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Archive for June, 2010

One word describes the CD 8701 from Usher… AWESOME!

The CD kicks off with a great track, U Remind Me, that I suspect will be heard on radio stations everywhere, and deservedly so. It’s a really nice track.

8701 has a nicely varied, mix of 15 tracks that are very well written songs by this clearly gifted artist. Most of the songs display a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are him own personal experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

If you’re a Usher fan, or just a fan of Pop music this is a CD your collection simply should not be without.

While this entire album is outstanding the truly standout tunes are track 5 – U Got It Bad, track 11 – How Do I Say, and track 15 – U R The One.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 2 – U Remind Me. Good stuff!

8701 Release Notes:

Usher originally released 8701 on August 7, 2001 on the LaFace label.

CD Track List Follows:

1. Intro-lude 8701 2. U Remind Me 3. I Don’t Know – (featuring P. Diddy) 4. Twork It Out 5. U Got It Bad 6. If I Want To 7. I Can’t Let U Go 8. U Don’t Have To Call 9. Without U (Interlude) – (interlude) 10. Can U Help Me 11. How Do I Say 12. Hottest Thing 13. Good Ol’ Ghetto 14. U-Turn 15. U R The One

8701 Album Notes

Personnel includes: Usher, P. Diddy, Kelis (vocals); Jermaine Dupri (vocals, various instruments); Soulshock (various instruments, turntables); Pharrell Williams, Chad Hugo, Jimmy Jam, Terry Louis, Babyface, Bryan-Michael Cox, Karlin (various instruments); Dave Barry (acoustic guitar); William “Billy” Odum, Juan “Johnny” Najera, LaMarquis Jefferson (guitar); Valdez Brantley (keyboards, programming); Arthur Strong, James “Big Jim” Wright (keyboards); Stokley (drums); Alex Richbourg (programming); Sheree Ford-Payne, Bria Fuentes, Raymond Ford, Tajuanna Ford (background vocals).

Producers include: Edmund “Eddie Hustle” Clement, Jimmy Jam, Terry Lewis, The Neptunes, Jermaine Dupri.

Engineers include: John Frye, Mark Rains, Bryan Garten.

As a former talent booking agent with the William Morris Agency and founder of ReelMusician.com, I can tell you that reviewing demos can be both a curse and a blessing. Even as demos pile up on the desks in A&R offices and music industry professional’s office floors as well, I can almost guarantee that the vast majority of demos 1) won’t have a chance, 2) don’t get listened to, at least by the major A&R folks and not through a pres-screening process utilizing college interns, and 3) it might not even be the music itself, but the packaging and marketing colors, etc that are used for the artist press kit that result in the artist contract denial. What makes for a master quality demo? What makes for a master quality demo that will get listened to? These are great questions and I can tell you that a host of folks will have all kinds of ideas and suggestions; I will consider some gut level thinking and ideas that I have mentally compiled through the years that I’ve always felt would be an asset not only musically, but from a marketing perspective as well. Hopefully there will be some nugget of truth that you can capitalize on to further your music career and song demos

As we begin to look at master quality demos and what makes them up, what are your goals and ambitions? The reason I am asking this is because not only does it help to mentally prepare you and help you set goals for your career, but it also helps set the blueprint for where and what your demo ought to be sounding and looking like. There is a big difference in submitting your demo to A&R folks and to the club owner trying to gain playing gigs. But regardless of where you are submitting your demo, you have to exude a professionalism and character of not only your music, but in the credibility of the act as well. That last statement is critical. If your act is perceived as credible with the ball rolling and with some key elements in place, you are much more likely to be 1) reviewed by the actual A&R director and 2) any enthusiasm might snowball down the halls of the record company ultimately landing you a record deal.

But let’s get back to your demo. At ReelMusician.com we compile demos for songwriters and for jingle singers trying to break into the jingle singing market and I can tell you from experience, that it’s difficult to create a master quality demo when the song itself is not master quality song demo material. So be honest about any material you are recording. Is this top 10 if given the chance, or is this a filler, b side song? Yes, you can take a fair song and make it “listenable” to with a great production, but it still reasons that a fair or b side song cut is still a fair or b side song. You look back through the years at songs that held your attention and were almost mesmerizing and this is before the onslaught of incredible and affordable recording gear. These songs were just plain great songs even without the slickest of today’s recording abilities.

As you record, don’t rely on a bunch of “recording tricks” or padding type effects that detract and try to uphold an otherwise fair song. Many individuals with a lot more authority can speak about effects, etc than I, but I will say that less is more, and you ought to be concerned about the quality of the song and production utilizing all effects that are needed and not just effects thrown in there without reason or cause.

Who are using for players on your demos? Obviously if you are a band you are recording your whole group, but if you are a solo act or a writer creating master demos, then consider a couple of options. If money is not an object, then go for the whole rhythm section and keyboard pads, etc. One thing that you need to know and understand is that it is better to use fewer players who are just incredible, than to have the full rhythm section with less experienced players or players that just can’t support your song. I remember years back when I was first starting out before all of our TV and radio credits, that for the sake of having a full sound I compromised the overall production for players, while more affordable, not as seasoned and consequently my productions were not as strong until I learned that valuable lesson. And even today, I will choose to use a first string guitar or piano player in lieu of a full rhythm section on projects if that’s what the song and production call for. Always get the best musicians – It always pays. These players oftentimes have ideas and broaden your production and bring incredible artistical elements that you wouldn’t have thought of – Which leads me to my next point.

Keyboards are incredible and there is a vast array of sounds and pads that can be used to create all kinds of emotional tones in your music, but don’t get caught in the, “I have a keyboard, mic and computer syndrome. Your music will suffer. You want the creativity of other players. They bring the musical magic that most of us, quite honestly, aren’t creative enough to capture, but with their experience, and talent, they are able to deliver not only incredible rips, but a professionalism your demo might not never otherwise of had. Utilize the best players possible whenever you can. I can tell you that our demos at ReelMusician.com sound incredible because of our effort in obtaining the best players – Get the best!

With a few moments left, let’s look at some important final notes and ideas. Don’t get discouraged after recording a song you thought would turn out differently. You know, without sounding cliché, productions and songs do getter with time and practice. Always look at money spent on demos as schooling. Where would you go to learn the lessons you just learned? – From a textbook, of course not. Keep at it; be honest about your writing and productions. Continue to learn from great writers and producers. Listen to great classical writers as well and broaden your next pop ballad string arrangement. Don’t be afraid to try new ideas. Get the best players in an affordable, yet quality studio, and hopefully you’ll start recording the next top ten hit!

Hit the dancefloor this summer and throw your best shapes to the biggest anthems bursting forth from the sound systems. I just love summer; those balmy evenings which are still light close till midnight, perfect conditions for a festival. With festivals attracting the biggest DJs as well as bands nowadays you can listen to some of the finest mixes and cutting edge tracks in style.
Just recently I tried out a new form of disco, a silent disco! Wearing a set of wireless headphones I strutted my stuff (decked out in Gio Goi and Jack Jones jeans) among everyone else and we did it in silence! Well if you don’t count everyone singing along it was silence. Amazing fun and the DJ was fantastic mixing a great blend of disco classics such as Donna Summer with more recent hits by Bassliner and Lady GaGa!!

Quick One is the latest release from Who, and is another great one by this talented group.

It’s a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I’m more than happy to announce that’s exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it’s own.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

Overall Quick One is outstanding from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Rock fan. Really sensational from beginning to end.

While the entire album is really very good the truly standout tunes are track 6 – Cobwebs And Strange, track 10 – A Quick One While He’s Away, and track 20 – My Generation.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Run Run Run. What a nice track!

Quick One Release Notes:

Who originally released Quick One on June 20, 1995 on the MCA Recordings label.

CD Track List Follows:

1. Run Run Run 2. Boris The Spider 3. I Need You 4. Whiskey Man 5. Heatwave 6. Cobwebs And Strange 7. Don’t Look Away 8. See My Way 9. So Sad About Us 10. Quick One While He’s Away, A 11. Batman 12. Bucket T 13. Barbara Ann 14. Disguises 15. Doctor, Doctor 16. I’ve Been Away 17. In The City 18. Happy Jack – (previously unreleased, acoustic version) 19. Man With Money – (previously unreleased) 20. My Generation / Land Of Hope And Glory – (previously unreleased)

Quick One Album Notes The Who: Pete Townshend (vocals, guitar, cello, penny whistle); John Entwistle (vocals, trumpet, bass); Roger Daltrey (vocals, trombone); Keith Moon (drums).

Producer: Kit Lambert.

Reissue producer: Jon Astley.