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.
Sunday, January 30, 2011
There And Back
A few weeks ago someone asked me if I'd heard the music that's being played on the radio.When I asked why, this person stated that it had a "weird," sound. After describing it, I asked if it had a single bass drum beat placed right up front so you can hear it loud and clear. This person said "yeah, now that you mention it." So, I told this person that what they heard was ,"Disco." Yep, that's right, it's "Disco," only there are no strings or horns, just synthesizers. And, it's going by the name of either "Dance," "Club," or "House," but, it's still "Disco."
What's interesting about what is happening to the music on top 40 stations, is that "Dance," "Club," and "House," have been eased into their formats a little at a time since the mid 1990s. It would seem that few people are noticing this trend because it's being done so slowly, and cross marketing has been kept to a minimal level.
Three of the of the most notable acts that are performing music in this style are Lady Gaga, Rhianna, and the Black Eyed Peas. "Dance," "Club," or "House," when coupled with a big budget video performance can make for an amazing visual experience that appeals mostly to the target demographic of 14 to 24. In fact, the result of such a combination has made stars of all three acts. But, when you finally break it on down, the music that they are performing is still, "Disco."
"Disco", is what was considered to be European R&B. In 1975, the sound made it's way to this country. The first clubs that opened didn't actually play "Disco," instead, they played R&B, along with some danceable Rock or danceable Jazz. In fact some of the first records to be played in clubs were the Commodores, "Fancy Dancer," KC and the Sunshine Band's "Get Down Tonight," and Johnnie Taylor's, "Disco Lady," the latter of which featured an ultra funky bass line performed by none other than funkateer and James brown alum, Bootsy Collins.
R&B slowly began adopting elements of the "new" sound as Diana Ross' "Love Hangover," and Donna Summer's "Love To Love You," would attest. However, the true "Disco," sound didn't take hold until radio personality Rick Dees released his "Disco," parody, "Disco Duck," in 1976. Though the record was pure novelty, it fueled the market for more music that sounded the same. And, lets not forget the dancing. Dancing schools began to spring up everywhere as the trend began to gain momentum. In 1977, everything would change. Until this point "Disco," was the music of the masses. But, the release of the movie, "Saturday Night Fever," which severed to propel the trend to new heights also led to it's eventual decline.
The soundtrack to the movie, "Saturday Night Fever," was performed by the Bee Gee, who at one point was quoted as saying that they had no idea that what they were doing would be so huge. In my opinion, that though the movie was a success, and very entertaining, it introduced three negatives into the "Disco," trend. These negatives were, exclusivity, conformity, and intolerance. It also introduced one other thing that I like to call, the "velvet robe," mentality.
Exclusivity seemed to arise whenever clubs would change ownership. Each change of ownership meant a change in clientele. What this would mean is that a visit to a once familiar club meant finding no familiar faces in the crowd, or that you were treated as an outsider showing up on the wrong day for outsiders. Conformity meant that you had to wear the right cloths, not just dress cloths, or risk being ostracized or worse, ejected. Intolerance meant that if you weren't part of the clique that hung out at a particular club you might endure a certain amount of intimidation aimed your way in order to make you not want to come back. The "velvet rope mentality,' is an idea I used to describe the use of exclusivity, either by having an actual velvet rope and/or a bouncer hand picking who gets in or who doesn't. .
BY 1978, everything went "Disco." The popular music showcase, American Bandstand, and even Soul Train had a mirrored ball hanging from the center of their sets. And by 1979, just about every recording artist, across almost every genre, had at least on "Disco," track on their albums that were released in that year. But it was in that year, 1979, that a very powerfully negative event took place.
It happened between baseball games during a double header at Comiskey Park in Chicago. To Be Continued........
What's interesting about what is happening to the music on top 40 stations, is that "Dance," "Club," and "House," have been eased into their formats a little at a time since the mid 1990s. It would seem that few people are noticing this trend because it's being done so slowly, and cross marketing has been kept to a minimal level.
Three of the of the most notable acts that are performing music in this style are Lady Gaga, Rhianna, and the Black Eyed Peas. "Dance," "Club," or "House," when coupled with a big budget video performance can make for an amazing visual experience that appeals mostly to the target demographic of 14 to 24. In fact, the result of such a combination has made stars of all three acts. But, when you finally break it on down, the music that they are performing is still, "Disco."
"Disco", is what was considered to be European R&B. In 1975, the sound made it's way to this country. The first clubs that opened didn't actually play "Disco," instead, they played R&B, along with some danceable Rock or danceable Jazz. In fact some of the first records to be played in clubs were the Commodores, "Fancy Dancer," KC and the Sunshine Band's "Get Down Tonight," and Johnnie Taylor's, "Disco Lady," the latter of which featured an ultra funky bass line performed by none other than funkateer and James brown alum, Bootsy Collins.
R&B slowly began adopting elements of the "new" sound as Diana Ross' "Love Hangover," and Donna Summer's "Love To Love You," would attest. However, the true "Disco," sound didn't take hold until radio personality Rick Dees released his "Disco," parody, "Disco Duck," in 1976. Though the record was pure novelty, it fueled the market for more music that sounded the same. And, lets not forget the dancing. Dancing schools began to spring up everywhere as the trend began to gain momentum. In 1977, everything would change. Until this point "Disco," was the music of the masses. But, the release of the movie, "Saturday Night Fever," which severed to propel the trend to new heights also led to it's eventual decline.
The soundtrack to the movie, "Saturday Night Fever," was performed by the Bee Gee, who at one point was quoted as saying that they had no idea that what they were doing would be so huge. In my opinion, that though the movie was a success, and very entertaining, it introduced three negatives into the "Disco," trend. These negatives were, exclusivity, conformity, and intolerance. It also introduced one other thing that I like to call, the "velvet robe," mentality.
Exclusivity seemed to arise whenever clubs would change ownership. Each change of ownership meant a change in clientele. What this would mean is that a visit to a once familiar club meant finding no familiar faces in the crowd, or that you were treated as an outsider showing up on the wrong day for outsiders. Conformity meant that you had to wear the right cloths, not just dress cloths, or risk being ostracized or worse, ejected. Intolerance meant that if you weren't part of the clique that hung out at a particular club you might endure a certain amount of intimidation aimed your way in order to make you not want to come back. The "velvet rope mentality,' is an idea I used to describe the use of exclusivity, either by having an actual velvet rope and/or a bouncer hand picking who gets in or who doesn't. .
BY 1978, everything went "Disco." The popular music showcase, American Bandstand, and even Soul Train had a mirrored ball hanging from the center of their sets. And by 1979, just about every recording artist, across almost every genre, had at least on "Disco," track on their albums that were released in that year. But it was in that year, 1979, that a very powerfully negative event took place.
It happened between baseball games during a double header at Comiskey Park in Chicago. To Be Continued........
Saturday, January 22, 2011
Sing A Song
I remember, a few years ago, that I was reading an interview with a musical artist who stated that when he was stuck for ideas, that he would often listen to some classical music. He said that it acted like a reset button, or better yet, it cleansed his sonic pallet.
In my own personal experience, I bought some music by Mozart. The pieces were adagios which contained mostly strings. A couple of weeks after listening to the music, I remember that I was trying to write a bass line for a song that I was working on. To my amazement, I managed to write a bass line that modulated through several keys before returning to the root. But, nothing was as amazing as when I tried to keep up with myself on keyboard, I couldn't do it. It was just too complex. Eventually I was able to come up with something that was much simpler.
What happened to me is what's been called,"the Mozart Effect." This is said to happen after 10 minutes of listening to Mozart or other pieces of classical music. But, my point in bringing up that aspect of listening to classical music is just to highlight the benefits of listening to it.
Much of the music of the 70s remains popular to this day and I think that it's due in part to the influence of classical music and a strong sense of composition. This was the era when artists were given more artistic freedom. With that freedom, music artist began to add to their music, everything but the kitchen sink. Artist combined their skills as songwriters with a good amount of composition and arranging. And while strings and horns have been around since the beginning of recorded music, in the 70s they became a larger part of an artist's musical vision.
Artist across just about every genre were combining their favorite musical styles and writing songs within the 3:30 format that radio airplay required. The result was an awesome amount of music that often defied classification. At any given time, the pop chart might have contained a song from Aerosmith, Stevie Wonder, Charlie Rich, Bruce Springsteen, Fleetwood Mac, and Earth Wind & Fire, all in the top 10.
Isaac Hayes became know for his skills as a composer when he scored big with the soundtrack to the motion picture "Shaft." At the time he had be writing songs with his partner David Porter. As a solo artist, he gained a reputation for taking standards like Burt Bacharach's "Close To You," and arranging it into a sprawling 8:58 opus. While some music critics at the time criticized him for what they called, "excess," many other artists followed his lead into success. One such artist was Barry White, who was known for doing the same with his original compositions.
Movies and TV shows may also have a score as well as a soundtrack. The score being the music that is composed for placement within the film at a particular moment to accentuate or highlight that scene or moment, while the soundtrack will usually contain music or songs that are written for the film. Scores, when they are well written, often go unnoticed, as they may have such an impact that the scene that they're included in becomes a highlight of the movie.
While classical music might not be everyone's cup of tea, there's still a good chance that a song that was or may still be popular, contains either some horns and/or strings, or a touch of classical influence.
In my own personal experience, I bought some music by Mozart. The pieces were adagios which contained mostly strings. A couple of weeks after listening to the music, I remember that I was trying to write a bass line for a song that I was working on. To my amazement, I managed to write a bass line that modulated through several keys before returning to the root. But, nothing was as amazing as when I tried to keep up with myself on keyboard, I couldn't do it. It was just too complex. Eventually I was able to come up with something that was much simpler.
What happened to me is what's been called,"the Mozart Effect." This is said to happen after 10 minutes of listening to Mozart or other pieces of classical music. But, my point in bringing up that aspect of listening to classical music is just to highlight the benefits of listening to it.
Much of the music of the 70s remains popular to this day and I think that it's due in part to the influence of classical music and a strong sense of composition. This was the era when artists were given more artistic freedom. With that freedom, music artist began to add to their music, everything but the kitchen sink. Artist combined their skills as songwriters with a good amount of composition and arranging. And while strings and horns have been around since the beginning of recorded music, in the 70s they became a larger part of an artist's musical vision.
Artist across just about every genre were combining their favorite musical styles and writing songs within the 3:30 format that radio airplay required. The result was an awesome amount of music that often defied classification. At any given time, the pop chart might have contained a song from Aerosmith, Stevie Wonder, Charlie Rich, Bruce Springsteen, Fleetwood Mac, and Earth Wind & Fire, all in the top 10.
Isaac Hayes became know for his skills as a composer when he scored big with the soundtrack to the motion picture "Shaft." At the time he had be writing songs with his partner David Porter. As a solo artist, he gained a reputation for taking standards like Burt Bacharach's "Close To You," and arranging it into a sprawling 8:58 opus. While some music critics at the time criticized him for what they called, "excess," many other artists followed his lead into success. One such artist was Barry White, who was known for doing the same with his original compositions.
Movies and TV shows may also have a score as well as a soundtrack. The score being the music that is composed for placement within the film at a particular moment to accentuate or highlight that scene or moment, while the soundtrack will usually contain music or songs that are written for the film. Scores, when they are well written, often go unnoticed, as they may have such an impact that the scene that they're included in becomes a highlight of the movie.
While classical music might not be everyone's cup of tea, there's still a good chance that a song that was or may still be popular, contains either some horns and/or strings, or a touch of classical influence.
Saturday, January 15, 2011
Gently Down The Stream
Chances are, that if you are reading this, you not only know what streaming is but you use it one or more times when ever you are on line. It is through the use of streaming technology that we are able to listen to and view live broadcasts, watch videos, and listen to music online. You may in fact use streaming so much that you never realize just how much you actually use it. The application of streaming applied to music has recently been considered as one of the causes of the decline of recorded music sales. The debate rages on.
The decline in recorded music sales, actually began in the mid-1990s. At that time the World Wide Web portion of the internet was only a few years old. So, streaming could not have been a cause, at least not initially. Trying to discover the root cause of the decline may possibly go on for quite sometime. The real issue is listening, but not buying. But, music consumers have always listened without buying. But, they have also listened and bought. The issue then is, what made them buy after listening? That's a topic for a blog post all it's own.
Now, when it comes to streaming, my personal belief is that it is similar in a way, to radio and television. However, clearly as we continue to transition to an all digital society, radio and television will continue to merge with the computer and the internet. In fact, more and more flat screen TVs are becoming computerized. They are being built with the capability to log on to, and stream media from the Web. Stereo radio receivers now come with iPod docks so you can play your music from it or download music right into it.
Broadcast networks are now streaming whole episodes of your favorite shows on the Web. Local radio and TV stations are streaming their news cast and music programs, live over the Web. Websites like Hulu offer web browsers the opportunity to view episodes of popular TV show like The Family Guy and Lincoln Heights for free after registering. Youtube on the other hand, gives groups and individuals the opportunity upload and share videos of just about anything. And, Myspace is still the number one source for finding the latest in music from artist ranging from Major label to Independent to DIY artists.
Devices like TIVO are now taking advantage of streaming. TIVO, billed as the most advanced DVR on the market, now offers NETFLIX, Amazon VOD and Pandora.
And, lets not forget about the streaming music stores like, Rhapsody and of course, iTunes.
While it's possible to make a case for streaming as a cause for the decline in recorded music sales, every indication, as near as I can tell, is that streaming technology is only going to grow and become even more prevalent. And, I don't think that anyone who enjoys viewing there favorite video or listening to there favorite song would want to see an internet without it. In fact, the Web would become a very stale, quiet, and uninteresting place.
The decline in recorded music sales, actually began in the mid-1990s. At that time the World Wide Web portion of the internet was only a few years old. So, streaming could not have been a cause, at least not initially. Trying to discover the root cause of the decline may possibly go on for quite sometime. The real issue is listening, but not buying. But, music consumers have always listened without buying. But, they have also listened and bought. The issue then is, what made them buy after listening? That's a topic for a blog post all it's own.
Now, when it comes to streaming, my personal belief is that it is similar in a way, to radio and television. However, clearly as we continue to transition to an all digital society, radio and television will continue to merge with the computer and the internet. In fact, more and more flat screen TVs are becoming computerized. They are being built with the capability to log on to, and stream media from the Web. Stereo radio receivers now come with iPod docks so you can play your music from it or download music right into it.
Broadcast networks are now streaming whole episodes of your favorite shows on the Web. Local radio and TV stations are streaming their news cast and music programs, live over the Web. Websites like Hulu offer web browsers the opportunity to view episodes of popular TV show like The Family Guy and Lincoln Heights for free after registering. Youtube on the other hand, gives groups and individuals the opportunity upload and share videos of just about anything. And, Myspace is still the number one source for finding the latest in music from artist ranging from Major label to Independent to DIY artists.
Devices like TIVO are now taking advantage of streaming. TIVO, billed as the most advanced DVR on the market, now offers NETFLIX, Amazon VOD and Pandora.
And, lets not forget about the streaming music stores like, Rhapsody and of course, iTunes.
While it's possible to make a case for streaming as a cause for the decline in recorded music sales, every indication, as near as I can tell, is that streaming technology is only going to grow and become even more prevalent. And, I don't think that anyone who enjoys viewing there favorite video or listening to there favorite song would want to see an internet without it. In fact, the Web would become a very stale, quiet, and uninteresting place.
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