Listening To Music: SPAZ writes about the joys of being a music fan/geek...

    Listening To Music...

     Many years ago, I started this journey...  it started most likely as an infant or toddler, hearing the music my parents would play.  Anything from Frank Sinatra to Buddy Holly to The Beatles.... Mentally going through their record collection (which doesn't exist anymore, unless its boxed up in the garage), I remember so many different types of things they listened to.  Easy Listening, Rock, Pop, Folk, R&B... so much that I remember seeing as I would dig through their stacks of 45s and LPs over and over again...  While my older sister Dana liked music, it was really my brother Mike and I who lived for it.  My folks always used to tell us that they could put us in front of the TV when The Monkees was on and know that we'd stay put for 30 minutes until the show was over.  And this is when it first aired in 1966 (I was 3, my bro was 4). I remember loving The Monkees at that young age and even having the Monkees hand puppet.  We also had a Herman Munster doll, too.  We weren't spoiled but they knew what we loved....

     I really found my own way in '77 when Punk and New Wave took hold. I remember buying LPs, riding my bike home (or walking) from Licorice Pizza, slipping the headphones on, putting the needle down on the record and just getting lost in the music. I used to sit on my bed with my back against the wall, knees in the air with the LP cover and inner sleeve propped up in my lap.  Even though I knew every inch of that album cover, all the credits and the lyrics to the songs, I'd go through that same ritual every day.  For hours sometimes.  I'd play the music so loud that I'd see the lights flicker in the room, look up and there would be my mom or dad (or siblings) standing in the doorway, waving their hands in the air, trying to get my attention. I'd quickly pull the headphones off to see what they wanted.  Of course, whoever it was always had to make a comment about how I listened to the music too loud before they'd tell me what they wanted (it was either dinner time or I forgot to do a chore or something).  But as soon as I was back in my room, I'd slip on the headphones again, put the needle back down on the record and be transported back to wherever I was before...

     The first time I would spin a new album, it always had to be a solo experience under a set of headphones.  That first time, I didn't want to listen with a girlfriend/wife, family member or friend.  I wanted to devote all of my attention to that album, which is one of the reasons I would turn it up so loud - I wanted to block everything else out.  That first initial listen was MY time.  I didn't want to play it out of the speakers nor did I want to hear the album while I was shopping (or working) in a record store. If it did get played, I'd purposely tune it out and not try to take any of it in.  No, I wanted to 'experience' the album on my own.  I didn't care if it was an old Tom Jones album or a new Undertones album - I wanted to BE one with the album and understand it.  To some, a record was a collection of 12 tracks but for me, it was a whole piece of art divided into 12 movements. And I would eventually dissect that artistic statement and decide which parts I liked and which parts I didn't. Sometimes, a song would take quite a few spins before it began to sink in.  The sign of a great album is one that has a different favorite moment each time you listen to it.  

     The LP cover was part of that experience as well. One of the big thrills was taking the wrapper off that album and inhaling the glorious smell that had been trapped within the album sleeve and finally released once I broke the seal.  I was always disappointed if there was just a stock inner sleeve and nothing special like lyrics, pictures, liner notes, whatever...  But it's not like that ruined my experience! I would often get lucky and find a UK version of an album that had a slim cardboard inner sleeve, which was far more sturdy than the paper ones on U.S. pressings. Besides, the UK pressings might have a glossier cover than it's American counterpart and THAT was also a nice bonus - especially if you were paying a little more for the import copy!

     

     When you hear something that moves you, it gives you goosebumps but not in an R.L. Stine kind of way. It's almost electrical... and definitely magical.  It reaches right down to your soul and captures you, enthralls you, entertains you.  It could be the way the harmonies float above the music or it could be an unexpected chord change.  Be it a gorgeous piece of classical music or raw and dirty Punk Rock, it is going to do something to you - something with you - that you don't expect.  Music is interactive and encourages you to react in some way.  It will make you think... make you cry... make you dance... make you do something.  If it doesn't, then you are not connecting to it. But wait for the chorus... or the next track... or the next album.  Something is bound to touch you.  That is why we have such vivid memories of the first time we heard a particular song or album.  If you connected to it, then it will always bring those memories flooding back.  Personally, I can throw on some track from the '80s and it brings me back to great days with friends, record shopping and discovering new music.  I can hear a song from the '70s and I'm back spending a summer's day at the beach with my mom and siblings. Memories are faded pictures if I try to recall them without a musical signpost... but once I hear that music, those memories suddenly become vibrant 3D movies and I can often times picture the most minute details...   

     People who don't connect with music don't understand the passion that many of us have.  Its an affliction, it's an addiction, it's a habit... and it's love.  Music doesn't talk back to you, but it does talk TO you.  Music doesn't break your heart, but it can be heart-breaking. Music is life and life is music.  It's that simple, really.  There's nothing pretentious about it, nothing sinister and nothing wrong with it.  Music connects to people emotionally and it's up to them to decide how deep they want that 'relationship' to go.  If you grew up buying records, tapes or CDs to listen to your music, then that connection is deeper than someone who has only known downloading (legal or illegal).  Those who bought physical, tangible product made an effort to do so: travel to the record store, searched around for whatever it is you wanted to buy, came home, threw it on the turntable, put on your headphones or cranked up your speakers and played it.  Unfortunately, those who download don't have a piece of product in their hands.  They click on a button, wait a few moments and then play it.  This lack of 'commitment' takes away from the experience and the listener doesn't always feel the 'worth' of the songs they are listening to. There's certainly nothing wrong with buying downloads and many of my friends do that nowadays, but at least they appreciate what  it used to be like.  The download generation does not.  And don't get me started on streaming, a platform that I barely tolerate.  Sometimes, it's necessary but again, there's no commitment from the listener. Just click and play.  Where's the fun in that?

     But in the end, my opinion about what you listen to and where and how you get your music is invalid. What matters is what it does to you. If it moves and inspires you, THAT is what matters. Now, go and listen to some music and let it overcome and overwhelm you.  

Happy listening,

Stephen SPAZ Schnee  

Those Awesome OSMONDS! SPAZ reviews their catalog on 7Ts/Cherry Red!

THE OSMONDS

Their '70s albums On CD

In the past, The Osmonds' recorded output has been poorly represented by a slew of collections.  Thankfully, 7Ts/Cherry Red Records has rectified this situation by releasing the band's eight albums on four separate 2fers.  They are available NOW!

By Stephen SPAZ Schnee

Regardless of what you may think of The Osmonds' music, they were (and are) a cultural phenomenon. Even if you can't remember all the lyrics, chances are you can name at least one Osmonds song off the top of your head right now.  And "I'm A Little Bit Country, I'm A Little Bit Rock 'n' Roll" only partially counts (that was a Donny & Marie song, not a bonafide Osmonds recording).  It's been over 30 years since their heyday, yet they have become part of Pop music history.

I am surprised that I had more than one argument in the early '70s when the subject of The Osmonds Vs The Beatles came up. How could anyone possibly think The Osmonds were bigger than The Beatles?  Can you believe that this argument came up a few times over the course of a year or two.  Mainly from my big sister Dana.  No, scratch that: EVERY argument in regards to The Osmonds being bigger than The Beatles were with my sister Dana. But she was 11, I was 9... what did I know? Maybe she meant that they were bigger in terms of the number of group members?  There were five Osmonds but only four Beatles... If that was the case, then she was right all along!  I must write her an apology letter someday...

But for a few golden years in the '70s, The Osmonds were one of the most popular musical groups on the planet.  Not only did the five brothers release a slew of singles and albums, but Donny had a successful solo career that ran concurrently with The Osmonds' golden years.  Later on, sister Marie chalked up some solo success, as did little brother Jimmy, but when Donny & Marie began performing as a duo, everyone else took a backseat as their radio hits translated into a hit TV show and a not-so-successful movie, Goin' Coconuts in 1978.  By the time the '80s rolled around, the Osmond family remained active in the entertainment industry but they never again achieved the amazing popularity they experienced in the early part of the '70s.

It all began in the early '60s when Merril, Alan, Jay and Wayne performed as a barbershop quartet.  While they achieved a respectable amount of fame during this period (due to TV appearances on The Andy Williams Show and other variety programs), it wasn't until Donny joined a few years later that people began to take notice.  The boys insistence that they become a Rock band fell upon deaf ears for the latter part of the '60s, but by 1970, the quintet had released their self-titled debut Pop album and Osmondmania began to take shape...  

NOTE: Since Donny was being groomed for solo success, most of the lead vocals on The Osmonds' albums were handled by Merrill, although all the brothers were involved in backing vocals, co-lead vocals and arrangements. The various solo albums from Donny, Jimmy and Donny & Marie are also available through 7Ts/Cherry Red but this feature focuses on the original Osmonds albums of the '70s.

(Available on CD coupled with Homemade)

THE OSMONDS (1970)

The brothers' potential was enormous, but which Pop road should they travel?  Since commercial success was not guqranteed, the label sprinkled their debut album with a variety of styles, hoping that one of them would stick.  "One Bad Apple", with it's soulful, Jackson 5-like Soul groove, was the song that put The Osmonds on the map. Were the Osmonds being groomed as a 'white' version of the J5?  That may be the initial concessus, but this album shows that they were more than "One Bad Apple".  There's Country, Gospel, Rock, Easy Listening and many more styles rubbing shoulders with the Soul-lite vibes of "One Bad Apple". Their "Motown Special" medley avoids sounding anything like the J5, surprisingly enough. "Sweet And Innocent" was, oddly enough, a Donny solo single that was shoehorned onto the album, which was a brilliant move.  One of the poppiest and most delectable tracks on the album, it is every much "... Apple"'s equal even though it doesn't travel the same musical ground.  "Find 'Em, Fool 'Em and Forget 'Em" veers towards heavy, Gospel and Blues-inflected Rock that they would eventually perfect two albums later. The album's closer, "Flirtin'", is the album's sole mis-step with it's blatant retread of the "One Bad Apple" blueprint.  Otherwise, The Osmonds is a fine introduction to a group of talented young lads who were soon going to take over the world...

(Available on CD coupled with The Osmonds)

HOMEMADE (1971)

While Homemade may have sold quite well, the album is essentially a complete rewrite/retread of their self-titled debut. If you love that album, you'll either love this or be frustrated that the brothers were not able to stretch out a bit more and show how versatile they were.  There are some high-points, such as the breezy "Carrie", their delicious trademark harmonies on "Chilly Winds", the Country vibe of "The Promised Land" and the lighthearted early '70s groove of "She Makes Me Warm".  Album closer "Sho' Would Be Nice" is an emotionally moving end to an album that is still a worthy addition to your collection, but, to be honest, its a half-hearted and unimaginative duplication of their self-titled album. To be fair, the music business is notorious for playing it safe and 'giving the people what they want'.  I just wish that labels realized that we don't want the same thing over and over. Some things never change...

(Available on CD coupled with Live)

PHASE III (1971)

Phase III is when The Osmonds took control of their production, added more self-penned material and transformed from a good Pop band to a great one. While the single "Yo Yo" remained from an earlier recording session, the rest of Phase III was Osmond-controlled and this was the album that should earned them a huge dose of critical respect. Instead, the critics treated it like just another Osmonds album. While, on the surface, that might have been the case, Phase III was a Rock album made by a a group of talented musicians and vocalists who were already pigeonholed as a cheesy Pop act. Almost any other band in 1971 would have killed to have an album opener like "Down By The Lazy River". Even when the band adds a little Funk into the mix like on "Business", it clicks and never sounds awkward. "Love Is" is a touching Beatle-esque ballad that could have fit right in with the Fab Four's late '60s recordings. "He's The Light Of The World" is a religious rocker that is as catchy as anything the devil released that year. "Yo Yo" is delectable, funky, catchy and joyous. "My Drum" is a riff-heavy rocker that Deep Purple could have cut in the '60s. While the tapes have not held up well over the years, the album still sounds raw and energetic where it wants to, yet not entirely removed from their earlier bubblegum recordings. As good as Phase III is, their best studio album was yet to come with Crazy Horses...

 

(Available on CD coupled with Phase III)

THE OSMONDS LIVE! (1972)

Let's be honest: I'm not a fan of live albums... period.  I have Elvis live albums because he is Elvis, but I have to say that I don't own many live albums in my collection at all. With that being said, listening to The Osmonds Live some 40 years after the last time I heard it brought back some memories.  As the story goes, most of the boys had a cold during the show but they went ahead and recorded it anyway.  They went back into the studio when they were feeling better and added vocals on top of many of the recorded performances, which makes the lead vocals sound double-tracked... which they are!  The energy of the performance is still there and they perform some covers that are not found on any of the studio releases, so that makes it a worthwhile purchase.  But its a live album and I'll leave it at that...

(Available on CD coupled with The Plan)

CRAZY HORSES (1972)

Crazy Horses was the first truly great Osmonds album and remains one of the finest Pop/Rock albums of the early '70s, although you probably won't find it on many critics' lists, then or now. From the opening Rock strut of "Hold Her Tight" to the CCR-like groove of "Utah", the solo McCarney-esque "Girl" and the legendary Hard Rock crunch of the title track, Crazy Horses is one hell of an album. It's such a shame that the band were already pegged as a teeny bopper band because Phase III and Crazy Horses proved that they were so much more than that.  "What Could It Be" could have been a Hudson Brothers hit ala "So You Are A Star". The bluesy rock of "Life Is Hard Without Goodbyes" is actually quite beautiful with Merrill's impassioned vocals. The whole album rocks from beginning to end.  In fact, the band adds a snippet of "One Bad Apple" into "Big Finish" in order to remind you that this is the very same band. If anything, this is the album that the teenage girl would have been able to share with her brother or boyfriend without them feeling embarrassed.  But then again, I have never felt embarrassed about loving The Osmonds! And if you want to hear what you've been purposely missing for 40 years, then give this one a spin! Crazy Horses is not just a great Osmonds album, it's a great album period!

(Available on CD coupled with Crazy Horses)

THE PLAN (1973)

The Osmonds had gone from strength to strength, building up a catalog of hit albums, each of them better and more successful than the last.  By this time, they weren't just massive in the U.S., they were international superstars!  Because of their strong Mormon faith, the band felt it necessary to focus their creativity on an album that celebrated the journey of life.  They weaved in elements of their beliefs and The Plan was born.  Unfortunately, their teen audiences weren't prepared for a concept album such as The Plan.  Wrongly accused of being an album about Mormonism, The Plan is still a fine album but it finds the brothers stepping away from their crazy Rock shenanigans of '71 and '72.  That's not to say that The Plan doesn't rock... because it does - but only in certain places. Obviously a labor of love, The Plan found the Osmonds giving back to the teachings that had kept them centered and focused during the good and bad times. The boys' harmonies have never sounded better and, while the material may not be up to the standards of the last few albums, The Osmonds were forging a path of their own. The boys took a gamble that unfortunately did not pay off commercially and it was their first real 'flop'.  The album does include some great tracks like "Let Me In", "Movie Man", "One Way Ticket To Anywhere" and others, but the focus was more on the message than the music. On The Plan, the Osmonds grew up, but their fans didn't. 

(Available on CD coupled with I'm Still Gonna Need You)

LOVE ME FOR A REASON (1974)

After The Plan, The Osmonds' musical focus began to change.  While the album cover may have promised a visit into Philly Soul territory, that was only a small part of where the boys were heading on this album.  A return to form in many ways, the first half of Love Me For A Reason was more of a Rock album than the hit title track would lead you to believe.  "We're Having A Party", "The Girl I Love", "Ballin' The Jack" and a few other tracks would not have sounded out of place on Phase III. The second half of the album focuses on their more soulful side. "Peace" is a funky Disco offering that still retains the brothers' Pop harmonies. "Fever", "I Can't Get Next To You" and "Sun Sun Sun" are credible Funk workouts that really capture the versatility of the band. The album is a real treat, although not as focused as their previous albums.  With this album, they weren't sure which direction to follow so they just did what they wanted and split it pretty much down the middle.  The highpoint of the album is, of course, "Love Me For A Reason", their finest ballad to date.  The harmonies on the chorus are heart-melting and the song is warm and lovely.  If this song was the only thing The Osmonds ever recorded, they'd still be as fondly remembered as they are now.  A stunner. 

(Available on CD coupled with Love Me For A Reason)

I'M STILL GONNA NEED YOU 

(AKA THE PROUD ONE) (1975)

Released as The Proud One in the U.S. and I'm Still Gonna Need You in the UK, this full length would prove to be the Osmonds final album as a group in the '70s.  They would then step aside and let Donny and Marie become the focus of their entertainment empire. While the Love Me For A Reason album only toyed with their Philly Soul influences, this is the album where it would come to the fore.  Gone were all the Rock moves of their Phase III/Crazy Horses period, replaced here with a light Philly Soul sound mixed with a laid back Pop sound that focused on their vocals.   It's definitely an Osmonds album, but far more mellow than ever before.  But don't let that stop you from giving it a spin because it is quite a lovely piece of work.  The songs are almost on par with "Love Me For A Reason", especially "I'm Still Gonna Need You".  But maybe that was the plan... since "Love Me... " had been such a big hit, why not go in that direction!  And guess what?  It works.  There are no big hits here, but there are plenty of delicious Pop songs that will soothe your aching soul.   They really sound focused on this album and their harmonies are top notch... but I think I already said that.  For a 'final' album, its a real beauty.  Perhaps a Crazy Horses II would have been preferred, but there is really nothing to fault on this album.  It deserves a big hug and a sloppy kiss.  Then again, that's what my sister Dana thought Donny deserved from her!

Peace, love and Osmonds,

Stephen SPAZ Schnee

AVAILABLE NOW!

HAPPY RECORD STORE DAY!

RECORD STORE DAY

April 20th, 2013

By Stephen SPAZ Schnee

My passion for music may not be legendary, but its pretty apparent to all of my friends and family... and to those who take the time to read my blogs, my liner notes and anything else I put my name to.  I'm not the only one who feels this way about music, although sometimes I do get singled out for being into music way too much. 

At my age (pushing 50), I should have left this all behind me, right?  I should have grown up like my friends did and leave these childish things in the past, right?  That's what my old friends have done.... music is still a part of their lives, but their lives don't revolve around music. Me, on the other hand, still follow the beat of my own drum (or beat of my own Linn Drum, judging by my love of '80s music!).  There are worse things, I suppose.  I could have become a drug addict, an alcoholic or a criminal.  Or maybe I could have been a success and had loads of money by now.  But would I have accumulated all of the musical treasures which I now possess?  Who knows?

But alas, I am who I am.  

And the person that I am has always been here to encourage all of you to keep the love of music burning in your heart.  I don't want it to be a spark... I want every ounce of passion in your body to be engulfed in flames!  I want you to love whatever music you love and let it motivate you. Let it comfort you in times of need.  Let it empower you. Let it speak to you and for you. But most of all, let it inspire you. 

On RECORD STORE DAY, we celebrate something that was almost extinct a few short years ago: the record store. At one point, there were so many in each of our towns that you had a choice which one to visit on any particular day.  At that point, you had your favorite store for new, used, imports and oddities.  You became friends with the person behind the counter, who would always recommend things to you.  Sometimes they were spot on, other times, not so much.  But there was someone there to share opinions with, maybe argue with a little, too!  There were other shoppers who you may have befriended, friends who shared in the fun of the search right alongside you. A record store was just as much an escape as it was a destination. . 

A magical record store experience was often times less about the treasure and more about the journey.  Yes, it was nice to find what you went looking for, but what about all of the things that you stumbled across while searching?  Didn't you feel like Indiana Jones in search of the Lost Ark or the Holy Grail? If not, then you weren't doing it right!

On RECORD STORE DAY, we also celebrate the joy of owning a physical, tangible piece of 'product'.  The happiness of holding an album or CD in your hand while searching through more bins was a thing to be excited about.  You had FOUND something already, but you still wanted to go a little longer in search of something equally special or entirely different.  There was always something you felt that you NEEDED and you would not stop until you found it.  But alas, when you finally did find it, you realized that there was so much more you needed and you kept searching.

I've noticed that I've been using record shopping in the past tense in this blog entry.  I suppose I think back when we had so many record stores to choose from 20-30 years ago... yet most of them have disappeared over the decades.  Thankfully, there seems to be more of an awareness of their existence now, and even the younger generations are starting to pay attention.  We can thank RECORD STORE DAY for that.

But don't think for a second that this is a U.S. only celebration. RECORD STORE DAY has gone global with other countries getting involved and celebrating what was once one of the biggest industries in the entertainment field.  So, instead of stores disappearing at an alarming rate, the strong ones continue to survive and bring the record store experience to all of us. We should support them in their cause and help them stay alive.

And please don't think that RECORD STORE DAY is the only day you should go record shopping.  Try to make it out there and celebrate the day, of course, but go record shopping as many times as possible.  Once a week, once a month.. whatever.  Go to a different record store each time... go to a record swap meet... But whatever you do, just GO!

I often use words like 'magical', 'excited', 'joy', and 'happiness' when describing record stores and record shopping in general.  Perhaps if you drop what you are doing right now and head out to a record store, then you'll 'understand'!

Happy RECORD STORE DAY to you!  May you look back at all the fun times spent in a record shop and remember how it made you feel.  Let's continue to keep that feeling alive!  Let's go record shopping!

Peace, love and pancakes,

Stephen SPAZ Schnee

For further RECORD STORE DAY reading, check these other features that SPAZ wrote for Discussions Magazine:

ROAD TRIP

http://www.discussionsmagazine.com/2013/04/on-road-to-record-store-day-road-trip.html

ALBUMS THAT SAVED MY LIFE

http://www.discussionsmagazine.com/search/label/Albums%20that%20changed%20my%20life

OC. RECORD STORES

http://www.discussionsmagazine.com/2013/01/an-appreciation-record-stores.html

AN APPRECIATION: Mixtapes

AN APPRECIATION:

Mixtapes

For as long as I've been a music fan, mixtapes have been part of my means of sharing my love of music. No, make that my PASSION for music! While I don't think any of the original mixtapes I handed out to friends over the last 30 years have survived, I do believe that they made an impact in some way. And why do I think  this?  Because my friends have gone out to buy singles, LPs, cassettes and CDs by bands that I first introduced them to on those mixtapes, which is the main reason I made them!

You see, when I make a mixtape, it's never about ME ("Oh, look at how diverse my musical tastes are!"):  it's always been about the music.  When I hear something I really like or really love, I NEED to share it with as many folks as possible.  I feel COMPELLED to spread the word around about this new (or old) song/artist that I'm feeling really passionate about.  I want to play it for as many people as possible and see their reaction.  I want to INSPIRE them to go out and BUY that single or album right then and there!

As a young kid, that's what the radio did for me: it made me want to OWN a certain piece of music, whether it was a single or album.  Even if it was in constant rotation, that wasn't enough for me because I wasn't always going to be in front of a radio. I wanted to listen to it when I wanted to listen to it: not when the DJ decided to play it! Initially, I listened to everything that they radio offered, but when I hit my mid-teens, I figured that it was time to break away from the crowd and start diversifying my tastes a little bit.  I actually started searching for new music and not letting the radio or TV tell me what to buy.  I think that must have been 1977 or so...

Once I started finding new stuff to listen to, I was eager to show it to friends.  I'd sometimes lend an album to someone, but those LPs usually came back with a scratch or two that weren't there before.  Other times, I'd bring records over to people's houses (or invite them over) and we'd sit in front of a record player until everything was listened to. Obviously, this was in the days before mp3s, the internet, YouTube, Spotify, iTunes, etc., so I'd actually spend a lot of time with friends back in those days. And that is how true life-long friendships were born.  I'm sure that some of these same people I spent time with 'back in the day' are going to be reading this once I post the link to my Facebook page....

But there are many people out there who share similar experiences to mine, which is why I chose to write about this subject.  I'm not the only music geek in the world... and there are bigger geeks than me. I don't know everything about music, but I'm always on the search for new info and tunes.  You really aren't a true music fan unless you keep the mind open to new things, whether you think you'll like them or not.  Keeping yourself open to new things keeps things interesting. And best of all, you may discover something that enhances your life!

So, by the time I got a cassette deck, the idea of mixtapes became a reality.  I would never record an album straight, from start to finish, for one of my friends.  I thought that was cheating in a way.  Even back then, before the whole 'home taping is killing music' campaign, I felt that there was something inherently wrong about it.  While I knew that the artist wouldn't see a dime from someone taping my copy of the LP, my reasoning was also very selfish: why should I spend my hard earned cash just to have someone record it for free and use their money for something else?  That is around the time I stopped loaning albums to friends.  And believe it or not, there were a few folks that go really angry at me because I wouldn't let them tape something that I paid my hard earned $5 for!  Its not like they used the money they saved to buy some other album, which I would have kinda been OK with...  

So, instead, I would gather up my latest vinyl purchases and my personal fave albums, stack them up next to the tape deck/turntable and decide which songs off of each album would make it to a compilation tape that I was going to make. Now, bear in mind that each cassette mixtape that I made was created for a specific individual in mind.  Did that person deserve all the pre-production and hours spent making them a 90 minute mixtape?  Maybe not... but the music deserved to be heard so I would spend all that time and energy in creating this 'thing' that would hopefully turn someone on to a few good tunes and INSPIRE them to go out and buy some records. Why?  Because I believed in the whole grass roots/'word of mouth' scenario: you turn two of your friends onto a band, they turn two of their friends onto them, etc.

Bands that always seemed to make it onto my mixtapes included BLANKET OF SECRECY, SPLIT ENZ, SQUEEZE, A FLOCK OF SEAGULLS, THE LAMBRETTAS, MENTAL AS ANYTHING, NICK LOWE, YACHTS, THE UNDERTONES, MADNESS, 20/20, THE JAM, THE BLUEBELLS, THE ENGLISH BEAT, ULTRAVOX, THE LOTUS EATERS, RED BOX, FREUR, THE VAPORS, NEW MUSIK, THE LAUGHING DOGS, QUINCY, HAWKS, THE ELEKTRICS, GREAT BUILDINGS, THE BUSBOYS, DEAR ENEMY, JOBOXERS, WIDE BOY AWAKE, SHOES and many others. There was never a shortage of good music to introduce people to...

So, if someone was a big fan of Big Country and U2, then I certainly wouldn't focus on Synthpop bands on their mixtape: I'd concentrate on more anthemic guitar-based bands like The Alarm, The Armoury Show, The Skids and perhaps some of the less electronic recordings by Ultravox or A Flock Of Seagulls.  But the core of my mixtapes were bands that didn't get airplay on KROQ or MTV (which was new-ish at the time). I wanted to share these new discoveries of mine with as many people as possible. I would certainly throw a few hits on there in order to make the listener feel comfortable but I'd feature tons of new or obscure bands that needed more exposure.  It was like creating a radio broadcast for an audience of one.  And, as I stated before, every single mixtape was created for an individual, so every one of them was unique.  Even when CD-Rs became the platform of choice, I would never make more than one copy of any mix.  Well, unless it was really good and I wanted a copy myself!

Man, I was a geek.  

So, in the pre-digital days, how did you perfectly time a mixtape? I mean, how did you manage to fit as much music as possible onto a cassette without having a song cut off at the end of the tape?  I would NEVER allow that to happen on my mixtapes!  If I was putting a 3 minute song on a cassette and the last 30 seconds were cut off, then I'd rewind the tape, find a song that was 2 minutes and 25 seconds and record that one instead. It was always easier when i got to side two of the tape, though.  If I was down to the last song on side two, then I'd turn the tape over to side one and hit play: I could judge how much time I had left based on how much time had elapsed on the first (and possibly second) song. Yeah, it wasn't rocket science, but it worked!

Once that i felt that I 'understood' what someone wanted to listen to, I started really mastering the art of the mixtape.  I started creating what I felt was a great set list: start strong with at least five upbeat tracks before introducing a mid-tempo song and then tossing in a ballad, then another mid-tempo tune and finally back to more upbeat tracks again.  My thinking was this: if I can keep the listener interested, then they'd pay more attention to the mix and not lose interest.  Trust me, I've received mixtapes that had too many slow songs in a row and my attention would start wavering.  But not MY mixtapes, no!  They were always well thought out and perfectly timed.

There was never any real 'theme' to my mixtapes.  I just wanted to feature all the great songs that I was loving at the moment, no matter what style.  But that did cause a few problems with friends who didn't quite 'get' my eclectic tastes. I remember one of my friends, Carlos, saying he was embarrassed cuz he was playing a mixtape out by the pool at his complex and everyone around him was totally digging it... that is, until Tom Jones' "Help Yourself" came on amidst all the hip '80s sounds and his neighbors started giving him strange looks.  What they didn't realize is that Tom Jones' classic '60s recordings were cool in any era.  It wasn't until a few years later that Tom Jones became 'hip' again when he recorded Prince's "Kiss" with The Art Of Noise.  Was I ahead of my time?  No.  It's just that Carlos' neighbors weren't hip to the jive, so to speak.

 I used to get so many excited responses to my mixes.  My friends would ask me which album a particular song was on and then, when some of us would go out record shopping, they'd buy that album.  It seemed to happen quite a bit.  I'm sure some of my friends will tell you just how much music they were turned onto via one of my cassettes.  But that's not because of me: its because the music was so good.  I was merely the guy that introduced them to the song/artist.  Over time, I'd have friends telling me that they heard this or that song on KROQ... weeks after they heard it on my mixtape!  Madness' "Our House" was a prime example.  I remember working late one night with co-workers and one of the gals I worked with threw on one of my mixtapes on the boombox and was blown away by "Our House".  She asked me if she could borrow the 7" single to show to her husband and kids since they didn't have a tape deck at home.  They all loved it and had me buy the single for them next time I saw a copy.  Then, a month or so later, KROQ picked up on "Our House" and it became a huge hit.

The height of my 'mixtape days' lasted through most of the '80s but by the time the '90s rolled around, people weren't asking for them as much. They'd grown up and moved on and I was trying to do the same... but music still held its spell over me.  I was still collecting as much new music as I could but the age of CDs dawned and my friends started turning their backs on LPs and cassettes and were replacing their car stereos with CD players.  Needless to say, my cassettes became dinosaurs in the digital age.  I did make the occasional mix (especially the on-going Skib Dob series for my brother Mike) but, for my friends, my services had become obsolete...

By the end of the '90s, CD burners became the next big thing.  I, of course, jumped on that bandwagon the moment I could afford one.  Back then, they were only burning at 2 times the speed so one 70 minute CD-R would take 35 minutes to burn, but that was OK by me.  I started making 'mixtapes' again, but this time, I burned them on CD-R!  Even though it was nearly 20 years since I first started making them, I was able to start creating new ones again... and they sounded better than I could possibly imagine.  I was a happy camper... again.

While the demand was never high, I'd still go out of my way to make one if someone asked.  At that time, i was extremely limited as to what I could put on my mixes because not everything I loved was available on CD yet. But I soldiered on and began introducing new music to friends again.  While it was not as exciting as they '80s, there was still PASSION behind each and every mix I made.

I finally gave up my frantic mixtape making when I'd hear friends telling me that I 'had too much time on my hands' or they stopped saying anything at all about them. Even when folks would ask for them, they'd seldom take the time to listen to them.  Like a waning TV series, my mixtape days quietly got canceled.

I still make mixtapes on occasion, usually just to play in the office... or the occasional Skib Dob mix for my brother, but most people don't really seem to care anymore. I do find it kind of funny that its easier than ever to make a mixtape (on CD-R, of course) yet nobody really wants them anymore. I mean, there are tons of college kids making them these days and sharing them with friends, girlfriends, etc. But in this post-Napster  generation, it seems more about sharing illegally downloaded tracks than sharing a PASSION for music. (Which gets me thinking: music sales would go up across the board if girls would tell guys that if they are going to make them a 'romantic' mixtape, then all tracks must be legally purchased through approved sources!)

So, the only way I get to share new music these days is posting a video link on FB, which sometimes gets people interested, and writing about stuff here on the blog.  Sure, I can make mixes on Spotify, but it's not quite the same.  Somehow, I have to figure out a way to share so much amazing music with people and actually get them interested enough to listen!  In an age when people treat music as 'disposable' art, that is not going to be easy...

Is there anyone out there that is still interested in listening to mixtapes?  I honestly think so... and I'm determined to find all eight of you!

Peace, love and pancakes,
Stephen SPAZ Schnee

An Appreciation: RECORD STORES

An Appreciation:

RECORD STORES

Ever since I was a child, record stores have fascinated me.  Being raised on many types of music (The Beatles, The Monkees, Neil Diamond and Glen Campbell to name a few), I was always excited about songs that really struck a chord with me... long before I even knew what a chord was!

In the beginning, mom and dad satisfied my musical appetite by handing down copies of Beatles albums or buying me albums on my birthday and Christmas.  Every note was magical, every melody was an audio dream that unfolded in my tiny little mind...

I was so excited when I finally started getting an allowance.  OK, maybe the first year or so, I spent all the money on candy and comic books, but when I was old enough to walk to any local record store (Licorice Pizza), my allowance was spent on seven inch singles and LPs in the cut-out bins.  At that time, I couldn't afford a full priced album and if I wanted a new album, I had to add it to my want list for future gift-recieving holidays.

But then, when my allowance went up a little or when I'd get money from grandma and grandpa (or other relatives), it was straight to Licorice Pizza I'd go.  While my tastes may have been limited at that exact moment, there was still so much to choose from.

But in 1977, when I was 14, I saw The Jam and The Clash on TV and my limited view was shaken to it's core and broken wide open.  "There IS a musical world outside of my transistor radio!", I thought to myself.  Little did I know that, 33 years later I'd still be excited and inspired by music, both new and old.  In fact, I think I've only gotten worse!

Anyway, as I came to my awkward teens, music became a way to communicate with people.  If I had friends that were going through hard times, a mixtape could surely cheer up their day.  If I had a girlfriend and couldn't find the right words to say, a Paul McCartney album would always do the trick.  If I couldn't think of the perfect gift for a family member's birthday, why not buy 'em The Eagles' Greatest Hits or Hotel California?

People who know me know that I am never short on words, so if I was handing out mixtapes or albums to people, that meant that those particular albums or songs meant something to ME and I wanted them to mean just as much to THEM.  I would head up to Licorice Pizza and spend my own money just to try to add a little bit of sunshine into their day.  To be honest, sometimes it worked sometimes it didn't... but at least I tried.

I spent so much time at Licorice Pizza during the late '70s that I could have actually worked there.  Then, as I got older and had friends that could drive, it was on to Tower Records, Beggar's Banquet, Music Plus, The Wherehouse and any other record store within a 5 mile radius.  Almost every day.  Definitely every weekend.  We just wanted to experience the sights, sounds, smells and vibes of any record store that stocked a good amount of LPs and singles.  Sometimes we had money, sometimes we didn't... but we ALWAYS heard good tunes and had a great time.

While I did OK at school and had a great family, music spoke to me louder and clearer than any book or teacher.  In fact, some of the most influential people in my young life were those record store employees who would introduce me to new music, either suggesting something or just by playing it in the store.  I didn't read the music rags of the day because I wanted to spend every penny on something new and exciting.  After all these years, it's still the same.

Many of my long-lasting friendships have been made in a record store.  Apart from my school buddies, I'd meet new folks with similar musical tastes and we'd make suggestions back and forth.  I still talk to many of these folks today and I'm still sharing my latest musical passions with them. 

My life would not have been the same were it not for the record stores (and CD stores) that I would frequent during this very important time in my life.  It pains me to no end when I think that the youth of today don't bother with experiencing the joys of seeking out new music in their local record stores.

Two and a half decades ago, there was so much on offer here in OC in regards to record stores: Music Market, Camel Records, Music Plus, Licorice Pizza, Record Trading Center, Pepperland, The Wherehouse, Beggars Banquet, Up Another Octave, Tower Records and many others that are swimming around in my memory banks. Of all those great spots, only Pepperland remains. The others disappeared over the years (and many of them long before downloading began replacing the shopping experience).

In a perfect world, I'd be shopping in one of them now.  But, I really don't mind taking a long drive to L.A. to hit Amoeba every now and then.

Now, I'm not one who is against the idea of legal downloading (I've done the odd track here and there myself), but at the end of the day, after you've paid your money, what do you have? NOTHING! There are files in your computer that seemingly play the music for you, but is that really enough? Can you hold it? Can you feel it? Can you smell it? Can you see it? You didn't buy anything tangible: there are nothing but files on your hard drive made up of numbers, letters and codes. Where is the fun in that? What kind of memories will that leave behind?

An imperfect (and slightly offensive) analogy would be: does internet porn REPLACE an intimate physical relationship with someone? I think not. Same with music: how can someone possibly be satisfied with a download of an entire album when they can actually own a physical piece of product? As I stated before, I am NOT anti-downloading; I am pro-record store! I must admit that the internet IS a great place to LISTEN to new stuff and make your purchasing decisions, though.

In terms of buying your item, the ideal situation is to go to your local indie record store and buy it. If it's not in stock, then have them special order it. It may not be instant gratification, but within a few days, you'll have what you need and you will enjoy the heck out of it. You'll be able to hold it, look at it, listen to it, read the liner notes, etc. You can then load it into your computer and enjoy listening to it that way as well, but the important thing is that you own it. It is yours. It is something you can show to your friends. It is something physical... something REAL.

For many of us, music is more than just a hobby... it was an emotional experience that is hard to describe. There are those of us who LIVE for music. It's not just something that is played in the background: it is the soundtrack to our lives!

About a decade ago, I came up with a motto that fits me to a T: "Some of my best friends are three minutes long"! And that still rings true.

Even today at the age of 49, I listen to music in the morning, afternoon and evening. I write about music all day long. I still get together with friends on a regular basis and discuss music, play music and hear new music that they share with me. I'm not the only one like this: there are others! Perhaps even YOU! But are there places for all of us to meet anymore? The record store was (and is) more than just a place to spend money: it was a place to spend time, meet like-minded people and learn about new music (or even older releases you may have missed first time around).

There are still plenty of sports bars around for all the sports fans to gather and enjoy a game together and that is awesome. There are upscale coffee shops everywhere where folks can get together and be arty and pretentious, and that, too, is awesome. But all the record stores I remember from my youth have closed down.

It is up to US to support the ones that are still left standing. And if you visit one of them as often as possible, then THANK YOU. Visit them again tomorrow... and next weekend, too! Perhaps the kids of today and tomorrow will one day realize that the record store experience is amazing indeed. It is up to US to show them the way.

Appreciating the record stores I used to shop at...

I used to spend so much time record shopping in Orange County that I rarely did anything else apart from go to school. I never went camping, never went bowling, never went dancing and didn't get into a whole lotta trouble. But, there were records to be bought, music to be heard and mixtapes to be made.

When I went to record stores, it was always with the people that I loved the most: friends and family. Mostly friends, though. My family didn't seem to share the same passion that I had for music. Sure, I'd go to Beggars Banquet on Beach and Ball with my brother Michael and I'd walk to Licorice Pizza on Brookhurst and Chapman with my little sister Kristin, but most of my record shopping was spent with very cool friends.

Below, I've listed a few of my favorite destinations, all of them gone now (apart from Pepperland). So many memories attached to the music, the friends and the stores we used to spend so much time in......

All but one are gone....

MUSIC MARKET: 

Costa Mesa

I'd go to Music Market (on Harbor and Adams) with Jeff George, Chuck Reddick, Jannette Arnold, Bill Damron, Dana Gohs, Fred Grindle, Matthew Cibellis and many others. We always had a great time sharing our newly purchased treasures.

Memorable purchases at Music Market include an import copy of Badfinger's Straight Up LP plus hundreds of import and domestic albums by the new wave bands I loved like Four Out Of Five Doctors, The Farmer's Boys, Dexys Midnight Runners, Icehouse, The Keys, Hawks, The Elektrics, Naked Eyes, The Fixx, A Flock Of Seagulls, Fischer Z and many other bands you either don't remember or don't know! Horizontal Brian, anyone?

CAMEL RECORDS:
Huntington Beach

I'd go to Camel Records on Beach Boulevard with Jeff, Jannette, Chuck, Matthew and others. I even went to a Fixx instore there with my sister Kristin, I believe? I also remember a Split Enz instore that was cancelled!

Memorable purchases at Camel include China Crisis singles, the XTC/Three Wise Men Christmas single, Wang Chung 12" singles, The Fixx "Saved By Zero" 12" single and much more!

(P.S. During our trip to Camel, we'd always stop by the Mad Greek over on Chapman and Beach. )

LICORICE PIZZA: 
Garden Grove, Anaheim, Fountain Valley

I would also hit each of the Licorice Pizza's in town on different occasions with Jeff, Jannette, Matthew, Chuck, Fred, David Wilcox, Gerardo Marti and whoever else felt like coming along. I remember skipping school ONCE in my senior year and going to the Licorice Pizza in Hollywood with Chuck and his friend Lisa. Didn't have $$, but saw some cool things there. I ended up working at the one on Brookhurst and Chapman.

At the LP in Garden Grove, I remember buying an import copy of the Jam's "Going Underground" double seven inch single when it first came out. And albums from Yachts, Bram Tchaikovsky, The Records, the Clash, The Jam, and many others. At the Fountain Valley location, I bought albums by The Nits, Captain Sensible and more.

RECORD TRADING CENTER (RTC): 
Orange

Record Trading Center on Tustin was always a favorite, but I'd usually forget how to get there since I never drove in those days! So, I'd usually tag along with a friend of they were going!

Don't remember too much that I bought there cuz they were often times too expensive, but I do remember finding the import copy of Secret Affair's Glory Boys album with a totally different cover (glossy, too) and tracklisting. Oh, and I bought the first Breathe and Black albums on one of my last visits there.

MUSIC PLUS:
Garden Grove, Westminster and ?

There were a few Music Plus stores we'd go to: Harbor Ave in Garden Grove, the one near Goldenwest College and a few others that slip my mind. Music Plus was almost always good, but it was never an important stop for us. We'd usually go when we'd already hit every other store that week. I remember times with Chuck, Jeff G. and others.

I do remember buying Depeche Mode's A Broken Frame import when it first came out. And The Jam's "Start" seven inch vinyl when that first came out. Both of those were purchased at the Goldenwest one. And I remember a Music Plus on Brookhurst, where I bought the 2nd Laughing Dogs album

TOWER RECORDS: 
Buena Park

The Tower Records in Buena Park was the place I'd go to before even knowing about all these other record stores (bar Beggars Banquet). Sometimes, I'd even walk there from Garden Grove with a friend or two (namely Fred Grindle, who got egged once while we were walking back from a trek to Tower and Beggars). Tower was the bomb.

Bought albums from A Flock Of Seagulls, Haircut 100, Badfinger, The Rutles, The Residents and so many more. Hell, yeah. I bought TONS of stuff there!

BEGGARS BANQUET: 
Buena Park

Located on Beach and Ball, Beggars Banquet was the real first 'collectors' store I'd frequent. Obviously, I used to buy Beatles, Elvis and Badfinger stuff there, but then I'd scour the bins for the latest Punk and Power Pop/New Wave releases. I later worked there once a week for about a year (my day off from the bank!)

Totally remember buying the very first Plimsouls EP, Zero Hour. Heard them on Rodney On The Roq and never thought I'd be able to find their record. Lo and behold, there it was up on the wall rack, just waiting for me to buy it

PEPPERLAND: 
Anaheim

Pepperland was always a fun stop for oldies and such, but I didn't buy many 'new' music there until the CD age, which is not what I'm focusing on in this article.  But, boy, did I end up buying a lot there as there years rolled by! Thankfully, they are still around but located in Orange.

Then there was always the great Zed Records in Long Beach, but I don't really consider them part of the area we'd always travel in....

There's so much more to talk about, but I can see that you're getting a tad bit bored, so I'll stop there.

Nowadays, heading out to Amoeba in Hollywood is an amazing trek. It's like combining all my favorite elements from the above record stores into one.  And I never remember how to get to the great Fingerprints in Long Beach, but it's a great store.  As is Rhino Records in Claremont...

Peace, love and records galore,

Stephen SPAZ Schnee

The views and opinions expressed in this posting are strictly those of the author. And possibly of other people as well.  But I can't name names.  You know who you are.