This Drummer's Album will Inspire You!

When I was accepted to Berklee College of Music way back in 1997, I was both excited and scared at the same time. Excited that I had "made it" into the world's best music school, and scared because I knew that I would be challenged musically beyond anything I had experienced before.

Luckily, my cousin was in his junior year of the institution's Music Production and Engineering program and could provide me with some advice on the Berklee experience. While visiting a local music store, yes they did have those back in the day, he found a CD, handed it to me, and stated "if you want to become a great drummer listen to this.

That CD was Burning for Buddy: A Tribute to the Music of Buddy Rich.

Now before you click out of my page because you are a metal drummer, a rock drummer, a country drummer, or some form of musician other than a jazz player, I want to share something about Burning for Buddy that may change your mind.

It was the production of Rush drummer Neil Peart. You heard me right, Neil "Freakin' Peart".

As it turns out Peart had taken part in the Buddy Rich Memorial Concert series, where he got the chance to swing with Buddy's original big band, but, according to Peart he couldn't cut the gig and wanted a second chance. So he contacted Rich's daughter, Cathy, and asked her about inviting the world's best drummers to play with the big band in a studio setting. This resulted in a killer line-up of the drumming world's best players, many of which, stepping out of their element to perform Buddy inspired tunes with a big band. This is the final line-up and proof that this album isn't just about jazz drummers.

1. "Dancing Men" by Simon Phillips
2. "Mercy, Mercy, Mercy" by Dave Weckl
3. "Love for Sale" by Steve Gadd
4. "Beulah Witch"  by Matt Sorum
5. "Nutville" by Steve Smith
6. "Cotton Tail" by Neil Peart
7. "No Jive" by Manu Katche 
8. "Milestones" by Billy Cobham
9. "The Drum Also Waltzes, Pt. 1" by Max Roach
10. "Machine" by Rod Morgenstein
11. "Straight, No Chaser" by Kenny Aronoff
12. "Slow Funk" by Omar Hakim
13. "Shawnee"by Ed Shaughnessy
14. "Drumorello"  by Joe Morello
15. "The Drum Also Waltzes, Pt. 2" by Max Roach
16. "Lingo" by Bill Bruford
17. "Ya Gotta Try"  by Marvin “Smitty” Smith
18. "Pick Up the Pieces" by Steve Ferrone

Many of these drummers were far from the jazz idiom of music. Kenny Aronoff  was the studio go-to cat for such greats as John Mellencamp and Bob Seger; Marvin "Smitty" Smith was the drummer of The Tonight Show with Jay Leno; Steve Ferrone was the drummer for Chaka Kahn and Eric Clapton, and Matt Sorum was the hard hitting drummer for Guns n' Roses during their hugely popular Use Your Illusion I & II releases.

Check out this video where Neil Peart Talks about the quality selection of drummers and material Buddy helped craft for the album. 

This film was part of the "Making of Burning for Buddy" video collection that chronicled the making of the album with live performances of each drummer in the studio with the big band.  And if this album provides the inspiration for you that it did for me, it will be a welcomed addition to your library.  You can get it through Amazon.

Perhaps the greatest part of the video is when Neil Peart Talks about Billy Cobham.  Apparently all the other drummer spent months prepping their songs for the recording, when asked which tune he would perform, Cobham told Peart "whatever is left I will take", causing Neil to joke "OK, I guess Billy takes requests." Even more amazing is that after showing up at the studio and selecting his tune, the legend sight-read Miles Davis' Milestones in one take. 

This is just one of the amazing performances on this album and accompanying video. I encourage all the drummers out there to give this album a good listen.


You can stream this great album through Spotify, and download or buy a physical copy at Amazon. Sorry, it isn't available in the U.S. iTunes store.

And when you wear out Burning for Buddy Volume I, Peart and his band of percussionists gave the drumming community Volume II to check out, which is much more Jazzy. You can get that album only at Amazon.

The Risk Record Labels Take

Steven Knopper of Rolling Stone reported this past week that Lady Gaga will need to undergo hip surgery and will have to cancel the remainder of her Born This Way Ball tour. Gaga and her concert promoter, Live Nation, will have to refund close to $30 million in tickets, and due to doctors orders, most likely, will not see Gaga gross another $161.4 million like her 2012 world tromp.

You can read Knopper's full article here.

If anything, Gaga's tour cancellation proves the huge risk that record companies take on when they sign a new artist to their roster.  There has been a lot of negativity cast on the record companies introduction of the 360 deal, which allows them to take a percentage of the artist's entire revenue stream from record sales to touring, merchandising, and sponsorship income. Truth is, the record executives had to push for this new standard contract because musicians have moved away from selling tangible products such as CDs into offering a service to their fans.

For the record companies, artists, and their management a service based business provides a different set-of risk elements for the brand. The biggest in this instance is the concept of inseparability. Under this theory concert goers expect Lady Gaga and nobody else when they purchase a concert ticket, pay for parking, and buy a beer. And as we are witnessing with the current Gaga situation, once the brand must separate the artist from the equation there is no money to be made.

While I will not go on to justify record companies and the 360 deal, I will cut them some slack. Very few business models take on this level of risk and require the hefty investments they are willing to fork over. To get an artist "off the ground"  a record label will invest hundred of millions of dollars in crafting an album, promoting the artist and their music, establishing a brand presence online, in social media, and in the national market, and then fork over more money to establish a tour, merchandise, another album, etc.

That is a huge investment for any company, and while insurance will probably cover the losses for Gaga it often does not, leaving record companies hanging when their product, the artist, gets sick, injured, or goes AWOL.  I encourage all musicians out there to think about this when the time comes to sign that deal. It will help you respect where the label is coming from and provide you with a more educated bargaining position.

Make the most of an hour of practice.

Let's face it. As drummers, we rarely have the ability to practice for hours on end. So when we are afforded the opportunity to hit those skins, we have to make the most of it. Quite honestly, I would rather practice an hour a day for five to six days a week, than three hours every three days, but hey, that's just me.

So if you have an hour of practice time. How do you make the most of it and still enjoy what your doing?

Well, I found the answer lies in breaking apart your practice routine. This is how I roll (get the pun).


Module 1:
1 Hour of Available Practice (20 minute milestones):

First 20: play along to music that is outside your comfort range. I am a fan of using Spotify, MOG, Slacker, or any other Internet based radio station. I choose a channel, say Jazz, and play along.

Second 20: break out the study materials. You can work on your sight reading, Latin rhythms, independence, or anything else that "challenges" your skill set.

Final 20: free play. You should always have some free time in your practice routine. Again, I go to Spotify, MOG, Slacker, or any other Internet based radio station and jam along to the channel, playlist, tracks, or album of my choice.


Module 2:
1 Hour of Available Practice (more in depth study time):


First 15: play along to music that is outside your comfort range. Same rules as module one, but for only 15 minutes.

Middle 30: break out the study materials. Again, same as module one, but you will be devoting more time, about ten minutes, to more in depth rehearsal that challenges your skills.

Final 15: free play. Remember, you should always have some free time in your practice routine. Again I go to Spotify, MOG, Slacker, or any other Internet based radio station and jam along to the station of my choice.

Module 3:
1 Hour of Available Practice (10 minute style challenge):

This practice routine is designed to challenge your ability to play multiple styles. Again I use Spotify, MOG, Slacker, or any other Internet based radio station, and switch the station every ten minutes. For example: country for ten minutes, jazz for ten, rock for ten, pop for ten, funk for ten, and rap for ten. The goal is to move quickly between channels so you can get used to playing in any style "on the fly".

Feel free to use different modules different days of the week, or even make up your own. I find when you break apart your routine, you can accomplish much more in your practice time and really enjoy what you are doing.  So drum on and let me know how this works for you.

P.S. This works for any instrumentalist, by the way.

Daisy: Direct to (streaming) fans, but not marketed to them.

Two weeks ago Beats Electronics, the company led by Jimmy Iovine and Dr. Dre., announced they were starting their own music streaming service called Daisy that they will launch later this year. In a related move, Beats also made an undisclosed investment in Topspin, the online business that provides back-end digital services for musicians and labels to facilitate the direct to fan model. You can read the full article here from The LA Times.

This business play was recently the theme of serious discussion on this past week's Hypebot's Upward Spiral podcast (by the way if you are a serious musician, or serious about the music industry, you probably should be listening to this podcast). After listening to the show and reading up on the venture. Only one thought comes to mind.

You can seriously tell that the business side of the music industry is run by musicians, and that isn't necessarily a good thing.

 Let me shed some light on this statement.

One of the biggest problems with most bands, is they don't give a damn about the fan, the person who pays for tickets, music, and merch; who, ultimately, puts food on the table for the artist. If they are a cover band, they normally choose songs they want to play, not what the fan wants to hear, and then they complain that nobody is showing up at their gigs. If the band is an all original unit, it is even worse. Most of the time, these groups refuse to play covers and try to force-feed their fans their own (mostly shitty) material. Then, they too, wonder why nobody shows up at their shows.

Now, before I get a million emails from bands telling me they don't do that, I must say this isn't an absolute truth, but I will guarantee it is well north of 80% of the acts out there.

And now we have Beats, run by a musician, moving into the streaming world. And they put another musician, Trent Reznor, in charge as Chief Creative Officer of the new initiative, whatever that means. No offense to Trent, he is one talented guy, and the founder of the CwF=RtB (connect with fans = reason to buy) model, but will this business venture work out with a musician in charge?

I can already see the problem with Daisy. The whole premise behind Daisy, is that it will give fans the chance to buy merchandise, tickets, and downloads direct from the artist, while they stream their favorite tunes. This doesn't appear to be a need set-fort by fans (consumer led marketing), but rather bands and labels (business to business marketing).

So here we go again. We are going to give the world another streaming service with no value proposition for the fans, but for the artists. So what is going to happen? Chances are Joe Blow the music fan won't give a shit, but Jimmy and His Big Dream Band will try, forcing Joe to change from Spotify to Daisy so he will buy concert tickets, merchandise, and music. They will send Joe emails, Twitter feeds, FaceBook Statuses, anything short of aerial cloud writing, hoping to get Joe to switch over from Spotify or Pandora, listen to their music, and hopefully impulse buy tickets.

Does this really appeal to the fan? The person who is the end consumer of the music industry?

My prediction is Daisy will show up with a big splash. It will appeal to bands and record labels, but not to fans. The service will survive with probably the same amount of users as MOG, which is around 500,000, and that will be it. Fans of music will stick to Spotify, Pandora, and iHeart and those ventures will see increased revenue.

That isn't to say the direct to streaming fan model isn't a great idea. It is so great that eventually Spotify, Pandora, and all the other streaming services will adopt Daisy's model. This will kill Beat's new business units value proposition, but will be awesome for musicians and labels. So at least some good will come of this. And for that I say thanks to Iovine, Dre, and Reznor.

Spotify -VS- Mog

I have been using MOG for a little over a year, and really liked the service. I paid the $10 per month premium fee that allowed me to download as much music as my iPhone could hold and then play it back whenever I wanted, even without an Internet connection. From a financial standpoint, it just made more sense for me to drop $10 per month and get access to hundreds of albums as opposed to buying a single album at $10 or single tracks at $1.99 from iTunes. It's just a better way to explore new music.

Then I noticed that I was the only one on MOG. Many of my fellow employees and friends are on Spotify and had no idea that there was another streaming service out there similar to the market leader. So being a music industry professional I decided to switch over to Spotify and analyze the differences between the two. And here is what I've got so far.

The Similarities:

Both MOG and Spotify have the same amount of music, or fairly close. This is because many artists, labels, and managers use online aggregators to get their music to the market. So, if an album is on MOG, chances are it's on Spotify and vice versa.

They both have multiple tiered account options and are identical in price. In the MOG world you can pay $4.99 per month for unlimited music streaming from your computer and customized radio stations. For $9.99 per month you get all those options plus the ability to download music to your mobile devices to enjoy offline. And when you are on Spotify the options are the same and so are the monthly fees. From a business standpoint there are no competitive differentiations here.

Both services have radio features, customizable playlists, and Facebook integration.

The Differences (and they're not that huge):

MOG has a sexier user interface, especially on their mobile versions. They use less text and more icons to separate user options.

Spotify integrates your playlists across various platforms. As a MOG user, I always hated that my playlist on my computer didn't show up on my iPhone and my iPad. With Spotify, I was psyched to see my playlists update on all devices seamlessly.

MOG has a more customizable radio feature. With MOG you select the artist you want and then click on their "radio" button, from there you move a slider to select only that artist, similar artists, or varying mixes of both. This is much more fun than Spotify, who has you listen to songs and give them a thumbs up or down to customize the playlists.

This is what I have witnessed thus far.  I will continue to use Spotify for now and document the differences between the two services. Right now I am leaning towards Spotify. Even though MOG has a sexier user interface, sharing playlists between devices is huge for me.

2012: Physical Music Sales Aren't Dead, Country Rules, Adele is Still Queen, and UMG Dominates.

Well, it's that time of year again.

The time of year when most Americans are in the gym, at least for a month, because they all made the same New Year's resolution.

That time of year when you have your first heart attack because you haven't been in a gym for eleven months, or because you got that first credit card bill itemizing all of your holiday purchases and the interest you will be paying on them until next Christmas.

And it's that time of year when Nielsen Company & Billboard serve up their Music Industry Report, and we learn once again that physical sales are down, digital sales are up, and the music industry is still in turmoil.

Go ahead and read this year's report here.

Here is what this music business insider surmised after reading this year's report:

1. Physical albums are dying, but they aren't dead just yet.

Here's a big surprise physical album sales fell 12.8% in 2012 continuing the decline of tangible music transactions. But the funny part is that even though this category continues to decline at rapid numbers it still controls the market share. Physical sales were at 198 million units, and of that CD sales were at 193 million, while digital units were at 118 million.  So even though we all think physical music transactions are completely dead. They really aren't.


2. Country is king (or queen).

This isn't your granddaddy's country music anymore. Gone are twangy songs about loosing your dog, your trailer, or your wife. Today's country is closer to pop and classic rock with artists such as Jason Aldean and Taylor Swift boosting the entire genre to new sales heights.

Here's looking at Country's amazing numbers:

Total Album Sales: +4.2%
Digital Album Sales + 37.8%
Digital Track Sales + 12.8%
Taylor Swift: #2 for Top Selling Albums, Top Artists, Top Digital Albums, Top Physical Albums, #3 for Top Internet Albums, and #3 for Top Artist Airplay, and #1 for Top Streamed Artists.

3. Adele's success of 2011 was so massive it boiled over to 2012.

“Adele’s album, 21, is the first album ever to be the top seller of the year for two consecutive years."

Adele released 21 in 2011 and the album's success was so huge that it actually propelled it to top the 2012 sales charts. The new British mum took first place in Top Selling Artists, Albums, Digital Albums, Physical Albums, Internet Albums, and #2 in Top Artist Airplay.

4. The album continues to die.

In the digital world TEA stands for Track Equivalent Album. It takes ten tracks to make one full album. This helped push digital album sales up 14.10% for 2012, however when we factor in physical albums and true digital albums into the mix total album sales fell 4.4% for 2012.

5. Purchasing EMI payed off big for UMG.

With a controlling interest in EMI's assets UMG dominated the market share of the remaining major labels. They beat out their nearest competitor Sony Music Entertainment in all six categories between two and seven percent.

Give Ska Drummers Some Love

This week I am prepping to audition for a local band called Teflon Don. This will be a new musical experience for me because it is in a completely opposite musical direction than I am used to.  The group is a Ska band, more particularly a Third Wave Ska band.

Now, I am very meticulous when I approach a new project. I download the music and listen to it constantly. I practice nothing, but that genre while I prepare, and I do research into the style I am playing. In that research I usually seek out the best drummers of the genre and YouTube their videos and pick apart their recordings to see what makes them the leaders of their style of music.

When I was told Teflon Don was a Ska band I immediately thought of traditional Ska music, but this is far from the case in Third Wave Ska. Traditional Ska is played much slower with more "lift" in between hits. To see what I mean watch the current master Gil Sharone  in the video below.

Third Wave Ska is completely different. First, it is faster, much, much faster. In fact, in my opinion I see Third Wave Ska closer to traditional punk rock than its original Reggae roots. The traditional lift between hits is removed to facilitate the brisker tempos and with that any type of swung eighths are converted to straight eights.  Get that right hand ready for a workout on the hi-hat!

As I dove deeper into the genre I was disappointed to find that the drumming community doesn't give the masters of this style more props. When you break apart what is required of them it is down right amazing. First, the speed required would challenge any drummer out there. Next, their fills must be just as fast and just as tight thus requiring a superior level of technique.  From a musical standpoint these bands tend to "move around" in a song changing speeds, styles, and sometimes time signatures on the drop of a dime. This can be a huge challenge to any drummer who is used to just laying in the pocket even in a basic 120 bpm tune, never mind trying it at Third Wave Ska speed . And finally these drummers are playing with larger bands that include horn sections. That means they must be prepared to set-up and then match the brass hits at those blazing speeds.

Watch this video of Streetlight Manifesto's Chris Thatcher and you will see what I mean.

I will leave you with this video from Third Wave Ska's poster boys Reel Big Fish. This live cut of their hit mainstream tune "Sell Out" helps demonstrate the speed, tight hits, and changing tempos and styles the drummer must hit while performing in this genre.

So I encourage you to give these Third Wave Ska drummers some love, and if you need a good workout on the kit. Throw on some Streetlight Manifesto, Mad Caddies, or Reel Big Fish and be prepared to sweat!