So...

If I had a nickel for every time I've had to restart this blog, I'd have a shit ton of nickels. I couldn't believe it when I saw my last post was back in the beginning of October. But I digress.

Things finally feel like they're settling in. After moving, job changes, our wedding, and the stress of the holidays behind us, I am now getting into a routine. I work a six day week followed by a four day, so I have three day weekends every other. It's a good deal. I'm getting a lot of work done. The number of songs I've written and reworked over the last few months is by far my biggest creative output ever. It feels great, but there is a lot of pressure on me to keep it up. Most of it is internal pressure, admittedly, but nonetheless, I had my first creative burnout last weekend. I just pushed so hard to get 3 new songs done, write out trumpet parts, organize set lists, logistics, preparing for a gig. In addition, I was also rehired by this marketing company in Virginia to write/produce some music. So with what little free time I have, I've had to write for them. I also fucked it up. They needed loops and the bounce did not work correctly, but it should be fine. (That's our logo btw)

The band is progressing nicely. We're getting ready for our first gig at the end of the month. We've added a trumpet player as a permanent member of the band. Our sound is moving in the right direction. There are some songs that I'm more fond of than others, but so far I've been able to transform all of the ones that I haven't been a fan of into something workable. I feel like the more songs I write, they will push out the old ones. It could be due to the fact my songwriting abilities have increased exponentially or that I've finally found a style that suites my songwriting techniques. Probably both. But it is flowing out so naturally right now.

In another side of the music world, I am selling my tuba. I plan on buying a euphonium and3 continuing where I left off 10 years ago with it. Playing euphonium brings me joy I never got out of playing tuba. It's hard to describe why there is such a difference, but the euphonium just feels like a natural extension of myself. It's very exciting. It almost feels like a burden being lifted. Playing the tuba was never my choice and I never had it in me to stop that source of unhappiness until now. Kristen was actually the greatest impetus behind this. She knows better than anyone my disdain for tuba, and when I told her how much fun I had tooting around on the euphonium around Christmas, she planted the idea to switch for good. Kristen understands how much joy playing the instrument can bring. She has a relationship with the clarinet that I can only understand because of the guitar, but knew that could happen with a band instrument. It is time.

Hope to have more soon. Adios.

Who the hell coined the term "Dad Rock" anyway? Probably a Dad.

There have been recent allegations that Wilco is "Dad Rock." Well, I must have a kid I don't know about, cause I love me some Wilco. Here's what frontman Jeff Tweedy had to say about it:

"When people say dad rock, they actually just mean rock. There are a lot of things today that don’t have anything to do with rock music, so when people hear something that makes them think, 'This is derived from some sort of continuation of the rock ethos,' it gets labeled dad rock. And, to me, those people are misguided. I don’t find anything undignified about being a dad or being rocking, you know?"

Yes Jeff, I do know. Here's the thing. Wilco has been around a long time, popular for less long. And what happens when you've been around a while? You get older. So, apparently making quality rock/alternative music in your 40s because your career hasn't fizzled out like every top 40 artist is now a crime punishable by the "dad" music label. Steely Dan has also been somewhat wrongly labeled as dad music, but let's face it, Steely Dan is pretty much the most dad friendly music on the planet. BUT Steely Dan is also an amazing band, influencing more quality music than Nirvana (Nirvana influenced ALOT of bad music). Sorry to burst your bubble "critics," but Dads these days are more inclined to listen to the terrible patriotic

stylings of Kid Rock. FACT.

I'm not ashamed to admit that Wilco did not appear on my proverbial radar till about 3 years ago with the release of their self-titled album. Certain prejudices kept me from discovering them in college. I was very against anything that appeared to be "weird for the sake of weird." Upon first listen, which was curated by an ex-girlfriend who had a tendency to be into hipster music for the sake of being into hipster music, I just didn't get it.

But time has eroded those prejudices, and a new and more seasoned ear (yum) has helped me understand the genius of Wilco. It is insanely difficult to put out music that is balanced with pop sensibilities and weird shit. Tweedy and Co. have mastered that skill, leaning different ways with each album. They have done so while retaining and creating fans, not alienating them.

Ugh, critics suck. Wilco rocks. Steely Dan is unattractive.

So Much Good Music, So Little Time

Due to my wonderful friends and family, I have had the great fortune of receiving some absolutely fantastic music lately. In fact, I have so much I need to listen to that I'm having a hard time finding time to listen to it all! This is a wonderful problem to have, but it's still a problem. In order to hear the painstaking details that went into these songs it is only appropriate to listen to them on quality speakers or headphones. I love the volume that Apple is able to get out of these tiny little Mac speakers, but they are simply not up to par for a quality listening session.

These listening sessions go way beyond simply listening and following along with lyrics (which I rarely do.) No, I see these sessions as learning opportunities, studying not only the recording techniques and decisions, but also the song structure, instrumentation, and all that other good stuff. Does this suck the fun out of music? Absolutely not. I love learning and it is a challenge and something that I enjoy more with each new artist I stumble upon. I make mental notes in hopes of using what I have learned in my own work. I try to learn what works, and more importantly, what doesn't. Having an arsenal of options in my head pays dividends in the real world.

One of the artists I have been crushing on lately is Josh Ritter. Described by iTunes as Country and folk, Rock, Pop, and just Folk, Josh Ritter is an extremely talented singer/songwriter whose lyrics and song writing are worth more than one listen. The first song I heard of his was called "The Curse," off of his newest album So Runs the World Away. Thank God for NPR's World Cafe. That was a great car ride home and I was eager to find more by this guy. (Because I didn't hear who the artist was before the song started, I initially entered the World Cafe playlist from the evening and thought it was Tim Robbins and his band...that was close.) "The Curse" is about a mummy who falls in love with the female archeologist who found him and brought him back to New York. She repeatedly asks, "Are you cursed?" to which he replies "I think that I'm cured." But as the song progresses, she gets older, he becomes famous, she dies, and we are left with the initial question and answer again. It sounds hokey when I spell it out. Any story with a mummy is bound to raise eyebrows, but it is an incredible song that I suggest you check out. Other favorites include Harrisburg, Gallahad, and Girl in the War. Each of these displays clever wordplay that is instantly memorable, some making you smile and the others making you think.

This whole "folk revival" has gotten me very excited. There is such a unique focus on writing quality songs and crafting memorable stories that it is impossible to let Bob Dylan ruin the genre for me anymore. In fact, some of Dylan's work is now listenable. This is huge for me. But my new band, the Miss Misery Trio, has gravitated towards the folk stylings without even thinking about it. The combination of personalities and influences is creating my own exciting music. It excites us anyways. And speaking from years of playing in (shitty) bands that range from Irish Folk/Punk to Grunge/Metal, I have never been this excited. Most bands have revolved around songs that I have written, but that doesn't mean they were good. I am now at a point in my life where the "listening sessions" are culminating into sensibilities that translate quickly to my music, making the songs much better. I also have great band members that I can bounce ideas off of, echo my enthusiasm, and can collaborate and trust immediately. Wish I had more time to dedicate to this stuff.

Staying Power

I've discovered a pattern in the music that I have chosen to surround myself with over the last few years. All the music and artists must have staying power. Basically I just ask myself, " will I still want to listen to this in 5 years? 10 years?" This mentality has really helped me discover some great music and look past the average.

As you can probably guess, none of this music is "mainstream." These are artists who are creating works that do not appeal to the mass audience. I believe this is due to that fact that the music is not aimed at anyone. The songwriters and bands are returning to a frame of mind that was prevalent in the great songwriters of the past. They make music for themselves. Is this selfish? Not at all. It is simply an outpouring of human emotion and experience that is created for the benefit of the author. This is not to say that the music is not meant to be shared with the world, but it was not made because people will like it or it will make them rich and famous.

Another thing that I have noticed is that types of music that once thrilled me and got me to rock out now bore the shit out of me. Last weekend I went with my buddy Tim to see a band I was really into in college called Pepper. They're a reggae/rock/dub trio who had one hit infused album about ten years ago. I thought that it would still be a good time, perhaps in a nostalgic way. But I was so insanely bored. The song formulas were predictable and average. The hit songs that I once blasted out of my speakers in my dorm room no longer had any effect on me besides, "when will this be over." Also went down to a street fair-type thing in Bay View yesterday. There were some bands, but they all played straight rock. The lead singer of one band yelled to the family-based audience that the next song was called "we want to get you high." Stupid. What really made me sad was that more people would go see a band like that than a local singer/songwriter ( http://www.haywardwilliams.com/ ) I discovered a few weeks ago. But regardless, I know if I was in high school, I would have watched that band and nodded my head the way white guys do to rock. It isn't head banging but it isn't standing still. It's what we do. But it was just so...meh.

This is another thing that these new artists that have staying power excel at. The songs are interesting and make you want to keep listening. Even after the twentieth listen, you can still find something new and draws the listener in. I believe this mentality of moving away from cookie cutter rock and moving forward with music is spreading. It is part of the reason artists are making the music they're making. It is part of the reason I make the music I make. We're evolving. This has how it has always been, but nowadays it is so easy to get this music into people's hands and into their ears. We can make our own recordings and post them to the interweb latter that day. Think about 50 years ago. This was impossible. And now the forward thinking musicians are gaining prevalence and a dedicated following.

But there will always be part of the music listening society who will hold on to the four-piece rock band playing verse/chorus/verse/chorus/bridge/chorus songs. They also hold on to image of the pop star whose voice will make up for the lack of originality. And that's fine. But the staying power mentality is increasing, spreading to the ears of young listeners. The Darwinian evolution of music will continue and this makes me happy.

Where have all the albums gone?

As I enter my fourth week in the good land, I am still enthralled with the wonder that is Milwaukee radio. Between 88.9 RadioMilwaukee and 102.1, I rarely have to change the station. When I was on my way home from work the other day, there was an in-studio performance by a band called Gabby Young and the Other Animals. At first I thought they were playing some vintage 30s or 40s artist, lost in the crevasses of time. But no, just a performance by four musicians from across the pond, displaying an affinity for gypsy, jazz, rock and pop. They stated how they were playing at Shank Hall the upcoming Friday night. Needless to say, I rounded up my future bandmates and checked out the show. It was fabulous, but they deserved more than the 50 or so bodies in the hall. RadioMilwaukee was also airing an exclusive performance of TV On the Radio the other night. These are just some recent gems from a great station.

However.

Mostly out of 102.1, there are a lot of good songs being played by up and coming artists. But you can tell that these are simply just songs. To buy the album would be an overpriced disappointment. It's hard to describe how I can discern the quality artists from the duds, but there is something about these artists that seems so...meh. It's as though they had a good hook or sound, but don't take the necessary steps to make it really interesting, to give it staying power. I think of it this way: rather than setting up a campfire with the proper kindling and log position and sitting around it for a few hours, these guys prefer to just pour some gasoline on the fire and see how big the flames will get before it quickly dies.

People have been saying that the album is on it's way out, that a steady stream of singles will be released rather than waiting 2 or 3 years between albums. I can see this happening, but not for any artists that will be around for more than 5 years. Well, if they partner this approach to the complete album, success can be lasting, but single after single will lose it's appeal quickly. There is a reason one hit wonders are ridiculed on VH1. Singles don't matter if the album is crap. Sure, the pop world will make more money this way, and the guys who actually write the songs will make a metric shit-ton of money, but artists who write and perform their own music don't operate that way. The argument is also made that recording on the go is so easy that people will just keep writing and recording while touring the world (and elsewhere.) Can you imagine how draining that would be on a band? Instead of taking the travel time as time for practice, relaxation, or phone interviews, they would also be obligated to write and record a quality product for almost immediate release.

I'm sure there are smarty-pants turds who can make any system of releasing music work to their advantage, and it would be a great system for bands trying to gain a following (it's actually what most do already, i.e. myspace/youtube) but I refuse to believe bands like Wilco, Bon Iver, Muse, or any other bands like that will ditch the album for the profit-hungry system that is the constantly streaming singles.

Perhaps an attic I shall seek...

So Kristen and I are moved in to our Oak Creek apartment. Oddly enough, this apartment is starting to feel more like home than our old apartment ever did. I love the way the office/studio is set up. In fact, I have already written and recorded a new Cranston tune called "Gunslinger." As you can probably tell, the music is rather inspired by the old West, featuring for the first time, real harmonica and a maraca. I was going to make a new album based upon that theme, but there are extenuating circumstances that have changed the way I'm thinking about making music.

As I posted on the Facebook, I recently lost out on $250 for a song I wrote due to poor timing and other circumstances. I was pissed, but am over it. Basically, I contacted the agency that wanted to pay me for the track and they would like to work with me in the future. They enjoy my work and think it fits great for their type of ads. It's an affirming feeling that I haven't necessarily been waiting for, but kind of have. I have never really expected anything out of Cranston, but now that things are kind of happening, I become more and more excited to potentially cushion my wallet with those earnings. I have also received numerous e-mails from grad students wishing to use my work for their projects. It's just cool to have people I've never met be interested in what I do.

As a result of the previous paragraph, I will no longer be posting new material on the FMA

website or the Bandcamp. Those sites will serve as samples, but are also available for purchase. Since the potential buying of that track, I have looked into the license that my work is protected by on the FMA site. Turns out only I can charge for the music, and that the license just insures that I am the only one who profits. So when I compose nowadays, I believe I'll focus more on the individual tracks and making them a little more polished than before. An album or two may creep in there though.

Interestingly enough, it appears like my degree may actually dictate my future job (for once.) I received an e-mail inviting me to an Apple Hiring event in Madison on my birthday. I only applied for the Creative job, so hopefully that's what I'll be interviewing for and potentially be hired for. I also met with a guy at a local music store today that sells nation-wide. He said that as soon as something opens up (it will either be a sales position on the phones...no outgoing calls, or warehouse) I am first on the list of people to call. It was very encouraging to know that somebody out there wants to hire me. It almost feels like the Oak Creek/Milwaukee area/Universe wants me to return to music...

Things happening fast/ rant

We move in less than a week. I'm completely checked out of Baraboo and am anxious to get back to Milwaukee, but the lack of a job scares the crap out of me. It wouldn't be so bad if I wasn't bleeding money for rent and moving costs. But hopefully one of my best friends will be able to hook me up at his old place of business. Have a few gigs coming up playing some guitar and bass, but I could always use more.

I'm getting really excited for the band that I've been getting ready, Miss Misery Trio. It consists of myself on vocals, guitars, and keys, my friend Tim on bass and vocals, and my old next door neighbor Kevin on keys, guitar, and vocals. Hope to throw some percussion in there, but there are no plans for a drum set at all. The music is a lot less "rock" oriented than past bands. I think that the music is very accessible to a general audience which should score us a considerable amount of gigs.

Spent a little money on me today. Bought the new Bon Iver album and two Elliott Smith albums that I lost when my desktop took a shit. After some advisement from my eldest brother about the production techniques that could help out the Miss Misery Trio songs, I'm really going to study up these Elliott Smith recordings. He made gold with less equipment than your average musician. Beyond the amazing song-writing, the production techniques are what make them shine. The double-tracking on his voice and the simple instrumentation are key.

These are the things they should be teaching in the Audio Production classes at Whitewater, less emphasis on mixing and panning, which is important, more recording techniques based on what the music requires. They completely miss the point of recording and the creation of the art that it is. That's actually one of the reasons I decided that the business was not for me. I enjoy making music and recording it, but the industry is wrong in their approach to recording. They treat recording like math. It isn't. Math doesn't involve emotions or personal/ gut feelings and instincts. Math is based on numbers and calculations. Recording is about the music, but that somehow gets lost in translation. Something went very very wrong. And it makes me sad.