The City is a Washing Machine

[az]B001GUJFRM[/az]Or so says Marvelous Toy.

I think this has always been my theme song (one of them, at least) and I just had to wait 40 years for someone to write it. More assertive than folk, less aggressive than rock, more intelligent than pop. Retrobilly, maybe.

The City is a Washing Machine opens with acoustic guitar, a vigorously thumped kick drum, and vocals, eventually we get organ and other stuff (the happy click of drumsticks, for instance, and piano) but it’s far into the song, the last word of the chorus in fact, before I hear a bass. And that’s very minimalist cool. As is the ending: an unfinished line, both lyrically and musically. Witty. I like witty.

 I know how my life began and I know how it will end; I will be searching for a word that rhymes with 'dying' as I lay dying

Every instrument is played with panache, and some, in addition, with a pick. jordan hudock, ny lee, cody hudock (look; two folks with the same last name) and franck fiser (they’re listed on their MySpace page in lower case, and with my ‘no period after the ‘D’ in Joel D Canfield, please’ affectation, who am I to correct them?) are having fun.

Let’s all buy their album so they feel obligated to tour. Los Angeles is too far to drive. Though, Marvelous Toy just might be worth it.

Jordan was kind enough to send a copy of their press kit which you can grab and read if you like. It suits their music, it does.

(See also Waiting for the Fire, much more complex than your average retrobilly song; earnest, passionate, and stupendous fun to sing along with.)

Still Haven’t Found What You’re Looking For? (10)

[az]B0000026UV[/az]It’s been a while since I posted any of the interesting searches that happen here. Busy writing two books and editing another for a friend, writing new music, performing it in public for the first time, and generally trying to jump onto the way-too-fast merrygoround.

  • Tahitian skies—Chet Atkins and Mark Knopfler; one of my favorite recordings ever. Look; there’s a picture of it just to the right. Go buy it now!
  • a water songWater Song by Hot Tuna, commented on long ago
  • e street bands pianist—the marvelously talented Roy Bittan
  • hair was perfect—a line from Werewolves of London by the late multifarious Warren Zevon

Marketing with Mr. Zimmerman

Cool toy from BobDylan.com; I’m a sucker for great marketing, so giving us tools to sell Dylan’s music for him is a no-brainer for me. While other bands are worrying about someone ‘stealing’ their music, Dylan’s marketing machine is giving us more and more access and control. Great marketing message for my clients, I think.

Also, send yourself a video like this one!

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Not in my (Radio)Head

[az]B000002UAX[/az]A link at Scott Andrew’s site (see ‘Walkingbirds‘) led to an article about Radiohead’s new album and those who did (or did not) choose to pay for the digital version of the album.

First, the good stuff. This is an extremely underrated marketing concept:

 When choosing between a pricey option and (potentially) free digital album, most people are going to pick the cheaper of the two. What if there was a middle option, something far cheaper than the deluxe package but of more value than the digital album? Many consumers would opt for the second-cheapest option. More revenue for the band, more satisfaction for consumers.

It’s easy to make the mistake of offering two choices, one absolutely tip-top, with a price to match, and one dirt cheap, that’s, shall we say, lesser in quality? But when you’re marketing a ‘want’, that’s dead wrong.

Most people, when faced with a decision like that, have a ‘default’ setting; the easy choice. And, as you might guess, humans tend to be economical creatures.

Offer a third choice: better quality than the least expensive, less expensive than the tippy-top model. Now, people can reward themselves, showing their discerning taste, without being extravagant. Well, that’s how they’ll rationalize it; in the end, virtually all our decisions are made on emotion and rationalized afterwards, but that’s another story.

It also works if only the middle choice is you; the others can be your competitors, Ms. Top O’TheLine and Mr. Economy Model.

But, farther down, this apparent misconception:

 Are people ready for the kind of lower quality recordings that tend to come from do-it-yourself projects?

Um, ‘ready’ for it? People are clamoring for cheap music, and as far as I’ve been able to tell in my 45 years of listening (I’m not counting the years when I couldn’t speak yet) I’ve come to the conclusion that the average listener couldn’t care less about quality recording, or, in fact, about quality performance. They care about snappy tunes that touch them emotionally, which they can hum later and sing along with after a few listens.

It’s a classic mistake musicians make: garage bands playing clubs will invariably include long blazing guitar solos, at least one drum solo, some fancy bass work—hey, let’s show off our musicianship.

Nobody cares.

Nobody but other musicians, and they’re 1) a smaller demographic than ‘everyone’ and 2) usually in the lower ranges of your economic target (what’s the difference between a guitar player and a medium pizza? The medium pizza can feed a family of four.)

So, if you’re obsessing about quality on your recordings, unless you’re recording exclusively for other musicians, you’re wasting your time. No, I’m not saying you shouldn’t care. Just applying some Voltaire something-or-other about good enough versus perfect.

Oh; and as a web designer, I was apalled to find non-linking text underlined twice. Underlined text is a hyperlink. Emphasize with bold, italics, color, size—but not a semblance of a broken link. Please.

Yes Rabin Talk

[az]B00005R8CH[/az]Five years ago my oldest son and I worked together. During our hour-long commute to and from work every day, we were constantly looking for new music to share. I just rediscovered one of our prizes yesterday.

Both big fans of Yes, we heard Open Your Eyes and Talk the same day. Somehow, I confuse the names in my mind because I absorbed them over the same short period.

Oldest son prefered Open Your Eyes but I like the dynamics and acoustic leanings of Talk. Except, for the past four years since we’ve lived in separate homes, I’ve continued to confuse the two albums, choosing not to listen to the ‘harder’ album partly because of the music and partly because of the memories.

Yesterday I just grabbed a CD from the pile that doesn’t fit in the cabinet without paying much attention; just wanted something different in the van. And, lo and behold! The album I’d been not listening to for four years was the album I’d been wishing I still owned. D’oh.

Opening with acoustic guitars, layered with eleventy-leven vocal tracks, and apparently engineered with buckets and boatloads of heavy bass and sharp trebles, Talk falls, in my head, into the 90125/Ladder section of the various Yeses (Yesses?) It mixes crunchy with melodic, ploughs through massive driving solos and falls to near silence. One high point is the opening of “State of Play.” A simple sliding chord riff, repeated a few times, before the other instruments thunder in.

Talk is my current state of play.

Speedway at Nazareth

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GD” border=”0″ align=”left” />lancing at the title and lyrics of the first Mark Knopfler solo album I bought, I was prepared to be underwhelmed by a song about a losing race car driver. I’m not much interested in car racing (I’ll take steeplechases any day, and no, it’s not cruel, the horses love it) and at first look, it’s just this guy talking about all the bad luck he’s had, explaining away his losing streak.

When I did finally listen carefully, I was floored by the closing line

 But at the speedway at Nazareth I made no mistake

The big win to end the racing season wasn’t about luck; it wasn’t won by superior driving skills. Just the simple acknowledgment that success is often a matter of ‘making no mistakes.’ It puts a completely different complexion on the entire story; this is not a man making excuses, it’s a man expressing acceptance of his role in the undesirable results, and the simple pleasure of getting it right in the end.

Followed by a very long guitar rant that builds in typical Knopfler fashion to a memorable, hummable, ‘play it again’ track.