A Musical Day In The Life…
By Alan | March 31, 2009
Anyone who knows me knows that I am a pretty fanatical music lover. Not really the kind that has opinions on what you should listen to, but the kind who always has his headphones on. So, let's take a look at a day in the life of me, and see what we can hear...
6:45 AM: I get up to the sound of ringing bells.
7:30 AM: I get into my car to drive to work. Most days, I'll crank my stereo, but I'm not always in the mood for loud music this early. I usually enjoy some rock, jazz or r&b music, but not always. Today, I was listening to Sly and the Family Stone on the way to work.
8:00 AM: I arrive at work. Before I even set my computer up, I will pull out my iPod or iPhone.
8:15 AM: I have settled in to work, and have my music going. My taste varies quite a bit, but usually it will be some sort of jazz or rock. I'll listen to music pretty much all morning. This morning, I enjoyed some Marvin Gaye, Jimi Hendrix and Charles Mingus.
1:00 PM: I usually take my lunch around now. Most of the time, I turn the music off, then venture out into the web.
2:00 PM: Back from lunch, and sometimes back to my music. I don't always listen to music in the afternoon, and today was one of those days. Had a lot of reading to do, so I cut back on auditory stimulation...
5:00 PM: Off work, and driving home. Most of the time, I'll just keep listening to whatever I have playing in the car. I continued listening to Sly and The Family Stone.
5:30 PM: I get home. When I am cooking dinner, I will put on a record. Usually I'll play it through once or twice. Tonight was Thelonous Monk.
8:00 PM: Dinner is done and I usually get back to work. In addition to my day job, and this website, I have several others that I own and work on. Many times, I just open up Pandora radio on my iPhone, connect it to my stereo, and listen to whatever. Lately, I have been enjoying the funk radio station on Pandora.
10:30 PM: I am usually getting ready for bed around now. I have been known to listen to music before bed, but the habit has sort of died off lately. I remember when I was in high school, I really enjoyed listening to the Doors before bed, although I do have a "Night time" playlist on my iPod that I occasionally listen to.
So, there you have it. A musical day in the life of me.
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My new best friend: Pandora Radio
By Alan | March 3, 2009
I know this site is about vinyl (ehhhhh, sorta), and vinyl people are supposed to hate digital music, but I have to tell you about a great discovery that I have been hearing a lot about lately: Pandora Radio.
Pandora is a free internet radio service. You can visit the website (http://www.pandora.com) and listen to music in your web browser, or you can take it to the next level of coolness, and listen to music on your phone. If you have one of the phones that works with the service, you can listen to music pretty much anywhere! I have an iPhone, so I just open up the app on my phone, put it in its dock (which is connected to my stereo), and I can listen to tons of music for free. I love this.
OK, OK. I know this site is about vinyl, but the truth is, I love music more than the format it is played back on. I know vinyl sounds better than CDs and digital music, but I must say that the sound quality from Pandora is excellent. I can't always listen to my vinyl, and when I can, I sometimes don't want to have to play DJ and make sure I flip and change the records when they're done. With Pandora, I just launch the program, and let the music play.
I get into musical ruts all the time, and Pandora allows me to explore new music without having to spend any money. If I want to listen to jazz, I can. If I am in the mood for funk, I've got it. If I want to rock out, there is music for that too. If I ever want to discover something new, it's just a few clicks away. I don't like listening to the radio with all of the ads and commentary from the DJs. I just care about the music. With Pandora, there is plenty of music, very few ads, and mounds of convenience.
If you love music, you have to check out Pandora. If you have an iPhone, go download the app for it right now. You are going to love this!
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Rainy Day Music
By Alan | March 3, 2009
It's raining in Northern California today, and it got me thinking about music that is perfect for those rainy days. Of course, I'm just writing about what sounds good to me when it's raining, and certainly wouldn't expect any of you all to agree!
What makes a song good for a rainy day? I tend to like mellow music with slow beats. I like music that has a unique sort of sound. I particularly like the sounds of Rhodes pianos and organs. I also enjoy electronically generated sounds, as long as they are not too jarring. I like the occasional song that has the sound of rain in it, or just a sound in the background that reminds me of the constant sound of falling rain. I like music that fits the vibe of the day, mellow, relaxed and gentle.
Let's look at some of my favorites:
One of my favorite rainy day songs is "Riders on the Storm" by the Doors. The sound of the rain and thunder at the beginning and end of the song is what sets the mood, but the melody and beat keep it going. The sound of the organ gives a trippy, underwater sort of effect, which is perfect for a rainy day. Riders on the Storm is on the album "LA Woman", but the rest of the album doesn't really work with my idea of what a rainy day album is.
I have also been enjoying the Herbie Hancock "Mwandishi" albums today. Crossings and Mwandishi have more of a rainy day vibe than Sextant, but Sextant has the song "Rain Dance", which has a neat dripping-water sort of effect throughout the song. All three of these albums use electronic keyboards, which I think have a distinctive sound that reminds me of the rain. I realize that these albums are not for everybody, because they're a little out there, but I like them.
Another album that I like for rainy days comes from similar roots as Herbie Hancock's Mwandishi albums, and that album is Miles Davis' "In A Silent Way". This album is mellow, with a mood that reminds me of the rain. The first time I heard it, I was driving in my car in the rain, which further pushed the idea that it is a good album for rainy days.
So, there you have it. My picks for rainy day music. What do you think? What are some of your favorite rainy day songs?
Stay warm, and enjoy the music!
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Shuffle!
By Alan | February 24, 2009
Sometimes I go through writers block on this blog. You can see there are times when I write lots of posts, then times when I don't write for weeks. I think I found a solution: I shuffle all of the songs on my iPod, then I write about the first 3 albums that come up. If you can get them on vinyl, I'll show you where...If you can't, well, look for the CD, or buy it in a digital format online.
Ready? Here goes!
Album #1: Bo Diddley: His Best
Bo Diddley is the most underappreciated musician in rock and roll history. Why? Because he practically invented it, while Elvis took the credit. I don't want to disrespect Elvis, because his accomplishments in music shadow pretty much everbody, but credit must be given where it's due, and it is due with Bo Diddley. Bo Diddley was the first known musician that took the blues, gave it a harder edge and rhythm, and created what would be known as "Rock and Roll". This sound has been deconstructed and imitated by thousands of musicians since.
Bo Diddley is great. This album that came up on my iPod is a collection of his most famous songs. It includes songs like "Who Do You Love" and "I'm a Man". These songs all feature a fast-paced rhythm with hard-edged guitar parts. Some of the songs on the album have some humorous lyrics as well. There's one with a percussive piano part with two guys just making fun of each other: The 1950's version of the "snaps" we hear nowadays.
If you appreciate oldies, classic rock, and blues, you need to get some Bo Diddley in your collection. Pick up an album or two, and see where rock and roll began.
Album #2: Django Reinhardt: No Album
Well, I have a few tracks of Django Reinhardt on my iPod, but not from any particular album...I am not even sure they had albums back in his time! Anyway, Django Reinhardt is one of the world's greatest guitar players. He was a gypsy from Belgium who learned to play stringed instruments from an early age. At age 18, he was injured in a fire which caused severe damage to his left hand. While many guitar players would have given up at this point, Django Reinhardt learned to play guitar again despite the injuries to his hand. His miraculous recovry has been an inspiration to guitar players ever since.
Django Reinhardt can swing, as they say. His playing is uptempo, skilled, and clean. His amazing talent has inspired people as varied as Jimi Hendrix, Tony Iommi (of Black Sabbath), and Willie Nelson. Having discovered Django very recently, I was immediately impressed with his skill and style. If you love jazz or guitar playing, do your ears a favor and pick up some Django, you'll be glad you did!
Album #3: Vivaldi: Four Seasons
Vivaldi's Four Seasons is one of the most famous musical pieces from the Baroque period (roughly beginning in 1600, and ending around 1760) of European classical music, and no doubt one of the most famous European classical music pieces ever composed. Most people with access to modern media have surely heard the famous introduction to the Spring movement.
The four seasons is a 4-concerto piece, each concerto containing 3 distinct movements. The opening and closing movements of each concerto are faster, with the middle movement being slower. Each concerto (or season) has its own distinct feel. Spring, Summer and Fall are more lively and bright, with Winter being more dark sounding.
This is one of the greatest classical music works ever produced. If you can appreciate classical music (Even if you rarely listen to it), you need to have this album in your collection.
Alright people, I hope you enjoyed these quick glimpses at some of my favorite artists, and that you are enjoying the music!
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Album Review: John Coltrane – A Love Supreme
By Alan | February 8, 2009
Classical music afficionados have Beethoven's 5th Symphony, Rock fans have The Beatles' White Album. Jazz fans have A Love Supreme. If you've read my post about essential jazz recordings, you know that I ranked this album as #1. John Coltrane's masterpiece is a winner on so many different levels. Let's take a closer look.
The Concept:
A Love Supreme is an album written, recorded and performed by John Coltrane. Other musicians that perform on the album include McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. The album was seen by Coltrane as his gift to God. A humble offering that expresses a deep thankfulness, commitment and love to God. While many people speculate about which God Coltrane is paying tribute to in this album (Coltrane was apparently a deeply spiritual person who was raised Christian, but had an interest in many different religions), it is most likely a tribute to the "true" God, ie the one that really exists, whether Christian, Islamic or something else. I don't believe Coltrane was making any statement about "which" God, but just about God. In other words, I think Coltrane is saying: "God, Whatever your name is, wherever you are, whoever you are, I present to you this humble offering of my love for you". Some people believe that he is praising Allah, and have a problem with the album from a Christian point of view, but I think that Coltrane is just saying that he loves the creator, whoever it may be.
A Love Supreme is a suite, with four distinct parts. They are "Acknowledgement", "Resolution", "Persuance", and "Psalm". Let's take a look at each part.
Acknowledgement:
Acknowledgement begins with a bassline that sounds like "A Love Supreme" spoken. This bass part continues throughout the song to give the song a forward moving kind of vibe. Almost like climbing a mountain. It is symbolic of Coltrane, remaining continuously faithful. The sax parts on this first movement are complimentary to the slower tempo. Towards the end of the first part, Coltrane begins chanting "A Love Supreme". Symbolically, the song represents Coltrane's acknowledgement of God, and his acknowledgement of his own talents, which come from God.
Resolution:
Resolution begins with a short bass solo, at which point Coltrane begins playing. This song is a nod to the atonal style that Coltrane would later adopt, although it is not nearly as atonal as Coltrane's work would later become. The melody is still very catchy and melodic, and at times sounds like some of Coltrane's earlier work. Symbolically, this song seems to say that thanks to God, Coltrane has resolved his personal difficulties. It reflects on his earlier work, while looking forward to the future.
Persuance:
Persuance is without a doubt the climax of the album. It begins with a lengthy drum solo that fades out, and Coltrane begins playing. After a short part by Coltrane, McCoy Tyner begins a fast tempo piano solo. I always feel like this part represents Coltrane mentally preparing himself for a highly passionate "peresuance" of the awesomeness of God. When Coltrane begins playing again, he is in top form. He is playing fast, passionately, and intense. There is no doubt to me that while Coltrane played this legendary part, he was having a highly spiritual moment. Every time I hear it, I can feel the intense emotions that must have been going through his head at the moment this part was recorded. This is one of the most magical musical moments ever experienced by me. Of course, after such an intense burst of emotion, Coltrane was exhausted. The song ends with a slow bass outro.
Psalm:
The final part of the suite is known as Psalm. This part is unique, because it is a musical narration of a devotional poem written by Coltrane and included in the liner notes of the album. The sax parts are "speaking" the poem. This part of the suite is slow and solemn, and reflects Coltrane's very deep love for God. For those that take the time and attention to listen closely, this albums will leave you a changed person.
A Love Supreme went on to be one of the most highly regarded jazz albums in history. It has been on many "best of jazz" lists, as well as "best album" (in any genre) lists. Time Magazine recognized it, as did Rolling Stone. It has been covered, imitated and re-imagined over and over by many musicians, both known and unknown. A few notables who have taken a crack at it are John McLaughlin, Carlos Santana, and Branford Marsallis.
What sets A Love Supreme apart from just about anything ever released is just how magnetic and powerful it is. The emotions that come through the music are intense and real. The message is one of positivity and love and reverence, and a serious listening of this album is a mind-changing experience.
Let me say it right now: I don't care who your favorite musician is, or what your favorite music is, or who you are, or where you come from. If you love music, you need this album. You will never hear music with this kind of power on anything ever written or performed to this date. In addition to A Love Supreme being the best jazz album ever released, it is no doubt one of the best albums released in any genre.
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The (Real) Secrets To Awesome Sound…
By Alan | February 3, 2009
You know how live music seems to hit you on a deeper level than recorded music that is played back?
Why is this? Well, there are a few things at work here. First of all, live music has real, live people playing music. These performers are part of the experience. Because they are usually energetic when they perform, that energy is passed on to the audience. The energy of the experience affects us on a deeper, emotional level, making us feel better, and the music sound better. While I won't deny that this is theorhetical and not really based in science, everyone who has seen live music be performed knows what I am talking about.
Another thing with live music, is that the volume is turned to 11. Like Spinal Tap. The sheer volume of everything is enough to heighten the experience...even if it is bad for your ears.
Also, since live music is not recorded, the sound is more pure. You are actually hearing a guitar played through an amplifier or a trumpet, not the sound of a guitar played through an amplifier into a microphone that has gone through a mixing board before being recorded onto an analog tape, which is then mixed, mastered, and copied to a CD, which is then read by a laser, amplified, and played out of a speaker. The shortest distance between two points is a straight line.
In addition, musicians in the studio often have to do take after take, until they are bored with the music. This comes through on recordings all the time. They sound good, but the energy is sometimes missing. Live musicians are playing in the moment.
So, we all know that live music sounds better for many reasons. But, hey we can't always enjoy live music, so how do we get the great sound of a live performance at home or in the car?
Here is the first secret: Power. You need to listen to your music a little louder to appreciate it. In addition, when you play your music through a powerful amplifier, you will enjoy cleaner sound. When the volume is turned up a little higher, you'll also notice more of the subtle nuances in the music, and chances are that you'll hear a little more bass too. Bass is important. You don't see people getting hyphy to cymbals.
If you don't have a decently powered amplifier or receiver that you play your music through, I would recommend checking out a new one. If you listen to your music on some sort of "all in one" stereo, you're missing out. Also, look at investing in some sort of subwoofer. This will fill out your bottom end very nicely. You'll find a new appreciation for all of your music. Subwoofers aren't just for dance music and hip hop; every kind of music has sound on the lower registers, and a subwoofer will release that sound from your CDs, and bring it to your ears.
Don't pay any attention to audiophiles who say you need to have 1/1000th of a percent less total harmonic distortion, and a really expensive Krell amp to enjoy your music. You can't hear 1/1000th of a percent THD, and the real power behind the music when played through a Krell amp is the power in the amp. That's it.
Here's another secret: Passion and love. If you really love what a musician is doing on an album, you are going to enjoy the sound better. This is not about being picky and saying "I like this, but I don't like that". This is much more difficult. This is about gaining an appreciation for the work of all musicians. It requires being more open mentally and emotionally. It requires getting into the head of the musician, and feeling what they're playing. Not easy, but once you get it, you'll be amazed at how much more you love music, and how much more enjoyable it is to your ears.
The last secret: Seek out live recordings. A live recording is not necessarily a recording of a concert, but can also include recordings where the song was captured in one take, and was never cut or edited. The emotions of the musicians seem to come through more clearly on these types of recordings, and you'll be amazed at how much feeling is there.
To wrap it up: Get loud, get into it, get a live recording. The secrets to awesome sound.
Enjoy the music!
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The Day The Music Died
By Alan | February 3, 2009
Today is the 50th anniversary of the day the music died. This is the tragic event that ended the lives of three young and promising musicians: Ritchie Valens, Buddy Holly, and the Big Bopper.
It was February 2nd, 1959 when Buddy Holly, Ritchie Valens and the Big Bopper had performed at the Surf Ballroom in Clear Lake, Iowa. The musicians had a gig the next evening, and Buddy Holly was reportedly annoyed with the tour bus they were traveling on because the heater broke and the weather was cold. He suggested that some of the performers charter a flight, and avoid the cold bus for a night. After some shuffling of people, the ill-fated musicians boarded a small airplane to Moorhead, Minnesota.
Soon after takeoff, the owner of the airplane (who was the owner of the company that Buddy Holly chartered the plane from) saw the airplane's lights descend toward the ground. The owner initially believed that it was an optical illusion, but after the pilot of the airplane never filed his flight report, and the owner of the airplane repeatedly tried to contact the pilot, he reported the plane missing. The next day, the charter company owner flew a plane over the intended path and saw the plane's wreckage in a corn field.
This was the day the music died.
What makes this event so tragic was that the three musicians on board were so young, and had so much talent, and had such bright futures.
Ritchie Valens
As a kid, I loved the movie La Bamba as well as the soundtrack for it. I listened to it all the time, and while it didn't actually feature the original Ritchie Valens versions of the songs, I loved it all the same.
Let's take a look at Ritchie's life, and the musical contributions he made to the world before most of us even knew who we are, and what we're here for.
Ritchie Valens was born Richard Steven (Stephen?) Valenzuela on May 13th, 1941 in the San Fernando Valley (Los Angeles). He reportedly grew up listening to traditional Mexican mariachi music, flamenco, blues, and R&B. As early as 5, Ritchie expressed an interest in music. His father encouraged him to play trumpet and guitar, and Ritchie also taught himself to play the drums. Interestingly, Ritchie who was left-handed (aren't all the greats?), learned to play guitar right-handed. He would bring his guitar to school in his teens, and soon enough was asked to join a group called the Silhouettes as a guitar player. After the group's vocalist left the group, Ritchie performed vocals as well. His spirited performances left audiences in awe. In addition to his electric stage performances, he was highly musically skilled, and often improvised lyrics and guitar riffs while performing. He earned the nickname "Little Richard of the Valley" because of his energy.
Ritchie was soon discovered by Bob Keane of Del-Fi records. In May 1958, Bob invited Ritchie over to his home for an audition. Within a few weeks, Ritchie signed a recording contract with Del-Fi records. After a little time rehearsing and writing, Keane decided it was time for Ritchie to enter a recording studio. The first recoding date produced "Come On Let's Go" and "Framed". An instant success, Valens returned to the studio to record "Donna" and "La Bamba". By the fall of 1958, Ritchie dropped out of school to focus on his career. Bob Keane had booked gigs for Ritchie Valens all over the country. He appeared on American Bandstand twice, as well as Alan Freed's Christmas Jubilee in New York.
Ritchie's career was going well, with much hope for the young musician's future when he began the midwestern tour known as "The Winter Dance Party". The tour was full of problems, from the tour bus's heating system failing, to the illnesses suffered by the musicians, to the illogical routes traveled by the tour bus. Ultimately, the discomfort experienced by the musicians is what prompted Buddy Holly to charter a plane from one of the tour stops to the next. We are only left to ponder what could have been if the musicians experienced more comfort in the tour bus.
Ritchie Valens's story is particularly sad because of his age. He was only 17 when he died, and he showed so much promise. Already proving himself as a very competent guitar player and vocalist, as well as magnetic performer, Ritchie Valens surely would have gone on to become a highly influential rock and roll musician in the 60's. It is suggested that Ritchie Valens' highly energetic rock and roll sound (as influenced by Bo Diddley), was the precursor to more bluesy rock and roll and classic rock such as Led Zeppelin, and even early punk rock such as the Stooges and The Ramones.
It hurts to see such talent come to an end so unexpectedly and so abrubptly. RIP, Ritchie Valens. We thank you for your contributions to the world. We love you and miss you.
Buddy Holly
Buddy Holly was born Charles Hardin Holley on September 7th, 1936 in Lubbock, Texas. His family was very musical, and Buddy grew up playing piano, guitar and violin. As a teenager, Buddy met Bob Montgomery, and they formed a duo called "Buddy and Bob", where they played bluegrass tunes. In high school, Buddy Holly sang in the school's choir, and became further interested in music.
Buddy Holly became more interested in rock and roll when in 1955, Elvis Presley performed in Lubbock. Shortly after, Buddy Holly performed on the same bill as Elvis. This caught the attention of Decca records, which signed him to their label. After signing this record contract, Buddy Holly recorded a version of "That'll Be The Day". He soon put together a group of musicians which would become known as The Crickets. With his new band, he recorded and performed more, including a famous series of gigs at the Apollo Theatre, where he gained acceptance by the largely African American audience. In 1958, Buddy Holly and his band toured both Europe and Australia.
Things were looking good for Buddy Holly. He married a young Puerto Rican woman named Maria Elena Santiago in late 1958. He was becoming more interested in working in New York, where some of the largest musical acts in the world were from. Unfortunately, at this point, Buddy Holly's band was not as interested in the New York scene, and they split up. Buddy Holly continued with his music, earning a spot on the Winter Dance Party tour.
Buddy Holly, much like Valens, was young, talented, and showed much promise as a musician. He was only 22 when he died, leaving much speculation as to what he could have accomplished if he had lived. Buddy Holly already had developed his own style of singing, which is very distinct. Classic songs like "Peggy Sue" display his "hiccup" (or glottal stop) technique, where he adds extra syllables to words with a very abrupt hiccup sort of sound. You know it when you hear it, and it is a unique characteristic of Buddy Holly's style. His songwriting has been celebrated as being very advanced compared to much of the popular music during that time. Buddy Holly had been playing music his whole life, and was cleary very committed and talented to his craft.
Buddy Holly's legacy continues to this day. From his "appearance" in Pulp Fiction, to Nirvana dressing up in his style in their "In Bloom" music video, to the Weezer song "Buddy Holly", he continues to influence and inspire musicians. Other notable musicians influenced by Buddy Holly include The Beatles, The Rolling Stones, and Bob Dylan.
Buddy Holly's tragic death on this fateful date is a sad moment in the history of rock and roll. We love the contributions he made during his short musical career. Buddy Holly, if you can see this somehow, we love you and miss you. Thanks for the music...
The Big Bopper
The Big Bopper was born Jiles Perry Richardson, Jr. on October 24th, 1930 in Sabine Pass, Texas. He was known as "JP" to his friends. As a child, JP was interested in sports, and played defense for his high school's football team. In college, JP was studying pre-law, as well as participating in the school chorus and band. He was also working part-time at a local radio station. He soon accepted a full-time position at the radio station, and got married to Adrianne Joy Fryon in 1952. In 1953, Adrianne gave birth to their daughter, Debra Joy.
JP's career in radio was beginning to take off. He was promoted to the position of Supervisor of Announcers. In 1955, JP was drafted into the military, and he served for two years. In 1957, upon release from the military, he returned home, and began his career as a radio personality. He took the name "The Big Bopper" during this time because of a popular dance at the time known as "The Bop". As a radio personality, The Big Bopper broke a world record for the length of time he spent in one continuous broadcast. He broadcast for 5 days, 2 hours and 8 minutes. He played 1,821 records during this amazing spree.
The Big Bopper had always been involved with music, and did write and perform in addition to performing his duties as a radio personality. He didn't have much success initially until "Chantilly Lace" was released in 1958. This song is a stunning example of The Big Bopper's over-the-top, yet lovable personality. On this recording it is clear as to why he enjoyed such success in the radio business. With the success of Chantilly Lace, The Big Bopper took some time off from the radio gig to tour with Buddy Holly and Ritchie Valens for the Winter Dance Party tour.
The Big Bopper's story is also tragic. At the time of his death, his wife was pregnant with his son. In addition, The Big Bopper was looking to furthering his career in the radio business by investing in a radio station. He also had pioneered the idea of a music video, and was possibly looking at the production of the then unheard of medium. He had also written several new songs, and was in the process of building a recording studio in his basement. The world is left to wonder what JP Richardson could have accomplished had he lived.
JP Richardson was a character full of life. From his boisterous on-air personality to his introduction to Chantilly Lace, he was adored by many. His legacy continues to this day with Chantilly Lace played daily on rock and roll stations across the country. His son, JP Richardson, Jr. continues to promote his father, and keep his legacy alive. The Big Bopper, RIP. We miss you.
It is a sad day remebering these three lives cut short, but we cannot feel sad forever. These musicians were about the joy of music, and all loved their craft. They did it because it made them happy and it made their audiences happy. To be happy while enjoying their music is the greatest way that we can pay tribute.
Some morals: Life can sometimes be cut short without warning. Always tell the people you love that you love them.
A moment of silence for these three amazing young perfomers.
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Topics: Artist Tributes, Musicians I Like, Rock | 1 Comment »
Blasphemy! Ripping LPs to CD
By Alan | January 28, 2009
When it comes to LPs, we all know how awesome they are. They sound great, and are much more fun to listen to. The problem is that records are not very portable. Digital audio is much more convenient and portable, and thanks to modern technology, pretty easy to create.
I own several LPs that I don't have digital copies of, whether MP3 or CD. This music is stranded at home, and I can never listen to it in my car or on my iPod. In order to make my vinyl portable, it is essential to rip it to a digital format.
First up, a caveat. Ripping LPs to CDs is not really a quick, straightforward process (Unless you have a special turntable with a USB-out or iPod dock built in). As such, there are several considerations that you have to make. Of course, with some extra time and some extra care, you will be enjoying your LPs on the go, and score tons of hot chicks too.
Part 1. The Prep:
Before getting going on this, here is a list of equipment that you'll need.
- Turntable
- Receiver
- Y-Cable (RCA to phono mini jack)
- A computer with a line-in jack
- Sound recording software (I recommend Audacity...It's free and cross-platform)
Next, you'll need to clean your system, stylus and record:
Before doing anything, you should give your system a bit of a cleaning. It may be a bit anal to clean all of your audio cable plugs, but if they have never been cleaned, now is a good time.
Next up, you need to ensure that the LP you are going to rip is clean. Clean off any fingerprints, grease, etc. using a wet cleaning method. After that, use a carbon fiber brush to clean any dust, lint and hair from your vinyl. This will ensure a more "quiet" recording. For details, see my post about how to clean vinyl records.
While you're at it, it might not be a bad idea to clean your stylus (needle). This will also help to ensure a high-quality recording. For details on this, read about how to clean your stylus.
Once you have cleaned your vinyl, you'll need to set everything up. Here's what you need to do.
- Make sure that your turntable is connected to your receiver through the PHONO input.
- Connect your computer's line-in (NOT Mic) to a RECORD OUT or MONITOR OUT jack on your receiver with the RCA to mini phono cable.
Believe it or not, but vinyl records are EQ'd before pressing. I don't want to go into it here, but basically to fit all of the musical data on a record, some of the frequencies have to be shaved off the actual record, and added back to the music during playback. This is accomplished through your receiver, so the important thing to note is that you should not hook your turntable directly into your computer, but into your receiver as normal, then hook your receiver to your computer. If you don't, however, you can fix your recording in Audacity, so don't fret if you did a recording and it sounds weird. I'll explain how to fix it later.
Once you have your computer and turntable all set up, it's time to do some testing.
Fire up your sound recording program, get it all ready to go, and get your turntable ready. Begin playing the record, then begin recording. If possible, record an entire song that has a good mixture of quiet and loud parts. Once the song is over, stop the recording and stop the record.
Have a look at the diagram of the recording. See if the sound waves "clip" at any point. Please excuse my very crude explanation of what this is...Clipping is when the sound waves exceed the bandwidth? level?? of the recording or something, and are "clipped". So, in other words the "peaks" in the audio get their tips cut off (or clipped). Here's a picture since I don't really know what I am talking about. The red exclamation points refer to the emotions you'll feel when you see this in your recording!
Clipped sound is really bad. It sounds bad, and it can damage your speakers. If you see clipping in your recording, you need to lower the volume of the receiver. In general, I like to have my volume about 2/3 to 3/4 up. This allows a nice, loud recording with no clipping. I don't guarantee that this will be right for you, that's why you need to test.
On the opposite side of the spectrum, there is a possibility that a recording can be too quiet. If you look at the graphical representation of your music, you might notice that the sound waves look "small". If this is the case, you'll probably need to turn the volume on your receiver up. Here's a picture of a recording that is about right..although maybe a bit on the quiet side.
Part 2. The Rip:
OK, now that we have gone through all of the tedious and annoying testing, it is time to do the recording for real. Before recording, be sure your sound recording software is all set up.
I am going to explain how I use Audacity, but I am sure that most of the other audio recording software titles offer the same functionality and similar setup procedures.
Alright! So, I open my preferences in Audacity, and I go to I/O. I make sure that my software knows that the audio source will come through my line in, not my microphone. Next, I go to quality. Since we are recording an analog source, I want to get the highest quality digital reproduction of that. Audacity allows me to record at quality levels that are well beyond the CD, and I believe that you should record at this higher quality, even if you can't hear the difference between an LP and CD, and even if you are eventually going to transfer the recording to a CD. Now, CDs are 16-bits with a 44.1khz sample rate. Audacity allows me to record at 32-bits with a 96khz sample rate. I'll do that. Bear in mind that this is a very intense recording, so your computer needs to be able to handle the load. A single LP side could take up over 1Gb of space on your hard drive, and require much processing power, so quit any applications you're running before doing this. Those are all of the options I care about right now, so I will click OK, and go back to the main window.
Finally! Time to record...
Open a new file, and click record. Start your turntable, and let the record play all the way through.
A few tips:
- I usually unplug my speakers with the theory being that the sound waves produced by the speakers could interfere with the stylus and cause some (subtle) coloration of the sound. Would it be noticable? Probably not, but I am looking for a very pure recording, and this will help ensure it.
- I usually leave the room while the recording is being done so my heavy foot doesn't shake the turntable causing a vibrato-ish sound being introduced to the recording. It happens easier than you might think.
- Try to record in a quiet room, and tell your housemates to stay away until the recording is done.
After the record stops, I stop recording. I save the file immediately. Once I have the saved file, I'll usually just close it, then record the next side of the LP. I usually do all of my steps in a batch. So, if I have 5 records I want to record, I'll record all of them before I edit and burn them. It's just a little faster that way.
Part 3: The Editing
Alright! Now that the long, boring, and hard parts are over, it's time to edit your recordings.
First of all, if you could not record through a receiver (In other words, you connected your turntable directly to your computer), your recording probably sounds a little funny. That's because of something called "RIAA Equalization". To fit all of the audio data on a record, it has to be EQ'd, then added back to the sound during playback. Receivers automatically do this, but not turntables. To fix a recording that was not recorded through a receiver, simply select all of the audio data (ctrl+a or command+a), then go to effect > equalization. Select "RIAA", and click OK. How does it sound now? Normal? Good. If you did record your LP through the receiver, it should probably sound normal, so you don't need to worry about this.
The next thing I do is listen to the recording to see how noisy it is. If it's pretty clean sounding (and it should be if you used a clean LP with a clean stylus), then I just let it go--even if there is some noise. If there is some hiss and pop that is annoying, I will try to edit it out. In Audacity, you can do this by selecting a quiet portion of the recording (like before the first song starts), then clicking Effect > Noise Removal. The first step is to click the get noise profile button. From there, select the entire track, then go back to Effect > Noise Removal. You will be able to select more or less noise removal, preview what it sounds like, then make the change. I generally prefer to err on the side of less noise removal. Too much and the recording sounds flat. Just get the recording down to an acceptable noise level rather than trying to cut it all out.
The next thing I do when I am looking at the audio data from an entire LP is cut out the empty space at the beginning and end of the recording. I simply select the audio data that I want to cut by clicking and dragging, then selecting Edit > Cut.
From here, I need to cut the recording up into the individual songs. This is not mandatory, but most people prefer to maintain separate tracks for each song. Cut each song, then paste it into a new Audacity file. Save the file.
Once you have done all of your tracks, it is time to do some more minor editing. Cut out any long spaces with no sound at the beginning and end of each track. I also like to do fade-ins and fade-outs so the analog "hiss" is less noticable at the beginning and end of the tracks. To fade in, I select the space from the beginning of the track up to the exact moment that the music begins, and click Effect > Fade In. I do the exact same thing at the end of each track, except that I like to let the last moment of music ring out until it is almost completely quiet before I apply the fade out effect. Same deal: Select the audio, click Effect > Fade Out.
Repeat for every track. Save every track.
Part 4. The burning.
You're almost done! Once you're satisfied with the recording of your vinyl, and it has been edited and cut, it's time to burn. This is the easiest phase of everything.
In Audacity, open the track that you want to export. I usually export it twice: Once as a standard WAV file, and once as a high quality MP3 file. I can use the WAV file as an archival quality "Master" copy for burning CDs. The MP3 version will be transferred to my iPod.
Before exporting, I'll go back into my Audacity preferences, and go to "file formats". For my "uncompressed export format", I will choose WAV Microsoft 16-bit PCM. PCM is the format used on audio CDs, and is considered an exact copy of CD-Audio data. For my MP3 export setup, I will choose the 256 bit rate. If you're file size conscious, you can go for a 160 or 192 bit rate, but I wouldn't go lower than a 128 bit rate because the sound is noticbly worse.
Note: If your MP3 Export Setup doesn't appear to be working, you need to download the LAME MP3 encoder. Don't worry, it's free too! Have a look here.
Anyway, now that you have set your export preferences, it's time to export the files!
To export, go to File > Export Project As (WAV or MP3). That's it. Audacity will take a minute or two to do the MP3, and possibly 30 seconds to do the WAV. Please note, you have to do this once for each file you want to export. Audacity won't export both a WAV and MP3 at the same time. When you export your MP3 files, Audacity will allow you to input the text data for the song such as the title, artist, and genre.
Once you have exported the WAV file(s), you should burn them to a CD. You can either record it as an audio CD that will play in your CD player, or you can burn them to a data CD so you have the actual WAV files available that you can use to burn audio CDs. This is your "master" CD. You should treat it well so you won't lose all of the hard work you've put into it!
As for the MP3 files, I just open up iTunes (Or whatever other MP3 software), add them to my library, then transfer them to my iPod.
...And that is it! Overall, this method works very well, and I have been quite impressed with my results. The CDs I have recorded sound great (although I don't have purchased CDs to compare them to), but still, they do sound pretty awesome. As for the MP3 files, they sound very nice as well. In addition to the fact that they used a high bit rate (256kbps), I encoded them at a 48khz sample rate which is actually higher than the sample rate of a CD (44.1khz). I think these particular MP3 files rival the sound of even a purchased CD!
This is a worthwhile project for people with lots of music on vinyl, but it certainly isn't as quick or easy as ripping a new CD to your computer. But, on the other hand, with an hour or so of work, you can enjoy the music (on the go) for a lifetime. Have fun!
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Topics: Music, Vinyl Info | 2 Comments »
Jazz Fusion: A Primer
By Alan | January 22, 2009
My current music obsession is jazz fusion. This genre got its start in the late 1960's; many cite Miles Davis' "In a Silent Way" as the first "fusion" album. So, what is it? In short, jazz mixed with a little rock and a little funk. Of course, there are variations. Some say fusion is "electric" jazz: In other words, electric pianos, electric guitars, and even in the case of Miles Davis, his horn amplified through a wah-wah pedal. All of these descriptions are true.
Unfortunately, jazz fusion is pretty much dead. The golden years of this genre happened between 1969ish-1975ish. Most of what poeple refer to as jazz fusion these days is what most people call "Elevator music". We're talking boring, soulless, Kenny G bullsh*t. This wasn't the fiery fusion of the early 70's, by any stretch.
Let's take a look at some of the classics for your listening enjoyment. Feel free to chime in with your favorites in the comments section!
Miles Davis
OK, let's start with the innovator: Miles Davis. Did Miles invent fusion? Probably. His musical vision is legendary, as he has been on the cutting edge of most innovations in jazz since bebop in the 1940's. Of course, he couldn't have done it without the efforts of his bandmates such as Herbie Hancock, Wayne Shorter, Tony Williams, Joe Zawinul, Chick Corea, and John McLaughlin...Pretty much all of these guys went on to become giants in the fusion scene in the 1970's.
Here's what you need to hear:
In A Slient Way: This album started it all. A fully electric approach to jazz. It isn't quite rock, and it isn't really funk, but it is jazz. I guess I would classify this as an ambient sort of sound. The sounds introduced here would go on to make a huge wave in the jazz world. The sound of Joe Zawinul's electric keyboards to John McLaughlin's electric guitar are a treat for the ears. This is a must-have album that I have on both CD and 180 gram LP.
Bitches Brew: After In A Silent Way, Miles Davis dropped this bomb on the jazz world. If you've read my top 10 essential jazz albums post, this is #10. Bitches Brew has more of a rock flair than In A Silent Way, and is definitely a bit more far-out, but you can't deny that this is a great album. It is electric, moody, loud, and trippy. I love it.
On The Corner: So, In A Silent Way was a rather mild album, then Bitches Brew blew it out of the water. On The Corner was the album that many people say is Miles' F*ck you to the jazz world. This album is in your face. Forget restraint, forget the ambience of In A Silent Way. On The Corner is a bold album from a bold artist. While many referred to this album as "anti-jazz", I refer to it as a breath of fresh air. It is loud, funky, and completely unapologetic. I love this album, especially the intense, yet mesmerizing beats laid out by Jack DeJohnette.
No one will deny Miles' unmatched musical vision. Also, of equal significance was his ability to put together the best bands ever assembled in jazz. Many of the members of Miles' fusion groups went on to massive success in their own fusion bands. Let's take a look at the work of these other greats.
Herbie Hancock
Next in line is one of the most successful jazz musicians ever: Herbie Hancock. Herbie got his start with Miles Davis in the early 1960's, and has not rested since. He has had amazing influence in many worlds, including jazz, folk, rock, and hip-hop. When he went off on his own in the 70's, Herbie Hancock ended up being the biggest fusion act in the world. Here's what you need to hear:
Headhunters: This is pretty much the most famous fusion album ever recorded, and is often reported as the biggest selling jazz album in history (although, Kind of Blue is the actual biggest seller). Headhunters is in your face funky. The intro bassline from Chameleon (the opening track) is classic. This album is funky, funky, funky, and just about everyone who hears it loves it. My favorite song on the album is "Sly" which is a nod to Sly Stone, and it just blows my mind every time I hear it--especially the 3rd part of the song. I also own this album on both CD and LP. It belongs in every music lover's collection, whether your love is rock, jazz, or r&b.
Thrust: The follow up to Headhunters, Thrust is another classic fusion album. While it is not as hard-hitting as Headhunters, this album is a must-hear for people who enjoy funky music. The most famous piece on the album is "Actual Proof", which is a classic, funky, "urban-ish" composition. In fact, I love it so much that it was played at my wedding! Of course, the standout piece on the album is "Butterfly" which is a mellow, beautiful composition that is somewhat in the same vein as the stuff on In A Silent Way, but more heavenly. Butterfly is one of my favorite songs ever.
Man-Child: Herbie Hancock did many fusion albums in the 1970's, and Man-Child is one of his funkier efforts. This album featured electric guitars, electric pianos, and plenty of bass grooves and beats. It is less jazzy in that the music is less improvised than music he did in the past, and the songs are definitely shorter. This is a great album that will introduce people in a more gentle way to the full-on jazz funk fusion done by Hancock in his earlier fusion albums.
Weather Report
Moving on. Let's talk about two musical visionaries from Miles Davis' band that went on to form the biggest band in jazz fusion history: Weather Report. The two musicians are Joe Zawinul and Wayne Shorter. Joe plays piano, Wayne plays sax. Another notable member of Weather Report is Jaco Pastorius, voted the best bass player who ever lived. Weather Report evolved heavily during their career. At first, they were more ambient, more improvisational, and more jam-oriented. As they continued, they brought in more rock and pop elements, shortened their songs, and improvised less. They achieved massive success with this formula. Here are the essentials:
Weather Report: This was Weather Report's debut album, and it won Down Beat Magazine's album of the year in 1971. This album is considered a classic early fusion album, with similar sounds to Miles Davis' Bitches Brew and In A Silent Way.
Heavy Weather: This is Weather Report's most successful album, featuring the hit "Birdland". In addition to being Weather Report's best-selling album, it remains one of the best selling jazz fusion albums ever. This album is the first that prominently features bassist extraordinaire Jaco Pastorius. It is much more rock and pop oriented than their debut.
Weather Report is probably the most commercial and accessible jazz fusion group, and many of their albums are notable for an eclectic blend of several musical genres and overall musical complexity. Check them out!
Jaco Pastorius
Speaking of Weather Report...I wanted to talk about Jaco for a minute. Widely regarded as the greatest bass player who ever lived, coupled with a heavy case of mental and emotional instability, and utimately a premature and tragic death, Jaco Pastorius is always an interesting topic. While Jaco Pastorius was highly successful as a member of Weather Report, his debut album is what dropped the bomb on the jazz and music world.
This album will blow your mind, and it still blows my mind every time I hear it. If you play bass, drop what you're doing right now and buy this album. In addition to showing off Jaco's amazing skill with the bass, it also showcases his talent as a composer. Every track on this album is a standout; from the re-interpretation of the bebop standard "Donna Lee" to the r&b song "Come On Come Over", to the orchestral and grandiose "Kuru/Speak Like a Child", all the way to the beautiful "Portrait of Tracy", this album is a must-have.
Chick Corea and Return to Forever
Moving on, let's talk about more of Miles Davis' bandmates who were part of the fusion movement. Next up is Chick Corea. Chick Corea is a piano/keyboard player who has performed on many of Miles Davis's albums from the late 1960's and early 70's. In the early 1970's, he put together a group called Return to Forever. This group started off as a more latin-American mix with jazz, and later became a more rock-oriented group. Here are the essentials:
Light as a Feather: This is the second Return to Forever album, and has a strong Brazillian, Latin-American sound, with electric instrumentation. It also features vocals from the Brazillian jazz singer, Flora Purim. This is a great album that I listen to often. It features many long and exciting improvisations and solos, with Purim's vocals mixed in. The standout piece on the album is the classic song "Spain", which has been covered and recorded several times. This is an essential album for lovers of latin-tinged jazz.
No Mystery: This album is very different from Light as a Feather. For starters, it has no vocals, and features a very different band. The music has much less of a latin influence, and instead is more rock and funk oriented. It also features guitar virtuoso Al DiMeola. This album won a grammy in 1975 for best jazz performance by a group. Admittedly, I first heard this album only a month ago, but it is quickly becoming one of my favorites.
Return to Forever had a few years of great music, but soon enough the band members moved on to new things. Al DiMeola is one of the more famous members, especially amongst guitar players. Bassist Stanley Clarke has also made a long and varied career in music, with several notable albums under his belt.
John McLaughlin and the Mahavishnu Orchestra
Moving on...Let's talk about another pupil of Miles Davis: John McLaughlin. John McLaughlin was brought into Miles' band during the late 60's and early 70's for his skills on the electric guitar. McLaughlin can be heard on In A Silent Way and Bitches Brew, among other Miles Davis albums from that era. His work during this time took a new direction when he founded the Mahavishnu Orchestra in 1971. The Mahavishnu Orchestra was one of the heavier fusion acts, featuring an eclectic blend of guitar rock, Indian instrumentation, funk, as well as Western and Eastern classic music. Here are the essentials:
The Inner Mounting Flame: This was the debut album from the Mahavishnu Orchestra, and is an eclectic blend of rock, funk, as well as Western classical music and traditional Indian music. What stands out on this album are the rock elements that are direct references to the playing of Jimi Hendrix. This album, while being considered a jazz fusion album is right at home next to the great rock guitar albums, and is a highly influential album for guitar players everywhere.
Birds of Fire: The follow-up album to The Inner Mounting Flame, Birds of Fire is another rock-oriented auditory assault. The mood is heavy and the guitars are furious. This album will delight lovers of virtuoso guitar playing and heavy jazz.
The Mahavishnu Orchestra was a relatively short-lived group, but their influence is major and far-reaching. This is probably the heaviest jazz fusion act, and is right at home with both jazz and rock fans.
Tony Williams and Lifetime
Miles Davis seems to have dominated the entire concept of fusion. Another of his bandmates, Tony Williams, put together Lifetime, another major fusion group. While not achieving the same level of success as other fusion acts such as Weather Report and Return to Forever, Tony Williams Lifetime is considered a highly-influential fusion group, and has spanwned several tribute bands and tours. Here are the essentials:
Emergency!: This is one of the pioneering fusion albums, along with In A Silent Way. Tony Williams had been playing with Miles Davis for several years at this point, and was clearly heavily influenced by and influential to Miles' electric direction. Featuring Tony on drums, John McLaughlin on guitar, and Larry Young on organ, this album is a fusion classic.
Turn it Over: This album is the follow-up to Emergency! and features slightly more restrained improvisation and soloing, yet is still a fiery and intense experience. This album is definitely more rock-oriented than Emergency.
Tony Williams has proven himself again and again to not only be a top-notch drummer, but a talented musician and composer. I first started paying attention to him after reading Miles' autobiography, where Miles constantly emphasizes the amazing talent possessed by Tony Williams.
Did you read this far? I'm amazed! I can't believe I wrote this much. Anyway, Jazz fusion is great because it combines so many different musical elements, and draws inspiration from many sources. I find it exciting and unique, and I would love to discover this music further. Hopefully this primer has given you some new music to take in. Enjoy the music!
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Topics: Music, jazz | No Comments »
What Am I listening to Today?
By Alan | January 7, 2009
Howdy everyone, I think it might be fun to chime in from time to time to share what music I am listening to. Here goes...
In the Car:
I am enjoying John Coltrane's "Lush Life", which was the first album he released as a bandleader.
On the iPod:
I have enjoyed a few albums so far today, including:
- Return to Forever - No Mystery
- Stan Getz/Joao Gilberto - Getz/Gilberto
- Al DiMeola/John McLaughlin/Paco DeLucia - Friday Night In San Francisco
Return to Forever is a fusion band from the 70's put together by Chick Corea, a jazz pianist who has worked with Miles Davis and Herbie Hancock. This album is more funky and rocky, and includes the guitar playing of Al DiMeola.
Getz/Gilberto is one of the most famous "latin" jazz albums ever released, and includes the blockbuster hit "Girl from Ipanema".
Friday Night in San Francisco is arguably the greatest guitar album ever released. It is a live album featuring fusion guitar greats Al DiMeola and John McLaughlin, and flamenco virtuoso Paco DeLucia. This album is not to be missed if you love shredding.
On the Turntable:
Hasn't seen any use today, but I was last listening to Vince Guaraldi's Charlie Brown Christmas Special Album. Classic holiday album with a jazzy feel.
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New Year, New Music
By Alan | January 5, 2009
New year, new you!
Gotta love this rhetoric that we are always hearing from marketers this time of the year. If you've been around the sun a few times, you know that most new year's resolutions don't last more than a few weeks. People always have grandiose ideas about how they're going to make their lives better; from losing weight to quitting smoking to managing money better, to spending more time with the family. It's all well and good, and it all comes from good intentions, but the reality is that it is always more difficult than you can anticipate. You start out doing really well, but as time goes on, you realize that in order to make life-changes, you have to change your life. Not easy.
Sorry to sound so morose...Here's some quick advice, then I am off to the fun part of the post! If you want to make life changes, you have to do something that few people actually do, and that thing is COMMIT. Committing to something is deeper than just saying what you want to do. Committing is all about putting a serious effort into making sure that you do what you set out to do. That is the hard part, and that is why people quit the gym in mid February, and head to off to the local hamburger joint and order up a double cheeseburger. One thing I have found that is very effective, and helps me commit, and stay committed to something is setting a schedule. People will make fun of you, and they'll call you anal, but if you are serious about making changes, you are much more likely to succeed this way. Commit to it, schedule it, and most importantly, DO IT. It is never too late.
Now, here's a fun new year's resolution that should be fun for the music lover: Try out some new music. I'm not talking about picking up the latest album from your favorite artist, I am talking about going outside of your comfort zone, and trying something totally new. If you've got friends that enjoy different music from you, have them burn you a CD. Go to Wikipedia, and read about a music style that is unfamiliar to you. It could be Turkish folk music, Country, Motown, or even Rock. You'll be amazed at how interesting it is to learn about new stuff. Read about some of the major artists within your new music. Head over to your local library, and see if they have any CDs from your newly discovered artists. Give them a listen. Rummage through used vinyl at your local record shop, see what you dig up.
You may not always like what you hear initially, but what you need to do is free yourself from preconceived notions, and really get into what the artist is trying to communicate. Think of what the music reminds you of, and get into that state of mind. I have always found it easy to enjoy new music right before I go to bed. I just lie back, relax, and listen.
This year, make a resolution that you can keep: Try some new music, and let the adventure begin.
Peace, love, enjoy the music.
-Alan
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In Defense of Hip Hop and Rap
By Alan | December 18, 2008
It's very fashionable to dislike hip hop and rap and make it known. I hear this rhetoric all the time, usually from older folks, and a surprising number of younger folks too. People say that hip hop is not music, that it's offensive, that it's not a useful medium. Hip hop is probably the most heavily criticized music in the world. Why is this the case?
Well, interestingly enough, many of the people who say they dislike hip hop are white. My intent is not to turn this blog into a discussion of social issues; this blog is about music, first and foremost, but I also believe it's difficult to talk about hip hop without talking about race. Anyway, before I offend anybody, let me make it clear that disliking hip hop does not make you a racist. However, I do want to make it clear that there is a very clear racial line between people who like hip hop and people who dislike hip hop.
For most people, this is probably due to upbringing. Many white kids are raised on classical, pop, and rock music--genres which are mostly dominated by white musicians, while many black kids are often raised on R&B--which is mostly dominated by black musicians. When you expose someone to something that they are not used to, it is completely human to be cautious. Many white people don't like hip hop since it is simply new and unlike anything that they're used to. On the flip side of the coin, it also seems true that black people aren't into rock music. So, many people don't like hip hop simply because it's not within their comfort zone. Fair enough, but what about the criticisms of hip hop?
Let's start at the top. Many people say "Hip Hop is not music". Ok, people. It is music. Hip hop is music. Get over it. There is rhythm, melody, harmony, instrumentation, vocals, and so on. I don't understand how you can say it is not music.
Some people might say "Well, what about instrumentalists? There are no instruments in hip hop". First of all, this is a stereotype, and not rooted in reality. You see, many people associate the instrumentation in hip hop and rap with record scratching. And it's true, hip hop does contain record scratching, but that's not all it contains. Most hip hop has a wide variety of instrumentation ranging from keyboards to guitar to horns to computer generated sounds. And even if it only included the sound of a record scratching, making those sounds is a skill that takes practice and finesse, just like playing any other instrument. Sure, anyone can scratch a record, but anyone can also pluck a string on a guitar. That doesn't mean it will sound good. Besides, most people have no trouble calling Britney Spears music, even though she doesn't really produce, perform, or write her melodies, she just shows up and sings.
Hip hop truly is a form of artistic expression, and it is musical. It takes a good ear to put together good hip hop. Even if you're using samples and loops and sounds, and all sorts of other things, it still takes hours of time, and a clear artistic vision to put all of the pieces together to make something interesting to the ears. Composers do it all the time, they simply use different instruments. Repeat after me, hip hop is music.
OK, next many people talk about hip hop being offensive. It's not all offensive, in fact, a pretty small percentage of it is offensive. Sure, we all know about violent and misogynistic "gangsta rap", but this style is not really the dominant force in hip hop. But, on the other hand, how can you completely dismiss it? When you listen to a group like NWA, there are some very revolutionary things being said, and quite honestly, if I was "Straight Outta Compton", I'd probably write a song like "Fuck Tha Police" or "Cop Killa" too. This early gangsta rap brought important issues of police brutality, racial profiling, gang violence, drug abuse, and other ills of society to national attention. This music brought the hard realities of the ghetto life into the public knowledge. It may not be pretty, but now that we're confronted with these problems, we are in a better position to address them. Reality isn't always pretty. Reality can be offensive. That doesn't mean we should hide from it.
Let's take a look at the majority of hip hop now. Most of it is not very offensive. Much hip hop has deep roots in old-school and modern R&B, as well as jazz and electronic music. A lot of this music is about peace, love, happiness, finding a better life, and other good things. Sure, there are some prudish people that are offended by the sometimes explicit descriptions of sexual acts in hip hop, but hey, at least they're not talking about killing people. Instead, they're talking about love, pleasure, making someone feel good, and so on.
**Quick soapbox: Why can they show violent movies on TV, with people getting shot and stabbed, and murdered, and beaten, and other violent, anti-social behavior, yet you'd better not show Janet Jackson's nipple, or two people making love? Just saying...**
Another attribute of hip hop is a keen awareness of social issues. Many great hip hop acts talk about racism, poverty, and violence in a negative way. Much of this music expresses a deep lament for the world in which many children have to grow up in. This is music with a deep consciousness, and while it is sometimes offensive, it does have meaningful things to say. This is a social music that is truly for the people. For the people who have lived it, and for the people who want to know more about it.
Many people also take offense to the language used by many hip hop artists. Of course, when you can look at this slang from a more rational perspective, you can see some more interesting things going on. First of all, much of the language used by hip hop is slang. These words have the same meanings of other phrases that people use all the time, but since they're in hip hop, they're considered more offensive. Bitch, for example. Many people like to say that rappers use the term to describe women. They're not really. They're using it the same way that everyone else does: To describe an unsavory woman. When a rapper says "nigga", he's saying "person". They're reclaiming the word and making it their own. They're taking power from white people who use it as a slur. It's genius and revolutionary. Also, people criticize hip hop because they don't use "proper English". Guess what people? Language evolves. Otherwise, we'd still be speaking middle English. Rappers don't feel supported by the English language, so they've created their own version of it. That is a radical and revolutionary act, and more power to them.
Finally, people say that hip hop has nothing to offer, that it is not a useful medium. I think if you can agree with some of the statements I made above, you can see that this is not true at all. Music serves an important purpose in humanity, and hip hop is music. In addition, hip hop has a lot to say about society and the world. It isn't always pretty, but it is always relevant. You don't have to like hip hop or listen to hip hop, but it does deserve the same artistic credibility as every other type of music.
"Peace and I'm out." -Chuck D.
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