Upon learning piano and guitar I thought it would be neat to
share my progress on youtube. I went about learning how to record with some
basic tools and voila….I made this whole thing happen.
One day, I head over to my channel and I see this “copyright
claim” made by the rights holder to Bruce Springsteen’s “The River”. After a belly laugh…I thought – okay, I best
go over to my settings and see if I have my channel in monetization mode
despite not coming near qualifying for youtube revenue. Indeed, there was a
check box that had been set by default to “permit monetization”. Hence; I
unchecked the check box thinking that this might resolve the matter. Then I
actually listened to some of the commentary over at Youtube’s “Creator Insider”
channel and learned that no check box was going to effectively deal with
copyright law that is in fact restricting novice musicians such as myself from
putting up covers.
Fast forward a couple of months and I check my “dashboard”
and learn that I’ve been bad again. This time, it’s a copyright “strike” and
not a “claim”. You see…three strikes and you’re out. Your channel comes down.
This time it was my piano rendition of The Eagles’ “I Can’t Tell You Why”.
There was no warning. No claim. It was a simple strike and I was informed to
head over to “copyright school” as a condition of having the claim potentially
removed after a waiting period.
While I may be amused by all of this given my elementary
participation, there are people who have taken up careers by creating youtube
content and whose livelihoods depend on being treated fairly.
Two examples of youtubers operating in the space of music education
are Rick Beato and Paul Davids. These folks provide valuable educational
content and are subject to these claims even when using snippets of songs for
educational purposes. It’s become apparent that these record companies now have
the option to impose a “revenue sharing” formula with a creator if they deem that
there is a violation and hence a “claim” or they can impose a “strike” like
what happened to me perhaps because my “permit monetization” check box is unclicked.
As you can see there’s nuance to all this but youtube likes
to keep things fairly vague in their representations through their “creator insider”
channel. Their editions are short and informal with broad strokes and big
Apparently the plasticity of the brain is lesser in
adulthood. Hence; you are going to be more challenged to identify pitch. In
fact, musical scholars are claiming that an adult may not be able to develop
perfect pitch but with training and could obtain proficiency in “relative pitch”.
So, don’t despair, this relative pitch is what we need the most when picking
out the next chord in a progression. A key has limitations with respect to
which chords are available and consequently the adult brain now gets to work
with finite possibilities in relative terms.
My youtube channel has one song which I posted that I knew
didn’t sound right but given the nature of my channel oriented around progress
and learning, I didn’t think much of it during the upload. Today, I revisited
the song and searched around on “ultimate guitar” (website) to review some
reader feedback associated with the
chord structure of the selected piece and discovered two flaws. Somebody with a
better ear than mine not only knew it didn’t sound right as scored but he was
able to offer the two corrections. I now look forward to the “redo”. The
process gives me comfort in that I may be going from the phase of “not knowing
what I don’t know” to “knowing what I don’t know” in the context of chord
recognition. At this stage of my development, I am still only reaching for a
chord because of a memorized sequence and not because of ear sense. This contrasts to a professional musician who
made an exclamation on his youtube channel that he showed up at a weekend
festival and was introduced to 18 new songs of which he went right to work on learning
and in short order played rhythm for the band in support. The take away is that
I must listen more carefully to the sounds instead of anxiously searching my
Well, it’s been about 2 1/2 years since getting serious about guitar. This is my old Fender Gemini III from 1987 which basically sat in storage until 2016. Looking back at the “set up” of the guitar and learning much about the “build characteristics” of acoustic guitars, it’s not surprising that I turned away from learning the instrument so quickly back in 1987. The “action” was “high” meaning that it needed a “truss rod adjustment”. Now I’ve made it easier to play and is a nice complement to my new Yamaha FG800. I’ll let the video do the talking from here on out.
Another band discovered by watching a cover over at Youtube.
Thanks Ani Lyn for your cover of “Myth”. The genre is described as “Dream Pop”
and is strong medicine for those legitimately in need of an escape. If you’re
like me and spend too much time enraptured by musicians dallying in minor keys,
you will be delighted by this experienced group. Some youtube commenter has
referred to the album “Bloom” and going from one great song to a better one.
Two young scholars came together in Baltimore’s Indie Rock
scene and wrote music fervently only to
have a block on the defining of a band name. As you would expect with “Dream
Pop”, we’re talking organs, synthesizers and slide guitar with an underlying
soft mellow beat. Both Victoria LeGrand and Alex Scally are versatile musicians
deploying various instruments. Can one draw a parallel between “Shoe Gaze” and “Dream
Pop”? Well, Scally with Beach House employs D flat tuning as does Slowdive.
As I write this piece, I’m listening to “Wishes” from “Bloom”.
I’m tellin’ ya…this group is spectacular.
LeGrand has a soothing voice and fans were avid enough in 2016 to
suggest that Pitchfork make them the headliners in Chicago. If distant travel
beckons, book your ticket to Beach House and a dream theatre by the water.
The mere brashness of protagonist Becky in full flight fix
is something to behold. This ‘90’s grunge band lead woman exposes the darkness
of drug induced euporhia and the consequential effect on close
relationships. This movie’s scenes could
have been done in one big take because of Director Alex Ross Perry’s apparent
affinity for rawness on set. Fortunately, he found an ideal actress in
Elisabeth Moss to play this unique role of a rocker gone bad.
Backstage glam and drama is raucous . Recovery is a
requisite for the real. Despite dysfunction, the bond of band mates is visceral
with appeal. You’ll be left wondering about that. You’ll be perplexed by the
acquiescent demeanour of a manager in quandary over a recording studio
overtaken. Then there’s mom infusing support when she can digesting the chaos
in context of her maternal past.
Oh yes, there’s music but it’s secondary to the lifestyle
plot and the preponderance of the prized backstage pass. Consider the flick one ripe tomato.
Once you get past the imagery of hard rock being played in an opera house (Jack Singer Calgary) and digest the signature rasp of Brian Johnson’s sound alike, you’ll be perplexed and comforted that Classic Albums Live has done their homework in covering ACDC’s Back in Black. Why an all black album cover? It’s was produced in memory of lead singer Bon Scott who died of an “alcohol misadventure”. If you’re fifty plus, you danced to the pulsating beat of “Shoot To Thrill” and “You Shook Me All Night Long”.
It’s worth repeating that finding the on key screech to sing
machismo minded lyrics must have been no easy task at auditioning. This man performed
with distinction in this difficult role.
The opening was obviously anticipated with the dongs of the
bell and the signature opening riff to Hell’s Bells. They weren’t going to
master the 1980 studio version considering the work ACDC went through in the
Bahamas back in the day to acquire the perfect sound with a real bell and
studio tricks at their disposal. However; credit is cast in the delivery of the
complementing solo piece which requires precision in developing the riff with timely
“Shoot To Thrill” is perfectly positioned as the two track.
Things really get rumbling with an accelerated tempo and knee quivering trill of
this somewhat forgotten gem.
Having settled in, the next big moment of intrigue was
upcoming on track one of the flip side. “Back in Black” has the memorable
guitar solo and all three six stringers on stage took their turn on their
Gibson SGs –of course. It was evident by now that all three guitarists were
versant in playing lead and there was one in particular who was a bit more
familiar with particular lead lines throughout the song list. As we all know, exuberant solos get the crowd
going and this rendition of Back in Black had the audience shimmering.
The sound engineer was getting things figured out a few
short chords into You Shook Me. He’d moderated the extreme frequencies
certainly giving some relief to patrons like me who had forgotten ear filters
“Have A Drink On Me” exemplified the general sharpness of
the band and to keep it tight with three six strings competing for attention
cannot be easy.
“Shake A Leg” was played with more vigour here than I can
remember on the album. I believe this
cover band turned the studio version into something better – not by making
changes to the score but by turning up the dynamics.
Jumped free from my aisle seat right before the intermission
and headed home after a long day of doing tax work. The audience would
anticipate a second half featuring various other hits.
Forty years ago in Kamloops, B.C. as a teenager when at home
listening to Loverboy’s self titled album with my aunt and mother on what can
now be described as a vintage cabinet record player enraptured by songs titled “The
Kid is Hot Tonight” and “Turn Me Loose” in no way could I have imagined that
last night I’d be back stage of a concert in Calgary shaking hands with the
lead singer Mike Reno and guitarist Paul Dean.
As if intended through some unknown protagonist, upon taking
up guitar and piano there’s been opportunity to circulate in music circles and attend
performances which have proved to be sources of inspiration and everywhere I
turn I discover fellow amateur guitar players where we share about the
Don’t be shy if you’re a single male in the crowd with a
backstage pass encircling your wrist. Work it with the ladies preferably in a
fashion that at least gets you a date. You see Tom Cochrane was actually the
closing act and he apparently offered leverage power to backstage pass holder.
The question I had for Mike Reno last night was, “have you
ever had voice training”? His answer was “no”. He still carries the high pitch
exemplary of his singing. It’s not falsetto but just a high range he’s
obviously carried throughout his career.
It was thanks to a client with connections that made this
night out extra special. It was also fun to wear a neck badge with photo of the
band purchased for me by my client’s wife from the souvenir stand. In response
to perplexed inquiries I represented the keepsake as my “premium backstage pass”
much to their astonishment and my silent guffaw.
My channel over at Youtube is archiving my development from novice guitarist. With your subscription, I’ll take you along for the ride highlighting breakthroughs in playing and recording. Look for future videos entailing key moments of musical discovery.
I’ll reference the unspoken and unpopular because it’s what
I do here sometimes on my own forum. Wives of ex-politicians, ex-politicians,
and politicians have no business on the stage of the Grammy’s unless they’ve
won a Grammy for their contributions to music. Music is an escape from the
tedium of political drama and hence the preeminent event should not become
theatre for those who possess a larger agenda outside of the realm of music. It’s
one more reminder of why I’ve cut my cable chord.
There would have been individuals in the audience with a life-long commitment to their passion for music who had never gained a whiff of that stage having been overlooked by The Recording Academy despite much success and hard work toward their craft. Society has unfortunately been overrun by elitists with special entry back stage passes who need their ego stroked at every turn. Don’t get me wrong. I have nothing against Michelle Obama. On the contrary, I find her to be articulate and warm with generosity in her heart. This was simply not her place.
Shoegaze music became a shadow or back seat genre of the grunge scene during the 90s. Typically played in the minor keys, the name came from lead guitarists’ fixation on their feet due to the operation of numerous effect pedals daisy chained on stage. Thanks to KEXP radio, I discovered Slowdive which may be the preeminent band associated with the genre. To the band’s surprise upon reuniting in 2014 after a long hiatus due partly to unflattering reviews, audiences hailed them dearly in London and Barcelona. Their return has been invigorated with a hot new album self titled “Slowdive”.
My characterization of the music is “sombre mood”. If you’re willing to go into the darkness, you’ll shimmy in calm. Just make certain you come out while not over cooking your playlist with it. While the distinction of chord movement is oftentimes muddled given the heavy use of reverb, the unrushed melodies can be impactful and pointed.
Much of my attraction to Slowdive is the modest stage presence and obvious band cohesiveness lead by lead song writer and front man Neal Halstead. What his childhood chum Rachel Goswell lacks in vocal range – she makes up for in musicality on guitar and keyboard. Her voice tonality is actually fitting to the eclectic ambience illuminating live performances. Critical to the sensitive nature of the genre, the rhythm section has a strong feel for dynamics with Simon Scott intuitively in sync with bassist Nick Chaplin. Christian Savill rounds out the troupe on rhythm guitar.