Experience, learn, always laugh, sometimes cry, repeat.

Experience, learn, always laugh, sometimes cry, repeat.

Some people love to say how difficult their chosen "career" can be. They complain. Sometimes it comes in the form of a joke, sometimes their words and actions straight up drip with venom, and sometimes its a subtle comment of desperation and frustration.

It's usually easy to imagine, feel, honor, glorify and visualize our next grand accomplishment in the career of our dreams. But that's not all there is to it. What does it mean to follow your career path? It means if it's true, it will be hard. If its TRUTH, it will be the hardest. Follow your instinct, follow your gut, follow your dreams and they are guaranteed to lead to hard times. But if they are really your truth, you don't have a choice anyways. So, if we choose to go the hard way and follow our truth, then we do it intentionally with the knowledge that we are not going to have a breezy stroll down career street. We can, however, learn to discipline our minds and hearts over time. We can learn how to honor our feelings of self doubt and frustration, but not live in them. We can start to take command of our subconscious. And slowly over time, we get really good at what other people might call having a thick skin, or "no worries". Its really just the ability to deal with in a healthy manner, all the negative bullshit that surrounds following your truth.

So, experience, learn, always laugh, sometimes cry and repeat.

ps: for week 6 of 52 in 52 go to https://soundcloud.com/nickbullock/grand-design

Commitment

Commitment: The scary thing about committing is that you are officially on the hook. The scary thing about being on the hook is that you might be taken to task for not seeing it through. And if you fail, not only do you let others down, but you let yourself down, and that doesn't feel good.

But commitment is also confidence, it's a way of publicly stating your intentions. It's a powerful statement that "yes, I can" is in action. And the funny thing is, even when you trip up and make mistakes, people usually respect those who have whole heartedly committed themselves to something (an ideal, a job, a process etc), and rather than hanging you out to dry, they tend to give you a second chance. The question then is how do we want to perceive ourselves (therefore have others perceive us)? Whether we commit a "take to tape" at a recording session or commit to a relationship, I think the answer is obvious.

this week in 52 in 52:

The Hand That Pushed:

to stream, go to: https://soundcloud.com/nickbullock/the-hand-that-pushed

Each Path To Success Looks Different/Understanding The Bigger Picture AND Week 3 of 52 in 52:

As a professional (actual or aspiring) musician, each path we take is unique to ourselves. The challenges we face are somewhat universal, but each solution should be tailor made to meet our unique needs. Or maybe a better way to say it is we each have a unique path to success to live out, and the tribulations we fight through to get where we want to go are an important part of that story.

One of the most important questions each artist asks themselves is "how can I get paid for my art"? How can I make music and make a living doing it? The answer lies in the unique situation each individual finds him or herself in. If you're a songwriter, maybe the answer lies some where on music row, getting a pub deal or the like. If you're a band, maybe the answer lies out on the road, on the club circuit. If you're a singer, maybe the answer is you tube… my point is that we each have a unique set of talents to meet each set of challenges with, and our job is to first identify and understand where we want to go with our careers then work backwards to get there. For me, I want to be known as a great producer who helps artists achieve their sonic vision, and as a great guitar player and songwriter in my own rite. (sound familiar?)

So how do I get there? Well, for starters, I make very specific, time sensitive, small and achievable goals (S.M.A.R.T.). These goals are specific to me (for example, booking four records or EP's a month at my studio etc) and meet my needs both in the short term and long term. They come from the roles I give myself (husband, business owner, and band leader of The Sound Awake).

What are your roles? What are your goals? Once you identify where you want to be, work backwards and define the steps that need to be taken.

The last thing I'll mention is about understanding the bigger picture. Each "failure" can be turned into a success story. For example, if you're a band that tours, and you play an off market in-between two major markets, and the turn out isn't that great your first time through, then at the very least, you have a great data point that says next time don't play the off market show, or if you do, understand what situation you are walking into, and figure out how to turn that into a win. You've got the data, and data is powerful stuff. I think too often we as artists can get lost in the negativity, the self doubt and we forget that at the end of the day, this is a business we are in. Yes, commerce AND art coexist. This doesn't mean you need to bow to the gatekeepers of old, (I think this entire blog post has been about defining success and the path to it by yourself) but it does mean that the more you think and act out of the bigger picture, the happier you'll be (and probably the quicker you'll achieve your success).

This week 3 of #52in52

In Disguise

The link: https://soundcloud.com/nickbullock/in-disguise

ps: thanks to Jay Frank and Nathan Dohse for the great conversation this week and inspiring this post… smart and talented dudes

Happy Holidays, Still In Love With Music

It amazes me, that after fourteen years of calling myself a professional musician, I'm still lucky enough to do this for a living. More importantly, after all that time I still love what I do. I've definitely burned the wick at both ends plenty of times through my journey, but I haven't burned out. That got me thinking as to why I'm still doing what it is I do? Why, when its so easy to get frustrated, or more specifically for me, sometimes it can feel helpless. Being a musician, and relying on your income as a musician, can be precarious at times, and down right stressful. A friend recently wrote a face book post about his self proclaimed addiction to being a musician, and how it's cost him relationships, financial hardship and more. I can relate on some level. It definitely manifests itself as a need.

The other side of the coin is that being a musician is life giving, life altering and a spiritually rich path, every day. I've met my closest friends doing what I do, I met my wife, by doing what I do. I've had more adventures with my best friends in the last ten years alone than most people get in a life time. Being a musician led my wife and I to move to Nashville, which has brought immeasurable gifts, both personally and professionally. A whole new set of friends and relationships to build and nurture. I've been lucky enough to share in the experience of making records with close friends, which brings us inevitably closer as friends, as we dig deep together.

Thats the side of the coin I choose to look at everyday. And thats why I do what I do.

I guess, for me, when I boil it down, music is really what I need to do. Yes, it's a passion, but it goes a little beyond that, it is what I was put on this planet to do, and the older I get, the more certain of that I am. When I was twenty two, I wanted to be in a band that was world famous, and successful beyond my imagination… like cover of Rolling Stones famous. Of course, I loved music and playing guitar then as I do today, but I had big aspirations. Now, my aspirations are a bit different, but just as big in their own ways. Gone is the desire for the RS cover, replaced with the desire to get to know all the players, producers and artists I can. People that have been on the cover of RS, and people who have not. The more I do this, the more I realize its about these experiences that I collect along the way. It's these experiences that make me rich, "famous", a better producer, a better writer and so on.

If you are pondering whether or not to follow your musical talents and turn them into a career, let me be the first to tell you that it is 100% possible to make a living playing, writing and recording music. Let me also tell you, you better feel the need to pursue it from the bottom of your feet to the top of your head. In the age of "fair game" internet, and singing TV Show idolatries, more people than ever before feel they are worthy to pursue music as a profession, and maybe they all do, but it takes a particular kind of musician to maintain, and see the bigger picture through all the (temporary) set backs and frustrations. Being self employed can be tough, especially for musicians, who dare to make a living out of their art. But I'm here to say, if it is what you are called to do, if it is what you were put on this planet to do, be brave and do it. You can do it.

Merry Christmas and Happy Holidays everyone. Thanks for a great year Nashville! Thanks to all of you for taking time out of your busy lives to read this blog. There are a ton of things to look forward to in 2015, and I can't wait to share them with you all.

My Week in Nashville in Pictures and Words

Hey Friends, I thought it would be cool to share my week with y'all here in Nashville, in picture form :)

Sunday, I got to work with this sweet lady, Heather Hershow, a songwriter here in Nashville. We met a few weeks ago, and she wanted to do a single of one of her tunes. We're kind of going for the popier side of country… which is really cool for me, because I don't get to go there all that often. It's always fun to do something a little bit different! She has a great voice and it's a really good song, so that always makes it easier and more fun… we'll finish her single up probably sometime in the next month, but for now you can check some of her older stuff out here if you're curious: http://heatherhershow.wix.com/heatherhershowmusic#!music/c1x9v

Cait and the Bad! My other band…. we rehearse every monday. That's Dan playing drums, and Kevin (from my band The Sound Awake) playing bass while his bass wears my wizard hat (thanks Will for the hat!). We have our first gig this coming wednesday at the basement! Cait Leary writes some great songs, and can sing her but off, and recently we added Paige to the band, who let me tell you, can also sing her but off, and the two of them together = magic… We haven't recorded anything as a band yet, but I bet in 2015 we will… you can check out some of her older recordings at http://cait.bandcamp.com

Then Tuesday, I met with another artist that I'm producing, Miss Lauren Pratt. Lauren has a voice of an angel really, she's a trained music school geek like myself, who writes great songs. I'm really excited to see where we take this record, as of now, we're still in preproduction mode, but the work tapes we are getting done sound really great already. Think somewhere between Gillian Welch and AKUS… it's amazing how talented everybody is down here. You can check her out here: https://www.facebook.com/laurenprattmusic

Then on Wednesday, I got to hang with my buddy Joe Novelli, who was in town to see some buds play in Nashville, and playing some gigs in Asheville NC. Joe is probably the most talented lap slide player I know, and really, one hell of a dude. After seeing his buddy Tyler Ramsey (Band of Horses) play a solo set, we came back to my studio and hung till 3am or so trading songs and stories… I really like hanging with Joe, and it was a treat getting to catch up. And seeing Tyler perform was awesome too. http://joenovelli.com

Thursday night found me and my two band mates doing some recording for future projects and releases to be announced soon in 2015. Still working on the website too, but eventually it will all come to fruition.

Friday, I got to hang with Beau James and Jenny to finish tracking for his record that I'm producing. You've probably heard me write about him before on this blog, but in case you haven't, this record is full of heart ache, pain, joy, trials and tribulations, and most importantly Beau's truth. I feel very blessed to be able to work with artists who dig deep, and really push themselves. Jenny laid down some great back ground vocals to tie up all the loose ends that evening, and  now we are just starting to mix. Really, this one is special, I'm not just saying that. http://www.reverbnation.com/beauwigington

Saturday, I got to spend some quality time with the most beautiful woman in the world! She really is my better half. Meredith, I love you, you are the light of my life, and with you, I am whole. This thing called life is much better with you, my beautiful wife. www.meredithcbullock.com

Sunday we had some visitors from my home town of Rochester. Pete and Marney brought me some reminders of home, Wegmans in particular. If you are aware of who and what Wegmans is, then you know that it is possibly the best grocery store out there… maybe after Whole Foods… and yes, for those in the know, that's some Country Sweet wing sauce that they brought me… come over some time and maybe I'll let you try it :)

And that was my week!

Before and Now: One Year Left

What would you do with only one year left to live? How would you live, what would you change? What are you meant to do with your life?

Starbucks CEO Howard Schultz hadn't even started working for Starbucks till he was 29

Martha Stewart worked on Wall Street for five years before starting her brand.

At age 25 Mark Cuban was sleeping on a floor, sharing a three bedroom apartment, with five other guys.

John D Rockefeller made his billions early, but his life didn't really begin till he got deathly ill, was given a year to live, and decided he couldn't take his wealth with him to the grave. Philanthropy became his soul purpose in life, his true calling, and he lived for another 40 years giving his money away.

JK Rowling was diagnosed with clinical depression, and was married, had a child, and got divorced all before she got the first Harry Potter book published.

At 29 Oprah Winfrey moved to Chicago to host a local morning radio talk show.

My point in all of this is that we are not always in control of where the universe brings us. We are not always where we need to be, and we sometimes don't get what we want in life. But time and time again, I have seen with my own eyes, that life puts us right where we are meant to be. Do you think that any of the above people knew that they would end up where they did? No. They might have dreamt, and visualized, and prayed, and worked their asses off, but there are no certainties in life.

When I was 15 I wanted to be a professional point guard in the NBA. Just ask my friends... i even once told a friends mom that I would buy her a new car when I got drafted... they still like to remind that I owe them... I was devastated when I didn't make the team. Later that year I picked up the guitar.

We might not always get what we want, but almost always we get absolutely the best thing for us, even if we don't recognize it at the time.

So, if you had one year left, what would you do with your time?

The Listener is...

A wild beast, unpredictable, untethered, and roaming the desert constantly changing its habits, making it almost impossible to track or chase. So what do we musicians, artists, players and writers do? Do we follow the trail, hire a tracker, load our packs with fifty pounds of shame and frustration and set out to capture their attention? No. Well, yes, and no.

We let them come to us, by being ourselves.

Yes, we do practice to get better, yes we are listening to the times pass with our ears to the ground, keeping track of culture's momentum. Yes, we want to know what the thirteen year olds are digging on. Yes, we want to know what is happening in the clubs of NYC, on the front porches of Nashville, and in the back yard parties of LA. I say it IS good for us to know who headlines what EDM festival, and what the top college radio stations are playing. Its always good to keep your eyes open when you're in the wild desert homeland of the listener. So listen good, take notes, copy stuff, learn from everything, learn it all. Then forget it all, and let your voice come through.

Thats the only way you are going to lasso the listening public. Thats how you'll build a fan base. No matter what you do, if its really you, its really true, then the wild listener will find you.

From freak flags to sweet melodies... the right people are out there, your tribe awaits. Follow your own road.

5 Questions with Kyle Cox

Kyle is one cool dude. I first met him through mutual friends while he was here working on his record... which is awesome by the way. Give it a listen at http://kylecox.bandcamp.comSince first meeting we've kept in touch and kept tabs on each others happenings. I have to say, I love it when talented friends find well deserved and hard won success. Kyle is a great singer and writer, I asked him a bit about his process, what it was like working with Mike Marsh, and a few other things... here are his responses, enjoy!

1. What does a good song mean to you? What does it do for you?
This is such a difficult first question to answer. I feel like I'm always debating this in my own mind. I have so many friends I respect who totally view a "good song" way different than I & they aren't wrong. It's a very subjective thing.

For me, lyrics, melody, & structure are the 3 main elements I consider to make up a good song. And in that order of importance. If those things don't hit it for me, then I have a very hard time enjoying the song. Like if I have no idea what you are singing about, but the melody is catchy & the structure is real tight, I still will have a hard time enjoying it. Recently, however, I've been trying to not be so critical.

It's like food. Food is food. Taco Bell is just as much food as a $300 steak at the fanciest restaurant in town. Obviously one is "better" than the other, but it's still food. It's still going to fill you up, give you energy, & sustain you to your next meal. Both even have their place & time. The same with music. It's all got it's time & place, even if it's not my favorite, that doesn't mean it's not good or serving a valuable purpose. So I guess what I'm trying to say is, music is like food & I love Taco Bell.

2. You play a lot of intimate house shows, what is the difference between a house show like that and other concerts you've played? Do you like one more than the other?

 

I do play a lot of house shows. I really, really love playing house shows. Even though I am an introvert (and a very strong one at that), I'm a very relational person as well. I love the barriers & walls that get torn down during house shows between the listener & artist. It's a very relational thing. There's no lights, stage, speakers, etc that separates the artist from the listener & almost puts the artist on a pedestal. It's very transparent & very equalizing with the listener. No "rock star" persona possible when you are sitting on a couch in an apartment & the owners cat jumps on your lap mid-song.

There's also a lot more conversation that happens, it's a very vulnerable moment as an artist, and I think it's one of those things that in order to really make it enjoyable for the listener, you as the artist have to connect with them personally.

I do love playing any & all shows, period, and there's definitely something special about venues that you don't get in a house show setting, so it would be hard to say I really like one over the other. But currently, it seems the fans that have been connecting with my music the best have been the ones who have seen me at a house show.

3. You normally play solo, what was it like working with producer Mike Marsh and crafting an album with more of a full band or produced sound?

 

It was a killer experience. We've actually been working together a little bit before this record. Our first time working together, I sent him some acoustic demos & he emailed me drum tracks. Then I just tracked the rest in Orlando at a studio. The next time I came up to Nashville, tracked 2 songs full production with him in 4 days & it was such a rad time that as I was walking out to my car to head back to Orlando from that session, he literally said "write a record this year & let's record it this summer." So that's what I did.

I've definitely built a lot of trust with him, so tracking full band was rather easy for the most part. I would just send him the demos I did at my house, he'd track drums to them, have someone track bass, & then I'd come to town with bass & drums finished. It was very streamlined. I'm not really protective over the arrangements of my songs, so I'm always willing to do & try whatever idea anyone I trust has.

It's like raising a kid I guess (although I'm not a parent...ha). You obviously have an idea of what you want your kid to be once they are born. Like an ideal scenario in your mind. But to force your kid into that ideal probably isn't the best way to raise them. You want to give them all the options possible & let them develop into the person they were meant to be. It doesn't make that kid any less your child if they don't end up exactly like you imagined, & honestly, it probably makes them a better person. I think the same thing goes for a song. I sometimes have an ideal vision for where I see it going as a song, but I also want to see it go where is best for the song. Nine times out of ten, just letting the song grow in the studio usually leads the song to a better place than I'd imagine it would've gone anyway. It also doesn't make it any less my song.

4. What was the hardest song to write and cut on the record and why?

 

Hmmm...I'm not sure. I don't think really any of them were tough to record. The song I definitely spent the longest time writing would probably be "Bring Us To Our Best." I'm still very proud of those lyrics & I spent a real long time writing them.

I think the song I was least excited about recording was probably "Honey, Let's Run Away." Not because I don't like that song at all, but it is the oldest song on the record. I probably wrote that song 4-5 years ago & have played it for so long that it's just worked it's way out of my live set. I still think it's a cool song, but the honeymoon excitement of that song has long worn off well before I even dreamed of recording a full length. I think because of that, it was a little tough to get excited about the track & come up with some cool ideas. I definitely have to throw the arrangement credit to Mike on this one. He really brought this one to life & made it seem brand new to me again. He did such a good job producing this track. It's become one of the favorites of a lot of people I know.

5. What are some of the things you are looking forward to most now that you live in Nashville?

 

I think what I'm looking forward most about Nashville when it comes to music is just doing more of what I was already doing in Orlando. Orlando is amazing & I am so proud of being from that city, but there's just a limited number of places to play & music events to be excited about. The ones that are happening are super awesome & I love them, but there's really only 3 venues in town I love to play, 1 open mic I really love, and 1 songwriters group that I was a part of. 

 

I'm excited about just doing more of those things in Nashville. If I wanted to play a different open mic every night of the week here in Nashville, I could. There's far more than 3 venues I'm excited to play & that I have played already that I love. I've already had 2 groups of friends (you, Nick, being one of them) that have talked to me about doing a songwriters group. That's just all the stuff I'm really excited about. Doing a high volume of the things I was already doing in Orlando. The things I could only do once or twice a month I now can do 4-5 nights a week if I really wanted to.

 

That's a very exciting thing for me.

 

I'm also probably just as excited for seasons. I love seasons. I love that the leaves are changing & that it's cold. That rules.

 

Anything else you want to mention?

 

I have a full length record that just came out called The Plan, The Mess. You can find that record on iTunes,http://kylecox.bandcamp.com or http://www.kylecoxumusic.com

If you want to know when I'm playing next, head to my website or follow me on Twitter at http://www.twitter.com/kylecox

Humility

There is nothing noble in being superior to your fellow man; true nobility is being superior to your former self. "
-Ernest Hemingway 

The more "successful" people I meet, or read about, or listen to, the more I realize they all share a certain, and maybe necessary  trait, humility. I'm constantly amazed at their genuine warmth for the people around them. They might not always have the time they would like to spend with the people that they call friends, but when they do, they give 100% of their attention. Now of course, the same could be said for many people, fame/success or not. And actually, the overwhelming vibe here in Nashville (at least among the musicians) is one of support and togetherness. Which I think is part what makes it so special, and frankly, the real reason for the success of music city.

My feeling is that it is humility in particular, that separates Nashville from the other two (or three) towering "entertainment" city establishments...

What kills a skunk is the publicity it gives itself. "

-Abraham Lincoln

Anytime I've ever sat down on a gig or a session with someone who is constantly talking about who they know, what they do, and where everything they breath is about them, I immediately get turned off. As I am writing this and reflecting on it, it gets me sad. I think they are missing the whole point. When you come to a session filled with wonder, humility, passion and awe, it is truly mind blowing what gets accomplished, what gets done, and what fruit ripens from the collaboration. Pride on the other hand... is poison to a session (or a show, or a play, or a movie set, or a board room, or a CEO's office...).

Humility moves and inspires people. It motivates us to do better, to take risks, and make more of a difference. Humility is the cousin of empathy, that very human response in most all of us that allows us feel the pulse of our fellow man/woman, and respond with kindness. Empathy cannot survive with out humility, it gets choked to death and becomes disdain.

And don't take me for a fool, pride can be a useful tool sometimes. It's always good to take pride in a job well done. The difference, at least here, is the attitude that you bring with you before the job has started.

Humility can be a tricky thing though, it can be the saving grace of who we are, and what we do, or it can disguise the devil. And don't confuse humility with self loathing. To love oneself is to be humble, because when you love yourself, you know who you are, what you are made of, and what you strive for... where you can be better. This is not a torturous thing, this is the benefit of humility. It is the reason I pick up my guitar everyday and do my best to be better. It is the reason I write everyday, so I can push myself and go deeper. So I can see myself more clearly as an artist. So I can recognize that same passion for depth in other artists and be a better producer, and help them achieve their own dreams.

Humility, that low, sweet root from which all heavenly virtues shoot. " -Thomas Moore

My recommendation, what I am constantly striving for; start from a place of humility, and allow the nature of the humble path to unfold in front of you. It will always lead you true. It is one of the keys that unlocks our true and full potential. Humility, passion and discipline... you can't go wrong. You won't go wrong.

Some pics of my week/weekend :)

Locheland/Springsteen show at the Stone Fox

Forget the name of the band, but they were great!!! At the Musician Meet up at BlackBird Academy

Some youngins from BalckBird Academy

One Year

Have you ever dared to start over, to begin anew, click the refresh button for your soul?

It can be something that brings out an immense amount of excitement from deep within you, but can also have you trembling your ass off. It doesn't always happen overnight, it can take time for you to notice the winds calling. For me, there are voices in my head, the good kind, that yell at me over and over until finally I gather up enough courage to listen and take action.

This September marked the one year anniversary of us moving to Nashville. It has been one of the best choices I have ever made, one of the best examples I can think about in my own life of gathering that courage, listening to those voices, and jumping off the cliff. I'm lucky, I didn't have to do it alone. I have the love of my life here to experience all of the ups and downs a year of transition can bring (a year of life can bring). I have supportive parents, a brother who is cheering me on, not to mention all the old friends from New York (and beyond), and all the new friends from Nashville (and beyond).

It can be really hard (and scary) to start all over, especially being a musician in a place like this. One year in, moving to Nashville has already given me so many blessings that I would have missed out on if I lacked the wisdom to listen to those voices in my head. Thinking back on the week I've had, I've gotten to hang with a grammy award winning producer that I really respect and like, I've been reunited with an old tour friend, and gotten to meet some of the cool people he knows here in town, I've co-written two songs with two great songwriters, I had a great rehearsal with a band that I get to play guitar in, and I am going to top it off by recording and producing an EP for a great songwriter and friend this weekend, where I get to flex some new gear that I recently purchased for my studio. Oh, and I bought a new piano! This week is a direct result of the previous fifty one weeks that came before it, and all the aforementioned support that I've been lucky enough to have. And it makes me really excited, because if this is what fifty one weeks of hard work brings with it, then I can't wait to see what one hundred and four weeks bring! The courage it takes to dive untethered into new territory, is no small amount. But when we demand the most for ourselves and out of this one life we are given, the new roads we are called towards give us more in return than we thought possible.

There are no guarantees in life, but i'm constantly amazed at the gifts each new turn in the road can bestow for anyone daring enough to drive blind around a corner.

You can do it.

Time to Show Up

I was hanging with a buddy the other night, and having both moved to Nashville at relatively the same time, we started talking about people who get the gigs in town, versus the people who don't.

The first person I recorded here in town was Danny Sierra Leone. I met Danny out at a new faces night at The Basement (probably still my favorite club to go see music), and after chatting with him for about ten minutes, I gave him my card and we parted ways. Fast forward a bit and we have one EP done, and an LP in the works. There are many bands and artists that I have met in similar circumstances, and have had the privilege to get to produce, record or play with. Each time it has come about by me just showing up and putting myself out there.

I will say that sometimes it is difficult to know how and when to show up. Each conversation we have or circumstance that we find ourselves in, can require a different reaction from us. Case in point, the buddy I was speaking about earlier, is an incredibly talented bass player... like really, really good. He asked me what he should say when he meets another potential employer/artist... "hey I'm a really good bass player, and you should hire me?". Of course he was being a little facetious, and that strategy would be more funny that anything else, but his question of how to present himself was a real one, and a challenge for many of us. I don't pretend to know the best answer for other people, I only know what has worked for me. It is definitely uncomfortable to put yourself out there sometimes, and that nervous feeling is usually my barramoter for taking action and going for it. Once I do, I trust in my ability to be myself, be genuine, be curious, be respectful, be professional, be nice, and from there, I give up wanting control. I can't control whether or not the band will come and record with me, or whether or not I'll get hired as a guitar player for the persons project. My buddy can't control whether or not the person hires him to play bass. The only thing we have control over is whether or not we put ourselves out there. There is no magic bullet answer for my bass playing friend, there is no definitive strategy that once implemented, it will guarantee him the outcome he deserves and wants. Yes, we could probably get into a conversation on how to have a conversation, how to read people, and how to manipulate circumstances, but then you're just kind of looking at it from a cold perspective... or being a tool, not a person. We want connection, not manipulation. So, the best advice that I can think of for myself and anyone else is to just show up and trust your gut. Be genuine, and be present.

I like to think my ability to be present, and genuine... to show up  is part of the reason that people like Danny Sierra Leone choose to work with me. I love putting myself out there, despite how scary it can be, because it has given me friends, work, and a creative energy that is life giving.

So, it's time to show up!

What can you do this week to show up? Share with us a story of you putting yourself out there.

Victoria Banks: 5 Questions With a Great Songwriter

I met Victoria Banks shortly after I moved here to Nashville. Right off the bat, she was warm, inviting, informative, and very  willing to help a newbie in town.

Victoria is getting ready to release a new record this Fall (October 7th), with pre order sales starting today. You can go here to pre order: https://itunes.apple.com/ca/album/indigo/id911603123

and here to check out her new single: http://www.reverbnation.com/victoriabanks/song/21654835-ruined?1336410755

You can find out more about Victoria Banks by going to her brand spanking new web site too: http://www.victoriabanks.net

As always, Victoria gave really thoughtful answers to my questions. I hope you enjoy!

Q: Do you write differently when you write for you the artist, versus when you write with the purpose of getting an album cut?

A: I can't say that I ever specifically try to write for myself as an artist.  As a staff songwriter, I'm in the office with co-writers 5 days a week writing for other people.  Sometimes I write with artists, in which case I listen to their material ahead of time to understand their style, vocal range, and the perspectives they like to sing from lyrically, so I can try and throw a pitch they can hit, to put it in baseball terms!  Sometimes, I'm writing for an artist who is listed on the "pitch sheet" my publisher provides; they have imminent recording dates scheduled with a producer and are often looking for a certain kind of song (for example, uptempo positive story song, or rangy midtempo life song not about love).  But on most days, my cowriters and I are just trying to write the best song we can write on that day regardless of who might sing it.  Some of those songs will stand out, feel right with my vocal range, and resonate with me emotionally, and those are the ones I end up recording on my own records.

On those days when my cowriters and I are not writing for a specific assignment, we often start off by going through our stockpiled lists of potential titles and "throwing out hooks" into the room to see if anything inspires us to write a song around it.  Or we listen through our collected melody snippets we have saved in our phone voice recorders to see if anything catches our fancy.  It's funny, but sometimes a title or a melodic/lyric phrase that previously didn't seem like anything special suddenly comes to life and takes on a new and inspiring energy when it's shared with the right collaborators on the right day.  The trick is to find that seed that wants to grow - and that grows easily - into a song.  You know you're really onto something when a song just falls out of you.

For me, the song that wants to be written today also often appears to me in the car on the way to a co-write.  Maybe I'm thinking about who my collaborators are…maybe I'm somehow plugged into their wavelength spiritually already…I don't know what it is!  But many times, I've had an entire first verse, entire chorus, or some significant chunk of a song pop into my head en route to the appointment.  I sing it to my cowriters when I arrive, and that's almost always what we end up writing for the day.

Q: Do you always try to write a hit song? Is there a difference between a great song and a hit song?

A: There is not always a difference between a great song and a hit song, but sometimes there is.  There can be a moment in the writing room when you find yourself at a crossroads.  Nashville writers have a running joke that one path leads to the radio, and the other path leads to the Bluebird Cafe.  You basically have to decide what your priority is.  If I think I can make a song commercial enough to cut, and still do the hook/melody justice, then that's always where I want to go with it!  After all, I'm being paid to write for the radio, and the long term future of my career as a songwriter depends on my ability to have hits.

Sometimes, it's the choice of making a hook positive or negative.  I recently wrote a song called "Ruined", and with a title like that, you'd think it would be a sad ballad about being destroyed by love.  But we turned the hook positive, and made it into a fun, groovy uptempo: "you're like a bottle of the best champagne and nothing's quite the same once you've tasted that/if I ever lose you, what am I supposed to do/I'm so ruined by you!"  That's going to be the first radio single off my new CD, and it's really getting a great response…maybe because of the positive twist on what you'd think would be a negative lyrical hook.  Radio likes positivity, so to raise your chances of a cut, you should make it positive.  However…there's also nothing better than a really well-written sad song…a "House that Built Me".  When those become hits, they become "song of the year" kind of hits.  But if you're gonna make it sad, it should only be a) because you're gonna record it yourself, or b) because it's going to be GREAT enough to get cut despite being sad.  Otherwise, it will collect dust on the shelf and never get recorded.

The choice of tempo is also a crossroads that you face in the writing process.  For radio, fast tempos are in demand.  When you think about it, artists might have one or two ballads on an entire record.  Most radio singles are uptempo or at least fast midtempos. So if a title will work as a more uptempo song, I usually lean that way.  However, when a lyric falls out of my brain attached to a slower tempo with a great melody or a smart lyrical twist, I'm not afraid to pursue that direction too.

I just did a writing retreat with Lori McKenna, who is a consummate ballad writer.  She can just slay you with a negative ballad.  But, those songs aren't getting cut much, so she likes to collaborate with co-writers who pull her into a more commercial vein.  There were times in the room with her when I could see both directions laid out at the crossroads, and as much as I would have LOVED to have gone down the negative ballad road to see where it led, we went the other way.  And then the combination of her lyrical bluntness with a commercial tempo/melody/positivity has made the songs we wrote really stand out in pitch meetings!

Q: How has Nashville songwriting changed over the last 5-10 years?

A: I've been a professional staff songwriter in Nashville for (gulp!) 17 years now, and a LOT has changed.  In the mid 90s, there was a lot of pressure to steer away from writing alone, so I learned to collaborate so that I could widen the number of people pitching the songs to include my cowriters' publishers too.  In the late 90s, record sales were falling off because of Napster and other illegal downloading websites, so "writing with the artist" became the thing to do.  (Record labels and publishers were realizing that by having the artist co-write the songs, they could tap into the publishing income stream and recover some of the revenues they were losing to downloading.)  When that happened, I had to learn how to a) write a song very quickly - usually within about 2 hours - to fill a specific need for a specific slot on a specific record, b) dare to suck and not be freaked out by the fact that I was in the room with someone famous…or egocentric…or ADHD, and c) pull an idea from the artist's own experience in order to tap into an emotion that they're currently feeling so they will relate to the song and feel invested in it.  In addition, I have often written with artists who are NOT songwriters, who don't play instruments, who may have never written before and who may not even contribute at all to the song.  The trick is to try and pull something out of them, and sometimes to write the song DESPITE their presence and somehow still make them feel like they're contributing to what's going on.  You're half songwriter and half psychologist in those situations!  But your chances of getting a cut on records these days is way higher if the artist's name is on the song.  In the best case, that means having the opportunity to work with a talented visionary who knows what they want to say and you just tap into that.  In the worst case, you're sticking someone's name on the song you wrote…but that's the way the game is played.

Since 2001, radio has gone the direction of the testosterone-driven "bro country" thing.  Even more so, lately, with artists like Florida Georgia Line and Luke Bryan.  So that has changed the writing process too.  Now, I collaborate with "track builders" who often don't write the song, but sit in the room and build a kickass sounding demo while the song is being written.  By capturing the magic of the energy that's in the room, and by putting their own touch on it to bring it into a somewhat programmed sounding, somewhat pop-emulating production, they're often putting the song over the edge sonically so that it will grab the attention of artists and A&R people to get it cut.  Therefore, Nashville is starting to go the direction that L.A. went a long time ago in including the track builder as a writer.  Also, it's rare for me to write with just female collaborators anymore.  With so many males dominating the airwaves, it helps my odds to write songs that are pitchable to men…and that's a little easier to do when there's a guy in the room with me, even if it's just to say "nah, a man wouldn't say that" or "nah, that melody is too girly".

Q: What are some ways that you push yourself to be a better songwriter?

A: You know, I wish I could say that I have targeted specific exercises for myself to push myself to be a better writer, but I don't do anything like that.  I think to me, writing is just a way of life.  It's not a career.  It's an eat, sleep, breathe thing.  So I can't help but always be striving to be better.  I'm in it wholeheartedly, 5 days a week, in the chair at the office, writing a new song every day (sometimes two).  Listening to other people's music helps…going to other people's shows helps…doing your prep work to bring ideas into the cowriting room helps...going for long drives with my voice recorder helps…and keeping those antennae tuned for the next idea to be inspired by an overheard conversation or a TV show plot line is part of it too.  But ultimately, when you've written a couple thousand songs and you've still scheduled yourself yet again to show up and write another song today, you can't help but push yourself to make it better than all the others.  Otherwise, what are you still doing it for?  And the dopamine rush when you write a truly great song…that's an amazing feeling.  There's nothing better than that feeling.  Because you are going to live and die, but that song is going to live forever.  You've created something that can't be un-created.  You've created art!  That's what it's all about.

Q: What are you looking forward to most about your latest release? What was the most exciting part during the recording process? What else would you like to mention about the release?

A: My new record, “Indigo”, is coming out this fall.  I made this record differently than my last two, which I also love like my own children, but for different reasons!  My previous records were collections of my favorite songs I had written, but they were entirely geared towards country radio.  There’s a very specific sound, and a very specific kind of song, that fits into that box.  For this project, I just had a burning desire to make the record I wanted to make…not just a record of singles, but a record I wanted to listen to over and over again in my living room or in my car.  So there are ballads on it…there are sad songs on it…there are imperfections on it…and it’s produced in a way that doesn’t make you feel like each track is punching you across the face with compressed sound.  I worked with co-producer Park Chisolm to build each track from scratch, and many of them are based on my basic guitar and/or piano skeleton tracks I recorded in my home studio.  I’ve always aimed to combine emotional impact with an intellectual side in my lyrics; in the metaphors and turns of phrase.  I feel like this record is right up that alley.  And a few industry folks who previewed the record told me they think it will attract intelligent listeners who are fans of The Civil Wars, so hopefully listeners will feel the same when it hits iTunes!

What Nashville artist, band or songwriter should I interview next?

Fame vs Great

I'm on vacation. I'm staring at wave after wave crashing onto the sandy beach. I'm a lucky guy to be able to witness the millions of little happenings, lets call them experiments, that have over a long period of time brought about this particular sandy beach, ocean tide and sun shine into one masterful experience. I wasn't going to write a blog this week, but then I started reading The Rise by Sarah Lewis. I love vacations for lots of reasons, but at the top of my list, it allows me to kick back and enjoy catching up on reading and writing. Last time I had a couple of days of vacation I gave myself a challenge to finish three songs by the end of my four days off, this time, I'm being a little more relaxed about it all, not searching for perfection, but enjoying the process, and trusting it.

The Rise, at least so far, seems to be about the gifts that mistakes can bring to an artist or creative person as they develop. How mistakes, one by one, get us closer to achieving our goals as creatives. And that without them, we are worse off. Maybe a better way of saying that is it's not about the destination, it's about the journey (that old cliche!). I, as some may know, am not always a patient person when it comes to my career/creativity/destination vs journey... I'm not always patient with my own course of development.

We as creative American citizens/artists/entrepreneurs can and should be pushing every envelope we are given. We should be striving for excellence, and fumbling on the way. We should not expect the world to stop for our genius, we should instead seek to never stop ourselves from striving to discover our own genius. It is not about fame or money, it is about mastery. Perfection is a concept that is unachievable, and mastery is a noun, that brings forth memories of actions taken. Mastery is born from the ability to make mistakes and learn from them, again and again and again. I'm reminded of The Gap, an idea that was first brought to my attention by Ira Glass (http://vimeo.com/85040589). The Gap is the space between our current abilities and what we see our true selves being capable of, to put it simply.

I never knew that Michelangelo was famous for leaving works unfinished. But it makes sense. If completion is the objective then what is an artist to do once the job is done, cease being an artist? I know that with every song that I have written and recorded I am only giving it up to be released or to be put down on tape because I am ready to say goodbye and walk away from an imperfect and incomplete idea or concept. No song is ever finished really. I could and sometimes do drive myself crazy with nitpicking my work to death. Sometimes, more often than not, I am needing to move on, so the song is "done". This is how I track my idea of mastery, this is how I grow. And really, my ultimate goal is not to write a hit song, or produce a hit record, it is to be a master of my craft, a master of my tools. That is what really turns me on, and what gets me going.

And when I'm able to remember that I really do what I do (write, play, and produce music) because I love the inevitable discovery process that comes with wanting to master such crafts, I am able to take a deep breath, trust the process, enjoy the waves, breath, enjoy my book, and look forward with excitement to the good work that I am going to continue when I get back in my studio.

When I moved to Nashville, it wasn't so I could be a star, I moved there because that was where the biggest musical masters were from. So yes by all means, follow your dreams, start a business, start a band, paint a picture, try out for The Voice, move to NYC or Nashville, be an athlete. But do so for the love of the work, not to seek fortune and fame. Those things are fleeting. Do the world a favor, and seek to be a master. That is where greatness truly lies. That is what inspires people to change their lives and the lives of others for the better. The world needs more masters, maybe now more than ever.

Pop Songs with A Side of Meaning Please

There is nothing wrong with a party song. There is nothing wrong with a song about sex. There is something wrong with pop music when all we have are these two options as listeners. And yes, I know, you can dig, and find the niche artist(s) that fill the void for you, but with so much stuff happening in the world, you would think that some one out there in the pop music would start to question where we are as a human race. This is what music once did. Neil Young sang about Ohio, and Joni

 Mitchell sang about being Blue, and Springsteen sang about being Born in USA. They were and still are all considered to be part of popular music. What happened to all of our pop writers that were skilled with a melody and a turn of a phrase, AND had meaning and depth to what they had to say. I know they're out there.

It doesn't have to be just an exercise in baring witness to the outside world, I'm just as interested in the internal struggles we all face as a music fan. Thats why I mentioned Blue earlier. But there is more to it than whiskey and bouncing asses. Is there no one that is willing to risk? Is there no one that is willing to tell it as they see it? I don't care what side of the coin you are on, what political stance you take, what you feel is what you feel, and that is all I want to hear, that's what I'll buy. I want to hear you sing of the beauty around you, of the struggles, of the humanity, both good and bad that you see. "Three chords and the truth" they used to say. I think we've lost sight of the most important part of that cliche, the truth! 

Again, I'll repeat myself, I need a good "dance party" song, or a "forget all our worries" song too (I used to play in a funky jam band after all!), we all do. Blowing off steam is good. And I understand that the professional song smiths out there have families to feed and bills to pay, so I don't blame them for taking care of their business (I'm in the same boat). But music, while giving us that particular gift of forgetting our worries, once was so much more, and I'm talking pop music here.

I wonder if music in general can ever get there again? I believe it can. I have no idea how, or on what platform, or who it'll be. Maybe Miley Cyrus will grow up to have more depth than anyone would have guessed, maybe Bruno Mars will stop singing about banging like a guerrilla, or maybe Thom Yorke (one of my personal favorite song writers of all time) will embrace his lyrical side of writing like never before.

I believe like all things, the pendulum will swing back, and I'm going to do everything in my power to help it along the way. Radio might be slowly dying (right?), but pop music is, as always, here to stay. Our challenge is to make it mean something again.

What do you think?

Touring: Experimental Existentialism and Shut Up and Play

Have you ever toured before or wanted to hit the road in a van, with your best buds, playing your music? Who wouldn't want to, right? A few weeks ago, my band went on a ten day tour, starting down south and eventually ending up north to play a festival set near my old stomping grounds of Ithaca NY. All in all, playing eight shows along the way. I thought I would share some thoughts on my experience, both anecdotal and practical. First, a brief background for those of you who don't know where I'm coming from. I spent the majority of my 20's, in a van touring with my best friends.

We lived together, worked together, partied together, did chores together, wrote together, and recorded together. We were, in some ways, living the dream. One day at a time, we were figuring out how to be professional musicians in a professionally touring band, playing original music. We hit the jam band circuit hard for years, playing well over 150 shows a year for the majority of our time together. That is a lot of days on the road, I don't care who you are. We sacrificed much of our personal lives for the greater good of the band, and for our shared vision of what we wanted out of life. I'm very proud of those days, and I don't regret a single moment. Being in that band taught me many many things.

But, like all things, everything comes to an end eventually. When we split up, we all went our different ways, and I, out of my creative restlessness started a new band called The Sound Awake a few years ago. In the time that has passed since my "touring as a living" days, I have gotten married, started a business, sold that business, moved to Nashville, and started my studio, and a new musical/professional life here in music city.... so this tour that I mentioned above, was really like a dipping of the toe back in the warm waters of the touring lifestyle. More than anything, I was curious to see how I handled everything... so here we go.

The Existential Experiment:

Playing music you write to a room full of enthusiastic people is really one of the greatest feelings I've ever experienced in my life. It is an experience that I would encourage anyone who writes their own music to aim for. The good news is it's a reachable goal. I didn't realize how much I missed the camaraderie of being in a band, hitting the road, and doing it together. There is a bond that gets formed, regardless of personal differences, or personality traits or whatever... it's unavoidable. You get tighter as people (sometimes this means you see both sides of people's humanity, the good and the bad), and tighter as a band. There is definitely a thing called "tour tight"... its kind of unexplainable, but after so many shows on the road, you all just gel better musically. We weren't out there quite long enough to get deep into that tightness, but it was there, lurking, and I could feel it. I wanted to drink it in more, I wanted to let that feeling wash over me more. I got a taste, and it was sweet. Touring is also an amazing social experiment, and way more times than naught, you get reminded of people's innate goodness. The kindness of strangers is a wonderful thing to behold. It is so easy to believe that the human race is going to hell in a hand basket, but when you get out there, meet people face to face, give them a genuine smile, you would be surprised at how many genuine smiles you get in return. Maybe that speaks more for the power of music, than anything else, but the fact remains, there are a lot of kind people out there who will offer you a couch to sleep on, buy a CD to support your dreams, cheer you on,  buy you a beer, talk guitar tones, or lend you an amp if yours breaks. I could go on and on. Touring is also a great time to catch up with old friends that you don't get to see on the regular. It is truly one of the best things about being on the road. I would go through and name all my friends that I got to see and spend some quality time with this last time out, but there are too many to name. I miss them already. All in all, the tour was very successful. When we got up to upstate NY to play the Grass Roots Festival (which is attended by about 10k-15k people), we were in shape, and we brought our A game. Nothing compares to the roar of a crowd after a particular enthusiastic song or musical moment... and my end goal all along was to get that roar, and we did, more than once. I can't tell you exactly what it feels like to be the target of a crowds raging storm of energy, but it feels so good. Its a drug, and I want more of it.

I don't know what it would be like to do 150 dates a year again, and quite honetly, where I am in life, I would have to get paid way more than we did on this tour to consider doing it. I missed my wife, I missed sleeping in my bed. I didn't enjoy sleeping on couches quite as much as I used to remember. And I like my AC (sorry, it's true...). Touring is hard work. You drive all day, hurrying along the freeway, watching the mile markers count down, only to get to the venue to see there is no sound guy, or the bathroom doesn't have a door on it, or the PA that the venue said they have doesn't actually exist... or all of the above. If you are going to put yourself out there night in and night out, the one thing I would say, is that the music has to be the life blood, it has to be the source and the purpose, it has to be the thing that gets you off the most. And you have to believe in it, more than you believe in anything else, at least for the moment. So, if you're still into it, here are some very practical thoughts I can share with you on the my experience.

Shut up and Play: I'll keep this pretty straight forward.

Start booking the tour at least four months in advance. If you're booking yourself, it takes more time than usual to get all the ducks in a row, line up the routing properly, and make as much of a promotional splash in the market as you can before the concert date.

It's up to you to get people through the door, and once they are there, to keep them there. I don't buy that it is only the clubs or promoters responsibility for the success of the show. We, as artists, are in charge of our carriers, not the venue. That being said, usually when venues see that you are working hard to promote a show, they will get on board and pick up the slack on their end too. A win win is what we are all aiming for, after all.

Advance the show! At least once, if not twice. Go over all the details with the talent buyer at least a month before the show. This can clear up any little hang ups, and make sure that communication is clean and obvious. This will ensure that you have little to no headaches on the road, it will help you rest easier knowing that all the t's and i's are crossed and dotted. Ultimately allowing you to concentrate on the music and relationships that can form while on the road.

The music comes first. Don't drink too much, serisouly. Don't overdue the excesses, because it will be easy to. When I was on the road this last time, I started smoking again (why oh why! after months of successfully quitting)... why? because I'm human, and thought I could handle the temptation. Beware, is all I have to say. Have a good time, but music first, and music last. (I am now more than a week quit again, thank you very much... get back on that horse!)

Appreciate your band mates, you are all in it together. You are a team. If someone is in a bad mood, it doesn't hurt to give them space. Don't take everything to heart, people are people, love them for who they are and where they are in their own personal journey. As long as everyone is treating the music with the respect it deserves (see above), all will be good.

Don't be afraid to warm up! In the van, in the green room, wherever. What ever you can do to make the show a better experience. Warm those pipes, warm those fingers, and don't be embarrassed about it.

You are there to provide entertainment. Read the room, it might not be a great time to take a set break after playing your second ballad in a row. You will get booked again if you keep people in the room, buying drinks. Unless your touring larger venues, and drawing hundreds of people, know that the one thing that will help you achieve your goals is to get rebooked, and get playing for more people next time. The people that were there had such a great time listening to you that they tell their friends, buy your merch, sign your mailing list and spread your gospel.

Have a mailing list. Have your merch table in a well lit and obvious place. Seems like a no brainer right? Bring a light, bring a cool table cloth or patchwork blanket to lay down... anything to make your products/merch look cooler, or more professional.

Know that nothing is perfect. There is no such thing as a perfect tour. Have a a does of thick skin, if the promoter or bartender is being a total jerk, walk away respectfully. If the show is poorly attended, play your ass off regardless. Touring has its limitations, enjoy it for what it is and know that doing your best is all you really can do at the end of the day.

A big thank you to Kevin and Russ, bass and drums extraordinaire, you guys are the rock to my rock n roll. Thanks for making the tour possible. #tsatour

What are some lessons you've learned from touring? What about touring most excites you? Share you thoughts, we would love to hear them! 

A Case Study: "Say Yes" by Elliott Smith

One of the best songwriters maybe ever. I don't think everyone gets him, at least not at first, but when he hooks you, his genius unfolds. It's not just the words, its the twists of melody and harmony, and how the notes and chords sweep the words along. I'm a big fan, obviously, but if you are unfamiliar, do your self a favor and check it out. I started with the album XO, and my writing, production and taste in music hasn't been the same since... all for the better I like to believe.

Case Study: Say Yes by Elliott Smith

A cold start and a nice descending chord progression played on acoustic... simple right, almost seems like its just another folkie doing his thing.

I'm in love with the world trough the eyes of a girl  Who's still around the morning after

Then the acoustic guitar becomes two acoustic guitars, panning immediately in time for the second half of this first verse. You also have an electric guitar appearing too, with his voice being doubled as well... maybe this isn't so cookie cutter after all. And I want to point out the lyrical/rhythmic phrasing here, without getting too music geeky, its so easy to follow along, and sing along... and the words are pretty straight forward and honest... simple and honest usually wins for me. More on that below.

We broke up a month ago and i grew up i didn't know I'd be around the morning after 

Followed by the guitar playing the melody, panned on the right side still, then the second verse. Same simplistic beauty as the first. Again, that phrasing, and I love how the first three notes of the melody start by going up in register, as the guitar/bass line is moving down... yay for counterpoint! In general, the melody has more upward movement too.

It's always been wait and see A happy day and then and then you pay  And feel like shit the morning after  But know i feel changed around and instead falling down  I'm standing up the morning after 

Then the bridge, instrumentally, pretty much the same thing is happening... the doubling of the vocals, the electric guitar panned right, the acoustic doubled with one more or less down the middle, and the 2nd one panned to the left. That electric guitar is almost playing more lead type stuff, nice double stops... Also, worth it to mention that the bridge, depending on how you count it, is a five measure phrase.

Situations get fucked up and turned around sooner or later 

And then back to a quick verse: This is the first time in the song that he gives away his control, "you tell me"... I never knew what to make about that line, is he resigned to his role, resigned to play the fool, and he just doesn't care, or is there something more... the next section, I think, answers this, but I always wondered about this lyric, as if this is the point in the song where the main character is teetering... whats going to happen?

And I could be another fool or an expection to the rule  You tell me the morning after 

The second bridge! He harmonizes with himself, which he does really well, does it with two voices an octave apart too, which is a little bit different than what you would normally do... in a classic pop sense anyways... Other than that, it's the chord changes, and the extension of the bridge and phrase that is so cool, especially on the word "is" (and notice the electric guitar mimicking the vocals there too)... any you guitar playing songwriters out there, check that second chord out (thats how you use an augmented chord!). Lyrically, this is where he answers my earlier question, to me anyways... its not up to him who loves him and who doesn't. Just like its not up to me who loves me and who doesn't, who cares for me and who doesn't... these are all things out of my control, but we still have to ask. It's worth it in the end, even after the rejection, to ask someone to care for us, to ask someone to say yes. This moment right here, this is why I love this song, and its arguably one of my favorites by one of my favorite songwriters. Simple. Vulnerable.

Crooked spin can't come to rest  I'm damaged bad at best She'll decide what she wants I'll probably be the last to know  No one says until it shows and you see how it is They want you or they don't, Say Yes.

And how does he end the song? With a dash of optimism... i think. And wraps it all up in barely over two minutes.

I'm in love with the world trough the eyes of a girl Who's still around the morning after

If you're a fan, there is a new documentary on Elliott called Heaven Adores You, you can find more info  here:  https://www.facebook.com/HeavenAdoresYou

https://www.youtube.com/watch?v=TGB8meDWQeQ

What song or artist should I do next??

Some Words with Music Band from Nashville TN

Hello from the road/tour! One of the best things about living in Nashville is the incredible talent that you are surrounded with everyday. It can be daunting, but mostly I find it extremely inspirational, and enlightening. It helps me clarify what and why I do what I do with my musical career.

Music Band is probably my favorite band in Nashville, and and I only say probably because I'm very aware of my own tendency to get super excited when I bear witness to great musicians singing great songs... Music Band is positively great. I've gotten the opportunity to see them a bunch since moving to Nashville, and under full disclosure, I've have the great fortune of knowing them personally for the last three or four years... And to sum up my feelings, last time I saw them, I immediately went home and wrote a song that was very inspired by them. And for me, whenever someone makes me want to go home, pick up my guitar and start writing, I'm all in. That, is true inspiration. Thanks for that Lee, Harry and Duncan.

Enjoy the interview!

Nick Bullock Music: What is your favorite thing about the Nashville music scene?

Music Band: The music scene here had been gaining momentum well before we moved here two and a half years ago. Really steaming, cooking with gas. It's like a big steam engine ripping through a residential intersection at 3 in the morning and the driver is all coked out and fucked up just laying on the whistle because he hates his life and wants to ruin everyone's night. That actually might be one of my least favorite things, when a train sounds its horn for way too long and you're just too close to it. It cuts right to my core, enough for me to shout out loud, "SHUT THE FUCK UP!" every time I hear it. Damn, it makes me so mad. But the Nashville music scene does not make me feel this way. We got mad respect for these streets and these peeps here. Mostly everyone who plays music here rules, and I think that's because it's the kind of town that if you come here and don't have any respect for the folks who have been holding it down OG-style then you're liable to get yourself banished. Sorry, but that's just the way it is. It's "Music City" and people have been doing this for as long as anything here. That's what's cool about Nashville. It doesn't matter what kind of music you're into because you should be able to appreciate the real heads who are on their grind. It's funny to go to shows here, and a lot of touring bands I meet will lament about this, but a lot of the time when Nashville people are watching bands they don't move around much. I think it's not because everyone's jaded on music but it's more because everyone is a musician in their own right and are actually watching the band, I mean having a real peek-see, and I can respect that.

NBM: How do you balance the artistic/creative side of being in a band with the business side of being in a band?

MB: We've been pretty much doing our own business since the beginning, so it's not really something we think about much anymore. Although lately there have been more business-related things going on for us, it's fun to learn how it's done, and I think we're fortunate to have some guidance from our friends who know what they're doing. Everyone in a band is always like, "I just want to play, man. The music industry is killing me. Etc." but we're quickly learning that if you can't deal with the business side of things then, well, what the hell? Music ain't a hobby. Not for the real heads, at least. If you're actually trying to make money or a career out of this then you gotta learn how the shit works, even if it's learning by trial and error. I think it gets to a point where the creative side of playing music is sort of like the "reward" for everything else. Or at least that seems like a good situation. I guess it's something we've just had to start balancing out of necessity.

NBM: How do songs come into creation for the band?

MB: Most of the time one of us will work on the structure of a song alone and then bring it to the the rest of the band in practice and we'll spend a few days working it out, trying different things. A lot of the songs on our new tape "Can I Live" actually came out of fucking around at our old practice space, as bands are wont to do. Some of my favorite songs we have just came up off the dome from a late-night "jam", as corny as that sounds. Once we have a song though, we spend a lot of time tweaking it and working on dynamics, harmonies, etc. usually by recording a demo at home and seeing what we like/don't like. Lyrics are really important to me (Harry), and so that's often one thing I personally start with.

NBM: Do you have an end goal, a big picture you are shooting for?

MB: To become immortal, and then, die.

NBM: What about being in a band excites you the most? What are you working on now? How is the process going (how did it go)?

MB: Live shows are the best. Going on the road. Meeting people, meeting other bands. Good audiences. Makin' em laugh. Free meals. Being in the van just getting all crazy. Figuring out a new song and being really excited about it. Recording. Takin' a peek-see at mixes in the studio (shout-out to Andrija at Bomb Shelter). Venues that really know how to treat musicians, and not that bullshit where you show up and everyone working there is like "I don't even want to be here tonight. What's even going on?" Havin' a plate of Lil' Smokies in the morning. Fun doggies. Seeing our parents on tour. Putting friends on "the list" due to mad respect. 

Check out their new release "Can I Live" a cassette release on Infinity Cat: http://infinity-cat-recordings.myshopify.com/collections/music-band

You can listen/stream there stuff here: http://musicband.bandcamp.com

For music info/shows etc go here: https://www.facebook.com/musicband.gov

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What Nashville band should I interview next?

Play For Me...

Hi, Musician on stage... I'm here, I'm the only guy in the room... can't you see me? I'm listening, I'm clapping, I'm engaged in your music... this is your soul, remember, and I am liking your soul... hello? I don't need or want you to stare at me the whole time, thats just creepy, but some eye contact would be nice when I'm the only one clapping. Just saying.

And at the end of the show, come say hi, because I stayed, I am still here, and I'm not counting the wasted girl who is flashing the bartender, or the drunk dude passed out and slowly sliding off his stool, they doesn't count. Lets talk, and get to know each other a little bit.

I was hanging at the Family Wash over on the East side in Nashville, which is quickly becoming one of my favorites spots to hang, and saw a band there in this exact context. And you know what, the singer made eye contact, and came over and said hello, and thanked me for being the only one paying attention.

It makes a difference.

A little eye contact goes a long way.

The American Dream: Just Do it (Happy 4th of July)

Sometimes as a musician-artist, knowing what to do next can be a struggle. Questions like "How do we build our team? Who can help us get where we want to go? Where are our cheerleaders? How can I get a pub deal or record deal?" etc. These were all questions that to one extent or another, I used to ask myself all the time when I was in a full time band. And sometimes I still do. The bad news is that no two music success stories are truly the same. The good news, however, is that every one of those success stories have the same DNA, the same essence. People say you should do A to get to B, which gets you to C, then to D etc... that is all great, and you should absolutely check out what the experts say and do, after all, they're experts!

But you must remember, the best idea to get your band signed, or get that publishing deal, is always going to come from you. You have to do it, and the good news here is that you are very capable. You will need to think better and more creatively than you ever have before, and you will be tried and tested like never before. It will not be easy. I'll say it again, you already know what to do. You have all the cool, crazy and unique ideas that you will ever need, you just need to fish them out.

It's a business, and you must really understand that, even as an artist. Respect the business side of it, know that people are out there doing it so they can feed their families, know that people are out there busting their ass so they can put a roof over their head. You will need to be one of those people busting your ass. But you already know this. The most important thing is that you do it, start it, what ever it is for you. Start recording all the time, start uploading your videos, start working with smart people... what ever it is, do it. That is the only way that you will ever accomplish anything. Don't wait, do it.

Happy 4th of July. Three cheers for the american dream, all of them.

A Case Study: The War on Drugs, Red Eyes

My wife and I started a new tradition this past week, our date night has become a weekly record listening party for two. We'll go to the local record store (last week was Grimey's, on 8th Ave here in Nashville), pick out a vinyl, and go back home. We'll lay a blanket on the living room floor, picnic style, set up the speakers so we're in the sweet spot, and dig in. Last week was my turn to pick, and I grabbed a record that I have been meaning to listen to since March. We were swept away.

I saw The War on Drugs about three years ago maybe, back when I lived in Ithaca, and I fell in love with them. I know I'm in love because whenever I do fall, I always walk away with a sense of "That is what I want to do", and that is exactly what happened three years ago. And, it is with that in mind that I chose this song for my next case study... here we go :)

Intro: super cool, I love the synth sound, and instantly you get a pulse for the song, the drums enter with the bass, the bari sax, and a guitar playing some pentatonic tastiness... then the vs starts...

I'm not sure what exactly he is talking about here, but it doesn't matter. That is one of the things I love about rock n roll, yes you tell a story, but it is just as much an audio story as it is a lyrical one. What I mean by that is the music serves the lyrics, and vice versa... they make sense together. It's not about one, its about them both, together.

"Where are we This everything On my knees To beat it down To get to my soul I guessed my way Anyone can tell it's you coming But baby, don't mind Leave it on a lie Leave it your own way"

At this point its obvious that the acoustic guitar and drums are really serving as the back bone, pushing the song along at a nice pace, cruising, accompanied by their big brother the bass, and happy for the company. They are there, watching the spectacle of lights that the synths, and the guitars create, and making sure no one gets hurt.

The piano is nice in the verse too... buried a little bit in the mix, but it's there...  a nice texture.

The verse has a cool 2/4 to 4/4 meter rotation... kind if spinning on itself, you can certainly count it all in 4, but it's more fun to throw some 2's in there, I think :)

And I love the sound that he got on his voice... nice reverb/delay etc. I like how the vocals really sit nicely.

Then you have some interlude material that is pretty much the same as the intro. Is that a leslie effect on the three note guitar lick?? It happens too quick.

The 2nd verse pretty much maintains the pace of the 1st verse, with a nicely added guitar that doubles the vocal and synth line in there for a real quick second...

Which leads to my favorite part! This isn't so much a solo as it is a "lets get really excited for a minute"... they are pulling at us, teasing us, saying you know you love the momentary intensity here, and you know you love it because it's fleeting... nice guitar playing, brief though it be. All over the same chords as the vs:

2/4 I | 4/4 IV | IV | vi- V | 2/4 I | IV | IV || for those of you who care... then the breakdown.

It's nice, swelling organ, really great sound... and still the drums, at first without the acoustic strumming its reassurances, then it builds. The acoustic shows up again. The bari sax is back, did it ever leave? Man, that organ sounds so good. I miss being in a band with an organ player. There might be some percussion back there in the mix too, can't tell. The singing starts again, and we are jolted into another solo section, which repeats the themes from the earlier... almost feels like a chorus really, on this second repeat of it... I guess it really isn't a real solo section after all... more of a chorus. And the piano returns!!! All the while, he sings for us. It's an intimate kind of vocal performance, very familiar... I think I can relate to the feeling in his voice... it's part conversational.

It's amazing to me how good all this sounds. Like really, really good. The drums are clear, the piano doesn't sound too tin-y... the vocals... This song really just transported me away. I can't think of a better song to listen to while laying down on the floor with the lights low and closing your eyes.

For me, it's just magic. And it as I write this I have three thoughts: 1. That is what I want to do. 2. I love my wife for having such an awesome idea for our weekly date night (yes, that was her idea!) and 3. I have a studio, and it is calling my name... inspiration indeed!!!

What song should I do next?