musicbusiness

Experience, learn, always laugh, sometimes cry, repeat. by Nick Bullock

week 6 Experience, learn, always laugh, sometimes cry, repeat.

Some people love to say how difficult their chosen "career" can be. They complain. Sometimes it comes in the form of a joke, sometimes their words and actions straight up drip with venom, and sometimes its a subtle comment of desperation and frustration.

It's usually easy to imagine, feel, honor, glorify and visualize our next grand accomplishment in the career of our dreams. But that's not all there is to it. What does it mean to follow your career path? It means if it's true, it will be hard. If its TRUTH, it will be the hardest. Follow your instinct, follow your gut, follow your dreams and they are guaranteed to lead to hard times. But if they are really your truth, you don't have a choice anyways. So, if we choose to go the hard way and follow our truth, then we do it intentionally with the knowledge that we are not going to have a breezy stroll down career street. We can, however, learn to discipline our minds and hearts over time. We can learn how to honor our feelings of self doubt and frustration, but not live in them. We can start to take command of our subconscious. And slowly over time, we get really good at what other people might call having a thick skin, or "no worries". Its really just the ability to deal with in a healthy manner, all the negative bullshit that surrounds following your truth.

So, experience, learn, always laugh, sometimes cry and repeat.

ps: for week 6 of 52 in 52 go to https://soundcloud.com/nickbullock/grand-design

10 Things About Growth If You're An Artist by Nick Bullock

10 Things To Think About Concerning Growth and Growing as a Professional Artist: 1. Growing pains exist. There will be a time when you are still developing your skills. As a matter of fact, you will always be developing your skills. There will be moments when others doubt your abilities, or doubt what you can do. You can, at that time, decide whether or not you are going to honor your reality, or theirs. I suggest honoring your own.

2. Not everything is for everyone. It's ok if people don't like what you do. As a matter of fact, the more people don't, probably means that you are closer to finding your niche. If you are a really good americana songwriter, or incredibly skilled with ink drawings, then maybe a metal head won't like your song, or maybe a fan of water color paintings isn't going to choose your ink drawing. There are lots of people who do like ink, and who do like americana. Do what you do first, then find the people who dig it.

3. Marketing, marketing, marketing. The more organized and intentional you can be with your business, the further you're going to go. Period. If you take your business seriously, others will too.

4. Take a break. When you need one, take a vacation. As a self employed artist, It can be really hard to take time off. But it does your body, your mind and your soul a world of good to take a break every now and again. Yes, there are times when you have to put the pedal to the metal, and just move forward, but balancing that with taking breaks when you can is imperative to your survival as a person and an artist.

5. Shake hands and kiss babies. Take a page from politics 101, remember names and remember faces. Connect with people when you meet them. Care. Not disingenuously, do it for real. When you meet someone for the first time, look them in their eyes and search for their soul, be open to being moved by the person.

6. Those who do, do, those who don't, don't. Start something, and see it through. Don't let fear rise to the surface and drown your enthusiasm before you get a chance to explore your ideas. Think less and do more. Book your tour, make your record, show your work, etc. Do things, big and small, "smart" and "dumb".

7. This time right now while you are doing your thing, isn't your last time doing it. So don't get caught up in perfection. Process, not perfection.

8. Remember to check in on your goals. Every now and again (every three months?) take stock of where you are with them. Are they achievable and time sensitive? If someone asks, are you able to clearly communicate them. Write them down, and work backwards till you have the small steps clearly identified. Make it a habit each week to contribute in some small way to the execution of your goals. Each week I ask myself a simple question: "what is the one thing that I can do that can have the biggest positive impact on ___" (fill in the blank).

9. Get a hobby outside of your art. Seek inspiration else where.

10. Be open to life's many twists and turns. There are very few things in your (our) actual control. You can't predict or control how, what or why. But you can control your own reaction to the peaks and valleys. I'm not saying don't every have a pity party, i'm saying be intentional with your pity party, and when you are done, move on. If a song publisher says no, or a dance troupe goes with some one else, what does that mean? Nothing. It means nothing. It means that you can then shift your focus, when you're ready (after said pity party), to what you are supposed to be focusing on, Whether that is the next dance troupe or something completely different. Who knows? Being open is the point.

 

Week 5 of 52 in 52:

Yellow Stone

you can stream it here: https://soundcloud.com/nickbullock/yellow-stone

Week 5

Each Path To Success Looks Different/Understanding The Bigger Picture AND Week 3 of 52 in 52: by Nick Bullock

blog week3.1 As a professional (actual or aspiring) musician, each path we take is unique to ourselves. The challenges we face are somewhat universal, but each solution should be tailor made to meet our unique needs. Or maybe a better way to say it is we each have a unique path to success to live out, and the tribulations we fight through to get where we want to go are an important part of that story.

One of the most important questions each artist asks themselves is "how can I get paid for my art"? How can I make music and make a living doing it? The answer lies in the unique situation each individual finds him or herself in. If you're a songwriter, maybe the answer lies some where on music row, getting a pub deal or the like. If you're a band, maybe the answer lies out on the road, on the club circuit. If you're a singer, maybe the answer is you tube… my point is that we each have a unique set of talents to meet each set of challenges with, and our job is to first identify and understand where we want to go with our careers then work backwards to get there. For me, I want to be known as a great producer who helps artists achieve their sonic vision, and as a great guitar player and songwriter in my own rite. (sound familiar?)

blog week 3

So how do I get there? Well, for starters, I make very specific, time sensitive, small and achievable goals (S.M.A.R.T.). These goals are specific to me (for example, booking four records or EP's a month at my studio etc) and meet my needs both in the short term and long term. They come from the roles I give myself (husband, business owner, and band leader of The Sound Awake).

What are your roles? What are your goals? Once you identify where you want to be, work backwards and define the steps that need to be taken.

The last thing I'll mention is about understanding the bigger picture. Each "failure" can be turned into a success story. For example, if you're a band that tours, and you play an off market in-between two major markets, and the turn out isn't that great your first time through, then at the very least, you have a great data point that says next time don't play the off market show, or if you do, understand what situation you are walking into, and figure out how to turn that into a win. You've got the data, and data is powerful stuff. I think too often we as artists can get lost in the negativity, the self doubt and we forget that at the end of the day, this is a business we are in. Yes, commerce AND art coexist. This doesn't mean you need to bow to the gatekeepers of old, (I think this entire blog post has been about defining success and the path to it by yourself) but it does mean that the more you think and act out of the bigger picture, the happier you'll be (and probably the quicker you'll achieve your success).

This week 3 of #52in52

In Disguise

The link: https://soundcloud.com/nickbullock/in-disguise

ps: thanks to Jay Frank and Nathan Dohse for the great conversation this week and inspiring this post… smart and talented dudes

Working IN your business, Working ON your business: the difference by Nick Bullock

week2 There is a big difference between working on and working in… both are important. I know for me, when I get myself organized about which is which, it helps me to prioritize, and get clearer about my goals as an artist and a business owner.

Working in your business, for me is practicing my instrument, playing gigs, recording, mixing, producing, writing songs, song writing sessions, and a host of other fun "artistic-y" things. I generally spend more time doing these things because I'm a firm believer in if you want to be know for doing great things, then you need to practice, and practice often. By working in my business, I get better, learn more, and generally have the feeling that I am progressing in my "studies".

Working on the business is doing all the managerial and administrative things. It's taking the time each week to write out my roles and priorities. Scheduling meetings, making coffee dates, scheduling recording sessions, booking gigs, scheduling rehearsals and in general reaching out to anyone I find fascinating, inspiring,and with whom I might work well with and want to meet. I still keep an old school date book/organizer to help me run my schedule (and business). Working for my business basically keeps me in check so that I am consciously taking the time for working in my business (my art), and making sure I have time with my family. Pretty boring stuff right? Well, it's not as sexy as practicing my sweep picking, or getting the perfect take from a vocalist i'm working with, but it sure does make my life breathable, and it makes sure I get all the time I want and need doing the things I love.

Of course both of these things combined make the whole, the yin and yang. And sometimes life chooses which you are going to spend more time doing, "working in" or "working on". It's a balancing act that has its own flow and zen to it. In the end, I meditate, I laugh as much as I can, I fall deeper in love with my wife everyday, I remind myself that I am a blessed dude for getting to work with creative and talented artists here in music city (one of the greatest cities in the country/world) and I get to do that for a living! I try to be as kind as I can, I try to bring out the best in the people I surround myself with, and I surround myself with people who encourage me and challenge me to be my best, and grow… And of, course i play my guitar and write songs.

So I guess there is working on, working in, and then just being… what ever it is we want to be.

Week Number 2 of #52in52:

"Nervous"

to sign up for the #52in52 mailing list for exclusive content, voting on your favorite songs and other cool shit send your email to:

thesoundawake@gmail.com

to stream this weeks song, go to: https://soundcloud.com/nickbullock/nervous

Happy Holidays, Still In Love With Music by Nick Bullock

It amazes me, that after fourteen years of calling myself a professional musician, I'm still lucky enough to do this for a living. More importantly, after all that time I still love what I do. I've definitely burned the wick at both ends plenty of times through my journey, but I haven't burned out. That got me thinking as to why I'm still doing what it is I do? Why, when its so easy to get frustrated, or more specifically for me, sometimes it can feel helpless. Being a musician, and relying on your income as a musician, can be precarious at times, and down right stressful. A friend recently wrote a face book post about his self proclaimed addiction to being a musician, and how it's cost him relationships, financial hardship and more. I can relate on some level. It definitely manifests itself as a need.

The other side of the coin is that being a musician is life giving, life altering and a spiritually rich path, every day. I've met my closest friends doing what I do, I met my wife, by doing what I do. I've had more adventures with my best friends in the last ten years alone than most people get in a life time. Being a musician led my wife and I to move to Nashville, which has brought immeasurable gifts, both personally and professionally. A whole new set of friends and relationships to build and nurture. I've been lucky enough to share in the experience of making records with close friends, which brings us inevitably closer as friends, as we dig deep together.

Thats the side of the coin I choose to look at everyday. And thats why I do what I do.

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I guess, for me, when I boil it down, music is really what I need to do. Yes, it's a passion, but it goes a little beyond that, it is what I was put on this planet to do, and the older I get, the more certain of that I am. When I was twenty two, I wanted to be in a band that was world famous, and successful beyond my imagination… like cover of Rolling Stones famous. Of course, I loved music and playing guitar then as I do today, but I had big aspirations. Now, my aspirations are a bit different, but just as big in their own ways. Gone is the desire for the RS cover, replaced with the desire to get to know all the players, producers and artists I can. People that have been on the cover of RS, and people who have not. The more I do this, the more I realize its about these experiences that I collect along the way. It's these experiences that make me rich, "famous", a better producer, a better writer and so on.

12:17 3

If you are pondering whether or not to follow your musical talents and turn them into a career, let me be the first to tell you that it is 100% possible to make a living playing, writing and recording music. Let me also tell you, you better feel the need to pursue it from the bottom of your feet to the top of your head. In the age of "fair game" internet, and singing TV Show idolatries, more people than ever before feel they are worthy to pursue music as a profession, and maybe they all do, but it takes a particular kind of musician to maintain, and see the bigger picture through all the (temporary) set backs and frustrations. Being self employed can be tough, especially for musicians, who dare to make a living out of their art. But I'm here to say, if it is what you are called to do, if it is what you were put on this planet to do, be brave and do it. You can do it.

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Merry Christmas and Happy Holidays everyone. Thanks for a great year Nashville! Thanks to all of you for taking time out of your busy lives to read this blog. There are a ton of things to look forward to in 2015, and I can't wait to share them with you all.

Infinitely Available by Nick Bullock

Infinitely available... Probably the most important thing you can ever be. The biggest gift to someone else is your time. That is the most precious possession we own, because we only have one life, and it goes by fast.

When you are meeting a friend for coffee, or going on a date with your husband or wife or girlfriend or boyfriend, give them your full attention. Look at them when you listen, and look at them when you speak. Smile with your eyes. Those non verbal cues are the most important.

When you are writing a song with a friend, give their ideas 100% of your attention. Really listen. If both of you do this, the inspiration will run over, and you will write a great song.

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When you are making an album, put away your phone. Listen to what the guitar player just overdubbed, and cheer him or her on. Tell them what it was that was awesome, before you say anything else. Be goofy, make jokes, and laugh with your band mates. Celebrate at the end of each stage. Even if it is just a high five.

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Be like a puppy, infinitely available. As best as you can. In the end, your art, your relationships and your life will have more of an impact.

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Thanks to GoodSex for a great week of recording. I love your songs, and I'm excited to mix this record!

 

Country Music Is... by Nick Bullock

photo-2 When was the last time you listened? I listen every day, and I have no idea really what country music is today, do you? I think we can both sit here and name a whole bunch of differing descriptions of modern country music, and we would probably both be right. It's bro country, it's 70's classic rock, it's hip hip country, it's power chord country... these are all words that get thrown around. It think it's going through a bit of a identity crisis.

I heard on the radio (NPR of all places) that Big Machine (Taylor Swifts record label) and Cumulus Radio are teaming up to form an "oldies" country music station. Basically because the older artists like Garth Brooks and Shania Twain have no real place in the current country music landscape. And this makes sense to me. County music has become just about the only musical outlet for all angst ridden teenage boys (albeit white teenage boys), and the boys brought their girlfriends along too. For whatever reason, the general public has decided that rock/alternative music is dead... we haven't found our next Nirvana, and maybe we never will, and country music scooped that audience up and ran with it. And in the mean time I can only imagine that Willy Nelson is scratching his head. To quote Shotgun Willy, "you can't make a record if you aint got nothing to say", maybe he was wrong, it certainly appears so. I don't blame the old guard for wanting a place on the playing field, and I hope they get there, and soon. 

I will also mention that there is practically no room for female artists in todays current landscape, which is a shame... there are some great ones (check out Miranda Lambert for an artist and Victoria Banks for a songwriter... two super talented ladies).

photo-1

For someone who just moved here, being a songwriter and a studio owner, it's an interesting view. I'm on the "inside" looking in, but still from an outsiders perspective. I can't help but be influenced by it all, and I can't relate to (let alone write) most of the tunes that are on the radio right now. But every now and again, something good shines through, something that catches my ear, and I think, yes, there is still a place at the table for people who write with sincerity. I just have to look through the beer can and chevy truck haze... but those songs are out there. Music still comes down to emotion, and at the end of the day, it is emotion that sells it. 

Benson

Here is what I like about country music. I like a good time/feel good/summer time party song, despite what I wrote about above. I can't fault anyone for wanting to shut the brain off every now and again and just enjoy the moment. So when a song goes there and sells the summer time party vibe, I'm in, but it has to be smarter. The songwriter and artist have to care more than just rhyming beer can with summer tan. I also love how there are no "musical" boundaries really, when I'm building a track for someone, or writing a tune myself, I can borrow from Jackson Brown as much as I can borrow from Dre, and it's all good. That to me speaks of endless creative potential. And at the end of the day, country music emanates from Nashville, and Nashville has always been a song city, and always will be. It's all about the song, and music that is based on the craft of songwriting will, in the end, always steer true. 

What do you like about todays country music? What do you dislike?

Death to a Musician is... by Nick Bullock

What have you listened to lately? What have you challenged your ears and musical tastes with lately? GD Public Enemy

I heard someone say this weekend that if you're listening to the same things that you listened to five years ago (or fifteen years ago etc), then you're not growing. And not growing is death to a musician. 

Dookie thriller

This got me reflecting on what exactly I have been listening to lately. My current and past musical DNA if you will. Since moving to Nashville, I have definitely been challenged to "get into" things that I normally never would. Not because I would refuse to listen, more because I never would have been exposed to these new sounds in my former surroundings. I'll be honest, I don't love it all. But there are nuggets of greatness in almost everything. Every day, by being willing to listen to new things, I grow as a songwriter and a producer. Which in turn, helps me do a better job in realizing the dreams and goals of the artists I work with, gives me new inspiration and new techniques to try as a songwriter, and new vocabulary for this beautiful language we call music. From Eric Church, to Lourdes there are a lot of crazy and creative new ideas flying around, so I challenge you to listen to it all. The cool and the uncool. Eat it up, consume every dotted rhythm and inverted arpeggio, every auto tuned vocal, and every raspy whisper of Tom Waits.

Dino Jr Junta arcade fire S Cook

I challenge you to listen to something you would never have "liked" before, in your past musical life, and write down five things that you like about the song. I'm going to do this right now with a Taylor Swift song (yup, thats right, T. Swift!) to see if I can prove my point, here we go (by the way, I've never heard this song before right now):

https://www.youtube.com/watch?v=8xg3vE8Ie_E&list=AL94UKMTqg-9Ds071vp-9iWci4ryhkG4Us

1. harmonics in the banjo in intro: who doesn't like harmonics! 

2. guitars panned r and l at 1st vs: I'm a sucker for panned guitars, especially when they are doing the cool layering type of parts, not just out right strumming

3. the scarlet letter you were Juliet line is a good one in the 2nd vs: it stuck out to me, I couldn't type fast enough though to get all the words down right here.

4. the pizzicato in the violin at the breakdown: sometimes I forget that you can pick at the fiddle, you don't always need to bow it... a nice reminder

5. i like the simplicity of the instrumental, and how the fiddle sounds more like a guitar... a little coldplay in terms of the rhythm/phrasing: just a cool and creative instrumental break, not a solo per se, which is a nice change

Trane A go go XO BTS

Well, there are my 5 things. For the record, at first listen, I see why the song has over a million you tube views, it's catchy, it pulls at the ol heart strings... I think the song is good, but I don't necessarily like it. And really, whether or not I like it is irrelevant. The important part is that the next time I'm recording a banjo, maybe I'll think to have the banjo play with harmonics instead of the actual fretted note. Or maybe I'll ask the fiddle player to play it pizzicato instead. There is a whole big world of inspiration and ideas out there, we just have to be open and wise enough to know that we should be looking and listening for it in even the most unexpected of places. Once again, if you're only listening to the same music you listened to in your past, you're musically dying.

What song did you try the challenge with? What did you like about it?

ps: I have to congratulate Danny Sierra on releasing his first EP this week. Danny was the first artist that asked me to work with him when I moved here some months ago. He is an amazingly talented songwriter and singer... you can check him out at http://danielsierraleone.bandcamp.com Go Danny Go!

Ego is a Stubborn-No Good-Rotten Tomato by Nick Bullock

ego 1 The Not So Obvious 

Have you ever struggled with the balance of ego, and humility. I know I have. Every time I get on stage I wonder how many people will come, will they like (love) me, and what does it mean if they don't. Is it even ok that I'm feeling these feelings? These are all small bits and pieces of my ego poking through. We've all been told, or tell ourselves to not worry about that, just go out there and be yourself, and do your thing. Sometimes this is easier said than done. The ego here, is playing hide and seek with our own sense of self worth. We all want to be loved.

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The Obvious

Then there are the obvious ego jerks, and we all know the type. Truth be told, we've probably all been guilty of this behavior at some point in our lives. Most of us learn that it does now pay to be a dick. On the surface it doesn't pay because everyone will look at you with daggers of judgement in their eyes, sometimes behind your back, sometimes right to your face. On a deeper level, it doesn't pay because (even if we're super rich and famous and trick some people into liking us) we are just robbing ourselves of meaning by covering up our vulnerable insides that we all carry. And that vulnerability is the good stuff.

ego 1

The Stubborn Ego

Then there is the pesky and persistent ego. This kind says, "even though nobody likes these polka songs I write, I know they are the best thing ever. I just don't understand why the record companies, music supervisors, and booking agents don't get it?". It might be true that those polka tunes are the best ever, and if you are writing polka songs purely for your own artistic expression, then more power to you. But if you are trying to have some kind of measurable success, then you might want to drop the ego, and say "my polka songs are great, but they aren't for everyone, maybe, if I want to be a professional musician, I should be open to other possibilities". I know for myself, I am constantly struggling with this one. Do I write/produce/record for you, the listener, or me the artist. I'm learning slowly but surely, that there is a possibility of me doing both. Either way, I think it is very healthy to be open to all possibilities, and not let ego cloud your vision. Sometimes you can grow, learn and achieve amazing results, that you never would have thought possible had you been stubborn and only stuck to your "I want to be a polka superstar" mentality. Life is too short to be short sighted.

ps: no offense polka enthusiasts, you all rock. :)

first picture is from http://www.vine2victory.com #1, the second is from http://www.flamewarriorsguide.com and the third is from http://esotericmystica.blogspot.com

 

 

Everyday by Nick Bullock

Everyday: read a book in your field

write a song

songwrtng

teach someone younger than you

teach

listen to your favorite vinyl record

vinyl

go to a house show

houseshow

go to a big concert

bigshow

kiss your wife, husband, boyfriend or girlfriend

tell a friend you love them

schedule a coffee meeting with someone you admire

Calenadar

learn something new about gear

gear

look for a mentor

go to the gym

record music with your friends

studio

smell the flowers

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...or, if you're like me, take a breath, and do what you can today, and trust the process.

 

Ten Thoughts on Touring by Nick Bullock

Do you ever wonder what it's like to drive cross country with your best buds and play music that you love? If you are thinking about making that move, here are some thoughts on it that I hope you'll find helpful. tour

I miss touring! I spent about ten years of my life playing well over a thousand shows and living out of a van. Touring with the same guys night in and night out. We were lucky, we made our living playing our music for audiences around the country. Touring can be such a fun way make a living, and it can be a very tough lifestyle. Here are some thoughts/tips/advice (call it whatever you want)...

1.) Don't be an ass and drink when it's your turn to drive.

Seriously a dick move here. It's a great way to build resentment in the van, and can make for a very angry band in the morning, and at the next show, which of course, an audience can pick up on. Pull your weight, I don't care what you play.

2.) Set up your merch every night, even if you don't want to. When the show is over, go and hang out by the table.

An obvious one it would seem, but I've been to so many shows where it'll be 4 or 5 bands on the bill, and only two of them have their shwag out and viewable. Even if you don't have any t-shirts, and the record hasn't come out yet, at least have a snazzy mailing list, a pen (yes!) and a light by which to see. Also, when you can, place the merch by the door, so people walk by it on their way out.  (Admittedly, I could take my own advice here sometimes too!)

3.) When you crash with strangers, treat their house with respect, make your bed, do the dishes, say thank you with your actions, not just your words.

The strangers you meet on the road are the real reason we do this. They are friends in the making and fans for life. It builds good will, and the next time you're in town, they are likely to have you over again, come to the show, tell all their friends that the coolest band in the world is coming to town etc.

4.) Try not to eat at too many greasy spoon joints.

When  I finally learned this lesson, I started the habit of packing and bringing some healthy food with me, especially on the shorter runs of shows. You aren't always in control of what your eating options are, but make healthy choices when you can. A good trick is to shop for breakfast at a local grocery store instead of the diner. More now than ever before it seems like they'll have an organic section with some healthy options. If you're touring, your in it for the long haul, your gut (and your wallet) will thank you.

5.) Be on time, even though no one else will be.

Hurry up and wait is the name of the game. But being on time is a good way to build trust with venues and promoters, even though most people won't be. It is also a good way to guarantee you a sound check, which will make the show that much better.

6.) Never, ever, ever talk shit about another band you are playing with. 

Word will get out, and it's not the other bands that will suffer, you'll be known as a prick. Don't be a prick.

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7.) Don't stare at your shoes.

The show is for you, AND the audience. Look at them, or at least pretend to. I still struggle with this one sometimes, but inevitably, when I come out of my shell, the show takes a turn for the better. Have fun, you're playing music.

8.) Tip the bartenders at every show.

They, more often than not, have the ears of their bosses, and promoters. Treat everyone you meet well, and they will more than likely remember you for it, even if it doesn't seem so at first. Oh yeah, and of course when you do meet an asshole, ignore them.

9.) Give your band mates space when they need it. 

Everyone gets pissy now and again. We miss our significant others back at home, we're hung over, we don't want to drive 5 hours today, we're missing the game, whatever the case, don't take things personally. If someone says something that (you know) they don't really mean, let it roll off your shoulders at the moment, and when calmer heads prevail, bring it up then if you really need to (maybe after the kick ass sold our show you just played). Communication is of course key, but timing is a good thing to get a feel for too.

10.) Stop to smell the roses.

There are so many wonderful experiences to have when you're out there on the road, playing show after show. You're with your best friends (at least some of them!), you're getting to see the country and meet so many cool people, making friends every where you go. Don't take it for granted. Some of those friendships I formed I still cherish dearly to this day. Stop and smell the roses, and smile.

So what did I miss?? What are some other things that every band should know when they start touring?

Case Study: Arctic Monkeys "Do I Wanna Know" by Nick Bullock

arctic-monkeys-2013 Do you ever wonder how they do it? When you hear that song that just kills you with it's goodness? It doesn't happen to me everyday, but when it does, it hits me like a ton of bricks. So I thought I would share this with you, you lover of music, you songwriter, you producer.

Writing a great song isn't the easiest thing in the world, but sometimes if we listen with the right mind set and ears we can sneak a peak, lift the vail, and understand the creative decisions that were made. And when we do, we are blessed with new ideas and influences for our own music, and it will push us all to create better art.  It can help us to write a great song.

This week i'm choosing Do I Wanna Know by the Arctic Monkeys. Here we go!

Intro/1st Vs

It starts with the kick drum, and maybe some claps, definitely some kind of cool percussion sound with lots of reverb... for only two measures, then come the guitars, panned left and right. Anyone who knows me, or has worked with me knows I'm a sucker for panned guitars, they just sound so good! So the guitars start this riff, and as you will discover, this riff is really the basis of the song. It's cool when a song doesn't stick to the classic chord changes kind of vibe, and instead is based solely around this cool melodic idea. The band does it really well here. What is really like about this one, and what I think separates it from the rest is that it is a four bar phrase, which is long, and makes it more interesting for me. Then the vocals come in, and I really like what they did with the subtle reverb/slap back on his voice, it is, on the surface, pretty clean and it sits nicely with the drums/percussion/guitars. I almost forgot the bass! The bass entered with the guitars, but is tucked in nicely, a round-ish tone, that doesn't scream for attention, and is just sitting there (great!). Also notice that it is cherry picking certain notes of the guitar riff, and not playing the whole thing.

Pre-chorus/Chorus

Nice BGV's (back ground vocals), and you gotta love that the tambourine on beat 4. There is also a tremolo guitar that they added to both the right and the left speakers, as well as a feedback sound in the right. Both of those sounds continue through the chorus. The tambourine goes to beat 2 and 4 for the chorus, as well as another guitar gets added right down the middle, which is interesting to me. The vocals are nice here too, they take the BGV mentioned before and sing the main melody an octave above, along with the lead vocals. And lastly the drums open up a bit more, with crashes on the cymbals. It's interesting here that they really keep the drums way back in the mix, with the exception of the kick and the percussion I mentioned in the intro (which goes all the way through the song).

2nd Vs/Pre Chorus

Almost always my favorite thing to really mess with. It's almost like the second verse is really the place to pull out the special stuff, try some way to make it different, pull a little bit of the magic out. This is of course not the rule, but I am always listening for how other artists/producers treat the 2nd verse. They do it really cool here, yes the percussion stays, but they drop the guitars out all together for the first half, just leaving the lead vocal, and that unsuspecting bass. They also add some BGV stabs, at the ends of phrases, a cool idea. The tambourine gets added to the 2nd half of the verse on beat 4, as well as the guitar riff. similar to what it did in the prechorus. There is a nicely timed little pause that leads right into the prechorus, and I didn't mention this at the first prechorus, but the fuzzy/feedback guitar leads the song really nicely into the prechorus, and it's even more obvous going into the second prechorus because of that pause. Again, all the same instruments that were present for the first pre chorus are present here at the second.

2nd Chorus

Again, all the instruments that were there in the 1st are there again, there is a cool piano or guitar upper register octave thing that is playing on the down beats, as well as a slinky guitar melody that is way back in the mix (which doesn't get added till about eight measure in). There is also a great call and response happening throughout the first eight measures, that is a little different from the first chorus. There is still the octave above BGV. At first, you're thinking ok, cool, they added some more elements to the music, but this chorus is just like the last one, then the next eight measures start and you realize, oh shit, they are repeating the pre chorus here, but with the chorus treatment, that is pretty cool. Then they do what I think is my favorite part of the whole song, throughout the next eight measures, they combine the two, the pre chorus melody/lyrics, the chorus melody and lyric, they both kind of circle each other, while the guitars/bass/drums and all the other wonderful sounds are swirling all around. Pretty rad move there arctic monkeys, I like your style. All thats left is the vamp out, with the slinky guitar melody repeating (which is actually two different guitars, one backwards, and one playing a melodic, single note staccato part), and the big guitars. The drums slowly fade, and your left with the kick, claps, and guitar riff... Pretty awesome.

You tube video: https://www.youtube.com/watch?v=bpOSxM0rNPM

Give it a listen and tell me what I missed? What song should I do a case study of next?

 

You Never Know Who's In The Room by Nick Bullock

brodge 3 When I meet people, I imagine that one day they could be president.

It's good to be aware that there are many times in the life of a musician (or any profession for that matter) where we need a helping hand, and you never know where that helping hand will come from.

In my twenties, I made most of my living touring the jam band circuit across the country. Like most bands, our earliest fans were our friends and roommates. One such friend/roommate was Mike, who after moving back to Boston post college, introduced us to one of his best friends, Andrew. As we continued to tour more and more, we became just as tight with Andrew, and once Mike moved to California, we would stay with Andrew at every Boston stop on tour.

Fast forward a couple of years and Andrew is working for a licensing company, and getting our music placed on TV shows, getting us massive exposure and a good pay check. To this day, Andrew is still championing the music I make and write to different TV shows, movies and the like.

You never know who is in the room, you never know who will be a new super fan and can take your music to the next level, you never know who will be the one to give you that helping hand. It pays to be aware, and genuine. It pays to be humble and to love. Build your bridges with concrete hand shakes and look people in the eye, it pays.

Do you have a story of unexpected help or surprise friendship? Share it in the comment section below.

bridge

Some helpful songwriting ideas by Nick Bullock

songwriting photo Below are some thoughts on songwriting that I have found helpful. Whether a novice, or a hall-of-famer pro, I hope you you find them helpful too.

always keep a pen and pencil near (or your iPhone).

sometimes you need the idea for the song before you write it, meaning, it's helpful to have the hook already, something that we can all relate too. the rest of the song usually just writes itself once that ball is rolling.

we will write shitty songs, it's inevitable. when we keep at it, we will also write good ones, maybe even great ones.

try writing with a secondary instrument, or even an instrument that you don't know how to play at all. this can sometimes spark that 6th sense/creative instinct that can sometimes lie dormant.

all of the ideas are already out there, floating around in the air, listen for them, and they will find you. there is an endless amount of creativity out there. it will never end.

eavesdrop on other people's conversations. they sometimes say the coolest things. there has been more than one occasion a line has fallen in my lap by sitting at a bar with my note pad by myself and listening to what people are saying around me.

copy the greats. do it, you'll be better for it. i need to do this one more myself, but every time i have, i've learned a ton.

words matter. for some, they come really easily, for others, the music comes way easier. whatever is your case, words matter, so take your time with them if you need to.

all you need is three chords and the truth- sometimes, but most of the time this is absolute bull shit. take away the three chord stipulation, and leave the truth part.

now to contradict myself, simplicity rules! when i graduated with a jazz degree, i had to put at least two seventh chords in every song, and guess what, most of those songs sucked!

if you want to write a hit song, sometimes you have to pander to the lowest common denominator. if you want to write a great song, speak your truth. rarely the two meet... al least speaking from a lyrical point of view.

write all types of music, pop, country, rock, edm, classical... try your hand at everything you can. you'll learn something new from each category, which can be channeled into your own personal work in really cool ways.

lastly, JUST KEEP DOING IT. writing is a skill, it is a craft. the best writers do it all the time, yes, as i mentioned above you are guaranteed to write a bunch of crap, but as you do it more and more, you'll start to see what works, what mechanisms exist, and the best way to apply them. you'll learn to strengthen your voice, and be more confident in what you have to say. you'll learn and you'll keep getting better.

what songwriting tips or ideas do you have? what are some of your thoughts concerning other artistic processes? please share!

songwriting photo 2

 

 

Swearing Popes = No One is Perfect and The Gap by Nick Bullock

The Gap So I missed a week. When I started this blog, I promised myself that I would do it every single week, no matter what else was going on. I think sometimes I bite off more than I can chew. Maybe you can relate? I get mad when I break promises to myself, even unreasonable ones, but then I remember that no one is infallible. Even the pope let the "f word" slip out and into the microphone, throughout St Peters Square https://www.youtube.com/watch?v=4jUt0AY8mXY. Though my intentions are good, I make mistakes, we all do, and it's easy to beat ourselves up over it. The important thing is that I/we keep going, and get right back in the saddle... Regardless of what caused the slip up, if we believe in what we can achieve, we have to keep going and growing. In my case it was just being too damn busy and over scheduling myself, but other times it's fear that can paralyze me, or self doubt, or procrastination. I saw recently, as I'm sure some of you already have, a great video on this topic of "just keep going". It is entitled The Gap, by Ira Glass and Daniel Sax. Please check it out! It's great. http://vimeo.com/85040589.

The Gap 2

So here's to another week, where I get to reinvent myself all over again, I get to raise the stakes again, I get to  challenge myself again, I get to laugh at my shortcomings again, and I get to tell myself to chill the f out, again.

What do you want to challenge yourself with? What do you want to laugh about this week?

119-courage-do-on-ebrave-thing-today-then-run-like-hell

New vs Old, Why Jack White Is Wrong, Kind Of by Nick Bullock

Let me start by saying that I am indeed a (fairly big) fan of Jack White. I have seen him perform live, I own a bunch of his records, my favorite possibly being the first Raconteurs record. My love affair with Mr White goes back to the White Stripes. So when I saw that he and Conan O'Brien had a sit down, informal, chill/hang/interview, I stopped whatever I was doing and sat there on my couch with my laptop in complete attention to two of my favorite "celebrities" yucking it up, talking about music and life. Check it out. Jack White and Conan O'Brien

One of the topics that they carry on about, quite a bit, is about how digital music and technology has hindered       our experience, as a mass, and gotten us accustomed to auto tuned vocals, non-performances and the like. I am paraphrasing here quite a bit, but if you're interested, go to minute 24, through about 27, and listen for yourself.

Jack White

I have conflicting feelings about this. I too love real performances. I love singing/playing guitar on a track that I know I can do well, or working with musicians that are amazing. I hate the idea that people can just go in, move some things around in an edit window, and come out with a brand new "performance". I love the accidental little mistakes that make a track sparkle with humanity and emotion. I love the sound of analog tape, and all its gooey warmth. That all being said, it is 100% impossible for me to pursue recording the same way Mr White does. Number one, I don't have tens of thousands in disposable income to spend on buying, and maintaining (by which I mean fixing) old analog equipment and tape machines. I did actually own an eight track tape/recording console (Tascam 388) before moving to Nashville, but I sold it before moving down here. I was a little afraid of what kind of damage would happen to it in the move, and truthfully I spent more time elbow deep in it trying to figure out why it wasn't working properly than I actually spent using it. Number two, I have to work hard and fast to make my income as a musician/producer. I don't have the luxury of taking all the time in the world to record in an all analog environment. Case in point, I have a band coming in today to knock out two songs in two hours. This is going to be hard enough to do without having to rewind tape every take, or punch in after the fact, or god forbid have to splice anything.

tapemachine

So, I love Jack White, and I would love to have Jack White produce me one day, and have him school me in analog mastery. I would learn a lot I'm sure. And I love the idea of performing all to tape, dumping to 2 track and mastering on the way, but it just isn't practical. Whenever I work in the role as producer/engineer, my first thought is to always serve the song and artists vision. The how of that comes second, and at the end of the day, I'm not sure the how matters much if you are being true to the artistic vision. I have heard it said, and believe art to be about conception, with execution coming second.

I would love to hear what my musician/engineer/producer friends think on this, as well as what the casual music lovers think too. So what do you think?

Conan Jack

I used to hate "K.I.S.S." by Nick Bullock

The acronym stands for is "keep it simple stupid". My high school coach used to yell "K.I.S.S." over and over in practice. I hated it! Who likes to be called stupid, especially when you're sixteen years old and master and commander of all the knowledge in the universe? But eventually I learned to not throw the baby out with the bathwater. rock line

The difficulty with simplicity for me is that it feels good to complicate things. It makes me feel like I'm getting things done, getting smarter, or working harder. It feels like my level of expertise should be rising when I introduce more complication.

rock shape

When I got out of music school, and started touring, writing and recording with my band full time, it was as if I had every jazzy chord tattooed on my brain and I would be required to use at least a minimum of four of those chords per song, or else my dean would come in the room and kick my ass, screaming "Dominant 7" over and over (forgive the music geek joke)! And guess what, I had no idea how to write a good song. I realize now that I  hadn't learned how to use all that great knowledge that I had spent four years cramming in-between my ears yet.

rocks and sand

It took almost ten years after those first, post-college attempts at writing to realize how to use those same complicated chords in a simple way.

simple message

Now I love K.I.S., and yes, i prefer it without a side of stupid, because complication does not discriminate between the dumb and the percipient. So if I'm plugging in a microphone, writing a chorus, making business phone calls, communicating with my wife, or telling a joke, I've got my brain tuned to simplicity. I've found that the simplest answers are usually the right ones, and they usually get the complicated jobs done the fastest.

How about you? What do you do to keep things simple? What's your favorite "simple" song?

 

Listening: The Art of Telling a Story by Nick Bullock

Slowly but surely, I'm getting better at writing songs. It is a craft as far as I'm concerned, and yes, sometimes we stumble upon complete luck/grace/inspiration and we can write a great song that seemingly comes straight out of thin air. But even that scenario smells of sweaty preparation to me. So I practice, and I write a lot. The David was not created by a man who was picking up the chisel for the first time. We, as humans, learn and get better. We soak in our surroundings and even despite ourselves, we allow it all to influence us and the art we produce. Since moving to Nashville I've made it a priority to get better at listening to the new people I meet. Really listening, not just shaking my head and thinking of my response even before they're done speaking (which can be very hard to do). It is a skill that I think many people take for granted, and one that I want to get better at.

There is a wealth of inspiration that can bubble up when you meet someone for the first time, and hear their unique story, and not just hear it, but feel it. I want to start paying attention more, and capture that empathy, and maybe a bit of someone's story in the songs I write. I wonder if we could wipe away writers block if we practiced our art in the context of listening to the world around us.

When I really listen, I am also a better husband, friend, producer, musician, brother and son.

Writing a great song is often a result of telling a great story, and there are so many amazing stories out there.

Have you ever created anything after being inspired by someone's personal story or journey?

thebeatles     Dolly neal

Duke   stevie

BobbyD   barry

 

"Trust Me" by Nick Bullock

"Trust me". It seems like there are a million different ways we communicate that short little phrase. I've been reading a lot of books lately on growth, trust, business, and the world we live in. Trust seems to be a topic that keeps bubbling up each and every time I turn a page, in one way or another. At first, I thought that it was a no brainer... you know, don't tell a lie, etc. But the more I think about it (and I say think, not thought, because it's still very much an on going process), the more I realize it is a lot more complex. Do you trust what people say when they give you their opinions, do you trust the internet, and social networks, or the people on them? Do you trust the quality and character of our leaders (churches, schools,  corporations, institutions, universities and so on), do you trust what they say? Do you trust the advertisements that we see on television, or read in magazines? I could go on and on and on. It seems like we have needed to cultivate this ability to make snap shot judgments on who and what to trust just so we can wade through the waters of every day life.

I think this is why people guard their trust so much today, or why some people say we live in a "low trust world" now more than ever. Which I understand, but I also think it's very sad.

As an independent musician/artist, studio owner, entrepreneur and business owner, I have boiled it down for myself to a few basic ideas. First and maybe foremost, I always do what I say I will do (the old integrity principle, which I happen to believe in very much). Show up on time (related to the first, and I'm still very much working on this one!!!), have a firm handshake, and look people in the eye. I'm a simpleton, so these all seem to make sense for me. There is also something to being a good listener, and listening with out an agenda that I find very important.

These are also things that are actually in my power to control, which is nice. I'm not helpless.

When some one trusts me with their song/production/mix or whatever, its my job to care as much as I would if it were my own piece of art. Sometimes that can be a challenge, but usually not, and it is always rewarding. Again, its something that is in my control, and helps facilitate trust, so it builds and builds, and relationships are born. Good ones, where the two parties don't have to make snap shot judgements towards each other, they can just let the relationship grow, and be.

Like I said earlier, this is still very much a process that I am learning and thinking about, so these are just my thoughts today.

How do you feel about the state of "trust" in todays world? What do you do to facilitate trust in your every day life?

A picture of trust...

frog