Thoughts and Musings on Faith, Music, Family, Life

Bringing Abbey Road to Life

Two reasons to like Vagabond Saints Society: one, it's one of the cooler band names, ranking right up there with Works Progress Administration, American Analog Set and The Most Serene Republic.  More importantly, they're comprised of some pretty amazing musicians in and around the Winston-Salem, NC area (two of whom I play with regularly in Mediocre Bad Guys). And they're not really a band per se, at least in the traditional sense of the term.  They don't really play together as much as they play around each other.

The Vagabond Saints Society comes and goes like a season: after being AWOL for a while, right around the time you're hoping to see them again, they reappear.  They play other people's songs but it must be made clear: they are not a tribute band or a cover band.  Their modus operandi is choosing some specific project - usually a stellar album by a stellar group or artist - and playing it from start to finish.  In the past they've tackled Fleetwood Mac's Rumours, The Who's Tommy, R.E.M. and a collection of easy rock hits from the 70's (don't laugh, I'm told it's a lot harder than it sounds).

But they do more than simply playing something that sounds like the original - and that's the real magic of VSS.  They learn the songs exactly as they're performed on the original recording, down to the last note.  They painstakingly plug through the minutia of a tune so thoroughly that what you hear is more than just a cover - it is a replica.  And that's something different entirely.

 Confession-time here: For all the years I've heard about VSS, I've never actually made an effort to see them play.  Until they decided this fall to tackle a little album called Abbey Road.  Perhaps you've heard of it?  Made by four blokes out of Liverpool England in the late 60's, #14 on Rolling Stone's Top 500 Albums of All Time (and it should've been much higher in this blogger's humble opinion), vehicle of timeless hits such as "Come Together," "Something," "Octopus' Garden" and "Here Comes the Sun."  Yep. Seven very bold musicians from the heart of North Carolina dared to do something as audacious as replicate a true classic.

I heard about the rehearsals from my VSS friends Jerry Chapman and Doug Davis, as well as drummer Les Slate, all of whom I play with in the Bad Guys.  I heard how the bulk of it happened alone, as each performer was expected to show up at the four full rehearsals fully prepared and ready to go.  You heard right, four rehearsals.  I heard them point out things in the songs I never noticed before: intricate drumming that doesn't sound nearly as complicated as it is, the leg slaps at the beginning of "Come Together," the heavy use of the classic Moog synthesizer.  This, of course, is on top of the incredible songwriting that's whipped up on all the album's tracks, as well as the amazing performances from the Fab Four and others that brought those great songs to life.

Wow.  These VSS guys either know what they're doing or have waaaaayy too much confidence in themselves.

I caught their final show at the Good Life Cafe in Mount Airy - a welcome return of live music to this particular venue after a couple years' absence.  The place was packed.  A few B-rate solo artists opened with a post-'67 Beatles cover each to prepare the palette (I can call them B-rate because I was one of them).  And then the band took the stage: two guitarists, bass player (playing a left-handed Hofner nonetheless!), drummer and keyboard player, along with a viola and cello.  Nice!  They started from the top, and with the first few notes of "Come Together" you knew you were in for a treat.  Lemme show you what I mean:

(for those of you subscribing to this blog via email, click here to view the video).

The band forged straight through the album with no playful banter in between - after all; it's about the music, right?  They finished with a nifty rendition of "Birthday" off the White Album, icing on the proverbial celebratory cake.

As a music lover I left that night with my head filled with some great tunes that sounded as close to the original recordings as humanly possible for people not named John, Paul, George and Ringo.  As a musician I was blown away with the time and preparation that went into bringing all of this to life.  And as a father I loved every minute watching my drummer-inclined son soak up the spectacle, particularly the drum solo on "The End."

The big question, of course, is what Vagabond Saints Society will do for a follow up.  Geez, good luck figuring that out!  In the meantime we'll just soak up the moment and extend tothe seven women and men who made it happen the high praise they deserve.

Some other videos:

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In case you missed the show....

8:30pm this past Sunday night.  I logged on to my laptop in anticipation of U2's YouTube-streamed concert, live from the Rose Bowl.  All the publicity had drilled in my head 8:30, 8:30, but instead of hearing the crowd roar at the opening number I was subjected to the background music of a rolling prelim.  And it was then I realized: 8:30pm. Pacific Time.  Oops.

Three hours later, there I was, tucked in bed for the night with laptop on my chest.  I watched it until 1am, although I confess to dozing off from time to time.  Hey, I'm only human. How pleased I was when the entire concert was back on YouTube the next day, and presumably for many days in the future. Now I get to watch it in a full state of consciousness.

So here's my take on the whole "U2 360" circular stage and the "Claw" or "Spaceship" or whatever you want to call it: I'm not the greatest fan of the approach.  It smacks of excess that runs the risk of becoming the show itself, rather than the music.  Honestly, it reminds me in many ways of the PopMart Tour a decade ago that contributed in large part to the band's perceived demise, before All That You Can't Leave Behind rescued them.  It's just hard for an audience to connect to four small guys on a huge stage, no matter how big the video screens are.  I much prefer the Elevation or Vertigo tours which took place in smaller arenas rather than football stadiums, void of the over-reaching flash and glitz this tour has.  A much more intimate feel, relatively-speaking.

But the music....well, that's a different story entirely.  Thank God for the music.  And yeah, I know, the album didn't sell all that well in the States (although I was quite fond of it).  Nor was there a single that latched on to radio playlists for any decent length of time.  But the reality is that U2, in my opinion, is beyond that.  I just don't think they need a hit single that gets plays ad nauseam in order to stay relevant.  That may sound kind of silly in a business that's all "what-have-you-done-for-me-lately," but I still believe it's true.  Over the past three decades U2 has proven that they know how to make good music that speaks to the heart and soul.  Even if it's performed on a ridiculously huge stage.

I missed them when they were in Raleigh a few weeks ago (good thing too, as apparently a significant number of fans missed the entire show due to traffic problems - I mean, how back would that suck??)  They just announced more U.S. dates next summer.  I hope to be at one of them.

In the meantime, take a couple of hours and enjoy the show.  Some highlights: Magnificent, Mysterious Ways, I Still Haven't Found What I'm Looking For, Sunday Bloody Sunday, Unknown Caller, Where The Streets Have No Name.  And how about The Unforgettable Fire and Ultraviolet (Light My Way) - when were the last time they played those live??  Watch it below or click here for a larger screen.

The Real "Glee"

So I watched Glee for the first time the other night.  Afterwards I was informed by people who'd know that it wasn't the best episode and probably not a good one to start with. I imagine they're right.  But still - and with all apologies to my "Gleek" friends out there - I'm just not feeling it.  That's okay, though, because you thought I was nuts for getting into Battlestar Galactica, didn't you?  So we're even.

I imagine that a big part of my ambivalence has to do with the fact that I was actually in our school's Glee club.  And in the same way that football players couldn't get into Friday Night Lights or I never found much reason to read the At Home in Mitford series (about a small-town pastor), it's hard to get excited about a fictional situation that bears a striking resemblance to your real life.  You're already "living it," you see, so what's the point?

We actually called ours a "show choir," which I think sounds better than "glee club."  Think of it as a solid choral ensemble meeting Dancing With The Stars.  We worked equally hard to perfect our four-part vocal arrangements as we did the dancing/choreography.  Trust me, it's a lot harder than it sounds.  And it was a big deal in our school, with around 200 kids in three or four ensembles.  "Carolina Spirit" was the top group and involved a significant time commitment.  It was also a pretty well-traveled group.  I'm not talking about the annual appearance at the local mall, either.  Every year we participated in a regional event in Harrisonburg, VA.  There was also a trip to Pasadena, CA my junior year (including a performance at Disneyland), and another one to Chicago my senior year - both national competitions, both in which we placed in the top three.  

All of which looked nothing like what folks see Wednesday nights on Fox.  There was weight training involved - important when the guys were lifting girls in the air and swinging them around (they tend to prefer that you not drop them).  I already mentioned the hours and hours of rehearsals - not just with vocals but with choreography, down to standing in front of a huge mirror to make sure that thirty-some people have their movements perfectly synched.  And unlike the current TV show (at least the little I've seen of it), there was actually harmony with the jocks, and we had some members of the gridiron in our fold.  So there were no purple slushies.

Here, see for yourself - a video of Carolina Spirit doing their thing a few years after my time (okay, more than a few :)

(note: if you're subscribing to this blog via email the video may not show up - so check it out here).

I realize open talk about this sort of thing typically invites some level of ridicule, especially toward the guys.  Go ahead if you must - it's nothing I haven't heard before.  Chuckle at the sequins and stage makeup, at the dancing and the white shoes.  To which I say a heartfelt, "Whatever."  The fact is that I wouldn't trade this time in my life for anything.  I made some of the best friends in my life, many of whom I keep in touch with to this day.  Thanks to this experience the stage is a second home to me rather than a source of anxiety - something that comes in handy doing the music thing these days.  I'm quite at ease in front of groups, which means I'm pretty comfortable behind the pulpit on Sunday mornings (but sorry FPCMA folks - no jazz hands).  And the vocal techniques I acquired in all those years of training have proved invaluable in keeping my singing voice going strong.

So watch "Glee" if that's your thing - I may tune in from time to time.  But forgive me if I don't jump on the bandwagon.  The real thing is a whole lot better.

PS - I know there are a lot of show choir folks out there, including some "Carolina Spirit alum," and I'd love for you to share your stories in the blog comments below.  What are some of your memories?  How has your show choir experience translated to things you do in your adult life?  Let's hear 'em!

Elder's big-time, bombastic, boisterous birthday gift

Uh oh.  The Lindsley house will never be the same again.

Wish us luck as we raise the next Neil Peart (and buy us some earplugs!)

What Matters Most

I knew there was a reason we had our porch painted and re-screened last month - for moments just like this.  Saturday afternoon, everyone else taking naps or feigning sleep (end result - a strange and rare quiet); the sound of an afternoon summer shower falling on the trees that surround our backyard.  Aaaahhh.  I needed this, I really did.  It's been a week of ups and downs, and frankly, more downs than ups.

I turned a year older this past week.  If you care to know how much, check out this blog post I made a year ago and do the math.  There was something unique about last year's milestone and I wore it proudly, like a badge of honor.  Kind of like when you hit 18 and achieve "adulthood."  Of course, twelve months later the novelty wears off and you're just another year older.  So sure, I could've come at it in some positive light - blessed with another year and all that. And the family certainly helped with gifts, homemade cards and an incredible strawberry cake.  But honestly, the week I had made it difficult to fully embrace the joy of it all. 

Which leads to my next "downer,"  and it happened around noon on Monday, driving down Main Street in town, at around 35 mph.  Thankfully, no one was injured.  Even the guy's car that I hit showed very little damage.  The same could not be said, though, for my car.  Especially frustrating since the same thing happened two years ago.  And in both instances, the age of the car made repairing it not an option.

There is a powerful bond between a man, his automobile and the privilege of driving.  I've seen it in older men when their declining health makes sitting behind the wheel no longer an option, and the family has to take away the keys.  You can see it in their eyes; that a part of their independence and pride and dignity has been denied.  To some degree that's how I felt those first 48 hours sans car.  And perhaps that was a good thing; a healthy slice of humble pie, repulsive as its taste may have been.

Things continued to go down from there.  Note to self: don't bother walking to work early one morning in the hopes that no one will see you and realize, as you jaunt down Main Street in your office clothes and business bag, that you have no car.  It won't work (although I am grateful to Ben for giving me a lift the rest of the way). Even my birthday had its unsettling moment, as I was (and this is a true story) pulled over by the police because the tags on my rental car had expired.  The rental car!  The overwhelming relief I felt when I realized I wouldn't be held responsible still didn't make up for the sick feeling in my stomach the moment those blue lights flashed in my rearview mirror. 

Sometimes it's easy to get so overwhelmed by the all the muckiness around you that it gets a good grip on your spirit.  And that's when you need a perspective check - and for me, it was Friday.  The wounds from the week's mess were still tender as the family headed off on a hiking excursion - just the four of us.  It was exactly what the doctor ordered - just being with the wife and boys, seeing some cool waterfalls, marveling at the wonders of nature together.  Later that evening I was playing some tunes in Madison, NC for an Acoustic Blend gig. The place was packed and folks stayed until closing time at 10pm to hear our very last song.  That's when you know a gig is going well.

On the drive home I reflected on my lousy week and how humble pie, while sometimes necessary, often comes in portions too large for one's appetite.  I don't like feeling like I've let people down, and I don't like others being negatively affected by my actions.  At the same time I had a moment of clarity that I hope will stick with me long after this week is over.

And that is this: when you get right down to it, when you cut through all the muck that can get in the way, what matters most - to me at least - is my family and friends, my faith, and my music.  Those three, and the people and places and experiences that make them up, are what define me as a human being meandering around this planet.  They are what connect me to something outside myself.  Everything else is dressing - important dressing, sometimes expensive dressing (as my auto insurance agent reminded me this past week), but dressing nonetheless.  Family, friends, faith, music.  That pretty much sums it up.

I'm glad I've have some time to reflect on this as I'm sitting on the back porch listening to the rain make its journey from the heavens down to the earth.  Actually, the rain's starting to die down a bit, and the sun's peeking through.  Thank goodness the same can be said about this past week.  Time to soak up the sunshine and be thankful for the light and warmth of it all.

Thinking about Michael

I remember where I was when Elvis died.  I was all of nine years old, in the car with mom and my brother one afternoon running errands.  We were at the intersection of Ridge Road and Lake Boone Trail, turning right, when the DJ announced it on the radio.  What I remember more than the news itself was the reaction it got out of my mom - an audible gasp, followed by a long period of silence.  There may have been a tear or two shed.  Mom loved Elvis - she'd seen him in concert, had a few of his albums.  It was a big deal for her.  It was a big deal for everyone.

I imagine one day we'll talk about the day Michael Jackson died in similar fashion.  For the record, I was at last week's youth conference engaged in all kinds of retreat fun - hanging out with the kids, doing energizers and feeding ten thousand or so people.  I didn't actually hear about his death until the following day. 

When I got home, though, I got a little more reflective.  It probably had something to do with the fact that every television network on the planet had quickly assembled their two-hour tribute.  I was reintroduced to his story - child prodigy who never really had a childhood, putting out solid music for decades, always surprising with his creative prowess.  There were the troubling stories too - of eccentric behavior, of the gaudy Neverland, of the children who would frequent his estate and the accusations that followed.  There was the eerie way his appearance changed over time: dark skin to light, facial features distorted, that horrible nose.  There was the very strange shotgun marriage to Priscilla Presley and that godawful awkward kiss at the MTV Music Awards.  There was the accident while filming the Pepsi commercial that apparently started him down the path of his addiction to prescription pain meds.

But through it all his talent and influence on our pop culture was undeniable, whether we wanted to admit it or not.  Which is why I did something a few days ago that I'd never done before - I bought some of his music.  I clicked the download button on itunes before I knew what I was doing.  Was it possible that I, Steve Lindsley, was actually purchasing some Michael Jackson?

The collection has it all, including stuff from the Jackson 5 days.  There were a handful of songs in there I didn't keep (every musician is entitled to a few duds), but most are songs I distinctly remember hearing for the first time on the radio or seeing the video for.  I listened to the collection in is entirety and found it took me places I hadn't been in a while.  It'd do the same for you too, I promise.  Just try not snapping your fingers to the strings and trumpet intro on Don't Stop Till You Get Enough.  Or not singing "Ma Ma Se Ma Ma Sa Ma Ma Coo Sa" at the end of Wanna Be Startin' Somethin'?  Or not smile when you hear Slash rip off his guitar riff on Black or White?  And I haven't even gotten to Billie Jean, Beat It, or the other eleven number one hits the guy had.

Say what you will about the guy, but the fact remains: Michael Jackson single-handedly changed the formula for pop music and how we listen to and understand music in our time.  He took the idea of a performing entertainer to a level not seen since, well, Elvis.  He also revolutionized the whole genre of the music video - before they were nothing more than the band holding instruments and air-guitaring the song.  Michael came along and used videos to tell a story - an odd story, perhaps, but a story nonetheless.  So call him a flake, a freak, or even something worse if you must.  Michael Jackson's influence on the music and culture of the late 20th century cannot be denied.  In no way will I ever be confused with a crazed fan, but I'd like to think I know talent when I hear and see it.

Someone I was talking with the other day referred to Michael Jackson as "the Elvis of our generation."  They also said that rarely does one appreciate the good you have until it's gone.  I'm inclined to think they were right on both counts.

Now that's one long concert

Ah, the things we'll do for fame.

I came across this article from Paste magazine about the new longest concert by a solo artist - some dude name Gonzales from Canada.  Total time: 27 hours, three minutes and 44 seconds. 

Wow.  And I get winded playing more than three hours.

I especially like the part about how he ate cereal with one hand, presumably leaving his other one free to continue playing music.  This, of course, leads us to wonder how he dealt with other bodily functions that operate on their own timetable, if you know what I mean.  Hmm, maybe we don't want to know.

Another question: Gonzales was obviously there for the full duration, but what about the audience?  Did everyone stick it out?  And if so, do they get a Guinness record too?

I mean, to each their own, you know?  I've never heard of Gonzales before, and I'm going to bet that you haven't either (although his label Arts & Crafts has some awesome bands like The Most Serene Republic, American Analog Set and Broken Social Scene).  If this is the only thing he does that any of us will remember, so be it. As long as he doesn't mind being known by the vast populous as nothing more than a Guinness Book Record holder, that's cool.

Here's some concert footage, and the "big moment:"

Gonzales, 27h de concert, la vidéo des dernières minutes
by fluctuat

So what's your take on it?

P.S: Don't laugh at him covering Britney Spears.  I don't know how his went, but it is possible to do it well.  Case in point.  Man, Nickel Creek rocks.  I miss 'em already.

Four albums out this spring that you should get

There's a lot of good music coming out these days.  To each their own, of course, but if I may let me suggest four albums in particular for your listening pleasure.

And please know I use the term "album" very deliberately here.  In our top-40 culture the concept of a solid collection of songs assembled together as a single unit is a fast-disappearing art form.  The music biz, sadly, is driven by "hits" - and hits don't need albums to carry them, especially when you can download a single song off itunes or Amazon.com.  It's easy to strike gold once; it's a lot harder to do it 10-12 times.  So more often than not you get CDs with one or two good tracks and lots of filler.  The four CDs I'm highlighting here, I would argue, are for the most part solid albums from start to finish.  More bang for your buck, you see.

Now that I've explained my theory of the album very verbosely (shocker, I know), here are my big four:

The Decemberists - The Hazards of Love: The first thing you notice about this album is that, while it contains 17 tracks, all the songs kind of merge into each other.  In other words there's no break between tracks, so the whole album i's essentially one 55-minute song, like the movements of a symphony or a classic Yes tune. Another symphony parallel is the way particular melodies, chord progressions and riffs keep reappearing in different variations, tying the album together.

If you're not familiar with The Decemberists, this album may be a good time to check them out.  The songs are well-crafted, the vocals are strong, and the different styles of music used throughout the record are refreshing.  Where else in recent rock/pop music, pray tell, will you encounter a harpsichord?  The five/six/seven member band is comprised of strong musicians who each bring a lot to the overall project.

About the only real negative with this album is part of what makes it appealing - the "one-song" flow.  It's cool, but it would be nice to have a break every now and then.  Still, it shouldn't be enough to turn you away.  Itunes - Amazon.com

Green Day - 21st Century Breakdown: I never considered myself a big Green Day fan until American Idiot came out in 2004.  I really believe that fifty years from now we'll still be talking about that album. 

The challenge for any band after such an amazing record, of course, is following it up - just ask U2 (The Joshua Tree), The Beach Boys (Pet Sounds), or Fleetwood Mac (Rumors).  Expectations are incredibly high and so many factors go into making a truly great album that, with a few exceptions, lightning rarely strikes in the same place twice.

So here's how to approach Green Day's latest - just accept the fact that it's not another American Idiot.  If you do that you're in good shape, because the truth is that this really is a solid record.  Like Idiot it tells a story about the triumphs and pitfalls of living in American culture, which this Rolling Stone review does a good job of recounting (and comparing it in some notable ways to its predecessor).  At the risk of undermining the aforementioned album theory and highlighting a few songs, you'll definitely want to hear "Know Your Enemy" (the current single), "21 Guns" and (because it's different) "Peacemaker." 

Two caveats: first, keep in mind that this is Green Day, which means they like throwing a few choice words around - little ears beware.  Second, Green Day is not much of a fan of organized religion, Christianity in particular.  So if you're easily offended by this sort of thing you may want to keep that in mind (and while I'm on the subject, if you're looking for a more thoughtful analysis of the plight of American Christianity, might I suggest this and this.  Just thought I'd mention...)  Itunes - Amazon.com

Jars Of Clay - The Long Fall Back To Earth:  In some ways it feels like so long ago that we first heard these guys, way back in 1995 with the release of their first album and its runaway hit "Flood."  Back then they were known - and still are - for being the rare act that successfully "crosses over" from the contemporary Christian market to the mainstream.  The reason they've been able to do this, in my opinion, is not due to slick marketing strategies (although they've certainly had those) as much as the fact that they simply put out good music.

One of things that's impressed me about Jars of Clay over the years is how much they've improved - musically, songwriting, the whole package.  With each album they seem to take another step ahead as a band.  TLFBTE is a perfect example of this.  The album is chopped full of good songs that are written, performed and produced well.  Particularly notable is the evolution of lead singer Dan Haseltine, whose vocals are richer and whose range has expanded tremendously in recent years (check out "Hero" and you'll see what I mean).  The album also has a distinctive 80's feel to it - you listen to "Heaven" and you'll want to dig out your Rubik's Cube and Members Only jacket.  Okay, maybe not, but it will take you on a trip down memory lane, I promise you that.

The fact that the first single "Two Hands" is not the best song on the album means we'll be hearing more from this CD in the near future.  Itunes - Amazon.com

Coldplay - LeftRightLeftRightLeft: Good albums are rare these days, folks.  What's even rarer are free good albums.  But that's the case with Coldplay's latest.  The deal is this: everyone who attends their upcoming summer tour gets a free copy of this CD.  Missed out on snagging a ticket for the show?  Don't worry - all you have to do is go to their website and download the album.  You can do it right now, in fact (just finish reading my blog first).  They ask for an email address, but they allow you to opt out of being added to their mailing list. Wow.

Have these blokes totally lost it?  Hardly.  In fact, it wouldn't surprise me if this becomes more common in the music biz.  Successful bands like Coldplay don't really need to siphon more money from their faithful as much as further expand their audience base.  What better way to do this than offer a free album?  You not only solidify the loyalty of your existing fans, who think you're even cooler than they thought before, but you're bound to get new people to take a chance on you.  As a side note, this is exactly what happened when a band I'd never heard of, The Damnwells, offered their latest studio project at no cost.  What did I have to lose?  I downloaded it and liked it so much that I paid to get an earlier album that's fantastic.  They got themselves a new fan because they did some "outside-of-the-box" thinking. 

As I said before, what makes Coldplay's latest even more remarkable is that it is not just free but good.  Very good.  Understandably the nine songs, like the tour, weigh heavily toward stuff off Viva La Vida (and some tunes from the B-side follow-up, Prospekt's March), with a nod or two to earlier times.  Making live albums is not that easy - you're working in less-than desirable circumstances (read: not a studio), so you've got to mic everything perfectly (including the oft-neglected instrument of a good life recording, the crowd).  Balancing all those factors is tricky.  You also have to mix the tracks so things flow together, like the crowd noise from the end of a track to the beginning of the next one.  Otherwise it feels like a patchworked collection of tunes instead of a true live concert.

LeftRightLeftRightLeft passes these tests with flying colors, in my opinion.  These songs really come alive when played live, and the boys successfully shoot down critics who say they rely too much on studio magic and are not "true musicians."  All the songs are great, but "Fix You" really stands out.  I dare you to listen to the crowd singing the chorus and not get chills up and down your spine.

Oh, and it's free.  Did I already mention that?

*******************

So there you are - music to carry you from spring into summer!  Feel free to add your own favorite spring 2009 album in the comments below.

The day Prince took out Acoustic Blend

Last Friday evening after a nice little Acoustic Blend gig, Ken and I hung out at a local Starbucks and talked about the state of our two YouTube clips from the big Civic Center concert almost a month ago.  Looking it up on my Blackberry we learned that "Ants Marching" had 103 hits, while "Purple Rain" had a whopping 1,232.  It was cool to know so many people were checking them out.

Turns out that would be the last time I'd ever get a hit count on the Prince tune, and the last time anyone would ever get to see it.  Yesterday I got this email from YouTube:

This is to notify you that we have removed access to your video, Acoustic Blend - Purple Rain (Prince cover), as a result of a notification by The Publisher claiming that this material is infringing.  For more information, please visit our Copyright Tips guide.  If you believe this claim was made in error, or that you are otherwise authorized to use the content at issue, you may file a counter notice.  Sincerely, The YouTube Team

Well, at least they were nice about it.  "Sincerely" and stuff....

Seriously, though, what a bummer. And quite perplexing, as videos of people performing covers are quite aplenty in YouTube land.  If I'm trying to learn a tune for Mediocre Bad Guys, YouTube is the place to go to see how folks are playing it.  So when did this suddenly become an issue?

Turns out the issue may be more of "who" than "when."  At band practice last night Jerry reminded me of a blurb in a recent Rolling Stone issue about Prince's longstanding animosity toward his music being covered and posted on YouTube.  It appears that the eccentric (and certainly talented) artist wants to maintain full control over his image, products and music - a stiff challenge in an internet world for sure.  But the dude has a ton of money, which means he can hire an army of folks to do his bidding.  So it appears that Acoustic Blend is just the latest casualty in Prince's quest, and we will certainly not be the last. 

I hate it, if for no other reason than I felt it was a great cover.  Ken nailed the vocals, we had a real live bass player, and how can anyone ever forget Allen rising out of the orchestra pit for the solo!  Now that has been lost from the public eye forever.  So we shall take a moment to mourn the passing of the YouTube clip.......

There, I feel better now.

But have no fear, friends - I will not leave you lacking.  So I'm posting a few extra YouTube clips from the show.  Originals, of course ;-)  Enjoy the tunes.

When technical glitches can be a blessing....

It's funny how things happen, and at first they seem like the worst thing, and then later they turn out to be pretty cool.

So I was playing some music at Foothills Brewing in Winston-Salem - great place to play and listen to acoustic music.  That is, until your amp decides to give out on you.  Which it did, about an hour and a half into the evening.  And not only did it "give out," but it did so with a vengeance, emitting a horrible screeching sound anytime I strummed the guitar or sang into the mic.  It was right after I had kicked off "Meet Virginia."  Perhaps it didn't like me playing that song.

A few folks huddled around the equipment to see if they could identify the problem - a loose cable, a faulty volume knob, something that could be easily fixed.  After a few minutes of observation the collective declared it to be a faulty wire inside the amp.  Translation: no more powered volume for the evening.

This, as I'm sure you can imagine, is an acoustic performer's worst nightmare - more feared than the string that keeps breaking or the woman at the bar persistently requesting a James Blunt song.  I thought about calling it a night right there - it was almost 11:30 and I had played for two hours with a short break.  But the crowd had picked back up a bit and it just seemed kind of wrong to leave all that.  So I did the only logical thing: I unplugged and became the strolling minstrel.

Looking back on this, it's interesting that, in the history of performing arts, plugging in to a sound system is a fairly recent development.  Back in the good ol' days, six-stringers like me (or those with more strings like this jolly-looking fella to the left) would do their thing without the assistance of amplified sound.  And because they weren't tied down to cables and such, they were free to roam.  That's our heritage, and yet we've lost touch with it.  Kind of funny that, on those rare occasions when the sound system goes kaput, we musicians go into shut-down mode.  What, pray tell, can we do without our beloved crutch to lean on?

That was me for a minute or two at Foothills, until I threw caution to the wind.  I unplugged the quarter-inch cord from the base of my guitar and hit the road, playing another six songs around the room.  And the cool thing was that I got to meet and interact with folks in a way I normally wouldn't have be able too.  There was a table of six recent graduates from Salem College, only one of which currently has a job.  I wished the other five lots of luck.  There was a young couple at a nearby table; she recently flipped the tassel at UGA; his father is (how's this for coincidences) a Presbyterian minister.  There was another group of three that consisted of a Wake Forest grad student and her parents who had just made the trip from their home in Ft. Lauderdale.  In between tunes we had a nifty conversation about which Protestant denomination is most closely linked to the catholic church.

None of this interaction would've occurred if my amp had been working perfectly; if I remained behind the comfort of my microphone and guitar foot pedals, letting the sound system do all the work.  There would've been a few nods of affirmation from the distance, maybe a request or two.  But that would've been it.

Don't get me wrong - my amp is going into the shop first thing this afternoon.  I don't plan on making the strolling minstrel thing a habit.  But it was cool when I had to do it - and if, God forbid, the planets should align once again, I won't be as hesitant next time.

That, and the tips were much better.