While bumming around Brattleboro, we stumbled across Turn It Up! - a sweet indie music store on Elliot St. They have everything form new and used cd's, dvd's, books, even a wall of vhs & cassette tapes! There were also a few cd players so one could sample an album prior to purchase. I picked something from Tom Waits, hipster music elitist that I am, and noticed the girl sitting across from me sampling "The Joshua Tree" by U2.

Now, I've got nothing against the pop-rock stylings of Bono and his gang, but honestly, you come all the way to Brattleboro, VT (which from my point of view is next to the middle of nowhere), find yourself a sweet independent music shop and try out an album you can pick up at Target. Not only that, half the fucking songs it features have been on mainstream radio for YEARS! Go back to the music rack and check out some Fourtet or Bread & Roses for christ sakes! I should have just bought her a better damn album.

Since its release a few days ago, I have been thinking about the new Girl Talk album a little more with each passing day (I spin the disk more than once daily) and I have started to wonder about certain cultural and psychological qualities to music.  Specifically I've started to become interested in how much the beat of a song matters in the grand scheme of the song as a whole.  Some may argue that such an interest is of no importance when concerning contemporary popular music, as those types would begrudgingly say (as they probably have said ever since they put that Miles Davis or J. S. Bach recording on their turntables for the first time) that most music today is crap.  Without going into my theories on aesthetics and art, I will simply say that the masses, even when keeping consumerism and knowledge boundaries in mind, still listen to various bands and songs in one genre over others.  The market can indeed control which artists get big and which don't, but bands and artists get discovered or created based on the qualities of the listeners.

So now that, hopefully, it's understood that even the more basic types of music (though the types are often expanded on by complex, avant-garde or underground types) deserve critical analysis, let's get back to my concern for the beat of the song.  If you turn on the radio today, chances are the first thing you will if you have never heard the song before will be the singing voice in the song.  The singer is undoubtedly the most relatable to the listener as the singer can make contact via the musical qualities of voice as well as the linguistic, verbal communication qualities (ie. language) that the listener can most easily relate to (both in terms of linguistic speech patterns and the the similarities in emotional capacities of the voice).  But after agreeing or disagreeing with the singer, whether by knowing who the singer is or by not knowing and choosing whether or not to accept the voice, one lingers on the song to see how effective the beat of the song is.  Now this is a rudimentary and perhaps naive inference because there are obviously tastes in genres and sub-genres, emotional factors within the listener, et cetera that will influence a decision to keep listening, but for the sake of argument, let's stress the important the beat of a song--including the rhythmic or pacing qualities a song has (ie. how fast or slow it is).  The beat includes a combination of percussion, both keyboard melodies, synthetic strings, and otherwise drums, Granted, the voice and other melodies (guitar, backing vocals, singer or rapper) strictly replace the function of the beat as dominant in songs that lack or do not focus on having a beat, if any beat at all, but for songs that have a drum line or use variations on cyclical percussive patterns, there tends to be a theme (perhaps this is my hypothesis or postulate, if you will), that lack of beat equals lack of song.  I bring this up particularly with Feed the Animals because the album, in its arguably seamless entirety, makes use of sampled beats that spontaneously change faster than a Venetian Snares track, and ultimately the track has such auditory suction because of its ability to maintain a vibrant, diverse, and energetic series of beats that makes it both pleasuring, interesting, and at many times, hilarious.

On a random google search I came across this article on human timing mechanisms and their relationship to an internal beat.  This is the hard science end of what is required when analyzing mass interpretations of music and many of the biological functions that are going on between perception and braing activity.  Unfortunately I am not well-versed in literature of the sort so I don't know what established arguments or camps currently exist, particularly in terms of euphonic approaches to contemporary music.  What I do know is that Girl Talk combines the pre-established relations to hit (popular) songs that most people know, probably primarily through radio, in what could be considered a Jungian throwback to the development of some collective unconscious, some constantly changing, constantly unfolding razzle dazzle that is able to hit all genre bases (thus, perhaps, nullifying genre), and that is able to hit popularity and obscurity bases (you've got Nine Inch Nails, Of Montreal, and Lil Wayne; you've got "Come on Eileen" and "Throw Some Ds" and Baby Mama's intense spit about lip gloss).  After all is said and done, the focus comes down to the sheer number of changes that happen throughout this wonderful new approach to soundscapes--it's like an epic symphonic poem, of sorts--it's like the world of music condensed and then manipulated, like the world's greatest computer turned into a two inch long flash drive that is colored pink and makes pig noises.  The total length of the new album (fifty five minutes) is astonishing--it keeps the listener wanting more, gives a delicate, well-maneuvered shift between rises and falls in energy and mood, and the music does not wear out through repetition.  It's important to understand how easily repetitive electronic music of any sort can get.  From hip-hop spinning to heavy goa trance tracks to drum and bass to artists like Diplo and DJ Shadow--all of these sub-genres of music (that aim to not only please the listener aurally but provide the incentive to groove or dance) can get really old and obnoxious and bland if not expanded on regularly.  The old Girl Talk album, Night Ripper, was good at what it did, but I think many would agree that the first half of the album really shines, where the second half of the album tapers off into "okay, we've seen your mashup capabilities and know you're good at what you do, but we liked the first half better--it was more explosive" land.  But that's not a huge bash to Night Ripper.  A potentially larger bash would be the compliment that the album was generally enjoyed all the way through because it was played at parties where extensive alcohol consumption levels were as a) mind-blowing (literally and figuratively) as the music itself, and b) were as long-lasting as the repeat button on the player that spun the disk.

But before I go overboard, I think this is where a cultural inspection of popular music becomes an important piece of the puzzle in understanding why certain music is considered "good" and certain music is danced to because it's "good to dance to."  It is a complicated assessment of how far down the music intricacy rabbit hole you want to go.  The music that is good to dance to, to groove to, that initiates you and keeps you an active participant in it--rather forces you to feel it's energy and assertiveness--is probably, more often than not, just like all other forms of music, crap.  But look at Girl Talk and tell me the music is crap--perhaps it's even more noteworthy because it combines accessibility and that electronic musician talent that is often lost through the bass lines and beats of most of the crunk and club music out there--those songs that maybe incorporate a maximum of four instruments in their beat, with maybe a sample from a keyboard and a few synthetic string arrangements.  You know the type.  Hell, even artists that I listen to on a regular basis--Young Jeezy, Bun B, T Pain, Lil Wayne, Birdman, Trina (we could all go on)--don't exactly have beats that are genre defining or even defining.  Most of the cultural staples are, in essence, remembered because of their lyrics.  "Everyday I'm hustlin, hustlin--" that line is really easy to recall, but do you remember any of the music that stood behind Rick Ross's little gem?  Diehard fans might, but then ask them how many of the beats of Rick Ross, who I enjoy thoroughly by the way, they can recall and describe to you.  It's a test that's not supposed to prove anything.  If you don't know the beat of one of the twenty-plus hip-hop songs off Bun B's King of the Trill album, no one is going to beat you up and stop calling you gangsta.  In contemporary popular music, ranging from hip-hop to electronic mash-ups, the beats tend to be "in-the-moment" features of the music.  Their function is to serve you while you are listening, as opposed to when you are reflecting or remembering.  I am not going to say that some songs, such as Busta Rhymes's "Put Your Hands Where My Eyes Can See," or Animal Collective's "Purple Bottle" have beats that you can't remember if you've heard these songs before (and liked them, by the way--let's not forget basic memorization patterns!).  Some songs are exceptions.  Maybe they are examples of the real mainstream "art" of the medium, as they will probably have a better chance of standing the test of time than, say, "Fireman" by Lil Wayne, or "Let's Make Love in the Club" by Young Jeezy.  While those songs do have their positive qualities, their function is, depending on how you look at it fortunately or unfortunately, temporary.

I have single-handedly gone from an interest in how the beats of the song matter to how songs maintain throughout time or fall apart and fizzle into dust.  That's generally what happens when I approach culture.  But these thoughts will have to be expanded.  If you download the new Girl Talk album, take a step back as your shoulders are moving up and down, your head is nodding, and your fingers are tapping.  Start to question what qualities within each track (and within the album as a whole) make you want to dance, and make you want to continually dance.  I still wonder why the new album is so successful.  I'm pretty sure it has something to do with its appeal through popular culture by way of familiarity and humor, combined with its ability to sound good through those cultural elements and the beats that are used.  Another interesting factor is that the songs on the album have beats that are not always distinguishable.  Meaning, he probably took the drums from somewhere, but where?!  The next question would be: does it matter to know where the beats come from, or are there qualities about them that make them good even when they are not distinguisable between songs?  It'd be hard to doubt that certain beats and beat patterns are all over different songs, and that, though the sounds of the percussion and synths may very, their patterns are cyclically identical through history.  But what makes a beat pleasing to the ear?  What's the best (most effective) drum track, and how can it be expanded?  Girl Talk expands--notice the glitching and the spitfire fragmentation--but there are even more successful tracks that are played in dance clubs everywhere, blasted from cars that travel down the road, and find homes in the cell phones of people everywhere.  The minimalist would say, "it sounds good."  But just as poetry addresses natural breath by way of meter, and just as songs often refer back to their metronomic approach to time and speed, I think that aural substance in given spots of time, little packets that enter in and out of the airwaves, in and out of the ear, affect the perception of euphony greatly.

In other news, I started to listen to the new Sigur Ros album, the first two tracks in particular.  The album is called Með suð í eyrum við spilum endalaust and apparently it's produced by the same guy who has a production history with Nine Inch Nails, which explains why the first two tracks have a heavier, fast-paced, percussion-oriented, studio-resonating sound.  A big difference from the ambient currents of ().  Though I've got virus problems on my home computer, the album will probably get listened to and reviewed this evening.

A few years back- when BBC Radio 3 still has the wisdom to carry the experimental music show Mixing It - (now happily relocated on Resonance FM as WTSIT -where's the skill in that) - I remember (and fortunately taped) a great interview with cutting edge producer and performer Steve Albini. When asked about the differences between mainstream and underground music, this was his reply:

"There's always been a mainstream music scene which is a business enterprise....there has always been an underground which is separate from that. The mainstream and the underground have a little bit of cross pollination but more often than not they can be thought of as completely distinct from one another.

The underground is self defining and doesn't have an external support network and anything which has no burden can move quickly. So there tend to be quick development and little pockets of hard boiled enthusiasm that will survive forever.

There was a period in the 1990s when the mainstream started trying to co-opt certain stylistic elements and certain personalities from the underground - inflating them into mainstream significance. That little experiment having played itself out, the mainstream has retreated from this kind of music.

So the people in the underground scene are cognisant of the fact that it's not necessarily a way to make a living but , like figure skating or fly fishing, it's enjoyable for its own sake, whether or not someone pays you to do it"

Music in the past had worthwhile messages and often empowered the listeners to strive for something good and meaningful. Nowadays, the listeners are often led on selfish head trips that do not empower at all but rather cripple.

Much of the music of the past was geared to correct society’s problems. Now, music is rather limited in its focus. The main focus is on appearance, material gain and other rather selfish themes. Take a look at MTV for evidence.

In Plato’s, The Republic, the role of music was discussed for the ideal state. In the ideal state, harmonies which expressed excessive sorrow and relaxation were to be banished completely. In musical terms, Plato only allowed for two modes in songs and melodies: Dorian and Phrygian¹ Probably, Spinal Tap’s sad piece, “Lick My Love Pump”, would have been banned.

The modern Philosopher Friedrich Nietzsche said in his Case of Wagner in 1888: “Only sick music makes money today.” I believe this quotation has much relevance to most of today’s mainstream music.

Here is the Top Ten hits from Top 40 Charts for May 2, 2008 for sales and airplays.

1. Lil Wayne – Lollipop
2. Leona Lewis – Bleeding Love
3. Jordin Sparks & Chris Brown – No Air
4. Usher & Young Jeezy – Love in This Club
5. Mariah Carey – Touch My Body
6. Madonna & Justin Timberlake – 4 minutes
7. Sara Bareilles – Love Song
8. Ray J & Jung Berg – Sexy Can I
9. Chris Brown – With You
10. Lupe Fiasco – Superstar

Let us examine some of the lyrics.

Partial lyrics Chris Brown – With You

'Cause if I got you
I don't need money
I don't need cars
Girl you're my heart

Mr. Brown’s implied message is good. He implies that material things are less important than people. I give him a thumbs up for good positive message.

Usher & Young Jeezy – Love In This Club

Might as well give me a kiss, if we keep touching like this
I know you're scared, baby, they don't know what we're doing.
Let's both get undressed right here, keep it up and, girl, I swear.
I'm gonna give it to you non-stop.
And I don't care, who's watching.

I believe this is bad message that promotes impulse and lack of commitment. Thumbs down.

Mariah Carey – Touch My Body

Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed
I just wanna make you feel
Like you never did.
Touch my body
Let me wrap my thighs
All around your waist
Just a little taste
Touch my body
Know you love my curves
Come on and give me what I deserve
And touch my body….

Trash lyrics. Maybe Mariah is tired of the Paparazzi filming her and claiming they had relationship with her. Thumbs down for negative message. (oh boy).

Leona Lewis – Bleeding Love

Closed off from love
I didn't need the pain
Once or twice was enough
And it was all in vain
Time starts to pass
Before you know it you're frozen um ooh ooh ooh yeah

But something happened
For the very first time with you
My heart melts into the ground
Found something true
And everyone's looking round
Thinking I'm going crazy

But I don't care what they say
I'm in love with you
They try to pull me away
But they don't know the truth
My heart's crippled by the vein
That I keep on closing
You cut me open and I

Keep bleeding
Keep, keep bleeding love
I keep bleeding
I keep, keep bleeding love
Keep bleeding
Keep, keep bleeding love
You cut me open

Trying hard not to hear
But they talk so loud
Their piercing sounds fill my ears
Try to fill me with doubt
Yet I know that the goal
Is to keep me from falling

But nothing's greater
Than the rush that comes with your embrace
And in this world of loneliness
I see your face
Yet everyone around me
Thinks that I'm going crazy, maybe, maybe….

I’ll give credit to Ms. Lewis for staying committed and fighting the good fight through the problems. This song is obviously about love. Thumbs up for positive message.

The music of the 1960s brought about change in a turbulent decade. The time was about questioning authority. George Harrison’s song “Think for Yourself” is a good example of the philosophy of the 1960s. Now people do not question authority much. We have become too satisfied with life. We have too much idle time and so we become obsessed with determining who has “The Sweetest Ass in the World”. If you do not know this song, look up Alex C. on google or youtube. These are the type songs that are not only popular but sell money today. I think Nietzsche would be having a fit!

In the past, music had the power to literally break down walls. In Biblical times the town of Jericho was liberated by music and sound. The walls surrounding Jericho came down from the loud blasts of trumpets and the shouting of priests. ² The music set the people free. The music of today often keeps us in bondage to depression or to bad situation we are going through.

Another Biblical musical reference is about the Shepherd David. David was requested to calm down the anxiety-ridden king of Israel. In the King’s palace, David played his soothing harp. This is an example how music can be used to benefit mental health.³

Most of today’s music is aggressive but it makes sense with the War on Terrorism and Iraq both raging. There are so many bad vibes floating around. The workplace is also very volatile and up and down with lay-offs, wage freezes, and rumors of recession. Maybe we are all fed up with what is going on or we should be. We are in a fearful and uncertain time. It is often hard to see the light at the end of the tunnel.

I believe that most people should be a little angry and fed up. If the person is not, then the person is probably numbed by anti-depressants or other pills. (Been there, done that). Living in the comfort zone of America, people have become too apathetic to break away from American Idol or the latest fad or trend.

In the 1960s, there were riots, protests, demonstrations, assassinations, the most turbulent of decades. Today is probably just as turbulent or more but where is the cry for change from the mainstream?

There are a few but it is limited. System of a Down has been one of the more outspoken bands about the war in Iraq.

B.Y.O.B.

Everybody’s going to the party have a real good time.
Dancing in the desert blowing up the sunshine.

In 1969, at Woodstock, Country Joe sang his famous protest song of the Vietnam War. Here is the first part of the lyrics.

I Feel Like I’m Fixin’ To Die

Yeah, come on all of you, big strong men,
Uncle Sam needs your help again.
He's got himself in a terrible jam
Way down yonder in Vietnam
So put down your books and pick up a gun,
We're gonna have a whole lotta fun.

And it's one, two, three,
What are we fighting for?
Don't ask me, I don't give a damn,
Next stop is Vietnam;
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why,
Whoopee! we're all gonna die....

The band, Rage Against the Machine has been outspoken on such issues as censorship and artistic freedom.

This is a very big issue in the music industry these days. Stay tuned...

To end on a positive note, here is a list of artists that have thoughtful and forward thinking messages and have meant a lot to me. You cannot go wrong here!!

1. Animals, The
2. Arlo Guthrie
3. Association, The
4. Band, The
5. Beach Boys, The
6. Beachwood Sparks
7. Beatles, The
8. Beck
9. Black Angels, The
10. Black Rebel Motorcycle Club
11. Bob Dylan
12. Bob Gibson
13. Brian Jonestown Massacre, The
14. Bruce Springsteen
15. Buffalo Springfield
16. Byrds, The
17. Canned Heat
18. Carl Perkins
19. Carter Family, The
20. Chi-lites, The
21. Chris Stills
22. Chuck Berry
23. Coasters, The
24. Counting Crows, The
25. Crosby, Stills, Nash, and Young
26. Cure, The
27. Dandy Warhols, The
28. David Bowie
29. Deep Purple
30. Depeche Mode
31. Donovan
32. Doors, The
33. Edie Brickell
34. Elvis Presley
35. Fairpoint Convention
36. Flat People
37. Flying Burrito Brothers, The
38. Further
39. Gene Clark
40. George Harrison
41. Go-Kart Mozart
42. Gram Parsons
43. Grateful Dead, The
44. Hank Williams
45. INXS
46. Janis Joplin
47. Jay Farrar
48. Jefferson Airplane
49. Jesus and the Mary Chain
50. Jimi Hendrix
51. John Lennon
52. Johnny Cash
53. Kinks, The
54. Kula Shaker
55. Led Zeppellin
56. Left Banke
57. Lenny Kravitz
58. Little Richard
59. Lou Reed
60. Louvin Brothers, The
61. Love
62. Lovin’ Spoonful, The
63. Merle Haggard
64. Monkees, The
65. My Bloody Valentine
66. Mystic Chords of Memory
67. Neil Young
68. N.W.A.
69. Oasis
70. Paul McCartney
71. Pink Floyd
72. Poco
73. Police, The
74. Quarter After, the
75. Radiohead
76. Rage Against the Machine
77. Red Hot Chili Peppers
78. Richie Furay
79. Ride
80. Roger McGuinn
81. Rolling Stones, The
82. Ryan Adams
83. Sheryl Crow
84. Sly and the Family Stone
85. Simon and Garfunkle
86. Son Volt
87. Spacemen 3
88. Stephen Stills
89. Strawberry Alarm Clock
90. System of A Down
91. Thrills, The
92. Tom Petty
93. Troggs, The
94. Tyde, The
95. U2
96. Uncle Tupelo
97. Van Halen
98. Van Morrison
99. Velvet Underground, The
100. Violent Femmes, The
101. Warlocks, the
102. Who, The
103. Willie Nelson
104. Wiskey Biscuit
105. Wilco
106. Wings
107. Zombies, The
108. ZZ Top

up¹Plato. Republic. Trans. Benjamin Jowett.

up² Josh. 6:20

up³ 1 Sam. 16:23

You know it’s true. It seems there is nothing more entertaining than watching the freak parade, even if the freaks are in fact human beings falling to pieces in front of our eyes.

Take poor lil Amy Winehouse for example. Now I’ve bitched about her before only because it irritates me that someone with such obvious talent has no respect for her own life. Then there are those who are supposed to be looking after her (Island records/Universal records). If you ask me these people are monsters allowing her to deteriorate the way she is & then selling it all over the world like it’s cute. Well it aint!!

People are not laughing with you Amy, they are laughing at you. Yes people are buying your albums but you are also notorious!! Whatever happened to artists wanting to be taken seriously? Whatever happened to credibility? Whatever happened to letting your talent speak for itself? I guess that must all be bullsh*t if we are to believe that paper trade that seems to be running the world, the tabloids!! If you ask me it’s way too much to sell your credibility & your soul for the 15 minutes of fame you get these days. Let’s face it, we will never see the likes of The Beatles or Michael Jackson again because talent is no longer the indicator of a star. It’s all bad habits, bad hair-do’s & bad behaviour. I’m tired of all these twisted little brats. Let’s give some airtime to people who actually learn their craft.

Many musicians, artists, and writers debate the one song-smith who will forever be remembered as history's greatest lyricist. Rolling Stone magazine attempted to settle this dispute recently, when they polled an enormous sampling of musicians, journalists, celebrities, scholars, and music industry experts to determine which troubadour will have his spot as the top lyricist of all time engraved in the history books.

The answer, not surprisingly, is the lead singer of Nickelback, Chad Kroeger. Of those surveyed, a shocking 72% ranked him above classic librettists such as W.S. Gilbert, Lorenzo Da Ponte, and Richard Wagner, and an even more impressive 95% ranked him above modern poet-musicians such as Morrissey, Patti Smith, Paul McCartney, and Bob Dylan.

Professor Stan Greenbaum, of Harvard's Department of English and Literature, had this to say: "What's essential to all writers is the ability to simultaneously tap into the cultural zeitgeist of his own era and also the greater universal truths that are essential to all people throughout time. A truly great writer will transcend the limitations of his own surroundings, while simultaneously communicating directly with those around him. Chad Kroeger embodies these traits more than any other musician alive."

Music historian and rock journalist Lee Carson claims Kroeger is brilliant, not just for his attention to form and imagery, but also for his subversion of anachronistic norms. "With Chad, all the old rules go out the window. He's not merely about doing something great, he's about blazing new trails. He's a bold visionary, who demands that you either keep up or get out of his way." Carson feels Kroeger is just hitting his stride. "Chad has a very envelope-pushing style and philosophy. That coupled with a brilliant and inventive mind makes for the kind of lyrics that will be remembered forever. And he's just getting started."

To show an example of what he was talking about, Greenbaum offered a sampling of Kroeger's lyrics, which he describes as "beyond brilliant":

This time, This place
Misused, Mistakes
Too long, Too late
Who was I to make you wait
Just one chance
Just one breath
Just in case there’s just one left
‘Cause you know,
you know, you know

- from "Far Away"

"Take a good look at how words rhyme with other words that are placed in close proximity. Who would have thought of it? Also, you'll notice a rhythm that continues throughout. Kroeger's subtle yet bold use of structure as a thematic enhancer is simply incredible," Greenbaum proclaims.

Another example:

I was wrong to think that I could ever trust in you,
I was wrong to think that you might want to trust me, too.
Here I am, here I am,
Here I stand,
Here I am, here I am, here I am, here I stand.

from "Where?"

Carson offers this explanation: "Kroeger offers intelligent commentary that appeals to a lot of people. Not only is he singing about things we can all personally relate to, he's making bigger statements about the world at large."

"Kroeger appeals to the intelligentsia community for the simple reason that his poetry is a feast for the mind," offers Greenbaum. "Every one of his songs is a stimulating and thought-provoking banquet of mental nourishment, probing and asking questions. His use of symbolic imagery and subtle ambiguity creates a representative story in which the listener may insert themselves or find deeper meanings on a multitude of levels. Kroeger is a master of allegory and which each turn of a phrase, communicates worlds while simultaneously cloaking his meaning in layers of complexity."

"Take a look at this song and see if you can dig through the layers of intricacy to find the beautiful and sublime truth contained within the interwoven fabric of prose," Greenbaum suggested of the following passage:

We’ll see you at the show
If you don’t come we’ll never know
You stand off in the back
You still stand out while you’re wearing black
Jump onto the bus
And ride around with all of us
We’ll go out on the town
And light it up ‘till we burn it down

- from "See You at the Show"

"I have to admit," cautioned Prof. Greenbaum "that sometimes I am so swept up in the epic beauty and unimaginable majesty of my favorite Nickelback songs, I am overcome with emotions. I often cry a beautiful cry just because Chad made me FEEL. He makes people FEEL dammit."

And now I’ve found a little friend
It’s too fast
This won’t last
And to touch
Hurts too much
And now I’ve found a little friend

- from "Little Friend"

Carson is pleased to reveal that he has access to new and unreleased Chad Kroeger material. "I've been lucky enough to have a friend who has a friend who has a friend... long story short, I have some of the lyrics Chad wrote for the upcoming album. To say I'm thrilled would be an understatement."

Mr. Carson is willing to leak these exclusive lyrics, seen here for the first time. Enjoy:

I play guitar
I drive in my car
Music is fun
For everyone
Do you rock?
I sure do
My name is Chad
So who are you?

- from "I Play Guitar"

another upcoming release:

The sky is blue
I love you
I wear a shoe
And so do you
I love you
And the sky is blue

- from "Sky is Blue"

Whatever the case, Kroeger's influence is as widespread as it comes. "Everyone on the planet loves this guy, and there's a reason for that. He's brilliant. He touches lives, changes the world, and shapes the future," Lee claims. "Kroeger is the real deal, a true genius and he's the one true troubadour left. He's our Dylan, only better. Times a thousand."

Let's see if history agrees.

GOD VERSUS DOORKNOB UPDATE: No new money. Time will soon be up for the doorknob, but I have the utmost faith. My daily worship continues, this time with a knob shining each time. No dirty jokes, please.

Although this was a brilliant approach on behalf of Radiohead I don’t think it is necessarily the way to go for new artists or bands trying to break in the market. There is most definitely something to be said for doing the hard yards, ultimately it will pay off. Radiohead have already done this. Let’s be honest they could have sold this album based purely on the fact that Radiohead is releasing a new album. For the Joe Blow band like you & me what will giving away our music achieve?

First of all if no-one knows who you are you won’t even be able to give your music away if you try anyway. Secondly, people tend to treat free gifts with some speculation. They could assume you’re giving it away because it’s rubbish. Thirdly, if you have a genuinely good product people will be happy to pay for it so why sell yourself short?

At the end of the day consumers are not that easily fooled & artists should stop acting foolishly. In every other occupation you are paid for the hours you put in, not so for music. Making music is a labour of love but we cannot continue to grow & make better music if we are always out there working “other” jobs to support the habit. That’s why we have to ask people to support us by buying our music or paying to come to our shows & there is no shame in that if the product is good. Keep in mind that time is money & a lot of time gets put into music & as musicians we also have to put a lot of our hard earned cash on the table to fund our passions. Be proud of your work & don’t sell yourself short, there are enough people out there that will do that for you for free.

I recently read an email in response to a blog by music "expert" Bob Lefsetz. It was from a band on a major music label who wrote to Bob telling him their label wanted them to list themselves as unsigned on Myspace so that they could be placed in Myspace top unsigned bands. The band was not happy lying to their fans & that's about as much as I know of the situation. It made me wonder though…

It seems everytime a new trend or new style of music becomes highly popular away from the mainstream big corporations jump on it, push it as hard as possible to make it mainstream & ultimately kill it. This happened in the 80's with glam rock, in the 90's with grunge & in the noughties with hip-hop.

The trend these days seem to be leaning towards independent music. The only playing field left where musicians are still able to make music without compromising their own style, opinions & beliefs. It has come about as a result of people having access to the tools to make music as well as the most important tool in selling their music – the internet.

I have noticed in recent times that there are a number of acts on small independent labels that are doing great things. On closer inspection I have noticed that a number of these smaller labels are owned by major labels. This may not mean much on face value but it's a great marketing tactic.

Major labels have seen the power in independent music & the value listeners & fans place on these undiscovered marvels & they had to cash in on it. I'm not saying I will stop listening to an artist because their independent label is owned by a major label, lucky for them!! Chances are they are doing great things because they have the contacts & budgets to get their music out. It's about awareness & letting major labels know that we are not fooled. Hopefully major labels won't kill independent music the way they've killed everything else in the name of the almighty dollar.

Then again this can be said of so many these days. It doesn't seem to matter who you are being tortured is the common condition. Everyone has hard times but at what point do we get so disillusioned & self-centered that we can no longer see beyond our own problems. Yes, I said self-centered, I may even go as far as saying selfish!! Are you mad at me yet??

Fact is life is hard & bad things happen but this tortured act in my opinion is a direct symptom of being self-centered. I can sit down & tell you my sob story, I too have the right to yell & scream & have a tantrum at the world because life isn't how it should be. When I get like that I take a deep breath & I think of others. There are a few things in life you can be assured of; there is someone smarter than you, prettier than you, better at sports than you & there is someone worse off than you. I think of those worse off than me & I'm quite often ashamed by my petty grievances.

I wrote these lyrics because I was having a bad day & I needed to remind myself not to be a shithead.

Looking at yourself in a two way mirror
All that you see is you & yourself
Out of touch with the real world
You can't see the future
Living inside you is such a bitter hell
But you can't & you won't
You're too scared so you don't
You're on the verge of falling but you just can't let go
Grab a hand, take a chance leave behind that romance
That you have with yourself & take a look outside

It's a new day, it's the perfect time
Get over yourself & it will be alright
It's a new day, time to break the spell
Enchanted with yourself but you ain't doing so well

Wake up take a look around
We all have our problems get your head out the ground
Reach out lend a helping hand
Maybe it will lead you to the Promised Land
Cus you can if you try, you don't have to deny
We've all had our days & had some tears to dry
But you can make a change don't let it slip away
Tomorrow holds the promise of a better day

The EP:

Extended play (EP) is the name typically given to vinyl records or CDs which contain more than one single but are too short to qualify as albums. Usually, an album has eight or more tracks (anywhere between 25–80 minutes), a single has one to three (up to 10 minutes) and an EP four to seven (or around 10–25 minutes).

The Demo:
This is a trial recording of a song or album. Such recordings are done as promotional recording to obtain work or a Music contract. They usually consist of up to three songs & serves as a example of their capabilities.

Now on to the BIG question - Do I make a demo or an EP?

Well, this is up to personal choice & it depends somewhat on what you are hoping to do with your music. “Pop” (very contemporary) music tends to do much better with the support of record labels. Labels are happy to put money behind these artists because they market them to the masses & have a higher rate of return on their investment. Keep in mind though that competition is rife so your best chance is to invest in making a radio quality demo. Labels are known to put demo songs straight to radio if it is of good enough quality because it saves them time & money.

If you are an indie, rock or slightly obscure artist you can do just as well going it alone. We are fortunate enough these days to have some great initiatives for unsigned musicians. For example in Australia we have Nova unsigned & radio stations like Triple J who will air your music. They do however require your tracks to be of radio quality. That means a high quality recording that is possibly mastered as well. This costs money & that’s why the EP or album trumps the demo for the indie artist. It’s only one step further than the demo but you can sell an EP or album on sites such as C.D. Baby or your own personal website. You are able to make money straight away & start booking gigs. This makes more sense than spending money on making a quality demo, sending out hundreds of copies & waiting months for responses or any return on your investment.

The other good news about investing in your own music & making an EP over a demo is that you can still get picked up by a label. In fact labels tend to be more interested when they see you have created your own fan base & have done a lot of the work for them. It gives you leverage in making a deal because a label will have to offer you things that you can’t do for yourself.

All in all, what we’ve discovered is that at the end of the day a good quality demo can take as much work & money to make as an EP so for many of us, the choice is obvious.

http://www.unsigned.com
http://www.soundclick.com
http://www.showcaseyourmusic.com
http://www.purevolume.com
http://www.garageband.com

You can even go as far as being genre specific or location

http://www.indieiniative.com
http://www.fasterlouder.com.au

These are just a few of the many, many places you can get your music heard, & it’s FREE!! You can also do a general Google search for other sites that offer free music profile pages. So get out there & start uploading!!

Having said all that, it’s very easy to get lost in a climate where everyone wants to be famous & everyone wants to be a musician. If you are serious about your music the best thing you can do for yourself is make a STANDOUT demo. Naturally this costs money but there are a few things you can do to keep your costs to a minimum;

* Focus on your writing before you go anywhere near the studio.

* Make sure you have more than enough songs to choose from. It’s not always the case that the first songs you write should be on the demo. Songwriting is something that develops & gets better with time so write as much as you can & be brutally honest. I’ve known many artists who rushed the writing process & ended up having to do several demos. It’s a waste of time, money & it can damage your confidence. With the right material your demo will stand the test of time & it won’t have to be updated every few months.

* If you think a song is just ok, chances are so will everyone else. Choose songs that you feel strongly about & that you can deliver.

* Work on the tracks you’ve chosen BEFORE you go to the studio. Make some rough recordings on your home computer or recording device. Listen to it carefully & work out where you can improve things, what works & what doesn’t. You will lose time & money if you go to the studio just hoping things will fall into place.

* Choose your recording time wisely. Many studios offer cheaper packages if you book an 8-hour day. This is a great package for a band recording various instruments. For a vocalist this can be too taxing on your voice & you may not get the best results so make sure you are up for it. Not everything works on the first take!

* KNOW YOUR PARTS!! Learn your words & know your parts before you get to the studio. This is not a rehearsal folks!

* If you put all these things into place your demo may very well end up being something that can be turned into an EP. In that case you’ve just forgone the “demo” stage & you’re on your way to being an independent artist.

Next time we’ll discuss “the demo versus the EP”. For now remember, Rifunit says - If you don’t have anything good to say…SING!!!

When a new artist hits the airwaves & the tour circuit we often look at them with envy & think.. "wow, they're so lucky, that should be me" We assume that they woke up one day, made a demo & got signed so most musicians go out, spend money, make a demo, or two, or three in the hope of reaching those dizzying heights. Fact is, most artists spend several years working on their music before they are discovered & for those lucky few that are signed to deals, they're often not all they're cracked up to be.

For those of you who have not heard of The Bird & the Bee go & check them out. They are fairly new to my ears, I saw one of their tracks on Rage "Would you be my F*cking boyfriend". Now this is not really a mainstream track, what with those lyrics & all but they have a lovely sound about them & there is a remixed, clean version floating around. These are seasoned musos who spent 3 YEARS putting together this project. That's the reality of music. If you want to make good quality music that will stand the test of time you need to put in the long yards.

Now for all those artists starting out & thinking about making a demo to send to a record label here are a few facts before you go ahead & spend your hard earned cash.

* Record labels no longer accept unsolicited material. They do not have the time to sort through thousands of wannabe artists. You are most likely to get a listen if you have a friend inside who will speak on your behalf & recommend your music.

*If you are able to get through the door & have them listen to your music be prepared for them to ask you to make changes. Chances are they may like what they hear but they will tell you to go away & fix things up. This does not mean you are guaranteed a deal when you get back. They may well send you away several times to change things.

*Very few people these days are getting album deals off the street. The reality is it's not what you know it's WHO you know. Think Lily Allen, her daddy is actor, comedian Keith Allen & mommy dearest is film producer Alison Owen. This may not mean anything to you but it helps to know people in high places.

I will leave you to ponder this for now. Next time we'll talk further about getting your demos heard & how to be cost effective when making your demo.