Archives for posts with tag: live

Remember when Michael Jackson died? I sure do…it’s face-palmingly #2 in my event memory right after 9/11. You may also remember how at his memorial service Mariah Carey was criticized for a sub-par performance due to being overcome with emotion. That criticism confused me. I thought: “She’s singing a heartfelt ballad at the memorial of one of her musical heroes while his body from a tragic death lies steps away in a casket. If I were up there I’d give myself 3 seconds before losing my shit.” And that’s why I’m not doing shows before tens of thousands of fans at the Staples Center. As a professional musician, your job is to not lose your shit in such circumstances. Shit losing is not an option.

Even at the local level, I was talking to a fellow musician after his gig and he was telling me of the interpretation he was putting into the music and how we was trying to express each note in a specific fashion. I stood there dumbfounded because when I get off the stage my thoughts are typically “well, four f***-ups tonight…hey not bad!” Pros, on the other hand, rarely make mistakes. Flawless technical execution is a given for a professional. Instead, they focus on interpretation. They convey feeling. They engage. They connect.

Spot the Amateur – observe the behaviour, do a shot!

Another way I’ve found to understand what makes a musician professional is to identify their antithesis: the amateur. So…:

  • If they’re playing guitar, watch if they look down at their fretboard with that “ok I can do this” look when bar chords come up. Amateur!
  • If they’re bantering, listen if they suddenly forget they’re musicians and start doing torturous improv “comedy”. Amateur!
  • If they’re sound-checking, listen for key terms like “backline“, “hot“, “XLR” rather than “this crap I need up on stage”, “ow! my ears”, “mic plug thing with the three holes”. Amateur!

Essentially, if you see a performer on stage who just…belongs there, you’re seeing a pro. Otherwise, prepare yourself to get really drunk.

As for moi…

Am I pro material? After some soul searching my answer is…”no”. Sure, I’ve cut my stupid stage “jokes” way down and have learned a few gear-related keywords that make me seem less like a hopelessly bumbling boob to sound guys. But when it comes to the most visible part of the job, the performance, it’s just not my forté and I’m sure audiences can sense that.

The good news about being an amateur is that it’s a step to becoming a professional and I know many are on that path and will make the transition. But for me and my wrong-chord-prone left hand, I’ll just sit and wait for that call from the Staples Center. And it’ll likely go: “…don’t call us, we’ll call you.” Then I’ll lose my shit.

Blue Blue Satellite

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There’s very little that can be said about Sister Rachel that hasn’t already been said. So I’ll keep it short and on the topic of the production of the track rather than re-tread the now ponderous story of Sara Melson‘s involvement on the track, which, if you’ve spoken to me for more than 30 seconds, you’ll have heard…and have wished you had those 30 seconds back.

Being the poppiest track I’ve written, it’s ironic that it was actually the track I had a lot of trouble with in the studio. I played every part on that track and I struggled particularly on the drums. It was late, I was tired, I was getting frustrated at not being able to find my groove on the drum part. That’s especially problematic considering I don’t play drums. Still, I persevered and producer Dean guided me through it and eventually I found my second wind and started having fun with it and churned out a pretty acceptable song.

The intro synth beat is from my original Casio VL-1. It literally belongs in a museum and for the record I’m using the Rock-2 preset(the Rock-1 preset was already in use).

With dignity

Without dignity

Without dignity

LIVE VERSIONS

Sister Rachel is a tricky song to capture live without a band so I’ve had to re-invent it several times. Here are the incarnations I’ve done at shows:

Blue Blue Satellite

I’ve heard that to gain new fans you need to play a lot of shows. But in order to land shows, venue owners like to book acts that have a solid fan base. So to get this fan base you need to play a lot of shows, which means you need to get booked at venues who like to see a draw, which means…….

Yeah.   Chicken and freakin’ egg.

Blue Blue Satellite

There are many good reasons why I am not an actor. Most revolve around the fact that I can’t act.

There are also several good reasons why I shouldn’t sing but screw those. The beauty about being a singer-songwriter is that you can do what you love with relatively little effort. To wit, I can hop on over to any open stage, sign up and get to sing an original composition in front of an audience and get applaused at. And that’s pretty much the name of the game for us singer-songwriters.

Actors have it a lot tougher. Or I assume that they do since I know few actors. The pinnacle of an actor’s career would probably be to have a juicy lead role in an Anderson(Paul or Wes) movie or Herzog or Von Trier or Scorcese or whatever other director I can’t think of right now that would lead you to believe that I watch movies beyond those whose title contain the words “Human” and “Centipede“.

But how often does that happen for an actor? How often do they have to take roles like “Middle Human Centipede Link” before a choice role may or may not come up? Even if they take the bull by the horns and write a screenplay and sweet role for themselves, you still have to produce the movie(and produce it well) and have it distributed to get some kind of return on effort.

The only difference between an open stage and “making it” for a singer-songwriter is audience size, really. If Justin Beiber tweeted me tomorrow and I blew up huge, I’d still be singing and forgetting the words to “Blues’ll Always Be the Blues“, just to a lot more screaming tweens who have no idea what an old man I am.

So I guess this is a blog post to remind myself and other struggling singer-songwriters to be happy that you can share your undiluted work with an audience. Saying you played a small bar to five drunk people in the middle of What-The-Hell-Am-I-Doing-Here, northern Ontario still has a ring of keeping-it-real coolness to it than an actor listing as a credit: “Shirtless Oil Guy” in Kung Fu and Titties.

Blue Blue Satellite

For many moons now, I’ve always claimed to be a songwriter first and foremost. Not a singer, not a guitarist, not a CD pushing self-promoter, but a songwriter.

My Ottawa CD release made me realize that this is a false claim.

Almost all of the elements that made me very satisfied with the Ottawa CD release were not song-related. For example:

  • Taking the stage to a projected visual intro with an accompanying instrumental piece.
  • The uninterrupted, three-song, no banter set of songs to kick off the show
  • The un-amplified mandolin song while walking into the audience
  • Having a backing band for Thieves but having them take the stage halfway through the first chorus:

    (impatient? go to 1:26)

There were more but I can’t reveal all my performance secrets now can I(especially since most of them are stolen)? But therein lies the keyword: “performance”. It turns out that while I still consider myself a songwriter, the performer in me is just as strong. Maybe even slightly stronger. And this can be heard on the record as well. Every element, every transition, every nuance that pushes the CD or live show beyond a simple collection of 14 songs: this is performance.

So why is this important to me? I guess I’ve become very aware of my audience whether they’re at a show or reclining with headphones  on at home. As a songwriter, my job is to write a song. Ok. Check. But as a performer, my job is to give the audience a fresh experience that will resonate with them; make them come for the music but stay for the experience…which I hope I succeeded in doing at the Ottawa CD release.

I’m still very much a songwriter. But now I’m adding the performer aspect. I suppose it marks an evolution in me, but it begs the questions: what is it that I am evolving into…?

An artist.

Thieves

Thieves @ Gallery Studios

Blue Blue Satellite

I really thought I was keeping the Toronto pre-release show pretty simple. And I believed this right up to a few days before showtime. Although I probably should have known better as I left my apartment in Ottawa.

It's schleptacular!

What I should have known was that I had to coordinate the set up of a rental P.A. system, a slideshow intro for two performers, that two out-of-town couples were well taken care of, three never-before-used stomp boxes, lighting logistics, a constantly changing guestlist and of course, the worst weather(or weather warning) of the season. Add to this the fact that I was trying to deal with these details with a shirt, tie, sweater and fitted faux-leather bomber jacket on, and it was quite the ordeal. Albeit a very fashion forward ordeal.

So what began as a musical extravaganza featuring a few bells and whistles became The Bells and Whistles Super Stress Show, featuring a bit of music. But that’s okay because the music served an oasis of calm in the middle of gigzilla. I was hardly nervous at all and yes, technical glitches did occur but I tried and hope I succeeded in moving past all of it with professionalism to deliver an entertaining show.

It was fun to be a headliner for the first time and to have a class-act like Kristine St-Pierre be my opening special guest. It was also fun to call her up during the encores à la George and Elton in “Don’t Let the Sun Go Down On Me.” Also, the beauty and uniqueness of the venue helped distract the audience from, oh, say, daisy chained pedals disconnecting from each other in mid-air and crashing to the unforgiving floor with the even more unforgiving PA system amplifying the cacophony as if to say “Hey Blue, maybe plan a little better next time, yeah?

Nonetheless, the things people actually said to me at the end of the night was just all kinds of nice and made me feel like it was all worthwhile. And you know what? It was. Even if the grand piano’s supports had given out and crushed my legs and carefully colour-coordinated pants, it would have been worth it. Because having your own professionally produced debut CD, releasing it in your hometown to attentive, close friends and family and hearing their words of praise, encouragement and support can only make you strive onwards and upwards.

Thank you attendees. It was my humble honour to share some music with you for an evening. We’ll do it again. Soon.

Blue Blue Satellite

I’ve always had a love-hate relationship with cover songs. As a songwriter I feel that original songs is where the artistry lies. As a performer it’s fun to do covers but I always felt like a bit of a cop out because it’s an easy way to engage an audience without earning it. Unless, like me, you like to screw with your audience by doing really obscure covers.

Then there’s YouTube where a cute girl or two will do an acoustic cover of some pop-song-du-jour and garner over a million views. Case in point: http://www.youtube.com/watch?v=ae-qoFPINCc. Meanwhile my original songs languish in an obscurity deeper than the covers I perform.

But in this whole equation there was one thing I never considered: What happens if someone were to cover a song of mine? Surely in that case I’d flip-flop and sing the praises of doing covers? Well, normally no…I’d easily avoid the embarrassment of flip-flopping because the notion of someone covering me seemed laughable. I mean, I can’t even employ the sentence “My YouTube views are in the ___’s” because I haven’t even cracked 10 is some cases. So just by the numbers alone, who would cover me?

But alas, 10 years of dipping my toes in the Toronto indie music scene must’ve put a black ball of cynicism in my being because I didn’t realize what a generous, kind, supportive, solidary and talented singer/songwriter scene I’ve joined since moving to Ottawa. A scene where Chrysalis, a free Ottawa-artists-covering-other-Ottawa-artists show could be put on, where TWO artists would end up covering songs of mine.

There’s a little known human emotion called elevation that is described as: “A mental ‘reset button’, wiping out feelings of cynicism and replacing them with feelings of hope, love, and optimism, and a sense of moral inspiration.”* Chrysalis was a beautiful, uplifting evening that moved everyone present. It was telling that there were zero Alanis Morissette covers and only one Paul Anka and one Kathleen Edwards cover….and yet 2 Blue Blue Satellite covers. Blows my mind…the singer/songwriter community here in Ottawa is THAT supportive, close, respectful and humble.

I’ll admit, when I first signed up, I didn’t “get it”. To cover an Ottawa artist seemed restrictive for the performer and the audience. But last weekend really opened my eyes. The point wasn’t to do a cover of Sweet Home Alabama and have the audience rock along with you. The point was to nurture and demonstrate the wealth of talent in this city with the spirit of community driving it all. I’d take that any day over a million YouTube views.

For the record, here were the covers that were Blue Blue Satellite-related at Chrysalis:
Jeremy Owens performs Thieves by Blue Blue Satellite
Missy Burgess performs Blues’ll Always Be the Blues by Blue Blue Satellite
Blue Blue Satellite performs My Blue Sweater by Missy Burgess
Blue Blue Satellite performs Go Cast Your Shadow by Sjef Frenken

Blue Blue Satellite

I’ve been trying to push the envelope of my songwriting lately because I find I have a songwriting comfort zone: melancholy tunes using a Travis fingerstyle guitar picking folk technique. So to shake myself out of this wordy safe zone, I’ve been trying new things, new styles, new themes, new techniques. Unlike most musicians these days I don’t know how to auto-tune or else I’d probably try that.

One new challenge is something some local Ottawa folk singer/songwriters have organized for 19 years now called the Great Canadian Song Along. Basically they give you a topic and you write a new song on it. It’s like a school assignment. With a lot less research, but equal opportunities for plagiarism.

Shortly after I made my mind up to participate in the Song Along, the unexpected thunderbolt of inspiration hit and I churned out the song over 3 days. And with no false modestly…it’s a gem! I’m especially proud of this one because it’s pure Blue Blue Satellite; I can’t detect any of my influences figuring predominantly in the songwriting. The chord progression is similar to Jewel’s “Amen”…uh, in fact, it’s the exact same chord progression, but despite this, I think the song stands quite capably on its own.

It’s ironic though. I signed up for this Song Along to push the envelope of my songwriting and ended up writing…you guessed it…a melancholy tune using a Travis fingerstyle guitar picking folk technique*. But it’s a helluva tune.

Haven’t had a chance to produce the song yet, but here’s me performing it at the Song Along minus the showstopping loop pedal finale that was stymied due to technical difficulties:

http://www.bluebluesatellite.com/tunes/letitgo_live.mp3

Blue Blue Satellite

* actually it’s not Travis picking(a term I learned just for this blog post), but it still is fingerstyle.

Let me tell you a story. A story of torturous decisions, of trying circumstances, of struggling against the odds….a story of…..heavy metal.

About a year ago I had a couple of days of vacation booked to go down to Sacramento to see Metallica live. Yes, Metallica. Literally hours before my flight, some s*** hit the fan at work. And when you’re on a Marketing team with limited resources, when s*** hits the fan, the scatological blast radius is all-encompassing.  As evening wore into night(and as my early flight time loomed), the possibility that I’d have to cancel the trip and miss the concert became probability. It’s a good thing that the office was empty around midnight because I would have been bad company given the dark mood I was in.

After much agonizing though, I decided to go, dealing with the consequences as they came. And come they did as the situation worsened as I learned over costly long distance calls and text messages. By the time I got to Sacramento, I was out of my dark mood…and in a much dimmer, deeper, danker and dangerous one.

And then….the concert.

There is a holy moment when music connects with you. Really. Just. Connects. And like the alignment of the cosmos in 2001: A Space Odyssey, Metallica, for one night only, was my Monolith. Being 28-year veteran Rock and Roll Hall of Famers, the band’s mastery of their technique and live show was something to behold. All the stress and tension from work didn’t just melt away but was lit on fire and cooked extra crispy in a hail of stage pyrotechnics and 115dB guitar shred. Never have I screamed along word-for-word and pumped my fist in the air with such reckless, furious abandonment than at this show.

I’ve been to a lot of concerts and many have been memorable spectacles in my life, but this concert, well this time…it was personal. And the frustration I was feeling from the “real world” took a back seat for a couple of hours as a monumental exercise in the power of music played out within me.

So the stigma of metal be damned. Or any type of music for that matter. I hope you’ve had or will one day have an experience similar to mine whether it be from a Metallica show, or a Justin Beiber show. Although it’d probably take another Metallica conert to allow me to vent the complications of attending a Beiber show…

Metallica: I thank you.

Blue Blue Satellite

It’s easy to become intimidated as a singer/songwriter; especially amongst other musicians. This one plays better guitar, that one has great vocal control, this one can name drop all sorts of obscure influences, that one has a handful of albums to their name. Well, I can claim none of these things. So how, pray-tell, do I not fold like a clean sheet of Hammermill whenever I take the stage at a gig or especially at an open mic where an underlying current of competition always festers? Well you have to realize one thing: every singer/songwriter writes pop music. I don’t care if you’re Robert Johnson, Bob Dylan or John Lennon…your bread and butter is the 3-5 minute song that will involve, at its core, four instruments.

Here’s the key: Rob, Bob and John-o are lucky, ‘cos if Mozart were here, he’d own all their asses.

You see, I was raised on Classical music. Now THOSE were musicians. When you’re writing operas and symphonies and concertos that can be hours long and you’re writing these for full orchestra, by hand, all by yourself…now *that’s* talent. Mozart had more talent in his pinky finger than Dylan, Johnson and Lennon combined. And I respect the hell out of those guys. You take the most legendary pop artist and compare them with the least of the Classical composers, and from a songwriting point of view, you’ve got yourself a fight between Mike Tyson and that weasely kid from Superbad.

So if you ever meet a songwriter who’s trying throw his weight around, just hand him a stack of manuscript paper and ask him to write you a three movement symphony for a 100-piece orchestra. It’s all relative…think of it in those terms and you’ve got for yourself a nice, level playing field.

Blue Blue Satellite

Concept album update:
Well, I think I’ve locked down the concept and even the basic story. I’ve even sort of sketched out the story arc and how many songs it’ll take to tell it. I’m hopefully going to start writing the first song soon…but I realized that if this Concept Album is going to happen, it’s not going to happen for awhile because writing 8 or 9 songs is no small task. Stay tuned.