Friday, June 27, 2008
Chapstick Weekly v7
Chapstick Weekly-ish
For the prudent gentleman or gentlelady
NEWS!
July 19th 8 p.m. to 11 p.m.! Savvy Salon on Broad Ripple Avenue is hosting the First Chapstick Weekly Launch Party! There will be Chapsticklips Models, giveaways, unveilings, revelings, and the greatest music you've ever heard, duh!
Check Your Backseat Mix
Light My Fire – The Doors
Rollerdisco – Black Moth Super Rainbow
Mercy – Duffy
Sexx Laws – Beck
Hold On – Hot Chip
Lights & Music (Boys Noize Remix) – Cut Copy
I Created Disco – Calvin Harris
This Boy’s in Love – The Presets
Live Fast! Die Old! (Headman Remix) – Munk
God Kveld – Bjorn Torske
Minuit Jacuzzi (DaTA Remix) – TEPR
Smile Around The Face – Four Tet
The Birds and the Beats – Booka Shade
How Many – Tender Forever
Hey Ya – Obadiah Parker
Albums in my Car
The Doors, Greatest Hits
Beck, Midnight Vultures
Slow Runner, Mermaids
AIR, Moon Safari
Sean Lennon, Friendly Fire
The Little Ones, Sing Song
Interview with Owen from The Elms
I had the privilege of getting to interview Owen from The Elms, and his thoughtful, compelling responses merited a rendering in full. Here it goes!
Oddly, I don't listen to much music these days, so it's probably not that! We're just much more confident than ever before, and it certainly creates a type of fearlessness. I think all the boys in the band are inspired by each other. Everyone in the band plays so well, they're all very capable and in control. For me, I'm just thrilled to do this with these guys, my closest brothers. That's the most inspiring part for me, and all the most precious parts of it are rooted in the time we spend together.
Is this just a continuation of the inspiration that you felt fueled the changes seen in Chess Hotel from your earlier work?
We're notorious for taking too long to make records, so when we made The Chess Hotel, we resolved to have it finished in a matter of weeks. We recorded for 12 days, then mixed in four, and it was done. We're very proud of that record. Now, we're digging a little deeper, searching for the finest songs we can possible write. The record will take some time to make, we're back to our old ways. It's a totally different process from TCH. We'll record a bit, then write a bit. We do it in waves, in cycles. We've got 80 tunes written. I'd love to make a double album, or sell half and give half away free. I think it will wind up being very uplifting lyrically.
It seems like you are still doing a lot of your own promotion, if not the majority of it. What are your thoughts about the music distribution technology out there, i.e. the interweb, MySpace, iLike, HypeMachine, and Muxtape?
We're very hands-on online. We embrace the bulk of what's going on with social sites, but ultimately want our official site to be the hub for our online operation. It's hard for MySpace to not be seen as the priority when bands are so obsessed with how many plays they're getting. It just seems to breed such silly, frivolous competition. Our official site gets far more activity than our MySpace, which is how we like it. It does my ego good when our MySpace is getting thousands of hits versus hundreds, but who cares? Online, we're most dedicated to offering as much interaction and information as possible to people who want it. We can do that on our official site and offer many more amenities to fans of the band. MySpace is just sort of clunky. iLike is more far-reaching, and offers better downloads. But we do what we can to push people back to our official site in order to create our own community.
Does your band benefit from this ease of listener access? Or do you think you lose in potential sales?
We're more interested in people hearing the music than anything. The accessibility online is far more an asset to new bands than a hindrance. We've always released CD's with record labels. People don't realize that in order to see mechanical royalties from your label, or actual dollars from records sold, you have to recoup all costs of making, marketing, and releasing your record. Most bands never enjoy that type of success, you really have to be a superstar act for that to happen. Then, once you do recoup, you're only contractually entitled to a very small percentage of the profit. Most bands live off touring income and publishing royalties, we certainly do. So our priority will always be to get people to shows, get the music used in film and television, or to let people support us in tangible ways, like our online store. Things are sustainable that way.
How important is establishing and maintaining a sort of music community?
Very important. Nowadays, it's probably THE most important thing. The internet has nearly destroyed the idea of the aloof, untouchable rock star. Bands who succeed for more than five minutes are very in touch with their supporters. By in touch, I don't simply mean that they know their fans' desires. I mean they legitimately communicate with them whenever possible. At shows, online, wherever.
How often do you play music with people outside your band?
I don't. I'm not interested in it and have no need for it. The idea of moonlighting doesn't do anything for me. And if I'm being honest, the idea of playing music with guys other than Thom, Chris, and Nathan sounds miserable. This is only a matter of perspective, though. I guess it would just seem to compromise my efforts, and I love the old Pat Riley quote, "You're either in or you're out. There's no such thing as a life in-between."
How important is keeping up with the available technology that is available for musicians to use, i.e. electronic drums, sequencers, synths, loopers, etc.?
We use very little digital equipment as it pertains to our personal gear onstage, maybe just 5%, for things like a guitar pedal or click-track. We do record digitally, though, and it's made the process of recording music very efficient. At one time, we only recorded to analog tape, but found that the sacrifices in sanity and functionality outweighed the sonics, so we go digital in the studio now. It's cheaper too. Most of the guitars and amps we use are older than we are.
Do you ever picture incorporating more electronic instrumentation into your music, even something as common as synth keys or something like that?
Some great records of the last few years have strong electronic elements, like M.I.A. or MuteMath. But again, our band gravitates to simpler, raw stuff. We've had small electronic bits on records before, but it will probably never become a prominent part of our band's sound, unless Chris really starts getting into Kraftwerk, which is unlikely.
From reading about you, it seems that your initial rise in the music ranks was thanks, in part, to the ballooning world of the Christian Rock genre. What other things do you think allowed you to separate The Elms from the pack?
Maybe the gospel genre is thriving, but I don't know about "Christian rock." I don't really have my finger on that pulse. It was funny, though, because we signed a record deal with a gospel label called Sparrow in 2000, right when we were getting started. I mean, when you're 19 and someone offers you a deal, you don't think much about it. Immediately after our first record came out, people were saying things like, "You'll never make it in this market," or, "These people aren't going to understand you." At first, I didn't get what that meant. I thought that if we were good, they'd like it. But it's a very different scene, with much more complicated criteria than just being a good band. We're much happier in front of rock audiences, even though there's a spiritual bent to our music. As far as being separated from the pack goes, we just ended up where we were most likely to thrive, and that wasn't in gospel music.
In a single line, describe what you think your music sounds like. Be as creative as you like (eg. like two trees grown together on the horizon, like the breath you take before jumping into icy cold water, like a German tourist masquerading as a Belgian philanthropist).
That's tough. I guess we just sound like we're trying to do our best Kinks impersonation.
What’s New to Me and Maybe New to You
Duffy
As if you could get enough of the early 70’s soul, reformed, remastered, retried, and reanimated! It’s been more than 30 years, and as a collective, we are all still in the grips of our imaginations, dancing on smoky dancefloors, and Duffy does well to lead us into another funky album where we can dance in tight, short cords, with our arms waving in front of us while watching those that know how to get down in Motown really do it. (Speaking of imagination, I always imagine myself dancing just like them.)
Slow Runner
Although much of their most recent release houses a benign, gentle feeling in thoughtful musical overtones, a shining gem sticks out on this album: “Trying to Put Your Heart Back Together.” This single begins slowly and picks up steam as each next track is added, tracks including a duet female vocalist, dancey percussion, and a heartfelt fill of keyboard and bass. By the end of this song, you’ll be moving your shoulders and singing along to its catchy hook.
The Little Ones
Catchy, straight-forward rock with a good beat, talented musicians, and a great frontman leading the way. This band will catch your attention with their talent, then get you smiling with their angled approach to songwriting, incorporating just the right amount of synth, drum fills, and vocal crescendos to life the proverbial spirits. Their compositions are masterfully put together, with a charm that could only be found, attracted to the Astralwerks label.
In Case You’re a Dummy
Buy the Hot Chip, Made in the Dark album! Hot Chip doesn’t disappoint, building you up to speed within two minutes of the album until you are jerking about, dancing like a cat’s toy on a string. There are even a few lovers’ songs for you softies out there! A little shiny tidbit: Todd Rundgren is sampled on “Shake a Fist” describing a game called Sounds of the Studio (In the words of Willy Wonka, “You’re going to love this, just love it.”). As if you needed a bonus, this album comes with a DVD that gives you a glimpse into the genius that is the Hot Chip live performance. It is indescribable, and you have to see it to believe it.
The Alamo: Beck, Midnight Vultures
Remember Beck, Midnight Vultures? That album that snuck into the mix under the radar, but by the time it left, you were singing in a falsetto you didn’t know you had?
By the end of the first track, you’ll be confused as to what year it is, and, in your disorientation, you’ll be swept away by the sheer momentum of this album. The rolling bass lines, the solid simple beats, and all the sounds that can be managed to be squeezed in between!
Released in 1999 (before the Y2k panic), it shows shades of banjo, slide guitar and other remnants of the former Beck efforts, but it is fully injected with an overdose of 70s disco zeal and an abandonment that gives even the most conservative man freedom to dance, sing, and do all the silly things they usually see everyone else doing. It was the fate of this album to be the one to which all future beck albums would be compared, in terms of diversity, experimentation, and danceability.
Oh yeah, and Debra is on this disk. That’s enough reason to go rooting through the boxes you’ve never unpacked from your last move to get this disk out.
Technology for Sounds: MixWit.com
Mixwit.com. Make a mix online, that you can post on your own page! (I did!) This is going to be very important to you amateur mixologists out there. Get comfortable with this one, because in the near future I’m going to be using it to broadcast your very own, very first, very great Mix EP Competition Extravaganza! Select from a vast catalogue of songs, or upload your own .mp3’s, and put them all on a really cool, strange mix tape electronic creature!
Some Things Are Funny
Like jumping up and down at concerts. I write this at the risk of sounding old. In the sense of old beyond my young years.
Floorboards creaking underneath, the Double Door’s long-awaiting appearance of Crystal Castles was greeted with urgency only the most eager Chicagoan (rhymes with Obiwan) could dish out. Everyone, at the cue of some unseen beehive-pheromone signal, immediately negotiated for a prime position near the stage: this is where jumping up and down is the most enjoyable and effective.
Jumping also allows you to really impress the ladies. The higher you jump, the more vigor and emotion you put into it, really shows the duality of athleticism and sensitivity that the modern young woman can really appreciate.
This poses both a moral and philosophical conundrum: was House of Pain right?
Next Week:
Zero 7, LMNOP, Midnight Juggernauts, and more gloss for those puckering kissers.
Tuesday, June 17, 2008
v6
Chapstick Weekly-ish
For the prudent gentleman or gentlelady
Check Your Backseat Mix
Kick Drum (feat. Spank Rock) – Shy Child
Tenderoni – Chromeo
Working Bees – The Pinker Tones
You, Me and the Bourgeoisie – The Submarines
Cosmic Rapp – James Pants
The Shake – The Elms
Lay Down The Law – Switches
Vanished – Crystal Castles
Dotted Lines – Electric President
Trying to Put Your Heart Back Together – Slow Runner
Two Sisters – Headman
I Kissed a Girl – Katy Perry
Weird Fishes/Arpeggi – Radiohead
Shut Up and Let Me Go – The Ting Tings
Into the Galaxy – Midnight Juggernauts
Lights & Music (Boys Noize Remix) – Cut Copy
Albums in my Car
Switches, Lay Down the Law
Electric President, Sleep Well
Calvin Harris, I Created Disco
Headman, Catch Me
AmpLive, Rainydayz Remixes
Crystal Castles, Crystal Castles
Catching up with Switches at the Vogue
It was my pleasure and enjoyment to get some time with Switches before they played their June 10 show at the Vogue in Indianapolis, opening a 4-band night with headliners She Wants Revenge.
I’d like to mention that 1) I love English politeness, pomp, and personal presentation and 2) I love the idealist that is the BritPop rocker.
While much of their music is unabashed straight-forward pop (their single, Drama Queen, is the theme song to MTV’s new reality show Legally Blonde), their incorporation of vocal harmonies and unmistakeably, a bouncy danceability, separates them from the pop herd.
“We really separate ourselves with a music talent we can be a bit smug about,” said Matt, the lead singer and primary writer on their current release. “We use a lot of harmonies that sort of reinforce the chord structure. Like on Drama Queen.”
And their talent is evident with the creative approach to the melodies and arrangement on several of their tracks. Most markedly on the track “I Need To Be Needed” with its sweeping vocals that lead into a fabulous harmony late in the track, and in the rhythm of “Lay Down the Law” as well as a short interlude burst in that track with a tooting, minimalist organ sound.
But what is it in the song creation process that really makes them danceable? Do they start out that way?
“We keep it simple,” said their drummer, Steve. “I just play what suits the song, with small variations or touches.”
“It really is a more studied approach to music,” added Matt.
When asked about a one-line shot to describe their sound, they gave me some good answers:
“We’re like a trashy old whore in a three-star hotel suite.” Also, “We sound like trash whips coming in whipped streams.” Editorial note: when an Englishman says whore, I feel like it means something a little less abrasive.
Their music, albeit a bit poppy for this publication at times, is truly enjoyable, and, according to the band, will probably have some electronic instrumentation in its future (which I am excited to hear).
Switches’ album, Lay Down the Law is now available to purchase wherever you might like to buy it. They are currently heading west through the US on the Nylon Magazine Music Tour.
What’s New to Me and Maybe New to You
The forlorn, attractive delivery of this band’s gentle electronic sound will take you to instant nostalgic heights and new, somberly electric lows. Unyielding, steady percussion guides their newest release through labyrinthine verses and echoing choruses, rife with heartstring-pulling melodic ups and downs. Thoughtful, precise, yet utterly self-conscious swells will reach you on an extremely personal level, if you let them. I suggest you do.
If I could get away with just saying, this album is good: you won’t be disappointed, I would. Dancey arrangements, intelligent sequences, and a natural, practiced instrumentation wedge this album neatly in the all-things-dancefloor genre. Drawing from the common influences guiding the electronic/dance world right now, this album probably contains 11 viable singles (out of 13 tracks).
Capricious latin rhythms combine with quirky effects and instrumentation to be capped of with a whipped, hip-swaying funk. Their infectious sound will evolve slowly through your body, from toe-tapping, to head-nodding, to shoulder bouncing, to 100 calorie per minute burning hip gyrations. Sounds like a beautiful summer day street festival in high gear, complete with watermelon stands, round, brightly dressed and flirting women (I’m thinking early thirties), and the far and wee sounds of children playing in sprinklers.
In Case You’re a Dummy
Buy the Beck, Guerolito disc. But Tengan Cuidadolito! This album contains one of the most engaging, compelling remixes ever created by man or machine (Ghettochip Malfunction, the 8Bit remix of Hell Yes). You will end up dancing on a table, couch, desk, or various other available pieces of furniture. Did you like Guero? O’ course ya did! Who th’hell don’t! This is the musical masterpiece follow-up with remixes from Islands, El-P, Adrock, Subtle, Boards of Canada, and Air. What happens when you shove all these people onto a construction site with blueprints and schematics from Beck? Well, this does, duh.
The Alamo: Clap Your Hands Say Yeah!, Clap Your Hands Say Yeah!
Remember Clap Your Hands Say Yeah!, Clap Your Hands Say Yeah!? The wildly eccentric, mostly ineligible, circus-fire vocals whose unpretentiousness begs you to sing along with your best guess on what the words are? The abso f’n lutely rocking four-piece backing band reeking from a full day in the kitchen of everything danceable and late nights on a 1974 BBC live radio broadcast?
This album’s enthralling sound is rumored have been a top pick of legendary David Bowie and legendary David Byrne in the same month. Upon its release, it fulfilled the fledgling promise of the upbeat, rock style on whose leading edge it rode.
This album will forever remind me of my virgin visit to NYC, packed 7-deep into a small 4-door, racing through the Brooklyn streets behind an absolute madman at the wheel, showing little care or consideration to the usual traffic laws and guidelines! If you want, it can remind you of that too.
Long story short, it’s summertime, and your summertime adventures need a soundtrack. Get this one back out. Stomp your feet, shake your fist, get sweaty, and sing into your imaginary microphone on stage in front of an arena filled with rows upon rows of people singing into their imaginary microphones.
Note: I have to reveal here, that this is not much of an “Alamo” for me because it still dominates my 25 most played list 3 years after its release. But I thought it might be for you.
Technology for Sounds: Monome
Adaptable, minimalist interface. Incredible. It’s hard to explain exactly what this is, but easy to explain what its seeming limitations are: none. The sample videos on the blog-like website exhibit a few masters using this device to arrange elaborate electronic compositions. Even more amazing is that they are doing so live. Utterly amazing. If I had the time to devote to incorporating this device into my life, I would!
ps. A thanks to Justin, a random encounter at the Wellington, for pointing me to this one.
Some Things Are Funny
Like jukeboxes.
So, Katie Jones put me on to this article about a T-Shirt company, Threadless, Inc., that is the epitome of the user-interface Web 2.0 infrastructure. What they have done, is built a t-shirt empire built on the voting and purchasing and designing of a large online social network. And it works, with wild success.
Why doesn’t the user-interface work at a bar with a jukebox going? Shouldn’t user selection generally override the bad music that you can already hear on broadcast radio or American Idol? I am not cynical enough, yet, to believe that we have been force-fed popular, uninspiring music enough to have to regurgitate it everywhere we go.
It seems the user-interface override would particularly be effective with the modern jukeboxes that allow user downloads of new albums and tracks, creating a virtually unlimited library.
Yet, why is this not the case? Why don’t people just play something good!? Is it a few squeaky wheels that muck up the entire playlist? The many buzzing thoughts in my head point to no solid solution...however! If I may, I would like to leave off with two thoughts...
1. Is there such a thing as universally, genuinely good music? (ps. if you know anything about it, this is similar to the questions of Plato and his Forms in Phaedo)
2. Is there hope that this “Good Music” can trump musical taste? Can trump genre and popularity and access and familiarity? Can be recognized by every open-minded listener as simply: good.
Next Week:
Monday, June 2, 2008
v5
Chapstick Weekly-ish
For the prudent gentleman or gentlelady
It's Late, It's Either Monday or Tuesday Mix
Electric Feel – MGMT
Beat Control – Tilly and the Wall
Ready for the Floor (Extended Mix) – Hot Chip
Hock It (YACHT Remix) – The Blow
Sad Song - Au Revoir Simone
Lovers Who Uncover (Crystal Castles vs. The Little Ones) – The Little Ones
In Your Machine – Alex Metric
We Share Our Mother’s Health (Ratatat Remix) – The Knife
I Love Rock ‘N’ Roll – Queen of Japan
Mary, Mary – Run-DMC
Faustz – AmpLive
Electrotumbao – The Pinker Tones
Chains – Sons & Daughters
Creeper – Islands
Humankind – Alice Russell
You Are My Face – Wilco
Vampires in Blue Dresses – Margot and the Nuclear So and So’s
Albums in my Car
The Pinker Tones, Wild Animals
Blank Blue, Western Water Music Vol. II
Crystal Castles, Crystal Castles
Ronald Jenkees, Ronald Jenkees
Easy Star All Stars, Until that Day EP
Mojib, Whimsical Lifestyle
Catching up with Richard Edwards, Margot and the Nuclear So and So’s Interview
Richard Edwards fronts Margot and the Nuclear So and So’s on stage with a calm, conversational style, letting the music speak for itself, mostly. Away from the stage, he is much the same.
I spoke to him at a stop on his tour, in an unidentifiable city somewhere west of here (close as I can guess is Lawrence County, Missouri, playing that night at a place called The Jackpot). After getting there, a label-organized national tour with a major label release pending and a set recording contract for more music, what is left for this Indianapolis band?
“Our goals? We want to keep making better records. To continue growing...working hard,” said Edwards.
Well said: the ethereal future for this band whose explosion continues to ripple outward, it seems, isn’t dotted with concrete markers along its way. But how did they get to this vantage point? How does a band make it out of the humdrum, barely-supported scene for local music here? What separates this band from other bands? It is a constant musing of mine
“If I had to give just one answer, I would say extreme sacrifices. We all moved in to a small house together, toured together with no money.”
And I suppose that is exactly what I can see in the bands that typically circulate Indianapolis. An “as long as its fun” approach to making music, centered on me and I.
Specifically to do with The Dust of Retreat, Edwards gave a fitting description, “It’s like the first time a little kid uses a curse word: articulate and charming.” There is obvious talent and power in their music, and their approach does seem to come from the intrigue of discovery. He continued, “We are some people who are very passionate about getting their message across, throwing everything at it. Dust of Retreat has some good examples of that.”
Margot and the Nuclear So and So’s are now on tour in the Western United States. Their next release, Animal! is set to come out the middle of this summer (as accurate as I can get).
What’s New to Me and Maybe New to You
Is there something wrong with me, or is it natural to be listening to “I Love Rock ‘N’ Roll” on repeat? Queen of Japan takes this, and a number of other stalwart steadfasts of rock and nostalgia and feeds them to a nearby ambiguously gay, early-model, dance android, who, after chewing delicately, spits back out a barrage of capricious, shake-your-ass ridiculousness! If you’re not cheesing and rotating those hips by the end of “I Love Rock ‘N’ Roll” you will be after “I Was Made For Lovin’ You”!
Picture yourself in a record store at closing, over-sized cheap headphones on, eyes closed shaking your head slowly with a satisfied smile perched on your lips. Suddenly you have bridged some previously irreconcilable harmony. This is what is playing. The gentle seascape layers of music that build each track to greater and greater heights are masterful: never dominating, but letting you ease into the body-temperature warmth of a much-needed embrace. The album “Western Water Music Vol. II” will take you on a ride away from the harsh realities of this world.
Whimsical Lifestyle is the name of his album, and the image conjured of a Pacific Islander, 15-year-old kid behind the ship wheel on an old-style yacht, complete with white captain’s outfit, smiling into the breeze is fitting. This downtempo music is riddled with loops and samples that tickle your memory, and some that don’t: I hear Kings of Convenience, early Moby, and Regina Spektor track samples so far. Whimsical is the perfect word to describe this music, that carries you through lo-fi beats, acoustic guitar, Disney-like electronic instrumentation, sitars, and of course, high-harmonic bell sounds.
In Case You’re a Dummy
Buy the Cassius, 15 Again disc. With the exception of Pharrell’s appearance on Eye Water, this album is fantastic front to back. Catchy dance songs, driving dance songs, beat-driven dance songs, and funky French interludes fill this CD to the brim, and their no-nonsense joy-seeking spills the music over the edge! Another French album on my list here, but it’s just so good. So good! From the first track on, this re-emergence of Cassius is one that you wished you bought when it just came out.
The Alamo: VHS or Beta, Night on Fire
Remember VHS or Beta, Night on Fire? All the vocal power that a five-foot nothing skinny Asian man could possibly produce across unquestionably danceable tones carrying all the dignity that a funky 90s-smelling sound can offer.
Dust off this album, and if you don’t have it, take a good look in the mirror and reassess your life, dummy. The scope of the types of people that could enjoy this album range from people that never made it out of the 90s, middle-school teachers letting loose, lost teenage Louisville runaways, and anyone who owns a convertible to budding music newsletter writer/editor/publishers.
This album has been a fixture, and one of the first original danceable bands that helped usher in this era of danceable dandies!
In short, this album came out of Louisville, and carried this band across the globe on the Astralwerks label (same label as Air, Cassius, Magic Numbers, and Hot Chip to name a few), from summer trysts in Ibiza to international tours and back to the midwest. This is certainly a disc that welcomes a long return.
Technology for Sounds: The Apple Airport
I bought one of these Apple products from Ebay on some Chinese portal. It was difficult to read what exactly I was buying, but I had a good feeling. This is a wireless router that plays music from your iTunes library (and any USB device aside). I literally plugged it in by my stereo, plugged my RCA’s into my stereo, and connected via iTunes. Easy to use, you can plug this little guy in anywhere, this device is a must for anyone who regularly listens to music produced out of iTunes. This $15 plus shipping item has really allowed me a diversity of music listening that I could have only hoped for.
Some Things Are Funny
Like finding Ronald Jenkees on YouTube. Like finding any music on YouTube! I can be stubborn, headstrong, whatever. What comes with this, among many ill things, is that your mind closes down a bit, limiting accepted input, and stifling the great music you can hear on…YouTube.
Ronald Jenkees, from nearby Kentucky, is a peculiar, mole-looking, late-twenties guy, who is unnervingly graceful at the keys. Through a webcam perched at the end of his full-length, full-throw keyboard, we see him bobbing his head to each next creative beat, playing extraordinary configurations of melodies with a range of voices and effects.
I can’t believe the dexterity with which he approaches playing this music! His glass-bottle glasses magnify how much he must be nearly blind, but this cannot take away from the obvious happiness he has found with the ability to share his music.
Side Note: It is for once, heartening, to see something like this surface on YouTube. This man is obviously not good looking, nor is he blessed with a silver tongue. But, somehow, he rose to the top of the YouTube pile. The only explanation is that his music brought him to where he is now. And that is something.
This is one thing I have been coming back to, watching, on impulse, several times a day. His self-titled album would have never been near my peripheral if it hadn’t been for his posting on YouTube.
So, as he ends each of his small videos, “Hello YouTubes, that was too much fun. Thanks for listening.”
Next Week:
Amplive, The Music, and more gloss for those puckering kissers.
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