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Saturday
Feb202010

Abbey Road sale worth reflecting upon

News that EMI was considering selling Abbey Road Studios triggered gasps from music afficionados this week. The studio, where The Beatles transformed rock music, is indeed something to rally around.

I don't fault EMI for considering the move; smart businesses can't be beholden to legacies that don't fit their future. As many people wrote, the news was proof that fabled recording studios were living on borrowed time in a world of low-fi Mp3s and earbuds.

Someone, possibly the British government or a historic preservation group, will ensure Abbey Road lives -- not as a studio but as a museum to milk like nobody's business. That's not necessarily a bad thing. Stax Studios, Sun Studios, Motown Studios and other studios turned museums generate big bucks while providing fun history lessons into transformative eras of modern music.

Eric Felten of The Wall Street Journal -- whose previous gig as drinks columnist for the paper had to be the best journalism job ever -- waxes nostalgic in a column that eloquently captures how the great studios transformed how we listen and why that experience may soon be lost forever. I'm a geek about recording history, and I think Felten's short piece is as good as any in quickly capturing the magic and science of studio sound, and why we need to periodically take the time to treasure the art behind it.

Wednesday
Feb172010

Lessons learned from Beck and Clapton 

Rolling Stone has just published a very good interview with guitarists Jeff Beck and Eric Clapton, amazingly the first time they've been interviewed together despite tasting stardom in the early 1960s.

Two guitar legends in the mid-60s, and looking a bit shaggy behind the earsI'm stunned this is the first time these two have sat down for an interview, given their close ties in The Yardbirds, blues-rock supergroups in the late 1960s and '70s and their general reputations as two of the best, if not the best, guitarists of all time. Both are co-headlining a brief tour, which sadly won't make it to the West Coast.

Rolling Stone offers a glimpse of David Fricke's interview online, but has reserved the juice for the print edition. If you're a fan of their music or musicianship in general, it's worth the $5.

I've always been a fan of Beck, whose mastery of blues, hard rock and jazz, and to a lesser extent rockabilly, is mind blowing. That inability to focus on one genre  -- or what All Music Guide describes as the "haphazard way he approached his career" -- was a double-edged sword. He's a god among musicians but his commercial success pales next to Clapton.

Clapton, on the other hand, had never won me over. His playing was soulful and technically brilliant, but he was often a jerk and tended to deliver a lot of half-ass performances. One of the worst concerts I've ever attended was a Clapton show (thankfully opener Robert Randolph ensured the evening wasn't a total waste).

But the Rolling Stone interview captures a remorseful side of Clapton, one who regrets some of his decisions and streak of laziness in the 1990s. Clapton comes across as sympathetic, almost as if the tour and growing fondness for Beck is waking a sleeping lion. Let's hope so. It's be great to hear Clapton polish a somewhat tarnished legacy.

The key takeaway for me, however, was a passage describing Beck's work ethic. Beck's public image is one of a man who can't decide whether to play the guitar or restore old cars (he once jokingly said he recorded a new album simply because he needed money for a new band saw). But as Fricke notes, "He still practices for long periods every day, when he's not on tour or in the garage -- working on chords, melodic phrases and fingerpicking exercises.

" 'I fnd it inexcusable not to get up and play,' Beck explains, 'especially now with big shows coming up. I've got a guitar on every sofa, leaning up against walls, telling me, 'Don't forget what's about to happen.' That's the way it's been for 35 years.' "

I admire people who still have passion for the hard work that creates greatness. Anyone who's seen Beck's new DVD "Live at Ronnie Scott's" is blown away by his masterful mix of detail and flash. Author Malcolm Gladwell suggested in his book "Outliers" that anyone can be great at something if they put in 10,000 hours of practice. His key example was The Beatles played multiple live shows nightly for two years before they hit it big. And so while it's amazing that after nearly 50 years in the business, one of the all-time greats still finds the passion -- and the need -- to work on the basics, it's a lesson we all can take to heart.

Thursday
Feb112010

Gotta “stick” up for my fellow drummers

Soundcheck has a semi-lame/semi-enjoyable “Smackdown” on drummers, subtitled “Heart of the Band ... Or Butt of the Joke?”

As a former drummer, you can guess which side of the debate I’m on. Don’t get me started about guitarists who think “11” is a starting point or lead singers who think they’re all that (Charlie Watts reputedly punched out Mick Jagger after Mick introduced him as “my drummer”; Watts was said to have replied, “No, you’re my singer”).

The "Smackdown" at its core taps into a perception that’s more real than you think, as evidenced by many of the 80+ comments, but ultimately devolves into hackneyed -- but still funny -- jokes that every musician (particularly thin-skinned guitarists) have told over the years:

Q: What do you call someone who hangs out with musicians?
A: A drummer!Legendary Spinal Tap drummer Mick Shrimpton, the ultimate amalgam of drummer jokes

Q: What happened when the bass player locked the keys in the van?
A: It took all day to get the drummer out!

Q: What did the drummer get on his IQ test?
A: Drool!

Q: What’s the difference between a drum solo and a broken vacuum cleaner?
A: A broken vacuum cleaner doesn't suck!

I actually agree with the last one. Maybe it’s because I never learned to solo, but even when I watched the best, there’s nothing worse than a drum solo.

If you're a musician, you've heard all those jokes, and probably, like me, substituted other words like “guitarists” in retelling them. Example: How do you get a guitarist to shut up? Put sheet music in front of them.

Exactly.