Jack White Interprets Hank Williams’ ‘You Know That I Know’

Click Here to listen

Jack White was among a hand full of people selected to perform unreleased Hank Williams songs.  The material has come from a notebook found after the country stars death in 1953 at the age of 29.

Jack’s interpretation is amazing and the lyrics show us why ol’ Hank was such an amazing writer.

http://www.rollingstone.com/music/news/exclusive-stream-jack-white-interprets-hank-williams-you-know-that-i-know-20111003

 

 

 

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Chino Moreno just unveiled a new project called †††

Chino Moreno of Deftones just unveiled a project called ††† with a five-track EP, simply titled 

Get the free download HERE

This stuff is AWESOME!!!!

†††:  Tracklist:

01 †his Is A †rick
02 Op†ion
03 Bermuda Locke†
04 †hholyghs†
05 †

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Four Reasons It Pays for Songwriters To Be Patient

Below is an awesome BMI article written by Cliff Goldmacher that I wanted to share

“Looking back on 20-plus years of writing songs, it’s a lot easier for me to connect the dots now and see that the things I was doing years ago would eventually bear fruit. I can safely say that nothing ever moved as quickly as I thought it would, yet I’m constantly surprised at the ways that my long-forgotten efforts have come around to generate royalty income. All that to say, it would have saved me a lot of frustration knowing that getting up every day and working on my craft would end up paying off — on its own schedule, not mine. Here are a few specific reasons to stay patient in the pursuit of success in your songwriting.

1. You’ll enjoy the process more. There is nothing more frustrating than waiting for something to happen that’s beyond your control. For example, you’ve read a listing on a pitch sheet looking for songs for a “last-minute” opportunity and they have to have them right away. The reality is that nothing actually happens “right away” and everything is “last minute.” So, after submitting your song, instead of constantly scanning your emails and sleeping with your phone, simply put a note in your calendar to follow up with an email in a week or two (not before) and forget about it. I know this is easier said than done but it will keep you sane. By the way, the easiest way to forget about one thing is to be working on something else.

In other words, you should have as many irons in the fire as possible so that you’re not waiting on any one thing to happen. By “irons in the fire,” I mean looking for other pitch opportunities, new co-writers and any one of a million things that you can be doing to have success in the music business. If you’re patient, your day-to-day will be a series of small steps and tasks that will keep you focused and productive without allowing you to linger on any one thing for too long. Also, that way, when something does come through you’ll be pleasantly surprised.

2. You’ll keep your perspective. Given that there is absolutely no such thing as a “quick buck” in the music industry, your best bet is to think about why you’re writing songs in the first place. If it’s only for the money, you’re in for a rough road. Even the most successful songwriters have put in years of unpaid work before the money began to flow. If, on the other hand, you write because you can’t help it and you love the feeling of putting something uniquely your own into the world and you also hope to be financially successful, then your day-to-day will be the pursuit of something meaningful to you that also has the potential to generate income. If you’re patient, you have a much better chance of keeping that perspective while you’re pursuing your dream of success.

3. You’ll build better industry relationships. We all know that relationships with industry insiders (publishers, managers, record label execs, etc.) are highly prized for the connections and potential opportunities they bring. However, just like any relationship, it’s extremely difficult to build something of substance quickly. If you’re patient and don’t try to force-feed your music to every person in the industry at every opportunity, you stand a much better chance of developing the kinds of contacts that move you ahead in your career. These relationships take years to develop (not five minutes at the bar of the hotel at an industry conference). What if instead of launching into a ten-minute, spoken-word bio the next time you meet someone in the music industry, you tried asking them what they’re working on? Learn a little more about them and, in time, if you’re doing great work, they’ll get to know about you, too.

By not treating every interaction with someone in the industry as a do-or-die situation, you’ll feel less pressure to make something happen immediately and enjoy getting to know them. Then, in time, you’ll have someone receptive to your music when there’s an opportunity. Here’s a small tip: It’s the administrative assistants and receptionists of today that will be the heads of film/TV departments tomorrow. Don’t ignore these folks in your search for someone more powerful who can help you. Take your time, build your industry relationships slowly and organically and watch what happens.

4. It’s out of your hands anyway. While there is a lot you can (and should) do on your own behalf every day, the music business goes at its own speed no matter what you do. Songs, even “undeniable” hits, routinely take years to find a home after they’ve been written. The journey from the creation of a song to a royalty-generating copyright is as mysterious to me now as it was when I wrote my first song. So, given that it’s out of your hands once you’ve written, demoed and pitched your song, why not be patient and keep filling the pipeline with new songs and pitches? Develop your craft, write as much as you can and one day you’ll look back to see you’ve got a catalog of great songs where some of the older ones are actually generating income.

I once heard a hit songwriter say that he wrote one of his hits in “three hours and 25 years.” In other words, while the song took three hours to write, it was his 25 years of patiently refining his craft and developing his career that made it happen.

As long as you’re not planning on being a songwriter for this week only, take a deep breath, work on your songs and your career a little every day and enjoy the ride. You’ll be amazed in a few years when you look back and see how far you’ve come. Good luck!”

http://www.bmi.com/news/entry/552248?utm_medium=email&utm_campaign=August+2011+eBulletin&utm_content=August+2011+eBulletin+CID_69b1b5ee055904c9571b3c96ca640dc8&utm_source=Email+marketing+software&utm_term=Four+Reasons+It+Pays+for+Songwriters+To+Be+Patient

 

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter and his company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a free sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: http://www.facebook.com/EducatedSongwriter
Twitter: edusongwriter

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“What does a stone sound like?” – The creator of Melodyne

This is an amazing video about the life and work of Peter Neubäcker, the inventor of the vocal pitch software, Melodyne.

His thought process is fascinating and there’s a lot of cool history in here as well including how the musical scales were derived long ago by Pythagoras using fractions.  He was also inspired by the 17th century mathematician, astronomer and astrologer, Johannes Kepler and his book The Harmony of the Worlds.

watch the video here – http://www.celemony.com/cms/index.php?id=interview_peter&L=0

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File Sharing Not Evil: EMI’s Ex-president, Digital Music

File Sharing Not Evil: EMI’s Ex-president, Digital Music  Chris Marlowe

Douglas Merrill grabbed considerable attention for saying that sharing music files might not be a bad thing. This sentiment has been voiced before, but not by someone who had been chief operating officer of New Music and president of Digital Business at EMI Music. Merrill also was chief information officer and vice president of engineering at Google, and now he’s CEO of ZestCast, so he’s not an easily dismissed firebrand demanding that information wants to be free.

During his keynote speech at CA Expo in Sydney, Australia, Merrill said he felt the music industry was “collapsing” when he joined EMI in 2008, but “the RIAA said it isn’t that we are making bad music, but the ‘dirty file sharing guys’ are the problem,” ComputerWorld (Australia) reported.

“There’s a set of data that shows that file sharing is actually good for artists. Not bad for artists. So maybe we shouldn’t be stopping it all the time,” Merrill said, according to Cory Doctorow’s post on BoingBoing. “Obviously, there is piracy that is quite destructive but again I think the data shows that in some cases file sharing might be okay.”

It’s perhaps not surprising that Merrill left EMI in 2009, less than a year after taking on the job.

“Going to sue customers for file sharing is like trying to sell soap by throwing dirt on your customers,” Merrill said. He then deadpanned, “That’s not theft, that’s try-before-you-buy marketing and we weren’t even paying for it… so it makes sense to sue them.”

Merrill obviously had insights of interest to a wider audience of executives as well. Among these were that managers should hire a diverse group of employees to get a wide range of inputs, stay out of the way more often, and be aware of innovation regardless of its source.

As evidence, he cited that 66 per cent of the Fortune 100 companies have either disappeared or have dropped off that list since 1990.

“Eastman Kodak is my favorite example. It has more patents than any other company on earth and is the most successful research company,” Merrill said. “In 1990 a young researcher invented the charge coupled device, which is the core of every camera today. His boss said, ‘You’re a moron. We make film.’”

He also warned against reliance on focus groups, particularly when it comes to disruptive or innovative products outside of their experience. Google’s popular spell correction feature came from observing what users did with the service, Merrill said, remarking that customers wouldn’t have said they wanted it until after they actually tried it.

http://www.dmwmedia.com/news/2011/07/27/file-sharing-not-evil-emis-ex-president-digital-music/

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Reggae Nirvana!

This is AWESOME!  

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The love you take = The love you make

Looks like the problem we face with people fixing themselves with technology hasn’t been a recent one.  You may get pissed about auto tune or fake musicians but in the end, the ones who will last will be the folks who really got it.

or should I say,

“And in the end the love you take is equal to the love you make

Beatles Interview: Chicago 8/20/1965

Q: “We have with us George Harrison in the basement of Comiskey Park in Chicago. George, at the taping last week of your show, I was concerned about whether you would do one song– ‘Help!’ and you did it. And the quality of the song in-person, in contrast to the recording, was just so fantastic. I just couldn’t believe it. Did the Beatles have problems perfecting a stage sound?”

GEORGE: “No. We’ve never had much trouble, because right from the beginning when we started recording, we’d just record in one take. You know, things like ‘Twist And Shout’ and ‘Saw Her Standing There,’ which were all on our first album in England – we just turned the recorder on. We got a sound balance in the studio – just put the tape on and did it like that. So we never did any of this overdubbing or adding orchestras or anything like that. It’s only recently where we’ve been using a bit of overdub stuff. We’ve added things like tambourine, which you don’t notice, you know. Because we still like to think we can get basically the same sound on stage.”

Q: You always see these groups who appear on television, and the sound is so different from the sound you hear on a recording.”

GEORGE: “Yeah.”

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