I had another A-HA moment this week.
Imagine what we could do if we were never shy or fearful.
My whole life has been governed by fear and feelings of not being good enough. I guess it comes from growing up in small town Newfoundland/crappy school system/Catholic upbringing/born under a bad sign/some other excuse. Regardless of where it comes from, it’s there.
Putting myself under a microscope, I can see how it affects me. Take a look around this website, there aren’t many pictures of me. The band is called The Complete, not the Kevin Williams band. There’s long gaps between The Complete’s releases.
I actually have plenty of songs in the pipeline that are better than anything I’ve done yet. In a moment of self-examination I can see the reason why they’re not out yet. I second guess myself. It starts with “is this the right guitar sound” and ends with “I wonder when the deadline for law school applications is?”.
Take a look at the “Dream” video. I pestered the director to put as little of me in my own video as possible. If that sounds nuts, it’s because it IS nuts (especially now that I’ve said it out loud).
Whiny stuff aside, that feeling of not being good enough has also the single most driving force in my life. It’s the reason I can play like I can. I thought I had no business being in music unless I was a monster guitarist. But then I realized I needed to be a ridiculous drummer as well…..and then I figured I might as well learn how to engineer records.
But taking an honest look at myself here is what I see: I was using that stuff as an excuse to feel like I was working, without having to actually put myself out there. I mean, do you really need to know how to sweep pick like Yngwie if you want to play rock and roll? Of course not! You need three chords and something to say.
I can count maybe 10 times I’ve really gone far outside my comfort zone, and the results are usually amazing. Stepping in front of a microphone for the first time was hard (people might think there’s all kinds of studio trickery you can use. Trust me, there’s no fooling a microphone), singing songs about things in my life, getting in front of a video camera (that one was rough). But I’m Captain Happypants when it’s all said and done.
*(Funny enough, getting onstage doesn’t usually bother me. Actually, that’s the most exciting thing I’ve ever done [and I've jumped out of an airplane]. That’s one less uphill battle I suppose.)
But you know what? Doing that stuff is never that hard. Even if something doesn’t work out, it’s never really a horrible failure. It’s not like my arm fell off after the first crappy vocal take. The whole film crew didn’t kick me in the junk the first time I flubbed my lines. Girls don’t fling poo at you when you ask them out (…usually). It’s the fear beforehand that slows us down. I suppose underneath it all we’re still just animals and fear helped us to survive when we were running away from pterodactyl’s and shit.
I think the thing to do is to just stop worrying about what others might think, and do whatever the fuck I’m going to do anyway.
Fuck you, fear. I’m kicking YOU in the junk from here on in.
…is a line that no writer should ever, ever use. Want to hear the musical equivalent?
Skip to 3:03-3:08.
I love ya Nelly, but no. Just no. This isn’t her first offence either. The first 2 seconds of this one:
Musicians, if you put this kind of studio banter in your songs I will find out where you live and pee in your shoes.
KW
Beginner to expert. You can learn how to go “weedly weedly weeeeee!” like in this video:
or “boom boom kapow!” like in this video:
(*only applies if you’re in Newfoundland. Sorry everyone else, I’ll get to you soon enough!)
(**I’m not scary or anything. See pic)
(Where I press “shuffle” on my iPod and review the first 3 songs that come up.)
1. Heresy by Nine Inch Nails (from The Downward Spiral)
Trent’s early days. Angry and noisy. Sonically it’s an industrial masterpiece. The beginning used to throw me off before I realized that the downbeat is on the uppy-doodly part of the synth riff.
Trent and Flood’s production is outttttttstanding. I hear something new in the background on each listen. It’s noisy, but it’s controlled noise. The descending riff in the chorus is more prominent in the live set, but what really reels me in on this track is the chunky riffy part that comes in on the second half of each phrase in the chorus. GOD I(duh-duh-duh-duh, duh duh)S DEAD…..AND NO O(duh-duh-duh-duh, duh duh)NE CARES.
Then, right after the first chorus that swinging guitar part kicks in and continues all the way through verse 2. That is funky as fuck.
Lyrically, it’s pretty obvious that TR is not a religious man.
Trent uses noise orchestral-ly, and no one does it better.
2. Roots Radicals by Rancid (from …And Out Come the Wolves)
I love Rancid’s guitar sound. Incredibly raw (everybody says their own guitar sound is raw, but man…Rancid’s is raw).
One of things I really like about Rancid is that structure-wise, these are pop songs. Catchy, short and to the point. Wonder why they’re one of the biggest punk acts ever? It’s the songs, stupid.
5 forehead tattoos out of 5.
3. Spoonman by Soundgarden (from Superunknown)
This came out when I was just a kid. I think it was one of the first albums I ever owned, actually.
Hearing it with different ears now. This is an example of how to make a rock record. 4 or 5 guys, simple rigs, great singer, solid drummer. If you can do that, you’re ahead of most.
Sonically, this was released just before people started going nuts with compression. It’s dynamic – the louds are loud and the quiets are quiet. Soundgarden have a new song out (it plays over the credits of The Avengers) and its levels are totally brickwalled. The loud sections are loud and the quiet sections are loud. In music, a very effective trick can be to follow a quiet verse WITH A SLAMMING CHORUS. Compressing the gizzard out of your music removes this option.
Spoonman is my favourite track from Superunknown. The off-kilter rhythm and stoppyness of it is what attracted me to SG in the first place. More like this one, Cornell and Co.!
KW
Here’s how this is going to work:
Every month something new from The Complete is going to come out. A single or a video (or who knows, a freakin’ book or something). At the end of the year I’ll probably compile them on an album and do a limited vinyl pressing or something.
More on this as it happens…
KW
As an independent musician at the beginning of my career I keep getting asked what my position on music piracy is. So here goes (deep breath):
IT’S FUCKING AMAZING.
You have the entire history of recorded music at your fingertips. Think of any piece of music and seconds later you’re listening to it on YouTube.. That. Is. Unfuckingbelievable. Imagine how many round pieces of plastic you would have to own to be able to say that.
“But that’s not fair” says new artists (and formerly me). Of course it’s not fair! But as we all know: that’s life. Music is 1′s and 0′s now. It’s in the ether. It’s free and there’s no going back.
And would we really want to go back anyway? To a time when we had to grovel in front of record labels on our knees and beg for an shitty deal? Nuts to that. These are AMAZING times to be a musician. You don’t need a million dollars to make a record. Your laptop is a recording studio and a video camera. Don’t know how to use a microphone? Not sure how to edit a video? Google that shit. Anyone and everyone can easily place their music up for grabs on the internet.
The downside of course, is that we have to navigate the Seven Seas of Shit. A daunting task to be sure. But if an act is truly good enough, people will hear about them and they’ll find an audience (google Pretty Lights).
As for those musicians who complain that we’re not all rich, what did they think they were getting into? If you want a Ferrari, become a banker.
Of course the dinosaur labels are moaning about all this. “THE WORLD IS COMING TO AN END BECAUSE PIRATE BAY”. Fuck ‘em. They’ve been overcharging you, suing you, pumping out the same shit over-and-over again, living like kings off the backs of artists for decades. You owe them nothing.
So if you like an artist and want to support them, go see them live. That’s the way they made money in the past, it’s the way we’ll make money in the future.
Music is free now. Enjoy it.
Last weekend I got the chance to check out the band Sheezer. They’re an all-girl Weezer cover band, and yes it’s as awesome as it sounds.
During the show something struck me. The crowd was super into the music (myself included) more so than any other show I’d seen in St. John’s in a while. I realized the reason for it: THE SONGS.
Sheezer only play songs from the first two Weezer albums (the Blue Album and Pinkerton). That’s pretty telling. Those records were full of good songs, something that you can’t really say about Weezer’s later stuff.
IT’S ALL ABOUT THE SONG! Great verses that lead into even better chorus’. Weezer did that really well in the beginning. The Beatles did it all the time. Nirvana did it better than anyone in the 90′s. Top 40 tries to do it. The best DJ’s can pick the best parts of the best songs and make something pretty cool out of it. Girl Talk anyone?
Most of the bands spamming my twitter account with “buy my song from iTunes” don’t have the chorus’. Or the verses. Or the BRIDGES.
Sheezer know it’s all about the song.
(NOTE -they play them well too. Very important.)
I hear a lot of first draft-y, potential good ideas from bands. Not enough fully fledged, fleshed out tunes.
New bands! Make it about the song and you’ll stand out from almost everyone else at the same level…and make us take notice.
KW