Podcast 2 - Pixies' "Gouge Away"

Pixies' "Doolittle (1989)"

The Pixies’ 1989 album Doolittle predates the “grunge” scene of the 1990s, but it was influential to many artists and acts of that era (Sisario, 2006).  With the exception of its production qualities (an emphasis on gated drums, for example) it did not sound like the music of the 1980s, in my opinion.  Dark and disturbing lyrics, dramatic dynamic changes between soft and loud musical motifs within the same song, and peculiar atmospheric guitar wails are all hallmarks of the Pixies’ Doolittle, hallmarks that later became the norm with bands such as Nirvana and Soundgarden (Sisario, 2006).  In 1994, Kurt Cobain of Nirvana fame told Rolling Stone that he “was basically trying to rip off the Pixies” when he wrote Smells Like Teen Spirit (Sisario, 2006). 

Ironically, both Pixies and their work were not entirely successful upon release but continued sales and an expanding fan base have eventually brought then much deserved recognition (Sisario, 2006).  Doolittle became certified gold in 1995, and approximately 800,000 to a million copies of Doolittle were sold in America by 2005 (Sisario, 2006).  And although the band dispersed in 1993, after much in-fighting, their growing success brought them back together in 2004, and they have been performing off and on since then (Sisario, 2006).

As a side-note, Doolittle was polled by NME as the second-greatest influential album of all time in 2003 (“Doolittle (album),” n.d.).

I had heard of the Pixies for years but never knew much about them.  I knew they were an alternative rock back of the late 1980s and were popular on college radio, but other than their video for Here Comes Your Man from Doolittle, I did not listen to them.  It was only until I discovered that the forewoman of the band The Breeders, Kim Deal, was originally the bassist for the Pixies that I decided to explore their music.  I was immediately drawn into their dark and quirky world and was amazed that I had not been a listener earlier in their career.  As with their trend, I became a fan and admirer years after Doolittle’s release.

As a professional influence, my lyrics also tend to be dark and esoteric in nature as with Doolittle.  However, I am still in the process of learning Gil Norton’s (the producer of Doolittle) techniques of adding a clean sheen to a raw sound without stripping the rawness completely away.  And despite the age of the alternating dynamics of soft and loud found in 1990s music, I still enjoy adding a contrast of dynamics in my own work.

The question I have been asked in my Music History II course regarding my place in the industry in five years is a difficult one for me.  I suppose the best way to begin answering this question is to state what I have learned from the various artists throughout this course.  The commonality that comes to my mind is that all these artists were genuine and honest with their standards.  None of them were trying to recreate albums that came before them, neither by themselves nor by other artists.  Each artist had strengths and weaknesses and worked within the given boundaries.  Whether the limits were technological (Kraftwerk worked with synthesizers before MIDI was available) or personal (the trials that Marvin Gaye had to work through when creating What’s Going On), each artist managed to produce stellar material despite the circumstances.  This topic is important to me on a deeply personal level.  I know my road ahead will be a challenging and difficult one, but I am going to make the journey as rewarding to me as possible.

I do not project myself in the future at all, so I do not know where I will be in the industry in five years.  I do know that my passion for music and music production keeps me open to many opportunities.  I will be happy as a freelancer creating music for various libraries, as a soundtrack composer for film or television, or as studio producer helping talent to record his or her material.  In the process, I will strive to keep my originality and be honest with my talents (or lack thereof).

And my final bit of advice is to always keep learning and evolving.  If I ever feel as if I had reached my “destination” in the music industry, it will be time for me to find another line of work.

Shannon McDowell

Electronic Music Innovation: MIDI

MIDI is the acronym for Musical Instrument Device Interface.  Developed in 1982, it is a protocol that allows separate electronic music equipment to communicate amongst each other (History 2012).  In those early days of MIDI, the communication was rather simple: data relating to switching a note on and off and volume control (History 2012).  In time, the MIDI protocol became much more robust with added datasets.  These datasets can control a multitude of parameters and allows a single performer to play a rack of synthesizers and drum machine from a single MIDI controller.

The impact of such a common data language among different electronic instruments and computers has been dramatic.  MIDI incorporated in modern software, known as Digital Audio Workstations, or DAWs, allows complex sequences to be programmed and played back at variable settings.  And MIDI controller devices can be played as instruments to control a huge array of musical equipment.  As a result, a single performer can control a symphony of sounds.

MIDI is now used in virtually all contemporary genres of electronic music.  I am unable to think of an example of modern electronic music production that would not employ MIDI.

As a music producer, I thrive in a MIDI environment.  The DAWs that have developed over the years have allowed me to produce music on a relatively low budget, all things considered.  I am curious about the new MIDI controller called QuNeo and have done some preliminary research on it.  It can control several DAW parameters via MIDI to produce sophisticated electronic music.

As for DAWs, I primarily use three different packages.  These include Apple Logic Pro, Ableton Live, and Propellerheads’ Reason.  I am able to run two DAWs at a time using another protocol called Rewire.  Rewire is in essence a virtual MIDI connection between two DAWs, which then syncs them to playback simultaneously.

Since I have used MIDI for years, much of this blog entry is from experience and not documented sources.  So I decided to include a few links to discuss MIDI in greater detail:

The History of MIDI: http://www.midi.org/aboutmidi/tut_history.php

MIDI: http://en.wikipedia.org/wiki/MIDI

A Short History of MIDI: http://www.rbjones.com/rbjpub/music/mus006.htm

Shannon McDowell

Kraftwerk (1974 – 1981 Period)

Kraftwerk is a pioneering electronic music group from Germany founded by Ralf Hütter and Florian Schneider (Duarte et al., 2011).  Although they produced albums prior to 1974, it was with their 1974 release “Autobahn” that they first received significant attention (Duarte et al., 2011).  With this album, Kraftwerk demonstrated that electronic music had legitimacy in the musical arts.  Their presentation during the United States 1975 tour was similar to factory workers; the members dressed in business attire as they perform on stage (Johnstone, 2008).  But Kraftwerk’s image would continue to evolve towards an “artist as machine” motif (Duarte et al., 2011).

Starting in 1974, Kraftwerk’s albums were mainly concept in nature.  “Autobahn (1974)” concerned itself with transportation and traffic on the Autobahn.  “Radioactivity  (1975)” had as its main theme an interplay with radio technology and radiation.  “Trans Europe Express (1977)” expressed European connectivity with a train as its metaphor.  However, both “Radioactivity” and “Trans Europe Express” were not successfully commercially when they were released (Johnstone, 2008).  It was with their 1978 album “The Man Machine” that Kraftwerk once again found success on the radio and clubs (Duarte et al., 2011).  And in 1981, “Computer Love” was released as celebration of computer technology.

One of the more significant aspects of Kraftwerk’s place in popular music history is their use of cutting-edge technology.  By 1978, Kraftwerk was using sequencers for their drum patterns as well as other synthesizer instruments (Johnstone, 2008).  It kept the music and their image appeal sounding futuristic.  Also, Kraftwerk’s music grew from more experimental pieces on “Autobahn” to club-friendly singles on “The Man Machine.”  They brought electronic music out of the labs and into the charts.

On a personal note, I have always been enthusiastic with Kraftwerk’s music.  My first love of music involved synthesizers and drum computers, and their artistic sensibilities were always appreciated by me and became a significant influence to my style of productions.  And over the years, I have read that many of the electronic music acts I have enjoyed have stated Kraftwerk as an influence.  I am thankful that Kraftwerk was the focus of our studies this week.

Shannon McDowell

Podcast 1 - The Beatles' "Tomorrow Never Knows"

Marvin Gaye’s “What’s Going On (1971)”

Prior to What’s Going On in 1971, Marvin Gaye fit the “Motown niche” – Clean-shaven and “image-conscious fashion” (Edmond, 2001).  He already had a few hits, including “How Sweet It Is (To Be Loved By You)” and “I Heard It Through the Grapevine”  (Marvin gaye, n.d.).  His songs were hardly controversial or involved social issues.

After his brother returned from the Vietnam War, and along with the social unrest throughout United States during the 1960s and into the 1970s, Gaye turned his attention to social matters (Edmonds, 2001).  There were riots on college campuses, reports of police brutality were all too common, and the war was clearly taking a toll on the country’s confidence.  These issues were the background under which What’s Going On was produced.

Obstacles were numerous regarding the production and pre-release of What’s Going On.  One of Gaye’s collaborators was attacked by the IRS, Gaye had difficulties within his marriage to Anna, and he suffered from depression as well (Edmonds, 2001).  And there were skeptics against the production, feeling that Gaye was becoming a protest artist (Edmonds, 2001).

One of the significant differences with What’s Going On and other Motown albums at that time was the lyrical content.  While far from a militaristic protest album, the subject matter did raise awareness on a lot of the issues that were at fault in America during the 1960s and 1970s.  Furthermore, the album was released without Berry Gordy’s blessings (Edmonds, 2001).

Sadly, I am not as familiar with the history of Motown as I would like to be.  I do know of many of the hits that were released during the 1960s and 1970s, but I never had the opportunity to listen to a full-length album until What’s Going On.  However, I must say I was thoroughly impressed with Gaye’s work.  I was especially impressed with the reverb and recording techniques employed throughout.  I can see why it is considered an influential album.

On a side-note, I was born the year What’s Going On was released.  I recall the use of brass and strings in contemporary music of my early childhood.  It is easy to assume that music had always sounded that way as a child.  It is only upon researching and listening to different eras of music that one can sense the shift in arrangements and recording arts that transpire over time.  I am thankful that Gaye’s work is one of the requirements for Music History II.  I feel as if I discovered a new artist in the process.

Shannon McDowell

“The Velvet Underground & Nico (1967)”

The band The Velvet Underground was a project produced by the pop artist Andy Warhol in 1967 (Howard, 2004).  The “Velvets” had a pessimistic psychedelic rock sound that contrasted with the San Francisco scene’s more upbeat tone (Scaruffi, 1999).  Songs such as “Heroin” and “Waiting for My Man” discussed drug use in a non-judgmental, non-glamorous manner, and “Venus in Furs,” which is based on a 19^th century novel containing sadism and masochism (“The Velvet Underground & Nico,” n.d.).

The two prominent songwriters of The Velvet Underground were John Cale and Lou Reed.  Cale’s background was from the avant-garde world, and he was a masterful violinist (Howard, 2004).  In contrast, Reed penned throwaway songs for Pickwick Records (Howard, 2004).  Cale was interested with Reed’s lyrics and song concepts, while Reed was fascinated with Cale’s music abilities (Howard, 2004).

As mentioned earlier, Andy Warhol supported and produced the “Velvets.”  He was already a prominent pop artist in his own right, and he added Nico, a German model with an aloof attitude and deadpan mannerisms, to the lineup (Howard, 2004).  The album cover of their debut album featured Warhol’s artwork of a banana.  Warhol’s history and talent is worthy of a separate blog entry altogether.

Other than the dark and brooding lyrics, The Velvet Underground & Nico was significantly different from other albums of its day.  Cale’s droning textures, using viola or violin, Maureen Tucker’s “stone age percussion,” and the feedback of the guitarists added to the sonic painting that was the “Velvets” (Howard, 2004).  And while the album may not have been a success in sales upon its release, the sheer raw power of the constituent elements made it a significantly influential album (Howard, 2004).

Prior to Music History II, I had been influenced by The Velvet Underground & Nico, Andy Warhol’s, and Lou Reed’s work.  While the current trend in modern music is to over produce an album, I like the raw and unglamorous approach to music production.  Lou Reed and Nico prove they can record successful songs before the days of Auto-Tune.  The lyrics are extremely “real” and not “feel good fantasies.”  I can only hope one of my productions will be a fraction of as influential as the “Velvets” are.

Shannon McDowell

The Beatles' "Revolver (1966)"

Prior to the release of The Beatles’ Rubber Soul in December of 1965, the band was mostly known as a “boy band” with light pop songs such as “Please Please Me,” “I Want to Hold Your Hand,” “A Hard Day’s Night,” and “Can’t Buy Me Love” (“The Beatles,” n.d.).  Already an international phenomena, The Beatles had been in two movies, A Hard Day’s Night in 1964, and Help! in 1965 (“The Beatles,” n.d.).  With the release of Rubber Soul, they began to shift their focus to more serious-minded songs.

However, it was during the recording of Revolver in 1966, that The Beatles began to explore new techniques in music production, as well as to experiment with hallucinogenic compounds such as L.S.D. and intertwine Eastern philosophies into their lyrics (Newman, n.d.).  These new influences marked a significant departure from their earlier recordings.  The song “Got to Get You into My Life” was Paul McCartney’s “ode to pot (“Revolver” (album),” n.d.).”  “She Said She Said” was inspired by an incident with Peter Fonda on L.S.D. (Newman, n.d.).  And “Tomorrow Never Knows” took concepts and ideas from Dr. Timothy Leary’s The Psychedelic Experience (Newman, n.d.).  The result of these songs, as well as others from the album, made Revolver a milestone for The Beatles.  The days of “Love Me Do” were over.

Another dramatic shift for the band was their use of the studio.  Engineer Geoff Emerick pioneered audio effects that were not used in earlier recordings by any known band.  For example, he put a sweater in Ringo Starr’s bass drum to dampen the sound (Howard, 2004).  Tape loops were also employed, as well as reversing the tape’s playback (Howard, 2004).  And instruments were recorded through compressors and limiters, something that the modern day producer now takes for granted (Howard, 2004).  These were the days before digital synthesizers and samplers.  Experimental sounds had to be developed through ingenuity and trial-and-error.

As a fan of The Beatles since early childhood, I have always been fascinated with Revolver.  While I did not conceptualize the significance of this album, I knew instinctively that it was a brilliant piece of artistry.  The combination of George Martin’s production skills and Emerick’s engineering techniques had developed The Beatles’ sound into something original and unique for its day.  And now as a future music producer, I think of music in terms of emotional sonic palettes.  While I am still not quite a George Martin or Geoff Emerick, I do try to experiment more with sound design outside of the digital realm.  In the end, the influence of albums such as Revolver has made an impact on my work, albeit in a limited fashion to date.  Hopefully my future productions will reflect the knowledge I have gained from an album like Revolver.

Shannon McDowell

The Beach Boys' "Pet Sounds (1966)"

In 1966, The Beach Boys took a departure from their standard surfing songs and songs about girls with their album Pet Sounds.  This remarkable album explored new themes and different styles and arrangements of music.

Prior to Pet Sounds, The Beach Boys’ typical hits included songs such as “Surfin’ Safari,” “Surfer Girl,” “I Get Around,” and “Help Me, Rhonda” (“The Beach Boys,” n.d.). These songs exemplify their light and upbeat sound, as well as depict life in southern California where they originated.  And while these songs became classics on their own merits, many of the themes are basically simple and lack serious emotional content.

Brian Wilson, the multi-talented foreman of The Beach Boys, was the engine that kept the band moving.  He was not only a singer and guitarist but also the composer, arranger, and producer of their albums (Carlin, 2009).  Due to the pressures he was under to produce, record, and tour, in 1964, he had experienced severe emotional distress and removed himself from touring with the other members (Fusilli, 2005).  While recovering from mental exhaustion, he began the work that would lead to the production of Pet Sounds.

With The Beatles’ release of Rubber Soul in 1965, Wilson was inspired to create a similar work that consisted of all original tracks that blended together to form a cohesive sound (Carlin, 2009).  Wilson’s growing skills and knowledge of recording techniques paved the way to develop such an album.

Pet Sounds begins with a seemingly light-hearted theme with the song, “Wouldn’t It Be Nice?”  But as Jim Fusilli (2005) wrote in the 33 1/3: Pet Sounds:

           

            …at the end of the fourth bar, Hal Blaine…smacks the drums hard, delivering

            a harsh, ominous sound that echoes like a shut door, a slammed gate (p. 41).

Such a sonic statement underlines a more serious tone to an otherwise innocent song.  These embellishments were used throughout Pet Sounds, painting mental images that were not found in prior works by The Beach Boys.

Furthermore, the sonic palette had grown considerably for Pet Sounds.  Still with the first song, instruments such as four guitars, three saxophones and a trumpet, two accordions, bells, plucks from the strings of a piano, and a timpani formed part of the backing tracks (Fusilli, 2005).  Such arrangements were obviously influenced by working with Phil Spector’s “Wall-of-Sound” production process (Carlin, 2009).  Such arrangements created a significantly larger sound than the original five-piece rock band of The Beach Boys.

Another departure from their earlier work consists of lyrical play.  In the love song, “God Only Knows,” the opening line is, “I may not always love you.”  This atypical line for an intro of a love song was followed with lines that negated its context; thus, it stresses that the singer will always love the recipient of the song.

Prior to Music History II, I have heard Pet Sounds several times, both in its original mono format and the remastered stereo tracks.  While I enjoyed it tremendously, I was not aware of how groundbreaking it was.  I was born five years after the release of Pet Sounds, and the techniques and arrangements that made it a pioneering album were now commonplace in the music I grew up with in the 1970s.  But with fresh ears, I realize just what a major undertaking it was to produce such a work of art.  As a future music producer, I was to learn more about how he layered the different instruments to keep the backing tracks uncluttered yet rich in sound.

Since studying Pet Sounds, I have a new respect and admiration for Brian Wilson’s exceptional musical talents.

Shannon McDowell