Monday, September 19, 2016

Second Life Twin Cities Jam (09.15.16 - 09.18.16)

Note: for this blog post, I'm brazenly stealing images that have popped up all over the Interwebz. Please consider people like Gwampa Lomu, Kat Claxton, Gina Catenazzo, and many others credited for these fine pics! Above: the entire group of musician and superfan Twin City Jammers.

5:40am shouldn't be this harsh when I usually awaken just 20 minutes later at 6:00. But I got past my morning fatigue pretty quickly; it was the day that we were departing for the Second Life Twin Cities Jam for which we'd registered months ago, and I was excited. We were scheduled for a shuttle pickup to LAX at 6:55, followed by a four-hour flight to Minneapolis/St. Paul.

The first fun thing that happened was at the airport itself. I was having a last cigarette before entering the security line, and Kat and I were going to take a selfie (something we tend to do at airports for reasons that are inexplicable even to us). While we were doing so, I noticed a person creeping into the picture frame in a photobombing attempt. I snapped the pic and then turned around to find Lauren Payton (aka Maddison Thespian in SL; you'll find that I sometimes use SL and RL names interchangeably, depending on what I tend to call the person in question). She was on our flight, it turned out, so we hung out and chatted. It was like the Jam was already starting from 2,000 miles away.

LAX selfie with Kat; level-10 photobomb by Maddie.

Flying high with Kat, somewhere over America.

The flight was smooth, and after we landed, Jess Smith (aka Triana Caldera), one of the Jam organizers and (more importantly) one of our best friends, was there at MSP to pick us up. We tried to tell her we could just grab a shuttle and she wouldn't hear of such a thing. After arriving at the Best Western in Eagan, MN, we got checked in.

One general note about any SL Jam: you don't want to miss a thing. It's pretty rare for people to be hanging out away from the group. Even people from SL who may tend to be more introverted than the average human seem to be right there in the midst of the action. Not many folks are staying alone up in their rooms, or being apart from others (and even when they are, it's when folks sequester in little groups with their close friends, and even then, it's usually not for long). Besides, the only way to get in on the musical action is to be there amongst your musical peers... but I'm getting ahead of myself.

The main room wouldn't be available until the following day, so Kat and I joined the other early birds in a small conference room, where there was food and snacks, and we started the process of saying hello to old friends whom we only see at these sporadic events, as well as meeting some of the people with whom we hadn't yet had the pleasure. A few were "Jam Virgins" who were making their first appearances as musicians or fans at an SL Jam; others were simply people who hadn't been to the Jams that Kat and I had previously attended in San Diego (2011), Nashville (2014), and Orange County (2015), but many had attended others we hadn't gone to, places like Dallas, Chicago, Montreal, London, Florida, and elsewhere. As usual, it was great to see the human faces behind the avatars. Second Life may offer an idealized version of the human experience, but I've always been a guy who is more interested in exploring the heights and depths of reality.

Getting silly (already!) with Kat and Jess on Thursday night.

That evening, Ed Lowell had arrived with his truckload full of live sound gear. While he and some others unloaded mixers and PA speakers and monitors, I decided to entertain the entertainers by doing a batch of '70s/'80s TV themes that the lovely Deb Haas (aka Taunter Goodnight) was calling out. We were still very much running on Pacific Time, so even though it was getting pretty late, when Jess had to make a run by the house she had purchased only a few months before, we wanted to accompany her to check it out. It's not like we head that way very often, and wanted to see it while we could. It was astonishingly large and pretty. A side note: Minnesota is, especially during this time of year when the heat and humidity of summer has passed and the onslaught of frozen temps of winter have yet to begin, amazingly beautiful. I certainly couldn't live there year around; my body is too accustomed to the mild climate of Southern California to even consider it. But they picked a perfect time to host the Jam there. I loved it.

TV theme time with Taunter.

After a long day of travel and fun, we slept soundly that night. While some folks seem to enjoy staying awake for days on end throughout these events, Kat and I aren't among them. There's a name for the condition when you lose interest in partying all night; it's called "getting old", and we enjoyed a night of good sleep instead. The real fun was about to begin.

As is the case at most Jams, the hotel where we were gathered offers a complementary breakfast. The main rule of all musicians in the universe is to eat free food whenever it's offered and available, but we nearly missed out. Still being on West Coast time, we slept until 8:45, and Kat kindly got out of bed and wandered down the hall to pick us up food and coffee before the breakfast area was shut down. After feeding and showering ourselves, we headed down to the Jam area. One note on the showers, which will be my only complaint of this entire blog: they sucked! You'd get the water temperature set between freezing and burning, and then it would randomly jump to one or the other while the shower progressed. I learned to be ready to jump out of the water stream when either occurred.

But that's a pretty minor thing to bitch about. I got dressed and grabbed my guitar. My advice to musicians at a Jam: always have your instrument readily accessible. You might have a total of ten seconds notice before being called in to participate in a song performance, and if you're planning on running up to your room and back to grab your guitar (or iPad or whatever you need to do your thing), the song will be done before you're ready to go.

There were three rooms being put into use for the Jam: the aforementioned conference room, another small room which would be used for accessible gear storage, and the main Jam Room itself. But if you know anything about performing musicians, you know that having an "official" area to play means nothing at all. We don't need no steenking room, mang! So that morning while preparations were being made by others, a group of people gathered under a staircase (how typical, huh?) and pulled out guitars and started playing. Old friends like Lyndon Heart, Gina Stella, and Kaklick Martin were there, and I also met a guy named Collin Martin. He seemed super nice and was obviously a talented player and singer, so we and some others pulled chairs into a circle and started screwing around on random songs, rarely finishing them but having lots of fun in the process. It was a cool warm-up moment, and full of laughter.

Friday morning musical trolls lurking under the stairs.

The main Jam Room would be available at noon. Meanwhile, despite having had breakfast, we were hungry once again, so Kat, Jess, Lyndon and I went out to Jake's City Grille and lunched. I have to mention that Lyndon, in addition to being one of the most talented musicians with whom I've ever had the pleasure of performing, is simply one of the greatest people to hang out with. I enjoy every time our paths cross.

By the time we got back, the Jam Room was pretty well set up. Various guys were in the process of testing each mic and cable, so what better kind of sound check is there than just doing a tune? I've never been shy about kicking off any musical event; someone's gotta go first, and if no one else does, I'm happy to break the silence. I had nothing prepared, so I just plugged in and started strumming. Grif Bamaisin joined me for an impromptu "Welcome To the Jam" song while musicians and various SL friends filtered into the room.

"Welcome to the Twin Cities Jam. Expect some feedback."

The format of this Jam -- which I couldn't have more strongly supported -- did not involve people doing long, individual sets on their own. Instead, the entire Jam was a "3-Song Signup" format. Musicians would just request a slot on the schedule, which was then put up in the back of the room via projector. Then, depending on what kind of tunes they were doing, they'd either recruit specific people to play along (and possibly do a bit of rehearsing in the hallways beforehand), or simply be joined randomly by others who would just pop up onstage. This is the true essence of a Jam. It's exciting and fun for both the performers and the audience this way, and keeps everyone involved at all stages. There was a constant cycle of different people onstage at all times, and I loved it.

That afternoon and evening, I hopped onstage with a bunch of friends, new and old. Lyndon and Taunter joined me, Grif, Max Kleene, and MrMulti Writer for a few tunes. Then I hopped onstage with Strum Diesel, who is as energetic a performer as I've ever known in SL. I've been an admirer of his for years, so rocking a few tunes with him (along with was Max, Ben Cleanslate and others) was a huge pleasure. I also sat in on lead guitar for some tunes with Kaklick... playing along to his originals is always a blast.

Getting rolling with Grif, Lyndon, and Taunter.

I'm never "Stuck in the Middle" of these people. Wait, I actually am.

Rocking with Strum.

Jamming, SL Jam-style.

A short while later, I wandered into the hallway, and walking past the prep room, heard Lyndon, Max, and Kaklick working out some heavy vocal harmonies. I had to get in on that shit, and a short while later the four of us were onstage doing a killer set of "Listen to the Music", "Harvest Moon", and "The Weight", backed by Ben on bass, DennyMac on lead guitar, Hojo on fiddle, Collin Martin on the cajon, and Cellandra Zon on bongos. Not that I make these kinds of comparison, but musically, it was one of the tightest groups with whom I've ever performed at an SL Jam. It was good enough to actually take out and play live in real life. I've heard much worse from actual bands.

I know what a good band sounds like. It sounds like this. If you could listen to the photo above, you'd agree.

Great music usually means great fun, for both the band and the audience.

Speaking of "actual bands", we did have two of them there at the Jam, each of an entirely different nature. This was the second time that I've been to an SL Jam that included The Follow (Amy, Troy, and Mat), and they are obviously a tight, talented unit. A very familiar SL-based streaming band, Quadratix, comprised of Max, Ben, and DennyMac, also did their thing live. Fun to see in both cases.

I didn't sign up for my own three-song set that night; I'd been on stage enough for the time being, and wanted everyone to get their turn. Dinner that evening consisted of the wonderful ribs created by Suzen Juel (Juel Resistance) along with some yummy pasta dishes and salad and such. I was quite happy -- and full, and tired -- as I fell asleep that night.

It was, once again, the call of free breakfast (and coffee, of course) that pulled us out of bed before 9am on Saturday. The day began like most Jam days, with people hitting the stage starting at 10am and going continuously from there. After backing Suzen during her set, I got my name on the list and did a few tunes that I've played often in SL, including "Heart of Gold" and "Airport Bar". Then I nabbed Lyndon to joined me onstage for one of my own tunes, "The Waiting Boy". He's covered it before, and I mentioned it was a huge honor to have another musician appreciate your work enough to do it themselves.

Doing my solo stuff Saturday morning.

I seem to making a point about something. I should probably shut up and play my guitar.

It is never not fun playing with Lyndon Heart. Never.

There were a ton of great performances that day... way too many to mention. One set that I had high expectations for didn't disappoint; seeing Voodoo Shelton and Mulder Watts do their stuff live was probably a highlight for everyone who appreciated their excellent musicianship. As I sauntered back into the room at one point, I saw they'd posted the schedule of "Random Pairings". This is fun part of many jams where they literally put the names of all performers into a box, and then pick them out two at a time. Whoever comes up together has to then pick a song and perform together. I've had some great fun doing this in the past, and am always happy to play with whomever I am paired. This time, I'd be lying if I didn't say I was more than little happy to see myself paired with Max. He's not only a super-talented SL musician, but also a great guy whom I've known nearly the entire time I've been in SL (which will be ten years in October). We match well musically, and the only challenge was choosing a song to do. Knowing that Jess is a massive Foo Fighters fan, when we hit on "Learn to Fly", I knew it would be a cool one, and it was. We traded off on lead vocals. I enjoyed the hell out of it.

Being randomly paired with Max did not suck at all.

Rocking with Max, doing some Foos.

This is what an SL Jam is all about. It's about other things too, but people don't like me taking pics of that stuff.

Speaking of Jess, I was proud of her when she gathered the courage to join in and do a song. Paired with Gandalf Mornington, they did a nice version of "Amie". After that, there were more 3-song sets, and I'd promised Kaklick that I'd back him up on his originals, which I did, on bass, along with Krell Karu on guitar and Max on Cajon. It's really difficult to remember each and everything that happened... it was a constant stream of combinations of players that came and went. I can tell you that over the past five years I've been going to SL Jams, the level of musicianship and strength of performances has gone upward for damn near everyone. It was truly impressive. I'm hesitant to name more specific people (because I don't want to leave anyone out... there were tons of outstanding performances all around). Over the three days, I was super impressed by both people I didn't know well, like Collin, Dominoe Effect, Cryptic Harmony, Hojo Warf, Damon Welles, and more... and by the folks I've heard for many years in SL, like Lyndon, Max, Strum, Suzen, DennyMac, and many others. Even those who I got to know from just hanging out, like ProfessorShowbiz, ToySoldier Thor, Tyche Szondi, Olivia DeCuir, and Luka Mikoyan, made my trip worthwhile along with old SL/Jam friends like Heavenlei Lexenstar, Meegan Danitz, Gwampa Lomu, Ray Weyland, Gaia74, Still Braveheart, and my good buddy GMetal Svatur.

Gandalf with Jess, who did a great job stepping in with some vocals.

Playing bass for Kaklick, along with Max on percussion and Krell on lead guitar.

I think we set new selfie records that night. Here I am with Heavenlei while others selfie behind our selfie.

All good things, as they say, must end. It's the unfortunate reality that these events always feel too short. But I feel that the Twin Cities Jam was one where the time was well spent, and we made the most of it.

One big memory I'll take from Sunday is the time that Kat decided to join me for a complete 3-song set onstage. While she's a member of my band They Stole My Crayon, her experience performing live in front of an audience is lacking, and the Jam was a perfect opportunity for her to get her "stage legs", with an accepting and friendly crowd. We got up around lunchtime and with Max once again on cajon, did "Help Me", "Blew the Dust Away" (a Crayon tune), and "Wish You Were Here", where we were joined by a slew of our pals like Lyndon, Ben, and Strum. It was a great way for us to wrap up our TC Jam experience.

Performing live with Kat, along with Max and others. Awesome!

A bow after a "white man dance-off" with Collin Martin (which we both lost, somehow).

After some pizza lunch, it was time to make the rounds and say goodbye. I won't forget seeing poor Lei at that time, tears flowing copiously as she bid her friends farewell. That's what happens when you build these amazing relationships with people around the world who you don't get to see whenever you feel like it. I think that as a result, the people who attend SL Jams really develop this massive appreciation for each other, even though we span many different backgrounds, age ranges, places of original, races, religions, sexual orientations, and other things that would normally differentiate us. Our love for this completely unique thing that's hard to describe to others who haven't yet experienced it is undeniable.

Seriously, this is like the iconic Iwo Jima photo, except with selfies.

One last note: the people who organized this Jam should be thanked over and over again by everyone. They dealt with a lot of stuff that we all took for granted, and perhaps not everyone was truly understanding and grateful toward the hard work that went into this. It was amazing how smoothly it went, and that's due to the work of Taunter Goodnight, Triana Caldera, Smidge Frimon, Paula Leeming, Suzen Juel, and David Devaney. If you enjoyed your experience there, give them all the credit.

At MSP with Kat, ready to head back to Los Angeles.

Around 2pm, Jess once again insisted on escorting us back to the airport, so with our packed bags, off we went. After some more last hugs, we got through security, boarded our uneventful four-hour flight across two-thirds of the USA back to Los Angeles, and were home. Was the time away and the long travel worth it? You betcha, as they'd probably say in Minnesota. I've been in just about every music performance environment that exists, and there's nothing quite like an SL Jam. In fact, there's nothing even close.

Sunday, September 11, 2016

They Stole My Crayon Lyrics Videos: "Things Under Trees" and "Again"

Now you can sing along with Bunny and the rest of The Crayon with these official lyric videos!

The "Things Under Trees" lyric video is a "re-master" of the original video we created in fall 2014, with a freshened look and (of course) the final album version of the song.

The "Again" lyric video is a brand new creation. As usual with everything in this band, we made it ourselves.

Monday, August 29, 2016

Homes for Our Troops Benefit at Veterans Isle (08.28.16)

Rocking at Veterans Isle for an excellent cause. Photo by Kat.

On the last Sunday of every month, my friend, fellow musician Frets Nirvana, does something pretty incredible: he puts together a lineup of other live performers and hosts a live music event to benefit a group of people who should -- in any decent kind of world -- not require help. Those people are US military veterans who have been severely injured while serving their country, and the help they need is a place to live.

The organization for whom Frets has devoted these efforts is called Homes for Our Troops, and it's a 501(c)(3) non-profit that builds mortgage-free, specially adapted homes nationwide for severely injured veterans from the post-9/11 era. Many people are under the misconception that disabled military personnel are fully taken care of by the government who sent them to war in the first place. Not true. Many severely injured veterans are barely able to get the medical care they require, if that. Without being able to work, and with many of them coming from non-affluent backgrounds even before they joined the military, there's certainly no way that a high percentage of them have the possibility of living in a home that's designed to offer a comfortable existence that is designed for them to live as comfortably as possible with their disabilities.

So that's what HfOT does, and I've spent a number of years answering Frets' call when he asks me to take part in these fundraising benefits that are held at Veterans Isle in Second Life. For a pacifist like me, the obvious first choice is to eliminate war entirely and remove the reason that these men and women are injured (and killed) in the first place. I'm also a realist and know that there will be no end to war any time soon. So meanwhile, it's nice to be able to be involved in activities that let me chip in, even in a small way.

Onstage at Veterans Isle with my pal Frets cheering me on. Photo by Kat.

One of the greatest aspects of Second Life is its residents' incredible generosity toward a variety of good causes. Photo by Kat.

We had a good crowd last night at Veterans Isle during my show, and I saw they gave to the cause with extraordinary generosity. Over L$40,000 was raised in the hour I played, and there were another three artists on the bill after me, so I already know that the evening was a successful endeavor. Many of the attendees in the audience were vets themselves, and it's great to see those people continuing to make contributions and offer support for their fellow veterans.

Veterans Isle HfOT set list...
(What's So Funny 'Bout) Peace Love & Understanding (Elvis Costello)
Disarmed (They Stole My Crayon)
Learning to Fly (Pink Floyd)
Something Else (Zak Claxton)
Don’t Let It Bring You Down (Neil Young)
Mad World (Tears for Fears)
Bag of Nothing (They Stole My Crayon)
Everything Counts (Depeche Mode)
Here I Land (Nicholas Stevenson)
Pretty Pimpin (Kurt Vile)
Our House (Crosby, Stills, Nash and Young)
Always Tomorrow (Zak Claxton)
Pigs On the Wing Parts 1 & 2 (Pink Floyd)

Huge thanks to all who came out to the show and contributed generously!

Live Vibrations (08.25.16)

Having fun at my first-ever show at Live Vibrations in Second Life. Photo by Kat.

I'm kind of having the opposite career as most musicians. Typically, at least in the world of pop/rock music, an artist gets his or her greatest levels of success in their twenties, and then spends the rest of their life trying to find some semblance of relevance again. I imagine it's disappointing to say the least. Well, I'm a lucky person in that no one ever gave a shit about the music I wrote and recorded between my teens and mid-thirties. Granted, I played in plenty of very fun live bands, made some money here and there playing gigs at various bars and clubs, and -- most importantly -- enjoyed the actual creative process, and the act of working along with fellow musicians who I count among my best friends to this day. But it wasn't until 2007 or so, when I began performing in Second Life on a regular basis, that I found an audience for my original music.

It was through the confidence I'd gained as a live singer-songwriter that allowed me to record and release my first solo album in 2009. That album was well received, mostly by my SL fans who'd become familiar with the songs as I'd been playing them live, solo acoustic style, for quite some time before the album was released. Some seven years later, it still gets a fair share of plays... I get a massive royalty payment of $0.03 or so each month to account for dozens of streams via Spotify and the like, and occasional download sales via iTunes. Trust me, I'm not complaining; it's an amazing world where a person like me -- a non-touring artist who is not supported by any kind of recording label -- to be able to release and sell music at all.

So here I am, in my mid-40s, and on Friday August 19, my similarly-aged bandmates and I in They Stole My Crayon finally released the album we started conceiving in late 2012, and out of nowhere and for no particular reason, it flies up toward the top of the Bandcamp charts for best-selling alternative albums of the week. You can hear it for free here. Do we think it's a great album? Hell yeah we do! But that doesn't matter at all in terms of what other people think about it, or if it affects their willingness to spend money on it at a time where supposedly "no one buys music", much less entire albums of music. So, perhaps we're incredibly lucky, or maybe we did something that's different enough that caught people's attention in some way that went beyond our expectations. It doesn't matter. We're grateful to have experienced even this mild and temporary level of success as music creators. Most musicians never get to enjoy even that.

After weeks of focusing on my band's recording "career", it was good to get back to playing live music. Photo by Kat.

Pretty cool place, huh? A good-looking virtual environment like Live Vibrations really does affect my feelings as I perform. Photo by Kat.

All that having been said, I'd intended using this blog post to tell you about my show on Thursday night at the Second Life venue Live Vibrations. It was the first time I'd played this place, and from what I was told, it's recently been fully remodeled. It looked great to me; a nice open space with a classy vibe. The people who ran the place were very nice, and the show went off without a hitch, which is all I ask. This was also the very first show where I played my new Takamine P5DC guitar. Switching guitars might not seem like a big deal, but this was in more than one way. First, the feel of this guitar's neck and its overall balance is very, very different from that of the Martin D-18V that I've used for literally every other SL show I've ever done over the last ten years. I actually like it a lot, but it takes a little getting used to. Second (and perhaps more important) is that I'd never used an acoustic-electric guitar for SL shows before. Instead of putting a microphone in front of the instrument, I just plugged it straight into my mixer and she-bam... it sounded really, really good. I couldn't have been happier.

We had a nice-sized crowd at Live Vibrations, and I think I had a good mix of original and cover tunes in the set that kept people interested and happy. I'm looking forward to my next opportunity to play there!

Live Vibrations set list...
This Afternoon (Zak Claxton)
Carry Me Ohio (Sun Kil Moon)
Things Under Trees (They Stole My Crayon)
Big Empty (Stone Temple Pilots)
Sour Girl (Stone Temple Pilots)
Falling Down (Zak Claxton)
Hunger Strike (Temple of the Dog)
Blew the Dust Away (They Stole My Crayon)
The Arrangement (Joni Mitchell)
Roxanne (The Police)
Suite: Judy Blue Eyes (Crosby, Stills and Nash)

Huge thanks to everyone who came out to Live Vibrations for my show, especially the following people who helped support it!
Diana Renoir, Alexandra Lemondrop, LeeWinegarden Resident, DeyJaVue Resident, DantePeak Resident, Asimina Heron, Kat Claxton, Alex Zelin, not4gods Resident, Aurelie Chenaux, TheaDee Resident, my terrific manager Maali Beck, and Live Vibrations hostess lilmissbo and owner Allie Sloan!

Monday, August 22, 2016

The Past Three Days

It's Monday morning, and I am seriously tired. I am usually great at getting to sleep quickly, but that didn't happen last night, and I'm running on about four hours (which is four hours less than I generally need). I think that after everything that's transpired over the last few days, it's pretty understandable why my mind was awhirl while laying in bed. Let me try and quickly relate some of that to you.

It was actually late Thursday evening that we released the They Stole My Crayon album. Why? Because Bandcamp, our choice for the place our music would be available, runs on UTC time. That meant that here on the West Coast, August 19 actually started just after 5PM. We also wanted to get it up there so we could make sure everything was functioning as it should before fully unleashing it on the public. It also allowed us to tip off the album's availability to a few close friends who'd been following the album's progress, who went and nabbed it right away. They certainly deserved the early heads-up.

Anyway, Friday rolled around, and it became time to start promoting the album in earnest. We didn't do much beyond making sure that our respective friends and colleagues were aware of its availability. We did take out one "boosted post" ad on Facebook for the princely sum of $15, but beyond that, it was completely word of mouth.

Our album. Give it a listen. Every song will offer something else.

It was a typical Friday. All three members of The Crayon had to work, because... life. So work we did. But we discovered quite a bit about Bandcamp that we didn't know before. One is that it has the most amazing statistics reporting of any music site we've ever seen. We could not only see each time someone listened to any of our songs, but tell which song they heard, and even how much of it they listened to. Insane. And then each time someone purchased our album, we would receive an email notification.

By complete and crazy coincidence, on that very day, the New York Times ran an article with the headline, "Is Bandcamp the Holy Grail of Online Record Stores?" in which the author writes about the qualities of Bandcamp that offer a huge appeal to artists and listeners alike. He called it, "... one of the greatest underground-culture bazaars of our time," and I have to agree.

So the day went on, but something crazy happened. I'm not really sure what we were expecting; we never once spoke about "how many people will listen to our stuff?" or "how many will buy the album?". Not once. But the stats on people listening started piling up quickly. Crazy fast. By day's end, our songs had been heard over 1,000 times. Being in a band and releasing music is a new experience for Christina, but not for Bunny and I, and nothing we'd ever done previously had that kind of response. I'd say we would have been very happy if there had been 100 listens on that day, much less 1,000.

And then, the emails started lighting up with notices of people buying the album. Note that I said "the album". Not individual songs, as has been the standard for the last couple of decades in the iTunes/Spotify era. The whole album. And, despite the fact that we priced the downloadable 12-track album at a reasonable $7, people were often choosing to pay more than the asking price. About half of our sales were in the $10-$20 range, which blew our minds.

We went to bed that night with our heads spinning, not yet fully comprehending what had transpired. That became more apparent the next day.

It's no surprise we were pretty excited the next morning. We got up to check our stats on Bandcamp, but stumbled across something entirely unexpected. Our album was starting to be listed among the best-selling alternative albums for the week. Now, to put this in perspective: each week, thousands of new albums are made available on Bandcamp. Thousands. And ours was gaining on some well-known names as one of the best-selling alternative albums in the world on their platform. It didn't even seem possible, but there it was.

We had a planned task ahead, which was to begin talking to some select record labels about the idea of working with us, now that the album was available for listening. We only chose a few labels whose artist roster seemed aligned with the style of music we appreciate. I have no idea if they will have any interest in a band like ours, which bucks what they traditionally look for in new acts on a number of fronts. What could working with a label give us that we can't easily do on our own? Awareness and attention on a wider-spread basis than we can successfully accomplish. That means reviews, radio play, and more. To be frank, we find it extremely unlikely that this will result in anything. I'll be very surprised if any of the labels we contacted on Saturday even respond to our message. But that's okay; if we were the label, we probably wouldn't respond to us either.

The day went by like a blur. Listens kept coming in (which was a shock, after getting 1,000 on the first day). It wasn't at the same frantic rate as before, but we still compiled another 500 listens of our songs on the second day. What did come rolling in was a shit-ton of sales. Let's just say that if we had any expectations of how well our album would do, the numbers sailed past that pretty quickly. We don't make music for money; that, to me, is a ticket to disappointment. But for the first time, it seemed like we'd created something that, in its own little world, was commercially viable.

By Monday morning, our album sat at the #8 spot for the week in Bandcamp's list of best-selling alternative music worldwide.

This whole process continued on Sunday. We continued to let as many people as we could know about the album, but not because we wanted to keep the sales numbers rolling. That, as I want to be very clear on, is a side effect of people hearing and enjoying the music. All we wanted was for people to listen to what we'd spent the last four years doing, which shouldn't be hard for anyone who's devoted themselves to a project to understand.

Early that afternoon, I was more than happy to take a break from watching our stats and promoting the album; oddly, that break came in the form of a live music show I was scheduled to do. Christina and I are headed to Minneapolis next month for what will be a fun Second Life Jam in the Twin Cities, and they had a series of artists perform live as a preview for the event, and to get some funds for pizza (how musician-ish is that, I ask you?). My 30-minute show was at 1PM, and I had a lot of fun doing Crayon songs as well as my own solo stuff and a few covers as well. It was held at Ground Zero, a great SL venue run by a couple of friends of mine (Thea Dee and GMetal Svartur), and the crowd was lively and enthusiastic.

After three days completely focused on our recorded music, it felt great to get up on a stage and play some live tunes. Photo of me rocking Ground Zero by Kat.

By the time Sunday evening came around, I felt like I was tired, and who wouldn't be? But as I stated up top, my mind was going in every direction as I lay in bed. "What happens next?" I asked myself. The answer is pretty clear: probably nothing, which is what I expected to happen in the first place. The massive attention the album got upon release will fade away pretty quickly, as will the number of listens and sales. But still, we're over 2,000 listens as of this morning, and remain in the top ten of all alternative albums on Bandcamp for this week, at least for now. I think the real payoff to the whole effort is knowing that people are listening and enjoying what we did. I can't ask for more than that, which was our only goal from the start.

Friday, August 19, 2016

They Stole My Crayon: Now Available

No big preamble or explanation; after four years in the creation, the debut album by my band They Stole My Crayon is now available. Here's what I ask of you: listen (for free). That's all. If you like what you hear, the 12-song album can be purchased and downloaded in super high-quality.

But please just listen. That will make the entire effort worthwhile for all three of us. Thanks in advance, and if you can, let us know what you think of our album in the comments below, or by posting on our Facebook page here.

Monday, August 15, 2016

Q: Why does it take four years to make an album? A: It doesn't, unless...

As I've told pretty much everyone on the planet (and perhaps a few extraterrestrial aliens), the debut album by my band They Stole My Crayon finally comes out this coming Friday, August 19, 2016. Because of the wonders of documenting every minute detail of life via this blog, I can tell you the very moment we started this band. It was at the end of September, 2012, as mentioned in this post from October 1 of that year. As I mentioned there, the plan at the time was to quickly knock out an album of music. It's laughable now, but I literally wrote these words in that post from almost four years ago:

"The plan is for us to write and record an entire album's worth of music -- call it 12 to 15 songs -- by Thanksgiving, and put the album out before year's end." -- Me, October 2012

So, yeah. We were going to just spill out a bunch of music, leave it very raw and unpolished, do the whole thing ourselves with no outside help, and put it out in December of 2012. There's actually a good batch of reasons that this didn't happen, and looking back with the clarity of hindsight, we're all glad that we chose a different path.

1. Who Are We?
It's easy to make music. It's harder to make good music that represents a unique listening experience. It took awhile before The Crayon found out who we were. There was a lot of back-and-forth in the beginning days, with many songs that were created and then discarded as we started congealing into something more interesting than the typical band. We didn't really find a groove for quite some time, when we got into a process of songwriting and music creation that worked for this particular band.

While we did some music creation in 2012 and 2013, looking back at the demo recordings that ended up being the songs that make up our album, almost the entire album as it stands today was written and recorded between late 2014 through early 2016. That means the first two years were really all about not only finding our unique sound, but falling into the process that worked for us to do our best stuff.

An early picture of The Crayon, back in 2012 while we were figuring out what we sounded like. It turned out that we sounded like us, but it took awhile to understand what that meant.

2. Got The Time?
Here's the big one. If we'd been some band that was bankrolled by a record label or some patron of the arts, we could have devoted ourselves full-time to music making. That might have been nice, but we'll never know. Instead, the three of us did it the only way possible for us, which meant we kept our priorities on our responsibilities in life of earning income and taking care of our families, and that kind of thing. Doing this meant that our available time to write and record music for The Crayon was severely limited. There would be certain time periods where months would go by while we couldn't -- despite our wishes and intentions -- do anything to move the album forward.

When those times came about, we worked like bats out of hell. For example, we literally did 100% of the vocals for the album over two weekend sessions with Phil O'Keefe at Sound Sanctuary Recording in Summer 2015. There were times where I'd shut out everything else for an entire weekend while recording various guitar and bass parts for the album from my home studio, getting instrument tracks for entire songs created over the course of a few days. Bunny and Christina also worked in these frantic spurts. Perhaps it would have been cooler for us to have done all of the work that was spread out over four years in four months instead, but the end result would have likely been vastly different. Maybe we could have done two or three albums by now, but would they be as good? Music is not something that's measured based on quantity; it's the quality that counts.

The Crayon in Joshua Tree, jamming and laughing in November of 2015. Our album was pretty much done being recorded at that stage, but we also had to take into account the time to mix said album, with single songs that sometimes contained over 70 tracks. Hats off to Spencer Crewe and his seemingly infinite patience in working with us.

3. No Hurry, No Worry
Frankly, no one has been on our backs to get the album done. We're not some well-known artist with a label that was counting on our album to be released on a certain date in order to meet some kind of financial obligation. Again, to be frank: no one cared how long it took, including us. And honestly, the process itself was fun. We are three close friends who enjoy spending time together. We took trips out to Joshua Tree to hang out and get inspired. We spent plenty of evenings holding band meetings that were as fun as they were productive.

The point is this: could we have sped up the process to finish the album? Unquestionably yes. But in retrospect, it might be a really good thing that we didn't. As it turns out, through whatever forces run the universe, the time is perfectly right for our album to come out right now. A number of our musically-inclined friends, both professional and enthusiast alike, feel that it's time for a sea change in music, and that perhaps the Crayon album might represent a new kind of sound that people will really enjoy after the saturation of soundalike music that's been the norm for a number of years.

So, that's why we spent four years making this album. I don't think the next one will take four years. But if it does, so be it. We just want to make music that we like and can be proud of, which is the case for our debut album that comes out at the end of this week. Set aside a little time on Friday to listen to what we've done. Time is a valuable commodity -- perhaps the most valuable -- but we think it will be worth it.

Rocking on Saturday night at Mike Gale's 48th b-day party, this may have been the first mini-reunion of the original Bad Boyz since 1989 or so. Good times! Photo by Christina.

In completely unrelated news, I wanted to give a quick shout-out to my friend Michael Gale. He hosted his own party to celebrate his 48th birthday on Saturday night at his lovely home in Garden Grove that Christina and I attended. Mike and I started playing in bands and writing music together when we were in high school, before we were even 16 years old, and most our our mutual friends are also musicians whom we've jammed with over decades and count among our short list of lifelong friends.

The party Saturday night was completely fun, and a huge departure from my usual solo acoustic performances as well as what we've been doing in The Crayon. We did everything from classic rock to reggae originals, and I got to show off on guitar, bass, and keys. Huge thanks to Mike as well as other great friends Dante Silva, Kirk Makin, Kevin Hicks, John Jurovic, and others who rocked out on Saturday night. Life isn't a destination; it's a journey where you try and make memorable pit stops on the way. This was definitely one of them.