Serving up another edition of LETTERS FROM THE ROAD, our guest post series where we invite musicians we are utterly nuts about to take over and write whatever they like. 2 rules: it has to be in the form of a letter, it has to have something to do with music. This week’s LETTERS FROM THE ROAD guest author is one of our favorite singer songwriters, Tim Easton:
Dear Young Songwriter Who Wrote Me on MySpace or Facebook and asked for advice:
I have so much to tell you but I should probably distill it down to the basics. This is what I would tell any young artist or student who stands in front of me wondering what to do in this massive and confusing world of art and commerce.
Basically, I can explain it in three chunks:
1. Read and listen to everything that came before now. Films too.
2. Leave home. Travel.
3. Bring something new to the tradition of your craft.
I would have to advise you to read and listen to anything you can get your hands and ears on.
Poetry: you should read it every day. Short stories, novels, all the classics. Get to it.
With music, you are going to have to step out of your comfort zone and visit the sounds and songs of those that came before the songwriters you are listening to now. Go back to the beginnings of your favorite genre. All of the greats studied the greats before them. If you are an American musician, you are doing yourself a dishonor by not listening to and studying the first American musicians who gave us jazz and the blues and the folk music that teaches you the chords and stories you need to know. There is a foundation there that is absolutely necessary if you wish you be a part of the constantly evolving family of musicians and artists, rather than the disposable, flavor of the month variety.
In North America, our “classical” music is jazz. Through serious suffering and eventual liberation came the blues. Finally, we were very fortunate to be the birthplace of rock and roll (disco, hip hop, etc.) and although we’ve had to have its message of ass shaking freedom re-explained to us time and time again by different generations from both sides of the pond, you won’t find any of the long term successful people in these musical genres that didn’t go back and study the greats that came before them.
You want to learn to write good songs? Then learn how to play the great songs of history. You like The Beatles? Learn Motown, Buddy Holly, and Cole Porter. Learn McCartney’s bass lines. You like M. Ward? Go listen to Roy Orbison or Louis Armstrong, Hoagy Carmichael, or Elmore James.
If you listened to every Kinks album and then every Sonic Youth album in a row you will have accomplished a few days of well spent research.
Woody Guthrie, Mississippi John Hurt, Robert Johnson, Doc Watson, Blind Willie McTell…they all have stories to tell, more down and dirty than any Stones tune. Learning songs by them will enable you to tell your own stories.
Go to the library and get all this education for free. You can sign up for a card and cruise your library’s collection on your computer, ordering books, films, and CDs to be picked up at your local branch. World music, classical music, avant-garde or modern sonic explorations, Mongolian throat singing: it’s all there waiting for you. While you are at it learn the names of some constellations, trees, and plants.
To me, it’s painfully obvious when a band or writer hasn’t bothered to listen to any albums that came before, say, Nirvana. Rock and roll and popular music/culture in general is more or less a young man/woman’s game-as far as music business goes-but as a lifestyle it can be permanent if you wish. Great art, or the individual expression of those trailblazers that came before can truly charge your creative batteries and help you grow as a person to embrace doing things just a little different from the status quo. You can find temporary happiness with what is current or you can go back in time and stand on the shoulders of the giants of storytelling, and therefore continue on in the tradition of learning and then creating something new out of your own experiences.
This leads me to my second point which is that you simply have to hit the road. I don’t care if you live in NYC or Nashville or LA (which is where you will most likely end up if you actually want to do something about a “career” in entertainment), if you are a young man/woman then you need to see another world besides the one you are accustomed to. Sitting around a coffee shop and talking about all the different things you want to do isn’t going to accomplish anything. If all North Americans could visit other nations, then we would have a more enriched culture and a better understanding of the world, and therefore be an even better country ourselves.
Go to Europe. Take your guitar. Hitch hike. Play on the streets. Meet some other travelers. Share a bottle of wine beside a famous river. Get laid. Fall in love. Get your heart broken. You don’t have to live life the way you have been taught you should, unless you would like to end up working in a cubicle.
Returning to your home town art scene isn’t a crime either. Enliven or participate in your community’s art and music scene by providing couches for those traveling musicians and artists who are on their way through. Throw house concerts. Form a musicians co-op and record company for you and your friend’s bands. Start a ‘zine, or participate in one that is already on the move.
Lastly, and this will most likely happen through experience, but you must bring something new to your craft. If it is songwriting, then add your own life experience to it. Whatever made you the unique individual you are today, put it inside your art.
There are some things I would like to point out that might assist you in achieving some of these goals, and though I didn’t say it before, you should indeed make some goals, and wake up every day and do something towards achieving them. Think it, believe it, do it.
— Tim
P.S. Did I mention that you should practice your instrument every day? Or write in your journal…or write down some of your dreams…or carry a pen and small pad with you at all times? I guess that is just too obvious.
P.S.S.How much time every day do you think Connor Oberst or Jack White or Jeff Tweedy or Chan Marshall or any songwriter/musician/artist you admire spends fucking around on MySpace or Facebook?
Exactly. Now start making plans to hit the road.
2/1/10 | Comments (5)Tags: CUT THROUGH THE NOISE, KATE BRADLEY, LETTERS FROM THE ROAD, OUTLANDOS MUSIC, Tim Easton —
The biggest idea I came out of SxSW with this year was that free is dead. Over. Overdone. We killed it. Because so much is free online, we expect it; where’s the value in that? It seems to me that the folks in Austin weren’t quite on this one yet… even SxSWi keynote speakers Guy Kawasaki and Chris Anderson seemed slow to the punch (Guy’s big bright idea for Chris’s new book “Free,” out this July, was to give it away for free. HELLO? Been there. Done that. Have they NOT notice that the music industry has already beaten this model into the ground?)
Sure, giving stuff away for free is nice. People like it. And these days, you have to do it just to keep up with the Joneses. But keeping up doesn’t get you ahead. And obviously free doesn’t exactly pay the bills unless you’re Trent Reznor or Radiohead, i.e. established. So what about the little guy? Good question.
Things to think about:
1. What’s the effectiveness of your free? To lure in new fans? To solidify current fans?
2. What’s the strategy of your free? Is your free creative? Why do I want it over someone else’s?
3. What’s the bottom line of your free? To get me to pay for something else?
Free can’t be JUST free anymore. And how the hell can you beat free? So that’s my question:
What’s the new free?
Thinking that the answer is in fact the opposite of free. The complete opposite. Fucking expensive.
Take the new food for example (thanks Erik!). $5 Kashi anyone? $4 local, farm-raised, cage-free eggs? $8 Pom Wonderful? $5 rice milk? Are we (me included) out of our minds? Perhaps. But clearly, somehow those foodies did it. We’re willing to pay ridiculously high prices for incredible quality. What’s more is we often drive way out of our way to get it (for most of us, Whole Foods, etc. isn’t usually down the road). Why? We value life for one, fueling our bodies with the best we can to feel healthy, younger, whatever. But also it’s just plain delicious, so there’s definitely an aesthetic association. And for sure, it’s COOL. I love walking into Whole Foods with my eco-conscious shopping basket and looking at all the pretty colors and all the pretty people. I do. It’s a group I want to be long to. But the best part is getting home, unpacking everything, unwrapping and putting it away. I love touching it. I love how it looks in the refrigerator and on the shelves. It looks nice.
Hmmmmm…. what else makes you feel good, feeds the senses, makes you willing to make an effort to get it, makes you feel cool and the need for inclusion? YOUR FAVORITE BAND.
So what’s missing? Well, if it’s digital, you can’t TOUCH it. And that’s a bummer. There’s a lot of pleasure out of simply owning something, holding it. Is that the missing element? Making music TACTILE again?
I think so. And apparently Tim Easton does as well. Bless him.
xo
4/13/09 | Comments (57)Tags: CUT THROUGH THE NOISE, KATE BRADLEY, OUTLANDOS MUSIC, Radiohead, Tim Easton, Trent Reznor —
