Posted by DJ Copperhead on September 1, 2008 under New Music Mix Podcast | 
This episode features hot new songs from a variety of independent artists, such as Donna Lewis, Adam Delisi, Stolen Cars, Natalie Walker, Uh Huh Her, Vic Kingsley, Tori Lewis, Mutlu, The Stone Coyotes, The Crash Moderns, Jay Anderson, Raine Maida, Bill Purdy, Jimmy Lloyd, John Fkiaras and Lin McEwan. It also features an interview and in-studio performance of the Brooklyn rock quartet, Running Still. Read more of this article »
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Rating: 6.7/10 (15 votes cast)
Tags: Adam Delisi, Bill Purdy, Donna Lewis, Jay Anderson, Jimmy Lloyd, John Fkiaras, Lin McEwan, Mutlu, Natalie Walker, Raine Maida, Stolen Cars, The Crash Moderns, The Stone Coyotes, Tori Lewis, Uh Huh Her, Vic Kingsley
Posted by Michael on January 12, 2010 under Articles |
Why are people always complaining that music isn’t as good as it used to be. I think this decade featured some very fine music. I’ve seen a lot of lists that are so indie it hurts, and a lot of albums hailed not so much because they are *enjoyable* and more because, well, they AREN’T.
My top albums of the decade are diverse, and there a couple lesser known titles, but many of those were a bit bigger across the pond. Some trends I like? A couple oldsters put out their best work in years, some new people broke innovative ground, and others bucked the system… and it made for some compelling music.
I’m actually quite anal about rating and ranking my albums. I have four categories that I rate 1-10, resulting in a possible 40 point total. The categories are: (S)ONGS – How good is the songwriting? (P)RODUCTION – How much detail, how much punch… did the producer/engineer succeed to the fullest? (M)USICIANSHIP – How is the vocal quality, instrumental players, arrangement, etc… (C)OHESIVENESS – The most subjective, does the album flow well, do the songs combine to form a whole that is greater than the sum of it’s parts?
If you like popular music, and you are unfamiliar with any of the albums I talk about, I urge you to run out right now and get it, because you’ll be in for a treat! So without any further ado, let me begin the countdown.
Near Misses: Green Day – 21st Century Breakdown, Morcheeba – Fragments of Freedom, Robbie Williams – Swing While You’re Winning, Daniel Bedingfield – Gotta Get Through This.
20. Dixie Chicks – Taking the Long Way (2006) S:8 P:9 M:8 C:8 - 33
Freed from trying to please country radio, the Dixie Chicks made the album they were born to make. By throwing convention aside, the became the modern versions of Johnny Cash. Country rebels. Because of course they were still going to make a country record, but now they could do it their way. So much detail in the music. So many layers to the sound. Punk looks good on you.
19. Robbie Williams – Escapeology (2002) S:8 P:7 M:10 C:8 – 33
Has any pop artist in the past two decades ever embraced true musicianship so wholeheartedly? Trends be damned, Robbie loves a good horn section, loves lush strings, 70’s style piano and a little bit of funk. With this album he manages to blend his somberness, smarmyness, cynicism and joy into a unified front of emotion and virtuosity.
18. Lady Gaga – The Fame (2008) S:9 P:8 M:7 C:9 – 33
There is no question that Lady Gaga has already started a sea change in popular music. But in sound and image. And while I rather fear what she may have wroght (more is NOT always more!) There is no denying the unabashed fun of this album. Musicianship gets a tad buried behind producer RedOne’s “throw in the kitchen sink” arrangements, but a unique voice (vocal and songwriting) manage to shine through the cacophony.
17. Radiohead – In Rainbows (2008) S:6 P:10 M:8 C:9 – 33
Way too many sounces have listed Kid A as a top album of the decade. It is impressive for it’s sonic masturbation, but that’s about it. For their post OK Computer career, In Rainbows takes it for finally finding a way to combine their breathtaking new direction in sonic soundscapes, and managing to get back to writing some good songs at the same time. The sonic depth of the record flies you into a new world, and they pace they album just right.
16. Coldplay – Viva La Vida (2008) S:7 P:9 M:7 C:10 – 33
It feels like a concept album, thought I don’t know the concept. They deftly play with song structure, music textures and instrumental passages that leave you wondering where one song ends and the other begins. They take you on a journey. You don’t know where you’re going, but the scenery along the way is breathtaking.
15. Prince – Lotusflow3r (2009) S:7 P:10 M:9 C:8 – 34
Prince redeems himself on wax with his best record in well over a decade. Some of the songs are a bit twee, but man, he let’;s his guitar playing rip throughout like never before. And the space, detail and depth of the the production is stunning. Listen in great headphones and you’ll never want to leave this world.
14. Mika – The Boy Who Knew Too Much (2009) S:10 P:8 M:8 C:8 – 34
I’m going to have to write a post on artists that are just too gay for America! Mika evidently is one, as there is no other reason for his lack of success here. The album is cheeky fun and glam with earworm hooks that never leave your brain. Left field instrumental choices don’t diminish it’s mainstream pop impact, in fact, they just heighten it.
13. Depeche Mode – Sounds of the Universe (2009) S:7 P:10 M:9 C:8 – 34
The undeniable newness and cultural impact of Violator in 1990 is about the only thing that keeps this from being Depeche Mode’s best album ever. That and a couple of songs whose removal wouldn’t have been missed. But this is still a confident true return to form that started with Playing the Angel in 2005. David Gahan’s voice has never sounded better, and his acceptance into the songwriting fold paid some good dividends.
12. Muse – The Resistance (2009) S:7 P:8 M:10 C:9 – 34
Depeche Mode and Queen had a lovechild that is Muse. They keep getting stronger. The complex, almost classical instrumentation drives a rock symphony that makes you wonder if you should catch Muse live in a stadium or in a concert hall. Their arrangements are awe inspiring, with rich production and great pacing.
11. Michael Buble – Call Me Irresponsible (2007) S:7 P:10 M:10 C:7 – 34
Michael Buble has a knack for taking contemporary songs and making them sound like they belong on a 40’s swing record… if those old record of the past could even come close to the sonic richness of this record. The production put you right in the middle of a top notch band, and the excitement bubbles all around the listener. The instrumental arrangements have set the bar for this genre of music for the next decade or more.
10. Anastacia – Freak of Nature (2002) S:8 P:8 M:9 C:9 – 34
A sonic grab bag that is guided by a voice that, quite literally, would be chill inducing singing nursery rhymes. While the songs run the gamut, sometimes making you wonder what genre she wants to be a parts of, it can be forgiven in that the album flows as well as a great, multi-artist mixtape.
9. 1 Giant Leap – 1 Giant Leap (2002) S:6 P:9 M:10 C:10 – 35
This album was recorded remotely over several continents and assembled in the studio later into a sonic masterpiece that blends western pop with a cultural melting pot that never fails to amaze. Different instruments and voices come at you non-stop and brings a world unity that may never be seen in politics, only in art.
8. Scissor Sisters - Tah Dah (2006) S:9 P:8 M:8 C:10 – 35
Sit back and enjoy a fun, retro good time. The Scissor Sisters never aim for depth, they just want to have a good time, and the CD never fails to lift my spirits. Fun lyrics, indelible melodies and a party to your ears, this deserved more recognition in the states.
7. Eve 6 – Horrorscope (2000) S:10 P:8 M:8 C:10 – 36
I can’t understand why this album only produced one minor hit, because it rocks! The album hits like a demolition derby for it’s full length with dizzying wordplay, hook after hook (lyrically and musically). Smart, sophisticated, raunchy and rude… they should have been superstars.
6. The Script – The Script (2009) S:10 P:6 M:10 C:10 – 36
Only the production keeps this album from being my favorite album of the decade.. but hey, supposedly they recorded it in a garage. The songs are nothing less than some of the best songs pop music has seen in years, the musicians (especially the drummer) are at the top of their game, and they keep the album tight and brisk… and you longing for more when it is over.
5. Keane – Hopes and Fears (2004) S:9 P:9 M:8 C:10 – 36
Who knew music could rock without guitars. They rock, they soar, they take you into their world. Tom Chaplin may be the best, most emotional vocalist of the decade, and the melodies let him showcase it to the fullest. With Coldplay and The Fray having done so well here, it boggles my mind that they haven’t experience the success here that they have all over Europe.
4. Justin Timberlake – Futuresex/Lovesounds (2006) S:10 P:9 M:8 C:10 – 37
Not since Janet Jackson’s pairing with Jimmy Jam and Terry Lewis has a pop artist/start producer collaboration been so satisfactory. In a genre where so many artists try to have one track from ALL the star producers, it was refreshing to see him commit to Timbaland so wholeheartedly, and the risks they were able to take paid off. It’s worth the time it takes to learn all about an artist, and the exploration on this album proves it.
3. Alicia Keys – The Element of Freedom (2009) S:9 P:10 M:9 C:9 – 37
Will this be Alicia Key’s least successful album yet? The singles haven’t taken off yet. But this is by far her most accomplished album of her already accomplished career. Her songs have always sounded like they’ve been around for years, and she adds to that a sonic experimentation that is rarely seen in the soul genre. Synths and drum machines percolate around the standard soul combo and her piano playing for the most sonically rich and inventive album of the decade.
2. Pink – Funhouse (2008) S:10 P:9 M:9 C:10 – 38
While most of these albums are single producer efforts, Pink is the artist that is the exception to prove to rule. She may work with a half dozen producers on this CD, but her vision is so strong, and the will of her artistry so focused that you would never know it. From sonic pop-rock bubblegum to bluesy rock to simple, soul-searching ballads, Pink bares her soul with her best songs to date. This would have sold millions more if she had chosen a few different singles. (Yes, potential smashes were never even released). Not a weak spot, and a rollercoaster ride with thrilling highs and lows.. it truly is a funhouse.
1. Green Day – American Idiot (2004) S:10 P:9 M:10 C:10 – 39
Green Day was over. They were riding on Dookie for a decade. Everyone knew they wouldn’t be big again. Oops. Then they go a do something truly amazing. With… A Rock Opera??? Weren’t those supposed to be dead two. Green Day revived their career and the Rock Opera with this daring sonic blast of energy. They stayed punk, but showed the world that punk music doesn’t have to be limited to 3 chords and two minute songs. They showed that punk music could survive melody and structure and succeeded in putting out the best rock album in history.
Well, that wraps up this past decade!
Comment and tell me… what do you think I missed?
Posted by Michael on December 6, 2009 under Articles |
The traditional recording slow season is here, but if you are ready to record, that can mean some great deals for you!
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Start by Jan. 20th – 20% off Production Fees - Fully Booked
Start by Feb. 20th – 15% 0ff Production Fees – Only 1 spot left available. Available after Feb 2nd!
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Call me at 646-345-3433 to set up your FREE, no-obligation consultation to discuss your project, goals and budget.
Space is limited, and these offers will be pulled when I am close to full, so act now!
Posted by Michael on November 24, 2009 under Articles |
Posted by Michael on November 13, 2009 under Articles |
The Death Of Mistakes Means The Death Of Rock – Monitor Mix Blog : NPR.
This article is a must-read! But I have to state, just because we CAN make things *perfect* doesn’t mean we HAVE to. I believe I find a good balance in my recordings of cleaning up what needs to, but leaving in the imperfections that help make the heart of a recording! This goes for ALL genres, not JUST rock!
Posted by Michael on October 31, 2009 under Articles |
As a music producer, I tend to have two kinds of clients: Clients who want to record a fell album and Clients who work on one (or a few) songs at a time. There are aspects I enjoy about both approaches. After all sometimes I want a snack, and sometimes I want a good meal. However, in this post I won’t get into all the ridiculously bad-for-you food that I enjoy, and focus on the elements of a good meal.
Just like a perfect meal takes thought and preparation, so does a great album. I love the additional puzzle-work that comes with producing an album, and I’d like to share some of my insights into what I think makes a good album.
1. Not Every Song Should Be a Single: Okay, not all genres are chasing “radio hits” but there are still “hits” in all genres. But an album that does nothing but go after hit after hit is boring. There is a stigma to the words “album cut” and there shouldn’t be. A great album cut is song that appeals to the artists true fans, and perhaps not EVERYBODY in the world. Perhaps it is lyrically more sophisticated or musically adventurous, or a number of other things, but great album cuts are what makes a great album. How many “singles” did “Dark Side of the Moon” have?
2. Artist Consistency Does Not Mean Every Song Needs to Sound Alike: 2 kinds of bad albums… All the Songs Sound Alike AND All the Songs Sound Different. I like to look for the “core” sound for the artist on the particular album they are working on… Then I loosely use a 2/3 rule. 2/3 of the songs should be pretty well within bounds of that core sound, and then the other 1/3 should explore territory on both sides of the core… i.e. if the artist is mostly a breezy, mid-tempo kind of singer, on an album of 12 songs, there should also be 2 ballads, and 2 really up-tempo songs. There are many things that can go into identifying the core, and then many ways of finding the variety to spice it up, AND still retain a clear sense of who the artist is.
3. The album Shouldn’t Be Too Long: Okay, maybe I’m showing my age, but one great thing about vinyl was that artists couldn’t cram in 80 minutes of music. They pretty much had to keep it to about 38-45 minutes to get the vinyl to print. I personally think that most albums these days that are much longer are usually a victim of my #1 rule… they are so desperate 
for hits, they want as many “chances” at one as possible. Maybe they feel they are offering more value for the money, but in this day and age where more people tend to listen to music on random, I feel we need to give people a good reason to want to listen to the whole album… and time to do so. There are a few albums I enjoy that are looong, but I can rarely find the time to listen to the whole thing at once… and I do enjoy listening to (good) full albums now more than ever… but I want to finish what I start, and albums that fall under 50 minutes tend to get played more often… and I don’t think I am unique here.
4. An album Should Flow Like a Good Mix Tape: Nothing kills an album like the frequent (record label) decision to put all the potential singles right in a row at the top of the album. Spread the love! And while I’m sure it appeals to some people, I hate the whole uptempo half/ballad half concept… Mix it up! Find a good flow that takes the listeners through peaks and valleys and takes them on a journey. I still think most of the best albums do this, and I work hard to help my clients with this as well.
5. Find Those Special, Unique Things and SHOW THEM OFF: So perhaps you’re an incredible guitarist and guitar solos are “out of style” right now… Who cares… This ties into rule number one… don’t overdo it on the singles, but let those licks and riffs fly everywhere else on the album. Find places to really showcase the singers and musicians in the most fresh and unique ways, and you’ll create an album with personality and life.
Nothing beats getting the chance to work with an artist to create an album. These are just a few of the things I think of when trying to helf craft a memorable album (not just a collection of songs). What do you look for? Is your ideal meal a plate of Twinkies or a Five Course Gourmet Meal?
Posted by Michael on September 28, 2009 under Articles |
David Hyde Pierce in the vocal booth.
“Frasier” is my favorite TV show of all time. This is in no small part to David Hyde Pierce who brought an amazing mix of honesty, empathy and an uncanny knack for physical comedy to his role of Niles Crane that won him FOUR Emmy awards (and 7 more nominations). He was the straight man to Frasier Crane’s antics, except apparently no one told him to be the straight man!
He has since turned his gifts to the Theatre, winning a Tony Award in the process. And he participated on the BMI, “No More Revivals” CD I am producing and engineering.
To say it was a bit surreal having him recording in my own studio would be a bit of an understatement. The fact that I was giving suggestions and tips to someone whose talent I have been in awe of for years… the feeling is indescribable. The fact that he incorporated pretty much all of my suggestions and wrapped them up in a truly fantastic vocal performance feels like more than I could have ever asked, but it is there. And in February, when the CD comes out, the whole world will get to hear a different side of him as he sings a gorgeous, very serious dramatic song.
Oh, and the fact that he is an incredibly nice, gracious and humble person made the day truly magical. I wish this experience for everyone.
If you are unfamiliar with his work outside of Frasier, (and you SHOULD be) find out more HERE
Posted by Michael on September 26, 2009 under Articles |
Black Eyed Peas break records with 25 consecutive weeks (and counting) atop the Billboard Top 100 Chart.
We keep hearing about shrinking record sales and the decline and eventual demise of the recording industry. How all those freeloading downloaders are destroying the community… But I think there is something else wrong with the industry… It is best illustrated by The Black Eyed Peas.
Don’t get me wrong. I enjoy many of their songs. But do you find anything wrong with the following?
The Black Eyed Peas have set a record for longest consecutive run at the top of the Hot 100 singles chart with their two songs, “Boom Boom Pow” (12 Weeks at #1) and “I Gotta Feeling” (13 weeks and counting).
I don’t know which I am more troubled by:
1. The music industry hasn’t been able to promote any song in almost 6 months that appeals to Radio and the consumer enough to knock these guys out of #1.
You see, I think “I Gotta Feeling” is kind of fun and “Boom Boom Pow” is kind of crap, but whatever I think, do any of you think these are MONSTER HIT, Record breaking songs? I can’t imagine it. Top 10 hits… sure. #1 hits… maybe. Record run at #1… How the hell did this happen? It isn’t that there isn’t any good music out there. I have found some outstanding songs and albums out there that are or should be mainstream. Has the industry forgotten how to promote, or do they just not have any money left anymore to promote?
OR
2. If I hadn’t of bought the CD, I still wouldn’t have HEARD these songs.
Now granted, I don’t listen to the radio. But MONSTER hits used to be inescapable. You’d hear them EVERYWHERE. TV, shopping centers, blasting out of car stereos… you name it. I STILL haven’t heard these two songs anywhere but my own iPod. The album is doing alright, but not immense sales. The singles are selling big on iTunes… but if this is a major smash hit
Jason Mraz Breaks records with 75 weeks and counting on the Billboard top 100
of it today, how come I, someone who keeps and eye and ear out avidly on pop culture, hasn’t heard these songs anywhere? I still run into people who haven’t heard Rihanna’s “Umbrella”.. another monster kit… and I could name tons of “monster” songs that I have a hard time finding people who know them. Jason Mraz’s “I’m Yours” recently broke the longevity record for most weeks (75 and counting) on the Billboard Hot 100. I rarely find someone who knows the song when I mention it.
Have we lost our cultural touchstones? Has media fragmented so far that the next generation won’t have all those “songs EVERYONE knows”? Can we get it back?
Big hits drive sales. Not just of the big hits. They help keep the customer in the purchasing habit. They buy other stuff as well. I think that there is far more to blame than file sharing and shrinking floor space for CDs in retail outlets. Without the water cooler hits, the urgency to buy fades. For the industry to survive, they need to figure out how to recapture that. Or maybe I’m a relic for thinking there is something desirable in having songs EVERYONE knows.
Posted by Michael on August 2, 2009 under Articles |
What do I most look for in producing an artist? Talent? Voice? Songwriting? Musicianship?
No.
Do I like them as a person, and will I enjoy my time (many many hours) working closely with this person.
Why?
Life is too short to deal with unpleasant situations. And, you just never know… I’m not going to say the name of my following client, but here’s a story…
I recently started work with a new singer songwriter. His initial email sounded scattered, like he didn’t know what he wanted to do, a lot of song fragments he couldn’t finish, etc… It didn’t sound promising, but I set up the consultation. Turns out he was a very nice guy. I didn’t think he was a *fantastic* musician, and I was very unsure about his vocal abilities (although I was sure I could help him get to a passable level for his genre…)
Flash forward… we’re finished with preproduction (he needed me to help co-write the album and finish the songs)… I think this artist has a chance of making a bigger splash than anyone I’ve worked with… He just needed to get past his shyness and get comfortable in the studio. His guitar playing is forceful and unique with some great arrangements… his unfinished songs were LOADED with catchy hooks and his voice has taken on an odd confidence… No one will mistake him for Pavarotti, but I think he’s turning into a very distictive vocalist with his own unique style that will not only *pass* in his genre, but stand out!
I’ve seen a lot of independent artists, not only in my studio, but heard thousands through submissions to my Next Big Hit Podcast… And I’ll go out on a limb here and say that, IF HE DOES HIS WORK AFTER RECORDING, this guy has a chance of becoming a serious star.
And even if he doesn’t, I am going to be very proud of this music and album.
And I would have missed it if I had been a snob.
I work my hardest for every client, and I’ll do my best to make you comfortable and bring out the best in you… ’cause I want to find another one!
Posted by Michael on July 31, 2009 under Articles |
As a producer, arranger and mixing engineer in addition to being a writer, it always infuriates me to hear the following platitude thrown around… “Just write a good song… nothing else matters…” Don’t people care what goes on their hamburger or how it’s cooked and presented? Guess what, that’s mixing and arranging!
Of COURSE it would be wonderful if every song everyone wrote was just a FANTASTIC song, but that just isn’t always the case. The truth is there are Fantastic songs, Great songs, Good songs, OK songs and (let’s face it) dull or bad songs.
But my job more often than not doesn’t include writing. Usually I’m hired to produce finished songs, where my job is arranging and mixing/engineering my client’s latest treasured creations. I have had friend tell me my job is to “Polishing turds”… and that’s about as insulting as the platitude I opened this article with.
I just saw a musical recently. The songs we mostly ok, a couple great songs, and a couple boring ones. The arrangements (what the musicians played, the harmonies the actors sang, etc…) on the GREAT songs were GREAT! But on the rest of them, the arrangements were as good or bored and tired as the songs and didn’t ELEVATE them.
And that is my job as a producer… to elevate! Unless someone is incompetent, it is almost impossible to ruin a fantastic song. That is no indication of your skills and a mixer or engineer. I believe that a good arrangement and/or mix should elevate a song AT LEAST one notch up the quality ladder. I’m sure if you take only 3o seconds, you’ll think of some songs where you don’t just think of the song, but you recall a cool instrumental part or an effect that you love as much as the song.
It is very rare where a “turd can be polished” into an excellent song, but when clients are forking out their hard earned money, it is my job to make sure I lift their work.
Conversely, while it is almost impossible for a competent person to ruin a fantastic song, it is possible for a boring mix or arrangement to knock a song down a notch. And I have heard people spend their hard earned money on “name brand” engineers and producers who fail to lift a song or (worse) bring it down. The only reason I can imagine why is that the independent artist isn’t as important as their “grammy winning” or high paying clients… so they “save” their creative efforts.
Music is a varied art form, There are many elements that make up the listener experience. When I do write, I work on writing the best song I can. When I arrange, I look for creative elements that will bring the song into the best light. When I’m mixing, I use every tool I have and every trick I’ve learned to place the song in the best light, whether it calls for a “pristine” mix, an effects laden headphone treat, or a lo-fi garage ethic. I don’t hold back my creativity. Frankly, I don’t view it as a well that will go dry with overuse, but a “magic well” that fills up faster the more I take from it.
And you know what, I often learn and advance the most when I am arranging and mixing songs that are less than “fantastic.” I thrive on a challenge. And I will challenge myself with all my clients as well as challenge them to bring their best.
UPDATE
I posted this as a forum thread over on Gearslutz at the same time I posted it here, and it has turned into quite an interesting and heated discussion. If you are interested, check it out HERE.
Posted by Michael on July 13, 2009 under Articles |
Discouraged by dwindling sales? Maybe you should think outside the box? Here’s a fun article with some different ways musicians and labels are dealing with the issue.
10 Weird Ways to Distribute Music | Epicenter | Wired.com.
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