Something in Common

      The Beatles had been playing regularly in Liverpool for a couple of years when an enterprising promoter booked them for an extended time in Hamburg in 1960. The next two years would see them in and out of various nightclubs in the city and it matured them as performers.

1960

    This was an apprenticeship. They expanded their song list, began writing and most of all learned how to entertain an audience. Unlike the teen clubs in Liverpool, these were rough venues in bad parts of town, frequented by all manner of shady characters and fringe types and the young lads also got a number of life lessons along the way. They emerged as seasoned performers who were prepared for the success they would soon get when they returned to England. 

TS  at 15

   

    Similarly, Taylor Swift began her career at a young age. Her family moved to Nashville when she was still a teenager and she paid her dues rising through the ranks of the many aspiring musicians who gravitate to Music City. In Nashville the road to recognition is through playing showcases and songwriter nights in hopes of attracting attention from record labels. After several years of this Taylor was chosen as an opening act for a touring band, and this led to more touring and a recording contract in 2005. 

   

    In my own way, I had something of the same experience. Way back when a band I formed was hired to be the house band at a little bar and we ended up working 9PM-2AM four nights a week for almost a year. It was a pretty rough place with a rowdy crowd and frequent bar fights. One day we showed up and another band was setting up...that's how we learned we were replaced. Looking back, I still am amazed we lasted so long. I believe one reason we did was that we were constantly learning new songs and keeping up with the hits on the radio. Though I didn't understand it at the time, I was learning my craft and now that I'm performing again I sometimes get flashbacks from those days.

    It's an axiom that someone must to "pay their dues" in order to be successful. What it means is immersing oneself in the game, to commit fully 100% to becoming proficient at what you aspire to achieve. There really is no substitute for these kinds of experiences. It also means starting at the bottom, and building a strong foundation of the fundamentals.

    There are a number of TV shows and online talent contests that promise aspiring performers overnight success if they win the competition. It often doesn't pan out for the contestants and one of the reasons is that despite winning, the performer isn't actually ready for wider exposure. One exception was the country singer Carrie Underwood, who won "American Idol" in 2004 at age 21. While being extremely talented, she also had been performing professionally and earning a college degree before the show. She actually had gotten some interest from a record label when she was 15, but it fell through and she has been quoted as saying it was actually fortunate because she wasn't ready.

    Not everyone can be a Beatle or this generation's "Beatles", Taylor, but it is possible to become as good as you can be, if you just put in the time and effort. It can be arduous, painful, and heartbreaking at times, but it can also be rewarding beyond one's expectations.

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

    

Toys?

This is just about nerdy guitar player stuff...or is it?

I've been playing guitar since I was 12 years old. I got my first electric guitar and amplifier at 14. It's fair to say that since its invention in the 1940s the electric guitar has revolutionized modern music. 

   

1941

It has a unique sound, completely different from an acoustic guitar. This is due to the design and function of the guitar pickup, which is basically a rudimentary microphone. The tone is hard to describe, maybe the word "twang" is a place to start, something like the sound produced when two pieces of metal are banged together. This is then processed through amplifier electronics that allow one to alter the frequencies produced, beginning with bass and treble; low and high tones. Early amps only had those two controls.     

    Most all of the music recorded in the 60s used these amps, and if you listen back to those records you'll notice the guitars basically all sounded alike. One thing that was added to records in those days was reverberation, which only could be created by using physical echo chambers in studios, but very soon an electronic reverb was invented and subsequently incorporated into amplifiers. It was a big deal. In fact, one company, Fender, even branded their amps as "Fender Reverb". 

    One good example of reverb is "Sleepwalk", by Santo and Johnny, a track that inspired me as an aspiring guitar player. Another was The Ventures, an instrumental guitar band from the era. 

My First Pedal

    This was beginning of a flood of inventions to alter the sound of guitars, and for players to create unique signatures. At first they were packaged in cumbersome metal boxes, but with the development of the integrated circuit they could be miniaturized and built into small boxes and operated with a foot switch, called effects pedals or "stomp boxes", and now just about every guitar player uses one or more. 

    When I began performing publicly I first resolved to not use any effects, to just be organic and unembellished, but over time I've added a few, to expand my sound. With them, I can actually simulate a group for some songs.

   Most people don't know much about electronics, but this technology surrounds us and affects every aspect of modern life. The discovery of the electron, and the subsequent inventions that use its properties can be equated with the discovery of fire. It's a relatively new development in the advancement of civilization and has engendered an acceleration unprecedented in human history. Yet, it's taken for granted. 

    So take a moment, look around and appreciate that we are fortunate to live in a time that future generations will look back on and call the Dawn of Technology. As much as we benefit from the conveniences of smart phones and big screen TVs, and yes, stomp boxes, it's just the beginning.

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

Powerline

     Every so often a popular song finds itself the center of a controversy. It's usually when it strays from the familiar themes and comments on an issue in the public eye. 

    Prior to the 60s it was less often, writers kept to the safe subjects, mostly romance. One early example of a song that raised eyebrows was "Wake Up Little Susie" by the Everly Brothers. It was considered suggestive of irresponsible behavior and was even banned in Boston, despite being a #1 hit. 

    

    Folk singers, as well as the Blues, had been writing songs about social conditions for decades. During the 60's songs like "Eve of Destruction" (Barry McGuire) and "Masters of War" (Bob Dylan) were just two of many that questioned the politics of the time. If you look back though, it's sex that has really found it's way into popular music to the point where now it's explicit, pervasive and largely accepted.

    Country music has been less so in this way, sticking to themes that celebrate America's rural traditions; hard work and struggle, rugged independence, community, and family. Some songs like "The Pill" (Loretta Lynn) and "Ode to Billie Joe" (Bobby Gentry) were exceptions, but for the most part country music stayed pretty predictable and so when one does cross the line it's notable.

    Rather than get into the controversy of "Small Town", there's plenty of that. I thought I'd offer a songwriter's view.

    One of the things I learned during my time in Nashville was that songwriting is magnitudes more competitive than I ever imagined. I've written before that there are literally thousands of writers in town, all striving to break through, and it has its own world. This is great for inspiring creativity, however it also encourages pushing boundaries. One classic theme has been the small town, which has become a symbol with political overtones.

    My song, "Powerline Road", is about my upbringing on a small farm in Idaho. It's on my "Home For Good" record from 2013. It's not strictly political, really more nostalgic, but I do have a line; "City's getting closer and it just seems wrong", that laments the loss of small farms near growing communities. Our family farm, which was a couple of miles from town, is now the site of a High School and is surrounded by subdivisions.

    So it was inevitable I suppose, that Nashville would produce a song with this theme that, purposely or not, would reflect the polarity we are experiencing. It's simply a product of the relentless competition to grab attention, and perhaps a level of tone deafness on the part of the music business infrastructure. 

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

    

    

The List!

    When I returned to performing a few years ago I didn't have a very long song list, barely enough to cover 2 sets. In fact, in some of those early dates I'd have to repeat a couple of songs to get through it. 

    Recently I came across a set list from back then and saw that I don't play many of them anymore. They have been replaced with others to the point where now between covers and originals the list is over 100 songs, more than I need for any gig. As I looked it over I realized that I missed playing them. 

    For instance, one is "City of New Orleans", the Steve Goodman song made popular by Arlo Guthrie. It used to be a staple of my first set, but I haven't played it for a long time. This song has a lot of lyrics and tells a great story, and was a bit of work to memorize and is a challenging fingerpicking exercise. I tried it out during a practice session and found I still remembered all the lyrics, but even better I found it was easier to play, fun even. Not only that but I got the idea to add a rhythm loop that emphasizes the feeling of a moving train that is the theme of the song. I've added it back into the list, even knowing that it will displace one of the newer songs I've learned.

    There are several like this and it's actually a good problem to have. The list has grown because I'm constantly getting requests from listeners and sometimes it's for a song that I know and like but haven't worked up. One recent addition, that I frankly never thought I'd ever do, but has turned out to be a crowd pleaser is "King of the Road, which is fun as a singalong. Another reason is as I've improved my guitar playing I'm enjoying the challenge of adding songs that previously were difficult technically. I think the point here is to alway be growing and keeping fresh without losing touch with older songs that still have a lot to offer. 

    Going back to the past list with a fresh approach is like visiting an old friend and catching up. Without realizing it I've developed a repertoire that goes beyond what I ever thought I'd have when I began this journey, and I'm looking forward to where it takes me next.

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

    

Only Once?

    Why hasn't any band or artist made as big of an impact on music and culture since The Beatles? This question came up recently in a discussion about the music business and I think bears some examination.

    While there have been many highly successful and accomplished performers in the decades since the Twistin' '60s, none have reached that mythic status. Moreover, the reason the Beatles became the sensation they did is still somewhat of a mystery. The simplest answer is timing. Much can be said for being in the right place at the right moment, and certainly the band rode the wave of the British Invasion into America, when the post war generation was just hitting their teens and rejecting their parents' values and finding their own. This has been analyzed and written about extensively, so there's no need for me to add anything, I want to take a different view, one that reflects my experience playing in bands.

    I was in several bands and looking back there were two that might have gotten further than playing in bars. The reasons they didn't are interesting and while I have no regrets I do wonder sometimes what could have been had we stuck with it. This perspective taught me that sheer persistence is vital to success and gives me enormous respect for groups that make it through, especially the Fab Four.

    The Beatles were unique as a band for two main reasons. First, I would argue, there was no leader, no "front man". This could have been done on purpose, but I suspect it happened naturally, and then they and their management went on to capitalize on it. Their promotion highlighted each member equally right from the very beginning; "John, Paul, George, and Ringo" was synonymous with "Beatle", and each became a star in their own right. The second reason is related to this.

    Unlike any band before or since, each of them were uniquely creative. This is the truly rare circumstance that placed this group so far above all their contemporaries, and it's something that could only happen by chance. It's not that they were especially good musicians. In fact, individually they were pretty average players at the outset. But what each had was a signature style that when merged with the others, created a unique tonal blend. This has never been duplicated.

    I believe that these two qualities guaranteed success, but they received a musical shot in the arm when, also by chance, they were put into the hands of George Martin. His contributions to arrangement and production kept the band ahead of all the others by including classical and jazz influences into their recordings, as well as taking advantage of the technical advances of that era. Pop groups were not taken very seriously, and it's to Martin's credit that he saw the potential and made the most of the raw material he was given. 

    The proof of this is in the fact that each of the writers in the band went on to have very successful solo careers after they disbanded, which by the way was the quintessential example of quitting at the top. In their solo records I hear echoes of the band, and how their unique sound contributed to making the sum greater than the parts.

    I can't think of any other group whose members all went on to success on their own. Talent and timing took the Beatles to the pinnacle of our culture, a position that has yet to be challenged.

 

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

"Open the pod bay doors."

 

Perhaps the most chilling moment in "2001: A Space Odyssey" was when Hal, the AI brain of the ship, fears a threat and takes control.

There has been quite a lot of talk about artificial intelligence and creativity lately, particularly in songwriting. AI systems prompted to write lyrics have produced recognizable works prompting some to express fear that computers will replace human songwriters.

    As someone who embraced technology decades ago I have the view that it's more like the online rhyming dictionary that replaced the dog eared paperback copy I used for years, that is, a tool to help with the creative process. What a dictionary can't do, won't ever do, is provide inspiration. To go a step further, a computer program that can make creative leaps, counter intuitive connections, and unique metaphors, all aspects of higher order creativity, doesn't as yet exist. The songs I've seen so far generated are utterly generic and uninspired, at best imitations of actual human works.

    There's a saying I learned from my time in Nashville; "Throw away the first hundred songs you write." The point of this is that all songwriters essentially write the same songs when they are beginners. For instance, every songwriter has a song about their love of their child. Every single one, including me. Songs about one's mother are also universal. They are not bad songs, but the subjects have been explored fully and with few exceptions will be rejected by the industry. What one discovers is that the key to creative and possibly commercial success is to find a unique way to express a common emotion, and to do that you have to find your own voice. This is something beyond the reach of a computer program. The songs I've heard from AI fall solidly into that "first 100" category. 

    Beyond that there is a vast unexplored territory that offers the potential to surprise and delight a writer with the discovery of something, a turn of phrase or an insight, they didn't know they possessed. It's not easy to find, but if you have been at it long enough and diligent they do appear. These are emotions that everyone experiences but can't express, and if one can share this it's very rewarding. 

    A lot of popular music is formulaic, which can be codified and programmed, and I think that's what we are seeing with AI generated songs at this point. Where it's going is hard to say. But it seems to me that the complexity of true creativity, that utterly unique and personal expression, is still beyond its capability.

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY

Humans are Musical

It's overwhelming, and amazing.

Spend a few minutes on YouTube and you will find thousands (millions?) of videos (including a few of mine), of musicians playing every song imaginable. Who knew there was so much talent in the world?  

    One of my all-time favorite songs is "Everybody's Talkin", a song written by Fred Neil and most popularly recorded by Harry Nilsson in 1966, becoming a hit after being featured in the film "Midnight Cowboy". It's a heavily covered song with notable versions by  Stevie Wonder, Willie Nelson, Neil Diamond, Liza Minnelli, Tony Bennett, Luna, Bill Withers, Madeleine Peyroux, Louis Armstrong, Leonard Nimoy, Julio Iglesias, Lena Horne, Harold Melvin and the Blue Notes, Crosby, Stills & Nash and many others. I played it in every bar band I was in and it's on my song list today. 

    A live version by the Tedeschi Trucks Band came up recently; it's particularly good, and reminded me that I hadn't listened to the original in a long (long!) time. It was just a click away and while I thought I was summoning the Nilsson version, the Fred Neil version came up first. I actually had never listened to it, so I did only to discover it was nearly identical to Nilsson, which I checked out next. Then, I looked over to the right and saw that YouTube had displayed a plethora of other videos from people I had never heard of, so I sampled some of those, which brought up some more and...well, you know how that goes.

    Some time later, I came up for air and I realized I could probably spend literally hours just listening and watching videos of this one old song, actually any song, posted by all kinds of musicians of every age and ability. It's quite remarkable and truly something unique to our time.

One might question if there's any need for so many choices, but I think it's inspiring. Every version has something unique about it and is a reflection of the infinite variety of the human experience. It's really true, no two of us are alike. 

    Even more so, every one of us is capable of making music, and every one should try. I think it's because music, especially singing, is an expression of our shared experience and how we communicate that reality in way that transcends language. You may know that In the same way that exercise boosts endorphin flow, studies have shown that singing also releases this “feel good” chemical - resulting in a sense of euphoria, enhanced immune response, and a natural pain relief. Singing also triggers the release of oxytocin, which helps relieve anxiety and stimulates feelings of trust.

    Given this, I guess it's no surprise that the combination of video on our phones and the internet giving us the means to share our performances that we have this explosion of musical talent to enjoy. The majority of these performers will likely not ever play in front of a live audience; which is another interesting topic to consider.

    I picked up a couple things I've added to my version of "Everybody's Talkin", which I often do with my songs to keep them from going stale. It's interesting that uniquely, a song can evolve and be interpreted many different ways while still staying true to the original vision.

Credit: ESA/Hubble & NASA

Singer/Songwriter Rick Millward lived and worked on the West Coast until moving to Nashville in 2000. He was part of the Music City songwriter community, collaborating with other artists and producing projects in his boutique studio, including two EMMY nominated soundtracks. Now in Southern Oregon, Rick has discovered a vibrant local music scene centered around the many tasting rooms. 

His records: "Limited Edition", "Home for Good", and “Loveland” are available on Spotify and other streaming platforms. His new recordings, "Astronomy", will be released later this year.

LOVELAND ON SPOTIFY