Tuesday, March 26, 2013

Review: David & Devine (Debut EP)

Candace Devine is a powerful vocalist who has worked with such artists as Christina Aguilera and Stephen Van Zandt (how’s that for diversity?). Dave Yaden is an award winning composer and pianist who has written for and performed with acts like John Mayer and Lady Antebellum. Together, they are David and Devine, soul pop duet that really packs a mean punch.

The debut EP from this dynamic duo is truly a rich and rewarding compilation of well written songs. They have a unique pop sensibility that indulges in soulful vocals, harmonies and instrumentation reminiscent of 70s soul with a touch of modernity to keep it fresh.

The first cut, Til The Sun Comes Up, showcases a Stevie Wonder vibe with a positive and energetic message of love. It’s a truly feel good love ballad that is both well written and masterfully delivered.

Since We Been Together is another inspired song about devotion. It has a flurry of horns and a funky back beat. I’d be remiss not to mention the vague hint of early 80’s Prince.

Leave The Light On. This song is a mellow piano and vocal melody with a sadness that reflects regret and resolve. It picks up with a pleasant string section and simple beat. I can easily imagine this song being rendered in a variety of styles which to me is a hallmark of a well written song.

More Is Better. Is a very Paul McCartney-esque pop song that is a critique on the American way of consumerism yet is more reflective of living with the hustle and bustle of modern life in a very light hearted way without coming across as pretentious; it just is a call to a simple life. It is very piano heavy and has a strong Ben Folds vibe to it.

The last ditty is Save Me From Yourself. This is the breakup song of the EP. And it is appropriately longing in its call to walk away from a bad situation. Anyone who has broken up with someone they love because the situation is intolerable will directly relate to this song. It is emotionally complex and builds to a rewarding close and it's a perfect end cap for a well written combination of songs

This is one of those albums that tells a story. From start to finish, it follows the lives of two lovers as they fall in love, deal with trials, and eventually go their separate ways. Although it is a collection of love songs, it has a lot of energy and combines retro sounds in a way that is rewarding to the ear as well as the heart. Unlike many love songs, this collection has depth and explores the complexity of emotions involved with having a difficult relationship and manages to stay upbeat and poignant throughout.

This is a solid 5 star compilation that says everything it needs to say. I’d almost dock half of a point for it being too short! 

Friday, March 8, 2013

Why Hard Work and Dedication to Your Performance is Essential if You Want to Succeed in Music.

There is one essential element to a professional performer: dedication. If you are not 100% committed to a performance, no one will buy it. More importantly however, you let down your band mates. These are the people depending on you to give a solid and committed effort on stage all the time. This means that when you’re onstage, you are pushing yourself 110% and when you’re offstage, you are thinking of how you can be better onstage. This is the cycle. This is where we separate the men from the boys, so to speak.

Invest Your Time
If you want to be a low to mid-level cover band playing dive bars and birthday parties that’s fine, do that but if you want to take it to the next level and get downright seriously professional, you absolutely need to push yourself.

Not only am I talking stage performance, but the homework has to be done, all the time. When you reach a certain level of musicianship, people expect you to deliver and in order to deliver serious chops you need to be on your ‘A’ game. You don’t need to be fancy mind you, just tight. Everyone needs to be on point all the time, or as close to it as possible.  This means practicing material, taking notes, working on your riffing, soloing, vocals, and swagger. All of it; at home and at rehearsals.

Out of all the bands I’ve been in, only a handful have been at that level where it can potentially go national. These are groups that perform and tour regularly and have a following of loyal fans. Once you are at this level, there is no flaking out, there is no half ass-ing it and there is no stopping a performance midway through. It is not an option.

Don't Take It Personally
This is not a business built on friendship people, although you can be great friends, but it’s the music that comes first. That’s harsh, but necessary because if you can make it to the point where not getting paid is not an option, the only question is how much will you get paid? Festivals, national touring acts and yes, casinos only want the very best they can get so you want to be your absolute best, don’t you? So do your fellow musicians.

This Is Serious Business
Besides, it is more fun when you take your music seriously and accomplish great things on stage. At the peak of your performance, the crowd feels the energy and you feed off of that energy and give it right back: all engines are firing at this point. That feeling is amazing and why were in this unforgiving and godforsaken business in the first place. Do you really want to be the squeaky wheel at this point? Hell no! For my band, whichever band I’m in at the time, this is how I run it, or how I expect it to be run:

1: A Band Is About Music. We are in this band because we are musicians, we may happen to be friends as well but the two are NOT the same. If you want to do something together as friends, let’s play a round of Disc Golf.

2: Musicians Work Hard. I expect everyone in the band to be working hard on being a better musician all the time. I do and so should everyone else. Music is FUN but it is also a lot of work to perform it really well so if you’re not dedicated to that kind of effort, you are no musician.

3. You Will Be On Time. There is no excuse for being late. We are getting paid and like any other job, showing up on time is your responsibility. Check Sigalert.com, if there is traffic, leave early. If we practice at, be there at 8. If load in is at 3, be there at 3. We are trying to get hired again and if you establish a pattern or develop a reputation of being late, guess what? You won’t get hired. Remember, everyone is depending on you! If you simply cannot avoid being late, we're talking car crashes, maybe you're hospitalized, your mother is dying or some extreme circumstance and we understand but treat it like you would your day job and be on time and at least have the courtesy to give us a call and let us know. We take it very seriously and so should you.

3: If You Continue To Perform Poorly, You Will Be Cut. If you are struggling with your parts, come to us, we can help you. However If you really cared about the band, you would put in the extra effort and learn all of your parts make them better and contribute to the improvement of the bands performance on your own. We are trying to do something great and one poor performer can ruin everyone’s hard work. If you are not putting in this kind of effort, you don’t really care and you have no place in this band.

4. If The Performance Is Intentionally Compromised, You Will Be Cut. I’m talking about deliberate and intentional sabotage.  This includes arguing on stage, walking off stage, not showing up, or stopping the performance in any way because of a poor attitude. If you make a mistake, you suck it up, find the beat and get back in. The place to handle your grievances is the following day at rehearsal or band meeting. There is simply no excuse to sabotage a performance, especially for any kind of personal reasons.

Its Fun But This Is A Job
The reason for this hard-nosed approach is that everyone else in the band is working this hard. Everyone else is giving it 110% to get to where the group is and it is simply unfair to the rest of the band if you’re just phoning it in from the sidelines. You make the whole group look bad. Why should you get paid for that? You don’t. We’re compromising our pay for you and if you’re not holding up your end, we won’t pay you; I have a kid to feed with that money.

There is a lot riding on any given performance because you never know what even the smallest gig might lead to if you are all in the pocket. When music is your livelihood, you need to take it as seriously as any job and so do your band members. In any job if you’re not performing at your peak ability, you will eventually have to find another job. Music is the same.

All On The Same Page
As a musician, I have this inner drive to create music with passion and it consumes my pain, and my joy and That has to be matched or even exceeded by my fellow band members otherwise it’s just not being expressed. More, it feels as if my music is being shit on when someone is simply going through the motions or refuses to adapt and change with the flow of the performance.  It’s inborn. I can’t help it. Moreover, if I’m doing my absolute best to make great music, I need everyone else to do so as well otherwise I’m wasting valuable time. I don’t want to waste my time.

I want to make something great that touches people and lifts them up, gives them respite from their daily routine, and makes them forget about their troubles, whatever they may be. To me, it’s a spiritual act and a labor of love. This requires dedication and sacrifice. I have unfortunately had to sacrifice friendships due to my commitment to make the best music possible because, frankly, many of my friends just wanted to have some fun. They didn’t take it as serious as I do and that’s fine, it really is but it does mean we can’t be in a band together. It does not reflect any feelings of friendship one way or another. Go have your fun band and be a friend to me and let me go do my thing with others at or beyond my level.

Again, Do Not Take This Personally
Of course, this means I must be willing to do likewise and be let go for the same reasons. I have been let go before and I am still friends with these people. I’ve been kicked out of 2 bands, one because I was not dedicated to the music they were making, and the other, because I simply did not fit with what they wanted to accomplish. I am fine with that because it opened new doors for me and allowed me to find likeminded players. I am still friends with those bands to this day.

The moral of this story is that if you want to be a fun on the side, house party cover band for a weekend here and there, do it with others who want the same but if you want to be in a professional, gigging band then you must make sacrifices and work extra hard to be a better player and be willing to be a part of something greater than yourself. It takes time and patience but it is very rewarding.


Tuesday, March 5, 2013

Dear Fabby: A New Advice Column For Aspiring Musicians By The Fabulous Miss Wendy

"The Fabulous Miss Wendy is a recording artist from Los Angeles, California. She is a virtuoso guitar player and she writes all her own songs. She has been featured in Guitar World, Guitar International, and many other news outlets. She has toured nationally and has sold over 10,000 records independently."

Dear Fabby,


I think the music scene in Cali is great right now, from metal to rock. My question would be, Which coast east or west has the stronger metal/rock scene, and how does this help my band?

                           - Metal Luva



Dear Metal Luva,

Thank you so much for your question...

If I had to say what part of America is the most "Metal"... in other words, Super Duper-Hard-Rock/Screamo/Any Kind of Angry-Man-Oriented-Music (as opposed to Weak-Subjugated-Female-Rock)...  I would say the Midwest.

People will always tell you, "Oh Town X is happening " or "You need to be in Town Y, & that's where it's gonna happen for you." These people are FULL OF CRAP! The truth is that you need to START in whichever city you live, and you need to go EVERYWHERE, no matter what kind of music you are playing.

Find YOUR OWN audience. Be proactive. Start in your own city and gradually increase your "Circle of Influence." (Thanks to my vocal teacher, Brian Hacksaw Williams, for coining the term "Circle of Influence.")

Begin by getting your CD in the local record stores. Then put up flyers and posters in those stores...

For Metal, you'll want to reach those adolescents (especially the male ones), who hate their parents, hate their school, hate their life, etc, but LOVE angry music. It's probably the only thing (besides masturbation) that they DO love :).  Go to the local high schools, dress like a FREAK to get attention, and pass out posters & flyers.

Another group of people who Loooooove Metal are...."and drum roll please.." ..Musicians!!! (because Metal is soooo technical!) It's a Fabulous idea to distribute posters and flyers at all local instrument shops, rehearsal studios, and rock clubs in your area.

Now go to a bunch of new cities: Rinse, Lather, Repeat. Do this and by golly, you will have a "gorgeous"...whoops I mean "brutal" following! (after all this is metal here)

On a serious note, I have seen a lot of bands that get heavily involved in a particular "Scene." All "Scenes" are fleeting and dissipating. Never be too heavily dependent on any one particular
“Scene.” Be a “Scene-Hopper”... If you are doing it right, your life will feel more like an episode of "Dr Who?" and less like (you know you watch it) "Beverly Hills 90210."

When you start touring, you will notice that some shows you play are "better" than others (as far as attendance, audience reaction etc). Chock those nights up to good shows, rather than that area being good for Metal. The truth is, any area can be great for Metal and any area can be horrible for Metal. It’s what you make of it, hence the importance of finding your OWN audience. It's better to have a Long, Fruitful Career of touring (with Good Nights and Bad Nights in many different cities), than a Burnout career in either your hometown, or worse yet, some city you moved to because Metal is the cool thing there.

If you choose the Burnout Route (ie staying in your hometown or moving to a place where metal is cool), you will feel like a Huge Rockstar because everyone around you will know who you are. You will feel great while it's happening, but you will either hit the Glass Ceiling by oversaturating one market, or you will wake up one day 20 years from now, and realize that the "Cool Scene" that always treated you so well, has dissipated into thin air... Poof there go your dreams...

Don't be that Lame Ass Burnout who thinks the Cool Scene that he or she dominates is going to "make it."  You can waste the next 20 years of your life in The Cool Scene, or you can take my advice and Get your Fucking Brutal Metal Ass on The Road and make Something of Yourself. Your choice. Scenes everywhere await your Angry, Brilliant Music!
 
   - Sincerely
             The Fabulous Miss Wendy

Monday, March 4, 2013

Universal Language: A Super Brief History of the Pentatonic Scale



I’m sure everyone has heard the idiom ‘music is the universal language’ right? That’s definitely true for a lot of reasons but there is one reason why it is literally true and it has to do with our good friend, the pentatonic scale. Hold your moans and groans blues haters, there is a really good reason for this that some of you may not know.

The very first musical scale of repeating notes in pleasant intervals in every ancient music making culture was…drum roll please…The Pentatonic Scale. That’s right, from Asia to the Mediterranean, from Africa to the British Isles, the one thing we all have in common is that little five note scale we all know and love so well. Why is that?

Before mankind came up with modes, the circle of fifths and confusing, complicated chord names like ’ Fsus2 b5/B’, (say that five times fast) we just knew what sounded good to us so to find these notes we used our own very finely tuned instrument: The Human Ear.

Most likely after inventing the camp fire humanity noticed that a plucked string with the proper amount of tension makes a very pleasant sound. After that we discovered that if we pluck a string at half its length, we get the same note, one octave above. This is the first natural interval that sounds pleasant. Now we have two different strings to play with, one octave apart. Now the fact that this is a naturally occurring phenomenon allows for us all to discover this on our own and come up with the same scale.

So now we have our octave but we want a variety of notes to play with so the next step is to find the notes in between the octaves that sound good together. Because we discovered music before mathematics and equations, all we could do is find the next note that naturally sounded the best in relation to that first note.

There are of course several ways to discover these notes. The Egyptians created harps with a series of strings of different lengths; some ancient Chinese instruments only had a bowl and one string. Either way, they can achieve a similar goal.

 You may have noticed a phenomenon called harmonics. This is when you lightly touch a string and it produces a clear note. There are only so many places on a string that will produce a harmonic: half way, on the quarter, and on a third of the length of the string however only by plucking the string at the third of its length (7th fret on the guitar) do we get a new note.

Ah Ha! Ok, were on a roll right? We can apply this make a new string that is shorter by a third. This is the 4th string on a 6 string harp, 6th being one octave from the first. Take the harmonic on the third of that string and voila, we get the 2nd string. Repeat this on the 2nd, and we get our 5th string, then our 3rd and we have our scale and a harp tuned naturally to itself. Now add frets at those same intervals along a one stringed instrument with a neck and we can create melodies over the harp chords.

After our collective ears naturally picked out the whole tones and landed on five whole notes that sounded great together and stopped there for a while. And what is fascinating is that because this is a naturally occurring phenomenon  all cultures developed this scale independently from the each other and we all created harps and lutes of various kinds, all different yet quite similar is function and design. Add these to the drums and percussion instruments that came before, we have ancient bands playing music that could be easily adapted to other cultures. To me, this is absolutely amazing and equally beautiful.

So here we are, five thousand years ago and we have an ancient Egyptian, a Persian, a Celt and a Chinese musician all playing the same relative  five note scale in completely different cultures in a different context. Try it out. Find any old folk song form Japan or Syria on YouTube and try playing the relative pentatonic scale on your instrument. Chances are you will find a passable melody. Pretty cool eh?

Now today, we enjoy clashing notes, 7 note scales, semitones, diminished and minor scales, but originally, we were not inclined to find much enjoyment out of semitones, which tend to clash together when played simultaneously so naturally we landed on these pleasant sounding notes and we all thought it was hunky dory.

 Eventually, as all musicians do, we got bored of using the same scale all the time so over the millennia we added semitones, diminished scales and so forth to add complexity and variety to our music but it all started form our good old friend, the pentatonic scale.

How Music Works by John Powel
The Creation of Musical Scales http://vaczy.dk/htm/scales2.htm
Ancient Greek Origins of the Western Music Scale 2.9 http://www.midicode.com/tunings/greek.shtml