Tuesday, January 17, 2012

AN INDEPENDENT MUSICIAN'S TAKE ON THE INTERNET BILLS ON THE HILL

As I read more and more about the bills regarding protecting intellectual property on the internet I find myself slightly at odds with myself. Here in lies the problem. I firmly do believe the idea behind this bill has a great deal of merit. However in its current incarnation it poses the threat of placing more power into the hands of the government. I’m not going to spout off a whole bunch of paranoid ramblings about how the government wants to control our free thought to prevent revolutions like we saw this past year in the Middle East. I’m so tired of hearing that garbage. I’ve got a second amendment right to bear arms if there’s a revolution that needs doing. But right now no, it hasn’t gotten that bad yet.

As a musician I’m proud of the fact that I own all of my own work and I would very much like to see my work render me some kind of monetary return. However as of yet, I’ve only provided my work on the internet for free because I don’t feel that I should make you all pay for something that hasn’t cost me a thing. That is MY CHOICE, because I OWN THE INTELLECTUAL PROPERTY. That will change with “You Can’t Come Home”. Yes you’ll be able to stream it for free on ReverbNation but you’ll also have the opportunity to buy the mp3’s and the CD from the site as well. By the time this album is done and released I will have put in over a year of hard work. That doesn’t even count the guys who have helped me on this album, donating their time and expertise. I really want to be able to cut them a check from time to time even if it’s only five bucks. The amount of time and effort I put into this album is absolutely nothing compared to the time a resources put into an industry album. Let alone the gross capital.

Really we have no one to blame for these bills but ourselves. With the rise of file-sharing sites like Napster, the American consumer feels that art should no-longer have any monetary value. We feel like art doesn’t belong to its creator or owner it belongs to the world. You enjoy my work I’ve given to you freely, but is my song-writing helping pay my student loans? No, Target’s doing that. Have we all noticed a decline in the quality and innovation in the film and music industry? It’s because the big entertainment brokers can’t afford to take a risk anymore. They have to have a safe bet to get their money’s worth. Pink Floyd wouldn’t have survived in today’s industry, that’s why we’ve got Justin Beiber. And The Reservoir Dogs would never see a theatre, that’s why we’ve got Michael Bay’s Transformers.

Piracy is out of hand no-matter your stance on the issue and it does need to stop. But this bill needs some serious work. It doesn’t need to amputate websites from the internet like an infected limb. It needs harsher penalties on those who commit piracy. And it needs to see that copy-right owners see their just royalties.

For those who don’t quite understand the record industry let me put it to you simply. Record companies are loan sharks and they walk away owning all of your work. You see pennies on your album sales. Not a lot. And you would say, “We’re just sticking it to the greedy record industry!” Yes you are, but you’re also hurting the individuals who provide you with hours of entertainment and make it impossible for new artists and creators to come along. Do I enjoy Lynyrd Skynyrd? Yes. Will I listen to Bruce Springsteen the rest of my life? Absolutely! Do I want those artists to be the only thing I want to listen to the rest of my life? Hell no! I can’t wait for the next Warren Zevon or the next Beatles.

Do I support stopping these bills dead in their tracks? Yes. Do I think we need a better more thought out bill to put a stop to piracy? Yes I do.

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Tuesday, November 29, 2011

"You Can't Come Home" UPDATE 11/30/11

     Uh yeah so it's been WELL OVER a month since the last update... That's a good thing right? Well it just means I've been busy with the album... And my job... Anywho since we last met, I've laid down all my guitars, 4 on each track of just me, and all my vocals. Also Kevin Finklea laid down his bass work in one blistering 7 hour recording session. Here are the pics!

 

     It was a lot of fun spending a day with Kevin. He teaches guitar over at Wholesale Guitars and we taught together there while I was a teacher. It's great 'cause this is the first time he and I have had the opportunity to creatively work together. The 6 minute bass solo on "My Own Personal Hell" is just phenomenal I love it, completely unorthodox.

     The album was mostly recorded on this lovely 16-track loaned out by Mr. Ron Wright. And a special thanks to Mr. Derrick Vara of Radio Rubber Room on the use of a "57".

Now we're just waiting on Mr. Jon Smalley to come on in and lay down some leads.

AND NOW THE MOMENT YOU'VE ALL BEEN WAITING FOR! THE ALBUM ART!

Until next time true believers!

Thursday, September 15, 2011

"You Can't Come Home" UPDATE 09/16/11

     I'm going to use this blog as a way to let people follow the progress of the album so if you're interested you should totally follow this monumental undertaking.

     Had the day off from work today. Apparently my choice in midi programs for drums has poor Andrew tearing his hair out. GuitarPro isn't really compatible with the program he uses so he has to go through another program just to get his program to work... I'm a dick. Anywho while I'm waiting on getting the drums back I started work on "California", a rock ballad about chasing your dreams and losing out on someone you love.

     I don't really have the money to do this album the way I want so I've just got to take it one step at a time. My mixes have gotten considerably better but not up to what I want them to be so I just need to find someone who wants to take the time to show me. I'm trying to buckle down and get this album done by Christmas, it's just tough between work, and the contacts I've lost since leaving the radio show.

     Some of the initial musicians that were going to be on the album backed-off when I left the show. The beauty is I know who the real players in the city are. What I mean by that isn't, "if you're not on my album you're not worth shit..." I mean it's the guys who don't care about "scene" politics or their band's clique... They don't care if I'm not on the biggest radio show in Richmond anymore... They just want to play on a kick-ass album with musicians they wouldn't normally have the opportunity to play with in a band. There have been plenty of AMAZING musicians in the city who turned down being on the album 'cause it wasn't their style or they didn't have time or they felt like they couldn't do it the justice they felt it deserved. Those guys are too, the true players in this city. Kind of good feeling to think of "The Gods of Rock" as Richmond's own super-band. I'm not gonna reveal all "The Gods of Rock" yet but I'll release a couple names every once in awhile till the album is done... So far I'll reveal:

Jon Smalley - Guitars/Vocals - Former Lead Guitarist for "Midnight Venture"
Andrew Faulknier - Percussion Programming - Former Bassist for "Force of Habit" currently a guitar tech for Richmond favorites "Faultline"

     Anyone interested in jumping on board and helping with something big in the city just lemme know on facebook, reverb nation, or on here! I would love for the whole scene to have a hand in this. Whether it be playing on this album, lending technical advice, helping in the mixing and mastering, or even just pushing it. There's more "Gods of Rock" in this city than who are just in "The Gods of Rock".