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Category Archives: music

A New Band a Day

E has a way of ferreting out great new blogs out of nowhere.

Recently one of her finds was an awesome Brit blog A New Band a Day, which provides literate, in-depth looks at young bands on a daily basis. Author Joe Sparrow is deft and opinionated, and the combination makes for a blog filled with love letters to music and withering op eds.

One such op ed that got my attention was “The Trouble With Live Gigs,” which lamented the false promise that live is the only way to hear music. I responded at length in comments, and Joe was so ultimately cool as to collect my commentary into a massive guest editorial, which runs today.

Head over to read The Trouble With Live Gigs: A Response, by yours truly. And stay awhile to discover and download new music.

Bonus new music: Want the Philly local equivalent of New Band a Day? Philebrity just posted ten of their favorite tracks from Philly’s indie music scene, with photos, writeups, and streams for each band.

Open Mic-ing: Crossroads to McGillin’s, and the distance between

Last night I got it in my head to undertake a feat that I have only succeeding in once before – attending two open mics in one night.

This is especially tricky for me, since I turn into a very unmusical pumpkin if I stay out past midnight, but this week I had motivation – I was determined to get my new tune “Dumbest Thing I Could Do” out of my living room (where I blurrily video-demoed it earlier this week) and into the ears of as many people as possible.

Thursdays present a perfect non-pumpkin opportunity to do just that. First, hit the early open mic at Crossroads hosted by my dear friend Victoria Spaeth. Then hit a standard-timed one, playing in the first half. A popular choice is to hit nearby Buckets bar & Grill after Crossroads, but that puts me farther from home. Instead, I substituted McGillin’s, a super-popular pub in Center City.

Crossroads Coffee
Crossroads is an unpretentious coffee shop on Ridge Avenue in Roxborough/Manayunk. The counter at the front the shop opens up to a two-story, all-wooden room complete with a wrap-around balcony on the second level.

While I wish it had more of their comfortable armchairs and that the balcony was given more attention, I love the space for its golden natural acoustics. You barely need amplification. Also, the staff is super-friendly (shoutout to MIKE!) – full of suggestions of pescetarian food and their favorite drinks (last night: chai latte with a shot of espresso, which would have turned me into a human squirrel, so I just had tea).

The open mic was front-loaded with a lot of my favorite Philly performers. Vicky is quickly becoming one of the best singer-songwriters in the entire Philly scene, and now that she plays with a band it’s a rare treat to see her solo – especially doing newer tunes like “Electric Love.” (I’m still hunting a solo version of “Breathe & Release,” which may wind up being my song-of-the-year if she finishes recording the damn thing).

After our back-to-back sets I caught up with Joshua Popejoy (disclosure: client; awesome acoustic rocker) who is putting the finishing touches on a solo record bearing the title After the Ash. I have been dying for a studio version of at least half of the tracklist, so I encouraged him to FINISH IT ALREADY! (I can shout these things because I actually finished my own long-promised solo record.)

I also chatted up my open mic buds Bill McConney and Alec Stewart, both in fine form. Plus, Aaron Brown, who I’ve rhapsodized over previously. He’s got a songwriters-in-the-round show coming up at Tin Angel on 4/15.

Crossroads Coffee House. Thursday night open mic, signup ~6:30pm, music ~7:15pm. Usually limited to ten acts, two songs each. 6156 Ridge Ave., Philly, 19128. (Hint: Take the 9 bus from Walnut up Ridge Ave.)

After another songwriter (whose name I missed! I’m lame!) I had to excuse myself to bus down to CC, though in retrospect I could have spared another half hour. Deposited at Broad & Chestnut (by a Septa bus that did its best to run me over while I stood INSIDE THE BUS STOP), I wandered in a circle trying to remember which street leads to the special Underland occupied by McGillin’s.

McGillin’s
McGillin’s is the oldest continuously operating tavern in Philadelphia. It’s tavern in the classic sense – not dive-y in the least, a menu full of hearty, affordable food, and a lengthy beer list.

The best time you can have there is with a big crowd – either of your own making, or during one of their famously great karaoke nights. However, it’s a Philly open-secret that they also host an open mic night on Thursdays in their upper level, with its 20-foot antique oak bar.

The McGillin’s open mic is cool for a few reasons. The aforementioned food is high on the list. The setup includes a raised stage, sturdy stools, and a spiffy pair of wireless mics. The room can be still packed from happy hour, which gives you an audience happy to sing along to covers. And, host Mark is the friendliest possible dude in the world – affable, knowledgeable, and he makes me feel like I’m playing Madison Square Garden.

Last night the lineup was sparse, which meant mega sets for all. I played a monstrous five songs, including “Bad Romance” (HUT!) and a slinky, sweaty, rocking version of “Dumbest Thing I Could Do” (YES!).

While Mark played I got to know Philly bassist Mitch Beer. Mitch splits time between his supergroups BAM! and Soulfatronic while gigging with other local and national acts. He toured with Diggable Planets last fall, and might be heading out with them again soon! A very cool dude I hope to meet again.

McGillin’s Old Ale House. Thursday night open mic, signup from 9pm, start varies. 1310 Drury St., 19107. (Hint: Walk south on 13th from Chestnut; Drury is on your right.)

All in all, a great night of music. I even made it home before pumpkin time!

Open Mic-ing: Time, and the stuff that happens there

Tuesday night Gina and I went out to our first open mic in a while as Arcati Crisis. Between a holiday break, my never-ending February malaise, and a death in her family, we’ve probably seen less of each other so far in 2010 than we have in any year since early in college.

As a remedy, our first order of business was to head to one of our favorite open mics – at Time Restaurant on Sansom Street.

Time is one of the nicest rooms hosting an open mic in Philly at the moment. Beautiful atmosphere, great wines and beers, an actual stage(!) with drums and an upright piano, and an always chill audience who actually listen. Plus, a super-cool pair of attentive hosts in Mark and Pete G.

Then there are the artists. Time tends to be a hub of cool musicians, and you never know who you’ll run into. Tuesday it was Cris Valkyria, Casey Alvarez, Dante Bucci, Victoria Spaeth, and a lot of other familiar faces. New ones too – Benn Rabb visiting from Connecticut, and the nicest possible dude named Nathan, whose CD (and last name) is still in Gina’s possession.

Unusually, there was only a single microphone stand around for the night.

If you’ve ever seen (or even heard) Gina and I, nearly every one of our tunes has heavy duty harmony throughout. When I saw the single stand, I had a prima donna moment where I was like, “How can we even do this? WTF?”

I decided to turn a weakness to a strength. What if we did our hardest core of hard core harmony tunes together – face-to-face on a single mic? Wouldn’t it just make the spectacle of us a little more spectacular?

Well, I think it did. And, honestly, it was a lot of fun. We’re so used to our unamplified, unmodified voices that many times striking a perfect blend through a PA system can be more than a little daunting. What better solution than to just put the two of us into a tiny space and let us feel things out?

We played a good set, and had a good time. If you’re a Philly songwriter – or, a Philly wine-lover who also digs singer-songwriters – Time on Tuesday nights is prime destination.

Time Restaurant. Tuesday night open mic starts around 10pm. 1315 Sansom Street, Philly, 19107.

Funk-Breaking with Katie Barbato

Well, here we are in March, with any February funkiness finally shrugged (even though the streets are still not quite cleared).

I have so much weekend to tell you about (Presenting at TrendCamp! Our first Arcati Crisis show of 2010! Another performance upcoming at Tin Angel!), but first I want to focus on my funk-breaking.

Even the cheeriest, most pro-active person (i.e., me, possibly you?) can fall prey to a crummy mood – where nothing we do seems to be worth doing. That was my February Funk.

Of course, funk is not exclusive to or contained within February. Nay, THE FUNK can capture you at any time of year. We’re just most susceptible when it’s dark and icy and we haven’t had a garbage collection for 16 days.

When you are me, and spend your spare time opening up your head and letting art out, THE FUNK is a pretty crippling condition. My internal editor is vicious enough already without any added incentive!

Luckily, I have the good fortune to be friends with many other people who have art inside of their heads, one of whom is Katie Barbato. Katie Barbato

I’ve blogged about Katie before. She is an outstanding songwriter, a typically flawless singer, and leader of The Sleepwells, one of my favorite local bands.

Katie, too, had fallen prey to THE FUNK, and invited me over to her apartment for a serious funk break-up session. There was fresh hummus, sugar cookies, a stunning view, and Katie and her amazing songs.

And calling it quits with THE FUNK.

Over several hours Katie and I curated our own special mashup of VH1 Storytellers and Rock Opera, following a narrative from the dumbest things we could do to contending with the apocalypse to the stories of what we had lost in 2009.

Sometimes I can be so insular in my shared songwriting space with Gina that I forget that there are others out there channeling their feelings into songs – and that their feelings can be pretty similar to my own.

Not only did Katie share feelings, but she shared some stunning tunes. A few familiar ones, as well as some brand new ones being birthed. Katie writes with such beautiful, intuitive voice-leading – it was a special treat to follow along from across the couch instead of from across the bar. I should have been jotting down the names of tunes as we went, because I came away with several new favorites.

By the time we made it to our last songs and I played the mated pair of “Shake It Off” and “Regenerate” their equal parts rage and resignation came hurtling through me so strongly that my whole body was trembling for minutes afterwards.

As I wrapped myself up for a walk home through twinkling flakes of snow, I realized that Katie and I had shaken off THE FUNK. It was replaced with the purpose and self-respect I had been missing.

Every day since then has been awesome. Thank you, Katie, for sharing your songs and having the sense to shake us out of THE FUNK!

Gentle readers, if you too find yourself mired in funkiness you should seek out the coolest person you have interests in common with and have them BREAK YOU OUT!

I have a bit more news about Ms. Barbato and The Sleepwells, but that will have to keep for another few days. Let’s just say, you’ll have a chance to see a version of our funk-breaking shtick for yourself very soon…

St. Vincent stuns at First Unitarian

Last night I saw St. Vincent play the final show of her US tour to a captivated audience at the First Unitarian Church.

I have never seen a show at First Unitarian before (blasphemy for a Philly music-lover, I know). The show was upstairs in the church proper – a church in the warmest and most inviting sense, and with wonderful acoustics. It was a perfect fit for St. Vincent’s precise, melodic orchestrations.

Backed by a woodwind player, violinist, bassist, and a spectacular drummer, St. Vincent stunned me throughout her set. I think I was most stunned because I got to take the show in alone and with no context – alone in my head, contending with such a remarkable show.

I like going to concerts alone. For all the fun of sharing a music experience with friends, their proximity can take me out of my connection to the music. Are they comfortable? Can they see? Do they know this song? Why don’t they want to dance? Sitting solo at the end of a pew my connection to the music was direct – some songs found my gaze raptly on her fingers, others eyes closed and inside of my own head.

As for context, I don’t really know anything about St. Vincent – I didn’t even know what instrument(s) she would be playing! That left me completely agog at how her five-piece recreated lush album arrangements with both fidelity and embellishment.

Most of my St. Vincent listening is spent repeating first half of 2009’s Actor, so I was worried I’d be bored after she tore through spotless takes on “Save Me From What I Want,” “Neighbors,” “Laughing With a Mouth Full of Blood,” and a crunchy “Actor Out of Work” for her first four tunes. That boredom never came. Even as we tread into songs I recognized less, each was intelligible and compelling. Neither foreknowledge nor committing songs to memory were pre-requisites for enjoying the performance.

I came away completely in awe of Annie Clark AKA St. Vincent. Her vocals were perfectly controlled throughout the show, on par with or besting her delivery on disc. Especially impressive was her guitar work, which is obscured beneath lush arrangements on LP. At the show it was much more prominent. On “Mouth Full of Blood” she navigated a series of classical-style walks and hammers, but she also worked fuzzed out riffs on the later “Marrow,” and an evocative solo and blast of utter noise on encore “Your Lips Are Red.” Also, her clean guitar tone was simply to-die-for.

Clark was winsome between tunes, gently thanking a crowd that receded into rapt silence after each bout of thunderous applause. She was clearly delighted to be playing for us, and was disarmingly frank when she confessed to the effect of, “Philly shows are great.”

I have to applaud local promoters R5 Productions for the presentation. The show was sold out, but not oversold – everyone was comfortably seated. The mixing was utterly perfect, whether that was due to St. V’s front of house guy or a well plotted sound system (probably both).

Altogether, a fantastic experience. I’m so happy that snow and slow SEPTA didn’t leave me couchbound for the night.

It’s good enough for whales, dude.

We just got through sitting in our parked car eating dumplings, a queer little Saturday night date in the midst of this insanity of rock shows and serious theatre and made up awards.

Based on two visits, I love nearly everything from Vanessa’s Dumpling House on Eldridge Street, but my shrimp dumplings were not what I expected. I’m not sure what that expectation was, but it wasn’t a dumpling with dozens of teeny shrimp all nestled inside with no seasoning to speak of.

Ever since I saw District 9 I’ve been a little leery of shrimp eating, and the dumpling of a thousand shrimps was not making the shrimp-eating experience any less ooky.

I turned to E for some comfort.

P: These dumplings have, like, thousands of tiny shrimp inside of them. It’s a little creepy.
E: Like sea monkeys!
P: You’re not helping.
E: Or krill!
P: Okay, now I’m done.
E: Hey, it’s good enough for whales, dude.

E and the band were pretty good, although I can already tell she’s not going to like the video because she wasn’t happy with her vocals (she’s been pretty sick since Thursday). Every time I mention a good spot she has a bad spot to match.

I’m always inconsolable after a performance, for better or for worse. Either I know in my heart it was awful, and no coaxing can convince me otherwise, or I’m sure I was excellent and need no further discussion on the topic (Monday being a prime example).

I won’t rattle her cage any further about it being good or not. We’re off to peek into bro’s cast party to catch up with various sibling units before bed.

Filmstar @ Fontana’s

I am in Fontana’s in the middle of Chinatown in New York waiting for Filmstar to play, and Emily Cavanagh is talking to me from the stage.

Well, not just me, but it might as well be, because she has that kind of stage presence where she is drawing us in instead of pushing herself out.

We are in the midst of a Santa bar crawl, she informs me, clad in a short red skirt and candy cane striped, fur-trimmed arm warmers.

Emily’s three piece is fun and jazzy, and I am marveling at the merry-go-round of NYC music. I might hate it here (not really) (okay, really), but there’s such a wide range of music to hear. I mean, there’s a show with this fun jazzy stuff followed by Elise and the band glam-rocking through a Filmstar set.

I don’t feel like that happens in Philadelphia. It’s still more segregated – the jazz kids stay on the jazz side of the line, the acoustic kids hang out with their own, and the bands drive the big shows.

There are more Santas here by the minute. The room is now filled with Santas. Some are bearded and authentic, while others are half-hearted in hats and vests or just striped stockings.

Emily is kind of killing it, first with “Branch,” then “Down the Line,” and something about “Sunday Morning.” I think I’m going to have to say hello to her.

But, first I have to go sit in our parked car and give the appearance of knowing how to drive a car, because our parking pass expires three minutes before parking is free. And god help me if anyone calls that bluff, because I don’t think I know the window wiper fluid from the gas pedal.

Daily Demo: Crazy for You (Madonna cover w/lyrics & chords)

Cover: Crazy for You (live demo) ["Save As" to download from that link]
Last recorded fall 2002.

There are no Madonna songs released before 1990 that I don’t like. Well, except “The Gambler,” but I don’t think I heard that until I graduated college.

In the 80s there were no iTunes downloads or mix CDs, and the Vision Quest soundtrack that originated “The Gambler” and “Crazy For You” was pretty frigging obscure. While sister soundtrack single “Into the Groove” made an appearance on You Can Dance, “Crazy For You” was a 45-only delight for me.

Until The Immaculate Collection.

Sure, I had all the other songs already (yes, including “Vogue,” it’s on I’m Breathless)(and, no, not “Rescue Me,” but that wasn’t such a big revelation), but suddenly I had “Crazy For You” at my fingertips – on a tape!

Oh, the pleasures of a simpler time – when songs were actually obscure.

As Madonna covers go, “Crazy For You” was always high on my list of tricky songs to achieve along with “Lucky Star” and “Vogue” – it’s boring as a series of half-barres in standard, and it’s impossible to accurately play the intro riff inside of the chords that way.

For the guitar nerds out there, keep reading for chords and instructions on how to play my alternate tuning arrangement.

(In other news, the backing vocals from this are the same as the ones in Tori’s “Tear In Your Hand.”)

Continue reading ›

 
icon for podpress  Crazy For You - Madonna (live demo): Play Now | Play in Popup | Download

WWMD?

When I’m being overly fussy about anything musical, I have a special mantra I use to get focused. It goes like this:

What would Madonna do?

That’s “WWMD?” for short.

Madonna, 1982, from the 9/09 issue of Italian Vanity Fair.Last night I was not feeling musical. I was tired. My right arm felt flabby, and wasn’t keeping up with the quick, hard strikes on “Regenerate.” My breath-support was wobbly, and not getting me through “Shake It Off.”

I had promised to stop by an open mic, but I wasn’t feeling it.

WWMD?

In 1982, when Mad was still being labeled a one-hit wonder, she told Dick Clark, “I wanna rule the world.”

It was a lofty, laughable goal for a potential one-hit wonder to have in 1982, but she’s come as close to achieving it as any entertaining non-dictator could ever come. Her rule-the-world mission drove her every decision for over a quarter of a century. If you start counting from when she started playing in New York bands, she’s been driven as long as I’ve been alive.

Of course, Madonna is also known as a control freak and a perfectionist – but that didn’t stop her from breaking into clubs as an imperfect singer in the early 80s.

If she stayed home she couldn’t rule the world.

I take that as a lesson – not only from Madonna, but from all of my favorite paradigm-changing artists. From David Bowie to Ani DiFranco to Lady Gaga, what they have in common isn’t their talent and training. Their commonality is wanting it bad. Tenacity.

That’s a clarity of vision I lack. If voice, arm, and body are all tired, I want to pack it in. My songs don’t sound focused. Why play, I ponder, if I’m not at my best?

WMMD? I know what Madonna would do. What about Gaga, or Ani, or my glam idol himself?

David Bowie struck out as a pop star, actually became a one-hit wonder twice – on a novelty single, and again on “Space Oddity” (another novelty single, you could argue). He released two largely-unheard discs before he unearthed Ziggy from his collection of personalities.

WWDBD? He wrote one of his finest discs, Hunky Dory, and when its popular reception was soft he went directly back into the studio to record The Rise and Fall of Ziggy Stardust and the Spiders From Mars, one of my three favorite albums of all time.

So on those nights where I feel tired, or tuneless, or lazy, what should I do if I truly care about music as much as I claim I do?

WWMD? WWDBD?

Go out and play.

Making Music Work: Should You Say Yes To Everything?

This a post in my new column, “Making Music Work,” where I take a look at the challenges facing local, indie musicians.

As a musician it’s hard to say no. But, should you always say yes?

There are a lot of positives to saying yes. More chances to play, which means more experience and more audience. Networking opportunities. A chance to pad your resume of shows. In the words of actress and singer Ashley Davidson Hughson, “work begets work; you never know who might be in the audience that night.”

Except, playing your music isn’t all about you. It’s about your music. It’s about your fans, both old and new. It’s about the person running the room making a profit. It’s about other acts on the bill getting exposed to a new audience.

With that in mind, when should you say no? I polled my network of professional and amateur performers, and we came up with these major reasons. Continue reading ›

#blamedrewscancer’s Blame-a-Thon Explained!

(Yes, I still owe you one last skydiving post. Suck it up, people. It’s coming.)

So, you’re a cancer blamer but you’re not sure what this whole Blame a-Thon thing is about? Never fear – we’re here with answers to all of your questions (and, by “we” I mean me talking about myself in the third person). Continue reading ›

Happy Birthday To This

I. The 27-Club.

Last September I turned 27.

It made me nervous.

Being a major music fan and devout lifetime subscriber to Rolling Stone, I am all too aware of the so-called “27 Club” – a musical super-group headlined by Robert Johnson, Brian Jones, Jimi, Janis, Jim, and Kurt, all of whom met their untimely ends at age 27.

My nervousness wasn’t an actual, rational fear. Just a fringe anxiety. Still, it hung there. The 27 hurdle. A year it would be a challenge to survive.

In the months after my birthday the challenge of surviving gave way to the challenge of getting from one day to the next. Honestly, I was so preoccupied with life that the whole 27 Club concept didn’t reoccur to me until I was getting ready to jump out of an airplane last month. And, since that failed to kill me, I assumed I was in the clear with regard to the whole untimely end angle.

I continued thinking that until the past few days, when I began re-reading my entries from the past year in anticipation of the ninth anniversary of Crushing Krisis.

It was then I realized that it happened. I died.

If that sounds like hyperbole, it’s meant to be, but only a little bit. Truly, the past year of my life was so vastly different than any that came before that it was hardly lived by the same person.

If that sounds like hyperbole, it’s not. One of the benefits of your blog celebrating it’s ninth birthday is having the ability to make frequent, sweeping, and entirely-accurate generalizations about the state of your life.

In fact, that’s my favorite thing to do on August 26, the birthday of Crushing Krisis. Continue reading ›

Blog Spotlight: Meish.org

I’ve decided that as frequently as I can I’d like to highlight a specific blog I love by talking about the blogger and linking to my favorite recent entries. It’s only fitting that I start with the single blog that was at the top of my link list when I launched nine years ago, and continues to be a daily read today:

Meg Pickard’s meish.org.

Meish wasn’t always Meish – it was once Not So Soft. In that capacity I consider it my parent blog, as I created my own specifically to ape what Meg was doing daily.

I’ve read Meg ever since, and she’s never stopped being compelling. She lives in London, was schooled as a sociologist, and spent time abroad conducting ethnographies. She presently works in some capacity for The Guardian.

Meg has a way – as all great bloggers do – of making the common seem very compelling. She also writes wonderful lists (frequently etymological in nature), takes clever and pretty photographs (even with an iPhone), and shares thoughts on social media.

And, as borne out by her original blog name (an Ani reference), Meg has wonderfully eclectic taste in music (and shares some of my OCD organizational qualities).

Some other recent highlights: she tracks the occurrence of “Flying Ant Day” with uncanny accuracy; she ruminates on the concept of time tourism (which I have discussed at length with Rabi); attempts to create a universal theory of measurement; dissects nationalist “visit us” campaigns; makes tables out of old maps; details past packing mishaps; and she bemoans a lack of adjectiveless sandwiches.

And that’s all just in the last year. Meish posts a few times a week, which makes it easy to follow in RSS; more voracious readers will want to subscribe to Meg’s many-times-daily tumblr.

Having met Rabi a long time ago, and Alison more recently, I’d say Meg is probably the blogger I’d most like to meet in real life.

Monday Morning Remainders

Some links I’ve been meaning to share for a while that don’t quite merit their own posts, but work well traveling as a pack.

Last week Ad Age ran a great article on Social Media taking cues from indie music. They highlight four artists taking the lead in connecting to their fans on the web, and the #1 example is my personal fav Amanda Palmer, about whom they gush, “[She is] more sophisticated than almost anyone on the internet — musician, brand or otherwise — when it comes to gathering her audience around her and keeping the conversation going.”

In a not-dissimilar topic, NYT ran an article highlighting how bands are increasingly eschewing labels in favor of self-releasing or seeking alternate funding. Fluffy on content, but features Metric, whose self-released Fantasies is killer. Metric is my Garbage replacement while Shirl and the boys chill out. Metric’s manager just detailed the funding behind the record in an open letter; dense, but a fascinating peek into the Canandian indie industry.

Nerd Boyfriend is a photo blog that posts modern and vintage photos of well-dressed nerds you’d probably like to date, and offers suggestions of how to match their look. Their Scott Walker post is one of my recent favorites, both for fashion and photography.

How to decide if you have a good job” is a fantastic post about start-ups, stress, and loving your life. It also give a bit of background inside into Alice.com, a novel start-up that regularly delivers all of your household necessities to your home at a discount over big box stores.

On the flipside, big box corporations are co-opting the “buy local” movement, the same way they’ve all undertaken “green-washing” their businesses. Disappointing on the surface, but there is certain a local element to chains with e-tailing encouraging people to continue to hit their brick and mortar locations or customizing their sales to a regional audience. Neither are bad things.

Um, the melting arctic has released a torrent of “biological goo” on the Alaskan coast and we are not alarmed why? Sounds like the beginning of a terrifying episode of X-Files to me. (via Cecily of Uppercase Woman).

September is a month dedicated to raising awareness of cancer in children. I’ll be busy planning Blame-a-Thon, followed by my corporate charity campaign. If your month isn’t so insane, you could host your own Alex’s Lemonade stand. If you don’t know much about Alex’s history, check out how Alex’s little stand can teach big marketing lessons.

That should be enough to keep you occupied on your lunch break.

Whuffaoke or Bust

I don’t have it in me to articulate today’s adventures quite yet, but:

20090726170552

2009-07-26 17.06.58

2009-07-26 19.21.37

Whuffaoke is a country-spanning karaoke tour based out of one amazing winnebago. They are also some of the sweetest people I have ever met. Over the course of seven hours I sang “Video Killed the Radio Star,” “Since U Been Gone,” “Semi-Charmed Life,” “Time Is Running Out,” “Don’t You Want Me,” and – amazingly, as I’ve never performed it before – “Here We Go Again” by Whitesnake.

In addition to not having it in me to articulate, I think I may have also lost the power of speech.

Whuffaoke continues on Monday at 13th and Sansom at 5pm sharp. Be there.

Man In the Mirror

Now a month after he passed, the MJ hoopla continues.

Rolling Stone finally got around to shipping an issue with him on the cover, with a solid accompanying article tracking his whereabouts over the last two years. Still has its lurid bits – prosthetic nose and Latoya trolling through Neverland looking for bags of cash – but it’s more of a portrait than most of the continuing coverage.

The thing that gets me about all the coverage is that people still don’t seem to know all that much about Michael Jackson as a musician. Like anything else, it’s just an echo chamber of the same small handful of facts on spin cycle.

For example, “Man in the Mirror” – a fantastically constructed song that has leapfrogged all of his freaky-video hits to become his official theme and lament. So very Michael, right? Definitive?

It may have been definitive, but it was one of the few big hits of MJ’s solo career that he didn’t have a songwriting credit on. It was penned by Siedah Garrett – an 80s pop artist, songwriter, and killer backing vocalist (frequently with Madonna), and arranged with Glen Ballard, best know as the co-writer and producer of Jagged Little Pill (as well as the debut of Wilson Phillips).

Rolling Stone’s fantastic Smoking Section just interviewed Ballard about how “Mirror” got onto Bad at the last second.

Siedah and I wrote it for him directly. It was near the end of the recording for Bad — it was the last weekend before they wrapped up Bad — and think I had written something for the album but it didn’t get accepted. Quincy [Jones, Bad's producer] called me and said, “Don’t you have anything else for us?” He thought we were idiots not to try again, and Siedah had an idea, and we got together on a Saturday night, met at my house in Encino, and we just wrote it on the spot. It was really simple, we just wrote it on a Fender Rhodes, and did a quick demo with Siedah singing. It felt really good, but you never know. And we didn’t have time to dress it up, so I didn’t feel like it had a chance.

As for Siedah, at a recent service she briefly eulogized Jackson and then delivered an unbelievable solo turn on the song, backed by the tremendous Agape International Choir.

I started working on my cover of “Man in the Mirror” sometime last fall, and it only started coming together a week or two before Michael died. I love playing it, but I might need to wait a few months before doing it at open mics feels something other than opportunistic.

I’m sorry that Michael Jackson coverage has reached a point of backlash. Honestly, I would listen to him all day and cry two months ago, so I don’t see why I can’t keep doing it now.

What I Tweeted, 2009-07-19 Edition

My best and most-interesting tweets of the last week (including extensive skydiving coverage).

Read my tweets they happen by following me on Twitter.

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Filmstar. Rock’n'Roll Star. Wife.

Elise & Co. (aka Filmstar) rocked an amazing show tonight at the M-Room, followed by the obscenely sexy and awesome Stone Thrown (like Muse, but Philly-local and half-Asian).

Here’s Filmstar’s newest tune, which I am in love with. Note the Bowie / Karen O. dual influences.

(Or, head to YouTube to watch “Rock & Roll Star.”)

There is prelim talk of a worlds-colliding Filmstar v. Arcati Crisis party/show sometime in the fall. If that were to happen, I would play the shit out of a tambourine on that song.

Broadcasting live for 12for12k!

The internet had the chance to see and hear the first ever live web concert of my original songs and familiar covers, plus help to raise donations for Unicef’s Believe in Zero campaign for 12for12k

My 12for12k Setlist with demo downloads (if available)…

Like a Virgin – Madonna
Small & Lonely
Icy Cold
Saving Grace (w/Paris monologue)
Shake It Off (w/ “Shake Your Body” outro)
Since U Been Gone – Kelly Clarkson
Something Real
High & Dry – Radiohead (per Danny Brown’s request of Fake Plastic Trees)
Bucket Seat (an Arcati Crisis song)
Real You
Man In the Mirror – Michael Jackson (cried on every chorus – WTG, rock star)
Granted
Love Me Love Me Not (an Arcati Crisis song)
Space Oddity – David Bowie

Also, a few I planned to play but cut (or just forgot)…
What It Is
Unengaged
Gone Baby Gone

For people who watched and said they’d be interested in buying a CD (a) you are wonderful, and (b) download what you will and make a donation to this month’s charity, Unicef’s Believe in Zero. As a bonus, you can also grab my duo’s most recent Live @ Rehearsal album.

Also, we had a high of 40 unique users in the room at one time, so that’s what I donated ;)

Neil & Sir Paul

If Gina and I saw this live and in person I think our heads would explode right off our necks.


(Neil Young doing an awesome cover of “Day In Life,” joined by Paul for his portion of the song)

Play at playing with The Beatles. Or, just play with The Beatles.

The pair of surviving Beatles recently appeared at E3 to hype the impending The Beatles: Rock Band, out on September 9. It represents a remarkable milestone – mass licensing of Beatles songs to a third party, cooperation of all four Beatles estates on new intellectual property, release of new studio chatter from the band, and creating multi-tracked masters of songs originally recorded live in mono or stereo. (see the full fact sheet)

In the game, you and your friends can take the Beatles from the Cavern Club days all the way to the rooftop in your own living room, not mention traipsing through their imagined acid trips. You’ll start out with 45 Beatles songs in-game, but many more will available as downloadable content – starting with the complete Abbey Road.

Assuming you already have a plethora of plastic video game instruments lying around the house, the a la carte game will cost you $100. If you need all of the plastic instruments to go with it, you’ll be dropping $250 for the full kit.

Seems like a bargain to play along with 45 of your favorite Beatles tunes, right?

Not really. Because, if you have an actual instrument lying around the house, you can buy The Beatles: Complete Scores hardcover tome for half the price of the a la carte game and learn how to play the actual music to every single Beatles song.

If you need an actual instrument to go with it, you can pick up a starter guitar or bass package plus the book for about $250 – yes, even including a replica Hoffner bass! (The scores plus drums will run you a bit more – $300-$500).

Herein lies your dilemma. Do you want to have a primary experience with the music you love, or a secondary experience?

If you’re a non-musician, you might argue, “I don’t really have a choice,” but I think you do.

You might argue, “I don’t read music,” yet you’re willing to learn an arcane method of notation in Rock Band that’s not too different from reading guitar tab, which is included in the score book.

You might argue, “I don’t have nimble fingers, a sense of pitch or rhythm, or a decent voice,” yet if you expect to surpass even easy mode on Rock Band you’ll need to hone some or all of those skills just as you would playing actual music. In fact, Rock Band is much less forgiving of mistakes with drumming and vocals than a jam with friends would be.

You might argue, “I don’t have time to practice music enough for it to be worthwhile,” yet you have time to play Rock Band two or three hours a week. That same time would serve you equally well training on an actual instrument. You could probably learn how to play “I Want To Hold You Hand” on guitar in the same time it takes you to reach your first save point.

Convinced yet?

Other Rock Band titles offer the allure of collecting disparate, virtuosically-difficult music into a video game – much of which is impossible to track down as printed music. None of that is true this time around – the music comes from a single source, the virtuouosity is in the ease of playing, and it’s all collected in a single, relatively cheap book. It’s a completely level playing field for anyone – novice to expert.

You can’t say that about any other Rock Band game or for any other artist in the history of music.

Essentially, you have no argument to buy The Beatles: Rock Band other than perhaps, “I already know how to play all 213 originally released Beatles songs, and now I’m bored.”

The game does have some redeeming features in the areas of drumming and singing – the two bits of Beatles that are the hardest to master on your own. Designers worked closely with Ringo to make the game a tutorial for his unique drumming style. Also, the game features a harmony training mode, which will allow you to voice any part in the band’s remarkable multi-part harmonies.

Based on that, if you’re a Beatles-loving singer or drummer starting from scratch I can appreciate wanting to purchase the game for some guidance. If only the game also allowed you to plug in an actual midi-guitar in to test your chops against the recordings … then I’d buy it in an insant!

Otherwise, if you’re a Beatles-lover who wants to experience playing their music yourself, my advice would be to actually play it yourself.

whiling away the hours

(1) A few years ago I saw Malcolm Gladwell deliver a speech at the New Yorker Festival that is largely recapitulated in the second chapter of Outliers, called “The 10,000 Hour Rule.”

In it, Gladwell draws our attention to a data point converged upon by countless studies of experts in a variety of fields. He says, “In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.” He goes on to quote neurologist Daniel Levitin:

In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again. … It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery.

Gladwell supports the rule using Mozart, Bill Gates, Bill Joy, and the Beatles as his examples. Not to say that their genius and success is purely a result of 10,000 hours of practice – the book as a whole explains other facets – just that it was an essential component of their expertise.

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(2a) 10,000 hours is a long time.

If as a child starting at age five you had piano lessons two times a week (an hour each) and also practiced an hour a day, you would clock nine hours a week. 468 hours a year. 4,680 hours a decade.

If you kept that up until age 26 you’d finally have served your time.

(2b) 10,000 hours can go by before you know it.

Maybe you got into video games at age 11. You played them every night after homework and dinner, let’s say from 7:30 to 11:00 p.m. on most nights, plus extra on the weekend. That’s more than 25 hours a week. 1,300 plus a year.

You’d be a master by the time you started college. Most kids are.

(2c) Time is relative.

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(3) In the car today Gina and I were singing in harmony to the amazing Hezekiah Jones album Hezekiah Says You’re A-OK, on the way to see his band split a bill with the equally fantastic Up the Chain.

“You know, Gina,” I said, breaking from my lead vocal, “I’ve been thinking about this 10,000 hour thing. Not everyone’s an expert at something. I mean, what do most people spend 10,000 hours doing by the time they’re 25? Watching teevee, I suppose.”

“More than likely,” she replied.

“But, think about me. I watched a lot of television, sure. Mostly, though, I read until I was old enough to write, and then I wrote and read. That’s what I spent my 10k on.”

(Perhaps she interjected, “Oh, I remember.”)

“And, you know, is it any surprise that I’m good at communications? I’m not an expert, but no wonder it’s my calling. I spent my whole life practicing for it.”

We sat and sang for a moment, contemplating that.

“What about you?”

Gina paused in her harmony. “Hmm, me?”

“Yeah. What did you spend 10,000 hours doing?”

“This. Listening to music. Singing harmony.”

“Really your whole life, right? Your mother singing, your father playing guitar…”

“Yeah, since I can remember.”

“Right. So, no matter how much I rehearse, you’ll always have the edge. It’ll always come easier to you, until I reach that threshold.”

“I suppose.”

We paused as the song wound down.

“What do you think Hezekiah spent 10,000 hours doing?”

We thought on that for a few moments, and then sang together to “Albert Hash.”

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(4) We’re not all Mozart. I might not ever be Hezekiah Jones. But, we’ve all spent 10,000 hours doing something other than sleeping, and hopefully other than watching television. Maybe something incidental that we do out of necessity or habit. Driving? Social-networking? Cleaning? Taking care of children?

I’ve put in more than my share on communications – reading cereal boxes and trashy fantasy novels, writing stories at eight on my manual typewriter and almost nine years of blogs.

I got an early start on 10,000 hours of being Gina’s best friend, which I keep padding. I’m really good at that. More recently I’ve attained well-in-excess of 10,000 hours of being in love with Elise.

I hope eventually I’ll reach my 10,000th hour of serious focus on music. It’s a large piggy-bank of time to fill.

What about you? What have you spent your life mastering, intentionally or unintentionally?

don’t fail me now

The last forty-eight hours of my life.

At six o’clock on Monday I am playing guitar. I have been playing for hours, drilling songs against a metronome. The bridge of “Unengaged” for twenty minutes straight. I’ve worn through a callous for the first time in ages.

Later I rehearse piano and vocals equally as hard. I fall asleep reading Outliers in bed, which just two chapters in already has caused one blowup with E because I said if I had me as a child I’d call me a failure.

I don’t want to be a failure.

Tuesday I have a fun, frantic day at work – the kind where you realize at the end of the day that you never stopped to hang your coat. I start writing the second my ass is on the bus, and emerge almost three hours later with that last post.

I rehearse. Hard. Again. Trying not to fail. Despite my voice sounding brittle and inflexible due to the lack of a warm-up, I venture out to an open mic while E stays at home and works on freelance.

At the restaurant my first song is awesome; the room is quietly transfixed. (I’m not a failure?) Afterward I promptly break a string and become shy and faltering when I’m handed another guitar. I fuck up “Like a Virgin,” of all things, and promptly lose everyone’s attention.

Today I feel slightly beaten up (thank god I don’t drink at those things), on top of beating myself up. Still manage another frantic work day that barely includes a coat-hanging. On the way home I listen to my own voice on my iPod, which a lot of days is the only thing I can manage to do.

I’m listening to “Like a Virgin” from 2006 and thinking, This is awful. Why am i singing like that? (Of course, I wouldn’t make it ten seconds into “Like a Virgin” from 2001.)

Then I listen to a Trio from 2008 and realize, God, I really did get better.

I am not a failure.

I get home and am kissed goodbye as E heads out to front her band at the Khyber. Another hour of writing.

Grudge Match

My friend Rob Baniewicz (of killer improv comedy duo Meg & Rob) shared an article from the Onion A/V Club Q&A titled “Lifetime Grudges.”

The article caught my interest because it’s about lifelong, subjective, sometimes irrational grudges that people develop against artists. Many of the Onion’s regular contributors shared their personal grudge matches, from Sofia Coppola to U2.

Surely you’ve done it. A movie star whose weird mouth-shape you just can’t get past? A musician whose utterly terrible new album forces you to lose faith? The reason doesn’t matter so much. just that they’ve jumped your personal shark permanently, never to return to your good graces.

A few spring to my mind immediately. Alanis Morissette – by her fourth US record she had entirely quit writing catchy, interesting music, so I gave up. Chuck Palahniuk – wrote too many overly-convenient, repetitive books for me to care that he might eventually get better. Jason Mraz – I found his songwriting schtick underhwhelming from the first second I heard him.

The grudge article is an interesting counterpoint to something else that has been on my mind lately: permanent “must-buy” policies. Lifetime subscriptions, let’s call them.

Surely you have these too – an unflinching desire to consume everything by a specific artist. I’ll buy any song by Garbage, watch any movie by David Fincher, and love any print by Mucha, no questions asked. It’s a form of brand-loyalty – these artists appeal to some aspect of your personal aesthetic, and you’ll support them forever for it.

Who is your #1 Grudge, and why? What about your most major undying, devoted subscription? Could the grudge ever (re)earn your trust? Could the subscription ever fall from the pedestal?

xii. Pandora’s Aquarium

“I feel as if I’ve been able to try on many different archetypes. So much so that it feels like a Pandora’s box of archetypes sometimes. But not all of them figure in to my personal myths.” (Piece by Piece)

Pandora’s Aquarium was the first song to come after the bloodletting ended and the water cycle began, yet we discover it at the end of our journey.

It is in apposition to Spark. It’s about knowing how to float above a pool of things so frightening you cannot name them. Pandora’s aquarium.

The Lord of the Flies is the embodiment of those terrifying things, and he was diagnosed as sound. A paradox of sound. Just the ringing in your ears.

So don’t be afraid. We’ll all float on. Okay?

The moral is she hasn’t found her spark. But she has learned some things. She is not Persephone, that’s for sure – no fertile queen, but also done living in the underworld.

She has discarded her archetypes for just a moment, splayed carefully, face pressed against the surface. She is just going to float for a while. And the whole world can line up with complaints, but the only danger is that she loses the ability to open her mouth. To taste. To speak.

To breathe.

And we’ll all float on.

Okay?

Alright.