Archive | May, 2012

On the Edge of the World with Troup

21 May

Troup

Here is a question for you all. What happens when you take a Wales-born musician fully ensconced in the Britpop scene and throw him into the emerging Indie rock scene of California? Think of a chemical solution. Sometimes you squeeze some fluid into the solution and, while you may be covering your face and bracing for impact, nothing happens. In this situation, the solution popped, and out erupted an intriguing mixture of Coldplay-esque melody and west-coast indie. The sound that splashes your ears is heavy on melody, harmony, and soul. And it ain’t acid. It’s damn refreshing. So how about we take a dip into Troup.

Troup formed after frontman Alex Troup moved to Los Angeles in 2006. In exploring the local music climate he met producer/keyboardist Evan Beigel and eventually added guitarist Claudio Tristano, bassist Darren Thomas McGuire and drummer Brandon Davis. Troup released their first album Last Chance for Romance and it has started gaining radio play everywhere from local California stations to BBC radio. And it’s totally alright to jump on board. The band demonstrates a keen ability to create radio-friendly hits that are all different. Troup does not suffer from the dreaded “it all sounds alike” syndrome.

“Edge of the World” leans on Troup’s British sensibilities, focusing on an easy-to-swallow chorus with light harmony and a crying echoed guitar slide, well done by Claudio Tristano. Troup has a wonderful pop/soul voice. If bands are carried by their lead singer’s ability, Troup (talking about the band now) will certainly be able to transcend markets. The “oh” and bridge portion around 2:30 is clear Britpop, and while I hate to beat a comparison, it does certainly sing out Coldplay or Snow Patrol. The song goes down smoothly and aside from a sound flicker throughout it fits Britpop like a warm mitten.

But hold on one second. I told you this band had diversity and “Some Lie” brings it. The song travels across the pond with Troup and demonstrates his Los Angeles experiences. It actually plays like an introduction to the city. I can imagine a chorus of California-ites doing the beginning “la, la, la” part as one hovers of the Hollywood sign. It reminded me of the las in Old Man River’s “La.” More importantly than my idiotic movie song ideas, “Some Lie” demonstrates the variety of Troup, and why I think this band can seriously go places. The chord progression is purposefully choppy in a relaxed fashion allowing the rhythm section of Darren Thomas McGuire and Brandon Davis to take over until the guitar comes in with an overlayed solo after the first verse/chorus, adding to an increasing wall of sound. I applaud Evan Beigel. It’s west coast blues, focusing on effects layered upon a blues track. And Troup uses this background to demonstrate his soul. He sings with passion and even grunts a bit. Killer song.

“Mickey Mouse Teeth” rounds out my three-song exploration of Troup, but I will provide you with where you can listen to more below. We drop down to an eccentric acoustic progression carried by Troup’s voice. It features this foot-stomping bass beat that combines with the western rhythm, heavy on singular percussion and spacey synth. It’s just another different song on a debut release full of gems.

Troup has a few places where you can visit them.

Website

Facebook

Twitter

Enjoying the Wait with Ryan Smith

17 May

Ryan Smith

Electronic music often gets a bad rap. Often the criticism is accurate. I find that heavily dubbed electronic tracks are often so beaten down by a desultory hodgepodge of messy rhythm and intrusive sound dispersion. Some would say this is purposeful organized chaos. To me it sounds like junk. This does not mean that electronic music is all bad. Much to the contrary, electronic music can be refreshing and innovative, if it maintains the melody, of course. And I have good news. Today’s new artist certainly understands the value of keeping the melody.

Ohio-native Ryan Smith released Waiting on May 1 of this year. The album features a creative concoction of electronic beats, piano riffs, and Smith’s subtle vocal. I hear Josh Joplin in Smith’s song structure – very focused on lyric and fine melodies. Ryan participated in an Artist Interview with the Music Court to discuss his recent release and his style. Before we get to the interview let me introduce the first song of the album to you all. Here is “Waiting,” a catchy piece saturated with electronic strings and a canorous piano riff – with just the right amount of effects.

Music Court : When did you first start writing and recording tunes?

Ryan: I probably first started writing and recording songs as a teenager.  I would setup two boomboxes and “bounce” from one to another while adding a new part until I had a song.  It wasn’t until my mid-20s that I started putting out albums under my own name.
 
Music Court: When you were growing up who were some of your biggest influences and how did those musicians shape you?

Ryan: I actually listened to a lot of country music growing up, so I imagine a lot song writing ideas came from there.  Then when I found out about The Beatles, it changed everything.  I mean, they changed everything!  That’s probably where my love of the studio came from.  In college, I was introduced to bands like Radiohead and Wilco, which were profound influences on thinking outside of the box.  Now, I really try to absorb anything I can, musically, whether it be the hot new “indie” releases or pop songs from the radio.
 
Music Court: So you have a new album out now called Waiting. When was it released? How would you describe the album?

Ryan: “Waiting” came out on May 1, 2012.  It is definitely the most electronic project I’ve ever attempted.  There have always been bits of synths, noises, etc. in my records, but this time out I really tried to fully embrace them.
 
Music Court: While the music certainly features some heavy electronic influences, I was blown back by your melodies. I feel that sometimes the “song” can be lost in electronic music. What do you think? Talk about your melodies and what you feel is most important in music.

Ryan: I totally agree.  These songs were all written on acoustic guitar, so I was intent on having good structures.  Then there were three versions of the album recorded over the span of three or so years.  This one, one that was more guitar driven, and one was a hybrid of the two.  I felt this version best captured the songs, and I enjoyed making it the most.
 
Music Court: I think my favorite song on the album is “When it Comes to What I Need,” which is tight and composed. It actually gives me a bit of a Josh Joplin feel.  I can’t get enough of the brief piano hook. Break down the song for me. Talk about the production of the song and how you came up with it.

Ryan: “When It Comes To What I Need” was the hardest song to recorded for the album.  I think it’s because I had very specific ideas in my head as to how I wanted it to sound.  In the studio, I really had to try to let go to see what I could come up with beyond those ideas.
 
Music Court: What is your favorite part about recording music?

Ryan: There are these various brilliant moments while you’re making a record where it’s like, wow, this could be really good.  It could be a just little synth hook, or an effect, whatever, but it’s very exciting.
 
Music Court: I always ask this and it is often the most difficult question. If you had a chance to have record a session with three musicians (alive or dead) who would they be and why.

Ryan: I’ll approach this as putting together a great band to play with, so Nels Cline of Wilco on guitar, Dave Grohl of Foo Fighters on drums and Miles Davis on trumpet.  We can get a session guy / girl to play bass.
 
 
Music Court: What is in the future for Ryan Smith?

Ryan: I always want to make better work, so the next thing is hopefully better than the last thing.  Obviously, the big goal is to get as many people to listen as possible.

How about we help out with Ryan’s last comment. Check out the whole album on Bandcamp where it is available for free. You can also like his page on Facebook.

The Whole Thing is a Little Wild

15 May

Great guitar riffs usually sponsor succesful songs. An excellent guitar riff has the ability to latch on to a listener and make said listener hum it for days. Then, after enough listens (maybe even one), it becomes forever engrained in their minds. So when someone mentions “Smoke on the Water” or “Satisfaction” the mind immediately goes to that hard-hitting electric guitar and that incredible riff. Understandably, some of the most well-known guitarists are responsible for the greatest riffs. Among them are Ritchie Blackmore, who smoked on the water with Deep Purple, and  Keith Richards, who could not get any satisfaction with the Rolling Stones. There are many more known guitarists who created timeless riffs. But then there is a certain riff that wasn’t created by a world-famous guitarist, but rather a singer-songwriter whose riff was covered by a British band called The Troggs. The song promptly exploded. It, of course, is “Wild Thing.”

Yes, Chip Taylor is Mr “Wild Thing.” He is also Jon Voight’s brother and, therefore, Angelina Jolie’s uncle. The riff is actually a chord progression and it follows a simple A Major pattern of I, IV, V, IV – or in lettered chord names, A, D, E, D. Most great guitar riffs tend to be easy to play. Remember, it is important to get something recorded that others will want to listen to over and over again. Simplicity is key.

“Wild Thing” was first recorded by Jordan Christopher & The Wild Ones in 1965, but The Troggs absolutely knocked it out of the park with their version. Then, Jimi Hendrix burned the stage, literally, after performing “Wild Thing” and famously setting his guitar on fire at the Monterey Pop Festival in 1967. “Wild Thing” was also used in the movie “Major League” as the theme song for Charlie Sheen’s character Rick Vaughn.

The riff is unmistakable and mostly no one can tell you who originated it. Now you know. It is Chip Taylor. So the next time you see someone rocking out to the chord progression you can let them know that Angelina Jolie’s uncle is the man behind the song!

Ramblin’ Along with the Riff Raff

14 May

Today, we focus our attention on a peripatetic quartet called Hurray for the Riff Raff. While the band’s crowded palette of melodious Americana beauty and bayou folk is enjoyable in itself, Hurray for the Riff Raff is really the story of the lead singer whose twangy tune, southern flair, and attractive vocalizations elevate the honky-tonk conglomeration to a musical diversity that would be lacking without her.

The singer (front and a little left in the image above) is Alynda lee Segarra, a mid-20’s Puerto Rican from the Bronx whose young nomadic ways led her to New Orleans where she pursued music and released two records in 2008 and 2010. In 2011, the UK record label Loose Music released Hurray for the Riff Raff which compiled the best songs from her first two records. Alynda met a folk outlet called the Tumbleweeds and they latched on to her and formed Hurray for the Riff Raff. Their first album, Look Out Mama, was released May 1.

Hurray for the Riff Raff features a bounty of influences. It’s expansive folk sound is commodious and comfortable, and Alynda’s sweet croon jumps out at listeners like Florence Welch’s voice did at first listen. In some way, the voices are alike. Florence’s voice is more operatic, powerful, indie, and British, while Alynda’s is smoky and bluesy with this dark rust analogous with true, inspired Americana. It seems like an odd choice of description but if I was to describe Alynda’s voice it would be American.

“Look out Mama,” the title track, is the perfect example of this. Alynda’s voice complements the fiddle with this sincere acoustic simplicity that mentally transports listeners to a mixture between cornfields and sticky swamps. The song itself is blues/folk at its finest, infectious, and, come on, an impromptu yodel sneaks into the ending. How cool is that? I mean, really, that is awesome. I apologize for my boyish enthusiasm, but subdued yodeling can bring that out of me, I guess.

“Lake of Fire,” track six on the record, plays a little differently than “Look out Mama.” The full range of the band is heard. The piece is a throwback. It is a combination between 60’s SoCal surf and upbeat pop/blues. It’s a good example of how diverse the band’s sound is, and it also demonstrates the range of Alynda’s voice.

The last piece I have for you is not on the album, but I just think it is an excellent cover of a song by my idol, John Lennon. Alynda’s mutual love for Mr. Lennon can be deciphered through her piece “Ode to John and Yoko,” a Beatles-inspired song on the album. Here is Alynda performing “Jealous Guy”

Minimalistic, relaxed, and well done.

Check out Hurray for the Riff Raff’s:

Facebook

Website

A Quick One Before I Go: VE Day and Travel

8 May

Today we celebrate the 67th anniversary of VE day. Tomorrow I travel to the U.S. capital, and then take a taxi to National Harbor, Maryland, for a conference I must attend for work. Thus, I am feeling a little patriotic as this Tuesday work day comes to a close, and before I wrap up my stay in the office and bid you all adieu until next week (I may or may not have a chance to post until then), I want to leave you all with a little pride. What better way to celebrate a war victory than with “Ballad of the Green Berets.”

Songs often viewed as proud American classics tend to be jingoistic. “Ballad of the Green Berets,” in typical army fashion (as it is sung by a true staff sergeant who was recuperating from a leg wound suffered as a medic in Vietnam) is straight forward. Like a command, it tells the story of the brave men of the Green Berets, a U.S. special operations force.

The lyrics to this #1 hit that stayed at that spot for five weeks in 1966 were written by Robin Moore (he wrote “The French Connection” which mostly everyone knows as the movie). The lyrics were written in honor of Green Beret James Gabriel, Jr, the first native Hawaiian to be killed in Vietnam.

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