Music 400

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2009-05-17T22:22:00.001-07:00

Here it is... the people I'm most excited to see at the Sasquatch Music Festival 2009. If there's anybody on the lineup and not on this list that I should reconsider, please let me know. Some are on here because I know them, others because I have a feeling they'd be badass to see live. Pipe up with recommendations!

-LW

Two, Oh Six? Dude, Oh S#@t!

2009-04-17T14:05:00.000-07:00

by Corey Ball, Guest Columnist

Hey y’all, back again to give you your every-once-in-awhile rap booster shot. I don’t know about you, but I’m just about auto-tuned out. Last time we met I hit you with some names around the regional scene that you should keep your peepers peeped for. This time ‘round it’s all local, Seattle focal. If you didn’t know, the 206 is a city bubbling with talent, ready to spill over the cauldron any minute. Grab a cub.

Helladope!

Helladope, according to the… Dictionary of Corey means; “Of, or pertaining to being exceptionally exceptional.” That’s a Big check, eh? Tough to cash, huh? Fortunately, for this collective, not so much because as soon as you push play it’s a direct deposit. The word hella, of course, having west coast origins, is a fitting descriptor for this duo residing on the South side of Seattle. Consisting of MC/Producer Tay Sean, and MC, Jerm – this up and coming crew bring that left coast bounce, swaddled with soulful hooks and raps that spin over the track like a set of 100 spoke Daytons. Currently, there are only a handful of songs released for public consumption while they work on finishing their freshman effort, “Return to Planet Rock.” But it only takes a single listen to a song like ‘Out Here Doin’ It’ and you can hear that they are far from your average music hobbyist. In a time where there is a no shortage of rappers in this city, the polished Helladope! sound is new and exciting, like a astronauts first birds-eye glimpse of earth. Guaranteed, the city will be there with open ears when they touch down on their home planet.

http://www.myspace.com/helladoper

GMK

GMK, short for Golden Mic King, is a name you are sure to be hearing more of soon. Fresh off his feature on White Van Music (local producer royalty Jake One’s solo album released on Rhymesayers Entertainment), GMK is preparing to release his next project, “Songs for Bloggers.” Not much is known about this release as he has been holding private listening sessions exclusively for (duh), bloggers and local journalists. Despite the secrecy, the minimal response I’ve been able to glean from these sessions has been overwhelmingly positive. While the majority of the project remains under wraps, there was a YouTube video leaked a few weeks ago that lets you preview the cut “Music Swinger.” You can hear a definite ‘Ye influence in GMK’s work, but only inasmuch that he is looking to infuse a little musicality into this music (i.e. taking chances), much like the Chi-town musician/media machine. Partnered with Dot, a former Seattle native and talented producer, “Songs for Bloggers” is poised to shake more than the blogosphere.
http://www.myspace.com/gmkthegreat
Video for “Music Swinger”:

http://www.youtube.com/watch?v=4N9514axdOU
Video for “Carry Me Home”:

http://www.youtube.com/watch?v=1yspWeuG_O0

They Live!

First introduced to the 3-D world as 12 minute saga known as the DroBots, you enter a hazy, fully baked story featuring comic book crooks DJ Bles One as Bruce Illest and Gatsby as Dro Boy. In a pastiche of movie clips, hard rhymes and a production style that is both raw and polished the DroBots welcome us to their world. Gatbsy is 1/3rd of the local favorite Cancer Rising, while Bles One is our resident hip hop octopus; participating (and killing) all possible facets of this rap shit. With their powers combined you get four fists of fury to your speaker box. DJ Bles One is behind the boards, giving They Live! a sonic backdrop that is a hybrid/cyborg /zombie of the Bomb Squad (Folks responsible for Public Enemy’s beats), MF Doom-ist and Chronic-era Dr. Dre. The raps slap box your ears, then point and laugh when you stumble around disoriented. There isn’t much more to say. They Live! And that’s a very good thing.

http://www.myspace.com/theylive206

And that will about do it this go 'round. Hope you dig the picks. If not, comment and tell me why/suggest something your feeling this sorta-Spring.

P.S. I just started a podcast, Prize Inside, with my good friend/journalist Ryan Pangilinan. Music of all sorts is discussed, along with just about everything else under (and over) the sun. Stop by, give us a play.

http://www.prizeinside.blogspot.com/

Hasta.

Trailering :A critique of this year's crop of summer blockbuster movie trailers.

2009-03-30T14:26:00.001-07:00

by Nick Sherrill, Guest Columnist

Movie trailers are big for me. I spend an inordinate amount of time watching them, many repeatedly. I am a big believer in smart marketing, and a well-executed movie trailer is the most important promotion a studio can do for me to fork over $16 for a ticket & popcorn. But this is a music blog...why the hell am I writing about movie trailers?

Easy.

Music has become the cornerstone of what I consider a successful trailer. The right score or song sets an immediate and tangible tone for a movie. It can suck you in, establish a mood or ambience, and keep you locked in. You're only allowed two and a half minutes of images and dialogue - so overlaying those images and that dialogue with a cohesive soundtrack makes the trailer doubly profound.

And this summer's crop is especially varied. I can already tell that studios are sinking major bucks into "trailering" for your hard-earned (and most likely scarce) cash. Before we dive into what trailers work and which ones don't, let's take a moment to recognize why this year represents a marked sea-change in how trailers are filmed.

It's not because of the economy.

It's not because of how "in" viral marketing via YouTube is (a la Watchmen)

It's because of the death of Don LaFontaine.

...Huh?

Don LaFontaine (at left), who you may recognize by his trademark raspy growl, was the voice behind literally thousands of movie trailers over the last 30 years. He purred out lines like "in a world where all hope had been abandoned" or "a man searching for love in the far corners of space" - melodramatic and hokey taglines that were synonymous with the traditional, over-budget, summertime action blockbuster (let's use the acronym "TOSAB" for brevity's sake).

This past September, Don passed away due to complications from a collapsed lung. Don's voice had become conspicuously absent from the trailers of late, but many of us associate him with the TOSABs of the 80's, 90's, and early 00's.

For me, Don LaFontaine represents the end of an era where trailers relied on a trite narrative to grab attention. With the advent of more visually impactful filmmaking, the trailer "narrative" has became more of a distraction - it is occupying valuable trailer time that could be devoted to dialogue snipets and raucous music.

The human brain has certain limitations when it comes to sensory input. And modern action film trailers are at the high end of the spectrum when it comes to visual & audio throughput. A Michael Bay film is assuredly going to feature a high degree of flash imagery, steeped in CGI and overlaid with a booming sonic background. His films are cotton candy for the brain - an immediate and powerful stimulant, followed by an equally quick sensory "sugar-coma." Too much stimulation during a trailer is a distraction, and not enough can leave us bored and uninterested. It's a fine line.

Good trailers make sure they find the right balance between visual and audio, so that neither overpowers the other.

Great trailers are the ones where both audio and visual elements enhance the other. Sensory symbiosis. To pull it off is difficult, and takes courage. So without further ado...

The 2009 movie trailers that work:

· Terminator: Salvation - A sharply-edited third trailer for the May release of the latest Terminator installment features the perfectly synced Nine Inch Nails song "The Day The Whole World Went Away." When asked to view the trailer, almost everyone who I informally polled commented that the music fit really well with what they were seeing on the screen: apocalyptic, dark, sad and mechanical - much like NIN themselves. A cast of mostly unknowns (aside from Christian Bale) populate the screen, and the dialogue outlines an intriguing storyline: Will a stranger be the key to John Connor's battle against SkyNet, or its ultimate undoing? So far, I haven't yet seen a trailer this year that encapsulates a movie's mood as perfectly as this one. It only took ten years for this Trent Reznor ballad to find its place in the world.

· Watchmen - There's been a lot of chatter about the viral campaign Watchmen did, with 80s-era YouTube newscasts, but what I believe really pulled in traditional movie-goers were the first two major trailers for the film. The first featured a gloomy Smashing Pumpkins B-side, "The Beginning Is The End Is The Beginning", another well-placed 90's alt-rock song that just needed the right forum to see the light of day. The second trailer features a foreboding organ, followed by rushing orchestrals - and then somehow jumps midway into Muse's "Take A Bow." The transition works, much in the same way NIN's song enhances the latest Terminator sequel. Both trailers also feature prolonged scene clips and fades, absorbing the beautiful cinematography and allowing the music to guide rather than backfill.

And the trailers that don't:

· Angels & Demons - This trailer screams frantic. It's cut with sharp flash edits, rather than fades, which gives the eye less time to understand what's going on. No scene last longer than 2 seconds, whereas Terminator and Watchmen both feature numerous cuts of 5-7 seconds. So of course to heighten the urgency we perceive on film, they incorporate a symphony of clashing symbols and banging drums. What is left is 135 seconds of seizure-inducing, frenetic composition, that leaves the audience exhausted from all the artificial commotion. Want quantitative proof? The Angels & Demons trailer features 132 film clips (58 for Terminator, 37 for Watchmen, and both are longer trailers). So you math majors out there just realized that that's almost a clip per second. Blink 132 times, once a second, and tell me how you feel afterwards. This trailer is hiding the movie, not showcasing it. There's a full diaper in the room, and no amount of Febreeze is going to cover up this summertime stinkfest.

· Inglorious Basterds - Oh, Quentin. Your pet project, on which you've worked on tirelessly for more than a decade, will finally grace the screen this summer. And you reward your fans with a Brad Pitt exposition delivered in a rather unfortunate Tennessee accent, set to a throbbing bass and distorted guitar?! Grumble grumble grumble. Children of the 80s expect more from you. You were our bridge to the soulful music of the 70s, and as much as I hated Jackie Brown, the soundtrack was a thing of beauty. Many of us were curious to see how you would stylize the WWII-era with your unique compendium of musical knowledge. And for someone who obviously knows the value a soundtrack brings to a film, you would do well to find a way to tease us sonically, as well as visually. I expect subsequent trailers to do a much better job.

Are They “Saving” The Music Industry?

2009-02-23T16:59:00.001-08:00

-By Nick Sherrill, Featured Columnist

Over the last year, articles heralding game platforms like Guitar Hero and Rock Band as the “savior” of the music industry have been written ad nauseam. Sales and download figures from their respective music stores are great, to be sure. A quintessential song of my youth, Weezer’s “My Name Is Jonas” has been rediscovered by another generation after its release to Guitar Hero 3, with sales jumping tenfold. Plenty of ink has been devoted to this phenomenon, and consensus is the music industry will be lifted up on the back of these games. And the evidence is compelling.

You are probably convinced too, right? You’ve likely spent at least a few nights howling out “Maps” or “Black Hole Sun” and enjoyed it. It’s a great interactive experience; as a gaming platform it rivals only the Wii as the most innovative thing to come along in a decade. At a bare minimum, it’s allowed an older generation a socially-acceptable excuse to play video games, and a younger generation to experience music from beyond their spoon-feed diet of mass market pop.

But the proclamations about music video games repairing the music industry need to stop. Repairing something implies that it will return to its previous form. There’s no going back to the previous form. We’ve hit the reset button. And the popularity of these games will only drive a portion of the new model.

The music industry that will work going forward is the one that’s able to do three things, and three things well: connect with its audience, adapt to platform changes, and monetize services that bridge platforms.

Major labels of the past had ignored the first two things, and made damn sure they were able to get the third, by any means necessary. That ambivalence has now cost them. Unknowns have ascended to a place of prominence (and power). Apple holds all the cards when it comes to the hardware platform – and iTunes is a well-implemented client that has muscled out other online stores. Then there are the discovery services: Pandora is probably the most classic example with a huge online following. But you can also classify Guitar Hero and Rock Band as discovery services. The genius of that platform was enabling users to purchase more and more through their own game store. They’ve established a healthy vertical industry. So healthy in fact that washed up bands like Def Leppard and ACDC have released new albums exclusive to Rock Band. And we haven’t even mentioned MTV yet.

MTV has spent the better half of a decade redefining itself, gravitating from a purely music medium to bear-hugging sideshow entertainment that gets ratings but continues to move the bar south. So in their search to be everything for everyone (under the age of 27), MTV looks to have stumbled upon an ATM (Harmonix, distributor of both Guitar Hero and Rock Band) sitting on their front lawn.

So what we have now is a small subset of success stories, which are sprouting up like saplings in a charred forest. Slowly these entities are bridging gaps and occupying new territory that was once dominated by the major labels. None has found a sure-fire way to monetize completely, and fairly compensate artists in turn, but movement is being made there. And I would be lying if I didn’t want one of two of the major labels to gamble everything and abandon their established models. There is a lot of talent and untapped ideas there.

But let’s have a cessation of the “saving the music industry” talk. It can’t be saved. It can grow again, slowly, and become something new and exciting that embraces fair music distribution and artistic freedom. I look forward to that. And hope that I can get on the ground floor of one.

Clash of the pop culture giants: Simpsons v. (m)Apple

2008-12-01T09:52:00.001-08:00

Few have been spared the satire of Matt Groening's long running animated sitcom, however for some time now, Apple has avoided the harsh populist satire. Last night, The Simpsons took on Apple, or uh, Mapple for a full 6 minutes of lampoonery -- a pretty harsh ride at a two-joke per minute pace. It all starts when the Springfield mall gets its very own Mapple store.

As most of you know, I spend much of my day annoyed with Apple for one reason or another. The thing that drives me most crazy is what they seem to get away with. Things that people hate, but overlook because of the “cool” factor. For example, ever notice that you can’t replace a battery on an ipod? when the battery goes, so does the whole device. Also, ever notice that the last time you had to update iTunes they forced their crappy Internet browser “safari” down your throat as well? This is the type of thing Microsoft got sued for back in the day.

Honestly, for this type of lampooning to happen it had to come from a medium with greater than or equal to “status” amongst the populous. The Simpsons are perfect, and right before the holidays too. Which could make for some great purchasing decisions. Though I won’t hold my breath.

See the full segment here; http://www.youtube.com/watch?v=gTH-aLsVFFs

read more | digg story

Foo Fighters slam McCain for unauthorized use of "My Hero"

2008-10-08T14:34:00.001-07:00

In a preamble to an official statement issued by the Foo Fighters, they talk of McCain using “a number of unauthorized theme songs” during his presidential bid, and mention how no permission was sought from “the band, its management, record label or publisher.”

Most recently the “maverick” (as he likes to call himself, and as his running mate LOVES to call him), has been using songs like “Highway to the Danger Zone” by Kenny Loggins, with the hope of getting people to think of him as that lovable Maverick from Top Gun. He’s done the same through his use of “Barracuda” by Heart to reinforce that story of how his running mate, Sarah Palin used to have the nick name barracuda. It’s borderline shameful, and it seems that McCain has been getting called on it more than other politicians in the past. For some of us, we say “GOOD” and chuckle to ourselves. For those in the position of McCain’s campaign, there’s not much left to laugh about.

read more | digg story

Trendy Music Goodness

2008-10-07T10:00:00.001-07:00

If you haven't heard of The Intelligence Group (IG) and their famous "Cassandra Report" exploring trends across multiple industries, then you are seriously missing out. They examine data from multiple age groups to spot key trends meant for marketers to take advantage of. However, it is also handy when it comes to spotting music trends. In fact, they have an entire section dedicated to music and entertainment. Here's what the latest Cassandra Report predicts for the music industry. Some point are more prolific than others, but the overall statement is pretty interesting.

MT 9
Developed by Korean company Audizen, MT9 is a new audio format
that’s a step ahead of the MP3. While MP3s are compressed versions
of songs, MT9 leaves room for consumer-created customization. With six channels of sound, consumers can make their own remixes. Volume for each instrument can be changed, songs can be made acapella, and all instrumental karaoke tracks are just a simple remix
away. Samsung and LG Electronics are both reportedly looking into adding MT9 capabilities to their mobile phones as early as next year.
With creativity such a coveted personal attribute among young people, we expect that the ability to be one’s own mixmaster has the potential to eventually knock MP3s out of the water.

Vinyl Revival
While technology may be hurting the music industry in some ways,
it appears an old-school trend may, in fact, be helping it. The vinyl record format is growing at an impressive rate and industry professionals are taking note. According to shipment figures
given by the RIAA, sales of vinyl LPs and EPs were at 1.3 million units in 2007, up 36.6 percent from 2006 figures. Speaking to this trend, this past fall Amazon.com introduced a vinyl-only store and now offers a lineup of 150,000 records, while indie music retailer Newbury Comics has reported that they’re selling $100,000 in vinyl monthly. Even major labels are creating vinyl reissue series; EMI’s From the Capitol Vaults is releasing old Radiohead and Coldplay
albums on vinyl. Consumers are drawn to vinyl records because they
expressly offer everything that MP3s do not: The sound of vinyl is richer and more multi-dimensional than both CDs and digital downloads because compressing audio files gives them a tinny, low-resolution quality. And while smaller digital formats offer the benefit of portability, they lack tangibility. Young music collectors are drawn to the large album cover graphics, sleeve photos, and liner notes, as well as the design of the vinyl itself, which can be pressed into different shapes (hearts, triangles) and colors (or sparkles) to provide a fun and tangible memento of their fandom. The vinyl experience has been touted as the only way to go for audio purists, but for young consumers it also serves as an impetus for social listening gatherings while also making them feel connected to the music artist.

Brand Subsidized Music Labels
As music labels’ budgets and influence dwindle, brands are stepping in to finance music artists, making it possible for them to continue producing high quality music for their fans. Procter & Gamble recently partnered with Island Def Jam to create a label called Tag
Records (named after their body spray), which plans to sign new hip-hop artists; and Red Bull also plans to launch a label by the end of the year. Illustrating the single-release trend, brands are also subsidizing original tracks from popular artists: In honor of the 25th anniversary of Nike’s Air Force 1 sneaker, the shoe company pulled together hip-hop icons Kanye West, Nas, and KRS-One to create an original song which Nike promoted and distributed like any music label would (the track, “Better Than I’ve Ever Been,” was nominated for a 2008 Grammy Award); Converse teamed up music artists Julian Casablancas, Santogold, and Pharrell Williams to create a song called “My Drive Thru” which was available for free on its website; Unilever’s Caress commissioned Pussycat Doll Nicole Scherzinger
to record a cover of Duran Duran’s song “Rio” which was free on
its website; and Bacardi signed Groove Armada to a year-long contract in which the brand will pay for and promote a mini-tour and the release of an E.P. These deals benefit all involved: fans, brands and the music artists—who get great exposure and more lucrative royalty deals than those offered by labels.

Amie Street Growth
Indie music store Amie Street has carved out a successful niche with its variable pricing model—so successful that it received a Series A financing investment from Amazon and a deal to sell over one million new tracks from one of the top indie distributors, The Orchard. Differentiating itself from other digital music distributors, all tracks are first offered for free when they are added to the site. As a song’s number of downloads increases, so does its price, with a cap at just 98 cents. And whenever a user writes a recommendation for a song and it goes up in price, the user earns credits for other songs, making the site significantly driven by users.

-LW

Listening to; Bon Iver, Ra Ra Riot, TV on the Radio

The 10 Worst Songs That Hit #1

2008-09-30T14:06:00.001-07:00

You would think if a song went to #1 on the charts it would have some kind of redeeming quality. Even if it wasn’t your favorite genre of music, I’m sure you could find one reason why everybody was raving about it so much. So how do songs that have with no originality or creativity what so ever hit it big with the masses? My only guess is stupidity

read more | digg story

Web Radio Darling Pandora Breathes Easier, For Now

2008-09-30T13:57:00.001-07:00

Who says our elected officials can't get anything done? In addition to hammering out a $700 billion Wall Street bailout deal over the weekend, lawmakers extended a lifeline to Internet radio companies like Pandora, who are trying to lower the fees they're supposed to pay for streaming music rights.

read more | digg story

Karl Rove: McCain's Ads Have Gone Too Far (VIDEO)

2008-09-15T13:18:00.001-07:00

Remember... this is KARL ROVE saying this.

read more | digg story

This Online Music Game is Addictive as Hell

2008-08-27T06:11:00.001-07:00

SongBlitz is a game that puts your musical knowledge to the test. Do you think you know Rock & Pop, Electronica, Hip-Hop, Metal, or Indie music? Or are you knowledgeable in all of the above genres? Put your skills to the test and try this game out. We promise you could waste a lot of hours playing this.

read more | digg story

Obama Assassination Plot Investigated By Colorado Police

2008-08-26T05:41:00.001-07:00

According to multiple sources, Aurora police made a routine traffic stop Sunday morning at 2:38 a.m. The Secret Service says two rifles were found in the car along with methamphetamine. Another law enforcement source says he was told at least one of the rifles was a "sniper rifle." This is just sad as all hell. This has nothing to do with Music, but I was so disturbed by it that I thought I would share with my friends.

read more | digg story

GraphJam.com + pop culture knowledge= Math can be fun

2008-07-31T12:51:00.000-07:00

Colleague of mine pointed this out today... he described it as "Pop culture for protractor people." I'm not one of said protractor people, but I had to check it out anyway. I'm glad I did.

Here's a taste of www.graphjam.com. There will be prizes for those who fully understand these.

more graph humor and song chart memes

more graph humor and song chart memes

more graph humor and song chart memes

more graph humor and song chart memes

-LW
Listening to: other people talk.

Hayden Panettiere: The next 'pop' in the pan

2008-07-19T23:19:00.001-07:00

In a late night Internet browsing session, I ran across this tragedy. I understand the "strike while the iron is hot" mentality but why do Hollywood "IT" girls always try to make a pop record? It's nuts to me. Enter the jail bait actress from TV superhero show "Heroes." In a video where the admittedly attractive young Hayden Panettiere sings an overproduced pop song, she adds insult to injury by making it a song that is basically about cheating on her boyfriend in order to make him "wake up" and see what he's got. Now, I'm no Dr. Phil, but I'm pretty sure that's not going to work (not healthy behavior). All of that said, I wish her the best of luck lasting longer than it takes me to write this blog, and I look forward to seeing her back in her cheerleader outfit on Heroes.

-LW

Listening to: Siberian, Rogue Wave, The Beta Band

An open letter to the stranger with the horrendous breath who sat next to me at the Foo Fighters show

2008-07-10T10:51:00.001-07:00

Dear Sir,

Let me first say that I'm sure you are a decent human being. You appeared jovial, you have adequate taste in music, and you had a lady with you that appeared to at least be from this planet. So I'm going to choose to give you the benefit of the doubt as it relates to your typical level of hygiene/oral hygiene. I'm sure you're not a bad person... I just think you should maybe see a doctor. That being said sir, there is no excuse for expelling the kind of odor I unfortunately encountered last night... and from your face no less.

I attend an above average level of concerts. Some are in arenas like last night, and others are in intimate clubs/bars. Rarely do I depart from a show early. But sir, you and the festering rodent carcass lodged somewhere in your mouth, left me with no other choice. One should never have to chose between a high-energy rock show, and self preservation unless the circumstances involve an act of God. Sir, your breath was most definitely not the creation of any God I hope to meet in the afterlife.

Most people go to shows and anxiously await songs they know so that they can dance and sing along. You knew all the hits, didn't you? It was during these hits that you broke the seal, as it were, and opened the septic tank that was your mouth to sing along. At one point I joined in with you... it was for the lyric "Looking to the sky to save me."

I have never encountered a smell that triggered a gag reflex (I know, I've lead a charmed life). The fates conspired to exact their revenge this time around. So congratulations for being my first (pause). In your haste, you violated a beautiful time between myself and Dave Grohl, one of the few remaining true rockstars. Shame on you.

If I had a breath mint I would've forced it on you. If I had a fire hose, I would have unleashed it on you. I got home and had to blow my nose a hand full of times before I began the healing process and rid myself of your remnants.

Shame on you... and damn Livenation for not granting me a press pass.

-LW

P.S. And shame on you "girl with dude with horrendous breath" how bout some tough love!!! Do your man a favor.

P.P.S. How could you not know it with your mouth so close to your nose?!?!?

Worst Album Covers Ever

2008-06-18T13:14:00.001-07:00

These are all real... I saw this a while back and re-discovered it. Now I share it with you. Enjoy!

-LW

Listening to; George Harrison, Fleet Foxes, Dept. of Energy

Two bands that are NOT Chop Suey

2008-06-09T16:46:00.001-07:00

June 6 - Within the heart of Seattle's Capitol Hill is nestled a quaint venue by the name of Chop Suey. Despite it's name, the venue is occasionally able to rustle up a bill of solid unknowns. Sometimes it's merely an honorable attempt, but last Friday (June 6) was a night with a couple noteworthy surprises.

Opening up the night's festivities were Seattle's The Color Bars. The sound was oddly familiar yet clearly out of this world. Musically the band has the power to bring disco/dance/pop back to life and they have the technology to make it better, stronger, faster. This itself was highly enjoyable. That being said, the band could stand to channel their sound and actually move a little on stage. Dawning 60's and 70's regalia one would've expected them to show some showmanship or engage with the audience at a minimum. Lead singer and front man, Gerald Slevin has some serious talent, but was awkward to watch. Keyboard player and backup vocalist Erin O'brien was quite striking, but appeared to be watching the rest of the band whenever she wasn't singing in to the microphone.

The band has amazing potential to build a truly revolutionary sound. They rocked the venue that night from a musical perspective. Though with a little stage polish they will quickly be on their way onward and upward. Keep an eye on these guys.

Headlining the evening of musical treats, was L.A. band The Submarines. With an airy and unique sound, the duo charmed the socks off of this Seattle crowd. The musicianship wasn't incredibly impressive, but the songwriting was, and their live execution was flawless. Lead singer and front woman, Blake Hazard managed to draw the crowd in with her charm and obvious beauty.

Overall the pairing of these two bands was fitting. They complimented each other quite well. The sounds meshed and areas of expertise filled in the areas where the other was lacking. While The Color Bars were outstanding musicians with a fun sound and a need for more stage presence, The Submarines were a lot of fun to watch and listen to, but could've used additional musicianship.

I highly encourage you to check out each of these bands for yourself. They are different and will likely find different niches in your play list. Let me know your thoughts.

-LW

Listening to: Sigur Ros, Battles, Weezer

Sasquatch Music Festival: Day 3 Slide show

2008-05-27T22:43:00.001-07:00

Check it out and enjoy. you'll need to click on the photos you like to see the whole thing. Show reviews forthcoming from days 1-3.

City & Colour: So good, but what an unpleasant experience

2008-05-19T23:54:00.001-07:00

So there I was, Monday night, the Chop Suey venue on Seattle's Capitol Hill. It had been a pleasant 70ish degrees all day. So how could such a nice day morph in to a terribly unpleasant evening? Two words... Broken ventilation. Three more words... sold out show. Yup, I was up to my chin in an apocalyptic mix of hipsters and the occupants of Greek row. The temperature was rising. The underage hipsters occupied the all ages section of the small venue, while the frat bros posted up at the bar. After a mediocre opening band whose name I can't remember, and a witty crack from Alexisonfire (the solo artist of City & Colour) at the frat brothers' expense. I stood there in what felt like an amazon jungle for an amazing few songs from City & Colour. The truly great music could only keep me there for a hand full of songs before I craved the quazi-fresh city air and had to exit.

Honestly I had no idea the frat bros enjoyed C&C so much, but I guess I should've known. Overall the company and music made the night, and I was able to escape without a greek altercation and emerged with the following tips for all those expecting to someday be at a sold out show in a tiny venue with a broken ventilation system.

Submitted for your approval;
TIPS FOR A CROWDED VENUE

1) Travel with a female - Obviously this one is for the guys. Fellas, you know as well as I do that we are (generally speaking) less able to squeeze between people in a crowded space. We also know that it takes us twice as long to order drinks. Therefore bring a lady with you and offer to switch it up if you must, or make a competition out of it. See who can get the drinks faster... just try not to get stuck making runs to the bar all night. You will miss out.

2) Anti-perspirant - Over-rated in these types of situations. But lets face it... anything to reduce the vapor in the room is a good thing.

3) Get to know your neighbor - the only way to make the most of an uncomfortable situation is to put a face, voice, and moist handshake to that musk tickling your nostrils.

4) Plan the 'must-hear' songs - Know why you came to the show and be okay leaving once you've completed your mission... it's not worth dying over.

5) Breathe carefully - It is wise to consider holding your breath for that brief moment when a song concludes or be prepared to inhale all the slimy CO2 for the weirdos around you. I know, doesn't sound sanitary does it?

-LW

Listening to: Explosions in the Sky, Augie March, Turin Breaks

New Kids on the Block: Sad, desperate, and sad.

2008-05-17T11:25:00.001-07:00

(A shot of the "band" in their hay-day)

In case you haven't been following the news that shocked nostalgic 80's boy band fans across the nation, New Kids on the Block have re-united and recorded a new record to tour on. NBC's Today was quick to exploit the interest, booking the "band" for a Friday, May 16th live performance in Rockefeller Plaza. As one who admittedly listened to their music back in the day (I was like 8 or 9 years old) I watched the performance live out of morbid curiosity for how they'd do. In short, I felt embarrassed for them.

Since the early 90's, the boy "band" phenomena has been refined. Backstreet Boys, 98 Degrees, N'Sync, etc. These acts stood on the shoulders of NKOTB but ultimately did it better. Fast forward to today, the boy "band" genre is arguably improved and NKOTB has only gotten older. If this isn't a cocktail for disaster I don't know what is.

(a shot of the "band" today)

So in a Britney Spears, VMA -esque return, NKOTB gave it a go and looked simply terrible. I mean sad. Really sad. They looked like that group of assholes at your high school who decide that for the annual talent show that they're going to choreograph a dance to a boy "band" song, thinking they can impress girls.

The failure was so pervasive that immediately following their Today Show disaster, I received the following comment from my mother via email.

"Gotta say…those New Kids on the Block shouldn’t have made the “come back” they did today on the Today Show. Especially trying to do what they did years ago when they were “kids”…they are grown-ups now and maybe should have come back with a whole new thing if they came back at all. Better left as a fond memory of youth!"

Check it out for yourself and let me know what you think. I will not be watching in a second time... that's for sure.

-LW

Listening to: Venus in Flames, Death Cab for Cutie, Portishead

Get Knowledged: Just Be Hips You To 4 Artists You Should Be Hip-Hopping To

2008-05-06T23:25:00.001-07:00

By Corey Ball (A.K,A, Just Be), guest writer

#1 Dyme Def

Dyme Def's freshman album 'Space Music' is entrenched in the iconic samplings of Bean One (you may know him as one-third of the holy triumvirate of Seattle producers, the other two being Vitamin D and Jake One). Emcees at the helm are Brainstorm, Fearce Villain and S.E.V. You'll soon notice that these guys bounce off each other like a young RUN-DMC approaching their prime. Dyme Def's unique sound partly comes from the age difference between Bean and crew. The older, Bean One, grounds their sound in the golden age with vocal samples from Kurtis Blow, RUN-DMC etc. while the rappers provide the youthful energy and lyrical references that appeal to the most fitted hat wearing, fluorescent allover print hoodie sporting, 14 year old. The combined result is accessible, clever rhymes with beats that are catchy and knock. Backed by a smart and hard working promotions company, Soul Gorilla, Dyme Def have more than twice received positive ink in Fader, a tastemaker magazine. Dunno if it's two or three, so there you go, twrice. They most recently received a very high honor in being the subject of Source magazine's column 'Unsigned Hype', which in the past has launched artists such as DMX, Notorious B.I.G., and Eminem. It's almost cliche now to say these guys are going somewhere serious, it's now become about getting familiar before they blast off.

#2 Kidz In The Hall

The Chicago based crew "Kidz In The Hall" is the combined project of emcee Nawledge and DJ/Producer Double-O. Along with their Chi-town predecessors (KanYe West, Rhymefest, Lupe Fiasco) the Kidz bring that signature "Illa-noise" sound which is street and smart at the same time. Their '06 release 'School Was My Hustle' had Nawledge wittily drawing lyrical similarities between his four years of hugging a book and those less privileged years hugging the block. With Nawledge's rubber bandy, versatile flow and rich, soul-driven production by Double-O they began to receive attention from more than their professors. Skip class to the '08 (It's cool, I won't tell) and you got the lead single to their soon to be released album ("The In-Crowd"), 'Drivin' Down The Block' (accompanied by a hilarious video that spoofs/homages classic used car commercials) Loaded with a bass heavy riff and infectious vocal sample chorus you're almost doing it a disservice if you have it playing at any volume setting lower than an 8. As the flagship artists to the newly rejuvenated Rawkus Records, the Kidz might be the next residents from 'The 'Go' to rattle both trunks and charts.

#3 Wale

From the home of Go-Go and a home with more kickbacks than the World Cup, Wale is a strong newcomer to the Washington D.C. scene with a fun, D.C. drawl. Wale and his music have enjoyed their very own URB magazine cover, celebrated by the N.Y. hipster caste and the most hardcore of hip hop heads, very impressive. Possibly better yet, Wale made a cameo on arguably the best track from The Roots new album.The soon to be released 'A Mixtape About Nothing', inspired by the king of nihilist sitcoms 'Seinfeld' (from the cover art to the song titles), you can hear the multitude of influences, including echoes of Go-Go (the drum heavy dance music native to his region) on the aptly titled 'Back To The Go' featuring UGK's own Bun B. Put simply, Wale is a breath of fresh air in the staunch basement that is the scene these days.

#4 Saigon

Most known for his reoccurring character on 'Entourage', It doesn't get much harder or hungrier than this Brooklyn-bred emcee. After a less than brief stint in the clink, Saigon emerged a man on a mission. He proceeded to release two classic mixtapes that still sell, today; a difficult feat to achieve in today's scene. Saidon also becomes increasingly "accessible." His first solo album, 'The Greatest Story Never Told' has been in the wings, waiting for daylight awhile now. Rife with label, legal, and sample issues/drama, it was only this year that we first got to hear the fruits of labor in the form of 'Come On (Baby)'. This single features a beat that only can be described as 'beastly'. You cannot help but throw elbows when this song comes on, try not to... I dare you. With the bulk of the production helmed by super producer and self-proclaimed tech-nerd (becoming known for heavy bloggin as much as heavy drums), 'Just Blaze' provides the neck snappin, hardcore ground-work for Saigon to stamp his bootprint. Saigon is all things; hungry, mean, smart and ready to let the world hear his story.

Other Albums to Russ-ian and Czech out (get it? groan):

1) Lyrics Born – Everywhere At Once (Bay Area native that provides raw funk instrumentation and sing-songy, scatty typea flow thats just plain fun to listen to)

2) eMC - The Show (Newly formed super-group that are all masters of their craft, from the singles I've heard the album will not disappoint)

3) Cancer Rising – Self Titled EP (Very strong second release from a local crew that is building their name quickly. You can see their energetic stage show next at the Sasquatch Music Festival!)

4) The Roots - Rising Down (An already very well established crew, the Roots collective always promises to be soulful, drum driven and informed in the music of yesteryear)

5) Blu - Below The Heavens (Blu is a newcomer that is quickly becoming a household name, This album helped him pimp-strut his way into living rooms nationwide. Check the off the cuff-baller on a budget sensibility of Blu's flow backed by jazzy, staccato like production from DJ Exile.)

Thanks for riding along. Hit the tip jar on the way out, wouldja?

-Just Be

KL's May Picks - May Music Mayhem!!!! (Seattle)

2008-05-01T15:56:00.001-07:00

As a new regular feature for Music 400, on the first of the month I will be providing a list of my top 5 picks for live club shows in Seattle for the month. What better day to start than May Day?

May is a HUGE tour month for musicians, so it was incredibly difficult to narrow down my first round of picks. I’ve included a full list of all the shows I’d recommend this month, categorized by venue below. I hope to see you at a few (if not all) of these shows! If you have anything to add to the calendar, please feel free to leave a comment so we can all hear about it.

1. May 4 – Vetiver @ The High Dive
Frontman Andy Cabic formed a folk super-group about five years ago, and they’re already taking the fiddle-loving, tweed-wearing crowd by storm. Vetiver’s tunes have a unique ethereal and angelic feel, and their songs are delicately arranged. The loveable, quirky country-folk hero Devandra Banhart is also a member of the band. Be sure to catch this show before the band travels over the lake for a full European tour.

2. May 6 – J. Tillman @ The Tractor Tavern
After establishing a solid solo career in the northwest, singer/songwriter J. Tillman has recently been added to the roster for the much beloved Seattle-based group Fleet Foxes. His rich tenor vocals are smooth and calm, perfect for a late night drive through the country. Or a late night of PBRs at Ballard’s Tractor Tavern. Tillman will be sans Fleet Foxes for this gig, so check him out and get a feel for what Robin Pecknold and gang will be working with.

3. May 14 – Tapes n’ Tapes @ Showbox
If you have yet to hear tunes by Tapes n’ Tapes, get out from under your rock and over to Easy Street ASAP. The Minneapolis rock quartet released their debut album “The Loon” in 2005, and hipsters across the nation have been in love ever since. Their most recent release, “Walk it Off,” proves to be another strong album full of all the catchy rock music you’ll need for the summer.

4. May 20 – Margot & the Nuclear So and Sos @ Chop Suey
A collection of talented musicians from Indiana, and named after the character from The Royal Tenenbaums, Margot & the Nuclear So and So’s define the category of chamber pop. Their music ranges from militaristic marches to orchestral rock, and the lyrics are absolute poetry. Frontman Richard Edwards’ vocals are troubled, yet playful, and the arrangements parallel his dualistic musical personality. Margot doesn’t tour very often, so definitely mark this one on your calendar of must-sees.

5. May 25 – M83 @ Neumos
If you aren’t opting for the Sasquatch Music Festival this weekend, I feel sorry for you. But not TOO sorry, because you’ll instead be able to see French trip-hop pioneer M83. If you’re into dark, reverb laden, shoegaze pop, M83 is definitely a show you need to attend. The most recent release, “Saturdays = Youth,” focuses on a blatant 1980’s influence. Once again, this is a band that doesn’t do a whole lot of touring, so catch it while you can.

Neumos

May 15 – The Kills

May 16 – Clinic

May 18 – Tokyo Police Club

May 25 – M83

May 30 – Foals

Chop Suey

May 19 – City and Colour

May 20 – Margot & the Nuclear So and Sos

High Dive

May 2 – The Quit (CD Release), with The Femurs and Dept. of Energy

May 4 – Vetiver

May 28 – The Von Bondies

Tractor

May 6 – J. Tillman

May 11 – Hypatia Lake, with Who the Hells

Sunset Tavern

May 3 – Hazelwood Motel

May 5 – BOAT

Showbox

May 5 – Elbow

May 8 – Minus the Bear

May 14 – Tapes ‘n Tapes

May 20 – Coheed and Cambria (SoDo location)

May 24 – Ladytron

<3 KL

Ben Folds, Ben Lee, and my night of police brutality.

2008-04-30T15:12:00.001-07:00

PART ONE: Man keepin' me down...

Okay, "police brutality" might be a little dramatic, but a night of musical pleasures was definitely infringed upon when a local police officer apparently enforcing the "no water bottle" and "no photos rule" escorted me out of the show. It is important to note that a friend of mine was running the show so I didn't exactly have a ticket, and neither aforementioned rule was posted in writing anywhere at all. Here's how it went down;

(Cop walks over and sits next to me while Ben Lee is opening the show)

Officer: do you have a press pass?
Me: um, no. Do I need one?
Officer: I'm going to have to take your camera
Me: well, no. I'm not just giving you my camera
Officer: The you need to get the hell out of here
Me: How about I just run it out to my car and come back?
Officer: Can I see your ticket?
Me: Well I don't have a ticket, my friend is (insert name here) who's running the show.
Officer: Uh huh

(it was at this point the officer noticed the half full bottle of water that my friend had left in the chair next to me)

Officer: Is that your bottle?
Me: no, it's my friend (insert name here) who is running tonight's show.
Officer: You can't have that in here
Me: well, it's not mine, and there's rain in the forecast so if she's thirsty she'll be okay. You can have it.

(he didn't laugh...)

Officer: I'm going to have to escort you out.

It was at that time he "helped" me get up and leave the room. Fortunately when we got outside, I saw my friend and she vouched for me, let me store my camera in her office, and let me back in to the show. But not before I got these pictures of Ben Lee :)

This next one is kinda creepy considering what happened. It looks like he's pointing at me.

PART TWO: The show

Ben lee's solo act was entertaining. The songs were okay... catchy though. The crowd loved him on a level that surprised me. The man comes across as charming and humorous in his stage talk. That said, his triumphant references to actually dating Claire Danes, and making out with Tiffany Amber-Thiessen were a bit arrogant and unnecessary. Forget who they are? Think back to "My So-Called Life" and "Saved by the Bell." Yup. them.

Ben Folds is always a solid show. He's always funny, high energy, and very interactive with the crowd. At one point an ill-tempered fan within the crowd of 700 started shouting demands and inappropriate words like "bitch" and "cock" at the band between songs. Rather than getting upset, or spiting him, the band played an impromptu song about how angry people are and how weird it is for a dude to so desperately want to hear a song about bitches and cocks. Funny? Yes. Sad? Yes.

Ben played a couple new songs from his upcoming record yet to be titled. The song, also without a title, felt like a clone of his more recent upbeat hits. It was based on an experience he had while on tour in Japan where he fell off the front of the stage and played a full set while bleeding out of his head. Funny in premise, but it wasn't much a stretch musically. That said, the three part vocal harmonies were a HUGE improvement over his show last summer at the Gorge Amphitheater. I will hold my prediction of the upcoming record until the official single is released.

Overall, one hell of a night. Too bad I don't have more pictures.

-LW

Listening to: Tapes n' Tapes, Black Kids, Swell Season

If you had 3 wishes... these should be them.

2008-04-28T10:28:00.001-07:00

Three musical treats to add at the top of your musical wish-list

In my opinion it has been forever since Weezer has made a worthwhile record. Call me old school, or not a "true fan," whatever you like. The bottom line is that everything since Pinkerton has been made for the lowest common denominator, and even Pinkerton was short of Blue Record bar. As a result, myself and those like me have moved on... and no, not to an island in the sun, or Beverly Hills (gag me please). The single off Weezer's upcoming "red" album sound like a slightly evolved throwback to the 'Blue' and 'Pinkerton' days. The full record will be released in June, but this is something you'll want to keep your eyes out for (along with the ensuing tour).

Don't let the name fool you. The Weepies package together catchy tunes and insightful lyrics on their latest release "Hideaway." "Can't go back now," arguably their most popular song from this record, tackles the loneliness of growing up and the subsequent independence. This is a song that speaks right to the twenty-somethings out there. The record is definitely worth a listen.

Like "The Postal Service?" How about "OK GO!" If the answer is yes to these questions, then you'd love their audio love child "Bishop Allen & The Broken String." Extremely catchy tunes with a healthy blend of some of the more contemporary sounds. If you're on the fence here, the two songs to check out are "Rain" and "Click Click Click." Although I haven't seen them live, I'm certain this band would put on one hell of a show. They're on the list.

-LW

Listening to: Sigur Ros, Foo Fighters, KT Tunstall

Starbucks feels the pains of cultural mortality.

2008-04-25T10:29:00.001-07:00

Starbucks, used to be the self proclaimed ambassadors of cool. Now Apple holds that title and Starbucks is learning that just because something is "cultural" it doesn't mean they can peddle it when nobody else can. The company is closing the chapter on their one year mission to explore strange and classic music, to seek out new icons and music experimentation, turning over the day-to-day management of its Hear Music record label to Concord Music Group.

As you may recall, Starbucks started the Los Angeles-based music label in March 2007 immediately signing former Beatle Paul McCartney. The sales of his first record on the label were... um, less than impressive.

Worse yet, Ken Lombard, who ran Hear Music for the past year, "has left the company to pursue other business interests," said Starbucks in a statement.

"Now is the appropriate time to restructure our entertainment business to better align our efforts with our overall business strategies," said Howard Schultz, chairman, president and CEO. Of course if he could speak candidly he probably would've said something like 'We do coffee... is music coffee? No! Mu sic is not coffee. Are breakfast sandwiches coffee? NO! They are not! Did I make all of this money from selling 8tracks and Jimmy Dean? NO, I got from COFFEE!'

This serves as yet another warning to those considering business in physical music distribution (i.e. CDs), and to companying trying to stretch beyond their means.

Starbucks recently announced a nasty second-quarter performance, and its shares fell more than 10 percent in Thursday trading, dropping $1.86 to close at $15.99.

-LW

Listening to: Bishop Allen, Andrew Bird, David Ford

How I Met Daniel Johnston

2008-04-18T14:23:00.001-07:00

By Guest Writer Karalee Sargent, SPIN Magazine

So far this week, I’ve attended a show every single night. I saw Junior League, The Moondoggies, Atreyu, Avenged Sevenfold, David Bazan, and Mark Kozelek. Mark Kozelek was definitely one of the highlights of my musical career, and I was wondering how any show in the future could possibly top that experience. Thankfully, the very next night, Lady Luck had the Daniel Johnston show in store for me.

After scrambling to find a ticket to last night’s sold-out show, I found myself standing outside Neumo’s in Seattle with a couple friends. My friend Matt had spotted Daniel Johnston himself standing outside earlier in the evening to enjoy a cigarette, so Matt was able to introduce himself and get a photo with him. After working in the music industry for several years, I’ve met various musicians, from hanging out backstage with mainstream R&B hero Brian McKnight to dancing on stage with local rockers, The Blakes. I’ve overcome any sense of starstruckness, and have actually developed a faint disappointment in musicians in general for various reasons. But when I saw Matt’s photo with Daniel, I wanted one.

At about that moment, Daniel Johnston himself emerged from the Green Room door to smoke (again) on the sidewalk. I grabbed my friends and forgetting any inhibitions about overwhelming or annoying an artist, I walked up and introduced myself. He’s far less volatile than I expected him to be. He spoke to me in his soft, warbling voice, his arm quivering intensely from the years of medication and drugs. He didn’t look at all healthy, however, and furiously sucked on his cigarette as he spoke with the handful of fans who had gathered to say hello. He even lumbered up to the box office, all of us in tow, passing a line of dumbfounded fans waiting to get into the venue, and added my friend Matthew to the guestlist.

PWRFL POWER and Dead Science warmed up the stage for a sold-out crowd, and then the man of the hour appeared. Daniel fumbled with an undersized guitar and a folder full of his lyrics. He sat on a stool and performed (however poorly) a few of his old “hits.” The shaking in his left arm was so intense that after twanging through about 3 songs, another guitarist came on stage to strum along while Daniel sang with reckless abandon. Halfway through his set, he took a short break (I’m assuming to go smoke again), and returned with all three members of Dead Science. They did an incredible job of backing his vocals with drums, a guitar, and an upright bass – I’ve never heard “Casper the Friendly Ghost” or “Walking the Cow” sound so sweet. His songwriting is actually incredible when played with true skill. His singing was very sincere, particularly when he sang “Devil’s Town” without any accompaniment. He spoke a little between songs, commenting that some of his lyrics were missing, and dedicating a song to “Sweetheart,” whoever that may be. After his encore set, he quickly retreated off stage, waving and saying, “Thanks everyone, good luck!”

I attended this show mostly for the hilarity of seeing Daniel Johnston live. I was expecting it to be tremendously awkward, but I was completely proven wrong. It was actually one of the more fulfilling and eye opening experiences in music that I’ve had in a long time, and I finally understand why so many people adore him. I guess he showed me.

If you have yet to see the documentary, “The Devil and Daniel Johnston,” please drop whatever you are doing and go rent it immediately. And while you’re at it, pick up his album “Hi, How Are You?” to get you started. You probably won’t understand it right away, but give it time, and if you are ever presented with the opportunity to see him live, take it. Who knows, maybe if you hang out outside the venue and wait for him to take a smoke break, he’ll add you to the guestlist too.

Mark Kozelek Plays the Music of my Soul

2008-04-17T00:17:00.001-07:00

Tonight... something musical, unexpected, and indescribable happened. Pardon the dramatic language, but it is completely warranted I assure you. Mark Kozelek (formerly of Red House Painters), played a lengthy set in a dimly lit town hall on Capitol Hill in Seattle. I'm not entirely sure I can fully convey the sorrowful, dark beauty in his music, but it is something truly worth experiencing for yourself if you have the opportunity.

Mark and his rhythm guitar accompanist created a crisp, quiet, and soothing melody while Mark shout out stories, and themes of death, loss, sorrow, love, attraction, and pain. By themselves these themes sound pretty much like the most common musical/artistic themes out there, but Mark has a way of taking the same colors and painting something new and inspiring.

The show itself drew significant interest. SPIN Magazine was there in force, as was American Songwriter Magazine. I closed my eyes at one point to take it all in, and when I opened them at the next applause, I looked to my right and saw Ben Gibbard (of Death Cab for Cutie and The Postal Service) sitting right next to me doing the same thing I was.

As I began to exit, following the encore (and passing a couple dudes from Pedro the Lion), you could tell people had been crying. This sounds ridiculous to those not in attendance, but let me tell you (as one who would otherwise chuckle at such an occurrence) to not be affected by this music is to prove your inhumanity. I know this sounds dramatic, but it was just that good. I pity the real journalists who have to capture this experience in 200 words (luxury of the insignificant blogger).

Check out my buddy's article for SPIN: http://www.spin.com/articles/fans-worship-sun-kil-moons-sonic-scripture

Check out Mark's tunage and leave me your thoughts.

-LW

Listening to: Red House Painters, Ambulance Ltd., Jose Gonzalez

Austin City Limits Line-up Announced

2008-04-16T11:37:00.001-07:00

-LW

EMI Gets an ex-Google Exec. to Lead Digital Music Makeover

2008-04-15T18:36:00.001-07:00

EMI GOOGLES MERRILL FOR WORLDWIDE DIGITAL POST
source: HITS Daily Double

Six Questions for Guy Hands’ New Online Guru Douglas Merrill
April 14, 2008
Douglas Merrill was named President, Digital for EMI Music by Guy Hands last week. He joins the company from Google, where he was Chief Information Officer and VP Engineering. Before that, he was SVP at financial service provider Charles Schwab. Unfortunately, on his first day in the music business, he ran into HITS’ Roy Trakin.

Why would you leave a company like Google for the music industry now?
I have the opportunity to be a part of helping the music industry find its next chapter. Who can say no to that? I went deaf when I was three, then my hearing came back when I was six. I lived in a world without music when I was deaf. Can you imagine a more horrific world than that?

How did Guy Hands find you?
We have a mutual friend who thought we would find one another interesting. We met in an office in London that had a Sex Pistols album hanging on the wall, so I treated Guy to a spirited rendition of “EMI,” which he apparently found humorous.

What did you learn at Google that can be applied to the music industry?
The lesson at Google is you need to try different things, do a lot of experimentation. Because our first intuitions are often wrong. You have to look at the data and let it tell you the truth. Number one on Google’s Top 10 List of Things to Do is “Follow the user and everything else will happen.” I’m going to carry that same DNA twist in my new role. For instance, we’ve seen empirical data that shows file-sharing might not necessarily be a bad thing for the music industry. We just have to figure out what role the record label has in this system. And what is the right model for the artist to reach his fans. Somewhere in that chain, the record company has to create value. And if it does, there’s money to be made.

How do you see the transition in the music industry from a physical model to digital distribution?
If we do our job in the digital space, and make it easier for fans to find and experience artists, who’s to say there won’t be a concomitant increase in sales for other channels?

Do you feel it’s necessary to break Apple iTunes’ stranglehold on online sales?
Users will find ways to meet their needs. It’s possible there are other models that people would like. Subscription is another possible model. There are lots of different choices for business models, and the technological tools will follow those that are successful. We need to build a business model that doesn’t involve suing our users. We’re in a place where there are a lot of interesting ideas going on. What I’m excited about is that’s just the environment where innovation happens.

What’s your first task?
Finding my desk.

Live Nation's Most Dangerous Game

2008-04-07T12:13:00.001-07:00

Recently, I asked a friend "what's that movie where the rich guy buys a bunch of people and takes them in the jungle to hunt them?" Of course he replied "Most Dangerous Game." I asked because it seems LiveNation is actively seeking music icons to add to their collection. In 2007 Madonna was added to their collection, and I previously mentioned the deal between the concert giant and U2. However, last week also brought the announcement of a LiveNation deal with rap icon Jay-Z.

In a music world where everyone is frantically searching for the next business model evolution, it appears LiveNation has been slightly overlooked. For as much crap as I may spout about the music juggernaut, they've obviously hired one or two intelligent people, because what they're doing is smart.... and I hate em for it.

If you think about it, there are really only two profitable areas within music these days.... well, actually one and a half; Live shows, and distribution. Starbucks recently tried to leverage their enormous (but dying) cultural presence in to music distribution profits. Artists were eager to sign on their dotted "Hear Music" line because Starbucks was able to easily get music in front of the consumer, something the major labels are having a more difficult time promising, and something the artists depended on. Today, the CD is almost entirely dead, digital downloads dominate, and the artist makes next to nothing on record sales. This is the main reason for artists like Radiohead and Nine Inch Nails giving their music away. They realize that they only see money from shows and merchandising. As long as people have access to their music and enjoy what they hear, it means butts in clubs and dollars.

LiveNation (the little but equally successful brother of Clear Channel), makes all of it's money through concerts. They own the majority of the largest venues in the country, have unmatched promotional capabilities, and have several well-established relationships with the world's most recognizable music acts. In a world where labels are suffering, LiveNation remains comfortable.

From here, you can do the math. If I'm an artist who's reached the top of my game and could create a hit record as long as my name's on it, what would benefit me greater? Continue my agreement with Universal Music Group (UMG) where they take almost all the money from my record sales and an increasing cut of my performance and merchandise profits? OR I could sign with the largest live music organization in the world, where I have more creative freedom, stronger promotional backing, and a greater platform for playing live shows and raking in the dough?

...um, no brainer.

So while I hate to see the Clear Channel/LiveNation behemoth get bigger, they deserve credit for positioning themselves to take on such a solid business model. I'm taking bets on the next addition to the LiveNation collection. What are your thoughts?

-LW

Listening to: The Kills, Mon Maria, Keren Ann

Apple to purchase Universal Music. The world gets smaller.

2008-04-01T15:40:00.001-07:00

Believe it or not, this is not an April Fools joke. Beginning two weeks ago, reputable publications began reporting that Apple and Universal were speaking about a potential acquisition.

The initial report suggests that Apple is not only exploring an acquisition of Universal libraries, but is also re-considering a subscription model for their iTunes music service, something other services like Napster and Rhapsody have done for some time now. Apple has yet to comment, but according to reports from The Financial Times and News.com, the proposal was built by Universal Music and pitched to Apple, the device would come with all-you-can-eat music for a period of time, perhaps a year, and then owners would be "rolled over into a subscription service." Both Apple and Nokia are reportedly competing for this arrangement in exchange for a higher cut of the respective device sales (phones and ipods). Rumor has it that Nokia is offering a higher per unit share than that of Apple. However, the shear volume of the iTunes music sales suggest they could have the upper hand.

Bob Lefsetz, widely known crazy person/music pundit offers his take in a recent newsletter. He writes "...the brass of the [Universal Music] conglomerate has been trying to unload its music asset for years. The constant acquisitions, of Sanctuary and publishing companies, was only window dressing. A paint job to make Universal appear to be a Goliath, when really it's a shrinking operation completely unprepared for the twenty first century."

Additionally, Music400 was recently informed that Apple will beginning selling Universal catalogued songs for 15 cents on April 15. Other content will continue to be sold at the traditional 99 cents/track... for now, but it is expected to change as well.

It's no secret that the major labels have been searching for a Messiah of a business model. Would an agreement of this kind be what the doctor ordered?

-LW

U2 & LiveNation? YEAH YEAH YEAH YEAH

2008-03-31T19:31:00.001-07:00

It's official... Clear Channel and it's sister Live Nation own almost all of the music world. Between the thousands of radio stations, owning House of Blues/LiveNation venues, and concert promotions arm, believe me, they are an industry GIANT.It is therefor only right that they own the biggest band in the world. Yup, U2.

Sunday night (God's day of rest), U2 sold their sole to LiveNation for an undisclosed sum. Oddly mentioning nothing about future records, Live Nation referred to the agreement as a “collaboration” encompassing “a variety of the band’s global music enterprises including touring, merchandising, and the band’s website, U2.com.”

The two parties have had business ties for sometime. If you've seen a U2 show since 1997, it's been presented by your good friends at Live Nation. The band is reportedly seeking a more direct relationship with it's millions of fans worldwide, and in a shocking twist, the band believes LiveNation is in a position to deliver that (sounds like something I'd turn to a large corporation to provide).

Michael Cohl, CEO of Live Nation Artists and the parent company’s Chairman of the Board: “U2 has created some of the greatest rock music of all time and their career has been uniquely successful. It has long been our intention to consolidate and extend our relationship with U2, so this is a very exciting deal for us. The band has always been forward thinking and, as one of our original and most successful artists, we are delighted to be able to work with them for many years into the future.”

On a slightly unrelated note, I've always had a slight distaste for Bono. I acknowledge the wonderful work he's done around the world, but let's be honest here, nobody benefits from these deeds quite as much as Bono.

That being said, U2’s 11 studio albums have sold north of 140 million copies worldwide. The band is widely known as one of the best performing acts ever.

-LW

Put your vinyl to use and your day to waste at: www.sleeveface.com

2008-03-26T14:55:00.001-07:00

When was the last time you actually listened to a record? I don't mean "record" as a universal way of saying full-length release. I actually mean those big black disks people used to contain audio recordings. Well if you're like me and, regrettably do not own a record player, but still can't help but maintain a small vinyl record collection. a new suggestion has revealed itself on www.sleeveface.com. The site contains pages and pages of photos wherein people arrange a photo to match the record sleeve (hence "sleeve face"). I've got one particular Rolling Stone record that might be fun to add to this collection. Both FRONT and BACK.

If one day you find yourself bored at work, or killing a few minutes at some point in your day, I recommend dropping by this site. It's good clean creative fun. If you add to their collection, please send me your photo, I'm curious to see what you come up with.

-LW

Listening to: The Velvet Teen, Counting Crows, Yeah Yeah Yeahs

NIN: Takin' it to the man ...and Radiohead

2008-03-25T13:16:00.001-07:00

Ding dong the majors are dead, what to do but follow Radiohead?!?!

Trent Reznor and his ever-evolving gaggle of misfits have announced released their latest Nine Inch Nails record Ghosts I-IV themselves on March 2nd. They did this over bit torrent's masterful and popular file sharing capabilities. The band deliberately leaked their material to file sharing sites and offered free download. They also offered a high def download for $5 and a CD for $10.

The crazy part is that they've made $1.6 million as of March 17. Trent Reznor has been quoted in several publications and online blogs criticizing the "sincerity" of the Radiohead "In Rainbows" release earlier this year. According to an interview Reznor gave with the Australian Broadcasting Company Reznor states, "I think the way [Radiohead] parlayed it into a marketing gimmick has certainly been shrewd," Reznor said. "But if you look at what they did, it was very much a bait and switch, to get you to pay for a MySpace quality stream as a way to promote a very traditional record sale."

It is true that Nine Inch Nails has regularly demonstrated their dedication to fans. In spring of 2007, the band released the masters of their songs for a remix contest. Fans around the world reassembled NIN songs to earn a meet and greet with the band and a spot on a special remix record. Meanwhile, since releasing "In Rainbows" online last year, Radiohead has removed it from file-sharing sites and reverted back to traditional sales models. Furthermore, the band's manager has been quoted saying Radiohead is unlikely to release future records in this manner. Where's the fight... this is no contest.

Overall, the question isn't about who does more for the fans (this isn't the democratic party). I will go on enjoying the music created by both bands. That said, this is just another indication of the changing industry and the fickle consumer. It's an interesting one to keep an eye on, and you can bet I'll be doing that right here.

How is NIN's "Ghost I-IV?" Anyone heard it?

-LW

Are Commercials the New MTV?

2008-03-18T00:09:00.001-07:00

What was the last music video you saw? I don't mean a clip of a video airing between The Real World and Road Rules on MTV. What I'm talking about is a full-fledged music video. I'm betting most people don't watch many music videos, and instead opt for outlets like Pandora and myspace to discover music.

The problem is, these outlets require conscious effort on the part of the individual to dig through the volumes of tunage for something that tickles the fancy. What if there was a way for music to find you where you aren't looking for it?

Commercials are slowly becoming the newest form of visually consuming music. For example, Landon Pigg's single "Falling in Love at a Coffee Shop" is a great example of this. Landon's song served as the backdrop for a jewelry store ad during Christmas 2007. Today, the guy is working the talk show circuit and has launched a relatively successful music career.

Similarly, car ads are recycling iPhone ad songs, Grey's Anatomy is becoming the billboard for new artists, and Soundtracks are now gold records. If you're still unsure of this trend, speak with Hannah Montana about the benefits of merging her music and television career.

While it remains unclear how long this movement will last, the message is clear to musicians; stop making cheap music videos in your garage and work at getting on soundtracks, both for TV and indie films.

Thoughts welcome.

-Professor

Listening to: Mason Jennings, Janove Ottesen, Josh Schroeder

vote for the logo.

2008-03-17T11:19:00.001-07:00

Seattle's Live Music Scene Thaws Out for Spring

2008-03-13T23:18:00.001-07:00

For those of you who've noticed that severe lack of shows this winter, prepare to become "twitterpated." I'm happy to announce that spring is coming and bringing melodic pleasures on its warm winds. If you go to one show this spring it has to be the Sasquatch Music Festival at the Gorge in George.

For the poor souls tied to the west side of the cascades, fear not. There are several music treasures waiting for you here. I've scratched the surface below.

March 22 - The Velvet Teen, Sunset Tavern
March 27 & 28 - Nada Surf, Showbox
March 29 - Jose Gonzalez, The Triple Door
April 4 & 5 - Ghostland Observatory, Showbox
April 11 - Cat Power, Showbox
April 20 - Rocky Votolato, Neumos
April 23 - The Color Bars, Tractor Tavern
April 30 - The Swell Season, Moore Theater
May 2 - Colin Meloy of the Decemberists, Showbox
May 4 - Victor Wooten, The Triple Door
May 6 & 7- Explosions in the Sky, Neumos
May 12 - The Proclaimers w/ Jeremy Fischer, Tractor Tavern
May 22 - The Bad Plus, Tractor Tavern
May 24-26 - Sasquatch Music Festival, Gorge Amphitheater
June 21 - Vicci Martinez, The Triple Door
June 22 - The Young Dubliners, Tractor Tavern
July 9 - Foo Fighters, Key Arena
July 11 - The Police w/ Elvis Costello & the Imposters, Gorge Amphitheater

- Professor

Listening to: Joe Purdy, Nada Surf, Beck

Fat Dog Heavy

2008-03-03T21:37:00.000-08:00

Friday February 30, 2008 -

Five piece band, four part harmonies, three glasses of scotch, lots of two-step, and one crazy night in West Seattle's "Skylark Club & Cafe."

With a redundant name and equally redundant sound, the band called "Fat Dog Heavy," played to a packed house of 150 at West Seattle's Skylark Cafe last Friday. It was an evening of two-stepping formula rural rock tunes, and a crowd that looked as if they got lost trying to find the Longhorn BBQ.

The band itself clearly had some pockets of talent, and they do what they do well. The four part harmony is tough to pull off and FDH does so with ease.... a lot. In fact, it kind of ruined what is otherwise an impressive tool for musicians and songwriters. Imagine listening to the same 4 minute song of intense guitar solo; it's sort of cool once or twice, but eventually it loses its charm. Lead vocalist Dave Cox, has a strong enough voice to carry a song (or at least a part or two of a song) on his own.

Musically, Fat Dog Heavy brings a high energy rock-a-billy sound with equally rock-a-billy lyrics. Their "go to" song "Whiskey Drinkin' Woman" has some single power. It is the premier example of Fat Dog Heavy. They had a couple other unique ditties, and the rest of their songs sounded suspiciously like watered down versions of these few solid tunes.

The crowd, (largely made up of friends, family, and Skylark regulars) loved the tunes and didn't seem to notice any shortcomings. During an encore (yes I said encore) the band decided to play Whiskey Drinking Woman a second time, and to my surprise a few fans had written their own lyrics. As the band passed the microphone around, the original fan lyrics were funny, clever, and crude and managed to be the most entertaining portion of the evening.

To read the above it is likely you think I'm not a Fat Dog Heavy fan, but the truth is I'm happy I went and witnessed this band. They have solid potential and a lot of fun playing in front of a crowd. However, until they display some variation in their songwriting and composition I wouldn't pay money to hear or see them... that is unless I was with my Whiskey Drinkin' Woman.

Check them out and let me know what you think

MySpace URL:
http://www.myspace.com/fatdogheavy

- Professor

Listening to: Josh Ritter, The Frames, The Blakes, Ghostland Observatory

Your Place For..... Sony BMG?!?!?

2007-10-16T09:36:00.000-07:00

For those that haven't heard, the company that brought you root kits, CDs that crash your computer, and a plethora of lawsuits against peer to peer music traders will now proudly present.................MySpace???!?!?!?

Indeed it is true. MySpace and SonyBMG have reached a partnership deal. The agreement will allow for users to stream music and music videos of SBMG artists, and allows SBMG to share the MySpace ad revenues. To date, the website has already played host to several exclusive shows and events for SBMG, this is really on the next step.

Historically, Myspace has shown the 7 million myspace bands a new way of promoting and selling their music, while also forming somewhat of a dialogue with their fans. In fact, in today's music world a band/artist's myspace page is more valuable and receives more traffic than their main web page. Recently, thanks to a MySpace partnership with SnoCap, artists are now able to sell their digital downloads from their MySpace page. Store front and promotions in one house.... bet the majors wished they'd thought of that. But this begs the question.... does a record label have enough credibility to be a "place for music" the same way Myspace has? Then the next logical question becomes; can the company who brought us Il Divo, Nick Lachey, Boys Like Girls, and Mat Kearney partner with a web phenom like MySpace without compromising MySpace's credibility? (okay I recognize that maybe a few of you like Mat Kearney, and I respectfully disagree)

People go to MySpace to look for music they haven't yet heard or discovered. They go to iTunes for the music they already know and love. I think over the last 5 or 6 years consumers have become much more educated on where to find music they know they'll like. Sites like Pandora (http://www.pandora.com/) are growing in popularity for that same reason. So will fans begin to see MySpace as simply another marketing arm for a major label? If they do, will they care?

I'm willing to bet that very few enthusiasts still use myspace to discover artists, but rather go to MySpace for bands they've already heard of. If you really think about it, the majors really just missed the boat on social networking integration. Typical... thank god there's still Pandora and KEXP (http://www.kexp.org/).

I always try to end each post in a way that invites discussion, but I think this (more so than some previous entries) is very interesting and has all sorts of angles for discussion. Please, share your thoughts. Will this help SBMG? Will it hurt MySpace? Will it alter the way you discover music? Do you like Il Divo?

-Professor

Listening to: Rufus Wainwright, Kings of Convenience, Alexi Murdoch

Chew Your Music

2007-10-08T11:45:00.000-07:00

If you're anything like me, you like to experience your music. I'm not trying to sound pretentious here...really I'm not. However, I hear people talk about "consuming music" and all I can think about are cows grazing; in one end and out the other with little thought or process. I realize this is the paradigm we currently live within (which explains how "gimme more" can become the number one single on iTunes) but I am suggesting a more deliberate and thoughtful way of approaching music.

While even I can somewhat appreciate the subtle genius of B52's/rock lobster, Gwen Steffani/hollaback, and Kenny Chesney/with his sexy tractor (this is sarcasm....keep up), I don't think any of these folks nor countless others truly challenge us as listeners. On the opposite end of the spectrum, there is music that tries to hard to be artistic and loses all value. All of this said, the middle ground between fluff and a neck weight is what I would love to hear more of. The listeners deserve something to consider. Something that offers perspective but doesn't necessarily confuse.

Recently, a friend of mine (who admittedly has a better level of insight in to new/emerging bands) turned me on to some newer music. Now before I go on, I'd like to again echo a previous post in which I not-so-politely asked all of the scenesters to refrain from the "I heard of them first and aren't I cooler for it?" comments. Below are two newer bands that I believe fall in to this middle category as described above. Take a listen, and let me know what you think.

#1 - Sleeping At Last, "Keep no score"
I have to admit that I don't know much about this band, aside from the fact that I love this record. Hailing from Wheeton, Illinois they have beautiful music with contemplative lyrics. The meaning to their songs is thinly veiled but listeners will still need to dig and consider to get everything out of this record. This is perfect example of what I'm talking about. Additionally, their single was just played on Grey's Anatomy (which has arguably replaced MTV as the best place for new music exposure....but that's fodder for another post) so needless to say, I think we'll be seeing/hearing more from these guys.

http://www.sleepingatlast.com/

#2 - Explosions in the Sky, "The Rescue"
This record is mostly instrumental and thus undesirable to many people but I challenge you to give it a chance. It may not have the luxury of lyrics to indicate its meaning, but it definitely requires consideration and contemplation. Oh, and the record doesn't even have song titles and instead is organized by "days" (i.e. day 1, day 2, etc) which makes it border on the 'too artistic for my taste' fringe. Overall though, this is a worthy listen.

http://www.explosionsinthesky.com/

Please add on with other records/artists that you feel fall in to this category. I'm always looking for new music, or even newer music from older artists. Share....please.

-Professor

Listening to: Jeremy Enigk, The Decemberists, Counting Crows

Radiohead...changes the music world?

2007-10-02T09:41:00.000-07:00

For those of you who haven't yet heard about the new business model for Radiohead's forthcoming record....shame on you. Fortunately you have me here to bring you up to speed and help you shape your opinion on the matter.

http://www.inrainbows.com/Store/index.html

So I'm at the office after spending a week in New York on business, and I get several emails from industry friends about Radiohead and their new record. Having been a little out of the loop for a while (which you might've noticed from the lack of blog entries), I proceed to go to my typical sources and hear that Radiohead is allowing consumers to set their price for a copy of the record. Additionally, they are going to sell their record themselves, over the Internet. Stepping back for a moment I start to formulate the scenario in my head.;

- Radiohead records their album on their own (no label)

- Radiohead presses record on their own including several "bonus features."

- Recognizing that the value of the CD is different today, they only set a premium price for the physical disc with several bonus features.

- Consumers looking for the music can download the full record for any price greater than $0.99

The label agreement between EMI and Radiohead expired with the release of their last record, thereby freeing the group to essentially eliminate the middle man and deliver their music directly to the fan for a fair price (a price the fan sets). If this experiment proves to be successful, you can imagine that artists who have recently released their records through a label (Paul McCartney, Bruce Springsteen, etc) will surely be kicking themselves.

See, this model implemented by Radiohead isn't new. Artists have debated doing this for years and several indie bands have actually done fairly well by this, but the problem is that there is an inherent risk involved. When you work with a label, the label absorbs a significant portion of that risk...for a price. When you're going solo you risk more but should the record perform well, the take is much higher. Lately most artists have opted for the safe route, but it's nice to see that an iconic band like Radiohead is taking the plunge.

I believe that if this goes well for them we will begin to see an even greater industry panic and shift than we've seen in recent years. Labels will not only be forced to look at their sales model, but also their distribution and contract models. They need to find a reason for artists/bands to sign a record deal, and then they need to find a way to keep artists/bands happily in that deal. If this sounds shady or far-fetched to you then GOOD, BECAUSE IT IS!!! The last thing the label wants is another Radiohead; a band that is singed to a label, shakes loose obscurity through the label's investment, rises to world-wide fame, and then cuts out the middle man before he can really capitalize on his investment.

While this news is great for the music fan who's historically paid way too much for music, it's a sign for artists to be even more cautious of the panicked major labels. The larger question remains.... how do you think this will end for Radiohead?

-Professor

Listening to: Jeff Buckley, Missy Higgins, Jose Gonzales

Britney Spears the Trainwreck

2007-09-11T09:09:00.000-07:00

Arguably, the main event of Sunday night's MTV Video Music Awards was to be the comeback performance of Britney Spears. Leading up to the event, stars and celebrities attending the event cited Britney's performance as what they were most looking forward to. It's no secret that for the last couple years Britney has derailed in her personal life. But that is just that....HER PERSONAL LIFE. It has yet to really bleed over to her career (directly). I think it's safe to say that last Sunday's VMAs marks the beginning of the end for her career.

No one can deny that Britney had an amazing opportunity here. Her friends and fans alike were brimming with excitement to see what she had planned for this reinvigorating specatcle. Rarely do people get a second chance like this. When Britney took the stage and began the performance, hopes were still high. Personally, as I watched I kept thinking this had to be a sandbag. I was just waiting for the music to change and for her and her entourage to kick in to a fast and highly choreographed dance, thereby proving that she really didn't lose it all. Obviously that never happened, and the performance was just really that bad.

Honestly though, Britney was never really all that talented. She is a decent dancer, but was mainly an icon due to the fact that men wanted her and women/girls wanted to be her. The record sales spoke for themselves and her performances were the point of intersection for all of this. Without the sex symbol status and the performances....what are we left with?

I think probably the most enjoyable part of the performance was when the camera panned to the crowd, some of which were quoted earlier saying "Go Britney!" The look of sympathy and embarrassment for her spoke volumes. On one hand, it was nice to see that people felt bad for her and not malicious. On the other hand, it gave those of us who knew she'd choke an opportunity to yell at 50 Cent on the TV to say "I TOLD YOU SO!"

When all the discussion and laughter dies down, we're really left with several questions;
1) Is this the end of Britney's career?
2) If not, will her "queen of Pop" crown be stripped from her?
3) Her new record will be released this fall, is that enough time for people to forget about this performance?
4) Will she try another time to hold a "comeback performance?"

What do you think?

Late update...here's a funny youtube response:

http://www.youtube.com/watch?v=kHmvkRoEowc

Mourning the Death of Summer

2007-09-07T09:23:00.000-07:00

This time of year marks the end of summer. This can be a fairly melancholy time for people, and the Music 400 posts have been pretty heavy handed lately which doesn't help. So to lighten your mood while also broadening your musical horizons, please take note of the below 10 end of summer songs. This was originally going to be a top 10 list but that's like asking a parent to pick their favorite child. For the record, I don't mean songs like "steal my sunshine" or "Summer Lovin'." Instead I'm going for songs that capture the mood and feel of a September evening when the sun goes down early and leaves a brisk feeling, making you long for the following morning. Ya know what I mean? Please add some of your favorites in the comments. Summer will be missed but at least we'll have some good leads on music for the season.

Enjoy!

1) Tiny Dancer, Elton John

2) Phantom Limb, The Shins

3) Summer Breeze, Main Ingredient

4) Late Morning Lullaby, Brandi Carlile

5) Soul Meets Body, DeathCab for Cutie

6) Midnight in a Perfect World, DJ Shadow

7) The Park, Feist

8) Mrs. Potter's Lullaby, Counting Crows

9) Any Day Now, Missy Higgins

10) Motorcycle Driveby, Third Eye Blind

-The Professor

Listening to: Ryan Adams, Brandi Carlile, Alien Crime Syndicate

The Messiah of Music???

2007-09-05T13:50:00.000-07:00

For those who have yet to read the popular story of Rick Rubin and Columbia Records....check this out:

http://www.nytimes.com/2007/09/02/magazine/02rubin.t.html?pagewanted=1

Famed and successful record producer Rick Rubin has a new gig....co-president of Columbia Records. There's a great deal of debate as to whether or not he's the right man for the job since he's really only had success as a producer and lacks a lot of the business finesse that people look for in a business leader. Is that important though?

For whatever reason, music sales have been declining for years. Major labels that once held catalogues upon catalogues of artists, are now giving way to smaller indie labels that invest deeply in only a handful of artists. This can be attributed to many reasons....technology and social networking providing bands/artists with a way to circumnavigate the middle man...the continued push of the CD in a market demanding MP3s....etc. The bottom line is that some of the key pillars holding up the industry have given out. Most companies would respond to this by cutting corners and jobs and locking the business minded people in a room to go over where they can save or renforce their business model (as oppossed to revamping it). In fact, the majors have tried that but have yet to find success. But keep in mind that this isn't a typical business. Lynn Hirchberg, author of this story, find it appropriate to include a comment from Rubin, to the effect that 'this is selling an art and the major labels are trying to sell this like they would any other product.' So true, this is the method by which the majors have found themselves in this troubled state.

Rick Rubin is not a businessman, in fact it was interesting to learn that this behemoth of a man negotiated a few interesting items in to his contract with Columbia;
- that he wouldn't be required to go to an office
- not required to travel
- Not required to have an office phone
- or wear shoes...genius
Rick Rubin is an art critic with a great ear for what's good and bad. Say what you want about this type of role and Rick as a person, but he's been connected to some seriously successful artists;

- Johnny Cash
- LL Cool J
- Neil Diamond
- Justin Timberlake
- Red Hot Chili Peppers
- Metallica
- System of a Down
- Slayer
- Aerosmith
- Run DMC
- The Dixie Chicks
- The Beastie Boys
- Weezer
- Tom Petty
- U2
- etc.

I'd believe it's safe to say that Rick Rubin has a diverse taste for what's good. The questions should really be; what did he do to improve the careers of these artists? How can he bring that track record and apply it in a leadership role?

From the way the first half of the article reads, Rubin sounds more like a musical oracle; Someone that A/R guys take their latest project to for a thumbs up or down. When the article starts to get in to issues that a co-president of a label should be concerned about, Rubin comes across like a petulant child who can't agree with the other kids, so he takes his ball and goes home. Shameful really.

What does make sense here, is that the majors need a large-scale business and cultural overhaul. They need to re-invent themselves and show people that they aren't out to screw people, but rather to bring music to the masses and make a little money for everyone while doing it. That's going to be a tough sell in a marketplace filled with free music, but bringing people on board to invest in artists again is a good start.

I'm not going to say that I care if the majors live or die, because the market is dictating what it wants and whether or not the majors listen doesn't matter. Either way, music will be plentiful and will become more accessible for the masses. But if I were an employee at Columbia Records, I wouldn't let Rick disuade me from keeping my options open.

-Professor

Listening to: Cary Brothers, Gossip, Rocky Votolato

5 Tips for Emerging Artists

2007-08-31T10:51:00.000-07:00

I've spent a fair amount of time with independent artists. During this time I've noticed some common problems, the biggest of which being a lack of direction. You've done the studio time, made a record you think you can live with, but now what? Where do you go from here?

1) Be Honest
You've finished your album, it's your art...maybe even your baby. It's typical at this time to ask yourself "is this any good?" Try to avoid this question, since "good" is a very subjective word. A decade ago, major labels decided what was heard by the masses and what was "good" or "bad". Today, things are different. The mainstream isn't the majority any longer, instead the majority is made up of countless niches. When I say be honest, you need to clearly evaluate who your music appeals to. Most artists have a stubborn view of what's cool and uncool, and they often try to push their music on people that it just doesn't appeal to (for whatever reason). Think square peg in a round hole. Look at where your positive comments are coming from because that's who you're speaking to. Get close to them because they are the ones who will become your biggest evangelist.

2) Form Your Network

This is your army of evangelists. While at this point in your career they likely won't be crying in the front row or crowding your car, they are the ones who will be spreading the good word for you. Without the marketing and distribution arm of a label, you should treat these people like gold. Get online, on iTunes, and make them your friends (literally, not just myspace). If someone tells you they really dig your music, get them on the guest list for an upcoming show, find out what they do, and figure out how they can help get you and your music out there. Once you discover how they can help, empower them to do so and provide incentive. You won't go anywhere without this group.

3) Get Ready To Work
Your record is finished, you know who's liking it, and you have them involved in the process. Now it's time to dig in and play play play. Tour multiple venues in multiple cities, work your ass off to meet promoters, booking agents, and also....OTHER BANDS. All of these people will help you play live and get out there. It is important that you treat these shows like a job. Show up a little early, work hard, act professional, and build a relationship with your employer so they'll invite you back tomorrow.

4) Give It Away
Your music should be packaged and pressed professionally but avoid the temptation to sell your music as if it were on the shelves of the local record store. We all want to make money, but realize that you're new, and not established... nobody except your immediate friends know you or care about you. The key will be to get people to your shows to interact with you and your music. Give away your CD at the door and give them an experience to remember at the show. Down the road, you can sell your EP for $10 or your full-length on Best Buy or iTunes and people will pay for it. The money these days is in the shows anyway, think of the record as a promotional tool.

5) Control Your Next Move
Assuming you've followed the 4 points above, you've been flogging the same record for a while now and you were probably sick of it before you even finished recording it. Resist the urge to immediately get back in to the studio for the next record. Artists are supposed to want to create more art, so your heart is in the right place, but you've got to get your business head on. Only step in to the studio if you've formed a solid network and your fan base is growing, or if nobody likes your record. Either way, be damn sure it's true. Too often bands think they're bigger than they really are, so when they release a new record they've stunted the growth of their rising popularity. On the other end, bands think nobody likes their record and so they go in to the studio to record they're latest evolution only to find that they've alienated their rising fan base and now have to start over (because an alienated fan base cannot be reclaimed at this stage).

It's important to note that there's no single formula for success in this industry. As soon as one is established, it becomes antiquated and someone innovates it. I've tried to pull some of the more timeless pointers, but if you have a theory for what works, please jump on. If you have questions/comments, we encourage that sort of thing.

-Professor

Listening to: Damien Rice, Marcus Eaton, Ryan Adams

Who the Hell is Meese???

2007-08-30T15:04:00.000-07:00

I'm going to try to get even better about discovering new music. When I say "new music," you need to know I mean new to me. There's always someone out there that's heard of them before. So if the the band's been touring your town/region for months or years and you loved them first, I'm here to tell you I don't care. Save me the trouble of issuing a blogger bitch slap and just keep it to yourself....we already know how special you are.

Okay, with that out of the way I wanted to call attention to a recent iTunes discovery...Meese. I'm told this band toured a few markets with The Fray earlier this year. I've taken a listen to them and between the piano pop, young adult contemporary lyrics, and intermittent quazi-postal service beats, it makes perfect sense that they'd be an opener for The Fray.

This piano pop genre really seems to be taking off lately. During my time with a certain major record label we picked up several no-name bands, and it seems that the only ones to make a relative footprint adopted this piano pop sound. The Fray was one such band to quickly explode on to the scene with two singles ("Over My Head (cable car)", and "How to Save a Life") who's titles forced one to immediately launch in to reciting the chorus. Augustana's "Boston" was a slightly lesser-known example. Since The Fray started headlining tours, they brought with them other no-name piano pop bands that find a smaller definition of success. Seattle boys "Barcelona" were one such band, and now Meese finds a place on the list .

While Meese lacks the depth of Barcelona, they certainly beat out the Fray musically. Meese's album "Our Album Year" shows a lack of polish, but promise (Listen to "Letters" to hear what I'm saying). I think if they re-recorded this record with someone who knew what they were doing, they could really have a nice product. The music on this record is creative and fresh but the vocals are shallow and a bit choppy. Their latest 3 song demo titled "Winter 2007 Recordings" shows a strong Fray influence. While this influence apparently helped them find some polish, they lost their artistic depth and versatility in the process. Listen to "The Start of It" to see what I mean.

I'm going to have to listen to these records a few more times to really determine if Meese is truly something special, or just table scraps of a peaking genre. Right now that remains to be seen. Check it out and let me know what you think.

-Professor

Listening to: Ben Gibbard, The Long Winters, M. Ward

The False Relevance of The White Stripes

2007-08-27T16:57:00.000-07:00

Can somebody please explain to me why The White Stripes are so highly regarded? I am truly at a loss on this topic because I simply do not see it. The garage rock duo hit the scene (and more importantly, the scenesters) roughly 6 years ago and since then, not a month goes by where I don't open up a once reputable rock magazine and read a valentine to The White Stripes or Jack White.

While I'm here, what the hell prompted Rolling Stone to name Jack White one of the best guitarists of all time??? Seriously??

Also, how did The White Stripes become one of the top 40 bands to change the world (according to again....Rolling Stone)???

All of that crap aside, what does this sloppy duo really offer the world of music. I've heard claims that they single handedly resurrected the garage rock genre....but I think that's just BS. Bands like The Strokes, The Vines, The Hives, and The (international) Noise Conspiracy had existed all along with growing popularity.

Overall, I see The White Stripes as a couple of frustrated people in an odd relationship, who discovered instruments in a detroit basement and thought they could make noise with it and call it art. Jack White is a severely over-rated guitarist with an even worse singing voice, whereas Meg White fails at her only job...rhythm. And please....please, slap any scenester who tries to sell you some falsely relevant and messianic story that they are brilliant. They are the product of great PR. That's all, they have nothing else.

If I'm wrong, please....educate me.

-Professor

The Notion of "Making It" in Music

2007-08-24T11:40:00.000-07:00

For those of you who haven't already, I highly recommend subscribing to the Lefsetz Letters (http://www.lefsetz.com/). Bob Lefsetz, while sometimes a bit extreme in his outlook on the industry, always asks interesting questions and provides colorful rants subsequently. The email newsletter that he writes can sometimes become an email clog, but the occasional nuggets of insight make it worth having to hit the delete key a few more times a day.

The reason I bring this up, is because recently Bob posed a great question. He asks "What is Making it?" For the typical musician it probably involves being signed to a major record label. The myth being that through the major label, an artist is most likely able to live out their days as a working musician. I submit to you that while this used to be the case, it is no longer so.

It's no secret that the major labels are in a free fall. They are scrambling to locate viable artist that allow them to assume a low level of risk. Why spend money to develop an artist's career for longer viability when you can funnel the few available resources in to promoting a lowest common denominator act? Something you know some jackass or teenie-bopper will listen to, or pay to see. The formula is simple;

- locate pretty face with mediocre talent and everyday sound
- Sign them to your label and allocate resources as deemed appropriately
- play their single on Grey's Anatomy, The Hills, etc.
- collect a small amount of cash from record sales
- collect a slightly larger amount of cash from concert ticket sales (something artists used to take the vast majority of)
- (a recent development) collect a moderate amount of cash from artist merchandise (something the artist used to take 100% of)
- When sales bottom out, move on.

You ring out the towel for all it's worth and then discard, moving on to the next. Meanwhile the indies have adopted the old (and arguably better) tactics from the major labels. They locate a band/artist that they enjoy and would pay to hear/see. They don't have a huge roster of artists, so they can afford to develop a few acts with promise. Then the band's popularity grows like rolling thunder. The indie label collects the majority of the record sales, and the artists collect on the tours and merchandise. Because the band/artists are the type to raise the bar and broaden music, they can justify a second record, or a 3rd, 4th, etc. and thereby gain a longer (albeit smaller) career in music. Granted, for indies this method has a higher level of risk. These acts typically challenge the lowest common denominator and it isn't necessarily guaranteed that they will sell. Many indies collapse for this reason and force their artists to find another label or another profession.

What are your thoughts? What is "making it"? Is it a ton of money at once and then deletion? Or is it a long and reasonably lucrative career in a difficult industry?

-Professor

Listening to: The Notwist, Elliot Smith, The Shins

Greetings! Like Music? You've come to the right place!

2007-08-24T09:32:00.000-07:00

Hello fellow music enthusiasts,

This is Music 400; as in advanced course on music. Here we will discuss the music industry at large.If you're anything like me then this is exactly what you're looking for.

- Examine music news and trends within the industry
- Discuss emerging artists
- Review new records

I will bring to the conversations my industry experience, inside stories, and strong opinions. I hope you all do the same through your comments.

First 'real' blog coming soon. If you have anything you'd like to discuss, please share it in a comment to this post.

-Professor

Listening to: Barcelona, Spoon, Josh Ritter, Department of Energy