Past, Present & Future

[Simon]

[font=Courier New]Emile Berliner, Thomas Edison, and others marketed their invention of records in the 1880’s, no one knew how it would affect the music industry. Sheet music was the vehicle that the music industry thrived on, and records were seen as nothing more than a novelty at first. But then, when spoken records and the occasional field recording gave way to Marches, Cakewalks, Minstrels, and Ragtime, the record craze was on. What no one realized was that records allowed for more cross-pollination of styles, and by 1917, Jass music was the bi-product, which exploded onto the scene and reshaped how everyone approached popular music. [/font]

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[font=Courier New]Jass, of course, became Jazz, and the Jazz era went through a number of stylistic exercises: Stride, Swing, Be-Bop, Post-Bop, mainstream crooners, Avant-Garde, Fusion, Funk Jazz, etc. But looking at the panorama of it, we see how the genre built upon itself, and pulled inspiration from outside sources to broaden its palette. Between 1958, and 1960, the genre seemed to have achieved maturity. Albums such as Mile Davis “Kind of Blue” or Charles Mingus’s “Mingus Ah Um” were fully realized pieces of music, successfully drawing from outside sources, and seeming almost automatic to the creators. But moreover, despite the seemingly complex nature of the music, it was instantly accessible to the listener. [/font]

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[font=Courier New]During the Jazz era, one of the niches growing in the late 40’s was what was then called “race records”; what was soon dubbed “R&B”. Most notably were the “Hoy Hoy” records, where eventually, call and response vocals that often proclaimed they were going to “Rock and Roll” fell over a 2-4 backbeat. Was this a revolution? It didn’t seem that way at all, but as Country artists kept drawing from race records, cross pollination was working on it. What actually ushered in the Rock & Roll revolution was the invention of the 45rpm, and the broadening of radio’s broadcasting power. As we see in the movie “American Grafitti”, Wolf Man Jack was the radio show teenagers listened to in California, but little do most know that he was broadcasting from Mexico! The new extensive power of radio created a mad rush among artists and record labels to get on these types of radio shows; the type that had wild personas, and an extreme amount of listeners. Whether it was Country, teen-idols, or R&B, they all wanted to be featured on the same show. What was once a minor cross-pollination had become a full-fledged movement dubbed Rock & Roll. Once Bill Haley’s Country-R&B hybrid “Rock Around the Clock” became a hit, the Jazz era was approaching its arc, and the Rock era was sharing the spotlight. [/font]

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[font=Courier New]Just like the Jazz era, the Rock era underwent many exercises in style before maturing: Doo Wop, Rockabilly, Brill Building girl groups, British Invasion, Folk-Rock, Psyche, Power Pop, Punk, College Rock (which became Alternative), and so on. But as found in the Jazz era, maturation happened within the Rock era also, roughly between 1966 and 1968. Everyone from the Chiffons to Frankie Valley had producers tweaking their production to no longer be simple chorus-verse-chorus affairs, but rather finding sweeping arrangements complete with string and horn sections. What triggered this? The Beatles relationship to producer George Martin certainly, and maybe that with drugs and the political climate. Regardless, the Beatles “Revolver”, Sgt. Pepper…”, and “Magical Mystery Tour” showed that anything could happen within the Rock field. From surrealism to quasi-classical arrangements, it was all there, and it was all instantly accessible to the listener. Once the Beatles traveled to India in 1968 and returned jaded and fractured, the era had arced, and Rock music was now either adding things that didn’t work, or stripping it down to bare essentials. [/font]

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[font=Courier New]Although the Jazz and Rock eras greatly overlap, the Rock era had the luxury of not having a new era usher them out as quickly as Rock ushered out Jazz; but eventually, it happened. Electronics had been a part of left-field music since the 30’s, it wasn’t until Kraut-Rock began incorporating them in the 70’s that they became a mainstay, and once Giorgio Moroder took Kraut’s cue and added it to his Disco productions, a cross pollination had begun to brew in the Rock era. Who would’ve guessed that this experimental German music and disrespected Dance music would make such an impact of the disenfranchised American Ghettos? Aside from the Ghetto’s deep love for James Brown type funk of the early 70’s, foreign experimental electronic music worked its way into the fold, and the elements were cross-pollinating again. But just as the Jazz and Rock era had a breeding ground, they didn’t become a revolution until the technology was in place to rocket them. Within the Electronic era, first came the mixer, allowing DJ’s to loop music endlessly, and then came sequencers, allowing producers to harness electronics for music creation. Once the drum machine caught on in the early 80’s, and major music producers such as Trevor Horn latched onto them, the Electronic era was official, and it shared room in the public consciousness with the declining Rock era. [/font]

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[font=Courier New]Again, we see the new era go through its stylistic exercises. Hip-Hop sees the studio musician phase give way to the drum machines, which is replaced by the phase of building songs from samples, and recently, this has been replaced by keyboard manipulation. And in the dance music side of the electronic era, European electronic Disco shares time with the post-Disco field of Chicago House, and European Synth-Pop influences the creation of Detroit Techno. Once drugs influenced rock musicians in the UK to embrace electronic dance music, it became a European phenomenon, spawning more sub-genres in the 90’s than I care to list. But the question arises, has the electronic era matured at any point? Was there ever a “Mingus Ah Um” or “Sgt. Pepper” of the electronic era? I’m sure those reading this will either cite their favorite recordings or maybe just list some classics, but honestly, those often are either part of the style exercise, or incorporating elements that the artist wasn’t steeped in, such as 4 Hero’s ambitious “2 Pages”. The closest thing I can think of is 1987-1989 Hip-Hop, when Public Enemy or The Beastie Boys’ “Pauls Boutique” pulled form sources foreign to their genre, and made the total package instantly accessible and exciting. I’m not sure if that qualifies as the maturation of the Electronic Era. The electronic era may not have ever matured. Will this happen, or has the moment passed? Did it, and are we still too close to see it? [/font]

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[font=Courier New]There has recently been another technological boom with computers. The internet, peer-to-peer file sharing, and computer software are all relatively new. Just like when records were first introduced in the 1880’s, no one knew what was going to come of the new technology. At first, those who thought they knew just tried to recreate the previous era, and they were delusional that what they were doing was revolutionary. Did you know that “Auld Lange Syne” (i.e. the New Years Eve song) was one of the biggest hits of the late 1880’s on record, just as it was previously in the sheet music era? And for the record, it didn’t become the New Years Eve song until decades later. The point being, Jazz music wasn’t on the radar, but it was brewing underground in brothels and at minstrel performances. Those making records early on were just translating sheet music to the new technology. So when people today make some new type of Techno music with software such as Reason or Fruity Loops, are they of this new era, or just transitional pawns? What about new electronic sub-genres such as Grime or Baltimore Breaks? Aren’t these just today’s “Auld Lange Syne”? What’s happening in the underground? [/font]

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[font=Courier New]As terribly unfashionable as it is to cite this in 2005, the ElectroClash sub-genre did recalibrate us tremendously. During the 90’s, Techno sub-genres had become faceless, and beatmatched so much that it was one long song, but ElectroClash proved electronic music could have a face, a melody, a sense of style, and quite possibly could stand on its own. So what happened? Well, we could place the blame on the man that invented the term ElectroClash, as he heavy handedly marketed groups that lacked talent, or we can just say that for the most part, ElectroClash pulled too much from the well of New Wave. Either way, it wasn’t a substantial music genre; it was a sign of what was needed. Once ElectroClash went down in flames, people began to mine its influences to continue with the recalibration. The trend began with Electro and Synth Pop, but quickly moved into Post-Punk, Italo Disco, and Proto-House. [/font]

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[font=Courier New]So this is where we are today. Many old techno people just went back into their techno holes, and tweaked their Speed Garage or 2 Step or whatever into yet another subgenre that doesn’t differ much from the last Techno subgenre. Many Indie Rockers latched back onto the 90’s “I’m cooler than thou because I know about such-and-such underground band”. The rest of us found sort of a musical utopia, and we’re brewing the product for the next musical era that is being ushered in with this new technology. [/font]

[font=Courier New]What are you doing?[/font]

[the sex molesters]

i just went on a similar rant last night after drinking like 10 shots of johnny black in an hour... heh. so my answer is... i'm doing what hasn't been done yet.

[whobybarbituates]

yeah andy ive been nipping at the scotch plus alittle beer and i ranted at gummo about how no one enjoys music for music anymore and that no one recognizes artisty. basicly eberyone is trying to acheive a certian record selling sound instead of their own. that why most musicians nowadays are so apathetic and un orginal. so anyways mtv makes me wanna smoke crack other than that ill keep on listening to music that was popular ten years ago and let bygones be bygones

[the sex molesters]

so that explains what you were doing awake at 6:30 this morning. lol.

[Simon]

I'm sort of disapointed that this thread hasn't been taken more seriously, but I guess it sorta proves my point. Does no one have any real input? I think it's a terribly important subject.

:-(

[the sex molesters]

well simon, i know at least in my small circle of friends, the subject really has been beaten to death. maybe people are tired of talking about it? or tired of listening to me rant about it, maybe? lol.

[mojojones]

very interesting post . . .

i think that Techno music from its start in the 80s to all the forms of music that came from it is a fork in the road of the evolution of music, its taking a step beyond normal conventions of melody and harmonic devolpement, and to a more expiremental way of manipulating sound and rhythm. When i think of music like Techno, some tech House, Drum n Bass, some breaks etc etc. i think of a Techno vibe. On the other hand when I think of House, it just seems like an extension of 70s disco, if that makes any sense?

I think Techno by nature is more faceless, arty and avant garde then any kind of rock, or conventional kind of music that is influenced by it (like possibly some of those Electroclash bands would be a good example?)

I like what I do, but i do think DJing is played out, i wouldn't mind seeing more live performance, some more creative stuff then just playing records . . .

[NeonGenesis]

I hate to "What If" all day but we have a point here, what if EDM did come to a standstill asthetically? I'd imagine it could be a good thing in the long run. Just think What if (err) Sasha had colaberated with Ulrich Shnauss for a colaberated album? Chemical Brothers with Boards of Canada?? Dave Williams(star wars composer) with Hybrid? I believe only creativity could come of it. Though it is good seeing Dj's putting on the producer belt and making they're own bit of EDM goodness. Be it a band, collaberation, remix or something more.

[the sex molesters]

i kinda see EDM as being to the 1990s as rock music was to the 1950s. but the only thing i'm worried about is that rock music had genious... pure genious.... to propel it into the hearts of the next generations. i don't see that kind of genious present in EDM. and i think we need it. we aren't just another genre of rock n roll. everyone who really listens to EDM knows this. but i'm seriously afraid that our candle's gonna burn out.... that we're just gonna go down in history as being some left-field genre of rock music. that would kill me.

[mojojones]

i kinda see EDM as being to the 1990s as rock music was to the 1950s. but the only thing i'm worried about is that rock music had genious... pure genious.... to propel it into the hearts of the next generations. i don't see that kind of genious present in EDM. and i think we need it. we aren't just another genre of rock n roll. everyone who really listens to EDM knows this. but i'm seriously afraid that our candle's gonna burn out.... that we're just gonna go down in history as being some left-field genre of rock music. that would kill me.

i would tend to disagree with you on that Andy, there is a lot of genious in EDM, you just got to know where to find it ;)

[MURAMASA]

I think the music world as a whole is at a standstill right now... thanks to new technology and with so many people into it as well as having interest in music, our rate of development has increased exponentially over the last 20 years. Forget about what you like or dislike about any genre of music, and just look at the quality and the originality expressed in ALL types of music up until the early 90s, it was incredible, and it was cranked out at such a high speed that I think we've all just sort of gotten ahead of ourselves. Now, we're stagnating. Everyone is waiting for the next 'Queen' or 'B.B. King' of the EDM world to emerge and do something original with the music, the sound loops, the drum kits and the basslines that have already been made. This has its up and down sides, naturally...

It seems to me (and I could be wrong, this is only from my experience) that the internet and P2P has almost everything to do with what is stagnating and going wrong in the music world. With all of the pirating, cracking and stealing of data, there's a significant amount of loss in the music world. It's a great deal more difficult making a living now as a producer because people now have the ability to download or copy your music instead of going to the store and being forced to purchase it. No one thinks that music is something that should have to be paid for, therefore the producers aren't being paid... and for some people, even if they have the talent I'm sure eliminating the prospect of their dream to make music for a living and forcing them to go out and join the regular 9-5ers slows down if not stops the motivation for them.

Now that CDJs and programs like Serato and Final Scratch are out there, it means that some DJs aren't going to pay for the music, either. Looking for a quick way to distinguish yourself from your peers? Just download that new, unreleased Gridlok remix and play it out! He's famous, he can afford for you to not pay for it, right? Ass.

I know a lot of people say that they buy songs they like, but talk is cheap -- I see a lot of DJs out there playing tunes that don't belong to them, and it turns my stomach. You might think these producers don't need your money, but they do. No one just produces these days... they have to keep up on equipment, buy new releases, pay for new technology and software, and most people that high up are usually involved in record labels, events, clubs, etc... it's all a big network, and just because someone's new release makes them $8,000 doesn't mean it's going to be enough to pay off their -$25,000 credit card balance, cover the $5,000 loss they just took on throwing that last massive, paying their rent for the next 2 months, keeping themselves fed, paying their car insurance, or putting money into a new mixer. These things happen...



I'm not very good at expressing my thoughts into text so forgive me for repeating phrases or struggling with ideas... this is all just my $.02, feel free to interject or challenge a point to me, I love reading up on this stuff and learning something new. :)

[NeonGenesis]

...On the upside, We'll figure this joint out ya'll but in the meantime, keep rockin' out as usual. Oh and for the vary reason of playing out unrealsed songs, I've held back playing my remix of Daft Punk's -Technotronic/Brainwasher remix (think tech's vocals w/brains beats) untill the album has been released just like I planned. Doin my part even just a bit helps I suppose :P

[NeonGenesis]

BTW The Daft Punk's - Technowasher is a remix by myself and will be out hopefully mid april.

[jibboo]

Came across this...

"It's like trying to fit pieces of a puzzle together. Somehow in the grand scheme of things, whether it was Mephis in '68, L.A. in '72, or New York in '82, it's all connected. The music comes from the same place. Regardless of the label, whether it's blues, jazz, funk, or hip-hop, the music is born out of the people at a particular time and place. And the people are always in some shit. It's the hand that's been dealt. It's about flipping the pain because it sits heavy, heavy like the bass on a Hammond B3. Because when life changes us, we change the music.
There was a whole different bibe back in the day; people were blind with hope. Charles Wright nailed it on the head:"Somewhere along the way it got distorted." But vit only got distorted because we got distorted. When wea had hope, we made music that had hope. Black Moses could push the Caddy with the gold grill, but we knew his pain and struggle. And we felt his hope. Do you feel yours? I'm trying to feel mine."

Andre Tores
Editor-in-Chief
waxpoetics magazine

[Simon]

I think this thread needs to be rexamined a little more.

On a simpler note for those with ADD

every decade had a major musical movement, hell the 80's has several-
early 90's spawned rave & grunge (yet only another name for alt rock...)

the only major musical revolution since has been boy bands and pop diva's (eeeeeeek!!)

where do you see music heading? If you had to pinpoint the 00's biggest *new* musical input.. what would it be? We are 1/2 way through...