Wednesday, March 11, 2015

Don't blame the radio, blame the record companies

Just because a song is on the radio does not mean it is good. There can be many factors that lead to radio play.
The first is obvious, availability, I could write the greatest song of all time and if I hid it in my sock drawer, it would not get played on the radio.  The same applies to this blog, I could write the most perceptive reviews of music but never publish them and they would never go viral.  Availability is manifested in several ways:

Commercials
TV Shows
Movies
Retail
Radio
Radio
Radio
...Everywhere
"Radio, one of the original mass mediums, continues to play a big part in the lives of Americans everywhere—with 243 million Americans listening weekly. That means more than 91% of Americans (age 12 or older) are tuning in each week." 
From: STATE OF THE MEDIA: AUDIO TODAY—HOW AMERICA LISTENS on Nielsen.com
Think about this too, in the internet age especially, the music industry is one of the most popular art forms on the planet.  There is a quick dollar to be made in the music industry.

$till someone with the money needs to think its a good idea if we are going to be surrounded by this song everyday.

The song may be pushed to the radio by a bigger record label that gets a nice cut of profits if the song is a hit.  Though it is illegal to directly do this, I have no doubt that there are 'incentives' between the radio station and record company.

In the words of the American ska band Reel Big Fish, "radio plays what they want you to hear." I always find it funny that was the one song that really got big for them and it was about selling out as artists and the payola scandals that were going on in the early 90's.

Carly Rae Jepsen
Lets take Carly Rae Jepsen for example.  Backed by, Justin Beiber, the the most notorious Canadian pop star since Celine Dion.  All it took for her to blow up was for Beiber and his manager to think that making her into a megastar was a good idea.

There is research that suggests that people may experience a Musical Stockholm Syndrome  of sorts.  Basically you become so familiar with the song that you start to associate different experiences to it and become to think there is a correlation between your enjoyment and that song.

The next factor is whether the band had previously written well received (not necessarily good) songs. After a band makes its breakthrough to radio, it may be pressured by their label or managers to top their last single and write another successful song.  Creativity does not usually flourish when it is forced and this becomes apparent when bands are pressured to crank out hits.

Another common occurrence is the poppy-ness that some bands can adopt once they start getting radioplay or hits.  I am not saying that pop music is bad music, I am saying that dumbing down your music and making your lyrics generic is not usually a well received transition by most music critics.  I know I may be coming off as hipster supreme, but before just remember that we are all entitled to like what we want and dislike what we want for whatever reasons we choose, that is the beauty and curse of being an American.

In closing I'd like to thank Tom over at Music.Mic for giving me a lot of ideas to discuss in this blog.

Thursday, March 5, 2015

2015.2.24-Silverstein-Bogarts-Cincinnati, OH

2015.2.24-Silverstein-Bogarts-Cincinnati, OH

Silverstein is now wrapping up their 10 year anniversary tour of Discovering the Waterfront (DTW). They brought along Major League, My Iron Lung, Beartooth, and Hands Like Houses (HLH).  Silverstein really does know whats up and wanted to do their best to promote current artists rather than those who they may have toured with ten years ago when DTW first came out.  Shane explained that through the Vans Warped Tour they became good friends with the guys from HLH.  For those of you who don't know HLH is a Post-Hardcore from Canberra, Australia.  Trenton Woodley's vocals were near studio quality when experienced in person. The guitars were flawless and they really got the crowd into it.  Crowd surfing and punch dancing frequently occurred and really primed the crowd for the headlining act.
It was actually my first chance to see Silverstein live and in concert.  The setlist was very well thought out. They started off with about 8 of their more recent and popular songs such as Massachusetts, Vices, and Stand Amid the Roar.  They also worked in A Midwestern State of Emergency which is off their new album that is set to be released in May 2015.  Midwestern State of Emergency is my personal favorite of the two singles that have been released to date.  The other being Milestone.

Milestone features more screams and less cleans, however it is unique from much of Silversteins collection in the sense that it takes a look back at their development as a band and their importance in the lives of their fans.  Shane routinely screams, "I am alive in everything I touch." Although I can appreciate where they are as a band and that they know the importance and role they play in the lives of their fans, I do not think that this will be one of my favorite tracks from their upcoming release. 
One of the most surprising things from seeing Silverstein was watching the energy of their Rhythm Guitarist Josh.  First of all, he is not the stereotypical looking rock guitarist.  No joke, he looked a lot like Mario. 
Above: Mario of the SuperMario Brothers
Above: Josh Bradford of Silverstein 

                     


















All due respect to Josh, he backed up the crazy mustache with energy that I have never ever seen before out of a guitarist (excluding guitarists that are also lead singers i.e. Josh Scogin of The '68).  Bradford was constantly moving around, not in an ADD way but in an excited, I'm really amped up and having fun and I want you to have fun too kind of way.  His passion was obvious in the way he poured his heart into the show and got people excited in a way you often don't see out of a guitarist. We actually had the honor of meeting him after the show and couldn't express enough the appreciation that we had for his energetic performance.  
Above: Josh Scogin of '68 flying through the air

Returning our focus to the concert, once they played the newer hits, they then played DTW in its entirety ending with Call it Karma.  They did something that I have really come to enjoy with this last song too.  First they vacated the stage (as many bands do, although everyone knew it wasn't over without the one more song, one more song, one more song, one more song... you get the point.) Then Shane came out with an acoustic guitar and played the first half of the song on that.  The rest of the band eventually joined him onstage with their electrified instruments and finished off the song strong.  
Although I had to return to Louisville after the show, I knew it was well worth it to make the trek up to Cincinnati for this memorable experience.