On Wednesday night I performed at an event at The Bitter End in NYC called “An Evening to Occupy Hearts & Minds,” hosted by Occupy Hearts & Minds in conjunction with the New York Songwriters Collective, and benefiting WHYHunger. Wow, that’s a mouthful. The idea behind Occupy Hearts & Minds is to bring the artistic community together to help channel the feelings of the Occupy Wall Street movement. My last blog post was about the lack of socially and politically charged music in the mainstream, and OHM is an attempt to foster more art of that nature. Among many name artists (some of my favorites were The Nutopians, Julie Gold, and the guy who must be the hippest cat in the world, David Amram) and others, I was there to perform my song, “Endless Sky,” thanks to my friend Peter Bliss.
I didn’t play very well. Now, to be fair I didn’t play terribly. I didn’t crash and burn and people weren’t coming up to me saying how much I sucked. But my performance did leave a little something to be desired. How do I know? Well, trust me, I know. Performers may be notorious for being their own worst critic, but I know when I don’t reach my potential. And in case I wasn’t sure, a short while after my performance I was sitting at the bar when Rex Fowler from Aztec Two-Step asked me, “Did you have fun?” Oh, that sucked. Did I have fun? Let me tell you: “Did you have fun?” is probably the worst thing you could say to a professional after a performance. “Did you have fun?” means that the person found nothing about you that they could positively comment on – not the song, not the performance, not even your clothes or the witty banter before you sang. “Did you have fun?” is asking whether you cleared the lowest possible bar with your performance. Which I didn’t because I’m a professional and I know when I don’t hit my mark.
So, there you go. In a world of Facebook and Twitter posts where we’re all trying to make our lives look great and successful to the people looking in, there’s a real life example of underperformance and disappointment. It really happens. It’s called reality.
Monday, December 19, 2011
Wednesday, December 14, 2011
Where Have All The Protest Songs Gone?
The late 1960s and early 1970s were a tumultuous, revolutionary time period in the history of our country and the popular music of the time reflected it. Artists like Bob Dylan, The Beatles, The Byrds, CSNY, Buffalo Springfield, CCR and more released songs that spoke about the cultural and political uprisings and changes happening around us; songs that were not only popular at the time, but which have endured through the years.
The past 10 years have been a tumultuous, revolutionary time period in our history and you would be hard-pressed to come up with an argument that today’s pop music has significantly addressed these issues at all.
The 60s dealt largely with the Vietnam war and major changes brought about in civil rights, women's rights, the protest movement, and individuality. These thoughts and feelings were reflected in songs like Sam Cooke's "A Change Is Gonna Come," CCR's "Run Through the Jungle," CSNY's "Ohio," Neil Young's "Southern Man," and Bob Dylan's "The Times They Are A-Changin'," just to name a few.
How many songs and artists can you name that sing about 9/11, the wars in Iraq and Afghanistan, or the economic downturn? I know that John Mellencamp and Bruce Springsteen have released material on the subject, and most are familiar with Alan Jackson's "Where Were You (When the World Stopped Turning)." The Dixie Chicks won praise and awards for their song "Not Ready to Make Nice" about the backlash of speaking out against George W. Bush and the political divisions in the country. And you even have largely ignorant and forgettable work like Toby Keith's "Courtesy of the Red, White, & Blue (The Angry American)." But to be honest, none of these artists are really topping the charts - either anymore, or at least at the moment.
One year after Barack Obama was inaugurated the country was embroiled in two wars, the worst economic downturn since the Great Depression, and political divisions more bitter than anything in recent memory. The Billboard top 10, however, featured such songs as Lady Gaga's "Just Dance," Beyonce's "Single Ladies," Kanye's "Heartless," and Britney's "Womanizer," among others of the kind. And I don't mean to in any way diminish the quality or success of such recordings, but I am moved to ask this question: where have all the protest songs gone? Where have all the socially conscious song gone? Is it simply because over the past 40 years the industry has becoming more greedy and only wants work with the potential to sell the most rather than sends a message (something that has always been a concern but which I feel is worse now)? Could you imagine a song with the subject matter of CSNY's "Ohio" being played on today's "hit" radio? Or even Bruce Hornsby's "The Way It Is?"
Please let me know what you think.
The past 10 years have been a tumultuous, revolutionary time period in our history and you would be hard-pressed to come up with an argument that today’s pop music has significantly addressed these issues at all.
The 60s dealt largely with the Vietnam war and major changes brought about in civil rights, women's rights, the protest movement, and individuality. These thoughts and feelings were reflected in songs like Sam Cooke's "A Change Is Gonna Come," CCR's "Run Through the Jungle," CSNY's "Ohio," Neil Young's "Southern Man," and Bob Dylan's "The Times They Are A-Changin'," just to name a few.
How many songs and artists can you name that sing about 9/11, the wars in Iraq and Afghanistan, or the economic downturn? I know that John Mellencamp and Bruce Springsteen have released material on the subject, and most are familiar with Alan Jackson's "Where Were You (When the World Stopped Turning)." The Dixie Chicks won praise and awards for their song "Not Ready to Make Nice" about the backlash of speaking out against George W. Bush and the political divisions in the country. And you even have largely ignorant and forgettable work like Toby Keith's "Courtesy of the Red, White, & Blue (The Angry American)." But to be honest, none of these artists are really topping the charts - either anymore, or at least at the moment.
One year after Barack Obama was inaugurated the country was embroiled in two wars, the worst economic downturn since the Great Depression, and political divisions more bitter than anything in recent memory. The Billboard top 10, however, featured such songs as Lady Gaga's "Just Dance," Beyonce's "Single Ladies," Kanye's "Heartless," and Britney's "Womanizer," among others of the kind. And I don't mean to in any way diminish the quality or success of such recordings, but I am moved to ask this question: where have all the protest songs gone? Where have all the socially conscious song gone? Is it simply because over the past 40 years the industry has becoming more greedy and only wants work with the potential to sell the most rather than sends a message (something that has always been a concern but which I feel is worse now)? Could you imagine a song with the subject matter of CSNY's "Ohio" being played on today's "hit" radio? Or even Bruce Hornsby's "The Way It Is?"
Please let me know what you think.
Thursday, November 10, 2011
My Neurotic Throat
I don't remember the last time I was that nervous going to a doctor, but I guess I had a good reason. The ENT was going to take a look at my vocal chords in an attempt to diagnose the recent issue(s) that I've been having with my voice. And so I got to sit there. Waiting. For 40 minutes or so. Watching NY1.
The first thing the doctor did was ask why I was there. I explained what I did and my vocal woes. He asked to give him some examples of artists whose music I sing, and I said, "Jackie Wilson, Billy Joel, Bruce Springsteen." He looked at me and said, "I don't really see Jackie Wilson coming from you.” "Well, you should come see us!" Yes, I proceeded to plug my band. Never miss a moment, people.
After I tried my best to get a new fan, the doc sprayed my nostrils with an anesthetic in order to scope my vocal chords by inserting a fiber-optic line through my nose. Fun. He told me the stuff was going to taste like "shit," and it did. Relatively speaking, of course. And as it turns out, I have a deviated septum and a bone spur on my left side. But that's not what he was looking for.
He said that my vocal chords looked healthy - I do not have vocal polyps or nodules, which is what I was most worried about. However, he did say that I had what looked like the beginning of vocal nodules. Not to cause me unnecessary anxiety, he explained that some singers develop them and don't mind because they use what it does to their voice to an advantage. But he also recommended being proactive about it to make sure my throat stays healthy and strong for as long as I want to keep on keeping on with the singing. He recommended I see a speech therapist that is also a singer who works at St. Frances, and that she would help me to use my voice as effectively as I do without putting as much stress on it.
Doc also said that I have some silent acid reflux going on (silent because I don’t normally feel it), and that this can cause scar tissue to develop over time. He recommended watching the acidic food that I eat (i.e. tomato sauce, etc.), trying not to eat too close to going to sleep, and taking Tums once a day - no need for a prescription antacid at this point. I can do that. (And by the way, you’re not supposed to eat within 6 hours of going to sleep - but even the doc was like, “Who can do that?”)
Basically the message of the visit was: be proactive. He mentioned Adele as someone who didn't properly take care of their voice and subsequently had to have surgery to correct the damage. I think I would like to avoid that. But because my mind works the way that it does, I keep thinking that with every word I speak and every note I sing I'm damaging my voice. Yay! Well, I'm sure that feeling will go away. Or at least it would for someone who is less neurotic.
The first thing the doctor did was ask why I was there. I explained what I did and my vocal woes. He asked to give him some examples of artists whose music I sing, and I said, "Jackie Wilson, Billy Joel, Bruce Springsteen." He looked at me and said, "I don't really see Jackie Wilson coming from you.” "Well, you should come see us!" Yes, I proceeded to plug my band. Never miss a moment, people.
After I tried my best to get a new fan, the doc sprayed my nostrils with an anesthetic in order to scope my vocal chords by inserting a fiber-optic line through my nose. Fun. He told me the stuff was going to taste like "shit," and it did. Relatively speaking, of course. And as it turns out, I have a deviated septum and a bone spur on my left side. But that's not what he was looking for.
He said that my vocal chords looked healthy - I do not have vocal polyps or nodules, which is what I was most worried about. However, he did say that I had what looked like the beginning of vocal nodules. Not to cause me unnecessary anxiety, he explained that some singers develop them and don't mind because they use what it does to their voice to an advantage. But he also recommended being proactive about it to make sure my throat stays healthy and strong for as long as I want to keep on keeping on with the singing. He recommended I see a speech therapist that is also a singer who works at St. Frances, and that she would help me to use my voice as effectively as I do without putting as much stress on it.
Doc also said that I have some silent acid reflux going on (silent because I don’t normally feel it), and that this can cause scar tissue to develop over time. He recommended watching the acidic food that I eat (i.e. tomato sauce, etc.), trying not to eat too close to going to sleep, and taking Tums once a day - no need for a prescription antacid at this point. I can do that. (And by the way, you’re not supposed to eat within 6 hours of going to sleep - but even the doc was like, “Who can do that?”)
Basically the message of the visit was: be proactive. He mentioned Adele as someone who didn't properly take care of their voice and subsequently had to have surgery to correct the damage. I think I would like to avoid that. But because my mind works the way that it does, I keep thinking that with every word I speak and every note I sing I'm damaging my voice. Yay! Well, I'm sure that feeling will go away. Or at least it would for someone who is less neurotic.
Thursday, November 3, 2011
Hell Is In The Details
Ask any creative person: some days things just don't work the way you want them to. No matter how much time, effort, skill, and energy you might put into a project, on some nights nothing sounds good; nothing looks good; nothing reads well. Its frustrating, to say the least, but we all deal with it.
Last night I was working at the studio with Jared Anderson, the guitarist for my band In The Pocket, as well as The Big Shoe and Perfect Thyroid. We were working on a song called, "The World Outside." We tried this, we tried that - this tone, that tone - this strum pattern, that strum pattern - etc. But sadly, most of the time I sat there behind the control panel thinking about how nothing we were doing was working the way I wanted it to. And this is not in any way to say that what we were working on was bad or that he was playng poorly. Quite the opposite. But sometimes nothing sounds good. Nothing sounds like it's working. Hell, it turns out, is in the details. I'm convinced it's a struggle that every creative person goes through at one time or another, and some more often than others. It's times like these when one could benefit from someone who knows what the hell they're doing! Haha.
And corny and hilarious as it may be, I'm reminded of this Meatloaf lyric:
"Some days it don't come easy
Some days it don't come hard
Some days it don't come at all
And these are the days that ever end."
(Hey, don't knock Meatloaf. Jim Steinman wrote some great songs for him.)
I'm sure this feeling is being exasperated by the fact that we've been working on this record for more than 10 months and it isn't done yet. But that's just how it is, and I've just gotta roll with it. Its more or less like everything else in life.
Last night I was working at the studio with Jared Anderson, the guitarist for my band In The Pocket, as well as The Big Shoe and Perfect Thyroid. We were working on a song called, "The World Outside." We tried this, we tried that - this tone, that tone - this strum pattern, that strum pattern - etc. But sadly, most of the time I sat there behind the control panel thinking about how nothing we were doing was working the way I wanted it to. And this is not in any way to say that what we were working on was bad or that he was playng poorly. Quite the opposite. But sometimes nothing sounds good. Nothing sounds like it's working. Hell, it turns out, is in the details. I'm convinced it's a struggle that every creative person goes through at one time or another, and some more often than others. It's times like these when one could benefit from someone who knows what the hell they're doing! Haha.
And corny and hilarious as it may be, I'm reminded of this Meatloaf lyric:
"Some days it don't come easy
Some days it don't come hard
Some days it don't come at all
And these are the days that ever end."
(Hey, don't knock Meatloaf. Jim Steinman wrote some great songs for him.)
I'm sure this feeling is being exasperated by the fact that we've been working on this record for more than 10 months and it isn't done yet. But that's just how it is, and I've just gotta roll with it. Its more or less like everything else in life.
Monday, October 24, 2011
The NYSC
This past Thursday, I took that familiar trip to NYC that I got so accustomed to when I was in the Songwriters Hall of Fame writers workshop back in May and June of 2010. I caught the 3:40PM train out of Poughkeepsie and headed toward Grand Central. My music of choice for the ride was Carole King & James Taylor, "Live At The Troubadour." I'd had the album for a while but hadn't gotten around to listening to it. I listened to it twice on the way down. I took the Shuttle to Times Square, the 1 to 50th St., and then walked the rest of the way to Shelter Studios, just north of the Ed Sullivan Theatre.
The reason for my trip was the official launch event for the New York Songwriters Collective, the new organization founded by Peter Bliss. Peter was the professional activities coordinator for the Songwriters Hall of Fame and the leader of my workshop, and he's heading his own endeavor after 5 years with the SongHall.
The turnout was great. On the elevator ride up I met a girl named Meg who is a friend of Ariel Hyatt, the night's featured speaker. I don't know what kind of turnout Peter was expecting, but I was very pleased with the number of people in the room. I got to catch up with some old friends from the workshop, and to meet some new people. It’s amazing how the job of songwriter truly knows no age limit.
Peter spoke for maybe twenty minutes about his background, the NYSC and its planned mission - bringing songwriters together with the people they need to help make their careers a success. He's an experienced, friendly, passionate person with a lot of knowledge to share, and I look forward to having him and the Collective in my life for years to come.
Ariel Hyatt spoke for about 50 minutes. If you don't know who she is, Ariel is the founder of Ariel Publicity and a pioneer of what she calls Cyber PR - using the internet and social media in the best ways possible to reach out to your current fans and to make new ones. I already had her book, "Music Success in 9 Weeks," and it's been a big help in learning how to effectively use the website that you're reading this post on, and the social media site that you probably linked from. I also saw her as a panelist back in March at the ASCAP New York Sessions event, but this was the first time I attended one of her feature presentations. Her talk was like a crash course in social media, but I learned some good stuff. There is always more to learn, and it can feel overwhelming. Afterward, I asked her and Jason Loomis (one of her partners in crime) a quick question on an issue that I was having with my mailing list and how I can make it better for you in the near future. (P.S. you can sign my mailing list at the bottom of this page and get two free songs *hint*hint*)
Following the event, I slowly made my way back to the subway, looking for something to eat. Nothing was really doing it for me. Pizza? Nah, I've had too much recently. A snack from Duane Reade? Not so much. A day-old pastry? Eh. In the end, I ended up getting a steak sandwich and fries from Zocalo at Grand Central. Not so sure it was my finest moment. And the people on the train ride back may have hated me for the smell.
The reason for my trip was the official launch event for the New York Songwriters Collective, the new organization founded by Peter Bliss. Peter was the professional activities coordinator for the Songwriters Hall of Fame and the leader of my workshop, and he's heading his own endeavor after 5 years with the SongHall.
The turnout was great. On the elevator ride up I met a girl named Meg who is a friend of Ariel Hyatt, the night's featured speaker. I don't know what kind of turnout Peter was expecting, but I was very pleased with the number of people in the room. I got to catch up with some old friends from the workshop, and to meet some new people. It’s amazing how the job of songwriter truly knows no age limit.
Peter spoke for maybe twenty minutes about his background, the NYSC and its planned mission - bringing songwriters together with the people they need to help make their careers a success. He's an experienced, friendly, passionate person with a lot of knowledge to share, and I look forward to having him and the Collective in my life for years to come.
Ariel Hyatt spoke for about 50 minutes. If you don't know who she is, Ariel is the founder of Ariel Publicity and a pioneer of what she calls Cyber PR - using the internet and social media in the best ways possible to reach out to your current fans and to make new ones. I already had her book, "Music Success in 9 Weeks," and it's been a big help in learning how to effectively use the website that you're reading this post on, and the social media site that you probably linked from. I also saw her as a panelist back in March at the ASCAP New York Sessions event, but this was the first time I attended one of her feature presentations. Her talk was like a crash course in social media, but I learned some good stuff. There is always more to learn, and it can feel overwhelming. Afterward, I asked her and Jason Loomis (one of her partners in crime) a quick question on an issue that I was having with my mailing list and how I can make it better for you in the near future. (P.S. you can sign my mailing list at the bottom of this page and get two free songs *hint*hint*)
Following the event, I slowly made my way back to the subway, looking for something to eat. Nothing was really doing it for me. Pizza? Nah, I've had too much recently. A snack from Duane Reade? Not so much. A day-old pastry? Eh. In the end, I ended up getting a steak sandwich and fries from Zocalo at Grand Central. Not so sure it was my finest moment. And the people on the train ride back may have hated me for the smell.
Wednesday, October 19, 2011
How to Run-down Your Immune System & Compromise Your Vocal Performance Ability
A helpful 12-step guide. Though to be clear, these steps are not for everyone and work best with those who have been suffering from what seem to be unusual fall throat and sinus allergies.
Step 1: Don't get enough sleep. Sure, some of you may be tempted to skip ahead to the more advanced steps, but step 1 is arguably the most important. As always, preparation is key. I would recommend no more than 6 and a half hours of sleep a night for a minimum of 1 week. To help you with this goal, I recommend staying up late doing work or indulging in the offerings available on Netflix Instant.
Step 2: After you've been slowly rolling back the amount of sleep you get for what feels like appropriate amount of time, pick a Saturday and give group and private piano lessons for 5 and a half hours. This step works best if you chose a Saturday when your voice is feeling particularly tired.
Step 3: That night, sing 3 sets of music in front of a kick-ass rock & soul cover band (I recommend In The Pocket, but I hear that they already have a lead singer). Do not go to sleep until at least 4am.
Step 4: Get up the following day at 10am to help prepare and celebrate a 1st birthday party. Included in the party will be abundant amounts of southern food, soda, and beer. (Note: do not attempt to drink enough water as this will compromise the effectiveness of these steps.)
Step 5: Continue Step 1, with the addition of eating foods that are less than stellar in the health department.
Step 6: The following Friday night, perform 2 sets in front of your kick-ass rock & soul cover band. Continue poor eating habits.
Step 7: Go to Mahoney's in Poughkeepsie at 2AM. Theoretically, any bar will do. However, I cannot personally vouch for the effectiveness of other drinking establishments. Do not go to sleep until 4am.
Step 8: Wake up at 8am in order to give 5 and a half hours of group and private lessons. Talk as much as you possibly can.
Step 9: Go from lessons to a birthday get-together where you consume hot dogs, hamburgers, soda, and more.
Step 10: Play a solo/acoustic show that night - 2...and a half sets - at your favorite local Irish bar. Don't get to sleep until 3AM.
Step 11: Wake up at 10:30AM.
Step 12: Spend 6+ hours at the recording studio working on new demos for your awesome cover band and tracks for your own album. Make sure you have to sing scratch vocals for at least 13 songs.
*The results of this 12-step program will vary from person to person. This program is based on the sole experience of myself. Data on recovery time is not as of yet available.
Step 1: Don't get enough sleep. Sure, some of you may be tempted to skip ahead to the more advanced steps, but step 1 is arguably the most important. As always, preparation is key. I would recommend no more than 6 and a half hours of sleep a night for a minimum of 1 week. To help you with this goal, I recommend staying up late doing work or indulging in the offerings available on Netflix Instant.
Step 2: After you've been slowly rolling back the amount of sleep you get for what feels like appropriate amount of time, pick a Saturday and give group and private piano lessons for 5 and a half hours. This step works best if you chose a Saturday when your voice is feeling particularly tired.
Step 3: That night, sing 3 sets of music in front of a kick-ass rock & soul cover band (I recommend In The Pocket, but I hear that they already have a lead singer). Do not go to sleep until at least 4am.
Step 4: Get up the following day at 10am to help prepare and celebrate a 1st birthday party. Included in the party will be abundant amounts of southern food, soda, and beer. (Note: do not attempt to drink enough water as this will compromise the effectiveness of these steps.)
Step 5: Continue Step 1, with the addition of eating foods that are less than stellar in the health department.
Step 6: The following Friday night, perform 2 sets in front of your kick-ass rock & soul cover band. Continue poor eating habits.
Step 7: Go to Mahoney's in Poughkeepsie at 2AM. Theoretically, any bar will do. However, I cannot personally vouch for the effectiveness of other drinking establishments. Do not go to sleep until 4am.
Step 8: Wake up at 8am in order to give 5 and a half hours of group and private lessons. Talk as much as you possibly can.
Step 9: Go from lessons to a birthday get-together where you consume hot dogs, hamburgers, soda, and more.
Step 10: Play a solo/acoustic show that night - 2...and a half sets - at your favorite local Irish bar. Don't get to sleep until 3AM.
Step 11: Wake up at 10:30AM.
Step 12: Spend 6+ hours at the recording studio working on new demos for your awesome cover band and tracks for your own album. Make sure you have to sing scratch vocals for at least 13 songs.
*The results of this 12-step program will vary from person to person. This program is based on the sole experience of myself. Data on recovery time is not as of yet available.
Monday, October 10, 2011
The Voice
No, not that "voice." My voice. Anyone who came out to Saturday's ITP show at Noah's Ark in Poughkeepsie may have noticed a strain in my voice. It wasn't as powerful as it normally is, it full-out cracked during a song in the first set, and you'll have to believe me when I said that it took a lot more work for me to get those notes out than it should. And the question is: why? I think there's a couple of reasons.
First, the season change. I have felt allergies affecting my throat over the past month or so as the tempuratures have gone from hot, to warm, to cold, to warm, to hot, to cold, to warm. It's really been all over the place, and I think it's given no gifts to my throat. I've also been told that people have had stronger allergies this year than previous, and this includes people who have never (or rarely) experience them. As a result, I've noticed that I sound very nasally when I speak, my range is not what it should be, and it also affects my diction. It's not painful, but it's an annoyance.
Second, I give group and private piano lessons for 5 1/2 hours on Saturdays which require a lot of talking. This past Saturday was the first day since March that I had to teach and then sing 3 hours worth of music, and it's the first time that I've had to talk so much before singing. My voice is obviously not used to this kind of strain. Couple that with the weather, and you can get an idea of what I'm dealing with.
I was watching the new Martin Scorsese documentary on George Harrison (which is great, by the way) and there's a scene where George is shown gargling a mixture of vinegar, honey, and warm water. Supposedly it coats your throat and vocal chords as a way of protecting them. The things we do to keep our voices healthy. I may try that. I may also go see a doctor, since we're getting close to the point of laying down vocals for the new album and I want my voice to be as strong as possible.
First, the season change. I have felt allergies affecting my throat over the past month or so as the tempuratures have gone from hot, to warm, to cold, to warm, to hot, to cold, to warm. It's really been all over the place, and I think it's given no gifts to my throat. I've also been told that people have had stronger allergies this year than previous, and this includes people who have never (or rarely) experience them. As a result, I've noticed that I sound very nasally when I speak, my range is not what it should be, and it also affects my diction. It's not painful, but it's an annoyance.
Second, I give group and private piano lessons for 5 1/2 hours on Saturdays which require a lot of talking. This past Saturday was the first day since March that I had to teach and then sing 3 hours worth of music, and it's the first time that I've had to talk so much before singing. My voice is obviously not used to this kind of strain. Couple that with the weather, and you can get an idea of what I'm dealing with.
I was watching the new Martin Scorsese documentary on George Harrison (which is great, by the way) and there's a scene where George is shown gargling a mixture of vinegar, honey, and warm water. Supposedly it coats your throat and vocal chords as a way of protecting them. The things we do to keep our voices healthy. I may try that. I may also go see a doctor, since we're getting close to the point of laying down vocals for the new album and I want my voice to be as strong as possible.
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