30.5.07

The 1980s rural Alberta School of Music: Video Hits

I was gabbing with a friend last night about growing up in Smalltown Alberta. This and a little side conversation over at Gayleen’s blog recently got me thinking about how important the first fledgling music video TV shows were to feeding my early love of new wave music.


I grew up in a tiny village in rural Alberta, and I was the only kid my age in town. No Internet. No MSN. No email. No iTunes. No Facebook. No Blockbuster. Not even cable TV – it was PeasantView, man. Everyone had TV aerials that rotated atop 30-foot metal towers attached to their houses. If you pointed the aerial northweast, you got two channels – the CBC and CTV affiliates in Lloydminster. If you pointed the aerial west, you got two channels – the CBC affiliate in Red Deer, and the CTV affiliate from a repeater station outside of Edmonton.


God it’s weird to think of how much things have changed since I was a kid.


Anyway, aside from being fed an interesting diet of vinyl from my uncle Walt, my source of cool music was the mainstream TV shows dedicated to playing music videos.


God it’s weird to think of how much things have changed since I was a kid. ;-)


My must-see TV was CBC’s half-hour after-school show Video Hits. Samantha Taylor. Platinum Blonde. Duran Duran. Van Halen. a-Ha. Lionel Richie. Man they played a lot of Lionel Richie. And they had that killer boombox you could enter to win by sending in a postcard with your name on it. I never won. But I never missed a show. Sometimes I even recorded the audio for songs I liked onto my dad’s little ghetto with the built-in mics.


I would also do my best to stay up on Friday nights too so I could watch Good Rockin’ Tonight, also on CBC. Because it was a late-night timeslot, they could afford to stretch out over an hour and have interviews with bands, more like what MuchMusic was doing.


(I still remember the interview Stu Jeffries, who was the host after Terry David Mulligan, had with Loverboy guitarist Paul Dean. Dean had just released a solo album on the heels of Loverboy “taking time off”, and was in the studio to be interviewed about it. When they came on the air after a commercial break, Jeffries was chuckling. He said, “We were just talking before coming back on the air, and Paul just said something really funny – tell us again, what do you think about keyboardists?” and a smirking, fro-headed Dean said, “Keyboards are like condoms. You only use them because you have to.” I’ve hated Dean ever since.)


Those shows were my window into an exciting world of music that existed far outside of earshot of my hometown.


In a way, I think the ability for bands (like us) to very cheaply produce our own videos now and post them on a globally-accessible “station” like YouTube is as groundbreaking as the very idea of music videos themselves back when the oddly square-but-cool Sam Taylor would hold class every day after school via a snowy PeasantView TV channel.


It’s also a little depressing to think that at a time when there’s more music video content than there’s ever been in the history of pop music, there are so few mainstream outlets to view them. It’s painfully obvious that music TV stations like MuchMusic and MTV have very little interest in playing music videos anymore, and big interest in being the celebrity gossip rags' answer to CNN. Most other mainstream networks don’t bother with music shows either. I can’t think of a single one, actually, that does.


Part of what made the early shows like Video Hits and Good Rockin’ Tonight great for me growing up was the fact they were hosted, and the hosts would guide you and introduce you to bands that you would otherwise never know about, sitting in a basement in smalltown rural Alberta. Searching abilities on sites like YouTube are pretty phenomenal when you think about them with some historical perspective, but a personal tour guide is always hard to beat.


Still, I guess that’s all part of the big shift that’s afoot - people aren’t getting that kind of content on their TV, and that content is easily accessible on the web, so people are flocking to the web and traditional TV is struggling to adapt.


Hmm. If Samantha Taylor has a daughter, she should encourage her to host a Rocketboom-esque video podast introducing music videos, and post the episodes to YouTube. I’d tune in. Just make sure there’s a killer boombox you can enter to win. I’ll enter. I gotta win that thing one of these days!



cn

27.5.07

Caffeine Sunday on CBC Radio 3/New Music Canada

Caffeine Sunday was mentioned on CBC Radio 3 blog (read the post here) because Ryan uploaded our new videos of Low and Waiting for a Whisper to the excellent New Music Canada site.

cn

17.5.07

Low: the video

Welcome to the world of machinima. This particular video was made using the Sims 2 and Final Cut Express. I originally thought this project would be done in a weekend but it ended up taking almost 2 months. That's the difference in time and effort between something like this and something like this (wow!) I got a lot of inspiration for the plot while standing in line at the KFC on 109 St (avoid this place, trust me). Yes, that's Dr Derek Shepherd in the hospital scene (he was a real pro, worth every penny).



Look for more new videos coming soon. Sooner than 2 months.

16.5.07

Excellent article on modern bands and social media - Artist 2.0

Got this link from our online distributor CD Baby to an excellent New York Times article on successful indie bands that use a variety of new Web 2.0 technologies (YouTube, MySpace, Facebook, blogging, email, digital distribution, viral marketing, etc). I don't know if there are any successes on comparable levels among Canadian artists, but there could be. I don't know of any off hand. Still, and interesting read and an interesting debate for musicians on the balance between engaging fans, and staying sane.

Read the NY Times article

cn

15.5.07

In the studio - 12-05-07

Lug 'em out, blow the dust off, plug 'em in, feel a slight sense of relief that they still work, begin playing, smile, hit record... Even in the new world of DIY recording - with complete studios of virtual synths living inside your computer - it's nice to dig out some vintage synthesizers - the hardware kind that weigh 40 lbs and collect dust around the switches and between the keys - to pinch hit every once in a while. Not that I have amazing Roland or Moog modular systems to pull out and play with, or even smaller analog synths like the Minimoog or Arp Odyssey. This isn't Depeche Mode's private stash. But... it is part of the creative process when recording.

In doing some pick-up spot recording for a couple of songs on the weekend, I played tracks with a couple of long-time members of the studio - my Korg DW-8000 and the Ensoniq SQ-80 that I'm using right now as a MIDI controller for my studio. Both of these synths have appeared prominently on all of Caffeine Sunday's previous recordings (as well as on all the recordings for our previous bands including Beyond Belief).

The Korg, which was built c. 1986 and I've had since 1992, has a melancholic pad patch that for some reason I keep reaching back for, a sort of secret ingredient in the sauce to make a particular mood. The new track Cubicle needed some sauce, so I dusted the Korg off and layered that patch into the mix. Subliminally instantly better.

The SQ-80 is the synth I learned how to sequence on, and is still probably the easiest synth I've ever had to program sounds and sequences on. And like the Korg, it's a bit of a weird hybrid that's part analog and part digital (the digital part based on pretty grungy samples that have a tell-tale sonic signature to them). You'd think that among synths, a sawtooth wave is a sawtooth wave, but anyone who uses synths knows the differences among all synths even on basic patches is quite a but like the differences among guitar models (even among different years and issues of the same model). The Ensoniq has a sound that's different than what you get out of Reason. Not better or worse, really, but different, and in a couple of songs I went in and layered in a track played on the old Ensoniq (from '88, and was basically an updated/upgraded version of Ensoniq's ESQ-1 synth from a couple of years earlier).

Maybe no one else would ever notice these kinds of subtleties, but now when I listen to the "rough cuts" of these songs they don't scream "hey this needs some Korg Patch #34 mixed in there!" every time now!

cn

p.s. Also demo'd a brand new idea for a full-on, Pet Shop Boys-esque synth disco track. We'll see if it's something that would be in the cards for this album or the next, depending on where it goes as I flesh it out, write more lyrics, etc.

11.5.07

New Order goes out with a whimper

New Order - one of the five essential food groups of the '80s (and beyond of course) - appears to have split apart permanently.

(Wired story here)

All I can say is -- boooo......

cn


(Regular blog post to come tonight)