Today I caught up with a mate who lives in Melbourne, and is in Sydney for the weekend - hadn't seen him for about 2 years, so it was really good to catch up and just be able to chat in person. Chocolate overload at Lindt Cafe, a study break in between, and then dinner with him and a few other friends at Pepper Lunch.
Over and after dinner, we had this great conversation about music, and the music industry, and what music used to be and what it has become today. And it was seriously like a breath of fresh air to me.
Some of the things we discussed were:
B4MD No, this isn't the name of some weird underground band that only 'musos' know and appreciate. However, it IS a DVD that I don't think many people know about. To cut a long story short, it's about the American music industry, and the filmmakers' quest to understand why music has become so commercial now, and the impact that the major record labels and corporations have, the demise of radio, etc etc... the interviews are what makes the film great. My description doesn't do the film any justice whatsoever, I would recommend (especially to all those who consider themselves musicians) that you check out their website - www.b4md.com
Music then and music nowFitzy and I had a good rant about how music is so
produced nowadays. Doesn't matter if you sing off-key, or if you're tone-deaf, the technology available in this day and age can make you sound as good as you want - and you could probably sound like whoever you want as well. If you've got the money, you've got the capabilities to make some really great sounding music. The problem I have with this, is that its so manufactured. Sure, there's nothing wrong with a perfect-sounding album - but you're not gaining much respect from me if you can't deliver the goods live.
Take one, take two, take three, take etc. Compare that to the musicians of yesteryear, e.g the 50s and 60s and even earlier, where they only had the means to perform a single take. So the whole group, the percussionists, the vocalists, the instrumentalists, had to be on the ball. In some cases I'm sure that they only had one recording session as well, so they would have to get all their songs right, in one sitting.
And so what if the track didn't work out to be perfect. So what if you can hear the drummer dropping his drumsticks at 3 mins 35 seconds in the song, or a back-up singer forgets a word in a chorus. It's the little imperfections that make the song and the recording unique! You don't have to get rid of stuff like that.
Fitzy was telling me about a friend of his, who had managed to acquire a copy of Marvin Gaye's recording of "Ain't No Mountain High Enough" in its 8-track original - as in, the drums recording, and the vocals recording etc in different 'files', so to speak (I'm pretty poor on the musical terminology). So they were able to muck around with all the different levels and what-not, making the different instruments louder or softer etc.. and at one point his friend pulled down all the tracks except the vocals - and Marvin Gaye is missing lyrics here and there, there's sounds where there shouldn't be any.. what I'm trying to get at here, is that we all know and love Marvin Gaye's music (or at least you should do), and yet here is an example of music that hasn't been produced to the shit. It's a 'raw' recording, in comparison to the polished tunes that we hear today.. and it's great!
That's not all we talked about, but it's what I remember the most. I was learning from these conversations, and slowly taking up a different attitude to music and my own performance habits. Who cares if you make the odd mistake. Don't stress about it, just enjoy the ride, make your next solo even better than the one before. The passion and energy you exude is what makes the audience disregard those mistakes.
Imperfection, improvisation, spontaneity - the beauty and awesomeness of live music.
On a tangent. I also brought up the topic of the Dave Matthews Band (DMB) and their music. If you have a listen to their albums, you'll find that they write some pretty awesome songs. And if you listen to them over and over, sometimes through speakers, sometimes through a good pair of stereo headphones, you'll discover sounds that you hadn't heard in previous listenings. It's because they have so many intricate melodies intertwined throughout their tracks, and it makes for a really interesting and fun set of songs. But how do you write/transpose that kind of stuff to paper? And how do you rehearse the kind of 'extended jam sessions' they have during their live performances? It's absolutely nuts. But DMB has been together for about 15 years now, if not longer.. I guess you fall into a smooth groove, and you know each other so well that the music and its performance becomes second nature.
To digress once again. I discovered this great YouTube video, of the amazing bassist Victor Wooten, performing his own rendition of Amazing Grace (http://www.youtube.com/watch?v=mx2vuK5pGTg). This guy is as musically insane as Carter Beauford is with his drums.