years.

This track has everything I love about music rolled up into one tight and neat package. The funk ass guitar meshed with the 70′s drum and bass. And why not sprinkle a bit of Rhodes on top of it all to make it that much more appealing.

Why stop there? Add in a killer breakdown with a Sitar thrown in while the insanely catchy string hook drives you right through the tune. And let’s not forget the vocal delivery of Lenny.

Falsetto blazing through the whole tune reaching into the deep pockets of Prince solidified by his switch back into his normal range on the lines “And all my doubts and fears kept me wondering, yeah. If I’d always, always, be in love.” Pardon my french but fuck me right side, Lenny sold me on that one.

I’ll admit it, I bought the cassette single of this one as a youngster and played the hell out of it. If you’re not familiar with the tune I’m happy to provide you with a listen. Please, tell me I’m out of my mind on this one or if you agree.
mp3: Lenny Kravitz – It Ain’t Over ‘Til It’s Over

I’ve ranted on and on—in many posts—about my admiration for Mr. Brion. This post is a little different. I want to take a song from his only solo record “Meaningless” and break it apart—provide a little background into the admiration I’ve grown for the song writing and production genius of Jon Brion.

From a guy who has lived in Boston for almost a decade. this song has a close place to my heart. “Her Ghost” is a track from “Meaningless” written while he was a Boston resident. I can create an amazing mental picture of him in a Boston apartment pouring his heart out over his thoughts of this woman he sings of.

“Her Ghost” is no doubt a love song. What kind of a love song is entirely up for debate. (Just about everything I’ll say about these lyrics is of course subjective, but none the less strong thoughts on them.)
Jon Brion – Her Ghost

Lyrics

Here’s how I would lyrically sum up the song.

Jon is a guy who lives in an apartment building with a girl he knows. How well? I don’t know, but it’s enough that he has strong feelings for. She could be a neighbor of which he has grown close. She could be his reason for living. Never quite been able to make that part out. Either way, she has this guy in her life. But this guy is not up to the standards of Jon or his muse. But he’s there, and Jon makes it really clear he’s not going away.

Jon is hurt by the amount of power this guy has over her life. He really wants to step in to do something about what is clearly unhealthy and he desperately wants to change that.

“And every where I turn, I tend to learn that she’s got memories that never burn. And this is of concern and I prepare to go. ‘Cause this I know, that though he’s out sight, he’s in her mind and in my hair. I’m tiring of this fight. Besides, it’s getting me nowhere.”

I imagine Jon watching silently in the halls as this man fights with his neighbor. I can see him imagining all her pain. He feels like he’s invisible to this guy, hidden away in the dark shadows of the building’s halls and hates that feeling.

“Her ghost is propped up in the hall. He speaks no evil there. He doesn’t notice me at all, I find it a bit unfair.”

There’s no happy ending or closure to the story he tells. We’re left with the sad state of Jon knowing that as long as this guy is in her life, “He’ll be the death of me”. (which happens to lead into a perfect transition into “The Same Mistakes”)

Production

Jon Brion exhibits amazing songwriting ability on “Meaningless”, but nothing falls short of his production genius.

The song kicks off with a Chamberlain/Mellotron pad that is definitely a distinctive sound for a Brion production. Besides the drums, bass, vocals, and piano, the Chamberlain/Mellotron makes up most of its beauty. Jon really wanted to get a full orchestra to due this track justice, but luckily his brother pushed him to include it on the record.

The best way I can describe the groove is “chunky”. Every instrument chunks along while these pads are held out over it until they decide to add perfect accents on top of the chunking groove.

As the song goes on, perfect breaks in the instrumentation are brilliantly placed to drop out and emphasize lyrics or give you that space to breath and regroup on the impact of the importance of what he’s saying.

At about 2:45 in the song you get to an unusually climactic build. The bass holds strong yet everything starts to build up around it. The payoff isn’t grand; the payoff is a dropped out, small, filtered sound of Jon’s voice. It pans to the right speaker delivering the line “Memories that never burn”.

It’s full from top to bottom but his vocals cut through (probably why the lyrics grabbed me so much). The overall sound of the song is full, spacious, warm, and distinctly Jon Brion.

Have a listen to the original demo of the song and prepare to be blown away by how little changed between it and the final product that made it to the record. And dear lord, if you don’t have this album, get on it now!
Jon Brion – Her Ghost Demo

Purchase “Meaningless” on CD Baby

Photo Credit: Robert Gauthier/LA Times

This is our new pop music. I’m not even going to consider throwing Miley or Bieber in this mix because the attention and enjoyment Gaga and M.I.A. receive stretches across too many generations and cultures. This is what pop music is, right? It has the ability to be “popular music” and reach many people, for better or for worse.

You can still be popular when you’re notorious. Hell, it’s probably even easier that way. Dress a little crazy, throw some politics in the mix, next thing you know you’re the talk of the town. It’s been proven to work in the past, why not do it now?

Motown.

Now THIS is pop music. It made you dance, it made you sing, it caused controversy, it was a part of life. But you know the best part about it? The songs were REAL. The songs were GOOD. The songs GROOVED. All the while remaining popular.

If I sang to you “I’ve got sunshine, on a cloudy day”, you immediately (for the love of god I hope) know what song I’m referring to and probably have some sort of visual or emotional feeling towards it.

You’re probably thinking that there’s no comparison between today’s modern pop music and what was happening during the 60′s in that basement in Hitsville U.S.A. Of course there is! Those songs are a part of our culture and granted, I may still be the only person out there who feels so strongly about them, but they had a huge hand in defining what we call pop music today.

The genre will never die. By all definition of the term, it can’t. It just evolves and changes over decades and generations. And the music we’re calling pop today (specifically you Lady Gaga) is not going to be as timeless as the hits played by one of the tightest groups in the history of music, written and performed by some of the brightest and talented young stars the Motown era had to offer.

50 years later are kids still going to be growing up with “Telephone” or “Paper Planes” they same way “Ooh Baby Baby” and “Uptight” rocked my world? Put me in my grave now if that’s going to be the case.

If you haven’t figured it out, I’m going on record saying I don’t like you Lady Gaga, or M.I.A. And while we’re on the subject, I can’t stand you either Eminem. I’m not saying you all aren’t talented, you’re just so talented that you’ve ruined some of the beauty that is music.You’re very entertaining individuals but don’t forget, you’re still creating pop MUSIC.

Come on Marvin, let’s go try to figure out What’s going on.

Photo Credit: Check out the badass Adidas Motown shoes here.

I’m about to step into controversial waters here and I’m OK with that. I’m going on record to say it: Piracy does NOT kill music.

If there were AA meetings for music lovers, I would probably have to attend one at least 3-5 times a week. “Hi, my name is Matt. And I’m a music addict.”

I obtain music in any way I can: streaming, iTunes, record stores, live shows, Amazon, online orders from labels, and yes, even the controversial music torrent sites.

Each source has it’s own purpose for how I can and want to gather music. If you follow me online, it’s no secret I am obsessed with vinyl. I spend money on vinyl weekly. But most of the vinyl I buy is because of A) impulse (7″ mainly) or B) because I am obsessed with the record and want to hear what it sounds like in it’s beautiful analog form and have that gorgeous physical object to hold in my hands. (also adding great decoration to my living room)

There are many ways to preview albums that I am fully aware of and use them frequently. MOG being the go to choice for me. But getting a preview from iTunes can give me enough of a sample to let me know if I am into the overall sound or not.

Part of the problem is that I spend a lot of my time in the car listening to music, a place where I can’t stream albums. So I end up wanting the physical copy. But most of the time it’s silly to go buy the CD when I most likely will go buy the vinyl or attend a show and buy the CD directly from the merch table.

Being labeled as a “stealer of music” really hurts. Albums I have produced, mixed, or engineered that have never been picked up by labels or distributed correctly can be found on many of these sites. HELL YEAH I SAY! The hard work we put into the record will be enjoyed by anyone who wants to get their hands on it. And in most cases, in multiple audio formats for your choosing. When I see 1,000 people have downloaded the album that’s sitting in boxes in a closet, I can’t help but grin from ear to ear.

I can state the obvious that there are so many reasons why NOT to do it, but it’s here to stay (for now). Sorry record labels. Forget your 1970′s model of distribution and realize you need to adapt. I am the customer and the customer is always right. So cater to me. I will selfishly obtain music in anyway that I want, paid or unpaid.

As proof of my point. The album of the week in the right sidebar (or found below) is one I spent months of my life working on. Go ahead and download it. I didn’t make a penny off of this record but am very proud of it. Hope you enjoy.

Jay McCarrol – Jay McCarrol by dirkler

There are a million reasons why I think vinyl has made a comeback into popular “cool” culture. I bought my first record player over a decade ago and have worked it into my every day life. Ok, correction. It has worked it’s way into my every day life.

Here are some random reasons why I could never live without vinyl. (slight exaggeration)

Vinyl is a hobby

There are folks out there who collect stamps, baseball cards, and even typewriters. I collect vinyl records. The difference between my hobby and the others is that I get to enjoy mine daily. For those folks who collect stamps: are you able to whip out that rare stamp and use it as it was meant to be? Licked and pressed onto an envelope? Nope. I get to collect AND enjoy how these collectables were meant to be used.

Vinyl is art

There is absolutely nothing like holding a 12″ (or even 7″) record in your hands. Music is art. What better way to accompany that than with creative uses of all the folds and surfaces you are allowed on that size of material.

Vinyl sounds great

I am not disregarding digital releases that can sound great. Some things sound better on CD than they do on vinyl. But vinyl has a completely unique way of representing audio that sometimes can not be duplicated digitally. In the digital world, there is a thing called dither which is added to an album to fill in the gaps that vinyl doesn’t need to. Without going too in depth, digital music is still 0′s and 1′s. Dither is intentional noise filled in to mask the gaps left with these limitations of only 2 numbers.

Vinyl is an experience

It’s one thing to have any album you want to hear at the ready. Streaming services do this very well. Vinyl records don’t have this luxury. (which is why most new releases come with mp3 download codes in them) But I have spent many years where people have come by to hang out and are shocked at the fact that I get up mid conversation to flip the record. I LOVE THAT. Sorry to break up conversation, but this then adds a whole new twist towards the mediocre conversation we were probably having.

Vinyl is fun

Once you buy your first turntable and start finding the hidden record shops in your town/city, it becomes a new thing you look forward to. And when a new release comes out, you pray they will press it to vinyl. I download plenty of music on my computer but it’s just way too damn easy. I love running over to a record store on a Tuesday to catch a new release that might be added with some special bonus I wouldn’t get otherwise.

Moral of the story? Try vinyl. It hurts way less than giving blood.

That line can be found splattered around thousands of places in print and on the web. But it’s only 3/4 true. The impact Pet Sounds has had on music is actually more prevalent now than it was when it was released. And to confuse you further, that last statement is probably only 1/2 true. Stick with me…

On it’s release, Pet Sounds got some pretty negative reviews. But today if an album comes out and it has great production (or at least a focus on production), it get’s marked up as being influenced by Pet Sounds. If an album comes out that has harmonies on it, well, you can probably guess what’s next. It was supposedly influenced by Pet Sounds.

To give some background, I am one of the many who heard Pet Sounds and debated throwing in the towel when it came to producing and engineering records. It’s a masterpiece. (cliche line #2) Picture being around in ’66 and opening up that vinyl to hear the background vocals on ‘Wouldn’t it Be Nice’ smack you in the face!? Shit, I can’t even imagine.

Beach Boys – Wouldn’t it Be Nice (Stack-O-Vocals)

Every new album that comes out now is influenced by a record or sound that already exists. This can’t be debated. No musician has turned to music, written music, and not listened to any other music before. A lot of artists like to say “Our sound is completely original and like nothing else out there“. Sorry to be a downer for truly creative artists, but you’re going to sound like something that already exists. And please don’t be offended by that. It just can’t be avoided.

The reason Pet Sounds is behind this post is because the more you look, the more you will see it as the album everyone references as the one they are influenced by. It’s almost like artists saying “This product is ‘fair trade’ or ‘all natural’” to make you feel good about liking it. You can slap a guarantee that your album is not terrible by saying Pet Sounds influenced it. (I’ll most likely buy it)

But I’m seeing the increasing trend of this happening and it gets me a bit peeved. If you claim your album is influenced by Pet Sounds and can’t name the last track on the album without blinking an eye, then I call bull. To be truly influenced by an album you must have lived and breathed it. Otherwise your music would not have that influence in it.

Sorry, this is a very touchy subject for me. But please don’t use Pet Sounds as a way to make the album more credible (and this goes for artists, reviewers, and bloggers) by saying it was influenced by Pet Sounds. This is one music fan who will take that claim very seriously.

I’ll finally leave you with one example. Fleet Foxes self titled was made out to be completely influenced by Pet Sounds. Holy crap! They have harmonies on the album!! There is literally one song and only about 1 minute of it that I can safely say “Yes, this is influenced by The Beach Boys”. And notice I used The Beach Boys for the example. That’s because it’s actually influenced by ‘Smile’ and not Pet Sounds. Give it a listen and go forth and prosper. (what?)

Fleet Foxes – Quiet Houses (example)

Gradon Tripp was first to bring up (and inspire this post) with the topic of which “new” artists could be used to ask the famous ‘Beatles or Stones’ question. I honestly thought this would be a relatively easy task. But now I’m realizing it is SO far from easy.

We have a new Beatles. It’s Radiohead. This is almost impossible to argue (except with some good points made over a lunch conversation with one highly credible woman) Oddly, Radiohead’s career has gone on WAY longer than the Beatles yet holds so many parallels. Each album they create is still Radiohead, but somehow morphs into a new form, just like every Beatles record. Also, members of Radiohead have now gone on to take on solo projects, just like their counterparts. And ‘In Rainbows’ is the new ‘Abbey Road’ while ‘Revolver’ is their ‘OK Computer’. (fight me on that. my fists are up)

So who can step into the Stones place and allow us to compare? THIS was the biggest challenge. There is no artist who has followed the Stone’s model of success. They differ from the Beatles because they play straight up rock and are pretty damn predictable. Sure they have their mellow tunes but still are known for their riff based rock anthems. Also they are on their what, 5th decade of making music??

I have two picks of who could be the new Stones. Green Day or The Black Crowes. Both are ridiculous to compare. But after many discussions and thought, they were the best two I could put myself behind. If anyone has an answer, I’d sure love to hear it.

thanks to gradontripp, paulledyard, calmstock, tamadear, jeff and luke for great input on this topic.

I’m hoping to get some help on this subject. I have a question I’ve been wondering about for some time now. What the hell is the benefit of converting an album on vinyl to an album of digital files??

I understand the basic reasoning that an mp3 is MUCH more portable than a vinyl record. I understand that sometimes there are older releases that you can find only on vinyl. But besides that I am at a loss for words. This just goes against the whole point of vinyl releases. Right??

Listening to a record pressed on vinyl is an experience. One that is somewhat sacred and is an unique experience that can’t even be put into the same category as downloading an album from iTunes or any other online media distribution site and loading it into your media player of choice.

In the audio recording world it is fairly common to cut your basic tracks to tape (analog) and then transfer them into an audio editing program (digital). I completely understand the logic of this. You get many of the benefits of analog tape but get all the benefits of something like Pro Tools to edit everything together without the use of destructive razor blades.

The difference with this is that the source was analog to analog. The musicians are the analog and the medium capturing their performance is analog. High quality digital gear is used carefully during the conversion to retain many of the great sounds hit to tape.

But with a vinyl record (that has possibly already been through many many A/D conversions, what is the benefit to then convert it back with some encoding program to an mp3?

I feel I know my fair share about audio. But this one stumps me. Please someone, help me understand. I will be eternally grateful.

Many artists have and will try to rid themselves of this mess that major labels put them into. But to be successful and actually make a buck in the music industry as a musician means you need to be signed to a great record label. (if you’re looking my preference is Nonesuch and here’s to hoping this model changes)

The best case I can think of (and the one I spent all morning harping on) is the release of Fiona Apple’s ‘Extraordinary Machine’. There’s a whole story behind the release of this record. I can’t get all the facts straight because clearly I was not a part of it… But from what I gather it was a record Fiona wanted to give more credit to Jon than Epic Records wanted to. I’ve heard it was meant to be a Fiona Apple/Jon Brion release but Epic would not allow it.

This kinda sucks because I’ve seen Jon and Fiona perform together and they are true musicians. To put it bluntly? They don’t fuck around. Anything they would spend a significant amount of time on is something I would love to hear. Thanks to the internet, this is possible.

I’ve given both the major label release of ‘Extraordinary Machine’ a listen and I’ve given the ‘Jon Brion’ version a good listen as well. (Thank you internet pirates our there). The ‘Jon Brion’ version is hard to say it’s better. But shit. It’s better. Who am I kidding. Why is it better? Because it was two brilliant minds putting together a record they wanted to. The problem is that the record label thought it was something that wouldn’t sell. And you know what? They might have been right.

You might be wondering why I harp on such an old release. (an old release meaning 2005) But it’s one that started a trend of labels taking over great releases of true artistic albums. Why would they meddle with such brilliance? You have an artist like Fiona who could command an army with her voice and talent. You have an artist like Jon Brion who could rival Mozart with his musical brilliance. Why the FUCK would you get in between that? It’s because they thought the general buying public wouldn’t get it after Fiona had been gone for so many years.

‘Extraordinary Machine’ did well with it’s sales. But so did Kelley Clarkson at the same time. Do they fall into the same musical class? Not at all. ‘Extraordinary Machine’ sales fell while the Jon Brion version gained popularity. So thank you Epic Records or whoever was behind the whole thing. Please officially release the real version. The intelligent listening audience will thank you.

Take the time to compare the two versions below. I can go on and on about the differences but it’s up to you to decide what you like. That’s what music is all about.

Fiona Apple – Not About Love

Fiona Apple/Jon Brion – Not About Love

I just read about this topic today that has been going on for decades (especially when it comes to music blogging) but Paste Magazine did a great article on the Evolution of the Hipster. It’s really a laughable matter. We all would love to be ‘cool’. It’s in our blood people! You can deny it all you want, but some part of us wants to feel cool. That topic is not up for debate. Ask your therapist.

Musicians are perceived to be cool. And you know what? They all are. (even you John Tesh) Don’t even try to tell me Mozart wasn’t cool, or Del Shannon, or Otis Redding, or Marvin Gaye, or Madonna, or Brian Wilson. Those were some cool people! And we looked up to them and most of us wanted to be them at some point in our life.

But me writing about this will probably muster up some nose turns at me and my stance. We are ALL HIP. To be labeled a hipster is fine. To snark at hipsters makes you hip too. So where the hell do you win? Well. You don’t. Cause we’re all hip and cool and rad and badass.

• The dude (or chick) who comes by to clean out the bathrooms after a gig? HIP.
• The dude (or chick) who takes your ticket at the show. HIP.
• The dude (or chick) you paid your money to go see that night? HIP.
• YOU, for going to see a show, buying the CD, telling your friend to listen to it, checking them out online. HIP!!!

Let’s end this war of hip, hipster, cool, and not cool. We’re all fucking cool people. And if you’re reading this, you’re especially cool!

Time for another list…

• Creators of computers. HIP.
• Creators of the internet. HIP.
• Creators of WordPress, Tumblr, Twitter, Facebook. HIP.
• Creators of your toothbrush you use everyday. HIP!!

I’m one to get over this debate (and you can probably find a ton of evidence as to why I am a COMPLETELY contradicting myself with this post) but I’ll be the hippie, the martyr, the first fat kid at a swimming pool to take off his shirt. Have at it. Let’s all just go into this new decade knowing proudly that we are ALL, hip as shit.

Now, I love the holidays, and I love holiday music, but I have never been the type of person to turn my car radio to a holiday station on Thanksgiving and let it run on through the New Year. In fact I’ve never even attempted it, as I always assumed I would be googling “euthanasia centers Boston” by about December 1st (don’t bother trying by the way; most of them, for some reason, draw the line at humans). But despite my trepidation toward this practice, for the last few days I had no choice but to get a crash course on what it means to be a Holiday Radio Junkie.

The drugs are quick. As soon as I was picked up from the airport, I was dropped into a world of jingle bells and pre-war jazz pop, taken to dizzying heights by triple modulating standards and soft rock holiday covers that go to the chorus no less than five times a song. As we pushed through hour after hour, I could feel myself slipping. I began to see, through the fir-scented mire, how a person could get pulled into this seedy world and never recover. With a catalogue of songs that is shockingly small, holiday radio can ensnare even the strongest person in its spiraling labyrinth of sameness, like the swirling underbelly of a powerful waterfall does to the unmindful rafter, placidly allowing its victim to twist and struggle to exhaustion before finally succumbing to the still calm of brain death.

I myself quickly OD’d on the yuletide dementia, having such a low tolerance, and before I knew it I found myself lying back and taking each and every Nick & Jessica cover with a frightening level of enthusiasm. This twisted, cruel euphoria lasted a week straight with absolutely no breaks (I have the Comcast music channels, the aforementioned car radio, and my unresting and easily hooked brain to thank for the smooth musical transitions from car to mall to car to home to black, imageless sleep and back again). By the fifteenth or sixteenth separate rendition of ‘Little Drummer Boy’ (which easily has the wackiest array of covers in the holiday canon, from Whitney Houston to Anne Murray to Daughtry) I started to have unrelenting visions of sugarplums dancing in my head… horrible, hellspawn sugarplums. Of course, those could have also been blood spots from the blown vessels in my brain; I don’t really know what sugarplums look like. (Incidentally, the difference between googling ‘sugar plums’ and ‘sugar plum’ is mildly startling. Check the image results for both).

On the plane ride back north, I rocked and sweated, cut off from the feed, sucking on candy canes in the bathroom just to keep myself sane. It was a brutal recovery, much like Ewan Macgregor’s in ‘Trainspotting’, only in my case the ceilingbabies were shaped like sugarplums… or possibly naked men bent over a couch (have you googled ‘sugar plum’ yet???). But as soon I was home, with my faithful iPod by my side bumping secular chunks of beauty, the stillness and non-festive-ness of the situation allowed me a much-needed reprieve from the holiday madness. I have been to the edge and back, people, and I am proud to say I am a better man for it. Or not.

Thanks for reading, and happy holidays.

But then it occurred to me. I don’t just love albums, I love music and everything that surrounds it. So here I am. Opening up to everything about music that I love. And damn, ordering it down to the top 3 reasons was a challenge that took several bottles of wine and late nights.

3: It makes me feel like I am actually a part of something

Growing up I played sports, I read, and I built forts in the woods. Those were all well and good. But then I discovered this thing called music. (Thanks Dad) And shit did it set me off.

So I took it to the next level. I hoarded cassettes like they were going out of style. I begged my parents to bring me to every concert I heard about. To this day I still remember being the only white family of 4 at the Shabba Ranks, Mary J. Blige, TLC, and Bobby Brown concert. (we got some strange looks…)

Then I got a cassette 4-track. SHIT that blew my mind. I didn’t leave my room for months. Next I started a band. Then I went to college for it. Then I moved to NYC to pursue being an engineer. Then I started producing and engineering albums on my own. Then I started writing about music.

So why does this make me feel like a part of something?

All the while I met people who shared the joy and love that I felt I only had. Being surrounded by seas of people at concerts, talking about the Traveling Wilburys to record shop owners, talking to fans after our band left the stage, joining the sea of New York engineers who were trying to do exactly what I wanted. And now, being part of a community of folks who write about the same love I have.

I am and forever will be home. As long as I have music.

2: Music is the most important language in the world

That’s a strong statement and I apologize to folks who disagree. But honestly, how can you disagree with that??

Every language you can write, read and speak. (except for web languages…) But what music has above all the others is that it is one you can actually feel.

I understand that people say French or Italian makes them feel something when they hear it. Yeah yeah. It sounds cool when someone is speaking it. But does it have the emotional impact music has? HELL NO. Try listening to someone speak a foreign language and see if it brings you back to that moment you heard your favorite album for the first time. It doesn’t hold a candle!

Music is in our blood. From a child to a man on his death bed, music will move your body and mind in ways no other language can possibly do.

1: It gives me something to look forward to every day of my life

Whether is be a new album release, a band someone has suggested I listen to, or the fact that I get out of bed knowing I will be at a concert that night I have been waiting months to see. Music gives me something to getting excited about each and every day of my life. Without fail.

I work a 9-6 day job. Do I wake up and get excited about going to do the work day in and day out? Not at all. I am more concerned with what album I can listen to on the drive into work, or what albums I will put on while at work. Or waiting for 5:53 on a friday when I can pump Purple Rain to close out our work week. (it’s become an odd tradition I started)

There are very few things in life that get me as thrilled and excited as an 8yr old on Christmas morning. Music does this to me. I can’t help it.

And I wouldn’t want to if I could.

Some of us play music, some of us are just fans, some of us produce, and some of us just love music and everything about it. I would say the common bond is that all of us have that same passionate love. This is what we do in our spare (or the lucky few) full time. And we do it because we love ever minute of it. (for the most part…)

There are really very few perks to running a successful music blog. Maybe you get artists emailing you asking you to listen to their music or inviting you to shows, handing you a CD or record to put on. But for the most part it is a labor of love. No one really ever sees your face. (I chose a borderline egotistical avatar…) You are stuck behind a computer for most part of the job, ruining your eyesight and ears.

But why do we do it? Well I can speak only for myself by saying that it keeps me sane and puts my mind at ease. Music is on my brain 24/7. Can I help it? Absolutely not. It’s just there. Like the high frequency buzz from a live show you have seen the night before and that makes you wonder if you will ever hear that frequency again.

And will we ever stop? Not a chance in hell. There are a few brave souls out there who are trying to help this breed of music lovers who take it to the next level and publicly display their love and opinions of music.

We are the future. We are the people you can get to know on a personal level. (and by personal I mean via email, twitter, or comments with the hopeful goal of meeting up at a show or grabbing a beer together)

So the next time you Google a band you love and the results pull up random blogs or sites you have never heard of. Click on them. You may share the exact same opinion or learn something new that hasn’t already been plastered over Pitchfork or Rolling Stone.

(Share the love and visit the blogs I admire to the right. Each and every one is worth a visit)

Let me just say. I miss walking into a record store and seeing aisle after aisle of CDs and feeling completely overwhelmed at deciding where to start. Jazz? Rock? Classic Rock? Reggae? I couldn’t even pick a section! Now with a few strokes on the keyboard, I am right where I want to be. All the while being suggested by other selections I might enjoy. Never in my life have I had a salesman at a Virgin stop by and recommend something I like based off of the albums I held in my hand. (this did happen at Amoeba Music so I can’t fault all record stores)

But there is so much talk of the Compact Disc dying. And equally so much talk of the sales of Vinyl rising. I guess we’re smack in the middle of a ‘what to do next’ situation. I love Vinyl (and I love CDs). I get so much joy after I buy a physical album and heading home to crack the seal and eagerly await what is in store for me when I put it on.

So as convenient as all the new online based music services are, they make me feel like I don’t actually own what I’ve just purchased. iTunes LP tried to remedy this but hasn’t been having much luck. So where are we going? Where will the Future of Music sales take us? All I know? Is that I’m happy to be right in the middle of it all. And being a man of convenience I am definitely one to use these services.

This topic has been covered in depth so here are a few more links if you want to read on:

http://www.theregister.co.uk/2009/11/30/cd_still_not_dead_yet_why/
http://roychristopher.com/roundtable-question-april-2009
http://www.musicthinktank.com/blog/the-unprecedented-shift-from-multiplication-to-division.html

I’ve been thinking about that quote all week. I forget exactly where I heard it, but it’s been stuck in my head ever since last weekend’s Music Hack Day in Boston. The event brought hackers together from every corner of the globe to develop new music applications to advance the future of music. And amidst all the hacking, music’s future and past briefly clashed, making for some compelling moments during the Sunday afternoon panel discussions.

On the panels were purveyors of the now, including representatives from Last.fm, The Echo Nest, Music Power Network, Harmonix, and Songkick––all sharing ideas on new models for music business, discovery, taste-making, and more. And In the audience, among all the hacking hackers, was a gentleman with an impressive music business background that included radio promotion on behalf of labels to get songs on the air and CDs into shopping carts (the kind with wheels).

At one point, the gentleman in the audience commented that the proliferation of music taste-making and discovery was making it nearly impossible to break an artist BIG––like Bruce Springsteen big. It’s too fragmented in his opinion and he’d prefer a more singular pipeline of music discovery and taste-making. An hour later in the Future of Music panel he once again took the mic and asked the panel, “So, what bands have you broke?” He reiterated his earlier point that the proliferation of discovery and taste-making was undermining the infrastructure needed to break big-time artists. He told the panel, “You can’t make a Radiohead!”

You know what? He might be right.
And you know what? Fine.

And that’s the part this gentleman didn’t seem to get.

I found it a little funny that he used the words “break” and “broke” when it came to labels and artists. Yes, I know what he meant, but it’s important to note that for every platinum Bruce Springsteen record there’s a multitude of records that are under-promoted and ignored because the labels are focused on their shrinking portfolio of million sellers. This leads to artists more or less dead on the vine, trapped in contracts owing money as well as music the label has little interest in promoting. So yeah, nothing breaks a band quite like the traditional “Big 6″ (5, 4, 3, 2..) record label pipeline. Steve Albini’s classic The Problem with Music rant addresses this much better than I can. If you haven’t read it, do so. Some of the details are a bit dated but the math is still enough to make one’s head spin.

Regarding the “you can’t make a Radiohead” comment: Last.fm, The Echo Nest, Harmonix––these companies aren’t really in the business of promoting platinum sales of music encoded onto shiny plastic disks. They’re about building connections among fans and artists. And if an artist blows up huge? Great!! Sure they want to support artists, but I don’t think it’s their mission to make artists (and thereby labels) rich beyond their wildest dreams. And here’s the thing: I think most artists are just fine with this. In my opinion I think the majority of artists would rather have significant control over a medium-sized pie than have zero control of a (potentially) huge pie. Sure, some will gamble and shoot for the stars, more power to them. But if there’s ever going to be a music “middle class,” its backbone will be made up of artists managing sustainable, medium-scale careers. In sum, it’s wrong to criticize these new music businesses for not doing what labels can do when more and more artists simply don’t want what labels can do.

I’d like to stress that I’m not aiming to bash this gentleman. He’s obviously incredibly passionate about music and cared enough to attend an event where he must have known many would see him as the “enemy.” And to his credit he even called out the record companies for being “really stupid” in the way they’ve handled their business.

My point is this: the future of music is now largely in the hands of the fans. And those fans who develop “cred” are the new taste-makers. I think this is a good thing. Fans and taste-makers have the power to help make an artist popular and can put money in their pocket, but they do not have the power to trap and bankrupt a career. An artist’s career, and the level of success they achieve, is ultimately up to how well they the artist build a sustainable business around music that creates fans.

Major labels and a single pipeline of discovery have little to no significance in this formula. But if your paycheck depends on the older model, maybe it’s just really hard for that to sink in.

Buy local!
Many make it a point to buy local produce, support local mom and pop shops, drink locally brewed beer, etc. Why? Because buying local keeps money circulating locally, keeps people in business and creates and sustains jobs, nurtures what’s unique about a community, creates more choice–something large (inter)national brands are often fighting against, and puts one a step closer to those providing the goods they consume. It’s the same with music (and all the arts for that matter). Supporting your local music scene puts money directly into the pockets of artists hustling hard to sustain (and grow) their work, amplifies what rocks about your community, creates more choice–something major record labels more or less abhor, and gets you up close and personal with the music you love. In short, supporting your local scene makes for meaningful musical experiences, and it helps make your town a cool place to be. While creative economy research is still a work in progress, one can easily point to the connection between healthy cities and vibrant arts and culture scenes. So get plugged in.

Every town has a great _____ band
I have a theory that every town has a great punk band. I’d also be willing to bet that every town has a handful of great singer-songwriter types. And any town with a few cool indie-pop/rock bands (every town?) probably has a few ex-rockers wandering into twang town, trading in post-punk riffs for acoustics and heartbreak. And all the kids are hacking away with computers and electronics. The point? If you’re mostly a fan of big-time, platinum-selling, super-star artists, consider this: there’s likely someone doing an interesting variation of that kind of music right in your backyard. And meanwhile, there are likely others making music in ways you didn’t know existed. So instead of handing over $50-$100 to sit 50 or 100 yards away in some arena with bad sound to see a band that’s going to hop on the bus and skip town as soon as the lights go up, consider instead hitting your local club for $10 to get up-close with a band just as interesting–one you can chat with over a (local?) beer after their set. This isn’t to say that one should completely eschew major label artists. There’s some truly amazing ones for sure, but at one point in time they all depended on local support. So do try to infuse your listening habits with something locally brewed.  There’s a lot to be said about digging music made by people in your community; there’s a unique common currency––and your support might help them grow into something special.

So…
Get plugged in to your local scene. Don’t just be a customer of music. Be a part of  it. Do you want to be a consumer of radio-friendly unit shifters (most awesomely ironic song title ever?) or do you want to have a more personal relationship with the music you love and help your community a bit in the process? To get started, you’ll need to suss out a few locally-sourced music blogs as your local print/web news publications are likely providing little to no local arts + music coverage. Subscribe to the blogs via a reader of some sort and learn the lay of the land–your land (p.s. if there aren’t any local music blogs, start one). Then start supporting your local scene. If you’re not sure how, Brian McTear recently wrote a nice post on the Future of Music Coalition website outlining ways in which people can support the music they love. It’s  a great read. And if you’re in a band and your scene is lacking, read Scott James’ post on Music Think Tank and start your own (another great read).

Finally, speaking of Regional Hits, if you’re in Boston next month you best catch The Figgs at T.T. The Bear’s on Friday, December 18 with The Russians and the Corin Ashley Quartet. Those are some of the finest regional hits around.

Did it get old? Yes. But did I do it? Yes…

I moved to Manhattan and tried my hand as an engineer/photographer (don’t ask) for a few months. Was it what is was hyped up to be? Not even close. I have some great stories to tell but that’s about it.

And I finally called it quits when a buddy of mine assisted engineering on Bob Dylan’s ‘Modern Times’ yet decided to take the job as night manager of the studio because it made him more money. Sad. (and did he get credit on the album? Go look. His name is Tom Aiezza…)

So this leaves me with the question. What the hell is so wrong with Boston?? I understand if it was the 50′s or 60′s and I needed to be working in the Brill Building to be in the music scene. But times have dramatically changed. You can make an amazing album in your parents house in Albuquerque and have it become an indie sensation.

But Boston has a very bad stigma for musicians who feel the need that they need to get out of here to actually become something. I can rattle off a list of major artists who have never even come close to a major city. (but I’ll keep this post short)

So honestly, what is so wrong with being a band from Boston? Why is Brooklyn the place to be?

Yes, there is a good scene there because it has been hyped til the cows come home. But you can be successful anywhere. It’s pretty simple actually. Make a great product (album), tour, promote it correctly, and have someone like Bono fronting your band. (ok. forget the last bit because Bono is like the Pepsi of music to me)

(look for more on the Boston music scene to come in the near future thanks to some writing help from a new contributor)