Yesterday friends, family, and bandmates of Scotland Barr (AKA Scott Barr Moritz) gathered at Duff's Garage for a moving tribute. The afternoon began with Scott's wife Stacy tearfully remembering the man we all love. Then there was a slide show / video compiled by Slow Drags Bryan Daste and Andy Nelson. I had no idea the crazy hairstyles and outfits Scott had worn over the years. If there was a dry eye in the house at this point, the meal should have changed that. Wonderful salmon, wings, and tamales served with black beans and rice- all of which no doubt had more than a touch of Aardvark.
After people had settled in with their food, the main event began. Past and present Slow Drags took the stage, augmented by some of the most notable musicians from Portland, Seattle, and beyond. We played for well over an hour with all of the Slow Drags taking lead vocal duties on 1 tune each. Yes, even me, on "Washing Over Me".
Finally the service was closed with many friends sharing thoughts and memories of Scott. I had prepared a short statement, which since I didn't use notecards was slightly different at the service than it appears here but this version is probably better anyhow.
Scott and I had a lot of arguments. His main gripe with me was that I didn't take my playing serious enough. He said I was "a construction worker who played the drums" and it should have been the other way around. He was right. I always complained that I didn't have enough money and couldn't afford to keep touring more and more. He told me that it was simple, I needed to change my paradigm. I dug my heals in, citing logic and reason. How could I ever expect to survive? I didn't want to "suffer for the arts." I held on as long as I could, but in the end the band carried on without me. Scott used to ask me what I wanted to do. Did I really want to be a construction worker who played drums on the weekends? When you're riding around in a van with 5 other dudes not knowing where you're going to sleep or how you're going to make your car payment, that doesn't sound too bad. It was only when I was out of the band did I realize the truth. I HAVE to play music. Moreover, I have to play GREAT music.
Scotland Barr & The Slow Drags set the bar incredibly high. So I did change my paradigm.
Many of you are artists like Scott, so you already know what I'm talking about. There's the guy you work with who goes and plays an open mic every Tuesday. There's the guy who is always talking about his band, and how they have a big show coming up. Then there's the guy who used to work there but left one day. The guy who stopped working for the man all together and devoted all of his time to chasing a dream. That was Scott. The lesson I take, and we all should take, from Scott is this: Change your paradigm. What do you want to be? Not what your parents want or your girlfriend wants. Certainly not what your boss wants. What do you want? If you create, do it more. If you're blessed with NOT having the creative gift, but rather the ability to plug into the matrix and earn a good living, that's great. But make sure you support the arts. Next time your coworker has a show, get some people together and go see it.
Scott would never stand for mediocrity, and certainly not crap. One of the last conversations we had was lementing how many people listen to Kid Rock and think it's good music. Take a stand! Don't settle for garbage, expect more. There is great art out there waiting to be appreciated, you just have to dig a little deeper.
The whole service was video taped, so if some excerpts from it ever see the light of day I'll be sure and point you to them. Also, the band are very eager to finish the album but without the ability to play shows are a bit strapped financially. If you wish to make a donation to help complete Scott's masterpiece, visit www.scotlandbarr.com and follow the paypal link. And if you haven't done so already, download the four new tracks posted there for free and share them.
Sunday, September 27, 2009
Tuesday, September 1, 2009
Took That Long Slow Walk Down Ocean Drive...
For two years I had the honor of drumming with Scotland Barr & The Slow Drags. Last fall Scott was diagnosed with pancreatic cancer. He battled it hard and never gave up. He continued to write, record, and perform. Scott is the greatest songwriter I have ever known and rightfully should one day be known by many more than the lucky few who got to share the stage with him or see him play. Scott was constantly creating. In addition to music, he was an incredible chef. If you've ever been to Salvador Molly's or enjoyed some Secret Aardvark sauce then you know what I'm talking about.
Scott gave much more to the world than he ever asked for in return. The ultimate goal of any artist is to have their work be enjoyed by as many as possible. What I ask for from all of you now is this: enjoy and share. If you own a copy of either "Legionnaires' Disease" or "All The Great Aviators Agree" take it out and give it a listen. Go to www.scotlandbarr.com and you can stream them both, as well as 4 brand new tracks (his best work in my professional opinion.) Play them for a friend. Buy a few cds and send them to music lovers you know. If you or someone you know is a foodie, pick up a few bottles of Secret Aardvark. The now famous hot sauce is available all over Portland along side the Drunken Garlic Black Bean and the just released Drunken Jerk.
Personally I'd just like to express my deepest thanks to those of you who took the time to attend our shows over the years. Scott didn't write songs for twelve year olds, you had to listen intently many times to really get inside them but it was always worth it! I know we're all busy with our social lives and it's not always top priority on anyone's weekend agenda to watch a band play songs that aren't "Jessie's Girl" or "Lady GaGa". Anyhow to my many friends who did make that effort, thank you. Not once did it go unnoticed by myself and the rest of the band. God Bless Scott, you will not be forgotten.
Scott gave much more to the world than he ever asked for in return. The ultimate goal of any artist is to have their work be enjoyed by as many as possible. What I ask for from all of you now is this: enjoy and share. If you own a copy of either "Legionnaires' Disease" or "All The Great Aviators Agree" take it out and give it a listen. Go to www.scotlandbarr.com and you can stream them both, as well as 4 brand new tracks (his best work in my professional opinion.) Play them for a friend. Buy a few cds and send them to music lovers you know. If you or someone you know is a foodie, pick up a few bottles of Secret Aardvark. The now famous hot sauce is available all over Portland along side the Drunken Garlic Black Bean and the just released Drunken Jerk.
Personally I'd just like to express my deepest thanks to those of you who took the time to attend our shows over the years. Scott didn't write songs for twelve year olds, you had to listen intently many times to really get inside them but it was always worth it! I know we're all busy with our social lives and it's not always top priority on anyone's weekend agenda to watch a band play songs that aren't "Jessie's Girl" or "Lady GaGa". Anyhow to my many friends who did make that effort, thank you. Not once did it go unnoticed by myself and the rest of the band. God Bless Scott, you will not be forgotten.
Thursday, August 13, 2009
Thoughts on The Shins, etc...
1st of all, it's been way too long since I've updated this thing. To my loyal reader(s), sorry.
Mickey, former bass player for Scotland Barr, and I just got together recently for quite a long chat. He told me about the Jesse Sandoval interview in the Portland Mercury. Jesse Sandoval, along with Marty Crandall, was recently fired from The Shins. Jesse has long been one of my favorite drummers and thus one of my main influences. You should go over to PortlandMercury.com and read it for yourself. I didn't find anything in that interview that I hadn't already deduced for myself.
As a drummer, I have been fired from many bands, and it seems to be the same everytime: It's always a surprise. Sure, looking back I could see the writing on the wall. But it's never easy when it happens. The way Jesse and Marty were dismissed is very typical. The singer / songwriter of the group (in this case, James Mercer) is the tormented genius. It's a stock character, the troubled introvert who writes and sings amazingly and creates incredible works of art. Then there's the goof-ball class clown drummer. Not shy, not introverted, couldn't write a great song to save his life but loves being in a band.
This was a great source of conflict in the Drags because Mickey and I were always up on stage grinning like idiots even if the show wasn't going well. Others in the band took this to mean that we simply didn't give a shit. I think I had some degree of success in explaining that the reason I tried to always appear to be having a great time on stage is that I feel it is crucial that the band project an image of fun while playing. After all, we want the audience to enjoy the show, and why would they if we aren't enjoying it ourselves. Just because I have this happy-go-lucky demeanor doesn't mean mistakes don't bother me.
This was Jesse and Marty in The Shins. Probably not the most talanted musicians in the band, but certainly fan favorites. They were probably also the ones who could make the other guys laugh, albeit at their own expense, when things got heated. There is a certain dynamic that a band has, when it is made up of friends who started playing together before any of them were really very good, or at least accomplished. There's much more to the sound of a band and the music that band creates , either on stage or in the studio, than the sum of it's parts. Unfortunately craigslist is changing that. Band members are nearly always auditioned and hired based on their ability to learn the parts quickly. It seems like the organic method where 5 friends start jamming in the basement is fading fast. Replacing it is the very business-like weighing the pros and cons of a pool of applicants and selecting the best one on paper before actually really getting to know the person.
Jeff Tweedy famously fired Jay Bennett from Wilco and then took the band on to far greater levels of commercial success. Jay says in the documentary something like "I think Jeff simply wanted his band back." In that movie Jay comes off as a real asshole, but let the record reflect that as soon as "A Ghost Is Born" was released I pointed out and my friend Brian Bergstrom agreed that infact Jay had a much bigger positive impact on the sound of Wilco's records than most people knew. Anyhow, since this famous incident I believe it's become almost a right of passage for singer / songwriters. Re-assert your control of the band. Make the bold move. Fire the person who maybe you clash with the most. It really has a galvanizing effect initially on the remaing members. I've been on both sides of this. Once the naerdowell is gone, he is scapegoated with all of the past problems. Any insecurities on the part of the other players will disappear with the circling the wagons. Only after many months and shows and recordings do you really start to realize exactly what you've lost.
I also feel that a bandmember who on the surfface appears to be the least talanted might just be the key to success. Maybe they can push the songwriter's buttons like no one else. Maybe it's that constant conflict that drives the songwriter and makes the finished product better. Once you jettison everyone who disagrees with you, you have free reign- not necessarily a good thing.
Concerning The Shins, I'm sure James was encouraged by yes-men and business types in his inner circle to make the bold move. Now he is free to bring in the most talented musicians without the constraints of keeping the band togther. He will likely go on to world superstardom while Jesse runs his taco cart and Marty does whatever he's going to do. But it will never be the same. The 4 kids from New Mexico, high school chums out to take over the world, are gone. It's now a corporate machine, where the bandmates are paid employees who know their place and can be hired and fired on a moment's notice.
Anyhow, I'll write more about what it's like to be a drummer in a band of musicians later. And in the meantime, check out the Bradley Wik & The Charlatans show at Berbati's on 8/23. We've been practicing real hard and can't wait to rock P-Town again.
Mickey, former bass player for Scotland Barr, and I just got together recently for quite a long chat. He told me about the Jesse Sandoval interview in the Portland Mercury. Jesse Sandoval, along with Marty Crandall, was recently fired from The Shins. Jesse has long been one of my favorite drummers and thus one of my main influences. You should go over to PortlandMercury.com and read it for yourself. I didn't find anything in that interview that I hadn't already deduced for myself.
As a drummer, I have been fired from many bands, and it seems to be the same everytime: It's always a surprise. Sure, looking back I could see the writing on the wall. But it's never easy when it happens. The way Jesse and Marty were dismissed is very typical. The singer / songwriter of the group (in this case, James Mercer) is the tormented genius. It's a stock character, the troubled introvert who writes and sings amazingly and creates incredible works of art. Then there's the goof-ball class clown drummer. Not shy, not introverted, couldn't write a great song to save his life but loves being in a band.
This was a great source of conflict in the Drags because Mickey and I were always up on stage grinning like idiots even if the show wasn't going well. Others in the band took this to mean that we simply didn't give a shit. I think I had some degree of success in explaining that the reason I tried to always appear to be having a great time on stage is that I feel it is crucial that the band project an image of fun while playing. After all, we want the audience to enjoy the show, and why would they if we aren't enjoying it ourselves. Just because I have this happy-go-lucky demeanor doesn't mean mistakes don't bother me.
This was Jesse and Marty in The Shins. Probably not the most talanted musicians in the band, but certainly fan favorites. They were probably also the ones who could make the other guys laugh, albeit at their own expense, when things got heated. There is a certain dynamic that a band has, when it is made up of friends who started playing together before any of them were really very good, or at least accomplished. There's much more to the sound of a band and the music that band creates , either on stage or in the studio, than the sum of it's parts. Unfortunately craigslist is changing that. Band members are nearly always auditioned and hired based on their ability to learn the parts quickly. It seems like the organic method where 5 friends start jamming in the basement is fading fast. Replacing it is the very business-like weighing the pros and cons of a pool of applicants and selecting the best one on paper before actually really getting to know the person.
Jeff Tweedy famously fired Jay Bennett from Wilco and then took the band on to far greater levels of commercial success. Jay says in the documentary something like "I think Jeff simply wanted his band back." In that movie Jay comes off as a real asshole, but let the record reflect that as soon as "A Ghost Is Born" was released I pointed out and my friend Brian Bergstrom agreed that infact Jay had a much bigger positive impact on the sound of Wilco's records than most people knew. Anyhow, since this famous incident I believe it's become almost a right of passage for singer / songwriters. Re-assert your control of the band. Make the bold move. Fire the person who maybe you clash with the most. It really has a galvanizing effect initially on the remaing members. I've been on both sides of this. Once the naerdowell is gone, he is scapegoated with all of the past problems. Any insecurities on the part of the other players will disappear with the circling the wagons. Only after many months and shows and recordings do you really start to realize exactly what you've lost.
I also feel that a bandmember who on the surfface appears to be the least talanted might just be the key to success. Maybe they can push the songwriter's buttons like no one else. Maybe it's that constant conflict that drives the songwriter and makes the finished product better. Once you jettison everyone who disagrees with you, you have free reign- not necessarily a good thing.
Concerning The Shins, I'm sure James was encouraged by yes-men and business types in his inner circle to make the bold move. Now he is free to bring in the most talented musicians without the constraints of keeping the band togther. He will likely go on to world superstardom while Jesse runs his taco cart and Marty does whatever he's going to do. But it will never be the same. The 4 kids from New Mexico, high school chums out to take over the world, are gone. It's now a corporate machine, where the bandmates are paid employees who know their place and can be hired and fired on a moment's notice.
Anyhow, I'll write more about what it's like to be a drummer in a band of musicians later. And in the meantime, check out the Bradley Wik & The Charlatans show at Berbati's on 8/23. We've been practicing real hard and can't wait to rock P-Town again.
Sunday, June 21, 2009
Saturday Night in Southeast
Played a very fun show with Bradley Wik & The Charlatans last night at Duke's Landing on SE Belmont. The cool thing is the place has an open garage door, so the rock and roll can spill out into the night. The other cool thing is all the people meandering around the sidewalk at night could hear us and drifted in to see the show. It's one thing to guilt your friends into coming to the gigs, but the real goal is to take your music to new people. So without further ado, here is the setlist:
Drive All Night
Dance With Me
To Hell With You
Polar Opposites (Modest Mouse cover)
Johnny And Mary
Back To Brooklyn
Friday Night
I Got You (Wilco cover)
Midwest Winters
Leavin' The City
I've Never Slept On The Avenue
EP coming soon to iTunes!
Drive All Night
Dance With Me
To Hell With You
Polar Opposites (Modest Mouse cover)
Johnny And Mary
Back To Brooklyn
Friday Night
I Got You (Wilco cover)
Midwest Winters
Leavin' The City
I've Never Slept On The Avenue
EP coming soon to iTunes!
Sunday, June 7, 2009
On Stage Sound
Just played a great gig with Bradley & The Charlatans. It's an exciting feeling when a band starts to hit it's stride on stage. All the rehearsal in the world doesn't make you great. Don't get me wrong, it is necessary, but what really has to happen is the cohesion and chemistry amongst the band members during a show. Maybe I'm just getting better, or maybe I'm playing with better people it's hard to say. But both the John O'Mara band and The Charlatans are really starting to go off.
With Bradley, we record all of the shows to video. I have beaten this drum in every band I've played with, so I'm glad to have finally found one that will listen. The acoustics on stage differ greatly from venue to venue. And no venue sounds like our practice space. Consequently, the feel and the dynamic can be tricky. Such was the case last week when we played at Kelly's Olympian. Kelly's is a very loud, very rock and roll sounding room. High ceilings, hardwood floors, loud PA, very live. The tendency for bands is to start basking in the loudness of their own sound and stop listening to each other. I think we all felt that to a certain degree after the show. Maybe we hadn't played as tight as we could've. Fortunately in this band, we follow the golden rule of not over analyzing every note right after the show. Instead, we talk about the good things, mingle with fans and sell CDs, and call it a night. Then, when we watch the tape, re realize that the gig was much better than it sounded on stage. So, even though we weren't necessarily listening to each other as well as we could have, all that rehearsal payed off and we played a great show anyhow.
Setlist:
Drive All Night
Dance With Me
To Hell With You - watch it here
Johnny And Mary
Back To Brooklyn
Friday Night - watch it here
I Got You (Wilco cover)
Midwest Winters - watch it here
With Bradley, we record all of the shows to video. I have beaten this drum in every band I've played with, so I'm glad to have finally found one that will listen. The acoustics on stage differ greatly from venue to venue. And no venue sounds like our practice space. Consequently, the feel and the dynamic can be tricky. Such was the case last week when we played at Kelly's Olympian. Kelly's is a very loud, very rock and roll sounding room. High ceilings, hardwood floors, loud PA, very live. The tendency for bands is to start basking in the loudness of their own sound and stop listening to each other. I think we all felt that to a certain degree after the show. Maybe we hadn't played as tight as we could've. Fortunately in this band, we follow the golden rule of not over analyzing every note right after the show. Instead, we talk about the good things, mingle with fans and sell CDs, and call it a night. Then, when we watch the tape, re realize that the gig was much better than it sounded on stage. So, even though we weren't necessarily listening to each other as well as we could have, all that rehearsal payed off and we played a great show anyhow.
Setlist:
Drive All Night
Dance With Me
To Hell With You - watch it here
Johnny And Mary
Back To Brooklyn
Friday Night - watch it here
I Got You (Wilco cover)
Midwest Winters - watch it here
Monday, May 18, 2009
The Ferris Project
So my collaboration with Ryan Ferris has been on the backburner for a long time. We're both in other bands that play quite a bit so it's just a side thing we do. It really has almost no direction, except that we are both trying to break some new ground as musicians. I am trying to take a more active role in the songwriting process, contributing lyrics and helping to shape the musical arrangement. Also, I've always wanted to develop my singing ability. I'm really looking to make music with lush vocal harmonies, and I figure a good place to start is with my own voice. I'm finding that my voice has improved drastically in the last few months, simply from harmonizing. Ryan has been good enough to teach me some vocal parts he had written for his song, and then practice with me until I got it. Most bands just haven't had the time or patience for this, either you can sing or you can't and that's the end of it.
Anyways all of this is fresh in my mind because we had a really great session this afternoon. Another thing I've noticed about music is that you can't judge the potential of a particular band configuration right away. At first, I was mainly in it for the enjoyment and the laughs. But then the songs start to cross the hump and really sound like good tunes. The band starts to take shape and take on a life of it's own. That is a great feeling.
The best piece of advice I can give to any other musicians at this point is to stick with it. Maybe you were in a band that was functioning at a very high level, and now you're in a new one that doesn't seem as good. Give it time, and effort. It will happen.
Anyways all of this is fresh in my mind because we had a really great session this afternoon. Another thing I've noticed about music is that you can't judge the potential of a particular band configuration right away. At first, I was mainly in it for the enjoyment and the laughs. But then the songs start to cross the hump and really sound like good tunes. The band starts to take shape and take on a life of it's own. That is a great feeling.
The best piece of advice I can give to any other musicians at this point is to stick with it. Maybe you were in a band that was functioning at a very high level, and now you're in a new one that doesn't seem as good. Give it time, and effort. It will happen.
Monday, May 11, 2009
Random Tidbits
Here's the latest on all of my pending projects:
BW/C (Bradley Wik & The Charlatans) - we have two shows coming up here in Portland. We're booking more soon and will be expanding our circle beyond the Rose City (Seattle and Salem in the works). Also, the EP is selling quite nicely considering it's only in one store- Ranch Records in Salem.
The Winebirds - We have been rehearsing a lot lately, but not for shows. We have a very important studio session coming up at the end of this month. I'm very excited because it'll be my first time in the studio with them. They have the album about half completed already so we've got our work cut out for us. And they record analog! Right, remember that thing called tape? It's much more expensive, time consuming, and the musicians really have to get it right the first time because you can't just touch it up on a computer. Also, they track everything except vocals live with the whole band in the studio playing together at the same time. Sounds normal right? You'd be surprised how few bands actually do this anymore.
John O'Mara - We are doing a small tour in Southern California in mid June, as well as a couple shows in the Seattle area. The addition of the keyboards really adds a lot, and we are starting to play some incredible live shows. His new album is also available now.
Ryan Ferris and the Nick of Time - Ferris and I just played in his studio again today. We've got one song tracked and another about ready to be tracked. It's a really slow moving project- but not in a bad way. We meet about once a week, have a few beers, talk about music and other stuff, and play some songs. It's a great creative process which is never dull and sooner or later we'll get around to finishing some tunes.
Dallas - Haven't seen these guys since I was last in Seattle, which I guess was less than a month ago but feels like an eternity. I know we've got some shows coming up soon, just don't know when. Also, there is more studio time on the horizon, we are waiting for our producer to finish building his new studio.
I should also give a plug for my former band, Scotland Barr & The Slow Drags (not that they need it). They just played to a capacity crowd at the Doug Fir, and the show was filmed for PDXPosed, so watch for that. Scot is writing his best songs ever now, so head on over to www.scotlandbarr.com and catch a show. If you've seen them before, like say when a certain tall and handsome drummer was there, but haven't seen them lately, now would be a great time. The new tunes are great and the band sounds better than ever. Sheesh you'd think they were giving me free hot sauce or something!
BW/C (Bradley Wik & The Charlatans) - we have two shows coming up here in Portland. We're booking more soon and will be expanding our circle beyond the Rose City (Seattle and Salem in the works). Also, the EP is selling quite nicely considering it's only in one store- Ranch Records in Salem.
The Winebirds - We have been rehearsing a lot lately, but not for shows. We have a very important studio session coming up at the end of this month. I'm very excited because it'll be my first time in the studio with them. They have the album about half completed already so we've got our work cut out for us. And they record analog! Right, remember that thing called tape? It's much more expensive, time consuming, and the musicians really have to get it right the first time because you can't just touch it up on a computer. Also, they track everything except vocals live with the whole band in the studio playing together at the same time. Sounds normal right? You'd be surprised how few bands actually do this anymore.
John O'Mara - We are doing a small tour in Southern California in mid June, as well as a couple shows in the Seattle area. The addition of the keyboards really adds a lot, and we are starting to play some incredible live shows. His new album is also available now.
Ryan Ferris and the Nick of Time - Ferris and I just played in his studio again today. We've got one song tracked and another about ready to be tracked. It's a really slow moving project- but not in a bad way. We meet about once a week, have a few beers, talk about music and other stuff, and play some songs. It's a great creative process which is never dull and sooner or later we'll get around to finishing some tunes.
Dallas - Haven't seen these guys since I was last in Seattle, which I guess was less than a month ago but feels like an eternity. I know we've got some shows coming up soon, just don't know when. Also, there is more studio time on the horizon, we are waiting for our producer to finish building his new studio.
I should also give a plug for my former band, Scotland Barr & The Slow Drags (not that they need it). They just played to a capacity crowd at the Doug Fir, and the show was filmed for PDXPosed, so watch for that. Scot is writing his best songs ever now, so head on over to www.scotlandbarr.com and catch a show. If you've seen them before, like say when a certain tall and handsome drummer was there, but haven't seen them lately, now would be a great time. The new tunes are great and the band sounds better than ever. Sheesh you'd think they were giving me free hot sauce or something!
Friday, May 1, 2009
BW/C 1st Show Setlist!
We played the Ash St Saloon Wednesday night. Unfortunately, when it's your first show you don't get first pick of time slots. Alas, we didn't take the stage until after midnight. Thanks to all of you who stuck it out. The band before us was, hmm how to put this delicately.... SHITTY! Normally it's never a good idea to badmouth other bands, but I have to break from the standard BS. My conscience is clear. It was a crappy blues band who had probably never rehearsed. Worse than anything I've ever seen, and believe me play enough open mics and you'll see a lot of crap. Word to the wise- don't cover songs like "Crossroads" and "Voodoo Chile". And for those of you with long memories, yes I've covered those and many other shameless over played tunes. But that was a long time ago, I suck for having done it, and I'm here to help the youth of America to not make the same mistakes I did.
OK the good part:
Drive All Night
Back To Brooklyn
Too Hell With You*
Johnny And Mary
Dance With Me Darlin'
Midwest Winters*
I've Never Slept On The Avenue
encore:
Morning Glory (Oasis cover)
The songs with the * are originals we have yet to record, the rest are on the EP- except the Oasis tune of course.
We sold a few EPs, make sure to pick up your copy. Currently only available at shows or from us, but coming soon to iTunes and a store near you!
OK the good part:
Drive All Night
Back To Brooklyn
Too Hell With You*
Johnny And Mary
Dance With Me Darlin'
Midwest Winters*
I've Never Slept On The Avenue
encore:
Morning Glory (Oasis cover)
The songs with the * are originals we have yet to record, the rest are on the EP- except the Oasis tune of course.
We sold a few EPs, make sure to pick up your copy. Currently only available at shows or from us, but coming soon to iTunes and a store near you!
Monday, April 27, 2009
RIP Ray Kostenborder
My cousin Ray died last Saturday night. The story is he was at his apartment and his gun accidentally went off, but it is suspicious and the cops are investigating. We weren't real close, which I regret. He was really into Gangsta Rap. I remember a couple years ago, he was trying to get some money together to cut a demo. He said he had some contacts lined up and some things in the works and was looking for $1000 to get it done. We (meaning my dad, uncle, and cousins) all had a good laugh about this. Of course, no one from my family gave him the money. I don't know if he ever got it and honestly I'm not sure if he was any good or not because I never took the time to listen.
Now here I am, trying to make a run at the music business myself. I look back on that instance with great regret. Everyone tells you it's an impossible dream, and that you should just study hard in school and get a job in an office somewhere. Or in the case of my family, strap on some nail bags and swing a hammer for 40 years.
I guess what I'm saying is, if you ever have someone come to you with a dream, and they're not asking for much, and you're in a position to help- HELP THEM! What would it have hurt if someone would've believe in Ray and given him a $1000, or even a few hundred? He was just a kid. When people are 40, it's time to stop chasing the dream. But when you're 20 (or even 28), why not cut someone a break and encourage them to take a shot?!
Who knows what would've happened, but if I had it to do over again I'd give whatever I could spare, even if it was only $100. Art is something that is cherished by humanity more than just about anything else, and yet whenever anyone says they want to create are they are nearly always met with rejection from their friends and family.
Now here I am, trying to make a run at the music business myself. I look back on that instance with great regret. Everyone tells you it's an impossible dream, and that you should just study hard in school and get a job in an office somewhere. Or in the case of my family, strap on some nail bags and swing a hammer for 40 years.
I guess what I'm saying is, if you ever have someone come to you with a dream, and they're not asking for much, and you're in a position to help- HELP THEM! What would it have hurt if someone would've believe in Ray and given him a $1000, or even a few hundred? He was just a kid. When people are 40, it's time to stop chasing the dream. But when you're 20 (or even 28), why not cut someone a break and encourage them to take a shot?!
Who knows what would've happened, but if I had it to do over again I'd give whatever I could spare, even if it was only $100. Art is something that is cherished by humanity more than just about anything else, and yet whenever anyone says they want to create are they are nearly always met with rejection from their friends and family.
2 CD Release Shows THIS WEEK
The first is the much anticipated (by the 4 of us anyhow) BW/C show. Our EP will be back from duplication Wednesday, the day of the show. We play around 10:30 PM @ The Ash St in Old Town PDX. My good friend (BFF) Brian Bergstrom is playing lead guitar for us. Brian and I have managed to play together in just about every band either one of us has been in since high school. He's a brilliant singer / songwriter who is currently working on an album with his band Jettison Bend, but he's been kind enough to take time out to learn our tunes and we couldn't be more grateful.
Then Thursday I'm playing John O'Mara's unofficial CD release at Kelly's Olympian in downtown PDX. Unfortunately John's album was recorded before I came on board so I don't play on it. The live drums were actually played by John Chinburg, a rather famous drummer from my hometown and he did a fine job. I've played 2 shows with John already, but this one will be way better because we've 1) finally gotten the backing tracks arranged to accompany a live drummer and 2) we have added a keyboard player. And, I know the keyboard player from a band I played in before I joined the Drags back in 2006. Portland is a small town.
In other news, I had a great practice with The Winebirds last week. It was our first one after a month off and they've got some great new tunes so watch this space for future shows with them. When I started this blog back in January I had no band and no prospects. Since then I've been hitting it hard and it's really starting to pay off. Not monetarily, but it's paying off nonetheless.
Then Thursday I'm playing John O'Mara's unofficial CD release at Kelly's Olympian in downtown PDX. Unfortunately John's album was recorded before I came on board so I don't play on it. The live drums were actually played by John Chinburg, a rather famous drummer from my hometown and he did a fine job. I've played 2 shows with John already, but this one will be way better because we've 1) finally gotten the backing tracks arranged to accompany a live drummer and 2) we have added a keyboard player. And, I know the keyboard player from a band I played in before I joined the Drags back in 2006. Portland is a small town.
In other news, I had a great practice with The Winebirds last week. It was our first one after a month off and they've got some great new tunes so watch this space for future shows with them. When I started this blog back in January I had no band and no prospects. Since then I've been hitting it hard and it's really starting to pay off. Not monetarily, but it's paying off nonetheless.
Wednesday, April 22, 2009
2 Shows Next Week
So next week is pretty big. Unfortunately the shows are Wednesday and Thursday, which is bad if you have to work. But at least they're not during Blazer games!
Wednesday BW/C at the Ast St, show starts at 9pm. We play last, so probably around 11. This is a huge show for us as it is our first actual show. We've played a few open mics, but this is the real deal. Brian Bergstrom is playing lead guitar for us, so we'll be a 4 piece for the first time. Also, we'll have our new EP for sale at the show. If there is any way you can make it out, please do so. We want to make a big splash on the scene and no better way than to pack the house. We've been working up some new tunes and really hammering out the harmonies. It's a challenge as Sasha and myself have never really sung before, but it'll be well worth it.
Thursday John O'Mara at Kelly's Olympian. Show starts at 9, we have the middle slot. John's CD is also just coming out, so you can pick it up at the show. We've added a keyboard player to the lineup. Small world, his name is Jeremy and I played a show with him in The Nights years ago, he was the lead guitarist. We've been practicing real hard also and are very excited to introduce the new lineup and album to you.
Both of these shows are very exciting because they are new, and great effort and time as been put into ironing out the arrangements for maximum effect on stage. For me, this is what it's all about. Live rock and roll on stage just for you. The endless hours of rehearsal that goes into a 40 minute show are mind boggling, but the end result when it all falls into place- that's why I get up in the morning!
Wednesday BW/C at the Ast St, show starts at 9pm. We play last, so probably around 11. This is a huge show for us as it is our first actual show. We've played a few open mics, but this is the real deal. Brian Bergstrom is playing lead guitar for us, so we'll be a 4 piece for the first time. Also, we'll have our new EP for sale at the show. If there is any way you can make it out, please do so. We want to make a big splash on the scene and no better way than to pack the house. We've been working up some new tunes and really hammering out the harmonies. It's a challenge as Sasha and myself have never really sung before, but it'll be well worth it.
Thursday John O'Mara at Kelly's Olympian. Show starts at 9, we have the middle slot. John's CD is also just coming out, so you can pick it up at the show. We've added a keyboard player to the lineup. Small world, his name is Jeremy and I played a show with him in The Nights years ago, he was the lead guitarist. We've been practicing real hard also and are very excited to introduce the new lineup and album to you.
Both of these shows are very exciting because they are new, and great effort and time as been put into ironing out the arrangements for maximum effect on stage. For me, this is what it's all about. Live rock and roll on stage just for you. The endless hours of rehearsal that goes into a 40 minute show are mind boggling, but the end result when it all falls into place- that's why I get up in the morning!
Saturday, April 18, 2009
And The Winner Is...
Here is the finalized CD artwork for the forthcoming BW/C EP. Took a long time to iron out all the typos and make everything fit. And by a long time I mean a couple hours. It has been sent off for duplication and will be back late next week. This is a simple 5 song EP, with a cardboard sleeve. No fancy booklet just yet.
Thursday, April 16, 2009
BW/C EP Update + Other Business
We just did another photoshoot yesterday, along the waterfront and bridges. My old friend Aaron Rogosin took the shots, he's the best photographer out there so if you ever need one- look him up (google search works). Not sure what the final project will look like but it's taking shape. We send everything off for duplication tomorrow and should get it back in just over a week. So just in time for our Ash St show on Wednesday 4/29. That will be our first official show, and we've been practicing real hard so you won't want to miss it.
In other band news, I've got another show with John O'Mara coming up the following night, 4/30, at Kelly's Olympian. We'll have a keyboard player with us as well, so that should be fun. May will see more shows with these two, as well as the triumphant return (after taking a month off) of The Winebirds. And maybe I can get the boys from Dallas to come down from Seattle for a couple gigs in the 503. Also, Ryan Ferris and the Tender Handed Men of Purity is constantly rehearsing so sooner or later we will play out.
PLAYOFFS START SATURDAY GO BLAZERS!!!
Saturday, April 11, 2009
For The Gear - Heads
My drums on the Bradley Wik & The Charlatans (heretofor known as "BW/C") EP were recorded with the following mic configuration: Shure SM57s close-mic'd on the toms. SM58 close mic'd on the snare. 2 AKG pencil condensers for overheads. And a Sure kick drum mic (SM48?). The overheads run about $1200 for the pair, but other than that the mics are all pretty inexpensive. Pierre Ferguson who produced and engineered the session did an amazing job. He has a few signature techniques for eq-ing the drums in the mix but for the most part they sound on record just like they do in the room. I use Evens 2 ply coated heads on the snare on toms, with Evans single ply clear resonance heads on the bottoms. The heads were brand new and freshly tuned, which is normal for recording. My kit is a vintage 60s Ludwig, which I've had to do almost no work on, the bearing edges are true and the drums are still in great shape. I use Vic Firth 7A nylon tip sticks. I used to use wood tips, but I find the Nylon tips give a better contact sound on the cymbals, especially the ride. Speaking of cymbals, my ride is a vintage Zildjian which I've had longer than the kit. The crash in the left channel (so on my right as I'm playing) is an inexpensive Sabian which was all I could afford 10 years ago but I really like the sound of it. The left channel crash is a newer high end Zildjian, which I borrowed from my roomate. The hats are cheap Zildjian ZBT, which you can buy a whole set of at guitar center for just over $100.
Funny thing about brand names, they don't mean what they used to. Some time in the late 80s or early 90s a lot of companies realized that they could farm out their manufacturing to China, turn out an absolutely inferior product, slap their once prestigious label on it and sell it to kids who only shop for labels. Don't be fooled, if you see a brand new Ludwig kit for $500 or less, it's junk. The real stuff is still thousands. Best to find the vintage gear, back when everything was still made in the USA by craftsman who didn't know how to turn out an inferior product.
Oh and one more thing, this was recorded using Pro Tools. If you don't know what that means, Pro Tools is a software that came out in the late 90s and quickly became the new industry standard for recording. It enables bands to basically digitally fix every mistake in a recording. There is a lot of controversy emerging in regards to how much is too much fixing. As a band, we pride ourselves on being musicians, thus we have no use for Autotune, Beat Detective, etc... If we get a take that is near perfect except for one beat where my sticks clicked together and I missed the snare drum, we go back and "fix" it. Sure, we could record the whole song over again, but then something else might go wrong and this fix literally takes seconds- studio time isn't cheap! But I am proud to say that no Beat Detective was used. Beat Detective is a plugin for Pro Tools that allows you to input the temp (bpm) and time signature of the song and it will allign all of the drum beats so there are no notes out of place. I would bet that 90% of the music you hear on the radio today has been run through Beat Detective. This record was made without even the use of a click track (metronome played during tracking to keep everyone in tempo) which I'm sure someone with perfect rhythm could tell. But you know what, it makes for a more organic record and rock & roll isn't supposed to be perfect.
Funny thing about brand names, they don't mean what they used to. Some time in the late 80s or early 90s a lot of companies realized that they could farm out their manufacturing to China, turn out an absolutely inferior product, slap their once prestigious label on it and sell it to kids who only shop for labels. Don't be fooled, if you see a brand new Ludwig kit for $500 or less, it's junk. The real stuff is still thousands. Best to find the vintage gear, back when everything was still made in the USA by craftsman who didn't know how to turn out an inferior product.
Oh and one more thing, this was recorded using Pro Tools. If you don't know what that means, Pro Tools is a software that came out in the late 90s and quickly became the new industry standard for recording. It enables bands to basically digitally fix every mistake in a recording. There is a lot of controversy emerging in regards to how much is too much fixing. As a band, we pride ourselves on being musicians, thus we have no use for Autotune, Beat Detective, etc... If we get a take that is near perfect except for one beat where my sticks clicked together and I missed the snare drum, we go back and "fix" it. Sure, we could record the whole song over again, but then something else might go wrong and this fix literally takes seconds- studio time isn't cheap! But I am proud to say that no Beat Detective was used. Beat Detective is a plugin for Pro Tools that allows you to input the temp (bpm) and time signature of the song and it will allign all of the drum beats so there are no notes out of place. I would bet that 90% of the music you hear on the radio today has been run through Beat Detective. This record was made without even the use of a click track (metronome played during tracking to keep everyone in tempo) which I'm sure someone with perfect rhythm could tell. But you know what, it makes for a more organic record and rock & roll isn't supposed to be perfect.
Friday, April 10, 2009
Complete New EP on Myspace
The entire new Bradley Wik & The Charlatans EP, The Winners and the Losers, is now up on our myspace page. Go give it a listen! www.myspace.com/bradleywik
New Songs on Facebook
I'm not sure yet how to directly link to it, but if you are a facebook user simply search for me (Nick Kostenborder). I have a personal page and an artist page. The artist page is brand new so find it and become a fan. You can hear 2 brand spanking new tracks from the forthcoming Bradley Wik & The Charlatans EP which I just finished yesterday. I've also got some rare and unreleased Scotland Barr stuff there. The page should start getting updated a lot more frequently in the coming weeks, as soon as I learn how to use it.
This page is the best place to start for new info, and I'm also on twitter.
This page is the best place to start for new info, and I'm also on twitter.
Thursday, April 9, 2009
more studio pics
This is one of the guitar amps in an isolation booth, which is actually an old safe with a thick steel door. This allows us to all play together in the same room, because the amps are isolated in other rooms so the sound doesn't bleed through to the drum mics or vice versa. Thus, we can adjust each instrument individually in the mix without screwing up the others, but we still get the performance quality that only comes from playing live.
The console / mixing desk / whatever you want to call it
Bradley and Sasha pondering the mix in the control room
The console / mixing desk / whatever you want to call it
Bradley and Sasha pondering the mix in the control room
Studio Update #3 (final)
Done mastering. Sounds incredible. Bradley and Sasha left after mixing last night, but since I have a show up here with Dallas tonight I was able to be here for mastering. The five song EP will be available very soon, and we are all excited for you to hear it! Pierre Ferguson and Norm Baker did an amazing job in the studio (www.foundryforsound.com) so we will definitely be back to record a full album very soon. I now have a half day off, which is great because it will give me a chance to head over to Northgate for some Toshi's Teriyaki, which is truly the best. Not like that boiled glue factory waste I had yesterday. Playing with Dallas tonight at 11PM at the Sky Lark in West Seattle. Then I'll drive straight home because it's been 3 days and I miss Klaus.
Wednesday, April 8, 2009
Studio Update #2
Just ate some crappy teriyaki. Listening to the Ace Man's podcast while we mix, which is process that requires 5 minutes of input for every half hour or so. There's no telling when I will be needed, I just have to be standing by when the time comes. Thank God for laptops!
This project so far has been the most fun and rewarding I've done, as far as studio work is concerned. When I recorded All The Great Aviators Agree with the Slow Drags, it was a much different process. That album was recorded over a 2 year period, and each musician laid down their part separately to a click track. This makes it easier to piece stuff in over the course of a long period of time, but it really loses the cohesiveness you get when the whole band plays in the room at the same time. It's nearly impossible to have all the notes gel together to form a song when they are played at different times.
So this album we tracked "Live". Obviously, we did a few takes of each song picked the best one. We also did "punch in" a few places to fix things. And the vocals / aux percussion were overdubbed. I much prefer this approach. Upon first listen to the first raw track yesterday we knew this was going to be great. It's just a 5 song EP which we are spending a total of 2 days on, so Sgt. Pepper it is not. But it's got a great rock and roll sound. Think 70s Springsteen meets early Oasis.
More to come...
This project so far has been the most fun and rewarding I've done, as far as studio work is concerned. When I recorded All The Great Aviators Agree with the Slow Drags, it was a much different process. That album was recorded over a 2 year period, and each musician laid down their part separately to a click track. This makes it easier to piece stuff in over the course of a long period of time, but it really loses the cohesiveness you get when the whole band plays in the room at the same time. It's nearly impossible to have all the notes gel together to form a song when they are played at different times.
So this album we tracked "Live". Obviously, we did a few takes of each song picked the best one. We also did "punch in" a few places to fix things. And the vocals / aux percussion were overdubbed. I much prefer this approach. Upon first listen to the first raw track yesterday we knew this was going to be great. It's just a 5 song EP which we are spending a total of 2 days on, so Sgt. Pepper it is not. But it's got a great rock and roll sound. Think 70s Springsteen meets early Oasis.
More to come...
Pics
John Layin down backing vocals
Bradley layin down lead vocals on "Brooklyn"
Me and Norm (co-producer)
Sasha
Ludwig
Studio Update #1
We (Bradley Wik & The Charlatans) are sequestered in Seattle at Foundry Studios working on our 5 song EP, tentatively titled Shark Sandwich. Yesterday we knocked out the first two songs in two takes. Needless to say, we started to feel pretty good about ourselves. About the time we started thinking we might finish all of our tracking in one day, well that's when we started to get bogged down in song three. After about ten takes we decided to come back to it. Took a pizza break, then knocked out song four in two takes.
So we're starting off today with song three and the guys are ready for me so I must quit blogging and start rocking.
So we're starting off today with song three and the guys are ready for me so I must quit blogging and start rocking.
Friday, April 3, 2009
Seattle
I'll be going into the studio next week with Bradley Wik & The Charlatans in Seattle. The plan is to hammer out around 6 tunes mostly live in the studio, overdub the vocals and maybe some percussion, and get it mix and mastered ASAP. We aim to have the as yet untitled EP available for sale at our Ash St show later this month.
The timing couldn't be better for me, because after we wrap in the studio I am playing a show with Dallas at the Sky Lark. Check out myspace.com/dallasmusicseattle for more info on that show.
The two Winebirds shows last week were an absolute blast. More about them later. Stay tuned I'll post pics and updates from the Seattle session next week.
GO BLAZERS!
The timing couldn't be better for me, because after we wrap in the studio I am playing a show with Dallas at the Sky Lark. Check out myspace.com/dallasmusicseattle for more info on that show.
The two Winebirds shows last week were an absolute blast. More about them later. Stay tuned I'll post pics and updates from the Seattle session next week.
GO BLAZERS!
Sunday, March 22, 2009
New Bands / Shows
Wow it's been a long time since I've updated this. But while I haven't been writing, I have been playing. I'm currently involved in 5 projects.
The Winebirds (myspace.com/thewinebirds) a 6 piece male and female pop-vocal group featuring a spectacular array of vintage amps and keyboards
John O'Mara (myspace.com/fuzzzmonkey) more of an electronic / industrial feel, currently a 3 piece with lots of loops and backing tracks featured in live shows
Dallas (myspace.com/dallasmusicseattle) the most similar sound to my last band, Americana rock from Seattle
Bradley Wik & The Charlatans (myspace.com/bradleywik) a new 3 piece, soon to be 4 piece, fronted by Bradley who just moved here from NYC
The fifth project is as yet unnamed, it's more of a studio collaborative with myself and Ryan Ferris at this point, but we are playing a show at the Cherry City Music Festival so we'll probably have a name and a myspace by then.
This is a pretty diverse set of bands and I am very excited to be involved with each one. I've got three shows this week alone.
Coming soon, a new website with music from all of my projects as well as a complete concert calendar and some other good stuff. Until then, I'll post the show dates here and on facebook / myspace so if you get a chance come out and see some of these new bands.
As a side note, Scotland Barr has a big show coming up next month at the Doug Fir. I went and saw them at the White Eagle a few weeks ago, they have lots of new material which is better than anything and you all owe it to yourselves to see them play. No better venue than the Doug Fir go to www.scotlandbarr.com for more info.
The Winebirds (myspace.com/thewinebirds) a 6 piece male and female pop-vocal group featuring a spectacular array of vintage amps and keyboards
John O'Mara (myspace.com/fuzzzmonkey) more of an electronic / industrial feel, currently a 3 piece with lots of loops and backing tracks featured in live shows
Dallas (myspace.com/dallasmusicseattle) the most similar sound to my last band, Americana rock from Seattle
Bradley Wik & The Charlatans (myspace.com/bradleywik) a new 3 piece, soon to be 4 piece, fronted by Bradley who just moved here from NYC
The fifth project is as yet unnamed, it's more of a studio collaborative with myself and Ryan Ferris at this point, but we are playing a show at the Cherry City Music Festival so we'll probably have a name and a myspace by then.
This is a pretty diverse set of bands and I am very excited to be involved with each one. I've got three shows this week alone.
Coming soon, a new website with music from all of my projects as well as a complete concert calendar and some other good stuff. Until then, I'll post the show dates here and on facebook / myspace so if you get a chance come out and see some of these new bands.
As a side note, Scotland Barr has a big show coming up next month at the Doug Fir. I went and saw them at the White Eagle a few weeks ago, they have lots of new material which is better than anything and you all owe it to yourselves to see them play. No better venue than the Doug Fir go to www.scotlandbarr.com for more info.
Monday, February 9, 2009
Return Of The Fly
How long must I sing this song? A little bit longer it would seem. U2 kicked off the Grammys last night, literally. Haven't seen Bono kick like that since Popmart. He's really looking very trim and spry these days. The Bono of the last 9 years has been a fat and slow Bono. After Pop was such a critical and commercial disappointment the band decided to pull in the reigns musically to win back the masses. This meant 2 "back to basics" albums and the basketball arena tours that followed. Of course their bank statements and the pile of Grammys that came along suggests that this was the right move for the time. And I, at the time, was very excited to hear a bit more stripped down U2. But lately I've been listening to Pop more and more.
For the Elevation and Vertigo tours, U2 went back indoors and played smaller venues than they had in over a decade. Management trumpeted the party line that this was what the band wanted because these venues had far better acoustics (which is true) and the shows would be more enjoyable for the fans. But what about the frontman? They say a goldfish will grow to fill the bowl. Well, put Bono on a small stage in front of 20,000 baby boomers and he's tired, bloated, and stagnant. Put him on a huge stage playing to 80,000 and we get the high kicking commanding frontman we all know and love. For all the rhetoric of the last 2 tours, the guys are once again booking a stadium tour and no one could be happier than the band themselves. They need to push, they need to break new ground.
This approach is unusual as most bands are better suited to smaller venues. As a concert goer, I'd nearly always be in a theater or arena than an outdoor venue. But U2 is different and the last 2 tours nearly killed them.
Being chosen to play the Grammys was interesting as they didn't release anything last year and thus weren't up for any awards. I guess it was a pretty weak roster this year. What with Miley Cyrus, The Jonas Brothers, and Justin Timberlake, it was looking for like the Nickelodeon Kid's Choice Awards. So the powers that be decided to fatten it up a little with some ROCK AND ROLL, thank God. Not that I even watched this year- I was busy at the Oregon Sports Awards rubbing elbows with the Schonz and Jerome Kersey. I had to see U2 on YouTube, before Grammy pulled the clips.
For the Elevation and Vertigo tours, U2 went back indoors and played smaller venues than they had in over a decade. Management trumpeted the party line that this was what the band wanted because these venues had far better acoustics (which is true) and the shows would be more enjoyable for the fans. But what about the frontman? They say a goldfish will grow to fill the bowl. Well, put Bono on a small stage in front of 20,000 baby boomers and he's tired, bloated, and stagnant. Put him on a huge stage playing to 80,000 and we get the high kicking commanding frontman we all know and love. For all the rhetoric of the last 2 tours, the guys are once again booking a stadium tour and no one could be happier than the band themselves. They need to push, they need to break new ground.
This approach is unusual as most bands are better suited to smaller venues. As a concert goer, I'd nearly always be in a theater or arena than an outdoor venue. But U2 is different and the last 2 tours nearly killed them.
Being chosen to play the Grammys was interesting as they didn't release anything last year and thus weren't up for any awards. I guess it was a pretty weak roster this year. What with Miley Cyrus, The Jonas Brothers, and Justin Timberlake, it was looking for like the Nickelodeon Kid's Choice Awards. So the powers that be decided to fatten it up a little with some ROCK AND ROLL, thank God. Not that I even watched this year- I was busy at the Oregon Sports Awards rubbing elbows with the Schonz and Jerome Kersey. I had to see U2 on YouTube, before Grammy pulled the clips.
Sunday, February 1, 2009
Best Halftime Show Ever
Bruce really brought it tonight. I've seen him and the E Street band several times, so I already know. But my friends watching the game with me did not, and now they see. Bruce IS rock and roll. It seems just about every singer / songwriter I've played with is somehow above showmanship. They must also be above superstardom. There are millions of people out there who write good songs. Most of these songs no one will ever hear. There are also millions of people who have a great stage presence, but whose songs are lacking. Any long tenured cover band can tell you that. But if you take great songs and add a charismatic, high energy entertaining frontman the possibilities are endless. Rock and roll can change the world, it can open our eyes, but it's also supposed to be fun! There's a time and place for the serious, acoustic, depressing songs. I love a lot of those songs. But just like I think it takes courage to not be a half-assed activist these days, I also think it takes courage to admit that "yeah, I'm a rock and roll star. I'm a showman and it's FUN!"
Bono vs Bruce
I read an interesting article from an Irish newspaper today, which you can see @ http://www.irishtimes.com/newspaper/weekend/2009/0124/1232474678037.html
This is your typical J.O. reporter looking for an angle shtick. I get it, everybody loves U2 so here's a guy from Ireland and he's gonna blast them for weak lyrics. Of course, I've already stated that I think the lyrics are weak on their new single. But I believe over the years Bono has written some of the best lyrics in rock. I'm also a huge Bruce fan, and I thought his last album, Magic, was particularly strong. But this article demonstrates two points which have bothered me about the media for a long time.
First, the aforementioned angle- throwing bombs for the purpose of sensationalism. This is what gives critics a bad name. They make a name for themselves by slamming beloved celebrities. Like The Oregonian's John Canzano. He's made a living bashing my Ducks, calling for the firing of Mike Belloti, UO's winningest head coach and arguably one of the most successful coaches in NCAA football today. Wow I knew it was gonna happen at some point- my music blog heads off in a tangent about sports.
The second and even more irritating point in this article comes to head with this line: "Most importantly, he’s (Springsteen) politically brave in a way that Bono will not be. He takes sides. He’s not afraid to make enemies." I'm sorry, what is brave these days about a celebrity taking shots at politicians?! I've always thought Bono to be the most effective political advocate because he works with everybody. Bruce walks the same trail blazed by John Cougar and too many other washed up non-entities who would have no career at all if not for political rallies. It's sad, because unlike John Cougar, Bruce is still relevant. He doesn't have to be stumping for a candidate to make headlines.
Remember Live Aid, with all the self-important artists of the day trying to save the world? It's been 20 years and last I checked people are still starving in Africa. In fact, I remember Bono talking about how after Live Aid they- meaning the artists involved- thought they had done it. They had saved the world. It wasn't until he and his wife actually spent a great deal of time in Africa that they realized Live Aid had done nothing except further inflate the egos of the performers.
So now I have to talk about sports again. Canzano recently wrote a piece lauding Greg Oden for supporting Obama and Lebron James for caring about Darfur. In the same piece he slammed Michael Jordan and Tiger Woods for only talking about sports. First of all, Oden just entered his 20s, already a multi-millionaire, and has spent his entire life focusing on basketball. Who cares about his political opinions? How could he possibly have anything relevant to say about a presidential race he's barely able to vote in. Sports is really the last sanctuary for men who want to eat wings, drink beer, and be entertained. Everywhere we look celebrities are held up as experts on a subject they really know nothing about. I find it refreshing when someone like Michael Jordan wants to talk about basketball, a subject right in his wheelhouse.
I get it, entertainers are fabulously wealthy beyond their wildest dreams and they feel a moral obligation to use their platform to help others. Or is it just to hop on the John Cougar bandwagon and appear as if they really care?
So, all you celebrities, tell us about your craft. How did you get to where you are? How do you practice and prepare? What advice would you give to a young person trying to follow the same path as you? And all you J.O. journalists out there, how about reporting the news instead of trying to be the headline yourself. And all you aspiring drummer out there (me) how about get off the damn computer and pick up the sticks! Done and done.
This is your typical J.O. reporter looking for an angle shtick. I get it, everybody loves U2 so here's a guy from Ireland and he's gonna blast them for weak lyrics. Of course, I've already stated that I think the lyrics are weak on their new single. But I believe over the years Bono has written some of the best lyrics in rock. I'm also a huge Bruce fan, and I thought his last album, Magic, was particularly strong. But this article demonstrates two points which have bothered me about the media for a long time.
First, the aforementioned angle- throwing bombs for the purpose of sensationalism. This is what gives critics a bad name. They make a name for themselves by slamming beloved celebrities. Like The Oregonian's John Canzano. He's made a living bashing my Ducks, calling for the firing of Mike Belloti, UO's winningest head coach and arguably one of the most successful coaches in NCAA football today. Wow I knew it was gonna happen at some point- my music blog heads off in a tangent about sports.
The second and even more irritating point in this article comes to head with this line: "Most importantly, he’s (Springsteen) politically brave in a way that Bono will not be. He takes sides. He’s not afraid to make enemies." I'm sorry, what is brave these days about a celebrity taking shots at politicians?! I've always thought Bono to be the most effective political advocate because he works with everybody. Bruce walks the same trail blazed by John Cougar and too many other washed up non-entities who would have no career at all if not for political rallies. It's sad, because unlike John Cougar, Bruce is still relevant. He doesn't have to be stumping for a candidate to make headlines.
Remember Live Aid, with all the self-important artists of the day trying to save the world? It's been 20 years and last I checked people are still starving in Africa. In fact, I remember Bono talking about how after Live Aid they- meaning the artists involved- thought they had done it. They had saved the world. It wasn't until he and his wife actually spent a great deal of time in Africa that they realized Live Aid had done nothing except further inflate the egos of the performers.
So now I have to talk about sports again. Canzano recently wrote a piece lauding Greg Oden for supporting Obama and Lebron James for caring about Darfur. In the same piece he slammed Michael Jordan and Tiger Woods for only talking about sports. First of all, Oden just entered his 20s, already a multi-millionaire, and has spent his entire life focusing on basketball. Who cares about his political opinions? How could he possibly have anything relevant to say about a presidential race he's barely able to vote in. Sports is really the last sanctuary for men who want to eat wings, drink beer, and be entertained. Everywhere we look celebrities are held up as experts on a subject they really know nothing about. I find it refreshing when someone like Michael Jordan wants to talk about basketball, a subject right in his wheelhouse.
I get it, entertainers are fabulously wealthy beyond their wildest dreams and they feel a moral obligation to use their platform to help others. Or is it just to hop on the John Cougar bandwagon and appear as if they really care?
So, all you celebrities, tell us about your craft. How did you get to where you are? How do you practice and prepare? What advice would you give to a young person trying to follow the same path as you? And all you J.O. journalists out there, how about reporting the news instead of trying to be the headline yourself. And all you aspiring drummer out there (me) how about get off the damn computer and pick up the sticks! Done and done.
Tuesday, January 27, 2009
Save The Music
I was watching VH1 Classic the other day, you know the last "music" network that actually still shows music. Except that they only show old music. But anyway, they had a commercial for VH1's Save The Music charity project. This is a charity to raise money and awareness to keep music education alive in public schools- which is very important. See, schools are always trying to cut music programs to save money, and we all suffer.
This got me angry. HEY VH1, WHY DON'T YOU LEAD BY EXAMPLE!!! What does VH1 do? THEY CUT MUSIC PROGRAMMING TO SAVE MONEY!!! Have you watched VH1 lately? NO MUSIC! How can they expect us to donate money to save the music when they are such penny pinchers they just order a full schedule of "White Trash Wedding" at the expense of compromising the entire premise on which the network was founded?!
C'mon people, it's time to demand more. You wanna see retarded white trash people, go to any karaoke bar in Tigard.
This got me angry. HEY VH1, WHY DON'T YOU LEAD BY EXAMPLE!!! What does VH1 do? THEY CUT MUSIC PROGRAMMING TO SAVE MONEY!!! Have you watched VH1 lately? NO MUSIC! How can they expect us to donate money to save the music when they are such penny pinchers they just order a full schedule of "White Trash Wedding" at the expense of compromising the entire premise on which the network was founded?!
C'mon people, it's time to demand more. You wanna see retarded white trash people, go to any karaoke bar in Tigard.
Sunday, January 25, 2009
The Sound Of Rock
Had an audition today. This was a full band audition, not like the last one where it was just me and one other dude. First time in ages I've played real rock and roll with all of the players in the room. The last time would've been my final show with the Drags back in August. Man, it felt good. I'm thinking I will be playing some shows with these guys quite soon and I honestly can't wait!
On another tangent, I just wanted to touch on something I've discussed before. I'm not very modest about my playing, and I don't mean my technical proficiency. I mean my style. Now, I've already listed my influences, so you can get an idea of what I'm talking about by listening to them. Or to me for that matter, just go to iTunes and buy "She's Happy" who knows maybe I'll get my 3 pennies royalty check if you do.
But here's the thing, a lot of bands have really generic sounding drums. If the drums sound like nickleback, then the band sounds like nickleback. I, for one, wish to have no part of that. Plus, if all you singer / songwriters out there want to get on the radio, try sounding slightly different than the crap that gets played now. I'm surprised that more bands out there aren't looking for an angle, you know? Why not clean up the distortion a little bit, add some harmonies, and have a drummer who tried to build some atmosphere around the song rather than drive a mack truck right through it. And seriously, stop buying record by bands who play guitar and flex at the same time. Like the guy from the bowflex commercial whose 48 and still rocks. Coming soon to a sports arena near you, some douchebag with an armband tattoo whose all juiced up and dressed like Lance Armstrong singing songs about, you guessed it, relationships.
I know it sounds crazy to try getting on the radio by not sounding like all the bands who already are. Except I think we are at the tail end of the current trend cycle. Creed started it and Nickleback will end it. And Kid Rock... what a no talent hack! I firmly believe that people are ready for more. Like how grunge came out in the early 90s and exposed all the 80s hair bands for the sideshows they really were. But wait, I don't really like grunge and I have been to several Bon Jovi shows. Yeah but still. People were sick of the same old, they were ready for something new, and grunge was just that. And then there's Oasis. Total Beatles rip-off, but why not? I mean, if you're gonna sound like someone else, it might as well be the Beatles. Oasis came out at the height of grunge and what they did is remind us of Rock. Not hard rock, butt rock, dance rock, prog rock, but ROCK rock. Kinda like when you have a cup of coffee and remember what the original is like before all the sugar and fat was added to it, inflating the price 1000%.
If you listen to some of the most memorable hits from any time period, you'll notice that they don't sound like anything else of that time. "The Joshua Tree" is firmly etched in our minds as an iconic album of the late 80s. Now go dig up the old Billboard charts and see what else was getting a lot of play back then.
Wow I get bit long winded when talking about music don't I? At least I haven't started ranting about sports, yet...
On another tangent, I just wanted to touch on something I've discussed before. I'm not very modest about my playing, and I don't mean my technical proficiency. I mean my style. Now, I've already listed my influences, so you can get an idea of what I'm talking about by listening to them. Or to me for that matter, just go to iTunes and buy "She's Happy" who knows maybe I'll get my 3 pennies royalty check if you do.
But here's the thing, a lot of bands have really generic sounding drums. If the drums sound like nickleback, then the band sounds like nickleback. I, for one, wish to have no part of that. Plus, if all you singer / songwriters out there want to get on the radio, try sounding slightly different than the crap that gets played now. I'm surprised that more bands out there aren't looking for an angle, you know? Why not clean up the distortion a little bit, add some harmonies, and have a drummer who tried to build some atmosphere around the song rather than drive a mack truck right through it. And seriously, stop buying record by bands who play guitar and flex at the same time. Like the guy from the bowflex commercial whose 48 and still rocks. Coming soon to a sports arena near you, some douchebag with an armband tattoo whose all juiced up and dressed like Lance Armstrong singing songs about, you guessed it, relationships.
I know it sounds crazy to try getting on the radio by not sounding like all the bands who already are. Except I think we are at the tail end of the current trend cycle. Creed started it and Nickleback will end it. And Kid Rock... what a no talent hack! I firmly believe that people are ready for more. Like how grunge came out in the early 90s and exposed all the 80s hair bands for the sideshows they really were. But wait, I don't really like grunge and I have been to several Bon Jovi shows. Yeah but still. People were sick of the same old, they were ready for something new, and grunge was just that. And then there's Oasis. Total Beatles rip-off, but why not? I mean, if you're gonna sound like someone else, it might as well be the Beatles. Oasis came out at the height of grunge and what they did is remind us of Rock. Not hard rock, butt rock, dance rock, prog rock, but ROCK rock. Kinda like when you have a cup of coffee and remember what the original is like before all the sugar and fat was added to it, inflating the price 1000%.
If you listen to some of the most memorable hits from any time period, you'll notice that they don't sound like anything else of that time. "The Joshua Tree" is firmly etched in our minds as an iconic album of the late 80s. Now go dig up the old Billboard charts and see what else was getting a lot of play back then.
Wow I get bit long winded when talking about music don't I? At least I haven't started ranting about sports, yet...
Saturday, January 24, 2009
Man On The Scene
I've been trying to go see as many shows as possible lately. This is rather new for me. The funny thing is, I don't really enjoy watching other small bands play. I do go to a lot of concerts, but they are the big signed national acts. A lot of people have stage-fright, but I have the opposite. I just feel uncomfortable and out of place in a smaller venue unless I'm on stage. Pretty stupid huh? If you look into the past of a lot of rock stars you'll find that they weren't very popular in high school. Often it's the feeling of isolation that fuels their creativity. So back in the 80s Bruce Springsteen was married to a super model, posing for pin up photos in tight jeans, and seemed like an all American frat-boy. He had a massive hit single "Glory Days" about running in to an old high school friend who was a big baseball player, and it rang true. Later on Bruce confessed that in fact he had no friends in high school, and was just a scrawny kid who was actually asked by the community college he attended to drop out because he was too weird.
I think a lot of the people who become rock stars do so because they had to. Think about it, what else is Tom Petty going to do. Well I wasn't very popular in high school either, but I had enough friends that I rather enjoyed the experience. And I never had a problem fitting in or finding work so it was easy for me to fool myself into thinking that I didn't need to be a musician. Basically it cost me a very precious 10 years. I know it seems strange, but at 28 I'm already on the outside looking in. "With or Without You" was already a radio staple when Bono was 28. Because I wasn't a desperate, angst filled youth I was able to live under the delusion that I could just plug into the matrix and work a 9 to 5 like everyone else. I can't believe it took me this long to realize that I could never live that life. Busy work drives me insane. And I'm tired of not being rich, dammit! It only seems logical that if one wants to be rich, one should find whatever skill they have that stands out and ride that all the way to the bank. Some people have the ability to just grin and bear it, and that is a great way to get ahead. Just set aside your own feelings about how meaningless the task at hand is and soldier on. I don't possess such an ability. My skill is drumming.
The reason I've been going to shows is that a successful musician I met recently said that is the biggest thing I can do to find the next great band needing a drummer. Sitting at home looking on craigslist won't cut it. I need to be out, constantly networking. So that's the busy work for this job- putting in face time at shows. Beats the hell out of cold calling if you ask me. Even if I would rather be onstage, knocking back a couple ribbons and watching someone else play isn't really so bad.
I think a lot of the people who become rock stars do so because they had to. Think about it, what else is Tom Petty going to do. Well I wasn't very popular in high school either, but I had enough friends that I rather enjoyed the experience. And I never had a problem fitting in or finding work so it was easy for me to fool myself into thinking that I didn't need to be a musician. Basically it cost me a very precious 10 years. I know it seems strange, but at 28 I'm already on the outside looking in. "With or Without You" was already a radio staple when Bono was 28. Because I wasn't a desperate, angst filled youth I was able to live under the delusion that I could just plug into the matrix and work a 9 to 5 like everyone else. I can't believe it took me this long to realize that I could never live that life. Busy work drives me insane. And I'm tired of not being rich, dammit! It only seems logical that if one wants to be rich, one should find whatever skill they have that stands out and ride that all the way to the bank. Some people have the ability to just grin and bear it, and that is a great way to get ahead. Just set aside your own feelings about how meaningless the task at hand is and soldier on. I don't possess such an ability. My skill is drumming.
The reason I've been going to shows is that a successful musician I met recently said that is the biggest thing I can do to find the next great band needing a drummer. Sitting at home looking on craigslist won't cut it. I need to be out, constantly networking. So that's the busy work for this job- putting in face time at shows. Beats the hell out of cold calling if you ask me. Even if I would rather be onstage, knocking back a couple ribbons and watching someone else play isn't really so bad.
Tuesday, January 20, 2009
Get On Your Boots
Anyone who knows me knows I'm a committed U2 fan. So they released their new single, and I've been listening to it for 2 days now. My first impression is that the lyrics are very weak. And that the tune sounds like a rip off of "Wild Wild West" from some band nobody remembers. This album is supposed to be the next "Achtung Baby" and I really hope it is. But "The Fly," the first single from that ground-breaking album, had FAR better lyrics.
Now that I've heard "Get On Your Boots" a few more times I will say this- I'm sure it will be a big hit. The hooks and beats are all there to put U2 in the dance clubs for the first time in 16 years. This gives me high hopes for the new album. The first single is never the best song, it's just the most radio friendly. I suffered through the "Pop" years when everyone hated U2, so I was glad when "Beautiful Day" was a hit, even though I hate that song, because I was tired of having to defend my favorite band to the masses. Though it was nice getting front row tickets for $30 when nobody liked them.
Speaking of "Pop," I think that album was WAY ahead of it's time. The world is still not ready for it, but soon. The band even threw that album under the bus. But if you're looking for songs that don't play it safe and songs that have a meaning, I'll take "Pop" over the last two any day. They really took a chance on that record and it nearly killed them.
So may the new album hold more edgy, dark, dance-able tunes that prove why these guys are still relevant when so many of their peers are playing the "Where Are They Now?" circuit. Let the cougars in the clubs shake their fake racks and tramp-stamped asses to "Sexy Boots" while I ponder the meaning of life with the rest of the tracks.
Now that I've heard "Get On Your Boots" a few more times I will say this- I'm sure it will be a big hit. The hooks and beats are all there to put U2 in the dance clubs for the first time in 16 years. This gives me high hopes for the new album. The first single is never the best song, it's just the most radio friendly. I suffered through the "Pop" years when everyone hated U2, so I was glad when "Beautiful Day" was a hit, even though I hate that song, because I was tired of having to defend my favorite band to the masses. Though it was nice getting front row tickets for $30 when nobody liked them.
Speaking of "Pop," I think that album was WAY ahead of it's time. The world is still not ready for it, but soon. The band even threw that album under the bus. But if you're looking for songs that don't play it safe and songs that have a meaning, I'll take "Pop" over the last two any day. They really took a chance on that record and it nearly killed them.
So may the new album hold more edgy, dark, dance-able tunes that prove why these guys are still relevant when so many of their peers are playing the "Where Are They Now?" circuit. Let the cougars in the clubs shake their fake racks and tramp-stamped asses to "Sexy Boots" while I ponder the meaning of life with the rest of the tracks.
Friday, January 9, 2009
My Drumming Philosophy
I am a songwriter’s drummer. I try to capture the meaning and mood of the song and play my part to support it. I use space and dynamic more than fills. Drumming can be the main catalyst that makes the listener feel whatever emotion the songwriter is communicating. Theory and technique are important, but the key is to step inside the song and walk around for awhile. Otherwise, it’s just drum by numbers.
I have always been a "less is more" type of person when it comes to gear. My college drum instructor showed me how I could make the same sound with a 5 piece as a lot of people do with much bigger kits. It's interesting how certain genres always have a huge drum kit with racks and racks of toms and cymbals. To me, that is just more stuff to lug around. The one thing I do wish I had a lot of is abstract percussion stuff. Glenn Kotche of Wilco is one of the best, he's throwing shakers around, playing xylophone with one hand and doing fills with the other, has cans of sand taped to his hi hat, very entertaining to watch. And yet, he still serves the song.
So the key is to find that balance between flash and substance. Obviously the show must entertain, as much as possible. But every note and every instrument played onstage should have a purpose beyond simply showing off.
I have always been a "less is more" type of person when it comes to gear. My college drum instructor showed me how I could make the same sound with a 5 piece as a lot of people do with much bigger kits. It's interesting how certain genres always have a huge drum kit with racks and racks of toms and cymbals. To me, that is just more stuff to lug around. The one thing I do wish I had a lot of is abstract percussion stuff. Glenn Kotche of Wilco is one of the best, he's throwing shakers around, playing xylophone with one hand and doing fills with the other, has cans of sand taped to his hi hat, very entertaining to watch. And yet, he still serves the song.
So the key is to find that balance between flash and substance. Obviously the show must entertain, as much as possible. But every note and every instrument played onstage should have a purpose beyond simply showing off.
Chris Hubbard
My friend Chris Hubbard is, among other things, the keyboard player for Scotland Barr. Anyway, he's just released a couple of solo improvisation albums. Now think about that for a second, solo improv. As Chris puts it, "these songs didn't exist until milliseconds before they were recorded." He literaly sat down, rolled tape, and started playing. You can listen to a few samples @ www.montchrishubbard.com and I must say even if you only take a few minutes it's definitly worth your time.
See, the thing is this: genuine talent is something you don't encounter everyday. And creativity should be rewarded. If you could make a pie chart of stuff that we value throughout history, creative people are probably responsible for 90% of it.
Of course I've always known Chris as a very talented musician, but this is the first time I've ever heard anything he's written. I'm very impressed, and it's actually given me even more motivation to spend as much time as possible creating and playing music - the finest for of art.
There's a lot of stuff out there you can spend your time and money on, and truthfully most of it sucks. We all know it. So if you have the ability to contribute something which doesn't suck, by all means do it. And if you can't, just make a point to enjoy something worthwhile. Often the only reward the artist ever gets is knowing that someone somewhere appreciated their efforts.
And go Blazers!
See, the thing is this: genuine talent is something you don't encounter everyday. And creativity should be rewarded. If you could make a pie chart of stuff that we value throughout history, creative people are probably responsible for 90% of it.
Of course I've always known Chris as a very talented musician, but this is the first time I've ever heard anything he's written. I'm very impressed, and it's actually given me even more motivation to spend as much time as possible creating and playing music - the finest for of art.
There's a lot of stuff out there you can spend your time and money on, and truthfully most of it sucks. We all know it. So if you have the ability to contribute something which doesn't suck, by all means do it. And if you can't, just make a point to enjoy something worthwhile. Often the only reward the artist ever gets is knowing that someone somewhere appreciated their efforts.
And go Blazers!
Thursday, January 8, 2009
Step One - Join A Band
So ever since I left Scotland Barr I've been looking for a new band to join. My primary tool in this search has been, of course, craigslist. I've seen a lot of "bands" out there who obviously spend more time in the mirror than they do practicing and writing songs. I think Portland is full of hipsters who think that because they wear denim that is way too tight, don't shave, and roll their own cigarettes, that somehow they are original and interesting. Just being weird for the sake of being weird is neither interesting nor weird. It just makes you look like every other barista. And by the way, since when does working for Starbucks and shopping at Ikea constitute fighting the establishment?
But I digress. After listening to every song on every myspace link from every band in Portland who needs a drummer, I started to get bummed out. Maybe I should've stayed with the Drags. They are 10x better than anything I've seen since. It was so easy for me to find and join that band, I didn't realize until now how seldom great bands like that actually have an opening.
But just last week I started to see a couple postings from really good bands. I'm actually very stoked about an audition I have next week. The band sounds awesome, and I talked to the main guy on the phone last night for a bit and he seems to be a) very cool and b) very driven. Those are two very important attributes for a frontman I think. I'm looking forward to this audition more than any I've had in the past- so much so that I actually practiced their songs the other day. In the past I've always just winged it- which really isn't a bad approach if you think about it. It's like an IQ test, you're not supposed to study.
Last week I had an audition that did not go well. I'm not too tore up about it because I don't think that band would have been the best fit for me anyhow. But it is the first audition I've been to where I wasn't offered the job right on the spot. In fact, the guy couldn't have been less impressed. The thing is, when I listened to his tunes on myspace I didn't really like the drumming at all. It was very hi-hat heavy and too cymbal-ly in general. But I felt like the songs were strong. Now if a band is looking for a drummer, and their current songs have lousy drums, it stands to reason that they would be interested in hearing a few different approaches. Not this guy. Turns out he had recorded the drums himself, even though he is not a drummer, and he was looking for a drummer to play the parts exactly as he had "written" them. He was so dead set on this that we didn't even play through one song. The whole thing lasted less than a half hour. I have no problem playing drum parts that someone else wrote, so long as their good.
That's why I'm excited about the audition next week. Their recording sound awesome and the drum parts are perfect already, so I don't have to change anything.
But I digress. After listening to every song on every myspace link from every band in Portland who needs a drummer, I started to get bummed out. Maybe I should've stayed with the Drags. They are 10x better than anything I've seen since. It was so easy for me to find and join that band, I didn't realize until now how seldom great bands like that actually have an opening.
But just last week I started to see a couple postings from really good bands. I'm actually very stoked about an audition I have next week. The band sounds awesome, and I talked to the main guy on the phone last night for a bit and he seems to be a) very cool and b) very driven. Those are two very important attributes for a frontman I think. I'm looking forward to this audition more than any I've had in the past- so much so that I actually practiced their songs the other day. In the past I've always just winged it- which really isn't a bad approach if you think about it. It's like an IQ test, you're not supposed to study.
Last week I had an audition that did not go well. I'm not too tore up about it because I don't think that band would have been the best fit for me anyhow. But it is the first audition I've been to where I wasn't offered the job right on the spot. In fact, the guy couldn't have been less impressed. The thing is, when I listened to his tunes on myspace I didn't really like the drumming at all. It was very hi-hat heavy and too cymbal-ly in general. But I felt like the songs were strong. Now if a band is looking for a drummer, and their current songs have lousy drums, it stands to reason that they would be interested in hearing a few different approaches. Not this guy. Turns out he had recorded the drums himself, even though he is not a drummer, and he was looking for a drummer to play the parts exactly as he had "written" them. He was so dead set on this that we didn't even play through one song. The whole thing lasted less than a half hour. I have no problem playing drum parts that someone else wrote, so long as their good.
That's why I'm excited about the audition next week. Their recording sound awesome and the drum parts are perfect already, so I don't have to change anything.
Is It My Imagination...
First off, I can't imagine anyone would ever read this. Normally I tend to think of blogging as pretty blowhardy, especially when the blogger is someone like myself who is totally unknown. But the whole point of this is to change that. My intent is to keep this blog for one year, to track my progress as I try to make the impossible leap from obscurity to professional musician.
So I'm 28 years old and I've been playing the drums for 10 years. Well actually, that's how long I've owned a kit . I've been banging on stuff my whole life. The last 2 years have been especially busy. I had the great fortune of drumming for Scotland Barr & The Slow Drags (www.scotlandbarr.com). From July of 2006 until August 2008 I toured all over the western US, got to go to Austin, TX for the 2008 SXSW music festival, and record an album which was recently named one of the best of 2008 by No Depression (http://www.nodepression.com/articles.aspx?id=5016). This was quite a ride for me. When I joined the band, all I wanted to do was play great music. The first show I played with them had an audience of about 4 people. We came a long way since then.
Unfortunately, what led to my departure from the band was my reluctance to commit to a full-time musician's lifestyle. I'll go into greater detail in a later post, but lets just say I tended to get a little homesick after living out of a van for six weeks at a time. The funny thing is, now that it's been almost a year since my last full tour and 4 months since my last gig, I've really started to realize that's where I belong.
Until about a month ago, I planned on working for my family construction business forever. I don't know why I planned on doing this- I don't particularly enjoy it, nor am I a natural at physical labor. I really wish I would've figured this out 10 years ago, but I'm still in my 20s (barely) so I guess it's not too late. The fact is, I play the drums better than I do anything else- by far. And I really enjoy it. Actually, I need it.
So I've decided to go for it all the way. I'm 28, no wife / kids / house payment, and nothing holding me back. Scotland Barr gave me a taste, and also showed me that it is possible to take this thing as far as I'm willing to take it. I intend to chronicle my progress here, which will hopefully turn into a how-to manual for becoming a professional musician.
How's that for a New Year's resolution?!
So I'm 28 years old and I've been playing the drums for 10 years. Well actually, that's how long I've owned a kit . I've been banging on stuff my whole life. The last 2 years have been especially busy. I had the great fortune of drumming for Scotland Barr & The Slow Drags (www.scotlandbarr.com). From July of 2006 until August 2008 I toured all over the western US, got to go to Austin, TX for the 2008 SXSW music festival, and record an album which was recently named one of the best of 2008 by No Depression (http://www.nodepression.com/articles.aspx?id=5016). This was quite a ride for me. When I joined the band, all I wanted to do was play great music. The first show I played with them had an audience of about 4 people. We came a long way since then.
Unfortunately, what led to my departure from the band was my reluctance to commit to a full-time musician's lifestyle. I'll go into greater detail in a later post, but lets just say I tended to get a little homesick after living out of a van for six weeks at a time. The funny thing is, now that it's been almost a year since my last full tour and 4 months since my last gig, I've really started to realize that's where I belong.
Until about a month ago, I planned on working for my family construction business forever. I don't know why I planned on doing this- I don't particularly enjoy it, nor am I a natural at physical labor. I really wish I would've figured this out 10 years ago, but I'm still in my 20s (barely) so I guess it's not too late. The fact is, I play the drums better than I do anything else- by far. And I really enjoy it. Actually, I need it.
So I've decided to go for it all the way. I'm 28, no wife / kids / house payment, and nothing holding me back. Scotland Barr gave me a taste, and also showed me that it is possible to take this thing as far as I'm willing to take it. I intend to chronicle my progress here, which will hopefully turn into a how-to manual for becoming a professional musician.
How's that for a New Year's resolution?!
Subscribe to:
Posts (Atom)