http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Wed, 2 Aug 2006 22:34:36 EDT http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2006/08/02/223436.php Marc RameyI grew up listening to country music. Yes, I know some of you will find this hard to believe. When I worked as a busboy at Reeve’s Fish and Steak House in Fairview, Mississippi, the cook and I would jam out to some die-hard country classics. Project Jones reminds me of those days of slinging meat and dishes but with a new age alternative country-pop-rock-twist. You can hear the heavy Nashville influence in The Lucky Ones in the taunting, catchy sound that makes your head start bopping around to the music. If you listen longer, your right foot should start tapping, and if no one is watching, you might even start shaking your ass, at least until someone walks in.Project Jones was voted “Best Rock Alternative Rock Band” in 2005 in Nashville by THE BUZZ, call-in, and on-line voters from their area. They have had their first album, For Better or Worse, licensed by MTV, traveled the East Coast, played SWSX, and are in the works for an upcoming USO tour. This band is not to be taken lightly.What is any album without a ballad? Track six is the perfect song for someone dealing with a break-up. I think this is aimed towards some sappy female, but I guess it could work for a guy as well. I would also recommend track 12 as well for a break-up song.I have to admit that this is not the style of music that I typically listen to. This album is filled with a lot of “country” style lyrics that don’t keep my attention, but Project Jones makes up for it is with their catchy rhythm and vocals. The Lucky Ones was recorded in Fairhope, Alabama, overdubbed and mixed in Nashville and Montrose, Alabama, by Chris Mara. This album shows the quality and dedication that Chris puts into his work.I have had quite a fun time with this album. At first I thought it wasn't going be my thing after the Sheryl Crow flashback intro in the track "Save Me," but it turned out to be an interesting album.Track listing:1. Introduction2. You Don't See Me3. Save Me4. Yesterday5. Moving On6. The Lucky Ones7. When I Come Down8. Why9. Just Like Me10. Back Then11. The Lucky Ones (radio edit)12. Moving On (radio edit) Music51084@blogcritics.org Wed, 2 Aug 2006 22:34:36 EDT http://blogcritics.org/archives/2006/06/11/165015.php Marc RameyAdmittedly, this is a hypocritical topic for me to write about. I'm the first to tell you that I don't like limits, especially the speed type. But, as I sit here listening to a record (yes, an actual vinyl disc thingy that's spinning on a turntable) it's gotten me thinking about some things, like limits.A record is about 45 minutes long, which is a physical limitation of the medium. As an artist making a record you had to be aware of that limitation from the very beginning. So dig this, it's really cosmic man (sorry kids -- the record is from the early seventies and the hippie dialect is bubbling to the surface): If a guitar solo is really long in one song, for instance, the whole record can be affected -- another song is going to have to be edited, shifted in order to fit on the other side, or dropped altogether in favor of a shorter song that will fit on the record.The artist has to be tuned into the big picture, which is that he or she is making a record and not just putting a bunch of songs on a shiny 80-minute CD. I think this is one of the reasons why there are so many great records; the limits of the medium really forced artists to make the best out of the 45 minutes they were allotted, instead of the now-all-too-common shoulder shrugging comment, "put them both on there -- if they don't like it, they'll skip over it."Wait! There's more! Let's take a look at limits while recording. First of all, this whole "unlimited track count" thing has been rubbing me raw for a long time. What's wrong with 24 tracks? No, this isn't the typical "The Beatles recorded on a four track" argument -- that's lame, and here's why: 1) they're the Beatles -- they could've called the radio station and sang a song onto the answering machine and it would have been a hit; 2) everyone else at the time (who could afford it) was recording on a four track, too -- it wasn't some back-to-nature hippie thing; and 3) a four track was four times the number of tracks previously available to artists.Moving on. One million and nine (roughly) records were (and still are) made on 24 tracks or less. This limitation forces the question: "Is my idea of adding a whale sound in the second verse worth sacrificing my three part harmonies in the bridge?" It's a lot like the length of a record situation. One thing affects another; the better song, the better idea, the better performance wins. It's like some sort of über-cool natural selection theory. Hmm...maybe "Mara" is Latin for "the new Darwin."My desire to explore the positive aspects of limits in the studio is limitless. Ironic, huh? Next up: time. I'm all for budgeting enough studio time for the process to take place. No one wants to be in the "now or never, do or die" situation -- those are best played out in John Wayne movies on AMC. However, I think the "studio in the box" propaganda machine has overlooked the negative aspects of what can happen when you have total access to exactly where you left off on a project, 24 hours a day, 7 days a week.Without limits it's even easier to get lost in the process because the process has no defined boundaries. Artists tend to get bored with their projects, and start to wonder if a cowbell is the answer. Contrary to popular belief, cowbells do not cure any type of fever. Ever. I'll be the first to admit that I, on occasion, have mixed a song for a few hours too long. Yes, I've done the unthinkable -- I've actually mixed the fun out of a song or two in my day. It's kind of like the old adage, "It takes two people to paint a perfect painting -- one to paint it, and the other to shoot him when he's done." Without restrictions we just keep painting until the canvas is black.The solution? Limits. Now I keep an eye out for those special songs that require a short, off the cuff mix and limit the time I spend on them by having my assistant mix them. (That was a joke, folks.) I know, "Hey, come record with me, I'll show you limits like you've never seen!" isn't something you want to hear from a producer or engineer - but the true lesson here is that limits really can be useful. They force the best out of all of us. Having a limit to the number of songs on a record demands better songwriting, having limited track counts forces you to learn how to be a better recording artist. The fact is, limits force us to make decisions. I've come to the conclusion that decision making is becoming a lost art. (Well, I think they have, I don't know -- what do you think?) Often times, I see creative energies drained by listening to take after take after take (after take), instead of making the decision, "I can't beat that" right away and moving on. Working within limits can create really cool heart pounding moments, too; there's nothing like beating a performance by recording over it. Decisions like that really snap you into focus and lead to better performances, along with a huge sense of accomplishment.These limitations also give you the opportunity to listen to your 24 tracks (or less) on playback and ask, "Is this working? Is my message getting across to the listener?" If not, these same limits allow you only a few choices: 1) live with it; 2) mute something; or 3) do it again. Really, those aren't bad choices to live by, because, and let's be honest, when was the last time adding a backwards cymbal to a song really solved anything? Music49094@blogcritics.org Sun, 11 Jun 2006 16:50:15 EDT http://blogcritics.org/archives/2005/09/01/133757.php Marc RameyThis is a blurb I have been working on a little at a time. Tears form each time I try to write:The Gulf Coast is a sad place right now. Everything we ever knew or have known is gone and/or drastically changed. Our homes, places of worship and our entertainment venues have been destroyed. Many people left the area in the wake of the storm while many people stayed home thinking they could survive. Sadly for a lot of residents that was not the case. We are without power, food, and water. Some only have the clothes on their backs and are searching for any word on the fate of loved ones. The Gulf Coast is a war zone. Looting is prominent throughout the area along with thirst and starvation.At GulfCoastBands.Com we have hosted a monthly Meet and Greet for local charities. In January, we had 17 bands perform for free in the wake of the tsunami crisis. That day we raised over 20k from donations and silent auctions. Now the Gulf Coast itself is in desperate need of help. If you have the opportunity to host a charity show to donate to the Red Cross, please do. Life on the Gulf Coast will never be the same.I am located in north Mississippi without a home to return to, or very little to get by on, but I have my life. I feel helpless up here as I am being contacted to put on charity shows and do not have the means to do so. So I ask all of the bloggers out there with any kind of contacts, please put on shows, take donations, and say prayers to all of those people along the Gulf Coast. We need your help. Our lives depend on anything you can do to send relief.Here is a blog pertaining to the area I am from.----------------------------------I don't know how much longer I will have internet access. Today I am going out to find furnished housing to rent - if not, I have to find family in Chicago and get a place to stay. I just got text mail to friends on the coast and it is bad. Most of my friends and the bands I supported are homeless. I can't even begin to explain the emotions right now. Thankfully my girlfriend just got a call from her mother. They stayed on the coast and say it is a war zone. People are robbing from each other while others walk the streets lost.From what I was just told over the phone, the news is not even showing the true agony going on. This is a desperate time for my home town, Diberville, MS, near North Biloxi. Culture35261@blogcritics.org Thu, 1 Sep 2005 13:37:57 EDT