Musicgoat.com » Pop Music

Musician Interview with The Butterfly Effect Soundtrack artist Darius Lux

S. Felix — Mon, 19 Apr 2010 17:57:29 +0000

Ever get a bad case of the Mondays? When you don’t want to brave traffic and endure your job one more day? Instead of going to work, Darius Lux decided that he was tired of waiting tables in Manhattan, so he left and traveled throughout the Pacific, Asia, Europe and South America. He now writes, produces and performs music to help us get though Mondays a little easier–music that is uplifting and inspiring. His latest release is appropriately named Arise and it is a reminder that we need to aspire to reach the excellence beyond ourselves either by recreating our lives or doing what we do better than we ever have. Not a bad way to start the week eh?

What songs on your album do you most like to play live?

There are 3 main songs that I enjoy playing for different reasons. With “XtraOrdinary”, I begin by beat-boxing and then loop that beatbox beat in my pedal while the band slowly build around it thru the song, it’s great to start something so small and end so big and the crowd always gets engaged in the process

I must have played “Human Race” over 150 times live and the guitar riff always gets people moving, that can only be a good thing. This song also works well acoustically, as well as with a full rockin band grooving behind me, and it’s also easy to do a live reggae version when the mood calls for it.

Finally, “Hey You” is a blast because by the final chorus most people are singing along and that’s when I really feel like “mission accomplished”.

What is your biggest inspiration behind your writing?

To offer something that is inspiring and insightful and may help fill a hole in the lives of people, who like me, feel something is missing sometimes. I wasn’t always turned on by everything around me growing up and loved the escape music provided and another way of seeing the world offered by the writers.

You are a producer, songwriter, multi instrumentalist, and a performer, which of these roles do you like the best?

The different roles move in waves. I do really like them all equally if in balance. Songwriting is a specific moment in time where I like to focus my existence on absorbing and reflecting. Then I hit a limit and want to bring them to life and playing the different instruments is a blast and allows me the chance to become a better player. Producing can be for myself or for another artist and often involves more of a ‘science’ in getting the best sound or arrangement. This is also when you can do the ‘editing’ that I wouldn’t do in the early writing stages. If I am producing for another artist it is also nice to take a break from my own thing and be more objective. Plus, you always learn so much working with other people. Performing is a whole other rush, whatever nerves there may be initially, are quickly transformed into bliss—channeling all the different emotions thru my voice onstage feels like the purest form of expression I have ever known.

If you were broke and had to dress up like a character and stand outside Mann’s Chinese Theatre, who would you dress up as and why?

Ha! That’s funny I was walking by there yesterday. Off the top of my head—Ace Ventura . I think any Jim Carrey character gives you a huge license to just be a total whack job in public and get away with it ;-P

What was your favorite album growing up?

Acchhh, do I have to pick only one!! Ok, I need to pick 3.

Blood Sugar Sex Magic by Red Hot Chili Peppers. Wow, blew my mind, total pinnacle of all their talents blending perfectly: creative, fun, deep. I can still listen to that and feel the same rip of energy as the day it came out. This was essential pubescent listening!

Euphoria Morning by Chris Cornell. Although this kinda flopped at the time, I was enraptured by the very musical and soulful musings of Soundgarden’s frontman. This album plays like a friend by your side, you can tell he had been waiting a while to show this other face of his talents. Every song is perfection, there isn’t a single wasted note here and of course, that VOICE!

Songs In The Key Of Life As a child I found an old unmarked cassette copy left in an abandoned cupboard and I started listening to it and never looked back. I didn’t know who it was for years, but Stevie Wonder taught me most of what I needed to know.

Have you ever thought of writing rap songs under the pseudonym D-Lux?

Ha, another great question, I think I’ll spare the world my rapping. Any attempts at ‘freestyling’ usually slide into potty mouth pretty quickly – although Eminiem made a whole career of that….

Find Darius on MySpace, Facebook and Twitter

-Sheena

Launching in the Digital Age

Shayne — Sun, 28 Mar 2010 01:16:04 +0000

Last night Cowbell launched a new artist, Mutto (www.mutto.com.au). No stranger to the stage, Mutto, was originally in a band called Soulframe until his stint on Australian Idol 2006 started an unraveling process that led to a 3 year hiatus. Now back with a new single and a renewed passion, Mutto has had to become re-educated into the digital age.

Focusing on digital downloads, the release of Mutto’s single ‘Wish’ is a momentous occasion as he is one of the first Australian artists ever to release an exclusively digital single available for download from the iTunes store, his own website, and through the use of a ‘Bandtag’ Card.

‘Bandtag’ has been supplying promotional download cards for artists to give away songs for a few years now, however Mutto is the first artist to use the card as a replacement for the standard CD single, in fact the first artist in Australia to publicly shun cds in favor of a digital download card that allows buyers to download high quality mp3’s to play on iTunes or Windows Media Player.

It also allows fans to download a copy of the video in a format that will work on ipods and iphones. Check it out here Mutto – “Wish” video

To top it off, apart from radio giveaways and promotion, last night’s launch was exclusively promoted through the use of social media platforms like Facebook. With over 200 attendees, the success of the night is a perfect example of the importance of social media marketing in a digital age. It is a new digital era and artists like Mutto demonstrate how results can be achieved online.

As more artists like Mutto and Nomy reach their full potential they present a very real opportunity for new artists trying establish a solid base. As advocates of the digital age, Cowbell and I will strive to uncover more examples of how new artists are using the internet and its many tools to advance their careers. Stay tuned!

Musician Interview with a songstress with a lot of heart, Kristy Hanson

S. Felix — Mon, 22 Mar 2010 17:38:22 +0000

Back by an all-star cast, including Aaron Sterling (studio drummer for Sara Bareilles, Kelly Clarkson and Brandi Carlile), Ryan Freeland (engineer Aimee Mann, LeAnn Rimes and Natasha Bedingfield), producer Timothy Young and her husband Mike Chiaburu, Kristy Hanson is releasing her newest album Into The Quiet at the end of this month. Her release was funded largely by her fans and marked a transition in Kristy’s artistry from singer/songwriter to collaborator. She also put her input into the production, making the album truly her own. So without further ado, I give to you the very charming Kristy Hanson…

What has been the best part of making the new album?

I think the best or at least most exciting part of making an album, for me, is the recording itself. Getting Mike, Tim, and drummer Aaron Sterling in the studio with Ryan Freeland, our engineer, was fantastic. We had such a great energy and camaraderie, and I just LOVE recording. I love studios, generally Gavin Lurssen’s studio (our mastering engineer) is awesome, too. I could, I would spend all day, every day, in a studio, particularly with those guys!

But it was also wonderful to collaborate with Tim Young and Mike on those early demos over at Tim’s house, too. The collaborative process was sort of new to me, and I learned and grew so much as a result of it. So it’s kind of tie between that early collaboration and the recording itself!

How does this one differ from your last release Already Gone?

The fact that I co-wrote some songs with Mike and Tim and invested more time in the production makes it feel different for me, and maybe more sophisticated. Sound-wise, Into the Quiet is a little bit heavier than Already Gone, in that there are layers of electric guitars and more of a rock sound on a lot of songs. There’s also definitely more pop and country flavor in there. I’m also extra-proud of my vocals on this album, because I really poured my whole heart into them. I hope people respond to that!

You did something very interesting to raise money for this recording, can you explain that?

Inspired by a number of artists who have turned to their fans for support, including the hilarious and wonderful Jill Sobule, I decided to launch a fundraising campaign before the recording of Into the Quiet. My fans donated $5,000, which was vitally important to the making of this album. I actually gave all donors the chance to vote on my album’s title, and I’ll be having a special listening party for my donors to thank them. I hope that my donors feel as proud of the album as I do, and that they feel good to have played a role!

You’ve played shows all over the US, what is your most memorable tour moment?

Oh boy…probably my most memorable BAD moment on tour was when we got stuck in a snowstorm in Wyoming (in the middle of APRIL) and had to stop in Laramie rather than continuing on I-80. It added an extra day of travel, but we made it just in time for the first gig in Chicago.

But it’s so hard to pick, Cleveland was memorable because I was born there and had dear friends in the audience (which was also a great audience), and I also really loved Rockwood Music Hall in NYC. I love touring generally…even (or perhaps especially) the mishaps because they become part of the stories you can tell later.

If you could collaborate with anyone, who would it be?

Hmm, I’d say Joni Mitchell, although Lord knows I might be too intimidated to actually collaborate! I would love to work with Grant-Lee Phillips, an amazing songwriter and singer based in LA. And Aimee Mann. And I also find myself singing Michael Penn’s harmonies a lot…I would settle for merely being his back-up singer for sure. I dreamed about collaborating with drummer Jay Bellerose, and then it happened, so you never know!

What song on Into the Quiet is the most personal? And why?

My songs always come from a very personal place, although most of them on this album are not directly autobiographical. I think that the song “Into the Quiet” itself feels most personal to me. Which seems a little odd, because the lyrics are probably also the most abstract. But a lot of it has to do with what I’ve been through over the last several years, and what Mike and I have been through together and how at the end of the day all I want is to be in a peaceful place, and sharing that peaceful place with him. So I guess, yes, that’s pretty personal.

Keep a lookout for Kristy’s newest release Into The Quiet. The official release date is March 31st and if you’re in Los Angeles, swing by Molly Malones for the album release show. Also, be sure to check her out on MySpace and Facebook.

-Sheena

Interview with the male Lady GaGa-Thomas King

S. Felix — Tue, 23 Feb 2010 00:06:59 +0000

You know, what started out as a few simple interviews is now an exploration of what it means to be an artist. When people think of a musician, most people think of the stereotypical rock star type covered in tattoos or something along those lines. What I’ve discovered it that artists are very diverse and each one has their own obstacles to overcome, their own unique audience, and a different experience as a musician.

My most recent interview is with Thomas King who developed a whole universe to organize and better communicate his values. I’m in love with his latest single “One Nite Stand” very GaGa-esque. Listen to it at www.thomaskingmusic.com and look out for his new album coming out soon.

How is being a musician in the United States different from being a musician in Austria?

The main difference is the amount of opportunities. I always say “For every single opportunity in Austria, you get a thousand in the States.” Austria is a country with a great classical music background, and all the world-famous classical musicians come to Austria.

In contemporary music, you reach a plateau pretty quickly and there is no where to go, especially if you are doing original music. Another difference is that Americans are a lot more excitable and supportive when it comes to music and new ideas.

Your Kingtom ideology is very unique, can you tell us what it is?

The Kingtom is my universe in space—my kingdom of high-energy pop music. It consists of six planets brought together by and gravitating toward logical center, LOVE. I call this center the ‘Great Uniting Star’. I invite my audience to enter my universe and through my music, experience the power of freedom, excitement, beauty, passion, joy, peace and love.

Which element of the Kingtom is the most important to you?

The Great Uniting Star because it is an expression for what I stand for as an artist. I believe that music has the great potential to unite people and bring out love, excitement and happiness in them. This is why I chose the yin yang at the center of my logo that is partially rotated to form a heart. This powerful body then sparks a fire, which reflects the passion I have for music, generating a majestic light and energy needed to keep my universe in rhythm and the audience dancing.

Who are your musical influences?

My two role models that I adore musically are Michael Jackson and Prince. Both are phenomenal entertainers and performers, who in my perception, have always focused on the artistry and music rather than on making money.

Do you have a musical family?

I must have inherited my creative side from my mum because my dad is a businessman. I have played music and have been on stage pretty much all my life. At the age of four, I got my first drum set and started playing drums. At the age of nine, I had become a child actor for theatre, and in high school, I joined a ballroom band as a singer and toured all over Austria.

You are a very high energy entertainer, have you studied dance or theatre?

I have never studied dance or theatre, but as I mentioned above, being a child actor made me failiar with the at age at a young age. I haven’t abandoned the stage since and probably never will. I guess my high-energy nature comes from my passion for what I am doing. On top of that, I love to dance. so you will rarely see me stand still when you watch me perform.

Tell me what your newest release is going to be about.

I tried to incorporate different elements of my personality into the songs. “The King Lives On” is about spreading my message to the world. In “One Nite Stand” I show that I am not afraid to show my feminine side. “Do You Believe” portrays my theatrical side in which I am seducing a girl to join my Kingtom. “In the Dark” is an intimate ballad about feelings that have been left in the dark for a long time, and finally “Make It Loud” is a straight up feel good rock tune.

If you could perform anywhere in the world, where would it be?

Madison Square Garden in New York City. That place is magical. And the big soccer stadium in Vienna, Austria, because it is always great to come home.

Your stage performance is very theatrical, what do you plan on doing on stage for this new album?

The stage show will be a spectacle. A blend between a traditional show and a musical, with dancers, animation, and explosions. When the beat fires up, I’m in the zone and hopefully my audience will join me on this ride.

Check out his music at www.MySpace.com/ThomasKingOnline or www.ThomasKingMusic.com

-Sheena Felix

Elton John To Sing With Alice In Chains

Corey Koehler — Tue, 11 Aug 2009 22:16:42 +0000

Yep, you read that right. Sir Elton John is going to be doing a tune with Alice In Chains on their upcoming album “Black Gives Way To Blue”. For the record I usually don’t do a ton of press release stuff but this is above and beyond Musicgoat worthy. I mean think about it, Elton John and Alice In Chains? I couldn’t have made it up if I tried. Can’t wait to check it out.

Anyway, here is the rest of the press release with some statements from the Jerry Cantrell. Read it and let us know what you think in the comments below…

Los Angeles, CA (August 11, 2009) – Among the many highlights on Black Gives Way To Blue, the highly anticipated new album from ALICE IN CHAINS, is a special guest performance by Elton John. The two rock legends collaborated on the album’s stunning title track, “Black Gives Way To Blue,” a heart-stirring tribute to Alice In Chains’ late lead singer Layne Staley. The album arrives in stores September 29.

“We were thinking about adding piano to the track and a friend suggested we call Elton,” recalls guitarist/vocalist Jerry Cantrell. “I remember laughing and saying, ‘Yeah, I’ll get right on that.’ But I decided it was worth trying and wrote Elton an email explaining what that song means to us — that it’s a real, raw openhearted song for Layne. We sent him the track and got a call shortly after saying he thought it was beautiful and that he wanted to play on it. We were blown away. Elton John is a huge influence on me as a songwriter and having him on that song is an amazing honor for us.”

“I’ve long been an admirer of Jerry Cantrell and when he asked me to play on ‘Black Gives Way To Blue,’ I was very flattered and couldn’t resist,” says John. “It was a great recording session with Alice In Chains for a beautiful song. ”

About the collaboration, Cantrell says, “Elton was finishing his Red Piano run in Vegas, so we flew there and hung out for a few hours. Walking into a studio and seeing the sheet music for that song on Elton’s piano made it meaningful on so many different levels. The whole experience was pretty magical.”

BLACK GIVES WAY TO BLUE is Alice In Chains’ first new studio release in more than 10 years. The quartet (guitarist/vocalist Jerry Cantrell, drummer Sean Kinney, bassist Mike Inez and guitarist/vocalist William DuVall) recorded the album with producer Nick Raskulinecz (Rush, Foo Fighters) at Studio 606 in Northridge, CA and Henson Studios in Hollywood.

WAIT! You don’t want to miss the next review, podcast, music promotion tip or whatever else music related we decide to put out here. Subscribe to the Goat now for the all time low price of free and you will get all the kick ass content from the Goat fast and easy. Just subscribe to Musicgoat.com newsletter by email now and have this stuff in your inbox seconds after I post it .

Music Review: Jennifer Dixon, the Face of Alternative Country’s Uncompromising Future

treadmarkz — Fri, 19 Jun 2009 06:31:54 +0000

Guest post: Treadmarkz is my brother-in-law, a Human Beatles Encyclopedia and the author of the weblog Treadmarkz.wordpress.com.

Some Country music purists would probably say that anything that warrants the name “Alternative Country” is not really Country. But ultimately it is the domain of the fan to judge what an artist is or is not, to them.

Ladies and Gentlemen, I give you Jennifer Dixon.

A little country sensibility with a style that hovers along the cusp of blues, pop, jazz owing to a stint on Memphis’ legendary Beale Street, and nearly a decade in Nashville, her new CD, “2 Years” is the fruit of experience. She did not come out of nowhere.

Which makes it all the more uncanny that she has been labeled “un-Nashville.”

The intro to “A Little You For Me” sounds like a nod to “I Lie Around” by Paul McCartney and Wings. But this Norah Jones-like tune comes from the heart of a woman who has given all she can give to the world, yet she finds she’s got a little more left for her man if he’ll meet her halfway. Like “I Lie Around” it never really takes off. It threatens to, repeatedly. But when it comes down to it, it’s just right.

“Too Tired To Care” is Dixon, having been there, done that and not doing it again regarding love. When she starts to hear the same old lines, she is just that, too tired to care. It is a mellow funk romp with a lyric delivered in focused rapid fire, highlighted with some sultry vocal inflections.

“Easy Goodbye” seems to be a follow up on the same theme in that, having heard it all before, its easy to let go and move on. These two tracks are the most un-Nashville of the bunch. One can picture many of today’s top female vocalists flagrantly over-doing “Easy Goodbye”, robbing it of its symbolic ease. One of its greatest features is that the musicians, while doing some top-notch work, back off and let the vocals shine.

With these tracks what you get is a many-tiered cynical view of love. In that respect, “If You’re Looking For An Angel” is refreshing. Just when you are expecting something like “Strong Enough” by Cheryl Crow, it turns into something closer to “I Can’t Make You Love Me” by Bonnie Raitt in its vulnerability. For instance, in the chorus, Dixon sings “If you’re looking for an angel…” Having heard a couple of these songs, one may be surprised to hear her continue with “here I am.” It’s sweet, its comforting, and it demonstrates that with a few gentle, sincere words, yes, women can make men, dare I say it, swoon.

Love Me Back” delivers the very subtlest hints of the smoky vocals of Natalie Merchant or Melissa Etheridge, yet tips the scales with those well-executed vocal inflections again.

Dixon finally brings the thunder with “I Need a Man.” It’s gritty, harkening back to Tanya Tucker, matching the vocal strength of Carrie Underwood. Here Dixon is laying it all out on the line as if to say “This is what I need, damn you!”

Four of these tracks can be heard on her homepage www.jenniferdixon.net, and one is featured in the indie film “Shattered”.

The Beatles: A Case Study in the Law of Truth and Karma

treadmarkz — Thu, 16 Apr 2009 17:54:51 +0000

Guest post: Treadmarkz is my brother-in-law, a Human Beatles Encyclopedia and the author of the weblog Treadmarkz.wordpress.com.

Regarding why the Beatles broke up, for years, I was a member of the “Yoko Is Evil” sect. Then for a while I converted to Paul-is-an-Egomaniac-ism. I took it for granted that the truth lay somewhere within these two camps. Eventually I realized the many other factors: John Lennon’s addiction to heroin; the death of the Beatles manager Brian Epstein; their music and individual talents getting too big to be contained within one album; George Harrison’s waning interest in traditional western pop music.

Part of the reason for Harrison’s change of direction was his growing passion for Indian music, philosophy and eventually religion. Recently I have myself become immersed in a faith which relies heavily on the Hindu worldview regarding reincarnation, karma, “Hell” as distance from God rather than a literal lake of fire. I feel my years of Beatles fandom was just a way to get me across that spiritual bridge.

Whenever I meditate on a worldly desire and make a vow to do, or not do any given thing, if I later fall back on that vow, I find that I do face consequences of my action. It’s Karma, its Natural Law, the Law of Truth, whatever you want to call it. A dharma (religious duty) of Hinduism, Christianity and all major religions really is “Do not bear false witness” with an implied “or else…” involved. Mohandas Gandhi wrote of this concept in depth in his “Autobiography.”

In 1967, the rest of the Beatles willingly accompanied Harrison to Wales for a weekend seminar on Transcendental Meditation, and to India the following spring for an extended course. Though the course did not make religious faith a priority, there is always an aspect of spirituality with meditation, and where there is spirituality, there is a connection with God on one level or another. Whether one accepts it or not, that door is opened at that time. The importance of the Law of Truth is, hence, heightened.

Before the Wales seminar, the Beatles were on top of the world having just released Sgt. Pepper’s Lonely Hearts Club Band and the single “All You Need Is Love” that summer. They were the voice of the youth movement. What happened?

Two of the Beatles’ best-known songs are “Can’t Buy Me Love” and “All You Need Is Love”. Could the Beatles have written, recorded and performed these songs for profit, all the while living the lavish and, lets face it, decadent lifestyles they did without Karma rearing its ugly head?

While they were at the Wales seminar, their manager died. But things still seemed good six months later when they left for India. While in India, John Lennon flirted with the idea that their next move as a band should be to become “spiritual leaders.” For the course, they were to give up all non-prescription drugs for mental clarity. But none of them gave up smoking pot and once they got back from India John went back to LSD and soon started using heroin. Even George never gave up his rock star lifestyle while scolding other rich people in a song called “Piggies.”

Even though they wrote about 40 songs in India the following spring and seemed to be very together, as soon as they got back from India, everything seemed to fall apart rapidly. From the beginning of the White Album sessions in May 1968 there were bitter arguments. This was followed by Yoko entering the picture, a bitter struggle for power in the band, and a very bitter court battle which eventually tore the band asunder.

Was Yoko’s presence a catalyst to bring on the negative Karma the Beatles collected through their non-adherence to the law of Truth? What about the death of Brian Epstein? Another example of Karmic retribution on the band? Surely not as their Karma should not have dragged Brian and his very life into it. It may have been Karma from past incarnations that caused them to have to go through such a tragedy together, but that is a different story. The disaster of Apple Corps., and the resulting lawsuits over money which ended the Beatles, however, seem like fitting Karmic retribution for years of singing about love being more important than money, all the while making money and lifestyle the most important thing in reality. And Lennon must have known it, as one of his first solo singles was “Instant Karma, where he sang “Instant Karma’s gonna get you” and “we all shine on”, meaning “we all have to live with the consequences of our actions, so be careful.” Indeed, his band had fallen mightily from grace.

New Cover Song: Seether Does Wham’s “Careless Whisper”…WTF?

Corey Koehler — Thu, 26 Mar 2009 13:10:41 +0000

Yep you read that right, the hard rock band Seether has covered the Wham! tune “Careless Whisper” (you can hear it on Seethers homepage and you can check out Wham! here).

I heard it on Sirius Octane this morning and I – like the DJ who introduced the song – have been struggling with it since (just a little bit). On one hand, from a creative freedom standpoint, it is cool that Seether has the balls to cover a tune by a band that – to put it mildly – doesn’t quite fit the their image.

On the other hand, from a shoot-yourself-in-the-foot standpoint, you have to wonder what their fans think about it. I can’t imagine that the typical hard rock fan is pumped to sing along with “I’m never gonna dance again…”. And speaking from a long history as a metalhead, this sort of thing would be punishable by death back in the day (lol).

Now I don’t mind Seether and the 80’s teenager that still hangs out inside of me has a soft spot for “Careless Whisper”. But, I am just not so sure they belong together. What do you think?

Beatles Rock Band Set To Go British Invasion on Your Video Game Console in September!

treadmarkz — Fri, 06 Mar 2009 05:24:28 +0000

Guest post: Treadmarkz is my brother-in-law, a Human Beatles Encyclopedia and the author of the weblog Treadmarkz.wordpress.com.

Well, clearly the beef between Apple Corps and Apple Computers that started a while back is still bitter as ever, and unfortunately this will deny listeners who live and die by the iPod access to the Beatles music. But, lo! Here it is! The Beatles Rock Band arrives in stores on September 9th!

The upcoming release of the Fabs’ foray into the gamer world is exciting for me. Because it is yet another confirmation of what I have been telling the Musicgoat for years: the Beatles, as a cultural phenomenon, will never – yes I said Never – die.

If I had an Xbox, Playstation or Wii, I would definitely shell out the $99.99 to get myself an imitation McCartney violin bass, or a Harrison twelve-string Rickenbacker which is included for use with the game. I would have liked more information on what specifically is included in the Special Edition. For $249, you want to know, and you want time to save up for it if it is what you want. I am sure it is not worth it unless you get an imitation Beatles sitar, Moog synthesizer, harmonium, tape loop machine, wind machine, and calliope, so I can play the Beatles’ studio-era music to the full effect.

But even if not, wow, music in video games has come a helluva long way since the Mario Bros theme song, huh?

MMP033 – The Christmas Music Show I Swore I’d Never Do

Corey Koehler — Sat, 13 Dec 2008 18:52:35 +0000

Yep, I swore I would never do one of these but hell, why not. These songs are just to good not to share.

Also, I figured it would be an great opportunity for you and I to sit down and have a holiday beverage together.

Lets do it. Grab something to drink, press play and have yourself a merry Christmas.

Click Button To Play | Right-Click To Download

Here are the songs heard on this podcast and the links to each artists website;
Geoff Smith – “Some Christmas Higgin and Kissin”
Winzenreid aka Hollywood Drunks – “Here Comes Santa Claus”
Skid Row – “Jingle Bells” (Monster Ballads Christmas)
Tom Kiefer of Cinderella – “Blue Christmas” (Monster Ballads Christmas)
My. Vegas – “Hey Santa”
Rockosaurus Rex – “Auld Lang Syne”

Most of these and a ton of other great artists can be found on the Pod Safe Music Network.

MMP032 – Are These Artists Worthy of a 2009 Grammy Nomination?

Corey Koehler — Tue, 02 Dec 2008 21:06:09 +0000

Here’s a few artists that you most likely won’t see on stage getting an award or even performing at the Grammy’s BUT certainly could be.

See if you agree by pressing play now.

Click Button To Play | Right-Click To Download

Here are the songs heard on this podcast and the links to each artists website;
Hype – “Push Me” (Available at CDBaby and iTunes)
Kelly Richey Band – “I Want You” (get it free on eMusic)
John Taglieri – “Booty Call” (get his older stuff free on eMusic)
Pauline Pisano – “Don’t Forget” (get it free on eMusic)
G Tom Mac – “Wish You Well” (get their older stuff free on eMusic)
Daydream On Autopilot – “Better Off Alone” (get it free on eMusic)
Daydream on Autopilot – “Call Me” (Blondie Cover)

Websites Mentioned on this podcast;
Mike Cameo’s Indie Top 10
Social Blend
Mixx.com

Most of these and a ton of other great artists can be found on the Pod Safe Music Network.

MMP030 – The Stress is a Four Letter Word Music Podcast

Corey Koehler — Fri, 26 Sep 2008 15:48:18 +0000

As you will hear in the first tune, it is time to “Give your day the brain off.” Yep, we crack a bottle of wine (or beer or Jack or whatever), lighten it up a bit and realize that, it just isn’t that freakin bad.

For best results, grabs some good Headphones.

Find yourself a nice, relaxing place and press play now.

Click Button To Play | Right-Click To Download

Here are the songs heard on this podcast and the links to each artists website;
Supersuckers – “I Don’t Wanna Know”
Darrin James Band – “Thrones of Gold” (get it free on eMusic)
Hello Dave – “Mountains”
James Dunn – “Oak Tree”
Bill Johnston – “Devil on My Shoulder”
Ethan Stone – “Ain’t That the Way”
Jon Nicholas – “Grandmas Getting High”
Great Big Sea – “Straight to Hell” (get it free on eMusic)
Fabulous Hats – “Lets Go to Vegas”
Stuckey and Murray – “Taking A Dump at Work”(get it free on eMusic)

Most of these and a ton of other great artists can be found on the Pod Safe Music Network.

MMP027 – Blue Moon Mellow featuring Collective Soul

Corey Koehler — Tue, 22 Jul 2008 05:09:59 +0000

Today’s the day. We are finally gonna do it. You and I are going to tell the boss to take a freakin hike. We are gonna play hooky.

Yep, we are going to the beach or the bar or wherever and we are gonna have couple….and just chill!

Hold that thought, press play and check out my latest offering…

Click Button To Play | Right-Click To Download

Here are the songs heard on this podcast and the links to each artists website;
Bag of Toys – “Smile So Wide” (get it free on eMusic)
Ruby Rendrag – “Meditation”
Kelly Zullo – “Where You’re Hiding”
Old Crow Medicine – “Caroline” (get it free on eMusic)
Hello Dave – “Perfect Day”
Jacob Gehret – “Won’t Remember Me”
Collective Soul – “All That I Know”
Rob Anthony – “You’re the One”

Stop by my iTunes page now, tell me what you think by posting a comment and then subscribe.

Other sites mentioned in this show;
Rolling Stones “Top Ten Fictional Bands”

BRAIN FART ALERT – I said Bag of Toys music was going to be on the Fox show “House”, I was wrong. The show they will be on is “Bones.” Sorry guys!

Most of these and a ton of other great artists can be found on the Pod Safe Music Network.

The Beatles’ Studio Revolution of 1962

treadmarkz — Wed, 12 Mar 2008 20:03:56 +0000

Guest post: Treadmarkz is a Human Beatles Encyclopedia and author of the weblog Treadmarkz.wordpress.com

Buddy Holly wrote his own songs. Chuck Berry wrote his own songs. Little Richard wrote his own songs. Paul McCartney and John Lennon, being devoted followers of all three, began writing their own songs early, and often. McCartney wrote rough versions of “I’ll Follow the Sun” and “When I’m Sixty-Four” in about 1957. And many of the originals from the Beatles first album were written by John and Paul around that same time. They knew that it set them apart from the other up-and-coming bands.

But rock n’ roll had changed drastically by 1960. Holly was dead, Berry was in jail, Little Richard had become a preacher, and Elvis, the King of Rock and Roll himself, had become a balladeer, more interested in making movies than creating a movement. Rock n’ Roll was in trouble. Balladeers singing already-proven hit songs were running the charts. Nothing new was happening!

Fast-forward to September 1962. The Beatles had just been brought in to record their first professional single at Abbey Road Studio. In June of that year, during their audition, they had brought in a number of original songs that they intended to show off. After playing them all, producer George Martin did not think any of them were strong enough to be a single. He also did not like their drummer, Pete Best.

When the Beatles came back in September with Ringo Starr on the skins, Martin suggested a song called “How Do You Do It?” written by Mitch Murray, a professional songwriter. So the Beatles came in and recorded the song. But they knew it did not suit them. They insisted on having another go at a song they had submitted in June, “Love Me Do”, and they continued to argue for it until they got their way.

Their first single, “Love Me Do” was their own song, as was it’s b-side “P.S. I Love You”. Gerry and the Pacemakers went on to success of their own with “How Do You Do It?” but not as much success as the Beatles. The Beatles version of the song can be heard on the Beatles Anthology 1 CD, disc one.

The version of “Love Me Do” recorded on Sept. 4 would become the Beatles first single, but another version would be recorded for the Beatles first album, Please Please Me a week later. It seems that Martin did not like Ringo’s drumming either, at this point, and brought in a professional session drummer, Andy White.
Many fans now point out how painfully simple and repetitive “Love Me Do” is. This may be true, but the Beatles had taken creative control from day one, and went on to inspire generations of musicians to sing their own songs, and do your own thing. September 4, 1962 is certainly the day “The Sixties” began, at least for rock n’ roll.

The Beatles and the Beach Boys Race to the Toppermost of the Poppermost

treadmarkz — Thu, 06 Mar 2008 17:17:53 +0000

Guest post: Treadmarkz is a Human Beatles Encyclopedia and author of the weblog treadmarkz.wordpress.com

The Beatles competed to be the best ever since their days as the Quarrymen in Liverpool in the late 1950’s, and during their stints as a bar band in Hamburg, Germany from 1960-62. This desire to be the best did not stop in February 1964 when they were seen by 73 million people on the Ed Sullivan Show, or in April ‘64 when all of the top five singles in the U.S. belonged to them. It didn’t stop when they were the first rock band to sell out a Major League Baseball stadium, when they rocked Shea Stadium in the summer of ‘65. Desire, some might say ego, is what pushed them beyond teen idols to legend status.

In December 1965, the Beatles released the album Rubber Soul. The Beach Boys’ leader Brian Wilson would later say it was the first album he’d heard where every song “went together like no album ever made before.” It would greatly influence most of the recording of the Beach Boys’ own album, Pet Sounds, released in May 1966.

Pet Sounds was still very pop-rock, but in it, Wilson and the boys utilized extensive outside instrumentation normally not heard in rock n’ roll recordings. But it was the Beatles who had set that ball rolling with the strings in “Yesterday” and the sitar on “Norwegian Wood (This Bird Has Flown)” both in 1965.

Pet Sounds came out just as the Beatles’ work on their next album, Revolver really started to take off. On Revolver, songs like “Good Day Sunshine” and others emulated the Beach Boys vocal style, and “For No One” was in some ways indebted to the baroque musical stylings of Pet Sounds.

Well, with Revolver, the Beach Boys knew that the Beatles had taken it to another level. Pet Sounds may have been a very tight, unified album, but the Beatles managed to work endless styles of music into the mixture and still end up with an album that felt like it really fit together.

Wilson quickly set to work, earnestly trying to up the anty. He enlisted even more outside musicians, and more outside songwriters to help create a soundscape that had never been heard before. The album was to be called Smile, and was to be less of a collection of songs than an album-long sound collage. Then came February 17, 1967, the day the Beatles released the double A-side single “Strawberry Fields Forever/Penny Lane”.

Brian Wilson was driving in his car one day when “Strawberry Fields Forever” came on the radio. He immediately pulled over to the side of the road to just listen.
After the song ended, he went to tell his bandmates and his other collaborators, “you know what, guys, let’s just forget it.” The Smile project was shelved, and a watered down version of it, called Smiley Smile was later released. Meanwhile, the Beatles released the iconic Sgt. Pepper’s Lonely Hearts Club Band, and, for the second time in their careers, became the new voice of their generation.

The Beatles themselves seem to have lost the spirit of competition after that. They released the double-EP “Magical Mystery Tour” and three more great albums before breaking up. Many argue that either Rubber Soul or Revolver were greater albums than Sgt. Pepper’s Lonely Hearts Club Band was. But it was in 1967 when they truly reached the pinnacle, having shaken off all competition creatively.