This is not a commercial, just an unsolicited recommendation. I was reading Rolling stone the other day and came across an add for http://www.slacker.com/, a website that allows you to build your own customized radio station. I've been listening to it for close to a week now and am thrilled with the service.
You can choose from a number of pre-programmed "stations" or you can choose your favourite band and the site will create a playlist featuring your favourite band and other bands either similar to in genre, influenced by or who were influences. I know that there have been other similar services but my experience is that you have to sign up and then the service times out it's free play. This seems to be unlimited. There are other options including record reviews, t-shirts and a portable player.
I spent the the first few days listening to my Yardbirds channel and am now listening to my Aerosmith channel. Ted Nugent's "Free For All" came on and sent me on an Internet search for that wholly excellent, long lost and under appreciated album.
Enjoy.
Tuesday, November 13, 2007
Thursday, November 8, 2007
Chris Stills - when good artists go missing
A long long time ago when I started working in the music business, a friend of mine said that her distrust of major labels came from the fact that she felt that we only made hits out of the records we liked. I assured her that that wasn't true. If it was that easy, it would be in our best interest to make EVERY record a hit!
I'm sitting at my desk listening to 100 Year Thing, the debut album from Chris Stills, the son of Stephen Stills. This record is completely awesome. There is so much of it that reminds you of classic CSNY in the vocals and melodies but, although the songs are mainly based on acoustic guitar, this record totally rocks! I am loathe to choose highlights since every single song is worthy of the highest praise. I wish I was hyping you on a record that was coming out in January 2008 but, unfortunately, this is a record that was released in January 1998 and disappeared almost as quickly as it hit the record shelves.
It's ten years later and I still can't tell you what happened. The music truly is spectacular but there was no radio that would play it at the time. His story was great (son of Stills and French singer Veronique Sanson) but no media was really interested in covering it. We saw him play once and he was terrific but there was no tour.
There are so many factors that contribute to the current state of the music business and no one is counting the mystery of the disappearance of artists like Chris as one of those factors. By the way his second album came out in 2005. I never heard it but I will say this, if you go to his myspace site, the music you hear there can't touch what I'm listening to on 100 Year Thing.
I'm sitting at my desk listening to 100 Year Thing, the debut album from Chris Stills, the son of Stephen Stills. This record is completely awesome. There is so much of it that reminds you of classic CSNY in the vocals and melodies but, although the songs are mainly based on acoustic guitar, this record totally rocks! I am loathe to choose highlights since every single song is worthy of the highest praise. I wish I was hyping you on a record that was coming out in January 2008 but, unfortunately, this is a record that was released in January 1998 and disappeared almost as quickly as it hit the record shelves.
It's ten years later and I still can't tell you what happened. The music truly is spectacular but there was no radio that would play it at the time. His story was great (son of Stills and French singer Veronique Sanson) but no media was really interested in covering it. We saw him play once and he was terrific but there was no tour.
There are so many factors that contribute to the current state of the music business and no one is counting the mystery of the disappearance of artists like Chris as one of those factors. By the way his second album came out in 2005. I never heard it but I will say this, if you go to his myspace site, the music you hear there can't touch what I'm listening to on 100 Year Thing.
Monday, November 5, 2007
Tom Petty and the Heartbreakers
I went to Best Buy last week and bought the new DVD Runnin Down The Drain. The package starts with a most excellent 4 hour documentary on the band by director Peter Bogdonovich. Do yourself a favor and treat yourself to the film. It seems that Tom Petty had a camera on him from the time he was three. There's great 8mm footage of Mudcrutch playing early versions of future hits like "Breakdown." earlier this summer I put the first Tom Petty & the Heartbreakers in my car's CD player. It's incredible how many of those songs have become staples and even more incredible how contemporary the album still sounds. It's a testament to the timelessness of Petty's songwriting.
I remember that day (though I don't remember exactly) when me and my friends were hanging out over at our friend Misty's house. Each of us always prided ourselves on introducing each other to new music. That day, Misty pulled out the first Tom Petty album. It was in the midst of the whole punk revolution and the picture of Tom in a leather jacket led one to believe that this was going to be a Johnny Thunders type record. The song Misty played us as an introduction was "American Girl." To steal a phrase, I was gob-smacked! I could believe how cool he sounded and I loved the speed of the track. I must have made her play the song four times before letting her play us anything else off the record. Afterwards I headed over to Sam The Record Man to buy the album for myself.
From that moment on I was a Tom Petty devotee. I would buy all of his records the day they hit the stores. The first time I say them play was at the Palladium in New York City where I was going to university. It must have been around the time of Damn the Torpedoes. The Joe Perry Project opened the show. To the best of my recollection, it was one of the finest live rock shows I had seen in my life up until that point. Petty was in great voice and the band was as tight as any I had ever seen.
What I didn't know that night (and couldn't have possibly known at the time) was that this would be one of the few times I'd get to see Tom Petty live. I don't remember if he played NYC again during my time there (1979 - 1984). He probably did but I didn't get to go to many shows after 1982. After I moved back to Toronto Petty concerts were fewer and farther between. The next time I saw him was 2000 or 2001 around the time of "Last Dance For Mary Jane" when he played the Molson Amphitheatre. Again he delivered one of the great performances. Earlier this year I took Melanie to see the band play at the Molson Amphitheatre. Going in to the show she thought she didn't know that many Tom Petty songs. Coming out she was a fan, realizing that she knew many more of his songs than she thought.
When people talk about the great rock and roll bands of the U.S., Tom Petty & The Heartbreakers are almost an after thought which is weird considering they're still making music and selling out stadiums thirty years later. If you sit down with Runnin Down The Drain though, the argument is over. Tom Petty & The Heartbreakers belong right beside The Doors, The Beach Boys, The Byrds, the Band and any other great "The" band that you could possibly think of.
I remember that day (though I don't remember exactly) when me and my friends were hanging out over at our friend Misty's house. Each of us always prided ourselves on introducing each other to new music. That day, Misty pulled out the first Tom Petty album. It was in the midst of the whole punk revolution and the picture of Tom in a leather jacket led one to believe that this was going to be a Johnny Thunders type record. The song Misty played us as an introduction was "American Girl." To steal a phrase, I was gob-smacked! I could believe how cool he sounded and I loved the speed of the track. I must have made her play the song four times before letting her play us anything else off the record. Afterwards I headed over to Sam The Record Man to buy the album for myself.
From that moment on I was a Tom Petty devotee. I would buy all of his records the day they hit the stores. The first time I say them play was at the Palladium in New York City where I was going to university. It must have been around the time of Damn the Torpedoes. The Joe Perry Project opened the show. To the best of my recollection, it was one of the finest live rock shows I had seen in my life up until that point. Petty was in great voice and the band was as tight as any I had ever seen.
What I didn't know that night (and couldn't have possibly known at the time) was that this would be one of the few times I'd get to see Tom Petty live. I don't remember if he played NYC again during my time there (1979 - 1984). He probably did but I didn't get to go to many shows after 1982. After I moved back to Toronto Petty concerts were fewer and farther between. The next time I saw him was 2000 or 2001 around the time of "Last Dance For Mary Jane" when he played the Molson Amphitheatre. Again he delivered one of the great performances. Earlier this year I took Melanie to see the band play at the Molson Amphitheatre. Going in to the show she thought she didn't know that many Tom Petty songs. Coming out she was a fan, realizing that she knew many more of his songs than she thought.
When people talk about the great rock and roll bands of the U.S., Tom Petty & The Heartbreakers are almost an after thought which is weird considering they're still making music and selling out stadiums thirty years later. If you sit down with Runnin Down The Drain though, the argument is over. Tom Petty & The Heartbreakers belong right beside The Doors, The Beach Boys, The Byrds, the Band and any other great "The" band that you could possibly think of.
Tuesday, October 23, 2007
Steve Stevens
As I drove into work this morning I heard Billy Idol's "Eyes Without A Face" and I thought of Steve Stevens.
I had the unique opportunity to work for Billy Idol's manager during the time he recorded Rebel Yell. During that time I was privy to the creative process enjoying the creation of most of the album's songs as they came to life. As a matter of course I had regular conversations with his guitarist Steve Stevens.
At the time, Steve was gaining a reputation as one of the finest guitarist working in rock music. I can attest to the fact that he took his craft extremely seriously. he was living at his parents house at the time and whenever I would call him to dish out the latest information I would invariably catch him in the middle of practising or fiddling with his effects rack to make sure that he could create sounds that no one else could copy (see machine gun sound in the solo on "Rebel Yell").
I spent allot of time in the studio while the album was being recorded. One of the most memorable days came during the recording of Steve's solo for "Crank Call." Steve was alone in the studio with his guitar and the rest of us were sitting in the control room. Producer Keith Forsey cued up the song to where the solo was to begin and, when Steve said he was ready, pushed record. Steve Stevens then laid down, in one take, what is, to this day, the greatest guitar solo I have ever heard in person! I wish I could describe what was going through my mind at the time. In one burst he through out an improvised assault that was stunning, melodic, virtuosic, fast and precise. As a guitarist all I could think was that this was something I would never even have imagined aspiring to.
When Steve was finished, Keith pressed stop and the room fell silent. I couldn't wait to hear what everyone had to say. At that moment Billy got up from his seat and leaned into the control room microphone and pressed the talk back button.
"Hey Steve," he said. "That was great. Now, could you play the same thing but with allot fewer notes?"
I was stunned. Could what I had just heard be true. He wanted that solo trashed? After a few minutes to pull himself together, Steve gave Billy exactly what he wanted and then said he wanted to go out for some fresh air. He asked me to join him for some pizza. When we got out onto 8th Street the sun hit us like a flood light. We headed over to Ray's for a couple of extra cheesy slices. Neither of us could believe that his original take wasn't going to be the solo heard on the album. At least, I assured him, he could play the solo live whenever he wanted to. He was too low though. he said that the solo had been divine inspiration and he didn't know if he could remember what he had played. Indeed, in the ensuing months, when the Rebel yell tour began to roll out across America, Steve played the solo for "Crank Call" note for note with what had been committed to the final version of the album.
I had the unique opportunity to work for Billy Idol's manager during the time he recorded Rebel Yell. During that time I was privy to the creative process enjoying the creation of most of the album's songs as they came to life. As a matter of course I had regular conversations with his guitarist Steve Stevens.
At the time, Steve was gaining a reputation as one of the finest guitarist working in rock music. I can attest to the fact that he took his craft extremely seriously. he was living at his parents house at the time and whenever I would call him to dish out the latest information I would invariably catch him in the middle of practising or fiddling with his effects rack to make sure that he could create sounds that no one else could copy (see machine gun sound in the solo on "Rebel Yell").
I spent allot of time in the studio while the album was being recorded. One of the most memorable days came during the recording of Steve's solo for "Crank Call." Steve was alone in the studio with his guitar and the rest of us were sitting in the control room. Producer Keith Forsey cued up the song to where the solo was to begin and, when Steve said he was ready, pushed record. Steve Stevens then laid down, in one take, what is, to this day, the greatest guitar solo I have ever heard in person! I wish I could describe what was going through my mind at the time. In one burst he through out an improvised assault that was stunning, melodic, virtuosic, fast and precise. As a guitarist all I could think was that this was something I would never even have imagined aspiring to.
When Steve was finished, Keith pressed stop and the room fell silent. I couldn't wait to hear what everyone had to say. At that moment Billy got up from his seat and leaned into the control room microphone and pressed the talk back button.
"Hey Steve," he said. "That was great. Now, could you play the same thing but with allot fewer notes?"
I was stunned. Could what I had just heard be true. He wanted that solo trashed? After a few minutes to pull himself together, Steve gave Billy exactly what he wanted and then said he wanted to go out for some fresh air. He asked me to join him for some pizza. When we got out onto 8th Street the sun hit us like a flood light. We headed over to Ray's for a couple of extra cheesy slices. Neither of us could believe that his original take wasn't going to be the solo heard on the album. At least, I assured him, he could play the solo live whenever he wanted to. He was too low though. he said that the solo had been divine inspiration and he didn't know if he could remember what he had played. Indeed, in the ensuing months, when the Rebel yell tour began to roll out across America, Steve played the solo for "Crank Call" note for note with what had been committed to the final version of the album.
Monday, October 22, 2007
Eric Clapton
I've been reading Eric Clapton's newly released autobiography. When everyone talks about bands from the sixties they take sides - Beatles or Stone. I take neither. My favourite was always the Yardbirds. What's really cool about the book for me is reading the relatively humble beginnings of the band and the English music scene on a whole.
When we started bands (in the mid-seventies) we had to plug all of the guitars and the vocal mic into one amp. Clapton and his cronies started out the same way. he learned to play guitar by painstakingly listening to his favourite records and copying them note for note, practising until he got it a close to perfect as possible. That's the way we learned to play guitar too. I would play along to KISS, Aerosmith and Ted Nugent until I could hit every note and then would practise throughout the night with headphones on so that my parents wouldn't know that I was still awake.
The Yardbirds gave birth to Eric Clapton, Jeff Beck and Jimmy Page. Why did they make it and not us? TALENT!
When we started bands (in the mid-seventies) we had to plug all of the guitars and the vocal mic into one amp. Clapton and his cronies started out the same way. he learned to play guitar by painstakingly listening to his favourite records and copying them note for note, practising until he got it a close to perfect as possible. That's the way we learned to play guitar too. I would play along to KISS, Aerosmith and Ted Nugent until I could hit every note and then would practise throughout the night with headphones on so that my parents wouldn't know that I was still awake.
The Yardbirds gave birth to Eric Clapton, Jeff Beck and Jimmy Page. Why did they make it and not us? TALENT!
Tuesday, October 2, 2007
Radiohead
(It's been forever since I updated this post and I've probably lost most if not both of its regular readers. With this I hope to return to writing a regular post and regain my loyal readership)
Out of the blue, it was announced this week that Radiohead will be letting fans choose the price they want to pay for their new album. If you want the album for free, it's free. If you think it's worth 20 bucks then pay 20 bucks. The industry has been talking about this like it's the start of a revolution.
Former Warner recording artist Jane Siberry has been using this model for years. Her music has been sold exclusively on her website for years. She has a suggested price for people to pay but welcomes whatever they are willing to pony up. Peculiarly, she says that most people are willing to pay more than the suggest price.
A revolution has begun. Just a lot sooner than you think.
Out of the blue, it was announced this week that Radiohead will be letting fans choose the price they want to pay for their new album. If you want the album for free, it's free. If you think it's worth 20 bucks then pay 20 bucks. The industry has been talking about this like it's the start of a revolution.
Former Warner recording artist Jane Siberry has been using this model for years. Her music has been sold exclusively on her website for years. She has a suggested price for people to pay but welcomes whatever they are willing to pony up. Peculiarly, she says that most people are willing to pay more than the suggest price.
A revolution has begun. Just a lot sooner than you think.
Friday, July 27, 2007
More Born Ready
So I joined the band and withing a couple of weeks we were in the studio cutting a six-song demo. It was my first time in a recording studio and the experience was more than just a bit intimidating. All of my limitations as a musician were captured on tape. Luckily, what I heard as ham-fisted guitar playing, the rest of the band heard as solid rhythm guitar.
When the school year ended we all pitched in a rented a loft in Hell's Kitchen. The space wasn't much more than a big rehearsal room with space divided up for individual sleeping quarters, a common area and a kitchen. I am convinced that if we had never moved into that loft, Born Ready would have been huge!
The plan for Born Ready was simple - record an album, have a hit single, dominate the world. Here's what really happened:
Born Ready played exactly three gigs. Our first "show" was in the rehearsal space where I had auditioned for the band. Our manager worked for Atlantic Records and the label was having a party in the rehearsal space. We turned out to be the entertainment. Actually I think the party revellers were much more entertaining than we were. The second show took place in a field. I can't remember why we were there but we had been asked to come out to play a huge field party in upstate New York. there were a thousand people on hand and we were the only band. We played all of our songs while the crowd restlessly called for The Doors and The Stones. We had never practised other material as a band but we culled together enough songs that we all knew to make it work. Thank god that our lead singer Nat had the charisma to distract anyone from our obvious flubs. Our final gig was at a New York club called Trampps. The NY scene at the time was New Wave pop and we were a straight ahead rock band. I know that our friends liked us that night...I can't say the same for the rest of the audience.
In between these gigs Born Ready continued to practise in our loft. But put five guys with five personalities in one living space and you get a reality show. That's exactly what happened. We argued about rent, food, rehearsal times, the band name and girlfriends. the last two owed more to Nat than anything else. He had started dating our manager, Ginnie, and their relationship got in the way of the band's name change. You see, we found out that there was already a band called Born ready and we were going to have to change our name. When Nat and Ginnie came in one day with the suggestion of Natty and The Squirrels, all hell broke loose.
A verbal match turned into a shoving match between Nat and the bass player, Steve - both of whom had had more than their share of the beer that had been stocked in the fridge. Steve was a smoker who would never respect anyone else's request to keep his habit out of the loft. During one particularly animated moment in the argument, Steve flicked a lit cigarette at Nat. The butt slid down behind the pillows of a couch, quickly melted a hole and started smouldering. A fire quickly erupted and Joe, our lead guitarist jumped for a pot in the kitchen which he filled with water and threw on the couch. The fire was doused but the loft was now filled with smoke. I quietly went to my room and packed up my belongings. Within an hour I had crashed on a friends floor. Born ready never played a note again.
When the school year ended we all pitched in a rented a loft in Hell's Kitchen. The space wasn't much more than a big rehearsal room with space divided up for individual sleeping quarters, a common area and a kitchen. I am convinced that if we had never moved into that loft, Born Ready would have been huge!
The plan for Born Ready was simple - record an album, have a hit single, dominate the world. Here's what really happened:
Born Ready played exactly three gigs. Our first "show" was in the rehearsal space where I had auditioned for the band. Our manager worked for Atlantic Records and the label was having a party in the rehearsal space. We turned out to be the entertainment. Actually I think the party revellers were much more entertaining than we were. The second show took place in a field. I can't remember why we were there but we had been asked to come out to play a huge field party in upstate New York. there were a thousand people on hand and we were the only band. We played all of our songs while the crowd restlessly called for The Doors and The Stones. We had never practised other material as a band but we culled together enough songs that we all knew to make it work. Thank god that our lead singer Nat had the charisma to distract anyone from our obvious flubs. Our final gig was at a New York club called Trampps. The NY scene at the time was New Wave pop and we were a straight ahead rock band. I know that our friends liked us that night...I can't say the same for the rest of the audience.
In between these gigs Born Ready continued to practise in our loft. But put five guys with five personalities in one living space and you get a reality show. That's exactly what happened. We argued about rent, food, rehearsal times, the band name and girlfriends. the last two owed more to Nat than anything else. He had started dating our manager, Ginnie, and their relationship got in the way of the band's name change. You see, we found out that there was already a band called Born ready and we were going to have to change our name. When Nat and Ginnie came in one day with the suggestion of Natty and The Squirrels, all hell broke loose.
A verbal match turned into a shoving match between Nat and the bass player, Steve - both of whom had had more than their share of the beer that had been stocked in the fridge. Steve was a smoker who would never respect anyone else's request to keep his habit out of the loft. During one particularly animated moment in the argument, Steve flicked a lit cigarette at Nat. The butt slid down behind the pillows of a couch, quickly melted a hole and started smouldering. A fire quickly erupted and Joe, our lead guitarist jumped for a pot in the kitchen which he filled with water and threw on the couch. The fire was doused but the loft was now filled with smoke. I quietly went to my room and packed up my belongings. Within an hour I had crashed on a friends floor. Born ready never played a note again.
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