Don’t Worry, Buddy Guy. The Blues Ain’t Dead.

06-Aug-2015 By Shannon Duvall

Buddy Guy is worried about the blues. The legendary blues guitarist and singer recently sat down with NPR Music and told of his fears that the genre – so deeply entrenched in not just the American, but the international music scene – would die out before too long. Spooked by a conversation with musical peer Muddy Waters, shortly before Waters’ death, Guy says he’s made it his personal mission to ensure blues remains important to future generations of musicians and listeners.

Dwindling live audiences and a shift to more electronic sounds in pop music have been cited by older blues musicians and fans alike as the “downfall” of the sound. But a little research turns up blues’ massive influence across the modern musical spectrum – from rock and folk, to soul and hip hop, and beyond. Simply put, the blues ain’t dead. Here are fifteen examples of artists keeping the train a-rollin’. Hit play on the playlist below and get the scoop while you listen.

The Soul Crossovers

Leon Bridges

http://www.leonbridges.com/

Bridges’ debut album Coming Home was released in June 2015. Hailing from Fort Worth, TX (and many would agree, it almost seems, another era entirely), his performances (in which he dons exclusively vintage clothing) have been likened to great soul and blues legends such as Sam Cooke. And if that’s not bluesy enough for you, here’s this: the first song he ever wrote, “Lisa Sawyer”, was about his mother’s baptism. In a river.

St. Paul & the Broken Bones

http://stpaulandthebrokenbones.com/

A seven-piece band out of Birmingham, AL, complete with a crazy tight brass section, St. Paul & the Broken Bones are often classified as Southern Soul. There’s no denying the blues element here, though, strongly heard in member Browan Lollar’s lo-fi guitar sounds and raw, humid vocals. The band are signed to Single Lock Records, a label based in the blues-rich Shoals region of Alabama. They gave the label their first Billboard 200 entry with “Half The City” in 2014.

Black Joe Lewis and the Honeybears

http://www.blackjoelewis.com/

Black Joe Lewis mixes the blues with old school soul.

Now performing as simply Black Joe Lewis, this band has been making bluesy waves out of Austin, TX (a city that has long been a hotbed for the blues) since 2007. Inspired by blues linchpin Howlin’ Wolf, with soul inspiration from Wilson Pickett and the funk sparks of James Brown, Black Joe Lewis’ guitar sound is vintage and moody, just as the best blues should be. Currently touring the US and Canada.

The Purists

Jack White

http://jackwhiteiii.com/

Perhaps obvious, but not to be overlooked, the popular and prolific White has been finding ways to sneak the blues into every musical project, from the White Stripes punk-blues, to the Raconteurs psychedelic version, to his country-blues collabs with superstar Loretta Lynn (which helped revive Lynn’s career). Some of the musician’s earliest influences – Son House and Blind Willie McTell – are clear throughout the body of his work, but come through strongest on his own, unfiltered solo albums.

Dan Auerbach

http://www.nonesuch.com/artists/dan-auerbach

Another famous band refugee, Dan Auerbach of The Black Keys fame (a band also featured on this list) is a blues powerhouse in contemporary music. After the large-scale success of the Black Keys over several years, Auerbach built his own studio in Akron, OH, to focus on his own pure expression of blues-influenced sounds. His debut solo album, Keep It Hid, was released by Nonesuch Records in 2009.

Gary Clark, Jr

http://www.garyclarkjr.com/gcjsosbs

Another Austinite to make it onto the list, the 31-year-old guitar player, singer, writer, and arranger has been widely lauded as one of the great blues artists of the new generation. After learning to play at age 12, Clark became a regular feature at Antone’s, Austin’s chief blues club, and from there went on to gain serious momentum on the international scene. Eric Clapton himself hand selected the musician for the Crossroads Guitar Festival in 2010. His latest album, The Story of Sonny Boy Slim, is now available on preorder.

The Rockers

The Black Keys

http://www.theblackkeys.com/

With no introduction needed, The Black Keys are perhaps one of the most influential blues-rock outfits on the scene today. Originally happy to self-produce their records in basements and the like, the duo’s sound emerged raw, taking the radio by storm and ushering in a new wave of interest in the genre. Influenced cited include Junior Kimbrough, Howlin’ Wolf, and Robert Johnson.

The Heavy

http://theheavy.co.uk/

Their first album was released in 2007 after members bonded over Jim Jarmusch films, and much like their artistic preferences, this garage-blues band’s sound is eclectic and sample-loving, with homages to Screamin’ Jay Hawkins and others on key tracks like “Sixteen”.

The Irish

Hozier

http://hozier.com/

It’s not only found in the USA, you know. American blues sounds share quite a few similarities with Irish trad music, and the genre has long been loved across the sea. The music of darling-come-lately Hozier is a forceful example of how the blues are shaping sounds abroad. His first band at age 15 included blues persuasions, natural, perhaps, for the son of a Bray blues musician. The viral “Take Me To Church” has received international acclaim, and at 25 years old, he’s gaining momentum fast.

Davy Knowles

http://davy-knowles.squarespace.com/about/

The hotly-tipped 28-year old musician from the Isle of Man has been teaching himself to play the blues from a young age. His original blues-rock band Back Door Slam was formed in 2003, with sounds shaped by prior generation luminaries like Rory Gallgher and Eric Clapton. In 2014, Davy was selected to serve as the Isle of Man’s official Cultural Ambassador for “…Island of Culture 2014, the biggest cultural celebration in the country’s history.” His sound tends toward the pure end of the blues spectrum, a true tip of the hat to a special musical breed.

(*Note: The Isle of Man is not actually part of the Republic of Ireland, but is located in the Irish Sea, midway between Ireland and England. It is a self-governing Crown dependency.)

The Unsigned

Castle Creek

Castle Creek – The Blues/Rock You’ve Been Waiting For!

One of our favorites, we recently had the pleasure of hosting Castle Creek at this year’s youbloomDublin 2015 Music Festival & Conference. We also had the chance to talk with them a little about their musical background, which featured in youbloom: HEADROOM #4. These ambitious New Yorkers incorporate the blues into their unique sound with panache.

The Contemporary Barnshakers

J Roddy Walston & The Business

http://jroddywalstonandthebusiness.com/

Uh...sir? You're on in five? — Uh…sir? You’re on in five. Sir?

Originally from Tennessee, with live shows which “make James Brown look lazy” (Baltimore City Paper), these guys take the blues to the its most rowdy, scrappy, and danceable. Quite the sensation, they can currently be found touring all over the eastern United States.

Cage The Elephant

http://www.cagetheelephant.com/

A band from Kentucky whose first success was in England (hey, the Brits have a real fondness for the blues; just look at the Rolling Stones!), these four young guys toured for nearly five years off the back of their self-titled debut, released to critical acclaim.

The Bleeding Hearts

Goodnight, Texas

http://www.hiwearegoodnighttexashowareyou.com/about-us

Self-described as “American in every sense of the word”, Goodnight, Texas write songs reminiscent of a time when the blues were vital and necessary, and the back of a boxcar was the perfect place to sing them. Named after the geographic midpoint between members hometowns in San Francisco and North Carolina, they feature chugging, steady rhythms and plaintive, nostalgic lyrics which call to the dark, sentimentalism of your escapist daydreams.

Delta Spirit

http://deltaspirit.net/

A feature on the American music scene since 2005, Delta Spirit have a lot of work under their belt. History From Below, the follow-up to their warmly reviewed debut EP, featured collabs with blues lover Bo Koster of My Morning Jacket, as well as bass player & producer Elijah Thomson. Their latest release was 2014’s Into The Wide, and they are currently on tour in the northeastern United States.

What do you think? Know a modern blues band people should be grooving to? Let us know in the comments below.

Streaming Services, Good or Bad for Indie Music

03-Aug-2015 By Guest Blogger

The recent launch of Apple Music has brought a clearer image of the streaming music market. While the money keeps flowing and new subscribers tune in every day, how does this affect the indie artist?

The continued rise of streaming music is just the beginning of a transition into a digital-only market. Numbers are up all around for providers and listeners, creating an attractive outlook for the future of the music industry. But does this mean that you should sacrifice your soul and talent for streaming services? Of course not. They are undeniably large money machines, but artists only see a tiny fraction of these sales actually make it to their pockets. The traditional way of focusing on live performances and merchandise sales remains the best way to earn revenue.

Bringing up discussion about revenue is something that isn’t easy for artists, as general artist income and royalty payments have dropped off considerably over the past few years. This drop-off is due in large part to a significant reduction in physical albums being sold (i.e. illegal downloads). Royalty payments from streaming services are also quite small, with recent numbers for Spotify hovering around $.007 per song played.

Now, you probably have heard that artists like Neil Young and Prince have come out and complained about, and even elected to remove their offerings from streaming services. Superstar Taylor Swift has recently threatened to remove her latest album, 1989, from Apple Music completely over questions surrounding royalty payments. Apple Music is notably also facing an FTC probe itself into whether it violated antitrust laws in their practice of charging 30% extra for subscriptions through the Apple Store.
But how can we compare the likes of Neil Young, Prince and Taylor Swift to less-mainstream indie artists? These millionaire artists have already collected their fortunes and can afford to threaten streaming services by pulling their catalog but is this notion a reality for indie musicians as well?

Simply put, no.
First, an aspiring indie artist is already going to have a mountain to climb when it comes to selling music and gathering followers, something that services such as Apple and Spotify can make somewhat easier. Second, it is easy to blame streaming services for not giving more back to artists when a case could be made that it is the major labels who are to blame for such small payments. These major labels take a large part of Spotify shares due to various financial agreements that are only beneficial to themselves. Mainly, major labels use streaming services like a shield from artists who complain about streaming while taking a significant percentage of payments.
In this digital age, all artists have to make the right decisions when it comes to streaming. As an indie artist, the added exposure and simplicity “should” trump those checks in the mail. Keep touring and selling t-shirts at concerts because those remain the best way to make money.

Of course every artist is going to have a different experience with streaming. Do you have any good or bad experiences with streaming services? Let us know in the comments below!

Post by Thomas Ujj.
An expat/traveler and IT enthusiast with a passion for security and privacy. When he isn’t planning his next trip, he likes to take the time to practice his Italian cooking as well as religiously watching Italian football team AS Roma. Unfortunately, cooking and watching football games doesn’t always equal paychecks, so he writes for SmartDNS.com as well.

A Man Without Measure: youbloom Bids Farewell to Drum Pioneer Vic Firth (1930-2015)

30-Jul-2015 By Shannon Duvall

Here at youbloom, we pride ourselves on giving good advice. As musicians and creatives who love the independent ethic, we like to draw from whatever experiences we have – be they salty and extensive or brief, yet fresh – and share them with you so that all angles of this music business madness are explored and unpacked as thoroughly as we can manage. The result of our musings, we hope, is as thorough and transparent an advantage as possible, for you, the unsigned artist.

But just as often as we communicate, we have to listen. And sometimes, we simply have to stop talking altogether. Today is one of those days.

Today we have no advice, only respects to pay to a man who dedicated his life to the pursuit of the impeccable: Mr. Vic Firth.

Mr. Firth, famed, longstanding member of the Boston Symphony Orchestra, teacher, and drumstick company heavyweight, passed away on Sunday.

Born Everett Joseph Firth, on June 2, 1930, in Winchester, Massachusetts, to parents Rosemary and Everett E. (himself a noteworthy trumpet and cornet player), “Vic” started learning to play the cornet himself at the very young age of four. Later, the adolescent Everett became interested in several other instruments, beginning lessons in piano, trombone, clarinet, and, perhaps most fortuitously, percussion. During this time, he also began studying and learning to write musical arrangement, and by the time he was a high-schooler, Firth was known in his hometown of Sanford, Maine, as a full-time percussionist.

By the age of fifteen, he had formed his own twelve-man band, and settled on the stage name of Vic Firth, which, he once laughingly recounted in an interview with Modern Drummer magazine, sounded less like a “…skin disease” than the name Everett.

Vic Firth in later years. Photo credit: paulauger.com — Everett “Vic” Firth. Photo credit: paulauger.com

He took regular trips to Boston – a six hour drive away – to take snare drum lessons from George Lawrence Stone, as well as lessons in keyboard percussion from a man named Larry White, who would eventually convince Vic to attend college at Boston’s New England Conservatory, where Firth would earn both a Bachelor’s degree and an Honorary Doctorate in Music. He also made frequent trips to New York City to study timpani with Saul Goodman, and spent a summer in college at the Tanglewood Music Festival in Massachusetts (where the Boston Symphony Orchestra spend their summers), the result of a scholarship award.

Having entered college as a Music Education major, Vic developed an enthusiasm for teaching, and started the NEC’s first preparatory department. Later, he would become head of the percussion department, leading it for over forty years, and influencing countless students in their musical studies, among them such distinguished musicians as John Mellencamp drummer Kenny Aronoff, and prolific jazzist Harvey Mason.

Firth became the youngest member at the time of the Boston Symphony Orchestra in 1952, auditioning as a percussionist at the age of 21, while still in college at the NEC. He spent the first four years jumping at every opportunity, moving quickly through the ranks from percussion to timpani, then on to roles as associate principal, assistant principal, and subsequently, principal timpanist. He would hold this position for the remainder of his 50 years with the Orchestra.

In his time with the BSO, Mr. Firth performed with such notable players as Leonard Bernstein, Leopold Stokowski, and Seiji Ozawa.

Firth at work with the Boston Symphony Orchestra. Photo credit: Milton Feinberg/Courtesy of the Boston Symphony

A passionate pursuer of the very best in terms of musicianship, and, more specifically, sound, Vic turned his focus on his musical implements. Finding the commonly used drumsticks and mallets of inferior manufacturing quality, Firth began whittling his first homemade sticks in his garage and sharing them with fellow percussionists. Word spread of the sticks’ durability and wide range of functions, and by 1963, Vic Firth, Inc., perhaps his most enduring legacy, was established.

Through Vic Firth, Inc., Mr. Firth’s channeled his innovation and business savvy, which focused on setting the standard for drumstick quality, becoming indispensable in the world of drummers from every discipline.

Though we take many of the advancements today for granted, it was Firth’s insight and relentless perfectionism which drove such crucial improvements in stick design as pitch-pairing, weight-sorting, and centerless grindin g to achieve a smoother stick surface. Currently at the height of their production, Vic Firth, Inc. (now the Vic Firth Company) makes around 12 million sticks annually. “The Perfect Pair” is today a trusted emblem of superior work in the drum realm.

Vic Firth sticks, loved by many. Photo credit: ArunBli

In 1995, Vic Firth was inducted into the Percussive Arts Society’s Hall of Fame, and in 2002, retired from the Boston Symphony Orchestra.

“I believe he was the single greatest percussionist anywhere in the world,” said composer Seiji Ozawa of Firth. “Every performance that Vic gave was informed with incredible musicianship, elegance and impeccable timing.”

Craigie Zildjian, CEO of Avedis Zildjian, world-famous cymbal manufacturer (merged with the Vic Firth Company since 2010), agrees.

“Vic was a visionary in the music industry who was revered by all of us,” he said. “Never one to accept the status quo, Vic blazed trails throughout the drum world.”

Mr Firth died at his home in Boston. He was 85 years old.

All hail.

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

26-Jul-2015 By Shannon Duvall

It’s not so much the unpaid gigs. That you can handle – for now, at least.

It’s more the lack of sustained recognition; the very real blood, sweat and tears channeled into creating and sharing your music, only to receive enthusiastic responses in fits and starts. Those silent pockets of time between gigs make you want to put your mic stand through the computer screen.

The struggle is real. Photo of The Faith by Jim Saah.

You know your music is good, your audience knows it’s good, but how on earth do you get – and keep – the kind of momentum you need to make this what you do for a living?

It’s no secret that a lot of people in your local music scene are distracted. Last year’s music report by information measurement bastion Nielsen showed that, despite access to unlimited sources of new music online, the radio is still the source of the majority of new music discovered by Americans.

It’s as if fans still want the industry to do the legwork for them, telling them who’s worth listening to and going to see live. And research shows little likelihood of this trend slowing.

It’s a result of what has been dubbed “the tyranny of choice”. Simply put, with so many options out there, it’s easier and less risky for listeners to follow and spend money on artists who they perceive to have already proven their popularity. And all a record label has to do to make you perceive an artist in this way is to spend millions of dollars on PR and marketing campaigns, along with relentless radio play – money and resources up-and-coming musicians simply don’t have.

The truth hurts. Minor Threat. Photo by Jim Saah.

Still, music scenes survive – even thrive – on their own, far from the bank accounts of corporate music institutions. Often, it’s these scenes, organically grown and self-sustaining, that catch the attention of label scouts, leading to the discovery of a wealth of musical talent. Think CBGB-era New York, or the grunge scene of 1990’s Seattle, which exploded into a pop culture force majeure.

Salad Days, A Decade of Punk in Washington, DC, is a documentary chronicling one of the most influential DIY music scenes in American history.

It’s a rousing, thorough journey through the hearts and minds of musicians in 1980’s Washington, DC, who, without support from major – or sometimes even minor – labels, set out to take control of their own exposure, making and distributing their own records, creating their own record labels, putting on their own gigs in any spaces they could, and self-promoting by way of independently made ‘zines, posters, and mail order setups.

Without directly preaching, the film has a lot to say about how you can (and really should!) build, strengthen, and work to sustain the music scene in your own town.

Embrace everyone. The next generation of music heroes are going to be inspired by what’s going on right now, so you want them in your audience.

Consider the power of all-ages shows.

These can be held in outdoor spaces or school gyms, auditoriums, or rec centers. If you’re playing at a bar or in an establishment which serves alcohol, talk with the owner or booking manager beforehand to find out what they’re willing to allow. Often, the solution to letting underage fans into bars and clubs is as simple as marking their hands with visible X’s, so that bar staff know not to serve them alcohol.

Play music because you want to. After this, your reasons for strumming that guitar or writing those lyrics are your own. There are no rules, and no forms to fill out. Every reason for playing is a valid one, even if all you want to do it is to try it out for the laugh. If you have a message, by all means, share it. If you don’t, don’t feel pressure to come up with one for the sake of it. Don’t let anyone stop you or make you feel like you should explain yourself. Just show up and play.

I don't know what it is but I like it. Photo by Jim Saah. — I don’t know what it is but I like it. Photo by Jim Saah.

Play music for each other (and support others who do) because it’s inherently human. Western culture has somehow managed to appropriate music as the specialty profession of a select few, which, in other parts of the world, is crazy, because in most other societies, making music is something everyone does. Don’t fall for the hype. You’ve got a right to play. Encouraging others to do the same leads to a super creative DIY music scene you’ll be proud to call your own.

Hook each other up. Maintaining a strong, convicted community is the only way this works. Whatever your skill or skill level, get involved.

Ian MacKaye and Jeff Nelson of Minor Threat, hard at work in the front porch/Dischord Records office.

Offer up any resources you might have. Got a car? Offer to drive bands to and from gigs. An empty space can be a spot for bands to play shows or hold practices. Have access to a printer or photocopier? Help make posters, album covers, and ‘zines.

Share your talents and skills. Everyone has something they can contribute. Write reviews. Take photos and let the zine guy use them. Draw some sweet cover art or cut and paste a rad collage for a poster. If you’re good at talking to people, offer to answer phones for small labels. Give bands crazy haircuts. The options are literally endless.

And, hey, while you’re at it, promote equality. Everyone should have a shot and a say.

Get off your butt. At the end of the day, none of the talent and support matters without a motivated, no-nonsense approach to getting things done.

A strong DIY music community is one where bands and fans come together, show up to each others’ gigs and events, and stay active. That means not waiting around for something to happen. No one will release your record? Do it yourself. Remember that just by doing stuff, you’re contributing to the history and substance of the DIY scene in your time and place, as well as the formation of new, exciting music to come.
And don’t wait for tomorrow. Mark Andersen (founder of Positive Force, an activist group that was instrumental in organizing music and social events within the DC scene) agrees. “(The time) is always now,” he insists. “So go. Make it real. NOW.”

Ian MacKaye of Minor Threat has a moment. Photo by Jim Saah. — Ian MacKaye of Minor Threat soaks in the moment. Photo by Jim Saah.

From youbloomLA to major management deal — Keith Cullen gets signed

21-Jul-2015 By Ciara Sheahan

It’s less than nine months since Dublin singer songwriter Keith Cullen graced the stage at youbloom LA last November. In that nine months Keith has been working the scene in Dublin, London and LA . He’s juggling time zones and body clocks to be in the right place at the right time. Thankfully, it all worked out. So far.

The big news from Keith is that he has signed a management deal with Phil Quartararo – Former CEO at Virgin records, Warner bros and EMI. Phil is credited with numerous musical legends like Madonna, Smashing Pumpkins, Rolling Stones, Janet Jackson, Eric Clapton, Red Hot chilli peppers. He was the guy who was instrumental in breaking U2 into the American market.

Keith managed to get double Grammy winner Bob Cutarella to produce his new album. Bob has worked with musical heroes like Chaka Khan, Michael Jackson, Sheena Easton, Air Supply, Melissa Manchester, Whitney Houston, Michael Henderson, Diana Ross, Deborah Allen, Dolly Parton, The Police, Elton John, REM, Culture Club, Human League, ABC, Linda Rondstadt, Frank Sinatra to name but a few. This heavy hitter has produced records with Eric Clapton, Jeff Beck, Joss Stone, Sting, Billy Gibbons(ZZ TOP), Allison Krauss, Joe Perry (Aerosmith), John Rzeznik (The Goo Goo Dolls), Keith Richards and Cyndi Lauper He won two Grammys in 2005 and currently is soliciting music for American Idol, X Factor, and the Voice.

The KC dream team is ready. Keith, Bob, Phil and the woman behind it all Jennifer Cullen. Jennifer is Keith’s sister and manager. They both ran a highly successful commercial business back in the boom, they have both given it all up to follow the dream to see Keith succeed as an artist. Keith lists off his highlights since youbloom LA as having his song “ Say Something” placed into the film “High Strung”, signing the management deal with Phil, working with Bob and his longtime sonic companion JJ Daly and hanging with Hozier during Grammy season in LA.
“It’s really weird hearing your music on a film, like sitting there watching the movie, then your song comes on. It’s amazing, don’t get me wrong but it takes time to actually take it in, when it materialises. I still can’t believe it when I think about it”. Keith found himself in the artistic company of Jayne Seymour and “Inception” and “Batman” actor Andrew Pleavin, both of whom starred in the film.

2015 has been really productive for Keith so far, but it didn’t happen overnight. Keith has been chasing his musical ambitions since 2010. He quickly realised that the music scene in Ireland was too small for him to succeed. Controlled by a few key players with a significant challenge to get airtime on Irish radio, it’s a story many Irish artists will relate to. Keith and Jennifer began sussing out the scene in LA and London.

Funding trips to conventions, meetings and festivals they both networked every opportunity. Wading through the swamps of bullshit to eventually find key people and big chances to make an impression. The impression seems to be working, but as Keith will tell you “ we treated it like a business. We quickly understood who could deliver and who was bullshitting. You can bluff all day, but it’s the ones who deliver to make the grade”. And the grade has been made. There’s no big label news yet, but I get the feeling… it won’t be long now.

If you have a musical niggle that won’t go away, take a look at the apply to play form for #youbloomLA2015. You never know, it might be you we are writing about in 2016.

Don’t Worry, Buddy Guy. The Blues Ain’t Dead.

Streaming Services, Good or Bad for Indie Music

A Man Without Measure: youbloom Bids Farewell to Drum Pioneer Vic Firth (1930-2015)

The Top 5 Ways to Build a Better DIY Music Scene According to “Salad Days”

From youbloomLA to major management deal — Keith Cullen gets signed

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