Given what’s happening in Afghanistan right now, I wanted to write a brief post to share a wonderful organization: Visit https://miraculouslovekids.org/. Please visit, watch their videos and donate if you can.
Lanny Cordola is a musician who reached success in the 80s metal scene with bands like Giuffria and House of Lords. In 2014 he moved to Kabul and started this incredible organization to help girls in Afghanistan get education and safety, explore the universal love of music and express themselves. He’s made such a positive difference in so many lives, and it’s living proof of the power that an individual can make in the world.
I had a thought the other day that drummers are actually masters of physics. They have to really understand some of the fundamental forces of nature to play their instrument well. It’s not book learning, it’s not mathematics, it’s and understanding how these forces actually work… and then what you can do with them to achieve a desired effect. Drumming is applied physics!
Force, Gravity, Space and Time
Understanding and controlling the bounce of the sticks requires a visceral and deep feeling for Newton’s 3rd Law (every force is countered by an equal and opposite force). I would also say that a lot of stick control is an understanding of gravity, which is part of the bounce.
Of course, space and time are connected, and by the nature of the instrument drummers have to have a keen sense of subdividing time. They also have to understand the effects of slowing down or speeding up time; playing ahead or behind the beat; rushing or dragging it.
Understanding and manipulating the decay of a cymbal is an appreciation of resistance and inertia.
So there you go. John Bonham, Elvin Jones, Marco Minnemann, Buddy Rich, Neil Peart, Gene Krupa and a million others – right up there with Albert Einstein, Neils Bohr, Richard Feynman and Isaac Newton!
Why Music Connects So Deeply
I’ve long thought that the inherent power of music is due to its nature being vibration. It’s an organized vibration of air received by our ears and into our brains. Since energy is vibration, and mass and energy are interchangeable, then it makes sense that vibrations can affect our very being. It connects with us in at a fundamental level. The realm we exist in is inherently receptive to vibrational input. I’m much more of an auditory person than visual so maybe I’m a bit biased; but I think auditory vibrational input is received more strongly and connects a more fundamental and physical l level than visual input. A deep bass makes our whole chest vibrate. A high pitched dissonant tone can make us cringe. It’s more than something our emotions give meaning to – music is something our very being is connected to.
I was listening to a great interview with two of my favorite “blues adjacent” artists – Joe Bonamassa and Fantastic Negrito, and the latter talked about how music brings people together. People of all races, religions, countries and political beliefs can bond over music and come together. They talked about it in some depth, but it’s one of those things you hear that at first seems “sure, in some ways, I guess” but it was brought home to me in a very real, concrete way last night.
I saw Selwyn Birchwood at the Alley in Sanford, FL last night. It was a great show, the place was more packed than I’ve ever seen it, the band was awesome and we all had a good time. The incident that demonstrated a great example of music bringing people together happened about 20 minutes into the first set.
I was sitting at the bar when I noticed the elderly couple next to me looking on the floor for something. After a few minutes the wife pulled out her phone’s flashlight and they looked more concerned, looking closely all around the area. I started looking around the floor near me as well, maybe I’d spot something unusual and help out. My instinct was to help out, of course. After a few minutes I heard them tell someone they were looking for a wedding ring that the husband was unconsciously playing with and dropped.
I got out my phone light and looked under tables and all around. Others in the area joined in the search. After a few minutes someone ended up finding the right, to many cheers from those who were looking.
After the man sat down, I noticed he was wearing a MAGA hat. Now, this isn’t a political post. What really struck me was my reaction. I’m sure I would have helped out had I seen the hat first. Perhaps, though, I would have hesitated a bit. I certainly would have formed judgments in my head, lost ring or not. F that guy. Doesn’t he know what the lyrics to the songs are? I would have painted an image of this man from one glance, and that image would have filtered every interaction going forward. Without seeing that hat, it was just a guy enjoying music who needed some help.
This man and his wife were cheering as loudly and as often as anyone in the place, and clearly they enjoyed the show. The man kindly bought a beer for the gentleman that did eventually find the ring.
Music brought us together for something common. We shared a positive experience and politics just didn’t matter at that moment. In our world today, those moments are rare.
Not only does that so clearly demonstrate the point Fantastic Negrito made in the podcast interview I heard the other day, but it provides further evidence to me that most people are inherently good. It’s the corruption of societal beliefs, politics, life experience, and stereotypes that turns us against each other. Music actively combats that in such a beautiful way! Last night made that crystal clear to me, and it was a beautiful thing.
It also demonstrates something I’ve thought for a while now. Our age of social media and the internet reinforces us having a two dimensional, black and white, flat image of our fellow man. Going out and interacting with people, in person, for real, gives us a complete, 3D, full-color perspective on people. If you don’t get that full picture it’s easy to think that the 2D/black-and-white picture is all there is with people. What a negative place to be. Whether it’s a live show, or simply chit-chatting with the clerk in the grocery store, interacting with people in real life is so important.
Here is the podcast interview – definitely worth a listen. Fantastic Negrito’s latest album “Have You Lost Your Mind Yet” is one of my favorites from 2020.
Definitely check out Selwyn Birchwood as well – he’s a great up and comer, and his album is as great listening at home or in the car than he is live, which isn’t always true in blues
Wow, I didn’t realize how much I missed live music! I’ve watched a few live streams over the last year+, and it was fun but not the same. I didn’t buy any, though, to me a concert is an event. If you’re just sitting at home watching a screen it’s hard to justify… it’s also hard to carve out the time to sit and watch. I got tickets for the Allman Betts Band at the Orlando Hard Rock. Normally, I’m not a fan of that venue, as it’s a long ways from parking, and it’s usually more expensive for similar acts. I was surprised how open parking was very open… and free, which is NOT the case around Halloween Horror nights, which adds $20 to the total cost). Once inside Universal City Walk, I was also a bit surprised how crowded it was. I hadn’t been around that many people in a year and a half! It took a little bit of time to get used to that, for sure.
The venue was about half to two-thirds full. Definitely not sold out, but a good crowd. I think a lot of people were in my boat: very enthusiastic to be back seeing live bands, and it showed in the crowd response and interaction. I purposefully bought an isle row seat, which I felt would give me a bit of separation.
Have you seen anything recently? What was your reintroduction to live music, if so? If not, is there anything on your radar? Let me know in the comments.
River Kittens opened up – they were a roots acoustic duo with fantastic harmony vocals and fun songs. They did a great job, and it was an excellent reintroduction to live music. They did a mix of covers and originals, and on top of both women singing, they played guitar, mandolin and ukelele. I don’t know much about the duo, but their vocals blended so well I wondered if they were sisters. Definitely check them out.
The Allman Betts Band
I had listened to them a few times on Spotify, but I didn’t know their catalog very deeply. Even not being very familiar, their songs were easy to get into – Southern Rain, Airboats & Cocaine and Much Obliged in particular were good singalongs. They also did a somewhat surprising number of Allman Brothers covers: Trouble No More, Jessica, Ain’t Wasting No More Time, and Southbound.
In my opinion they have a perfect mix of southern rock and blues – some long solos, some more pop-structured songs. It never felt tedious one way or another. Easy to get into, but also deep enough to enjoy over and over.
The band sounded incredibly full and rich – with three guitars, drums, percussion, keys and bass. While of course Duane Betts and Devon Allman are the bigger names, I was particularly impressed with Berry Duane Oakley on bass and vocals – he was super tight – and John Ginty on keyboard. The sound was also a perfect level – I was in about the 15th row, but it wasn’t too loud and the mix was good.
I’m so happy live music is coming back – I’m happy for the bands, and for the joy it’s bringing. Take some time to explore both River Kittens and the Allman betts Band – you’ll be glad you did. And go see live music when you’re able and you feel safe
My kid has gotten to the age where he’s started to get interested in popular music. This has led us to listen to a lot of the “Now That’s What I Call Music” and “Grammy 20xx” CDs over the last few months. Even though pop music isn’t really my thing, I have enjoyed it quite a bit. It was funny to have heard so many of these songs over the years in the bathrooms and common areas of office buildings, but not really knowing the artists. I remember hearing a few songs like Ava Max’s “Sweet But Psycho” and Imagine Dragon’s “Thunder” literally 5 times a day. It seemed like every time I went to the restroom, one of them was on. It’s been a while, so fresh ears are a good thing. There are some, like Thunder, that have grown on me. Others, like “Sweet But Psycho” I’d be happy to never hear again. It’s also been an interesting listen as a musician and writer…
I’ve started to identify what I actually don’t like about modern pop music. As primarily a guitar player, and with guitar being the foremost instrument in most of the music I love, I sort of assumed that modern pop music not having much guitar is a big factor. I was surprised how much guitar was featured in the 2021 Grammy Awards show. Anyways, it turns out that’s not really the issue. It’s the lack of real drums, played by a real human being, with variation and feeling that is what I actively dislike.
A lot of modern pop music sounds like basically one 4:4 loop repeated for the entire song. Drag and drop the bar of midi, and drag across the song for the whole 3 minutes. I keep saying it, but it’s not the chords, it’s not the notes, it’s the rhythm that defines a genre. With a lot of modern pop, the rhythm is simply… boring. There are no fills to lead from section to section. There is no sense of dynamics.
On top of that, tonally, I just don’t like the generic low end thump used instead of a kick drum and the white noise crack used instead of a snare. Real drums have such a great tone, and such a great variety of sound contributing to the music Kick, snare, hi hat, crash, splash, a million toms. That’s interesting to me! So much modern pop music has that chopped, compressed, generic kick sound and either a finger snap sample, or the generic white noise snare … and that’s it. I’ve noticed over the last year that pop artists who use real drums appeal to me a lot more.
Like anything, there are exceptions to every rule. This isn’t a big, revelatory piece, but it’s been really interesting to examine what it is that appeals to me and not, and why it works or doesn’t work. What do you think? Does it bother you? Do you like that style?
Of course, no matter whether you like a piece of music or genre or not, there’s always something to learn. At least listen with open ears and maybe you’ll get something out of it.
As you may have guessed from my recent posts, I’ve been listening to a lot of blues lately. Over the last few years I’ve been curating a Spotify playlist where I keep track of songs that catch my ear. As I read reviews or interviews in a bunch of magazines, or listen to the Smokestack Lightnin’ show I try to keep my ears open. As much as I liked the classics, that’s great stuff happening now! This was a way to highlight some artists that weren’t as well known, and of course some that are. I include all styles of blues – traditional, modern, funky, soulful, acoustic, electric… I had called it “New Blues From Radio & Magazines” but that doesn’t roll of the tongue, does it?
I recently finished reading the biography “Howlin Wolf: Moanin’ at Midnight” and I wanted to write a few thoughts about it, as I did with Up Jumped the Devil.
What a life! Overall I really enjoyed the book. It was extremely detailed and thorough with every recording session and tour. Many of the individual gig stories had incredible commentary from band and audience members. The insight into the man – as a man and performer – was amazing. While I had listened to a lot of his music, I had little insight into Howlin’ Wolf the performer and his crazy stage antics. Relative to what I actually knew about the man, aside from the music, I learned more from this biography than perhaps any other. It’s similar to the Zappa biography for me int hat regard.
The book also covered all the musicians that played with the Wolf, especially long-timers like the legendary Hubert Sumlin and Sam Lay. There are tons of quotes and interviews throughout his long career, and it painted a very detailed picture of each stage of his life.
That said, the detail did make the book feel a bit tedious at times. I actually liked that it covered the lineups and recording dates, and despite the detail never wanted to put it down. It required some patience to get through despite its very reasonable 325 pages. For fans of blues or its offsprings like blues/rock, it’s a must-read. I loved that it called out things to notice in particular songs (like a short drum solo in one of the early Chess songs, some of Hubert Sumlin’s particular guitar solos, etc). For fans of music and live performance, highly recommended. For more casual music fans, it’s good and recommended but with that caveat.
I don’t want to give too much of the book away, so I won’t outline too many here, but there were many, many incredible stories of Howlin’ Wolf’s days on the road.
One of my favorite, though a bit sad, stories is a gig in which Sam Lay was playing drums. Sam had a loaded pistol in his pocket and got a little too exuberant with his drumming… and consequently blew off one of his testicles! Incredible.
The Wolf was a strict bandleader, and would fine his musicians for showing up late, or not dressing in uniform (black slacks, white shirt). One of his drummers wore different pants – still black, and pretty close – but not right. If I remember, his uniform ones got ripped or stained shortly before the gig. He did the whole show and the Wolf didn’t say anything. Afterwards, he said something like “well, you made $12.50 on the gig, but I have to fine you $10 for not wearing your uniform.” the drummer pulled out his pistol and got his money. Tales of guns and fighting about. It was a different, and rougher, time.
Chester Burnett’s was a tale of incredible perseverance. As with many blues artists that grew up in the South in the early 20th century, life was hard. His father left. When he was just a child, not even a teenager, his own mother threw him out of his out. He had to walk – with no shoes – miles to a relative’s or relation’s house. His new father was very strict and harsh, and eventually even that home didn’t last. After accidentally killing a prized and valuable pig owned by his new father, he left for good to be out on his own rather than face the coming beating. He overcame his difficult childhood through strength, will, and intelligence.
I always knew Howlin’ Wolf as a singer and harp player. I didn’t realize how much he played guitar, especially early on. Once he got to Chicago and started relying on Willie Johnson, Hubert Sumlin and others, he didn’t play as much – but he was still a great guitar player with a long history on the instrument. This is a part of his career I need to listen more to.
I had no idea that Howlin’ Wolf played with Charlie Patton, who in many ways was a mentor. He played with many of the delta greats and was just as much a bridge between the delta blues and Chicago blues as Muddy Waters. I knew more about Muddy Waters’ delta blues history from his acoustic recordings. I always associated the Wolf with Chicago blues. The great migration from the Southern Delta to Chicago is well known in this history of the blues, but what I didn’t realize is that Howlin’ Wolf himself traces that entire route!
I also had no idea that the Wolf was somewhat “discovered” by Sam Phillips, and did his first recordings for him. It was only after building success in Memphis that he was approached by Chess in Chicago and moved up there for bigger fame and fortune. There are a lot of quotes from Sam Phillips, and he strongly believed in the Wolf.
King of Chicago
Once the Wolf moved to Chicago, he became one of the two “kings of the hill” along with Muddy Waters. Their relationship was more complex than I realized. They were very different people, with very different approaches to leading their bands, despite both being figureheads of Chicago blues and having similar paths of moving north after early success in the south. They approached their bands differently, and they approached Chess differently. Muddy Waters – according to the book – was much more inclined to do what the Chess brothers asked him to do. Howlin’ Wolf had a much stronger opinion, or was more vocal, about what he wanted to do with his music. He pushed back more. He certainly expressed this within his band of directing how he wanted things to be played. While to me his music seems more loose and rough, it was a result of a very clear direction.
I also gained a huge respect for Howlin’ Wolf’s business savvy. It was and still is almost unheard of, but he pain his musicians’ Social Security so that they could have a better future. He was extremely diligent in the monetary aspect of the music business. While he was a strict bandleader, almost without exception his musicians grew to love his approach.
Later in the Wolf’s life, it was stunning how many health problems he overcame while still gigging right up to the end. For example, he would go in for dialysis 3 times per week, and time it so that he could “recover” while travelling to gigs. Then he’d give 110% on the gig.
For the first time ever, I practiced every single day this year – 366 in a row! Given the travel restrictions and cancelled vacation plans, it’s made it a lot easier to do. Usually when I miss it’s because the family and I are out of town for a week or something and I want to take a little time off. This year, even when we did get away I could practice rhythm or ear training, and it was only a few days. It also helped that when my wrists and forearms started getting sore around October – not enough breaks – I was able to shift to drums and ear training and give myself time to physically recover. The travel guitar and Pandora I picked up a few years ago also helped.
As I outlined in this post, my goal for 10+ years has been to practice at least 15m per day. I did have to become okay with taking some time off, both to recharge my focus and to give my wrists and forearms a break.
As usual, I really try to focus on “what am I going to learn today” instead of “how much time am I going to spend.” I was relatively focused, and I do have some highlights.
The thing I want to share with others is that despite a challenging year for many reasons, music kept me grounded Music was my therapist. Music gave me focus and peace of mind. My plan of “15m per day” continued quite successfully, and as long as you keep learning you will improve. It’s the process, and finding joy in the process. It’s not about finding happiness in a destination. With something like music or guitar, you will never reach the end. Enjoy every day!
What I Learned
Continued progress on my new album project. I haven’t had large blocks of uninterrupted time with family out, like I usually get once a year, but I did make good progress on small tweaks: solos, arrangements, etc. I started a Trello board to keep notes on each song in progress, so I don’t lose track of thoughts like “need to modulate solo section” or “add break after verse 3” or “rhythm guitar tone isn’t meaty enough.” It’s been handy. I used some of my songs for practicing on the drum kit, and some of my “non-guitar” time to iterate on lyrics. I’m excited for this, but it’s too early to see if it will see a 2021 release.
I got a lot better on drums, and put in about 40 hours of rhythm and drum practice over the year. I didn’t have tons of time on the kit, but I did lots of rudiments with the metronome and overall I feel way more comfortable. I learned a bunch of basic tunes on drums, like Back in Black
I spent some time on ear training as well, and did an online course in addition to practice with intervals.
Almost finished a guitar arrangement for Maple Leaf Rag – I bought the sheet music of a really cool guitar arrangement for my birthday, and I’ve been working on it since. It drastically improved my finger picking, as well as renewed my reading skills (such that they are). Dec 31 Update: I have the whole thing! I definitely still need to polish it, but I’m comfortable and able to execute every measure. I’m ALMOST finished with it, on the 5th of 5 pages, and I hope to have learned the entire piece by the end of December. Then I need to spend some time polishing.
I learned tons of songs in a bunch of different styles… and mostly forgot them a month or so later, but it was good ear training. Off the top of my head: several Rush songs, Reggae, rock, blues, jazz.
Worked on improving over the cycle of 4ths (mostly using Jamie Abersold backing tracks) and refreshed my knowledge of a bunch of jazz standards.
What Was Challenging
The biggest challenge again was that after 9 or 10 months, my forearms and wrists started getting very sore, and I had to take a month off of guitar entirely. Fortunately, I could focus on drums and rhythm. I did a lot of rudiments out on the porch with a metronome. I also did some ear training online and at the keyboard. All in all, it gave me a chance to keep growing my musical knowledge, while giving my wrists a chance to heal.
I also didn’t do as much writing and updating my blog as I had previously done. To be honest, I was super busy this year and I’m incredibly thankful for that.
Writing has also been challenging given the intermittent time I’ve had. Most of my practice is early in the morning before my son wakes up, and I have limited minutes. Historically I write a lot better when I have a long, open block of time to really get into it. I also like to be able to sing parts as I’m writing lyrics, and that’s tougher with family around (and sleeping). That said, I didn’t let this new project fall off the radar and made some quantifiable progress. I also continued to jot down interesting riffs, melodies and lyrics as they come.
It’s Friday morning, December 31 and I just put in 20 minutes of practice. While I may play some more later in the day, here’s where we’re at for the year:
Days Practiced: 366 Hours: 164 Average Minutes/Day: 27 Hours of Rhythm (mostly drums): 41.5 Hours of Ear Training: 7.75
Here’s how my historic trends shake out over the last 10 years:
2020 has been a tough year for most of us, so in the spirit of the upcoming holidays, I’m offering mp3s of Atlantis and the Zeyer CD for FREE through the end of 2020.
Just use the contact form to send me a message with which you want. Continental US only for the CDs, and don’t forget to include your shipping address.
Don’t forget that both are still streaming! For me, though, I want offline music, able to be backed up and played in a variety of settings. If you want the same, let me know and I’ll get it to you free.
This song came about while listening to Metallica’s “Jump in the Fire” during a run. For some reason, the rhythmic similarity of “Jump in the Fire” and “Coronavirus” stuck out and I started putting the lyrics together.
Simply contact me and I’ll send you the mp3. Fast and easy!
How to Help Musicians During the Pandemic
Musicians that survive on live performances are having a particularly hard time during Covid. There are a number of great organizations set up to help touring musicians survive while unable to work, and to be able to get back on the road when possible. Please consider donating to some of these organizations doing really important work.
Joe Bonamassa’s Fueling Musicians Program is an emergency relief plan for touring musicians affected by the COVID-19 crisis. This initiative is designed to support musicians by providing financial assistance for essential living expenses such as food, shelter, and more. Fueling Musicians provides immediate cash payments of $1,000, as well as pre-paid gas cards of $500 to help struggling musicians get back on the road again when it is safe.
The Foundation aims to assist and enrich the lives of members of the communities who have supported the band for years, as well as encourage participation from fans and friends. All funds raised will be donated to a cross-section of national and local charities… every penny from your donations will go directly to our charity partners.
The lyrics actually came to me while running a few months back, and “Jump in the Fire” came on my Workout playlist. At the chorus I started singing “Coronavirus” along with the song. I sat down and wrote the rest of the lyrics, learned all the parts to the song, and recorded it over the course of a couple weeks.
Down in the depths of seedy Wuhan Bats with Covid-19 Spreading all around the Earth As quick as you’ve ever seen Is humanity cursed, will it get even worse Not enough test kits The stock market crashed, people don’t have the cash The economy’s in the pits
So come on Coronavirus So come on Coronavirus
With phlegm in my lungs and death in my blood The end is closing in Breathing with a ventilator The nurses are wearing thin The doctors all shout to search out And find a better way Follow the rules and don’t be a fool To live another day
So come on Coronavirus So come on Coronavirus
So don’t shake hands, or gather in groups Want to play it safe Trying, all, to flatten the curve I guess we shelter in place Living you life with social distancing It’s all around everyone Watching movies alone, or working from home Stay home whenever you can
So come on Coronavirus So come on Coronavirus So come on Coronavirus So come on Coronavirus
Come on jump in, yeah!
“Coronavirus” is a derivative work based on Metallica’s “Jump in the Fire.”
James Alan Hetfield (PRO: ASCAP, IPI: 126306108)
David Scott Mustaine (PRO: BMI, IPI: 205503805)
Lars Ulrich (PRO: ASCAP, IPI: 126291585)
I reached out to Q Prime and Metallica management to get permission to make this derivative work, but have not received a reply, so sharing freely and hopefully can get some donations to the valuable organizations linked on my page that help musicians. I will not monetize unless legal permission is obtained from the publishers… but that’s not the point, anyways.