Today in 1996, one of the greatest, most influential bassists ever, Bernard Edwards of Disco/Funk group Chic, passed away after contracting pneumonia while on tour in Japan.
My personal favorite bass line is Sly Stone's lick on "If You Want Me to Stay," but it's hard to deny the power of Chic's "Good Times," a Disco-era hit that helped lay the groundwork for Hip Hop. Edwards' bass line from the song is considered one of the most sampled pieces of music ever and it has been mimicked almost as often. Songs that wouldn't exist with Edwards' riff include Queen's "Another One Bites the Dust," Hip Hop trailblazers Sugarhill Gang's breakthrough "Rapper's Delight," Blondie's "Rapture," Daft Punk's "Around the World" and Wham!'s "Wham Rap! (Enjoy What You Do)" (hey, they can't all be winners).
R.I.P Bernard Edwards. And thanks for the groove.
Click on for Born This Day featuring Bez, Skip Spence, Grandmaster Caz and Robert Christgau.
Music Tonight: Cleveland Art Punk band HotChaCha bring its dancey Post Punk rhythms and soulful melodies to Newport’s Southgate House tonight, playing the club’s Parlour room. The show is the fourth date on the Northern Ohio foursome’s extensive nationwide run with eclectic upstate New York Indie septet Summer People (which has been compared to The Cramps and Nick Cave), promoting the two bands’ split 12-inch EP release, Do It. The vinyl release is a limited edition, but in cyberspace, there are no limits, so give the EP a listen here.
On this day in 1967, The Beatles continued work on arguably their best song, "A Day in the Life." After a debate over how to end the track following the huge orchestral build-up (sustained choral vocals were considered, but scrapped), the group decided to simultaneously strike a massive E chord on three pianos and sustain the notes for as long as possible. Adding overdubs (and a contribution from producer George Martin on harmonium), the final resonating notes hang in the air for over 40 seconds on the recording. As the held chords faded on the pianos in the studio, the engineer had to crank the recording level, which picked up some incidental sounds (like a creaking chair and, certainly, something about Paul being dead) from the studio.
That E-major chord that closes the song — and the whole Sgt. Pepper's Lonely Hearts Club Band album, considered one of the best ever — is widely considered one of the most famous chords in Rock/Pop history. Which means that The Beatles are responsible for the most popular opening chord in modern music — the mysterious G7sus4-ish that kicks off "A Hard Day's Night" — and the most notable final chord with the "A Day in the Life" finale.
Below is audio of BTO guitarist Randy Bachman explaining the "Hard Day's" chord mystery (frustrated guitarists should feel better about their inability to figure it out), followed by today's biggest Pop superstar performing that famed final note from Sgt. Peppers.
Click the jump for "Born This Day" featuring live footage from one of the final Sublime concerts with Bradley Nowell.
Since our Morning News and Stuff writer hates football and refused to comment on the Super Bowl (not even the Puppy Bowl!), I thought I'd take a minute to discuss yesterday's huge game. Well, the music heard during the TV broadcast, anyway.
While I'm not a huge Madonna fan (I love the idea of her more than her music), I thought her halftime show was excellent. Then I looked on the internets and it told me that I was stupid and it was actually horrible and, even worse, offensive! Things I learned: Madonna is, like, really old; she may have lip-synced during portions of the performance; and MIA said "Fuck you, America" with her middle finger. (Like Janet Jackson's boob, I wouldn't have even noticed had it not been overblown in cyberspace.)
Oh, and MIA, according to the AP report, also "appeared" to say a cuss word. (She didn't, clearly stopping her line, "I don't give a shit," at "Shhhh" — nice reporting AP!)
A trio of Hip Hop superstars are in town today to rally voters to get to the polls tomorrow. Jay-Z, Mary J. Blige and P Diddy Puff Daddy Bo Didley Combs (or whatever his name is today) will appear on the Xavier campus today at 3 p.m. (gates open at 2 p.m.). They'll speak on the soccer field next to the O’Connor Sports Center. The threesome are appearing on behalf of the Obama campaign.
Music Tonight: The Mad Hatter in Covington this evening hosts a full lineup showcasing the new breed of "Power Pop" — young bands evolving from so-called "Pop Punk," embracing classic Pop/Rock songwriting and developing a sound that is potentially more timeless. Georgian band Cartel headlines, as they gear up for a new EP release (due next month) that will serve as the band's first since 2009's hook-feast, Cycles, which showed clear progress in songwriting and execution. Tonight's Mad Hatter show (the kick-off date on the band's brief Midwestern tour) begins at 6 p.m. and tickets are $15. The Upset Victory, Action Item, Don't Wait Up, 21st Streamline and The Getaway warm things up.
For a band that is called fun., I sure find it ironic that their music sparks nothing close to that feeling.
I admit comfortably that when I was 16, I was a fan of Nickelback, Disturbed and other bands that would fall under that “Cock Rock” territory. That’s a pretty bold statement.
While I’d say that (most) of that fandom is long gone, I have been finding myself coming back to a lot of the bands the shaped my childhood and early teenage years. Yes, partly for nostalgia (although no amount of that could ever make me listen to Nickelback again), but I think this is mainly because I am finding more and more that I am losing my place in the ever-changing world of music, specifically alternative and indie music.
Three years ago, I was always into the cutting edge of what is “now” — what many others and myself thought was good. I survived Arcade Fire’s The Suburbs winning Album of the Year at the Grammy’s, braved the great King of Limbs debate of 2011 and forced myself into thinking that a band like Chevelle actually sucked.
I read Pitchfork religiously to stay on top of music’s latest and “greatest” new bands. I even pretended that I loved Bon Iver, but that fell short when it was revealed that for about a year I thought Bon Iver was one person. Sorry I’m not sorry Justin Vernon.
Truth be told, I hate Bon Iver. I also think Neon Bible is a much better Arcade Fire album and even a Radiohead album like The Bends was better than King of Limbs. I think Chevelle kicks ass, but you’d never hear me say that out loud until now.
I guess I’ll stop brown-nosing my ego and get to the point. I like music that is accessible and fun. No, not the band. My friends and I, “We Are Young,“ but if that’s your idea for a great indie party song, then your parties suck.
I use fun. as my main example, but this also applies to Mumford and Sons, Gotye, Imagine Dragons, Lumineers and others. I find my friends and acquaintances throwing it against the wall and, beyond my understanding, I’m seeing it stick. It might be just me, but I find these bands depressing. Not in an Alice in Chains “I’m a heroin addict and I don’t know how to stop ruining my life,” kind of way either, but more like a Simple Plan, “My girlfriend left me and now I can’t stop complaining about it” kind of way. Yes, I just compared Mumford and Sons to a pop-emo band from the early 2000s.
There’s a difference between depressed and depression and these bands embody that very essence of momentary sadness that really doesn’t matter in a few months.
Despite the very real and very dangerous depression of the guys who fronted Nirvana, Alice in Chains, Stone Temple Pilots, Butthole Surfers and several other bands during the ‘90s, the final product of that excessive drug use was great and often fun music to listen to.
You don’t put a hand on your heart and shed a tear for Kurt Cobain when he screams out the lyrics to “Smells Like Teen Spirit.” Of course not! You crank it up to 11 and scream loud and out of key with the guy.
Fun has become such a dirty word in alternative music and it’s not because of any form of stereotypical pretentious hipster nonsense. I really think the reason is, well…just because. I don’t think there’s a reason why Mumford and Sons’ Pop-Folk-with-a-Bluegrass-flare fusion is striking big, while Old Crow Medicine Show has been doing that for years.
What do I know is this: I miss when indie music was something new, exciting and fun to listen to. When I think of indie, I think of the playful lyrics like “We could go and get 40s” from the song “12:51” by the Strokes, the iconic bass line of The White Stripes’ “Seven Nation Army” and the voice-raising howls of “Wake Up” by Arcade Fire.
I realize this is all personal interpretation, but indie music has become something of a boring passé before it even got old to begin with.
Bands have no foreseeable longevity because songs like “We Are Young” will be replaced faster than you can say “something that I used to know.” Ha, see what I did there?
And while Mumford and Sons have proven to have some lasting factor on modern music, I find their songs empty, repetitive and lacking any real expressiveness. I feel like I’m taking crazy pills. “Little Lion Man” and “I Will Wait” are the same damn song.
They just don’t make good indie like they used to anymore, but then again maybe I’m getting too damn old for it anymore.
Anger, pain, jealousy and atheism, but tell me this song doesn’t get you going! I dare you!
Editor's Note: Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians’ Desk Reference. Click here for his previous blog entries.
Aaaaaaaaaaand we are done! Well, kind of …
After nearly two years of content creation, testing, editing, restructuring and discussion, I am very proud to announce that the content for Musicians’ Desk Reference is finally complete! There is still much work to be done ahead of the release — completion of web development, beta testing, marketing, promotions and more — but we are at least moving ahead, right on schedule.
It sounds cliché, but it is amazing to take a step back and realize how far this project has really come, in addition to considering how much it has forced me to grow as an individual. It all started with an idea that I simply could not let go of, despite my initial thoughts that The Counter Rhythm Group just could not handle taking on a project of this (theoretical) scale. I tried working around this notion from every angle, discussing it with an array of employees that have helped in our growth, and at the end of each reflection period I knew that we had to still move forward with the idea, any way we could.
Those that know me know that I am a planner. I like making lists — and especially checking things off of that list. I try to find structure in everything when at all possible, and more often than not I find myself asking, “Why?” I have no idea where this mentality came from and my immediate family has reaffirmed that statement over the course of the last few months. It is this mentality, combined with my passion for helping musicians that has provided the fuel for this journey.
I am so excited to share this vision with the world. While it sounds cheesy, I can promise you that every page has my heart and soul poured into it, and that it has been painstakingly been picked apart by myself and a dedicated group of contributors. We are truly aiming to provide the best information possible to be used for many generations to come. I have stated before in these blogs that this is by far the most involved I have ever been in a project — I never considered leaving a legacy, but I am starting to think that this could be it.
So what does this mean for the user? I can say with confidence that there is way more to this project than I ever could have imagined, and the fact that it still consistently “wows” me should be a testament to those who have been patiently waiting for the final product over the past several months.
While the eBook is completely customizable to each individual and scenario, I can honestly say (to those who are interested) to get ready to spend some time reading and considering the subject matter. We have meticulously worked to build the documentation so that it touches base on certain generalities and specifics, offering clarity and understanding on the matter without requiring several days’ worth of reading. I am not a big fan of lengthy reading materials and our generation tends to be intimidated by large batches of text — the sole reason we have invested so much time and resources into a digital platform. To state it conservatively, it will take an artist some time to work through the entire project, which is meant to serve the user through several areas of their career as they develop and grow.
We are so close to being able to put Musicians’ Desk Reference in your hands that I honestly have a hard time sleeping at night. Looking ahead, we will be receiving a beta version of the eBook within the next week and we have many users lined up to participate. If you are interested in being considered for a beta trial, please send an email to email@example.com.
September is when things start getting really exciting, as we are pulling out all of the stops for this release. Without going into too much detail, I can say that we will have an established presence at the Midpoint Music Festival this year, and that this will be the first time the eBook will be available for purchase (acting as our “soft” release, exclusively to those physically at the festival). Pre-orders will be available in early September and are expected to ship the week after MPMF. This will all build up to our national release in October at the CMJ Music Marathon in New York City, where we will be also have a significant presence. There are many more things in the works; I promise that it will all be worth the wait.
I would like to close by thanking all of those that have shown support throughout this process, to The Counter Rhythm Group and to myself. While this is not the time to name anyone individually (that comes later), I want you all to know how much it means to us. Your continued support will help us through the coming months and we hope you will join us in spreading the word about Musicians’ Desk Reference. We have literally put everything we can into this project, and we are proud to say that we were able to build it while living in this great city, utilizing most outsourced services to companies and individuals located in the Queen City. We want to make a significant impact in the music industry, and I look forward to proudly telling anyone and everyone where it all started — right here in Cincinnati.