Codename "Tribute" - The Delivery (part 2)

Last time, I talked about how "Tribute" came together and how we went from over a 100 potential songs, down to the 9 that made the album. Today, I want to fill in some of the details about the song treatments and the recording process.

As I look back on the process, recalling that it took many months to kick into gear, it still came together more rapidly than most of my music projects. It helped that the songs were already written. In a way, I think was part of the magic; it allowed us to focus all of our energy on picking the songs and then arranging them so that they lived up to our "Heavy" expectations. It was also a very satisfying recording process. All of the drums and rhythm guitars were tracked at once, plus some scratch bass parts. Many of the songs were arranged on the fly, as a band, although "I Think We're Alone Now" was one that I arranged on my own and Steve S. brought in the complete treatment for "Generals & Majors". Oddly enough, that phase of tracking went by so quickly (3-4 sessions over a month or two) that we were then left with my usual question, "What the heck are we going to do about vocals?"

Well, that's where Scott Adler, another comrade from Apple, stepped in. Steve R. and I had worked with Scott and his a cappella group, "One of Each" on a holiday spoof of Queen's "Bohemian Rhapsody" called "Christmas Rhapsody". Scott did all the low parts in the vocal arrangements and had never sung even as much as one phrase of heavy rock or metal in his life. I think all of us were initially imagining someone with a higher range, a more stereotypical metal voice, but Steve R. and I had such respect for the way Scott had handled the vocal arrangements and tracking on "Bohemian Rhapsody" that we knew it was worth a shot. Looking back, I can't imagine it playing out any other way. Scott's voice and his approach are unique and helped pull together the songs, giving them cohesiveness as an album. For a guy who hadn't done any metal before, he added a dark, scary component to the arrangements and really helped define the sound.

Somewhere along the line, we finally dropped the "Tribute" moniker in favor of "Danger, Ltd." It took me a good part of another year to get all the tracks mixed, mastered and released. Still, something about the way the project played out has left me with mostly good memories. Unlike some other projects, overall this one went from start to completion fairly quickly, at least quickly enough that it didn't feel like it was dragging. I also like the way the band, the album and the songs all have a very clear vision and stuck with it throughout. I think that vision is strong enough that it could carry over to another album or two. Really, it's a question of logistics now that we're spread out across the country one on the East coast, three in the Bay Area and yours truly in Bozeman, Montana. But with the right motivation, namely a collection of great songs to tribute, you never know.

Got any songs you'd like to hear Danger, Ltd. cover?

Codename "Tribute" - The Motivation (part 1)

At this point in 2012, the band has been called Danger, Ltd. for longer than it carried the "Tribute" codename. Even so, there was quite a long period where we simply referred to it as "Tribute". That codename was a direct reflection of the band's mission, which grew and evolved over quite a few years before a single note was played.

For many years, covering almost the entire span of my collaboration with Steve Rosenthal, we often found ourselves discussing the difference between the typical cover song performance and the real works of art. I think that our first example of masterful cover versions was Van Halen. There was something special about the way they covered a song with such conviction. They infused cover songs with so much of the Van Halen flavor that they really feel like they belong right next to their original songs. We also rambled on about Nazareth's cover of "Love Hurts", Cheap Trick's version of "Ain't That A Shame" and The Lemonhead's treatment of "Mrs. Robinson". We've all been to parties where there's a cover band; they play for hours and every song sounds like a weak knockoff of the original, without any real life or special treatment. Steve and I were always fascinated by the bands that could grab a cover song by the throat and take full control of it, making it their own song in the process.

Sometime in the 2000s, my friend Steve Sicular and I got together to talk about guitar, amps and gear in general. We'd always said, "We should play together sometime." We spent quite awhile in that mode. At one point considered starting a software venture related to music publicity but that never quite gained solid traction.

Meanwhile I'd bounced around a bit between software development jobs, eventually finding a position at Apple, working closely with my friend, Mike Hay. Though we regularly talked "tech" over lunch or coffee, the conversations often meandered until they landed on the idea of a concept band. Initially, I was interested in a band that covers relatively unknown but great songs, sort of acting as a "tribute" to great songwriting, with a nod toward under appreciated composers and performers. I don't really remember how we transitioned from talk to action but, at some point, the two Steves, Mike and I ended up getting together in my Redwood City studio, polishing up the "Tribute" idea.

Pretty quickly, it was clear that I was in the minority on the under appreciated artists concept. The overall consensus was leaning toward picking reasonably well known songs, so that listeners would have some familiarity with the material. We put together a Wiki as a place to collect song ideas and developed a points scheme that allowed us to all vote for the songs, with point totals clearly distinguishing the ones that stood out from the rest. I'm pretty sure we had almost 100 songs nominated, maybe 20 that got voted up and when it was all said and done, 9 songs made it to the album.

In my next blog posting I will talk about how we went from a list of 9 songs to a finished album release. While you're waiting, how about sharing your thoughts on some great (and interesting) cover versions of songs...

For finding new music, I prefer analog search

We have iTunes. We have Pandora. We have Facebook. We have Last.fm and Spotify and MOG. So, where have I discovered most of my favorite bands?

I tried Pandora a few times. Awhile back, I tried creating a station based on two bands I love, Sevendust and Systematic. I started listening to it, and as one might expect the first couple songs were from Sevendust and Systematic. Then the station started throwing other bands at me. The first few of those sounded like weak knockoffs of Sevendust and Systematic. But then, the real fun kicked in. The station started playing me singer-songwriter material, including a number of songs recorded with only acoustic guitar and vocals. Not quite James Taylor, but bordering on that. This is in no way a criticism of singer-songwriters or acoustic guitar, but I'd venture to guess that most of us that are in the mood to hear Sevendust, Systematic and similar artists are not really interested in having our attention interrupted by a mellow ballad on acoustic guitar. I thought, hmmm, maybe I screwed up the station settings. No, when I dug around a bit, I noted that one of the characteristics that Pandora associates with Sevendust is acoustic guitar. To be fair, Sevendust, does use acoustic guitars and they do a ballad here and there. Still, their work always lands far away from singer-songwriter ballads and when I put together a Sevendust/Systematic station, I'm expecting Heavy!

Now, Last.fm does quite a bit better for me. If I look up one of my favorite bands on Last.fm and stream their associated station, I will often discover some bands that I haven't heard of that I like. Usually, the hit rate is 30-50%, where the remainder I don't like, regardless of whether I've heard of them or not. For me, it's a much more useful discovery tool than Pandora but Last.fm still falls well short of what I look for when I'm trying to discover artists that I like.

Given that the digital age hasn't quite given me the ideal tool for discovering new bands, how do I discover most of the bands that get added to my library? From people... A few years back, Steve Shumake ran a Live 365 radio station named VonGoober Radio. I discovered it at some point and was awestruck by how many of the songs were a) new to me and b) exactly the kind of music I love. I discovered dozens of bands every time I listened to the station. It led to a great period of musical discovery for me, broadening my listening to include bands from Finland, Sweden, Germany and throughout the world. My own music library grew rapidly during that period and the newly discovered bands had a big influence on my musical arrangements and songwriting. So for me, a single human music mentor is orders of magnitude more effective at expanding my musical knowledge than the sum total of all the digital services out there. The key is that Steve likes similar music and has a big appetite. When he discovers new music, he makes it known to the rest of us, and I know from past experience that if Steve likes it, it's very likely that I will like it as well. Steve eventually decided to shut down the radio station but he still maintains a VonGoober Last.fm group if you'd like to explore his taste in music.

Looking back at digital tools, I do find Wikipedia to be a powerful tool for discovering new music. Whenever I notice myself asking the question, "What ever happened to that band...?", I look them up in Wikipedia and find out. That often leads me to discover they split up and started new bands, or renamed themselves or just reunited and are due to release a new album. Still, this isn't really at the heart of what I imagined would be possible on the web. In a general sense, the innately "analog" learning channel, human advice, is still much more accurate and reliable for me than any of the recommendation/rating services online. Perhaps someday that will change, but for now... Thanks Steve!

Where do you discover most of your music?

Shaken, Stirred & Almost Settled: My New Life In Bozeman, MT

I love Bozeman. My wife, Nancy, and I decide 3 years ago to pick up our lives in the San Francisco Bay Area and move our family to Bozeman. We had tired of 13 mile commutes that took 45 minutes. We'd run out of patience with planning kids play dates months in advance. We wanted to be closer to the mountains, for the sake of skiing, hiking, backpacking and Nancy's photography. We were convinced even before we made the move that Bozeman would be an overall improvement for the family and that the kids and Nancy would make the most of our new home. I knew that one side of my life would be better, but...

By leaving the Bay Area, I was walking away from a songwriting partnership (with Steve Rosenthal) that had spanned decades. I was leaving all of the musicians I'd grown up with, the clubs, the music stores, my recording studio...everything musical I'd built up over the years in the Bay Area. To be totally transparent, I'd done some interesting recording projects in the last decade, but my songwriting partnership hadn't generate new material since the 1990s, and didn't show signs of picking up pace anytime soon. Those factors combined to make me hope that Bozeman would somehow be the change that I needed and would lead to a new chapter in my musical explorations.

Very soon after our arrival in Bozeman, I got some indications that my hopes would play out. While planning the relocation of my Redwood City studio to Bozeman, I met Billy Costigan of Poindexter's. Billy had attended P.I.T. (The Percussion Institute of Technology) in Hollywood only a couple years after I had gone to G.I.T. (Guitar...). My conversations with Billy over the first year or so in Bozeman led to the vision for The Music Tech Center, so in essence, Bozeman had spawned a new musical chapter.

And yet, the thing I want the most, to be writing, arranging and performing original music, well, it just hasn't happened yet. I live for heavy, melodic music and there really isn't much of that in Bozeman. Lots of country, bluegrass, Americana, even blues and jazz. But, thus far I'm aware of 3 or 4 heavy bands. My high school (Berkeley High, population roughly 3000) had more actively gigging metal bands than Bozeman does (city population around 30,000, county population around 100,000). Suffice it to say, heavy music isn't particularly big here.

So, I'm now left to wonder what really comes next. Do I somehow transform myself into an avid bluegrass guitarist? Do I admit the obvious, that I was somehow meant to be born in Finland and relocate to a country whose language I have no clue how to speak? Do I finally decide that the music "hobby" is over, sell all the gear and learn to play golf?

Some of those ideas are crazier than others but I don't think any of them really nail the solution. I am what I am. Heavy, melodic music is in my blood and has been ever since my first concert (KISS, the Oakland Coliseum, age 13). But I've also learned recently (while attending the only all-metal concert I've been to in Bozeman) that I can't turn back the clock. I'm not in my mid-twenties anymore and I can't pretend that I am. Whatever comes next for me musically has to begin where I am today. It has to reflect some unique combination of my years of classical guitar lessons, followed by jazz lessons, followed by the great realization that what I really loved was heavy, melodic rock. It has to reflect the fact that I'm now a happy and proud father of two great kids and that my wife and I have known each other for 24 years and been married for 19. The next chapter has to benefit from my ability to focus, and to complete projects that I start. In a perfect world, though, what comes next will involve other musicians, not just me.

Maybe the Bozeman band I'm looking for, the one that's ready to crank out a masterpiece if only they could find the right guitarist, maybe they're just around the next bend. Maybe the MTC gets the last infusion of funding it needs and takes off, surrounding me with inspired, creative people, day in/day out. Or maybe, it's all on my shoulders. Maybe I just need to start writing songs again and, when the time comes, put a budget together and pay to have the right players on the session. Maybe I just need to learn how to channel my musical drive directly and much more efficiently, and then use my inherent stubbornness and determination to create a finished work, or two, or three.

How have you found success where it appeared there was only failure?

Heavy

Why Heavy?

Because some of us need to fight fire with fire. When we get angry or excited or frustrated, mellow, so-called calming music just exaggerates the emotion. No, it is better to meet the anger head-on with music that can rise to the challenge and go beyond. That's why Heavy.

What is Heavy?

It is music that embraces extreme emotions. It is not subtle, it is in your face. It is at home in horror movies, sports wrap-up shows, big budget action flicks and sports arenas. It is often technically challenging, whether through melodic gymnastics or up-tempo precision chugging. It hits you like a ton of lead and you love every minute of it.