haha your right it is rather evil thinking about the way majors could sort their shit out! 

What i was thinking was for instance say universal started this kind of model and uploaded their back catalog in like say Flacs or another lossless file. Recalled all their digital rights and exclusively started releasing all their records on a site like this. Everybody would pay their monthly fee which kinda eliminates having to go out and get the new pop record because with your membership you essentially already have it as it gets released, and the artist gets their cut with the plays so their happy (maybe). It just seem that more and more people are only getting digital music these days and it seems odd that the majors aren't planning their next moves, just sitting there suing people and complaining.

theres so many details we rambled on about for a web based record company but they would just end up tedious and annoying....like drunk people haha

Audio Gasoline said:

I don't know, that sounds like two completely different business models - I think these pay-to-listen radio stations are happy as middle men in the music chain. Less risk, more reward, and a lot less work than running a record label.

I'm curious, in what ways do you see the majors using the pay-per-play model differently than it is currently being used? These sorts of pro-rated royalty payments are pretty standard fare for the common digital distribution channels. I just wonder what sort of evil musings you've come up with.

I don't know, that sounds like two completely different business models - I think these pay-to-listen radio stations are happy as middle men in the music chain. Less risk, more reward, and a lot less work than running a record label.

I'm curious, in what ways do you see the majors using the pay-per-play model differently than it is currently being used? These sorts of pro-rated royalty payments are pretty standard fare for the common digital distribution channels. I just wonder what sort of evil musings you've come up with.

Was having a couple with my flatmate the other night and we started discussing how these Spotify-type websites pretty much look like they will be the ones to rise up from the decline of traditional major record companies. Obviously nothing's gonna stop the underground releasing whatever it wants, how it wants, but the whole subscription and monthly fees essentially allowing you to "own" whatever gets released on the site whereas also paying the artist based on the number of "plays" tracks receive model looks like it might be the way forward for the majors.

Would be interested to hear your thoughts.

DIY For LiFe!!

I like The Clean, e.g. Aren't they lo-fi-"pioneers" in some fashion?

Either way, they are good.

colleen green, first base, peach kelli pop, nobunny, cumstain, daniel Johnston, and your girlfriend;)

So sad Boom Boom doesn't exist any more. Also like the Greg Lowery Budget Rock bands!

Budget rock kings... THE MUMMIES!!

Also, Supercharger, the Trashwomen, The Flying Dutchmen, the Pack, the Penetrators, the Fe Fi Fo Fums...

Speaking of Budget Rock, whatever happened to Boom Boom Party Records of Renton?

http://www.grunnenrocks.nl/label/b/boomboomofrenton.htm

Quite a fan of these genres, would like know who else is and what bands ya like? 

I think the New York Dolls cover of "Pills" the Bo Diddley song is even greater than the original.

Also, anything the Mummies cover is saaaa-MO-kin'. Here's "Come On Up"

Dead Moon's cover of "Parchman Farm" knocks it out of the park, especially in contrast to Mose Allison's well-known jazzified piano blues original.

Of course the "award of merit" goes to the "author" for the composition in any case, but occasionally you may have some covers which are better than the original song (at least subjectively).
I have two, for my taste, to mention as my favorites:

This is a fantastic song of PJ!! And great Lyrics, by the way! But i really like more the Juliette version for the adding of the dash and vigor i was missing in the original, in a way...

And then this one, almost for the same reason:

This cover is excellent!! And so perfectly executed!!
Well done Glitter Dick! Devilish good job! <3

Looking forward to discover some more! Yours!

Yup.  We have 14,000 likes and I am not sure how many know that we are a band.  We do regularly get new people out to the show because they like our social media.  These are people that turn into fans that like us because they just liked our pages because we were funny and they ended up liking the music.  If you grow your facebook or twitter fanbase it will turn to band fans.  A small percentage but every little bit helps.

Ted said:

facebook likes can be very misleading...friends of friends will like a band page just because a friend tells them to. So...even if the band blows dick they can have 15,000 likes and only a quarter to half of the likes are legit.

tick tick

Sir Rapley said:

The Facebook "like" system plays too much of a big role in peoples heads to whether or not what their producing is worth while. Its ridiculous to think that any good record company or any half decent booker/promoter would trust a websites polling numbers to their own ears or ability to see talent. You might be dealing with the wrong people

The Facebook "like" system plays too much of a big role in peoples heads to whether or not what their producing is worth while. Its ridiculous to think that any good record company or any half decent booker/promoter would trust a websites polling numbers to their own ears or ability to see talent. You might be dealing with the wrong people

What secures gigs, sales or whatever yardstick of success you may choose is not about social media likes but good music.

It is easy to get likes on social media - gaming the system is of no value - it is engaged fans who matter. But that said if the music sucks - well - it isn't going to happen.

Actually we miss money to have a good web site with tour dates and everything... in this condition, Facebook is a good free tool to keep in touch with fans. (and Garagepunk.com to !)

But as human beings, we keep talking to people... out of the social networks !

Amen. People who criticized me for not getting on it are now saying they wish they had'nt bothered. Not all of 'em. But , it IS killing how people communicate. Between that and texting , when do people ever TALK , even on the phone? When FB first started , some former friends from college were starting a chat group. They asked one friend I've always been in touch with to join. One of them , a longtime Born - Again Christian said to tell me to get on FB so he could TALK to me. I said , I'll  give him my phone number , if he has anything to say , he can say it to ME. TURNED OUT THE ONES WHO WERE'NT BORN AGAIN IN COLLEGE ARE , NOW , SO , THEY SNUBBED MY FRIEND FOR HAVING A MIND OF HIS OWN, AND HIS OWN PERSONAL BELIEFS......On the other hand , when it comes down to music , there may be reasons to join , but , I'm reading , now , there are plenty of reasons not to. How hard is it to e-mail a personal friend , or , God forbid , call 'em on the phone , if they're not on Face Book , to tell them you have a gig ? We used to do it , all time , not long ago.
 
Allerleirauh said:

Facebook is killing everything.

IS IT TO LATE TO GIVE HIM AN OSCAR ?!!

Bryan said:

Personally, I don't care for Facebook because it's seems like it's nothing more than High School Yearbook forever.

Personally, I don't care for Facebook because it's seems like it's nothing more than High School Yearbook forever.

The Trip! Feb 24th show!  Celebrating Black History Month with our favourite artists! 

Listen here: http://cjamlog1.cjam.ca/mp3dirnew/381-The_Trip-20130224-0030-t1361665800.mp3

The setlist: 

Mastering is as important as any other step in the recording process-and by all means-BE THERE WHEN YOU MASTER IT-if you can...or send it to someone who understands the music you're playing and won't fuck with the vibe...mastering just takes whatever you did-that you like-makes it EVEN-each song-as every song-even though you recorded for instance 12 songs the same way-same sessions-each song is at a slightly different level, because when you mix each song, you may get a great vibe, but then notice that some songs aren't as loud -which is normal-then mastering just levels it all out-brings out the best tonal quality. I remember when a friend didn't master his album-and you had to turn up certain songs-this way you don't have to do that-

Fuzzfaces are great too if you can find one-I had a box of them back in the 70's--Hendrix used them a lot-and as I'd read above-you can't go wrong with a Big Muff-especially the silver and black ones from the 70's-there is an AMAZING one out in recent years-out of Japan-called the "Venemous Snake"-sounds like 'Over Under Sideways Down' Jeff Beck--I might be spelling 'Venamous' wrong-can't remember how it was on the fuzz-I used one awhile ago

Another thing you can try that works to lock in with your vocal range is a capo--

THEE DIRTYBEATS said:

Totally agree: play a song in whatever key works best.  It's not always what's best for the singer, either.

Case in point:

When THEE DIRTYBEATS covered The 13th Floor Elevators' "Fire Engine", we did it "B". 

Now, the original version, in "E", is very cool;  but we really admired the intro Television added (see their 1978 live album "Blow Up"), with that insane chromatic chordal build.  And Television's version was in "Bb".   

As we worked up the song in Bb, we found a terrifically vicious downslash effect could be achieved on the I-IV transition if the IV chord was actually an open E rather than a barred F.  So we transposed the song again, this time *up* a half-step, from Bb -> B.

You can hear that guitar downslash at 0:54 (it's wonderfully noisy, if you're into that sort of thing) at http://theedirtybeats.bandcamp.com/track/fire-engine.  Changing the IV to E also freed Jamie to add a soaring thing to his fuzz solo.  While the higher key forced me out of my comfort zone as singer, it kept me on edge and reaching, which for a highly charged rock performance isn't necessarily a bad thing.     
 
We similarly fooled with "Shape Of Things To Come", originally recorded in F# by Max Frost & The Troopers.  We did it in E, because my guitar solo just fell out that way.

-A

THEE DIRTYBEATS maximum vintage garage
http://www.theedirtybeats.com