You probably wouldn't think of a small town as a being a bastion of super stardom, let alone notoriety, celebrity, fortune or fame. But, many of the greatest names in sports, movies and music have come from such places. The names are many, maybe even someone you know.
I bring this up because I happened to be reading a local news paper when I noticed a half page write up on an artist from my neck of the woods. The article stated that this artist was about to release their debut CD. I don't actually know this person, but it was a little more than intriguing to read the story. As it happened, music was not this person's first career choice. However, not being able to pursue choice number one, fate took over and music led to an appearance on MTV.
As I continued to read the story, I discovered that this person had moved from small town USA to New York. That's when it hit me. Most small town success stories are the result of someone relocating to the big city. If you want to make it to the top, you've got to get out of the sticks. Or do you?
This is the point where I was originally going to go off on a rant about why I remain in small town USA. The fact is, I love my home town and I would be very proud to represent it, doing just about anything. Besides, with the state of new technology, I, as well as millions of others, can purchase any recording gear our budgets will allow. And, the internet gives me and those countless millions of artists a global stage on which to perform our creations.
My personal favorite program is Pro Tools. Pro Tools is digital audio recording software that has become the music industry standard. For about $249, anyone can make their music sound like a million bucks.
And, you can take your music a step further by using online distribution. Places such as Tunecore, CDbaby, and Reverbnation.com can distribute your music to e-music stores like iTunes, Rhapsody, and Amazon.com.
Myspace also has a music service, and you can upload as many songs as you want into their music player. Facebook, which doesn't have a music service, does allow artists a free page and a limited space to upload music.
Then, there's YouTube. YouTube allows anyone to upload video to their own personal channel. Artist can use YouTube to either augment their live performances, or if you're unable to tour, you can use the videos as your performances. The site is hugely successful and the high level of traffic can be used to increase interest in your music.
So, while signing to a major label, and getting on TV or radio are still the main sources for exposure, there are ways to get around packing up all of your belonging into your VW and heading for the big city.
Sunday, February 27, 2011
Sunday, February 20, 2011
On The One
Everyone has a favorite genre of music. I like "Funk. George once said that Funk is it's own reward." And George Duke once said, "that once you're funky you're always funky." Those who enjoy the music know that there's something about it, something that you feel that you can't explain.
Many believe that Funk began with George Clinton, but it was actually James Brown. The God Father of Soul was actually the king of funk. It was Brown who introduced the heavy syncopated rhythm guitar riffs that propelled songs like Papa's Got A Brand New Bag to hit status in 1965. Brown's music was raw and rhythmic, with a melodic bass line that was woven into the fabric of his tunes and punctuated by horn stabs. His sound would serve as a guide for bands like the Meters and Sly and the Family Stone who would go on to add their own contributions to the genre.
In 1969, disagreements between Brown and members of his band, involving money, caused them to go off in different directions. Around this time, George Clinton was having problems with his label and his band, The Parliaments. He had recently formed another band called the Funkadelic. A year later he reformed the Parliaments as simply, Parliament to avoid hassles with his record label. He recruited members, Maceo Parker and Fred Wesley of Brown's old band. Meanwhile, Brown formed a new band with William Boosty Collins and his brother Phelps as members.
The Collins brothers toured with Brown for three years before they too joined Clinton as part of Parliament, whose members were also in the Funkadelic. By 1974, Clinton and crew had managed to put there own spin on the James Brown sound. The result was a slightly slower, more laid back groove that maintained all of the rhythm, but with fewer drum beats. this served to offset the syncopation, and if possible, made the music even funkier. Clinton would later describe his take as simply, every thing is on the one. This meant that in 4/4 time all of the instruments would play on the first beat of every measure.
In 1976, fed up with the rising tide of "Disco," Clinton's Parliament released "Mothership Connection." The album was a solid Funk smash whose lead, track, P-Funk featured long sections that had music, but no beat at all. The trick was to get on the one and you would always know the countby just following the rhythm. This served to prove that the every count bass beat of "Disco," was not necessary in order to dance, and that there was a huge difference between Funk and "Disco." In fact, Funk ceased to be played in clubs after 1977.
As a genre, in my view, Funk is like Rock, R&B, Jazz, Blues, and Country. Each has a very clear and definitive sound. Each can be used to add flavor to any of the others. And whether you accept this or not, just grab any hit album from the spring of 1974 to the spring of 1979, and listen to it. You just might find the one lurking in the most unexpected places.
Many believe that Funk began with George Clinton, but it was actually James Brown. The God Father of Soul was actually the king of funk. It was Brown who introduced the heavy syncopated rhythm guitar riffs that propelled songs like Papa's Got A Brand New Bag to hit status in 1965. Brown's music was raw and rhythmic, with a melodic bass line that was woven into the fabric of his tunes and punctuated by horn stabs. His sound would serve as a guide for bands like the Meters and Sly and the Family Stone who would go on to add their own contributions to the genre.
In 1969, disagreements between Brown and members of his band, involving money, caused them to go off in different directions. Around this time, George Clinton was having problems with his label and his band, The Parliaments. He had recently formed another band called the Funkadelic. A year later he reformed the Parliaments as simply, Parliament to avoid hassles with his record label. He recruited members, Maceo Parker and Fred Wesley of Brown's old band. Meanwhile, Brown formed a new band with William Boosty Collins and his brother Phelps as members.
The Collins brothers toured with Brown for three years before they too joined Clinton as part of Parliament, whose members were also in the Funkadelic. By 1974, Clinton and crew had managed to put there own spin on the James Brown sound. The result was a slightly slower, more laid back groove that maintained all of the rhythm, but with fewer drum beats. this served to offset the syncopation, and if possible, made the music even funkier. Clinton would later describe his take as simply, every thing is on the one. This meant that in 4/4 time all of the instruments would play on the first beat of every measure.
In 1976, fed up with the rising tide of "Disco," Clinton's Parliament released "Mothership Connection." The album was a solid Funk smash whose lead, track, P-Funk featured long sections that had music, but no beat at all. The trick was to get on the one and you would always know the countby just following the rhythm. This served to prove that the every count bass beat of "Disco," was not necessary in order to dance, and that there was a huge difference between Funk and "Disco." In fact, Funk ceased to be played in clubs after 1977.
As a genre, in my view, Funk is like Rock, R&B, Jazz, Blues, and Country. Each has a very clear and definitive sound. Each can be used to add flavor to any of the others. And whether you accept this or not, just grab any hit album from the spring of 1974 to the spring of 1979, and listen to it. You just might find the one lurking in the most unexpected places.
Sunday, February 13, 2011
Tracks Of Life
So much attention is placed on having a hit single it's a wonder that anyone ever considers whether or not if it was released as part of an album or not. And, if so what other gems might there be? In the past, album tracks have often gotten as much or more attention as the songs that were released as singles. So, what makes for a good album track?
It's guaranteed that the answer to that question is very subjective. But, having said that, looking back to the early 1990s, a lot of hit albums contained only one song of any merit and that was the song that got released as a single. The problem then was, that the thinking was to make an album composed of songs that had singles potential. And, the course of action was to gather a group of well known producers who had had hit single success, and have each one produce a single for a particular artist. The result of such a process usually yielded one hit single, a couple of maybes and the rest sounded like filler. Having 6 or more producers only made for a disjointed and/or disconnected sonic experience.
Previously, in earlier decades, an album was built upon a concept. Possibly the sound or songwriting of a particular artist would be the theme that ran throughout the music of an entire album. One producer would be chosen, either by the label, or if the artist was of enough stature, they would choose the producer, or produce it themselves. The artist would demo their songs and bring them to the studio where together with the producer, they would listen to what was there and decide which ones would work toward a complete body of work.
After working on several songs, new ideas might be added and possibly 15 to 20 or more songs might actually get recorded. From those songs, the artist and producer would sit down and listen to them to choose which ones had a similar appeal and cohesion to form a single project. These songs might be narrowed down to 10, 11, or maybe 12 tracks. The lead single might be something that the artist had come up with as a single. Or, the lead song may have come from the new material written as a process of working through the album.
As an example, take Earth Wind and Fire's All 'n' All. The album opens with the lead single, "Serpentine Fire," which is an uptempo funk jam with a positive theme. They follow that with, "Fantasy," a smoother groove with about the same tempo. After that comes a brief musical interlude called, "In The Market Place," that features the Kalimba and vocal chants. The piece serves as a segue into another uptempo jam called, "Jupiter." "Jupiter," is followed by a ballad called, "Love's Holiday." This serves to change the pace and set the stage for more jazzier sounds. Next comes the first of two interludes called, "Brazilian Rhyme." This one has scatted lyrics and serves to segue into the song, "I'll write A Song," which is of a slower tempo with acoustic guitar as the band stretches out a little. A different musical theme follows, in the form of the song, "Magic Mind," which has a mid tempo groove whose lyrics relate to the previous song. From there they move into an instrumental that has some scatted lyrics called, "Runnin'." Then the second interlude also called, "Brazilian Rhyme," follows and it's a slow, serene musical passage that serves as a segue into the final song, "Be Ever Wonderful," which leaves the listener with a positive message.
A listener, listening to this album should come away with the feeling that the music is a complete work and all because of the unreleased, album tracks. But, that's just my opinion, I could be wrong.
It's guaranteed that the answer to that question is very subjective. But, having said that, looking back to the early 1990s, a lot of hit albums contained only one song of any merit and that was the song that got released as a single. The problem then was, that the thinking was to make an album composed of songs that had singles potential. And, the course of action was to gather a group of well known producers who had had hit single success, and have each one produce a single for a particular artist. The result of such a process usually yielded one hit single, a couple of maybes and the rest sounded like filler. Having 6 or more producers only made for a disjointed and/or disconnected sonic experience.
Previously, in earlier decades, an album was built upon a concept. Possibly the sound or songwriting of a particular artist would be the theme that ran throughout the music of an entire album. One producer would be chosen, either by the label, or if the artist was of enough stature, they would choose the producer, or produce it themselves. The artist would demo their songs and bring them to the studio where together with the producer, they would listen to what was there and decide which ones would work toward a complete body of work.
After working on several songs, new ideas might be added and possibly 15 to 20 or more songs might actually get recorded. From those songs, the artist and producer would sit down and listen to them to choose which ones had a similar appeal and cohesion to form a single project. These songs might be narrowed down to 10, 11, or maybe 12 tracks. The lead single might be something that the artist had come up with as a single. Or, the lead song may have come from the new material written as a process of working through the album.
As an example, take Earth Wind and Fire's All 'n' All. The album opens with the lead single, "Serpentine Fire," which is an uptempo funk jam with a positive theme. They follow that with, "Fantasy," a smoother groove with about the same tempo. After that comes a brief musical interlude called, "In The Market Place," that features the Kalimba and vocal chants. The piece serves as a segue into another uptempo jam called, "Jupiter." "Jupiter," is followed by a ballad called, "Love's Holiday." This serves to change the pace and set the stage for more jazzier sounds. Next comes the first of two interludes called, "Brazilian Rhyme." This one has scatted lyrics and serves to segue into the song, "I'll write A Song," which is of a slower tempo with acoustic guitar as the band stretches out a little. A different musical theme follows, in the form of the song, "Magic Mind," which has a mid tempo groove whose lyrics relate to the previous song. From there they move into an instrumental that has some scatted lyrics called, "Runnin'." Then the second interlude also called, "Brazilian Rhyme," follows and it's a slow, serene musical passage that serves as a segue into the final song, "Be Ever Wonderful," which leaves the listener with a positive message.
A listener, listening to this album should come away with the feeling that the music is a complete work and all because of the unreleased, album tracks. But, that's just my opinion, I could be wrong.
Saturday, February 5, 2011
There And Back (Part II)
1977 was an amazing year for music. Artists were continuing to enjoy the most creative freedom that they had ever had. It was the year that Billy Joel released , "The Stranger," Fleetwood Mac released, "Rumors," Steely Dan released, Aja, Meatloaf released Bat Out Of Hell, Earth Wind & Fire released, All'N'All, the Commodores released, Commodores and the Isley Bothers released, Go For Your Guns. It appeared that this freedom was going to produce a never ending wave of truly great music that would go on indefinitely.
The movie Saturday Night Fever was released on December 14th, 1977 and it would serve to both resuscitate a trend that was waning and ultimately, lead to it's demise. The movie and soundtrack proved to be a huge success, in spite of the music released from the albums mentioned above.
1978 was an even more amazing musical year as single releases from the above mentioned albums, plus music from Van Halen, Cheap Trick, Patti Smith, and Bruce Springsteen seemed to belie that there was a "Disco," phenomenon. The movie, Saturday Night Fever, grossed over $93 million dollars domestic and $142 million dollars overseas. The soundtrack eventually sold over thirty million copies worldwide and went platinum 15 times.
These statistics proved to be more than the recording industry could pass by.
With all of the great music releases of 1977 and then again in 1978, perhaps, and this is just my opinion, but maybe the case could be made that "Disco," was already on it's way out when the movie and soundtrack were released in late 1977.
The Success of the movie and it's soundtrack sent the recording industry in search of the next big thing. They began to pressure their artists to come up with hits in the "Disco," style. Corporate America was quick to jump on the bandwagon as well, as 1978 saw everything going "Disco." Some radio stations even added the word to their logos. But, major recording artist appeared to ignore the trend as Rock, Funk, and Jazz, continued to dominate the charts.
It wouldn't be until the spring of 1979 that the real onslaught began. Releases by artists such as the Rolling Stones' "Miss You," sparked rumblings of discontent amongst music fans, feeling that their favorite rock stars were about to abandon the music that they loved. Labels began enlisting the aid of in house writers and producers to come up with quick tunes, while creating the bands or groups that would front the music, at a later date. Artists who hadn't had a hit in years released their versions of the "Disco," sound, inviting the criticism that, "Disco," was nothing more than "welfare music,"
What started as music for a good time had become lost in a corporate vision of maximum yield. More and more artists, feeling the pressure from their labels, began adding at least one "Disco," track to their albums. They failed to realized that what they were actually doing, was relinquishing the creative freedom which they had fought for so long to gain. They didn't realize or seemingly care, that this was not what their fans really wanted.
But, on July 12, 1979 they would find this out in a big way. A Chicago radio DJ and a baseball promoter staged an event between games of a double header between the White Sox and the Detroit Tigers at Comiskey Park. Fans were invited to bring their "Disco," records and throw them onto a big pile as they were burned. Things got out of control as people began throwing their vinyl disc through the air. Fights broke out as the whole affair turned into a riot. Much damage was done to the stadium and the White Sox, who were hosting, had to forfeit the second game, due to the amount of damage that was done.
Like the shot heard around the world, radio stations all over the country stopped playing the music and in many cases, they quickly dropped the word "Disco," from their names. By the end of September of that year, there were no, "Disco," records in the top ten.
Usually, when there is discontent over the latest trend in music, it comes from the parents of those who love it. This event, in my mind, marks the first time that the people who actually listened to the music had gotten so fed up that they were moved to violent protest. While I can't condone the actions that took place all those years ago, I can understand the frustration of being forced to accept an unwanted change. However, record burning is too close to book burning. We are much too smart and civilized a people for that. Perhaps, in hindsight, some other choice should have been made. What was also forfeited by the time that day was reached, was control of sound of the marketplace.
The movie Saturday Night Fever was released on December 14th, 1977 and it would serve to both resuscitate a trend that was waning and ultimately, lead to it's demise. The movie and soundtrack proved to be a huge success, in spite of the music released from the albums mentioned above.
1978 was an even more amazing musical year as single releases from the above mentioned albums, plus music from Van Halen, Cheap Trick, Patti Smith, and Bruce Springsteen seemed to belie that there was a "Disco," phenomenon. The movie, Saturday Night Fever, grossed over $93 million dollars domestic and $142 million dollars overseas. The soundtrack eventually sold over thirty million copies worldwide and went platinum 15 times.
These statistics proved to be more than the recording industry could pass by.
With all of the great music releases of 1977 and then again in 1978, perhaps, and this is just my opinion, but maybe the case could be made that "Disco," was already on it's way out when the movie and soundtrack were released in late 1977.
The Success of the movie and it's soundtrack sent the recording industry in search of the next big thing. They began to pressure their artists to come up with hits in the "Disco," style. Corporate America was quick to jump on the bandwagon as well, as 1978 saw everything going "Disco." Some radio stations even added the word to their logos. But, major recording artist appeared to ignore the trend as Rock, Funk, and Jazz, continued to dominate the charts.
It wouldn't be until the spring of 1979 that the real onslaught began. Releases by artists such as the Rolling Stones' "Miss You," sparked rumblings of discontent amongst music fans, feeling that their favorite rock stars were about to abandon the music that they loved. Labels began enlisting the aid of in house writers and producers to come up with quick tunes, while creating the bands or groups that would front the music, at a later date. Artists who hadn't had a hit in years released their versions of the "Disco," sound, inviting the criticism that, "Disco," was nothing more than "welfare music,"
What started as music for a good time had become lost in a corporate vision of maximum yield. More and more artists, feeling the pressure from their labels, began adding at least one "Disco," track to their albums. They failed to realized that what they were actually doing, was relinquishing the creative freedom which they had fought for so long to gain. They didn't realize or seemingly care, that this was not what their fans really wanted.
But, on July 12, 1979 they would find this out in a big way. A Chicago radio DJ and a baseball promoter staged an event between games of a double header between the White Sox and the Detroit Tigers at Comiskey Park. Fans were invited to bring their "Disco," records and throw them onto a big pile as they were burned. Things got out of control as people began throwing their vinyl disc through the air. Fights broke out as the whole affair turned into a riot. Much damage was done to the stadium and the White Sox, who were hosting, had to forfeit the second game, due to the amount of damage that was done.
Like the shot heard around the world, radio stations all over the country stopped playing the music and in many cases, they quickly dropped the word "Disco," from their names. By the end of September of that year, there were no, "Disco," records in the top ten.
Usually, when there is discontent over the latest trend in music, it comes from the parents of those who love it. This event, in my mind, marks the first time that the people who actually listened to the music had gotten so fed up that they were moved to violent protest. While I can't condone the actions that took place all those years ago, I can understand the frustration of being forced to accept an unwanted change. However, record burning is too close to book burning. We are much too smart and civilized a people for that. Perhaps, in hindsight, some other choice should have been made. What was also forfeited by the time that day was reached, was control of sound of the marketplace.
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