Music

Video: Cuba and The Patient at Kelly’s Korner

My sister was kind enough to film my set at January’s Kelly’s Korner, a monthly open mic. at St. Michael’s College at the University of Toronto. I played two covers. The first is a song written by a friend and inspiration of mine, Robyn Dell’Unto (a local singer/songwriter I usually accompany on violin). She didn’t know I was covering the song, but another friend texted her during the performance, so my secret didn’t last too long. I played her the video last Thursday and she didn’t hate it! The next video is the third acoustic Tool cover I’ve done, but the first to be recorded/filmed. There are a few rough spots as this was the debut of the cover, but it turned out fairly well.

Cuba (Robyn Dell’Unto cover)

The Patient (Tool acoustic cover)

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Facebook Artist Pages Still Have A Long Way To Go

When Facebook first launched music pages back in November 2007, I predicted a shift away from MySpace. A couple months later, I created a MySpace profile for myself, ending a self-imposed boycott. It was stupid of me to ignore the community (MySpace is simply where musicians are, unfortunately), but beyond that, Facebook Musician Pages are still really awkward.

Music Player

It’s obvious that Facebook wasn’t designed with musicians in mind just by taking a simple glance at the music player (take my page for example). I’m a fan of simple, but there’s a difference between elegant and lacking. There isn’t even a way for artists to order the tracks in the playlist, nevermind enable downloads or include lyrics or album art. It was just a few weeks ago that Facebook began providing stats on audio (and video) plays in the Page Manager application, but you can’t even tell which songs people have been listening to. I’m the last person to obsess over meaningless profile stats on MySpace, but a simple play count is fundamental feedback.

Relationship with Fans

On Facebook, you don’t friend a musician, you become their fan. Now, I wouldn’t want everyone who’s interested in my music to become my Facebook friend (that’s one of the annoying things about MySpace), but the alternative Facebook has chosen is very impersonal. You don’t message fans, like you would members of a Facebook group, but you send an “update.” You can’t reply to an update. It’s faceless, one-way. If someone wants to get in touch with you, they can post to your wall or discussion board and hope that you notice.

The relationship of “fan” versus “friend” is technically more accurate, but it gets in the way of forming a real relationship. The artist is a distant and mysterious figure, hiding behind some “wall” (har). Facebook was right to rethink MySpace’s approach, but they need to do much better.

Part of the problem is they’re using the same tool for corporations as they are for artists. It’s okay if a giant brand is faceless because it has a different type of face. Even if Facebook would just add some privacy settings, that could go a long way to allowing different uses, such as letting artists connect to their fans if they want to (e.g. “can fans send you a message in reply to an update?”, “should page admins be visible to fans?”).

Relationship with Other Artists

How about “none.” MySpace wins hands down here. The only thing remotely close that Facebook offers is the ability to “favourite” another artist page. If you want to find or communicate with other artists, you need to do this with your personal Facebook account. Or on MySpace.

Events

This has been poorly thought out. There is no simple way to list upcoming shows! An artist must create a separate “Facebook Event” entity for every single show — that means guest list, photo, address, etc. Again, MySpace’s approach is riddled with problems, but at least you can have a simple upcoming events listing on your profile page without making a big deal of every event.

Plus, there are lots of problems with Facebook events in general that are magnified here. What if multiple artists are playing a show together? Do they each create separate events? How else can an event be listed on each of their pages? What about mutual fans — do they get multiple invites?

I’ve been experimenting with a “shell” event solution lately, creating an event for every show but (a) disabling extra content (posted items, photos, videos), (b) hiding the guest list (so I don’t have to send or monitor invites all the time) and (c) providing the basic details but linking to other Facebook events when relevant (here’s a recent example). I play a lot of shows with other songwriters, so when they setup their own Facebook events, I’ll create one of these “shell” events on my page that carries the core details but links back to their original event, and I’ll use their event to invite my friends.

Third-Party Apps

A lot of these shortcomings offer good opportunities for third-party applications, but it’s not that simple. As far as I know (and I’d be happy to be wrong), third-party applications don’t have access to Facebook Insights (the stats Facebook shows you about your page, which are always about five days behind). Sure, you could use/create another audio player or calendar, but then that application has to maintain its own stats, and all of the sudden you’re looking in three different places every time you want to check on your Facebook page (nevermind MySpace, YouTube or your own website…). For example, I’ve chosen to use a Flickr app instead of uploading my photos to Facebook, and as far as Facebook is concerned, no one has ever looked at a photo on my page. Third-party apps are second-tier when it comes to stats.

I still think Facebook Musician Pages are an important tool for artists and I have hope that the improvements will keep coming (if I wrote this two weeks ago, I’d be railing on them for the lack of any stats on audio plays). But, despite the clumsy and mostly incompetent design behind a MySpace profile, they’ve got the core things right about music. The fact that music is an “oh yeah, that too” on Facebook shows — one size doesn’t fit all.

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New Song: Everything I Want To See

Everything I Want To See is a song I finished writing over the summer and recorded at Robyn’s in September. This is actually the what-do-you-think-of-this-song live-off-the-floor version, but it’s the only recording I have so far. I first played this at Hugh’s Room at the Humber Summer Songwriting Workshop showcase.

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listen / download / lyrics

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New Song: Canvases

Canvases is a song I finished writing over the summer and recorded at Robyn’s in September. This is actually the what-do-you-think-of-this-song live-off-the-floor version, but I prefer it to the one we tried to work on. Uploaded, as it’s the first recording I have of this song, though I’ve played it live quite a few times.

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listen / download / lyrics

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Use LastGraph to Explore your Last.fm Listening History

I was introduced to LastGraph recently, a Last.fm application that lets you explore your listening history. The coolest feature is the LastGraph poster, which provides you with a visualization of your listening habits over a given time span. Here’s a poster detailing my listening habits over the last year. Very strange, if I say so myself. (Thanks Nathan for introducing me!)

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Joshua James: O Come, O Come, Emmanuel

Stumbled upon a great version of O Come, O Come, Emmanuel by Joshua James.

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Canadian Blank CD Levy To Increase By Another 38%

This post originally appeared on Techdirt.

The Copyright Board of Canada has decided to increase the levy on blank CDs from 21 cents to 29 cents each. The levy is a sort of “you’re a criminal tax” that assumes blank CDs are going to be used for unauthorized copying. Blank CDs in Canada are now often more expensive than blank DVDs (which have no levy and hold more data), and most of that cost goes directly to the record industry. In 2006, about 70% went to the labels, but it seems like even more now, with actual price of CD-Rs dropping. With a 21 cent levy, a pack of 50 CD-Rs sells for about $12 before tax. That’s 24 cents per CD-R — 87.5% of the price goes to the record industry. And that’s before the 8 cent increase.

The board notes that sales of blank CDs are declining, but justifies the increase by arguing that compression allows people to store more songs on a CD. Meanwhile, there’s no levy on digital audio players (the Canadian record industry was worried it would legalize downloading and seemed to prefer to push for tougher copyright legislation instead). What’s going to happen when the Copyright Board realizes that blank CD sales are likely declining, not because everyone is using compression, but because less people are using CDs? This “you’re a criminal tax” has always been a short-term band-aid solution that’s not going to fix the record industry’s problem. Do Canadians really need to pay the record industry $30 million a year for the right to burn a few songs onto a CD every now and then? Luckily, the current government has expressed a desire to cancel the levy, though we’ll have to wait and see if they can follow through.

Read the comments on Techdirt.

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Joe Satriani Sues Coldplay For Copyright Infringement

This article originally appeared on Techdirt.

Guitar virtuoso Joe Satriani has sued Coldplay for copyright infringement over claims that their hit single, Viva La Vida, used “substantial original portions” of his song If I Could Fly from 2004, seeking damages for “any and all profits.” The lawsuit has been filed in Los Angeles federal court. Call me a skeptic, but it was just back in June when Techdirt covered a story about a band called Creaky Boards making a similar claim. The difference is that the Creaky Boards didn’t sue. They made a cheeky video and used the opportunity to get some attention (also, later retracting the statement after Coldplay refuted it). However, one notable difference here is that Coldplay was very unlikely to have heard the Creaky Boards song, while Joe Satriani is well known, especially among guitarists. When you listen to this clip, the melodies are certainly very similar:




But does that mean it was copied? Most people’s knee-jerk reaction is to assume it must have been, but here’s an idea: Creaky Boards, Coldplay and Joe Satriani all have a similar melody over a similar chord sequence. When Coldplay responded to Creaky Boards, Chris Martin called it a “simple coincidence.” Is it not plausible that it’s just a somewhat natural melody to sing over those chords? You can’t copyright a chord sequence. If you search YouTube for these sorts of claims, you quickly realize that a lot of songs sound the same. Some cases are blatant infringement, but for most, there are only so many notes in a scale…

Chris Martin has said: “We’re definitely good, but I don’t think you can say we’re that original. I regard us as being incredibly good plagiarists.” I bet he wishes he hadn’t said that now, but to what extent is that true about all of our ideas? Isn’t a certain element of “plagiarism” a natural part of the creative process? Where’s the line between plagiarism and inspiration? Of course, trying to pass someone’s work off as your own is bad because it’s dishonest and you aren’t giving proper credit, and your reputation will likely suffer for it if someone finds out. But even if Coldplay did get the melody from Satriani (whether consciously or unconsciously), how much damage have they done? If you listen to the theme of Satriani’s song and the verse of Coldplay’s, the melodies are very similar, but the songs in their entirety are very different. Coldplay takes the song in a completely different direction in the chorus, while that melody is Satriani’s chorus. Coldplay’s song has lyrics, Satriani’s is instrumental. They appeal to different audiences, they’re very different songs. Even if it is an case of infringement, how significant is it?

That’s saying little about the legal realities though. It’s bound to be a sticky issue in court. Coldplay will likely claim independent creation to try and clear their name (unless they did blatantly rip it off, in which case they might look for a settlement). How do you prove whether or not someone came up with a melody independently? How many notes or rhythms need to be similar to prove that one melody is a derivative of another? This is going to be an interesting case to watch.

Read the comments on Techdirt.

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Anaximander

At the end of every month, there’s an open mic at St. Mike’s College (U of T) called Kelly’s Korner. Last week, I performed a new song (just before tearing things up with Emilie and JP) and I was able to salvage some audio from a broken video camera (you may need to click through if you’re reading this on Facebook or in a feed reader).

It’s tentatively titled Anaximander, but I’m sure someone will tell me that’s way too geeky or inaccessible or something. Lyrics are below. It’s all CC BY-SA, as always.

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Download here.

Stay where you are, eastward from here.
I will find you, even if it takes years.
I can see you ’til I open my eyes;
There was a time when we stood side by side…

And all the stars aligned when you stepped outside
And I could see for miles into the past.
Who knows which stars still shine?
All we have are signs they’ve left us, their protests against the night.

In a garden, at the edge of the town,
Ancient trees know the secrets around.
In your image, the likeness of light;
Anaximander had something right.

And all the holes aligned on the firmament’s divide
And I could catch a glimpse into the fire,
To see the other side…
Holes to Heaven guide us through the night;
I’m focused on your eyes.

And all the stars aligned as you stepped outside
And I could see for miles into the past.
Who knows which stars still shine?
All we have are signs they’ve left us, their protests against the night.

Amidst all these stars, I see what you are…

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Low Paper Planes

The latest Emilaise + JP Diddy cover: Low Paper Planes

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This work by Blaise Alleyne is licensed under a Creative Commons Attribution-ShareAlike 2.5 Canada.