Yes, a jingle place, that's it.

I was having a pre-softball game conversation with one of my teammates last night who was trying to make sense of what I do for a living, and after a few minutes and different ways of describing it, he said "Ohhh, a jingle place".

My only real answer to that was "Yes, no, well, maybe, OK, sure."

Can you really CALL what we do a jingle anymore? I suppose on certain occasions you can, if we were writing a local cable song for Big Jim's Furniture or Wallace Toyota. Obviously it's true if we're re-recording, updating, remixing a classic jingle such as the Mr Clean melody, or Klondike Bar song (both of which I have actually had the pleasure of doing).

But beyond that, how much can we truly use that term anymore?

According to dictionary.com, the definition of jingle in this context is a piece of verse or a short song having such a catchy succession of sounds, usually of a light or humorous character: an advertising jingle.

Very interesting choice of words in that, in that in most popular songwriting, I think the musician/composer is looking to make a "catchy succession of sounds". Absolutely there are exceptions, but in the mainstream, that can easily identify top 40 music for the last 50 years.

Even contemporary melodies that define a brand such as McDonalds, Intel, Citizens Bank (for you Northeasterners) are not really called jingles anymore, at least not by ad people. They are mnemonics, stings, signatures, etc. So although we often get called on to create something that will sonically brand a client, never have I heard the term jingle in 4+ years of working on the music side of advertising.

What I DO hear, and what I really think defines modern thinking in advertising music, is "make it sound like a single, that just fits perfectly to our picture!"

It's a really interesting proposition, and also a challenging one. Thus why music companies can no longer provide a sketch, or a rough idea. Due to the basic nature that clients want to hear something that can be presented in the same breath as a mastered single, the track needs to have a first impression that it IS one. Even though it's not been written by a band/artist (or songwriter, see previous blog post), it's been written, performed, mixed and mastered by a freelance (or staff in some cases) composer in combination with the music house.

Really it's a fascinating proposition. Create a single-quality song or sound, however, make it :30 seconds, and in 48 hours (this is average, to be fair it's typically longer by a day or two).

However, this is also to me what makes it so enjoyable. Combining the talents of composers with artists, songwriters, producers, session players. It's a little microcosm of the entire process of creating an ad, on any medium, that happens all within simply making one track for presentation.

I can only wish that in the future as this trend continues that clients will become more a part of this process, and see for themselves not just the challenges, but the joys that can be found in all of that. After all, if you're taking the time and money to make something that is synonymous with a single, don't you want to see it happen? Be part of the creation? Have a moment with a fantastic bass player? Guitar player? Cellist?

Time will tell! But to add to all the confusion that I'm already throwing at you via this blog, you need to then factor in the dreaded combination of musical tastes, musical naivety and just lack of interest that can also come to play. This will be discussed...next time.

Yesterday and Today

Most people who know my musical sensibilities know that much of it lies in a period either before I was born, or before I was old enough to really get what I was listening to.

Now that I'm fully immersed back into the music world with BB3, I wonder if anyone else does the insane see-saw of decade / genre listening that I do.

Because of what I'm drawn to, I find myself often listening to 70's rock, prog-rock or 80's pop. Mixed with a decent does of soundtrack and jazz.

But through license searches, references, and just general curiosity I have also been tuning more and more to XMU, or just generally yearning to hear something new.

Certainly there's a huge difference between getting assaulted by 70's guitar riffs and listening to the sub-pop production stamp. However it is enjoyable to hear the homages being played to the older music, and also just the really solid quality of the current bands coming out and hitting the public.

This week my favorite discovery is Metric. Generally based out of Toronto, they are lead by singer Emily Haines and guitarist James Shaw and really do an amazing job of blending pop/rock/electric beat. Definitely good summer night music. Their new album Fantasies came out last month, and I have been listening to it steadily.

No doubt later on I will sufficiently inundate myself with a piece of nostalgia, probably in the form of Judas Priest (have been smiling and listening to them since seeing them live last Tuesday), and thus the ping pong continues.

Music musings

Was talking to my intern yesterday, who also happens to be interning at a major label in NYC and it was fascinating and thought provoking to hear the general workings happening in publishing.

Of course just as fascinating is that three days per week she's in a massive corporate environment with assistants, assistants assistants, and more lines of communication than I can possibly imagine. Then one day per week we hang out in my comfortable, midsize room and talk about the latest on projects, the last good street musician we've run into, or just the general state of indie bands.

What got me thinking yesterday was the nature of songwriting and performing at a big label, versus the same for indie labels, or just up and coming bands. I can't imagine that many people even realize the many layers and methods which can happen here. But to put it in perspective, the labels get hundreds of songwriting submissions, they go through them, throw most away, and the BEST ones are presented to artists who can either choose to record them or not.

This is not a new idea or method, but it's amazing to think of the long road from a young songwriter in middle-America writing his/her hearts out, sending to all the labels and just HOPING that Big Artist A will go "Hmm, that could be decent".

It's hard for me to wrap my head on it, and I absolutely can't make a judgement on this method because of course I have hope for these young songwriters, and I understand that just like an up and coming novelist, hopeful screenwriter, or auditioning actor this is how careers can be started. I only point it out as something that is a fascinating phenomenon, and how there is and always will be the polar opposite which is the artist who writes their own songs. Bands to still get into a studio and just crank out ideas and fine-tune until it either ends up a memory, or a single.

Just one small example that I love because it's a personal story of a friend and composer, is the song "We Belong", made famous by Pat Benatar. This song was written by the writing partners of said composer and sent to the label. The label exec really didn't like it. The tape was to be put in the "Sorry" pile but was mistakenly sent to Pat. Pat loved it and told the label exec so. Label exec answered "I loved it too!!". Promptly verbally beat up on the person who sent it. Pat records it. It reaches number 5 on the US charts and earns her a Grammy.

I think the general public has a sense of the process, but really it's something to think about each time you hear a new song, and wonder where in fact the muse for that song originated.

Oh wait, I have a blog?

Yes, I realized today for about the 25th time that I haven't updated my blog in almost two months.

One could argue that opening a new company in this financially difficult time would be a great excuse. Coupled with the fact that I'm really the only staff employee. Or being a busy and enthusiastic family man. Or the 2 1/2 hour commute.

But realistically, it's just lazy and rather inexcusable. So I'm getting back into it.

In the three months since I opened I've realize that A) this is the best career move I've ever made and B) the music business pertaining to advertising is still a wild-west show after all these years.

Client continue to say things like "We'll just use the reference track" or "It's just not grabbing me, and I can't say why" or simply just not getting back in touch at all.

However despite all of this, this is a joy. I mean, I spend my day connecting with really interesting, generally like-minded people who are also trying to make some things happen and hopefully put a little positive creative thumbprint on something each day they show up at the office, stage, edit suite, audio room, etc. Not to mention that most of my day I'm inundated with music in some shape or the other, which is frankly how I've found myself living most of my life whether in this business or not. Tracks from composers, tracks from bands, artist's websites, iTunes searches, iPod playlists, it's all music and it all makes me extremely thankful for what I do for a living.

The point? I'm not sure, it's late and I just felt like if I didn't write something for myself, then why have a blog at all?

I'm looking forward to what project shows up tomorrow, and I'm sure that despite what craziness ensues, it will be an enjoyable ride.

Living Colour vs the Man

Had to share this fantastic story that was told to me by an extremely talented bassist who happens to be currently touring with Vernon Reid (guitarist in Living Colour) through Europe.

In 2007, Guitar Hero III came out with a bang, as the previous entries in the series had redefined music gaming.  One of my personal FAVORITES to play from this entry is the 1988 Living Colour anthem "Cult Of Personality" from the album Vivid.  Now, with Guitar Hero Smash Hits coming out next month, that song is being released AGAIN, but playable as the full band.  Something to look forward to, and also the reason I thought to relay this story.

But the real story is that while playing GHIII, I noticed that the date on "Cult of Personality" was 2007, rather than 1988.  Never paid much attention to it until said bass player and I were talking, and he told me this story.

The record label that originally released Vivid had (like many labels) upset the band over the years.  I don't know all the details, but I DO know it wasn't a happy marriage.  So when they were approached to put this song onto the game, the band reunited and completely re-recorded the song for the game.  Thus the date of 2007, and thus NOT sharing in all the licensing money with the label.

Score one for Living Colour, and for all the fans that can now rock out come June.

Two passions - together again

To mix it up a bit today I thought I'd put together two of my biggest passions: music & wine.

It's relatively common knowledge that many golfers have turned to making wine (Greg Norman being the most prominent), and even TV stars (Fred MacMurray). But what about rock stars?Where is the music angle?

I'm telling you that such a thing does exist.  

I'm inspired to write this as a result of the current Queensryche tour, and subsequent article in Wine Spectator regarding Geoff Tate's (lead singer of said band, for those unaware) new wine.  You can check out that article here.

http://www.winespectator.com/Wine/Features/0,1197,4694,00.html

I have high hopes for this.  Not so much that I think Tate will be a future star winemaker (he is not making this wine, Holly Turner is) but that I think red blends from Washington state are some of the most interesting wines being made in the U.S. currently.  Not to mention that had the Seattle native not made his wine in Washington, I'm sure he would have heard about it!

This isn't the first time a rocker has tried a hand in winemaking.  I had a very interesting and massive red wine back in 2005 that was commissioned by Vince Neil of Motley Crue.  You can read a little about that short endeavor here.

http://volunteer.blogs.com/winewaves/2006/01/more_vince_neil.html

Don't try to go to the website though, the wine has since gone away.

I have been impressed recently with the opening and success of City Winery in NYC, which is Michael Dorf's impression of how to morph the two.  Rather than create just a label, he has created a wine bar, restaurant, concert venue, and a barrel cellar all in one place.

I was lucky enough to have seen it when it was still a massive warehouse with nothing but Michael's vision and a blueprint to show you what it can be.  

Since then it has definitely taken off, and is a great spot to hit if you're a fan of live music & wine, or just one of the above.

http://www.citywinery.com

I'm very proud to be working in a city where rocking and swirling can live in the same space.

Life after Lange (pronounced Lane) - Part 2

Hopefully after part 1 I was able to convince you to dust off your dusty records and your junior high and high school yearbooks.  For the younger generation I at least hope I was able to convince you that there was a time when big-haired Brits and Aussies in school uniforms ruled the earth.

Moving into the next stage of the Lange phenomenon, I want to look less at some multi-album dominance, and just peek at some of the one-offs that Mutt took on during the 80's and beyond.

Again, any great producer would look at what Mutt did with with Def Leppard and AC/DC and call it a huge success, and certainly the record labels had the same thought!  Thus why he was brought in to produce several other big acts at the time, and to no surprise created massive successes.

We can rev it up again with Foreigner, who worked with Mutt on 1981's Foreigner 4.  Having the songwriting reigns purely with Lou Graham and Mike Jones for the first time, and bringing in session players to complete the act (including a young Thomas Dolby), 4 delivered 3 top 10 singles, and made #1 on the Billboard album chart.  Urgent, Juke Box Hero and Waiting for a Girl Like You put the band into the headlining arena rock category with Journey, Styx, and R.E.O. Speedwagon.  Interestingly, the bands 2nd studio album Double Vision DID sell more copies (certified 7x platinum vs 4's 6x platinum), but two singles reached the top 10 from that album (Hot Blooded, and the title track).  So although 4 didn't quite have the sales dominance, it created a culture and massive world tour backing.  Did I mention Mutt also received a Grammy nomination for producer of the year?

Moving right along, the mid-80's continued to be successful for Mutt and any band he put his producing hands on.

With The Cars, Mutt produced Heartbeat City.  Spawning two top ten singles (You Might Think, Drive) and two top twenty singles (Magic, Hello Again).  Of course, to be noted here is the fact that this album came at the peak of the MTV dominance of cable television, and the band took full advantage of this by creating original and quirky videos for each of these songs.

The album itself reached #3 on Billboards album charts.

With Loverboy he was brought in to try and seal the wound with the departure of Mike Reno and guitarist/producer Tom Dean by writing a title track for Lovin' Every Minute of It.  The track reached the top 10 status, and was the only highlight of an otherwise mediocre album (not produced by Mutt).

Then (just to mix it up) Mutt made the jump into the pop/R&B world to work with Billy Ocean, producing the hit single with perhaps the worst name ever for a hit single, "Get Out of My Dreams, Get into my Car".

Soon after Mutt teamed with Bryan Adams to create his smash-hit "Everything I Do, I Do it For You" written for Robin Hood-Prince of Thieves. Remember that one?  Sorry.  But as painful as it is to almost all members of the male sex, this song was a huge hit, and the movie did extremely well despite Kevin Costner.

OK, so point being, this is one of THE best producers/hit-makers of our time.  This is a known fact to music geeks, but hopefully now a better known fact for most who just think that a hit single is sheer luck and great teeth (that's 50% of it).  

The latter part of Mutts career spirals into a path of country-pop, Shania Twain gossip mag articles and seclusion.  So I'm not going to go there.  But I'm hopeful that he continues to produce, and that he'll find a way to again redefine himself within the world of rock. Nickelback's 2008 release, Dark Horse, had Mutt once again working in rock.  However it seems that the combination here led to an attempt to get the band to continue on their familiar thread of big ballads and rock/country riffs, only this time with Mutt adding some of the elements that made his earlier rock album such a huge success.  Certainly the album SOUNDS good, but it doesn't have the charisma and pure delight of his work in the 80's.

Regardless, I'm impressed with this career, and impressed that he's been able to redefine, reestablish and influence a generation of bands and producers.