...On Moonlighting

Tonight, I'm moonlighting. Y'all know what that is, right? Here's how I like to describe it:

Moonlighting is doing what you love after those whom you love are fast asleep.

(Follow me on Twitter for more profound one-liners such as this :) ---> HERE.

Moonlighting is honestly one of the hardest ways I can think of to sustain or develop a career or business. Bravo to everyone who is in it, into it, does it, and works hard at the work he or she really, really wants. You rock.

I, on the other hand, struggle to find balance, often caving into the desire (or need) for rest, relaxation, or recreation.

Tonight is my first time moonlighting in nearly seven months. I hope it will be the first of many more nights like this to come in the coming weeks and months—but not too many. Because I'd rather be doing this as a full-time gig during the day. Yes, I can dream, can't I?

What I'm working on: A soundtrack and narration of The Big Picture Story Bible by David Helm, illustrated by Gail Schoonmaker.

To Upgrade or Not to Upgrade? That is the Question

Reason 7's Rack Effects and Virtual Instrument Modules

I use Logic Pro for almost all of my recording. I like the interface way more that Pro Tools, and I know all of the key commands, and I love the virtual instruments and plug-ins. I'm currently running Logic Pro 9.1.8, which is, most likely, one of the very last updates to their version 9 software. A while back, I raised a stink about certain features not being in Logic Pro, the lack of updates, and how Propellerhead's Reason software was constantly being improved, where Apple's Logic seemed to be stuck inside a major corporation unwilling to innovate for their pro audio users. Enter Logic Pro X. Finally, an update. A big one. But is it worth it?

When Reason 7 came out, I vowed to leave Logic Pro behind, but that hasn't panned out—at least not yet. I was in the middle of several really big projects (and still am) and had started them in Logic, so it's difficult to migrate them over—especially to Reason. It's just such a different kind of animal. Much more analog-like, and definitely in the baby stages of development when it comes to key commands and back end features. Of course, Propheads would say they've stripped out the junk that is rarely used and left what is musically useful.

Also know that I exclusively use Reason 7 to create electronic music for Argo the Ship, and I love it for that platform.

But I'm thinking about testing out Logic Pro X to see if the updates are useful enough to make the switch up to version 10. Why? Probably because I'm familiar with Logic and by sticking with it, I don't have to waste precious minutes learning a new interface. I can spend more time creating instead of fiddling, figuratively speaking. Pro Tools is out. It's down to Reason 7 and Logic X, both of which I know, use regularly, and love.

Taking the plunge with a trial in mid-November...

New Music... Thursday? Pick of the Week

I can't believe it's Thursday! Yeah, a week and a day since my *last* music post (which was already a day after the Tuesday's new releases dropped).

I've only had a chance this week to listen to a small number of new releases. When you consider each new album probably has a 45 minute-plus runtime, it's easy to see the difficulty of the task. This is why newspapers and magazines have full-time staff members dedicated exclusively to reviewing new albums.

So this week, I'd like to draw your attention to the latest album from one of my favorite artists today: Josh Ritter. His new album is entitled The Beast in its Tracks and you can...

Get it on iTunes here:

https://itunes.apple.com/us/album/the-beast-in-its-tracks/id579109979

Or consider buying the exclusive B&N edition with a special lyrics journal insert:

http://www.barnesandnoble.com/w/beast-in-its-tracks-josh-ritter/25668859?ean=92145170304&isbn=92145170304

Track one is classic Ritter: "night" is in the lyrics and the vocals are doused in reverb. But 55 seconds later, we really get cooking. It's obvious from the start that Josh has heartbreak on his mind, but it's not the kind of turn-off that we've come to know in break-up songs.

As a whole, lyrically, the album comes off in a similar way as Andrew Osenga's Leonard, the Lonely Astronaut (although each artist approaches their subject from different vantage points and ultimately draw different conclusions). Both Ritter and Osenga leave listeners - me - longing to recapture a relational emotion or state of being that has long since begun to wane.

I hate when songwriters are marketed as "thought-provoking" or "honest" or any other cliche about possessing a higher level of poetic- or song-craft. Though they tend to be true, these cliches dumb down the really good songwriters into some sort of quantifiable, understandable category. As a songwriter myself, I don't find the adjectives helpful because they tend not to be unique to music.

But Josh Ritter comes off to me as human - and relatable. Reading his own history makes it easy to see why his songs resonate this way with me and many others. He's a pretty normal guy from... Idaho?

So go check out his new record, and if you find yourself listening to the lyrics more than your average Bruno Mars pop song, consider checking out his other records, too. I don't think you'll be disappointed.

Signing Off...

Wiki Commons:The_End.jpg

I love writing. Maybe more specifically, I love ranting. I like creative writing, developing a blogging voice, thinking about what to post about, editing posts, forgetting to proof-read posts, finding pictures to go along with my post topics, and the like.

But blogging is not writing music. Or playing music. It's a different creative outlet - one that I think I'm not half-bad at. But not one that I feel I should be spending so much time doing. I've been thinking a lot about blogging lately.

After much deliberating, and with so many things vying for my time at this point in my life, I've decided to focus my minutes more specifically on music for a while - writing and playing it.

To all of my subscribers and followers, I would like to say thank you for keeping up with my blog... I'd also like to let you know that I'm not completely done with this sort of journaling either. I'd like you all to join me on Twitter, following me there (which is here: http://twitter.com/jaymathesmusic). Yes, it's shorter bursts of words, but words none-the-less. You can also Like me on Facebook, here: http://facebook.com/jaymathesmusic. And, you can subscribe to my Jaymathes.com news posts, here: http://feeds.feedburner.com/jaymathesnews. Or, of course, I have a monthly newsletter. Sign up here: http://jaymathes.com/?page_id=33. The point is, you'll still be able to read words from me - just not here.

So please come along! Hop on a different train with me and continue reading with me...

Twitter: http://twitter.com/jaymathesmusic
Facebook: http://facebook.com/jaymathesmusic
Jaymathes.com News: http://feeds.feedburner.com/jaymathesnews
My Newsletter: http://jaymathes.com/?page_id=33

Also, I still have some unfinished blog business here, too. I do plan to finish up my top 25 albums of all time list, but I may not post that here... I'll make sure you're all able to see it, though.

So here's to a new year of opportunity ahead and 232 posts behind. Cheers!

Blurb from My Latest Newsletter

I don't do this - ever, but I thought it would be good for you all to hear, if you haven't already read it in my latest newsletter... This is a cut and paste from the email I sent out to my music mailing list just a couple days ago, on August 26, 2011 (by the way, if you're not already on it, please sign up for my mailing list at http://jaymathes.com, filling out the mailing list form on the right side of the page, towards the top):

WHERE I'VE BEEN, WHERE I'M GOING

In just a few, short weeks, I will be the father of two, beautiful children. Having kids makes you think, and, paradoxically, gives you less time. Maybe what really happens is you just think better with what little time you have to think.

I've put in a lot of time - and money - into my music over the years. (I just realized that this past February marked the 10-year anniversary of the release of my album, Leave it All Behind.) Don't worry. This isn't a break-up letter.

I'm not losing steam - just trying to evaluate things. What I can say is that I'm even more inspired today by life than I ever have been. I can't help but write and perform. And I'm also even more excited by what I call a genuine musical experience. What I long to see in other recording artists - and what I long to show to you - is a picture of who the artist really is - not some projected image - some amalgamation of marketing tactics and strategies.

In an effort to better show you who I am, I'm going to continue doing what I do: writing music that comes from my heart, my experiences, and reflects who I am and how I feel. I might blog less. I might tweet more. I might be on Facebook less. I will write more music. I will post that music online. I will beg and ask for your support of that music.

Music keeps me going. If I lost my hearing, I'd self-combust.

Thanks for your support, and come on out on 9/4 if you can!

-Jay

Now Serving BMI Artists...

I just received an email today from my performing rights organization (PRO), BMI Inc., that they just signed a deal with Spotify that pays BMI artists for music streamed from the Spotify application. Awesome. So feel free to stream away those Jay Mathes tunes in Spotify, knowing that I'm actually getting paid when you do!

A Song is Not a Cookie

I distinctly remember reading a book for a marketing class in college that referenced the start-up of some, well-known cookie manufacturer of today. That cookie company was started by one dude giving away cookies on public transit buses in whichever city he lived at that time. I could have sworn he did it in the city of Chicago. I've searched, but alas, cannot identify the company. Maybe it was all a dream... I'll try to remember to dig out a couple of books and search for the company the old-fashioned way - by browsing my book collection.

But here's the deal: a song is not a cookie.

When a dude wants to start a cookie company, he just might become successful by giving away his cookies for a month straight, and, assuming his cookies are fantastic, he might gather a long line of customers who seek to eat another one of those fantastic cookies - and pay for it - after that time.

With artists, songwriters, record labels, and anybody else who relies on *recordings* for their income, you can't, ultimately, just give them away for free. Why? Because once someone "tastes" (IE: downloads) your sound recording, the person never has to come back to you to get that same flavor - he already has it in his iTunes library. You've just given away your number one commodity, and users can re-create that listening experience without you now.

I haven't decided exactly what this epiphany means for me, my music, and the music Swiftly Running Records represents, but you bet I'm thinking about it - alot.

If you think you've got a few good ideas to explain what I'm talking about, or if you've got other ideas about how to make sound recordings work for artists, please let me know. Or maybe I'm way off base...

Music Licensing Opportunities

Over the last few weeks, I've been exploring new ways to generate some cash from the music that I write and record. The good news? There are a lot of ways to generate the money, as I have found. The bad news? It seems like every other artist has discovered the same thing that I have. I've found a bunch of websites that claim to "specialize" in what is called song placement or music licensing - places called "pitching houses" (basically just a new name for a music publisher). The problem is that I'm having trouble navigating this over-crowded sea of music speculators.

For lack of a better comparison - actually, no, I think it's a perfect comparison - the digital music licensing world looks *exactly* like the California gold rush days: everybody is vying for the same territory, the "mining" technology (a content delivery system) is readily available to almost all artists, and the value of the commodity (good, quality music) is fluctuating based on its availability.

So what does this mean for my music and the music that Swiftly Running Records represents? It means that now, more than ever before, I have to rely on personal contacts to exploit song placement opportunities. And the best way to continue to establish those relationships is to be where those decision-makers are - to live where the music supervisors live, eat where they eat, attend the events they attend, invite them over for dinner, take them out for coffee. I know a heck of a lot of them live in L.A., a few in Nashville (I think), and maybe some in NYC(?). But I'm not so sure I'm willing to relocate just so that I can pitch my songs. (Maybe I can get somebody else to do it[?].)

I want to play. I want to perform the music I write. I want to be on stage. I'm just looking for a way to make enough money to keep doing what I love.