28
Oct 10

I Don't Believe in Zimmerman

Last Sunday, I, a lowly, plebeian university student, witnessed history. With my own eyes, I observed the performance of a lifetime. With my own ears, I heard the sounds of an idol – NAY, legend – NAY, messiah – NAY, GOD. Yes, at the University of Northern Iowa, Bob Dylan bestowed me and other serfs the honor of being in his holiness's company.

What an incredible, mind-shattering disappointment.

I have never been "into" Bob Dylan, but I must say, I used to really respect his artistry. As with most artists I first begin listening to, I started off by listening to his first album, titled Bob Dylan. "What an incredible voice," I thought. It had the uniqueness of John Lennon or Ray Charles but the honesty of an American coal-miner. And what lyrics – in fact, the song I liked best on the album was one of the two he had actually written, "Talkin' New York." There was something about his personality which reminded me of myself and made me more enthralled. I continued my musical quest by listening to various other tracks, probably up until Blonde on Blonde.

It seems like I enjoy songs more when I am familiar with their writers. I've read bits and pieces about Dylan, watched various interviews, and observed his attitude at his performances in the 60s. What an incredible journey he had – growing up as a folk-loving kid to becoming a star in the art/hipster scene to becoming a full-fledged rock idol. I really enjoy watching these transformations in musical artists. It's one of the reasons I like The Beatles so much – they were inexperienced kids cast into a world of immense fame and wealth, and they had to deal with it. But why I really think I like The Beatles so much is because they all basically retained the cores of their personalities all along the way. Paul was always professional, domineering, etc., George was always a bit on the sidelines, Ringo was always a decent, witty guy, and John was always this sarcastic, jealous, honest dude. It is nice to listen to music from people you know are real.

I had thought the same of Dylan. I thought of him as this decent guy thrown into the limelight who had to deal with it. I thought he must hate being an idol, and I wondered if he was or is really satisfied with himself. I thought I would act the same as him in many regards, and I identified with him. I was also intrigued by his mysteriousness.

But, everything aside, I am unsure what to think of him now. One thing I can say for sure – to me, he is no longer a musical legend, no longer a person I can identify with, and no longer credible. It is sad to see that he has fallen so low but continues to perform.

But what's a statement like this without a critique?

Going into the concert last Sunday, I was somewhat expecting to be disappointed. I had watched recent live performances of Dylan on Youtube, and I was surprised by how unenergetic and awful they were. I thought, "Oh, it might be different when I am actually in the seat listening – the video just doesn't sound good." However, once I took my seat in the McLeod Center and the concert began, I realized I was in for a long two hours. He started off with an incomprehensible version of "Rainy Day Women #12 & 35," as if he was trying to prove to everyone he was still "cool." The sound system was awful and muddy (I had seen a couple other concerts in this venue, and they were not muddy), and the bass drum boomed throughout the entire auditorium, drowning out Bob's low growls of rasp.

The backing band was mediocre. The musicians were uninspired and uninspiring. The solos the band played were expected; they sounded like a decent cover band. They have nowhere near the soul nor musicality of The Band. On top of this, I was really annoyed by the drumming. You know those drummers that sound really good when they play, spicing everything up with lots of cymbal hits and fills? I just don't feel that Bob Dylan's music fits with this mainstream cover-band style drumming. It seemed so fake to me – not in the style of Dylan's original arrangements at all.

Speaking of Dylan's original arrangements, some of the songs were absolutely slaughtered. I understand that after forty years of playing the same songs, they'll get boring to play, but why on Earth would you change such a lovely song into something cheesy and unlistenable? For example, I was so excited when "Ballad of a Thin Man" began but quickly realized it was nothing near the original. It sounded like a bad Halloween tune with an angry old man grunting overtop of it. And "Tangled Up in Blue" was just stupid.

About Dylan's voice – everyone claims it's awful these days. And they're right, it is. He actually sang probably one note the entire concert, and it was in a cover of a Muddy Waters tune. Other than that, it was always just low, incomprehensible ramblings. What Dylan is primarily known for – his lyrics and poetry – were lost amongst crappy sound engineers and crappy vocal performances. This is very sad – people could only hear the boom boom boom-ing band, not the man himself. It felt like he was giving us a privilege by even speaking the words to us – the entirety of his vocal performance was just ridiculous and not worth the ticket price. During his performance of "Rolling Stone," I was just craving, hoping, praying that he would belt out one of the notes in the song, like "how does it FEEEEEEEEEEEL" or "like a complete unKNOWWN." No dice. Nothing.

As far as Dylan's musicianship – also, not good. That's to be expected, though. On keyboard, Dylan occasionally showcased some really awful organ solos, consisting of two notes or stupid, badly played, repeated licks. He also whipped out a harmonica a few times and likewise played very mediocre two-note solos. It was so disheartening to hear the crowd go absolutely nuts over these crummy displays of musicianship. It was almost like the audience had never heard someone play a harmonica or keyboard before – I really did not understand. It was ridiculous.

Finally, as for Dylan's stage presence – it was absolutely disgraceful. He did not once address the audience. The only utterance somewhat directed at us was the introduction of his band during the encore. Other than that, nothing. It was the most arrogant and impersonal performance I had ever witnessed. I couldn't believe he could be so unentertaining toward people who paid good money for tickets.

I could go on and on with my disappointments, but it'd take far too much time. In general, the show wasn't good, and him being Bob Dylan doesn't justify that. Bob, if you're going to identify yourself as a performer, then perform. Just because people will see your show no matter what doesn't mean you should treat them as strangers – these people are your fans, and many of them grew up and drew inspiration from your songs. Have some respect or quit touring.

Still, I have an alternate theory to his ridiculousness so hear me out. Perhaps Bob Dylan is intentionally giving crappy performances to rub it in his audience's faces. If you know his history, you know he hates mainstream culture – he hates universities and professors and education. What more of a power trip could it be than the put on a mediocre show for this very demographic and have them worship you for it? Or perhaps he's trying to kill his own legacy and idolatry by letting people remember him as a hackneyed artist before he dies. I don't know. He's a complicated character.

In conclusion, Bob Dylan live sucks, and Bob Dylan sucks live. I guess a rolling stone does gather moss – especially around its vocal cords.

P.S. The title of this blog post is a John Lennon lyric. At least Lennon is cool enough to denounce idols like Bob Dylan (Robert Zimmerman). If Lennon were still alive, I think he'd call Dylan out on these completely B.S. performances.


25
Sep 10

Failures, Successes, Meditations on Hibernations

Hey, all you blog readers! Remember me? Good ol' Byron T, puttin' on a show for all ya'll down there in the 'ville.

If I were somebody who didn't know me, I would think that's a pretty stupid thing of me to say to begin a blog post.

That, too.

Anyway, what's been up with me, musically? Not a whole lot. I sent out a five-song demo to a few music blogs a couple months ago. So far, I have heard only one response back, stating I was talented, but my "sound wasn't developed." I guess I'm just a little musical fetus. A bloody, smelly, placenta-sucking musical fetus. Whatever. What would indie music blogs know about good music anyway? Go back to your beeps and boops and long beards and techno-French-folk-dub or whatever you listen to. And your hats. Your stupid, unnecessary hats.

Speaking of hats, I played a show a couple months ago but didn't wear a hat. It didn't go as well as I wanted it to. Mainly because I got kicked off the stage after three songs so some faux-white-hip hop group could rap to a bunch of drunk 20-somethings. Most of the crowd wore unnecessary hats. I am unsure if the band was wearing hats. There may be a correlation between hat-wearing and popularity. I will research this hat idea further in the near future.

Anyway, those were failures. What about the successes? There weren't any and my cat died. Just kidding, Meow Mare is alive and well. But I do think I have lots of material to write about at the moment; that's a plus. I'm also getting better at engineering and producing. I began drumming in my band, Standard Groove, instead of playing keyboard. It's refreshing not having to worry about chord changes and all that. Also, Sunshine Jackson, another band I'm working with, is churning out brilliant songs and has an album coming out probably this December. I'm very excited to continue working on that.

However, since school started, I've mainly just been in a state of musical hibernation. Of course I pick up a guitar or piano (I'm really strong) every now and then, but it's been a while since I sat down and tried to come up with a tasty tune. I think I'm going to do that soon. I also think I'm going to start doing weekly posts on the Billboard Hot 100 new entries again. That was pretty fun.

Anyway, no big news right now. I'm tired. I'm not even going to say bye.


07
Aug 10

Katy Perry – "Teenage Dream;" a rant on the creation of good music

The August 7, 2010 new entries to the US Billboard Hot 100 are as follows:

  • 20 Katy Perry -- "Teenage Dream"
  • 43 Bruno Mars -- "Just The Way You Are"
  • 75 Ne-yo -- "Champagne Life"
  • 98 Rick Ross -- "Aston Martin Music Feat Drake & Chrisette Michelle"

It was another kind of mediocre week in the United States. Bruno Mars' new single was about as sappy as a song can possibly be. The hook is well written, and I found the instrumental during the chorus interesting because it's a little bit unconventional, in that it doesn't get that much louder, and the beat becomes more sparse. I hadn't been familiar with Ne-yo, but "Champagne Life" has proven to me that he's a Michael Jackson wannabe. His voice is incredibly similar, yet far less effective. Rick Ross's "Aston Martin Music" was disappointing; it wasn't gangster enough for me.

So, this week's top song was indeed Katy Perry's "Teenage Dream," another one written and produced by -- get this allstar lineup -- Max Martin, Dr. Luke, and Benny Blanco. Listening to pop songs crafted by these producers is what I've been trying to focus on. Indeed, the production of the song is really incredible. The way it perfectly builds without the listener even realizing is what's important to note. The beginning of "Teenage Dream" is soft, with only guitar, kick, and snare. By the chorus, they're placing a kick on every beat. By the end of the song, it's loaded with synths and distorted power chords.

These guys truly know what pop music is all about -- placing everything in just the right place. I have nearly as much respect for them as I do The Beatles, who were also geniuses of this sort. I'd even like to include Radiohead in this rant because they also share the same trait, no matter how avant-garde their music seems in relation to Katy Perry. Hell, just for reference, I picked out a random song, "No Surprises" off OK Computer. Tell me that this song is not perfectly crafted; tell me that the backing vocals around 3:00 are not perfectly placed, or that their inclusion of bells on the song isn't incredibly aware. I'll go even further -- "The National Anthem" off Kid A -- the sound effects are placed perfectly, the drum breaks are placed perfectly, the switch to the ride cymbal is perfect… everything. Even the incredibly "random" horns are placed in just the right spots. Their emphases are located to keep the listeners interest for six minutes.

I don't think this way of looking at pop music (or music in general) is disturbing, nor do I think it's necessarily formulaic. The process for these folks is organic. It's probably not written down; there is just an incredible amount of focus. It definitely takes a fantastic ear to notice what sounds good and what does not, as well as what should go where and what should not. Without this realization or outlook, I think a musician, producer, engineer, whatever, is lacking the most basic musical necessity. However, a good song should always be a good song right from the start. Whenever I hear something, I ask myself, "How would it sound if the artist were playing this song acoustic?" In the case of The Beatles, almost all could be considered "good songs" by me. In the case of "Teenage Dream," it, too would be considered good; the song itself, without any drums or instrumental build-up, is unique, catchy, and well-written. When a good song, good ears, and good production are all combined into one, outstanding music is usually the result; it's a shame most music-folk do not look at music with such a critical eye.

DC6QQFRDG5VW


03
Aug 10

Chiddy Bang – "Opposite of Adults"

The July 31, 2010 new entries to the US Billboard Hot 100 are as follows:

  • 19 Usher -- "DJ Got Us Falling In Love Feat Pitbull"
  • 67 Darius Rucker -- "Come Back Song"
  • 77 New Boyz -- "Break My Bank Feat Iyaz"
  • 74 Auburn -- "La La La Feat Iyaz"
  • 90 Chiddy Bang -- "Opposite Of Adults"
  • 91 Hanna Montana -- "Ordinary Girl"
  • 94 Monica -- "Love All Over Me"
  • 98 Easton Corbin -- "Roll With It"
  • 100 Rob Thomas -- "Mockingbird"

If there's anything these proclaimed "hot" songs has gotten me to realize, it's that if you listen to something many times, you like it. The song doesn't even have to be good.

Anyway, I can still pick out plenty of smelly songs this week. I was not impressed with the new Hannah Montana song, and the country songs, again, were mediocre. The new Usher song was decently annoying to me, even though it's deliciously poppy. One of the songs that actually stood out to me was Monica's "Love All Over Me." It's catchy and sexy (I guess… I'm not the expert on things sexy).

But this week, my favorite selection was Chiddy Bang's "Opposite of Adults." They sampled that weird synth from MGMT's "Kids" and put it to good use. It's stupid how you can like hip-hop songs just because of the samples they use. It seems like cheating. Oh well, I guess the rhymes are sort of fresh, nonetheless.


24
Jul 10

Rick Ross – "B.M.F."

This week's additions to the Billboard Hot 100 are as follows:

  • 92 The Band Perry -- "If I Die Young"
  • 94 Fantasia -- "Bittersweet"
  • 98 Rick Ross -- "B.M.F. (Blowin' Money Fast) Feat Styles P"
  • 99 Dierks Bentley -- "Up On The Ridge"

"If I Die Young" and "Up On the Ridge" are pretty mediocre country songs. I wasn't very impressed, so I'm not even going to talk about them. Fantasia's R&B tune "Bittersweet" was also pretty awful. In this song, there is a sitar played sparsely throughout the verses; this made me laugh a hearty laugh. It's like the producers were thinking, "how can we turn this song into something unlike every other R&B song?!" "Oh! We'll put in a sitar! Yeah?" Finished!

The one song I actually did enjoy was Rick Ross's song "B.M.F. (Blowin' Money Fast) Feat Styles P." I have no idea what he's talking about or who Larry Hoover is, but Rick Ross has a nice, obese voice, and I can really appreciate that. When I listen to the song, I feel like he is sitting on my face and suffocating me. That's a nice feeling.


16
Jul 10

Alone in My Room (and various updates)

Wow, it's been quite a long time. Longer than healthy. Longer than long. I never thought it would take this long for me to complete a song of such popped nature, but it did. Well, actually, it didn't. It was probably only two days of actual work… but I have other things to do, too. Like sit around and eat. And sleep. I like to sleep.

Alone in My Room by Byron T

Aside from working on my own stuff, I've been involved in a few other various musical projects. I have been playing a couple shows a month with my cover band, Standard Groove. They are a really nice group of people, and they're seasoned musicians; it's been a huge pleasure playing with them. Plus, cover bands get paid money. Mmm money.

The other project I'm working on is Sunshine Jackson and the Temple of the Righteous Beach Party with Evan Campbell, Mark Haugen, David Maixner, and Sam Dorrance. Right now, we're working on a record and playing some small shows and open mic nights. I think the new album is sounding really good so far. Writing and working on songs with them has definitely been the most pleasurable writing experience I've ever had. They all have an incredible ear for pop music, and the melodies and harmonies are especially fantastic. Plus, they're a fun group of guys to be around.

As far as the rest of my musical life is concerned, I've been listening to a lot of Marvin Gaye lately, particularly the album What's Going On. I think it's safe to say it's my #2 favorite album, after Plastic Ono Band by John Lennon. The basslines are just incredible.

I've also been trying to listen to mainstream pop; in fact, I've started a habit of listening to the Billboard Top 100's new weekly additions. I burn a CD of all these new songs and put it in my car, and it's the only thing I can listen to in my car all week. Some of it is pure shit, but I sure appreciate the craftiness of it. Kanye West's "Power" is the best track this week, hands down, but Lil Jon's "Outta Your Mind" is just too hilarious and catchy to not mention here…

I think that's a good note for my white, blogwriting ass to end on.


25
Mar 10

An Unimportant Update

Remember when I said I was working on that song? Well, I was. And then I stopped. And then I started again. And then I deleted it. Then I recorded it again. Then my computer died. Then I reformatted. Now, it's nearly complete. What do I mean by "nearly complete?" Well, everything is laid out; now it just has to be laid down… like a beautiful woman by the fireside. The feelings and the plans are all there; now all we need to do is play. Ah yeah, baby. I'm expecting it to be complete in no less than two weeks, again, just like my lovemaking.

The thought of recording enters my thought process each day, and each day I do nothing, I feel awful about it. Not because my millions of fans are expecting something new to listen to, but because I feel unfulfilled. So really, this slacking will end, and I'm going to knock this bastard out of the ring. Pow! Like that. I'll give it a grade three concussion. Then more songs will enter the arena, and I won't be able to do anything but knock them out, too.

I may start posting more blogs, thoughts, and musical ideas on here as time rolls along. I don't know how many people will pay attention, but at least I'll have the satisfaction of knowing I'm beating both Byron T. Watts and Byron T Bear on Google's pagerankings. So if you're looking for a Byron T page, don't go to the competitors. You have all you need right here. In the meantime, grab a snack or perhaps a beverage and enjoy the rest of your time on the computer.


07
Jan 10

Alone in My Room (Piano Demo)

Since this is a web LOG, I thought it would be a cool idea to log the progression of a song on its long, strenuous journey. Like a lot of my songs, this one was conceived whilst messing around on the piano and singing jive. The current key it's being played in is F, but as the strain in my voice shows, it might have to be moved down a half-step or two. Still, I think it sounds neato and delightfully poppy.

Basically, what you're seeing and hearing now is a very rough version of the song. The next post, hopefully to be completed in the next two or three days, will be the final version of the song and will have a sweet freakin' video. This two-video format will be the way most songs will be posted on this site, so pay attention, damn it.


01
Jan 10

Love Me Right Now

To start off 2010, here's a recording of one of my favorite songs that I've written.