An Ode to Compact Discs

Just a few weeks after I touted the benefits of owning physical LPs, author and journalist Rob Sheffield writes in Rolling Stone this week about the resurgence of one of the most assailed forms of music media: the compact disc. The redheaded stepchild of music formats, Neil Young has equated listening to digitized music to sensory deprivation and torture. Ouch!

But while I’ve never understood store-bought cassettes, even back in their hey-day and especially today as they make a perplexing comeback in used record stores, I totally get why CDs are still a thing, Neil Young’s assertions aside. As Sheffield writes: “Compact discs were never about romance — they were about function.”

I and most other music connoisseurs spent years in the 2000s converting their CDs to easily stored MP3 files for use in iPods and the like, but unlike many, I stopped short of actually removing the physical products from my home. Thank goodness, because I really do like having physical CDs to play, especially when I’m driving in my Mazda, which will unfortunately likely be the last car I’ll ever own that’s equipped with a CD player. I still own the 400 or so that I amassed over the years, including my first purchases from 1986, and I still kick myself for having sold or gotten rid of around fifty CDs back in the 2000s. There’s still something alluring about playing a CD in its entirety, uninterrupted. In terms of functionality coupled with pretty damn-good quality, CDs can’t be beat.

Unless you consider streaming, which – let’s face it – wins in the functionality department and can sound pretty great if you want it to, but Sheffield echoes (and states more eloquently) some of the same arguments I made last week about streaming. He writes:

“…streaming is not a ‘place,’ but a barrage of constant options that many fans find less optimal when you’re in the mood to actually concentrate and listen. You’re probably also streaming on a device that’s nagging you about messages you need to answer right now.”

It’s the same premise that people have made all along: that there may simply be something very human about the need for tactile interaction with one’s environment, and in a culture that’s downgraded music and other media to something disposable, it’s natural that the pendulum would slowly shift toward owning physical products. CDs aren’t perfect, but they at least include liner notes and cover art. As if that’s not enough enticement, I saw scores of them at a used furniture sale last week for 25 cents apiece!

And for all you vinyl purists who lean toward environmental causes, Sheffield notes that for all the hubbub people threw at record companies for housing CDs in grotesque longboxes back in the 80s and 90s, “…the tables have turned – now if you buy an LP online, it’s shipped in a package that’s basically six longboxes.” 

Well played.

For those who aren’t familiar with Sheffield, he’s a hell of a writer, and among music geeks is revered alongside other venerated music-themed artists such as author Nick Hornby (High Fidelity) and filmmaker John Carney (Once, Begin Again, Sing Street). Sheffield resonates to a certain type of person: often male, semi music-obsessed, a bit insecure, and one who occasionally likes to bathe luxuriously in his own heartache. His books Love is a Mix Tape, Talking to Girls about Duran Duran, and Turn Around Bright Eyes are mainstays for many music nerds. I highly recommend each of them.

Is Collecting Vinyl Pretentious?

Last week Katie Edwards of the Independent had a little fun with a provocative essay on how pointless ownings records is. She writes from the viewpoint of a fed-up wife whose vinyl-collecting husband has taken over a third of her dining room. To which I say, “Hey, at least it’s not half.”

But seriously, I think Edwards was writing partly for the thrill of poking the bear, knowing that geeky audiophiles would blow a gasket, because midway through her essay she actually answers her own question of why people purchase vinyl. She writes, “Perhaps it’s the experience of vinyl that’s the clincher? The same way I like to hold a physical copy of a book and turn actual pages rather than read an electronic version.”

I can’t speak for all vinyl collectors, but for me, that’s it, exactly. I’ve never bought into the claim that vinyl sounds better than other formats. I’ve also never owned records that I’m reluctant to play – as Edwards’s husband apparently is – for fear that they’ll get damaged. And I don’t eschew streaming music; according to Spotify, I streamed over 139 hours of music in 2021, 55% more than the average Spotify listener.

But streaming doesn’t just make music portable, it also makes it disposable. I’ve invested nothing into downloading the latest Sammy Rae EP (but you should do so – she’s amazing!). Not money. Not time. Not changing the dial on the radio. Worse, I don’t know who plays on her album, who produced it, where it was recorded or who wrote the songs. Her songs exist in the ether, as if they just appeared one day through no effort of gifted musicians. Vinyl and other physical formats force the listener to reckon with the music, to establish a relationship with it, and to devote physical space to it.

Katie Edwards concedes all of this, but then wonders if the real reason people buy vinyl is to flaunt their tastes over those whose musical knowledge they consider pedestrian. Edwards writes, “Having a showy collection of vinyl – that owners have to pull out and parade in front of uninterested guests stifling yawns – is a display of pretentiousness that turns me right off.”  She also writes, “ I just can’t be bothered with the inevitable scoffing by self-described music buffs who consider themselves authorities on taste just because they’ve got a couple of obscure LPs.”

Okay, I cry bullshit here. If she actually has friends who’ve scoffed at her musical tastes, then she needs to find new friends. More likely, I think Edwards is writing to provocate (as she apparently did me!). Either that or she’s projecting her own insecurities on her music-loving friends, the same way any insecure person might do to describe any other human endeavor.

For example, I have a friend who has a very impressive wine cellar in his basement and likes to present good bottles of wine for gatherings. I don’t really know anything about wine except that I like to drink it. Now, I could be intimidated by this and accuse my friend of arrogance, but really – I just think it’s cool. He’s into something I’m not into. I have no aspirations of becoming a wine aficionado, but I’m glad he is, and I’m happy to ask a few questions so that he can share his enthusiasm with me. The next time he comes over to my house, I will have no problems opening up a $12 bottle of cabernet. I don’t think he’ll judge me for it. I think he’ll ask for a glass.

Similarly, Edwards should have no problem streaming the Heart song “Alone” for her friends, as she claims she’s reluctant to do. If they truly look down on her as a result, then shame on them.

But methinks she doth protest too much. She must know that “Alone” blows.

Ha, I actually like that song. Two can play this provocation game!

My New Band - Anchors Away

When I subscribed a Spotify a few years ago I started making a massive 70s playlist, not of songs that I already knew like the back of my hand, but all of those tunes that pop into my head at odd times, little remnants of my youth when I listened to WOKY Milwaukee in the backyard of Menomonee Falls, Wisconsin. Songs like “Jackie Blue” by The Ozark Mountain Daredevils, “Reminiscing” by The Little River Band, “Just Remember I Love You” by Firefall, and “Lotta Love” by Nicolette Larson. Remember those song? I do, and scores of others, some that I hadn’t heard in decades. I just picked up an album by The Tarney/Spencer Band – a group that is NOT on Spotify currently – because as I was driving down the highway a year ago or so, the song “No Time to Lose” clawed to the surface from the recesses of my mind. I don’t know why it got there, but it’s a great tune, and I love so many of these old songs that don’t get the radio rotation that they used to.

This type of music has been retroactively labeled yacht rock, a very nebulously applied term and one that many musicians resent. But the label seems to have stuck, and the genre has gained a bit of a resurgence. So imagine my excitement when I got the call to join a Chicago-based yacht rock band, Anchors Away? The music is challenging, fun, and more subtle in nature than much of the music I’ve been playing live for the last decade or so. I’ve been busting my butt trying to get 30 songs prepared for my first gig with the band, taking place on October 29th in Downers Grove, Illinois. What I really like about it is the fact that we’re not playing the same old stuff that you can hear on every radio station in the country. No more Rolling Stones, Beatles, and the like. This music may not be new, but it also hasn’t been beaten to death.

Anchors Away has some killer musicians “on board” (see what I did there?) and I can’t wait to get sailing with the crew. It’ll no doubt take me a few gigs to feel comfortable, but I hope you’ll make it out to one of our shows docking at a bar near you. Visit us on Facebook or on our website.

Playing Music without Understanding Theory

My musical ear is decent – not great.  If you play me a complicated jazz tune or a song by King Crimson and the like, I will not be able to play along, but for most rock/folk/blues tunes, I can figure out what’s happening pretty quickly, and my ability to play the song isn’t usually beholden to a particular key.  Like many musicians, I can think of chord changes in terms of Roman numerals, which is hugely helpful when “hearing” changes and playing along.  I’m often made fun of in band practice because I’ll always ask what key a song is in before we start playing.  I can never remember.  Once I know the key, I’m good to go (usually).

What I find amazing is just how many musicians – good one, too – play their instruments without really understanding the language of music, what we often call music theory.  A friend of mine put it this way: it’s like learning a second language by memorizing a lot of sentences.  Yes, it’s impressive to learn so many sentences, and you may be able to utter hundreds of them correctly, like “I’d like my breakfast with two eggs and toast,” but if you instead want to say, “I’d like my lunch with three pickles and coleslaw,” you’ll be in a fix.

This is a great analogy for what some musicians do.  And I’m not knocking them.  I think it’s amazing.  What they do is actually harder than what I do, because they’re memorizing songs.  I’m usually not.  I’m following chord changes that I hear in my head.  I know guitar players who can play crazy difficult solos note for note but who don’t know what a C7#9 chord is.  By contrast, I can’t learn a complicated solo without a great deal of effort;  I can, however, play along to a tune and tell you that the iv minor chord that the band is playing is incorrect – that it’s a flat VII major 9 (as recently happened when my band was learning “Brass in Pocket”).  I’m relatively good at that kind of thing.  Different skill sets, I suppose, and my ear still isn’t what it should be.  A good jazz musician might wonder how I dare to call myself a musician when I don’t know what mode to play over the aforementioned C7#9 chord.  I’ve got a lot to learn, for sure.

But those among us who literally memorize their parts should be revered on some level, because it’s a huge feat to memorize parts and excel in doing so.  The problems arise when you’re trying to communicate with each other.  I’ve had bandmates who don’t know what I’m talking about when I ask them to go to a III major chord, or who can’t change song keys without a lot of preparation.  That can be problematic and, at times, limiting, just as I would be a limiting factor in a jazz combo.

But I think it’s also encouraging that there are multiple ways to approach and enjoy music, and that one can be proficient in some aspect of music but not in others. Ultimately, those differences might even be invaluable to the makeup of a band.

New Album ready for Streaming

The Human Form Divine is ready for streaming! A long 15 months after I started recording demos, this pandemic-produced album (really more of an EP at 23 minutes) is complete! A snappy, stark album with prog-rock leanings and recurring musical themes, it’s the best-sounding album I’ve ever produced, with stellar guitar, bass and drums leading the way thanks to Griffin Cobb, Julian Wrobel and Sam Heinz.

Listen to The Human Form Divine on:

• Spotify

• Apple Music

• YouTube

• This website

Here’s a bit of background on the project:

On June 19, 2018, a few months after completing my album The Great Divide, I wrote down the song order for what was to be my next album. I thought I was all set. I took some time to pursue a few other activities, including scoring my daughter Sarah’s brilliant animated short, and by the fall of 2019 I was ready to tackle a new project, but when it came time to start laying down basic tracks, I found myself uninspired. Bored. Unexcited. I needed to scrap my plan and start over.

Around that time, I purchased a harpejji, an amazing stringed instrument I’ve written about before, and started messing around with a few musical motifs, including some chromatic odd-timed stuff, and I wondered about doing a sort of prog-rock type project. I went back to a bunch of song snippets I’d recorded on my phone over the years, and one that grabbed my attention was a little tune I’d hastily written in April of 2014 while taking a walk around the neighborhood. I called it “Bunker Song,” and it provided me the jumping off point that I needed to proceed with a thematic album.

I composed the Phrygian mode melody from the title track while attending High Holiday services in the early 2000s, when a reading captured my attention, taken directly from Reform Judaism’s Gates of Repentance prayer book: “Disfigured lies the human form divine, estranged from its center.” I love that line! I even half-thought about doing an album of Jewish-themed content at that time, but instead set the melody and lyric aside, only to find over a decade later that they would work wonderfully in the context of my new project.

Additional important propellants were the compositions my son Sam created in his high school music production course. He had a half a dozen instrumental recordings, and between these and several half-formed compositions that I’d jotted down over the years, I was gradually able to whittle things down to several musical motifs that I used to flesh out a number of songs, most notably the title track and “Sea Song,” which comes from a piece of music Sam wrote called “C Song” because it was – you guessed it – in the key of C. I wrote the intro of what would become “Sea Song” in January of 2015, the instrumental intro to “Obfuscation” in August of 2016, the chordal theme from “The Human Form Divine” later that December, and most of the music for “Race to the Bottom” in May of 2017. Sam composed the suspended themes from the title track and “Sea Song” in the spring of 2017 and the brilliant chord sequence of “Unsettled” in December of 2018. I added a melody and B section for that song, but tossed out the B section for this recording. I’d like to do another version of this song as a bossa nova with a jazz band for my next project.

From there, songs came together quickly. As always happens, a few pieces were written contemporaneously. The vocal section of “Why Not” was written on December 26 of 2019, and a few weeks later “Obfuscation” started to come together, as well as the completion of “Bunker Song” and the lyrics to “Race to the Bottom.” I decided to keep the project short and snappy at 23 minutes, and in hindsight this was plenty to keep me busy.

I completed song demos in March of 2020 and then the pandemic hit. Sam and his bassist buddy Julian Wrobel (from The Great Divide) rehearsed the songs on their own, eventually getting together during the buildup to a late-July socially-distanced recording session at Kiwi Audio in Batavia, Illinois, engineered by Brad Showalter and Mark Walker. As was the case for the previous album, both Sam and Julian created parts for the songs rather than just winging it, and the results are gratifying. Check out Julian’s bass riff during the title track or Sam’s drum break in “Obfuscation” – those are parts I could never compose, much less execute!

My daughter Jessica may not have participated directly in this recording, but she came through in a big way by recommending her friend Griffin Cobb to add guitar tracks remotely from Louisville. What a godsend! Throughout August and September Griffin tirelessly recorded scores of guitar tracks, transforming what I heard in my head into real-life performances. How gratifying! And we were never even in the same room!

Meanwhile, my daughter Sarah completed the album cover in short order after sharing a few rough sketches with Sam and me for our approval. She captured the struggle of being human perfectly. The album cover was completed a good six months before the album was.

I added keyboards and vocals in September and October, and then – as I always do – struggled mightily with the mixing process. I shelved the task for a few months over the holidays, and then began in earnest in January, finally completing the mixes in March with the help of a few of my friends. I sent the mixes to Collin Jordan of The Boiler Room, and viola! The album was finished! All it took was 16 months of hard work. I gotta find an easier way to do this next time.