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Category: music

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By Erich Vieth on November 11th, 2009

When lyrics were not as self-absorbed

There are still many incredible lyricists who write about a wide variety of issues, but it seems to me that today’s typical lyrics (at least those that on can hear broadcast on mainstream radio) tend to be self-absorbed: songs about a small social circle consisting mostly of me and what I want and what I’m feeling about me, and aboutyou and what you think of me. Maybe it’s more difficult to write about political change these days because our problems today seem so much more intractable.

Back in the 70’s I was part of a eight-piece jazz-rock band we called “Ego.” Yes, many of the tunes we played were about falling in love and breaking up, but we also played songs dealing with the need for social change. One of those tunes was called “Dialogue,” by Chicago. It consisted of a dialogue between Peter Cetera (also the bass player) and Terry Kath (an extraordinary guitar player). As I listened to “Dialogue” this morning, I was transported back to an earlier day when more of the music that was played on the radio challenged us to think and to change. The consolidation of the mass media makes it much less likely that you’ll hear these kinds of ideas when you listen to music on the radio, but you could hear such ostensibly political lyrics in the past, and they planted powerful seeds in some of us. Here is the two-part dialogue that so moved me:

Part I

Are you optimistic ’bout the way things are going?
No, I never ever think of it at all

Don’t you ever worry
When you see what’s going down?

No, I try to mind my business, that is, no business at all

When it’s time to function as a feeling human being
Will your Bachelor of Arts help you get by?

[more . . . ]

Communication • Community • music
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Fans, Freedom, and Frustration
By Mark Tiedemann on November 03rd, 2009

Fans, Freedom, and Frustration

Over on her blog, Kelley Eskridge has a video of a “Bono Moment” in which you see two distinct types of fans interacting with U2’s lead singer. Check it out and come back here.

Okay, the guy in the t-shirt obviously is carrying on a conversation. he may be being a fan, but he hasn’t lost his mind. The female is being…a groupie, I guess. Though the groupies I’ve met in my time have been a bit more specific about what they wanted and had a better plan on how to get it. In any event, the questions Kelley raises are interesting and relate on so many levels to so many different things. The fan reaction—mindless adulation bordering on deification—looks to me, has always looked to me, like exactly the same kind of nonsense people put into religion. Mindless, utterly uncritical adoration of an image and the set of emotions with which that image is connected in the mind of the adulant. You can see the same thing in politics. To a lesser degree with less public personalities—writers, painters, photographers (I never knew anyone who elevated a photographer to the level of sex god, but I have known people who got off on sleeping with painters, and of course there’s a kind of Nabokovian/Bellow/DeLillo-esque subculture of writer groupies…) and other creative types—but actors and musicians seem to get all the dedicated obsessives.

I’ve never had this happen to me. I’m not sure if I’m grateful or resentful—having somebody want to associate themselves with you in a mindless swoon because your work has made them, I don’t know, climax maybe is on a certain level appealing. But it’s appealing the same way porn is—something most people, if they’re at all sane and grounded, kind of grow out of and get over. I know I would not find it very attractive now. When I was twenty-five? You betcha. Bring ‘em on.

But if I’d had that then I think I’m fairly sure I would have wearied of it very quickly. I long ago realized that sex, to me, involved the other person—emphasis on Person—and the best sex I ever had included the good conversations before and, especially, after. (There is a point, of course, where you realize that sex is a conversation, of a very particular sort, and takes on a whole new dimension, which one-night-stands, no matter how good they might be, just can’t provide.)

But the real problem with all this is that art is more than just any one thing and the artist is not the art. The two are inextricably linked. Here is a video discussing the question of artist-in-relation-to-muse which I find illuminating. The notion that the talent “arrives” and you act as conduit through which creativity happens is not, as the speaker suggests, a new one, and it’s not one I’m particularly in sympathy with—it all happens in my brain, it’s definitely mine—but I certainly find her analysis of the psychology of following through intriguing and true. Once the muse is finished with you on a given project, you do not continue to exist as though in the grip of the work. There is a person there that pre-figures the work and who will be there after it’s done that has all the needs and wants and sensibilities of a normal human being. To be treated as some kind of transcendence generating machine by people is in some ways disenfranchising. For a writer, if the well from which inspiration and material are drawn is the honesty of human interaction, then the gushing idiot fan robs the writer, for a few minutes at least, of exactly that.

But it also sets the artist up to become a prisoner. A prisoner of other people’s expectations. Those expectations always play a part in anyone’s life, but certain aspects—the most artificial ones—get exaggerated in the instance of fan adoration.

Watch Bono shift from one stance to another when he finally acknowledges the female. No, he doesn’t stop being Bono, but it’s almost as if he says “Oh, it’s time to do this sort of thing now” as he first recognizes her presence and then automatically poses for the camera, with this not-quite-disingenuous smirk. Because he also recognizes that, however silly this person is being, what she’s feeling right then is her’s and to claim it is artificial is wrong. Maybe an artificial set of expectations led her to this point, but now that she’s In The Moment, the emotions are real. If he’d ignored her or told her something snarky in an attempt to snap her out of it, all that would have resulted would have been an ugly moment, a bit of cruelty, and a lot of confusion on the fan’s part.

[more . . . ]

Addictions • American Culture • Art • Communication • Community • Consumerism • Culture • Education • Featured • Meaning of Life • Media • Politics • Psychology Cognition • Religion • Science • Writing • music
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By Erich Vieth on October 20th, 2009

Sagan, Feynman, deGrasse Tyson and Bill Nye sing that there is much to be learned

Impressive technology and creativity were used to present the wise words of these four scientists in a brand new way:

Films and Videos • Science • music
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By Erich Vieth on September 26th, 2009

Torture memos, put to music

Those torture “not-torture” memos are a bit tedious to read. In this video an enterprising fellow put them to music. Equally catchy and tragic.

[via Colby K. Clark]

Good and Evil • music
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By Erich Vieth on September 13th, 2009

Barbershop competition winner

Until now, when I thought of barbershop style vocal music, I thought of four guys standing still and working some really tight harmonies. Take a look at this video from the 2009 International Barbershop championship, featuring the winners in the chorus division, the Ambassadors of Harmony. Incredible harmonies and movement.

For more on this competition, see this article by Robert Elisberg at Huffpo.

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By Dan Klarmann on September 11th, 2009

They Might Be Science

For those of you who haven’t already heard, They Might Be Giants have a new album and video series ostensibly for kids. Here’s a sample:

Just what I’m always arguing, “Science is Real.”

American Culture • Art • Communication • Education • Films and Videos • Science • ignorance • music • scientific method
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By Erich Vieth on August 17th, 2009

On hiring a musician to get your girl back

Maybe the lesson is that you shouldn’t hire a prominent musician to get back your girl, even if you originally fell in love while listening to his music. Maybe getting back your girl is one of those things that you just shouldn’t delegate. Or maybe I’m saying too much . . .

Here’ the story in a nutshell, as heard on NPR’s This American Life with Ira Glass. It is titled Act Two. “Lonely Hearts Club Band . . . Of One.”

Musician David Berkeley has gotten a lot of requests in his life, but none quite like the offer his agent got last year. A fan wanted Berkeley to come to his house and help save his relationship by serenading the troubled couple with a personal concert. Ira Glass talks to Berkeley about why he took the gig, and what happened when he got there.

This strange and awkward concert occurred in the guy’s living room, with the woman sitting at the opposite end of the couch from the guy. David Berkeley’s job was to serenade the struggling couple in an attempt to get them back together. Berkeley shares his perspective of the events, along with some of his music.

If you want to hear the story yourself, here the site of Glass’s show, where you can download the entire show–the story is about 12 minutes long, starting at the 33 minute mark.

American Culture • Noteworthy • Science • Whimsy • music
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Hip hop has a bad ‘rap’.
By Erika Price on August 03rd, 2009

Hip hop has a bad ‘rap’.

Whether you consume rap and hip-hop or not, you know the genres have dingy reputations. I believe the hate for hip-hop and rap blossomed in the 90’s. Rappers were actually cold-blooded gangsters at the time, people who occasionally shot one another. The music reflected the turmoil that its creators had experienced- growing up in crack-infused ghettos, resorting to crime to scrape by, and dying in a swarm of bullets even if they did finally make it out and become famous.

“I’m twenty-three now but will I live to see twenty-four/ the way things is going I don’t know,” Coolio said in “Gangster’s Paradise”, and he was by no means a Tu-pac; he was gangster-rap-lite. The depression of 90’s rappers manifested itself in loud, brash talk of guns and glory; no wonder white outsiders were scared. The violent content of 90’s rap inspired Tipper Gore and their ilk to censor and criticize with fervor, cementing rap’s image as a crude, violent genre for future gang-bangers.

Hip-hop and rap also have the reputation of being degrading to women. This present stereotype was also inspired by past trends. After 90’s gangster rap subsided, it was replaced with a money-cash-hoes mentality. In the early aughts, Jay-Z, 50 Cent and others spat mainly about their wealth, their rise from the streets, and the women that their amassed wealth could attract (Jay-Z wrote a song called “Money, Cash, Hoes”).

Women were called hoes and bitches in earlier rap and hip-hop songs, it’s true, but in the early 00’s the music seemed more intently focused on the subject. Rap and hip-hop from this period was all about the ascent into fame, and the amassing of expensive objects. One of these objects happened to be attractive women. “I’m into having sex, I’m not into making love,” 50 Cent reminds listeners in one of his most popular singles. Thus rap and hip-hop received another nasty label: it was degrading and shallow.

American Culture • Art • Bigotry • Censorship • Culture • Featured • Language • Media • Sex • Videos • music
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But is it still live music?
By Erich Vieth on July 23rd, 2009

But is it still live music?

Back when I was in high school and college, I played the guitar and sang backup for my band. We called ourselves “Ego,” and described ourselves as a “jazz-rock” band. There were eight of us, including a brass section–this splits the take rather painfully–but it was intensely satisfying for 18 and 19-year-olds to earn paychecks playing tunes by Chicago and Blood Sweat and Tears. I only sang a couple songs lead—I hid behind two incredibly talented singers who did most of the vocal work. The attached photo is Ego performing back in 1974. ego Since then, we’ve all gone on to pursue careers as such things as an engineer, teacher, letter carrier and lawyer (though our percussionist/lead singer, Charlie Glenn, continues to make a living as a singer in the St. Louis area).

Fast forward to 2009. I would love to play music with other musicians again, but I have a day job and a family (and a blog). It would be extremely difficult to arrange for rehearsals that didn’t interfere with my many other obligations. I’ve recently started picking up my guitar to play and sing. It’s not sounding all that bad, and I’m starting to consider performing for others again. [BTW--I had a scary episode where my left hand became numb cause by a pinched nerve in my neck. After surgery, the feeling in my hand is returning nicely, which probably explains my renewed interest in playing music again.]

I’ve never thought of myself as a singer, but I thought that I would have a much better chance of getting a solo gig if I learned to sing rather than just playing the guitar. Therefore, I recently took a singing lesson from Leslie Sanazaro, from whom I learned that my breathing was all wrong, a condition that can reportedly be remedied by doing exercises that would look and sound rather silly to anyone other than a singing teacher.

Leslie advised me that my pitch is okay but that I need to get out there and get some confidence. She said that the best way to get confidence is to go out and sing in public, over and over. That’s easy to say, of course. If you are not enamored with your voice, though, it is a daunting task. It brings back memories when, in the second grade, every student was required to stand up in front of the class and sing a song (my voice trembled and my knees knocked as I sang “Ooey Gooey Was a Worm“). And even when I can sing a couple short songs that sound half-decent, I’ve noticed that in extended sessions, my voice grates on me. The fears that I’m experiencing are common, according to Leslie. She sent me this caveat by email: “Don’t get too burned out on your own voice, it’s the only one there is!”

My quest is thus to go out with a guitar and sing songs. It’s something that I intend to do within the next month or two at an open mic session at a local bar or coffee shop. Not a big deal, perhaps. But my voice and my guitar make for such a tiny band, nothing like that eight-piece jazz rock ensemble that I surrounded myself with when I was a young musician. Are there other ways to spruce up my little band without collaborating with other musicians? Yes, indeed, there are many reasonably-priced options, but these options raise issues about the authenticity of one’s “live” performance.

For purists, there is no substitute for an acoustic guitar and an un-amplified voice. That’s how I often practice at home. Over the years, however, various devices have been offered to musicians which make performances less pure, acoustically speaking. We are all now familiar with electronic amplifiers for voices and guitars. Those of us who like the acoustic sound can amplify it by sticking high-tech pickups into our acoustic guitars. I use a Fishman brand “Blend” pickup in my guitar, which combines a piezo microphone with a tiny acoustic microphone, giving you impressive control over the sound. Even when it is amplified substantially, the guitar still sounds “acoustic.”

So what else can you do to enhance the sound of a guitarist/singer?

Art • Technology • music
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By Erich Vieth on July 07th, 2009

Victimized Guitarist served up cold revenge to careless airline.

Guitarist Dave Carroll was distressed when United Airlines damaged his Taylor guitar, and wouldn’t pay for the damage. Anyone who plays music seriously knows that this is an extremely serious matter. Musicians spend years getting comfortable with their instruments and they plan on using a good instruments for a lifetime. A good instrument becomes an extension of you.

This story really hit a nerve, because I had a similar experience on American Airlines about 7 years ago. I was transporting a classical style Taylor guitar from Missouri to Maine to perform for a friend’s wedding (BTW, Taylor makes great guitars, as Dave and I both know). Out of the airplane window I saw some moron slamming my guitar case onto the top of a luggage cart on the tarmac. It was totally needless and vicious. I was outraged. When I got the guitar back in Maine, the case was banged up, a latch had been ripped from the hard shell case and the internal microphone battery had been jolted out of the internal battery-holder. Why did I entrust my guitar to the airline? Because they had told me that checking it was the ONLY way to transport my guitar.

On the way back to Missouri, I got my way and gate checked it. This episode left me with a bad feeling. Now I feel better, though, because Dave Carroll went to a lot of trouble to tell his story in detail. The song goes on for awhile (probably an indication of the intensity of his frustration), but you’ll get the idea within a minute or two. Cute video to go with the music.

Way to go, Dave!

Humor • Noteworthy • music • travel
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By Erich Vieth on July 05th, 2009

Speaking of music . . . Norah Jones and Elmo tell you Y

I just wrote the post (below) on Wes Montgomery.

Then I found this video featuring Norah Jones and Elmo. Yes, I do like Elmo and I’m in love with Norah Jones.

Education • Entertainment • Humor • children • music
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By Erich Vieth on July 05th, 2009

Round Midnight with Wes Montgomery

Have you ever heard music that you not only fully engages you at the moment, but which you carry with you wherever you go, even years later? Music that seeps into your bones and shapes who you become? Now that’s quite an endorsement, right. I’ve already written about a couple musicians I greatly admired, including Oscar Peterson and Pat Metheny.

Another one of my musical heroes was Wes Montgomery. He died an untimely death as a result of a heart attack in 1968, several years before I began to study jazz guitar. But I played his albums until I wore out the grooves (yes, I’m that old), especially Smokin’ at the Half Note. I worked ever so hard to do what Montgomery did, but he made it look far too easy. This is especially amazing for a guy who didn’t learn to play the guitar until he was 19, and who was self-taught at that. You can’t possibly appreciate how difficult it is to be that melodic unless you try to do it yourself, for years. You can’t understand the magic of his chordal technique and his octave solos unless you spend long hours urging your own fingers to try to emulate Wes Montgomery. There’s a lot more too. Because I worked hard at it, I learned that you can get a beautiful tone out of an electric guitar if you give up the pick and use your thumb, but I still can’t understand how he could rip off some of those quick riffs with his thumb.

For decades, I’ve listened to Wes Montgomery’s music, but I had never actually seen a video of him playing until tonight. I caught several youtubes, but most of them involved Montgomery later in his career, surrounded by (and suffocated by) too many other musicians, notably brass and string sections producers used to turn Montgomery’s jazz into pop music that the masses would better appreciate. But this video is classic Wes Montgomery playing as part of a quartet.

If you’ve never before known about Wes Montgomery, watch (but mostly listen) this video of “Round Midnight” and see whether Montgomery’s music permeates all the way down into your bones too. Ask yourself whether music can be made more compellingly than this.

music
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By Erich Vieth on June 27th, 2009

What if record companies hadn’t been asses?

At Truthdig.com, Danny Goldberg has reviewed Steve Knopper’s book, Appetite for Self-Destruction. According to Goldbert, Knopper asks asks some good questions. Was it really necessary that the record companies had to suffer their massive economic collapses? Here are many of the excuses you hear:

If only they hadn’t charged so much for CDs even after the per-unit manufacturing cost went down; if only they hadn’t abandoned the commercial single when it ceased to be sufficiently profitable; if only they hadn’t cooperated with Best Buy and Wal-Mart at the expense of indie stores; if only they hadn’t sued customers for illegal downloading, etc. etc. Referring to the fact that some of Sony/BMG’s ill-fated watermarked CDs damaged some computers, Knopper writes: “This lack of empathy reinforced Napster-era beliefs that the music industry was more interested in suing and punishing its customers than catering to them.”

Goldberg disagrees with all of this. He points to the newspaper industry, which made none of these mistakes, but is also suffering massive economic losses.

This litany of real and imagined insults to the consumer [caused by record companies] ignores the central reality of what caused the decline of record sales: the ability of fans to get albums free.

Economy • Intellectual property • Law • music
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