Procrastination - The Old Crack

Just finished a conversation with a friend of mine who had some work she just didn’t feel like doing.    Her expense reports that, when turned in, would get her a substantial refund on all the cash she’s laid out for her business expenses.

I asked her what the problem was and she said that she didn’t feel like doing it.

What universe exists where that has any valence whatsoever?

Our lives are filled with distractions, work, responsibilities, noblesse oblige, fun, joy and caca.    How we handle it is what makes up the quality of our lives.

All that happens when you put something off is that it hangs over you like the sword of Damocles and shadows any other thing you might be doing.   It decreases the amount of joy that you can take in any other endeavor.   It spoils your fun, dammit.

Nothing takes the stress away more than getting done what you have to get done.   After that you can truly relax.   You cannot relax with it hanging over you.   Get out of the shadows.

Make a list of the crap you have to get done.   Prioritize it (by that I mean list it in terms of importance, deadlines, etc) and then start ticking it off.

When you get to the end of the list, go have a martini, champagne, go for a run, whatever it is that gives you joy.    You just did something for them, now do something for yourself.

As a matter of fact, you can use that reward/carrot thing as a way to get yourself off your ass.  Promise yourself that once you are done, you are going to have/do/see/ whatever gives you the most joy.

I know that I frequently don’t feel like practicing, but if I just get up and do it first, I end up not only enjoying it, but doing it longer than I thought that I would.

Everyone knows what is right; what is the right thing to do; what you should do, so just do it.

And yes, sometimes it feels great to just compartmentalize it and then go fishing.    That’s okay too, unless that’s what you do everytime.  

No decision is the worst decision you can make.

Now get off your ass and go do what you promised you would do.

Peter Krantz Review of All Wood and Stones II

John Batdorf and James Lee Stanley - All Wood and Stones II - CD Review

 Being the rebel that I am, I love it when I can prove the "conventional wisdom" wrong! So I therefore particularly relish the opportunity to skewer two of these "truisms" at the same time. Two such commonly held beliefs coud be stated simply as "remakes are always inferior to the originals" and "sequels are never as good as the first of the series". Well I just finished listening to a CD that is essentially a sequel to an album of remakes, a double-whammy that should doom the project to failure according the widely-held notions! I am very happy to tell you, that the new "All Wood and Stones II" CD by John Batdorf and James Lee Stanley is a such a fun concept and so perfectly executed that it is not only a wonderful exercise in nostalgia, but also a vital and new-sounding musical set in its own right.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                        So here's the set-up:  Back in 2004 (can it REALLY be that long ago?), two of my  favorite singer/songwriters announced a new joint project. John Batdorf and James Lee Stanley in many ways are among the original trend-setters of  Southern California acoustic rock, guys whose careers have been contemporary with luminaries like Jackson Browne and The Eagles. While neither have enjoyed the commercial success of such acts, their original writing and recordings over the years have consistently been of world-class quality and had tremendous musical influence. So when they announced "All Wood and Stones" as a musical re imagining of the songs of the early Rolling Stones done as SoCal acoustic rock, I was pretty surprised. Songwriters of their stature rarely do "cover tunes" and certainly not whole albums of them! But the final product they came up with, eleven of the best known and most beloved Stones songs significantly rearranged, was a really interesting and fun CD that was quite popular, as were the shows they did together to support the CD.                                                     

Since then, nine years have passed and that CD remains a favorite of mine and it still sells well over the internet and at the guys' live performances. So when I heard John and James were talking about doing another album together, this time it wasn't a big surprise. I figured they would find another artist or group to cover this way; there was talk it might be a Motown album or something similar. Yet, heeding "conventional wisdom", I was really shocked that they chose to do another album of Stones material! But now that I have the new CD in hand to listen to, I understand their decision. The new CD may have fewer "hit" songs than the original, but it includes what, in my opinion, are some of greatest tunes in the Rolling Stone archive which are given the SoCal rearrangement and meticulously recorded. To my great surprise, I like it even more than the first one!

The tunes run the gamut from huge hit songs like "Honky Tonk Women" to obscure album cuts like "Before They Make Me Run" and tunes from early years, like "Time Is On My Side" to later stuff like "Miss You". Like the first CD, some songs are drastically changed and rearranged and some are fairly faithful to the original, but all feature the note-perfect musical arrangement and production skills for which both of these artists have long been known. This time around, all vocals and all guitars were done by John and James, with bass by old pros Bill Batstone and Chad Watson and drums by Tom Walsh.

I won't bore you all with note-by-note and song-by-song dissection. These tunes are mainly about having fun and fun is an elusive feeling not readily analyzed and explained. But this "fun" is not something to dismiss as unimportant! In the realm of the singer/songwriter, it is an element often under-appreciated and ignored, which can lead to some ponderous music trying too hard to be "important". John and James have never been guilty of this and this album is a genuine reflection of the fun-loving spirit within each of these artists. And how do two old musical pros have "fun"? By applying the years of perfecting their art to these tunes, finding the most interesting aspects to highlight and making some subtle comparisons to other music. I simply love the little hints of Beatles music that pop up, like the driving Beatle-esque guitar riff behind this version of "Honky Tonk Women" or the "yes it is" line of "Time Is On My Side" that evokes the old Beatles song, "Yes It Is". There are lots more of these always-subtle musical allusions lurking in the shadows of this recording; the "feel" of Steve Stills' guitar work in the Buffalo Springfield tune "Mr. Soul" pushing underneath "Jumping Jack Flash"  or the good-time, call and response "yeah,yeah" towards the end of "Get Off Of My Cloud" that sounds right out of "Hang On Sloopy" by The McCoys. It doesn't get much more fun than a chorus of  "Sloopy" !!!!

But all of this fun is not to deny the artistry John and James display here! Front and center in all these tunes are the magnificent vocals of both. It almost seems unfair to the competition to meld maybe the two best male vocalists in the acoustic music scene here on this one CD. James' full, deep voice brings a distinctive darkness to songs like "Miss You" and "Jumping Jack Flash" which make these versions even more meaningful than the originals. And while John has always been known for the sweet, higher vocals that he wields here on ballads like "Play With Fire" and "Wild Horses", his bluesier takes on tunes like "Honky Tonk Women" and "Sympathy For Devil" growl with surprising intensity! And these voices were made to be blended! These guys really know how to use them behind the lead vocals to grand effect. I wish I had the technical capacity to isolate just the background vocals on this album, picking them out of the full mix they sound simply astonishingly great and, on songs like "Get Off Of My Cloud" or "Before They Make Me Run", they stand out as the most dynamic component of the arrangements.

Then there is the guitar work! Like on the Stones' original versions, these songs are built around the framework of the guitar chording and riffs. John and James have such great voices, I think their guitar virtuosity can often be overlooked. The guitar playing is perfection everywhere on this album. Its hard for me to tell who does what where on this CD, but there are some really remarkable guitar parts played all across the CD. The lead guitar work is all done on acoustic, and I believe the guys both take turns at it, but its hard to tell. And while the acoustic guitars are able to make some songs really rock out, they can also sound almost like a harpsichord behind "Play With Fire"! 

So, take a listen yourself and see if you agree that, "conventional wisdom" be damned, this is a thoroughly exciting and inspired "sequel of remakes" that are just a whole lot of fun! The ten songs on this album have already stood up to the test of time in their original versions but here they are injected with new life and added meaning in the fascinating new interpretations. As a whole album they come off as a completed work and there is a fitting irony in the closing tune, because for me, as a huge fan of these tunes back in the day and as a huge fan of  these new versions, I can truly say, "Time Is On My Side".


Here is a link to the "All Wood and Stones" website:
http://allwoodandstones.com/
and the Facebook page:
https://www.facebook.com/photo.php?fbid=458371687576189&set=a.268778803202146.63445.216725755074118&type=1


And  links to John Batdorf's websites:
http://johnbatdorfmusic.com/

http://www.reverbnation.com/johnbatdorf

and his Facebook page:
https://www.facebook.com/pages/John-Batdorf-Music/279578037051

And a link to James Lee Stanley's website:
http://www.jamesleestanley.com/

and James' Facebook page:
https://www.facebook.com/photo.php?fbid=458371687576189&set=a.268778803202146.63445.216725755074118&type=1#!/james.l.stanley.7?fref=ts

Posted by Peter at 1:01 PM No comments:  Links to this post

Email ThisBlogThis!Share to TwitterShare to Facebook

 

Reactions:

Mistakes To Avoid RE: Practicing Guitar

Guest Columnist Today:

7 Bad Habits to Avoid When Learning Guitar

After envisioning yourself playing the guitar for the last few years, you've finally taken that all-important first step: you signed up for lessons! What are some habits you need to avoid when taking on this musical project?

Skipping Lessons

From time to time, emergencies arise, and you simply cannot perform your daily routines. However, in general, you need to work toward keeping up with your lessons. Even if you wind up going only two weeks without a single lesson, you might be really surprised to see how much it affects you. If you do have to cancel a lesson, try to reschedule it for some other time during the week to make up for the time that you lost.

Limiting Your Range

If you pigeonhole yourself into a specific type of music or song, you might never find out where your real skills lie. After learning the basics of guitar playing, ask your instructor if he or she can teach you some other types of tunes. Getting out of your comfort zone can be an excellent skill.

Not Listening

Sometimes, that musical vibe and sense of creativity might just take over your soul and spirit. Now, this process is fine, and it can help you to be a better musician. During the lessons, you really need to listen to your instructor. He or she is teaching you the fundamentals of guitar, and without these lessons, you might never get to the level of creativity that you want to ultimately achieve.

Ignoring The Signs

Of course, your instructor might not be a good fit for you. Let's say that you really, truly feel that you are advanced, but the teacher is holding you back from obtaining your ultimate goals. You must be honest with yourself, but do not be afraid to find a new instructor who is better suited to your style and needs. After all, you are the one who is paying for the lessons and seeking instructional help.

Poor Hand Positions

When you see professionals play the guitar, you likely notice that the position of their hands has a lot to do with the success of their musical skills. Therefore, you need to ensure that your hands are always in the right positions, whether it is to hold up the guitar or to strum the notes. Listening to your teacher and watching professional videos online both help you to accomplish this goal.

Stretching Those Fingers

It's almost a fact that people simply do not like warm-up exercises. They want to get right to the heart of whatever they are doing, but you really need to take these warm-ups into account. Not only will they help you to play better, but they can also prevent you from damaging your fingers. One of the best finger exercises to do is the "Ring to Little Finger" stretch. This stretch consists of fretting the first fret of the sixth string with your ring finger. Sound the note and then play the second fret of the fifth string with your little finger. Then play the first fret of the fifth string with the ring finger and the second fret of the fourth string with the little finger. Carry this step-like pattern across to the first string; you should end with the little finger on the second fret. This will keep your fingers nimble and strong.

Out-of-tune Guitars

In order for you to be a proficient guitar player, the equipment that you are using is extremely important. Even the best guitarist in the world is going to have trouble jamming those tunes if his or her guitar is out of tune. Like any professional, you need equipment that is appropriate for your purposes and in top shape.

Author Jason Harter is a therapist who uses music as a tool to connect with his therapy patients. He also enjoys blogging and is a contributing writer for bestschoolcounselingdegrees.com

Delivering A Lyric

Listening to a friend’s recording, I couldn’t help but notice that he broke up the syllables of words in odd places while he was singing.

Taking a breath between words must be carefully chosen in order to deliver a vocal that is both powerful and natural, but to break up a word with a breath will simply take the listener out of the experience.

For example, if you are singing “we all live in a yellow submarine (breath), yellow submarine (breath), yellow submarine (breath).”    You naturally breathe in the places indicated.

Now imagine how much less effective the delivery would be if it were to be sung like this:  “we all live in a yel        low subma      rine we all live        in a yel        lowsubma rine”    with breaths in all the spaces.

You see?

If you must breath or pause, do it in the same kind of place you would do it if you were in conversation with someone.

I know I said this before, but talking to Bonnie Raitt years ago, on the way to a recording session, she told me that the way that she figures out how to deliver her songs is to first speak them.    She says it helps her to hear how it would sound best being sung.

Several years ago, I was invited by the town of Punxsatawney, Pennsylvania, to sing the national anthem on ground hog day.  

In my experience, most everyone sings the national anthem as though it were some kind of physical demonstration.    They try to hit all the notes with the same kind of physical effort they would use to lift weights.

I decided to try something different.   As I drove across the state, I kept speaking the words to the anthem.   I tried to imagine how I would say those words if I were talking to them.    I spoke them over and over again for several hours, trying different inflections and different pauses.   

Finally, I felt that I understood the words and the way to deliver them so that people would hear the words and not just the effort it takes to sing that song.

When I arrived at Gobbler’s Knob, there were about thirty five thousand people there, including an honor guard of Green Berets.   It was freezing, so I, as a California boy, was wrapped up like a homeless person in all the winter clothing I could borrow.    The honor guard looked at me askance, to say the least.

The time came and I walked out on the stage, amongst all the Ground Hog board in their top hats and tails, and approached the microphone.   I sang acapella and I delivered that song like I never have  delivered a song in my life.

I made certain that everyone listening heard and understood the poem that inspired the song, and  it worked.    The crowd was completely hushed and then at the end, they broke into several minutes of cheering.   As I walked past the Green Beret honor guard, they stood at attention and saluted me.   It actually brought tears to my ears to receive that response.

And I was invited to come and sing the anthem again in a subsequent year.   The only time they have ever invited someone to sing the anthem more than once.

And all this because I paid attention to the words and listened to how I would say them if I were trying to communicate them to someone.

Try it.

Some Highlights From the FAI Conference in Toronto

I had a fantastic time in Toronto this past week at the Folk Alliance International 25^th Annual Conference.  (www.folk.org)    Met some wonderful people, gracious presenters, and some extraordinary players, writers and singers.   

I was completely knocked out by Katie Noonan (www.katienoonan.com).    An Australian artist, I can’t believe that she hasn’t been here before, as she has an enormous amount to offer the discerning listener.   Evidently, she is quite well regarded in her homeland.   We would be wise to do the same.

She brought a rare elegance to the stage and sang with such remarkable control it was almost as if I had never  heard anyone ever sing before.   Every note was a joy to hear and her piano accompaniment was exquisite.   And what was more remarkable was how effortlessly and musically she floated through the key centers in her  compositions.

At a folk conference the music tends to be homophonic, so it was very refreshing to hear the key center move through such surprises, and the choices she made were very satisfying ones.   Go see her while she’s in America.

Another performer I really enjoyed was the unorthodox and multi gifted Mark Ettinger.    As I was looking at him, I thought, “why do I know this guy?”   

It turns out he was one of the Flying Karamazov Brothers, the juggling phenom of the past couple of decades.   In case you still don’t know who I mean, they were the jugglers in the Seinfeld episode when Jerry lost his Friars Club jacket.   Those guys.

As it happens, Mark is quite a gifted songwriter and the songs he writes are not your usual fare.  

Interesting topics, unique chord progressions and even some very fun choreographer make for a very enjoyable performance.   He brought so much joy and commitment to his performance, he literally affected my performance that night.   I told you, you learn everytime you see someone, but when you see someone really good, you learn even more.

You can tell by the songs, the topics and the presentation that Mark is bright and original and a thoughtful fellow.   No one gets enough of that and one show by him, wasn’t enough for me.

Music performance isn’t the only thing that happens at the Folk Alliance International conference.  

There are concert presenters, managers, agents, and representatives of all the ancillary businesses that music creates.   Not to mention luthiers.  

As this was in Toronto, I left my Brazilian Collings D2H at home and brought my trusty Taylor 810ce, so I had to stop by and play some of the new offerings that Taylor Gujitars (www.taylorguitars.com)  brought with them.   They are making some incredible guitars and you must check them out.

If independent luthiers are the way you want to go, please look up Ron Belanger.   He brought some amazing guitars to the party and I loved the look, the sound and the playabililty of them.    He is an outstanding luthier and deserves to be recognized as such.   www.ronbelangerguitars.com  

Next year the conference is in Kansas City, MO and if you can swing it, you should most definitely come. 

The conference is  an enriching and joyous celebration of acoustic music and the community of live performers, singers and composers.  

As Jumping Jack Flash said, “it’s a gas, gas, gas!”