Teach and Learn: What Can We Learn?

Cole Petrone: I Have A Dream

Cole Petrone: See You Again

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Just like his opener about New York City with its “hustle, bustle and pride,” Cole Petrone’s original material on his “Songteller” album delivers plenty of lively snap and satisfaction. His mature, multi-layered pop sound is both moody and moving. With a little luck, Cole Petrone might just experience the same kind of commercial breakthrough that James Taylor experienced in the early 1970s when he developed a musical relationship between his own private expressions and the larger concerns of his audiences. Based in British Columbia, Petrone considers himself an amalgamation of both songwriter and storyteller. Thus, his album’s title, “Songteller,” describes the musician’s approach as weaving a part of his life’s tapestry, using words and melody to chronicle significant moments from personal experience.

“What Can We Learn?” doesn’t poke fun at the educated as much as it has a strong, broader statement about being kind, courteous, considerate, respectful and most-importantly open-minded to others’ opinions. The song’s bottomline is “What makes you think you’re so smart?” Another question crops up in the melodic “Little Did I Know,” when Petrone asks, “Why deny this love that burns so bright?” as he sings with fond remembrance of that special someone who took his breath away.

The upbeat “What Can We Learn?” also include a small, understated horn section of trumpet, sax and trombone. Born in Puerto Rico to an American father and Nicaraguan mother, Petrone channels the same kind of sentiment as The Beatles’ “money can’t buy you love.” He says he wrote “What Can We Learn?” while seeking to understand his peers while working in Russia.

His album has other highlights. Based on inspiration from a speech by Martin Luther King, Jr., “I Have a Dream” recounts the orator’s famous words as Petrone calls for freedom to ring and the voice of reason to belong to all the ages. Perhaps inspired more by the songwriting of James Taylor, a song like “See You Again” is a reflective outlook on life and love that was written as a tribute to his father. Many of his songs also document the questions that Petrone contemplates during life’s journey. “Angels Above Berlin” leaves us wondering why it took so long? Petrone was living in Germany when the Berlin Wall fell.

His is an interesting approach to songtelling that keeps us asking hard-hitting, provocative questions. Inspired by a six-year-old boy at the Ronald McDonald House, “Only Because” is a humorous take on the inquisitive mind needing real answers about who, when, where and why. With a full palette of proficient instrumental accompaniment including guitars, piano, organ, bass, drums and more, Cole Petrone has created a praiseworthy project.

Closing the album, “Should’ve, Would’ve, Could’ve” is a motivating reminder that we’d better get busy, get productive, and enjoy life while we still can. The question to reflect upon is “When they find their youth is gone, what will they do with all that sun?”  Cole Petrone is a songcrafter that doesn’t simply rely on old standard clichés or the lowest common denominator. He has enough years under his belt to confidently present his world-weary wisdom. It’s sometimes whimsical, a little quirky, and certainly quite fun. Check out his “Songteller” album on his website or at CDBaby.

Cartoons and Comics: Cartoon

Andy Robinson: Cartoon

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The former drummer for San Diego progressive rock band Horsefeathers, and L.A. cult groups Elton Duck and Invisible Zoo, Andy Robinson is now a purveyor of an experimental Americana sound. His 2004 debut solo album was called Exotic America. Then in 2011, he released “Music Bucket,” that refers to the pail lowered into a well and the musical surprises it holds when pulled back up.

Besides some vocals, the multi-instrumentalist uses an arsenal of tools including mountain dulcimer, guitar, synthesizer, percussion, lap steel, kalimba, toy xylophone and harmonica. By far, the most whimsical piece is "Cartoon," dedicated to Zal Yankovsky. According to the liner notes, that track even includes "various junk recorded at the Blue Moon Bunny Farm," tastefully incorporated into the mix.

Three other tracks ("The Golden Feather," "Surge," "November Too") use loops to impart a Zen-like flow and upwelling to the music. Robinson demonstrates that he not only carries a song inside but that he has found a successful recipe for unlocking the door and sharing his discoveries.

Music Bucket features guests Mike Keneally (electric guitar), Carlos Olmeda (vocals), David Ryan Norgren (vocals), Dennis Caplinger (fiddle, mandolin), Tripp Sprague (sax), Jamie White (bass), PJ Bovee (bass), Coco Brown (bass), Nicki Elledge (vocals), and Doug Robinson (bass). Chuck Elledge, Allison Boles, Mick and Cynthia Garris add voices to the opening cut, "Yeah." Andy closes the project with "The Open Door," the song's genesis evolving from solo kalimba to a transcendent statement that seems to encourage exploration, innovation and adventure. That's the organic nature of his music that resonates with character and emotion. Tapping his heart's spirit, Andy Robinson's music bursts forth with a shout from the soul.

You've got to appreciate any instrumentalist who has fun with his compositions. “Cartoon” is such a piece that is full of quirky fun and melodic frolic. 

On a non-musical note, Robinson is also involved in improv comedy and currently performs on two teams (Coincidence? and Tribal Luminescence) in San Diego. The teams take audience suggestions and make up spontaneous plays based on them, discovering the humor that usually lies hidden beneath all of our ordinary day-to-day human relationships. It will be fun, and you will laugh!

The Future: Somewhere Down the Road

Joe Ross: Somewhere Down the Road

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https://www.youtube.com/watch?v=OoQnbTgEZqA

https://www.youtube.com/watch?v=y62fWb_MwBo

I live in Roseburg, Oregon, the town now known worldwide for the mass shooting that took place at Umpqua Community College on October 1, 2015 where nine people lost their lives, and nine others were injured. It was in an introductory writing class that the shooting took place, and I ponder what these students and their teacher would've penned if they had been asked to compose something related to music and the future.   

The victims of this tragedy included:

* Lucero Alcaraz, 19, of Roseburg

• Quinn Glen Cooper, 18, of Roseburg

• Kim Saltmarsh Dietz, 59, of Roseburg

• Lucas Eibel, 18, of Roseburg

• Jason Dale Johnson, 33, of Winston

• Lawrence Levine, 67, of Glide. Levine was the teacher inside of the classroom.

• Sarena Dawn Moore, 44, of Myrtle Creek

• Treven Taylor Anspach, 20, of Sutherlin

• Rebecka Ann Carnes, 18, of Myrtle Creek

Their futures were cut short, and we carry their names in our heavy hearts. Our entire community is heartbroken and grieves their loss. In their memory and as a tribute to them, I’d like to post a song I once wrote and recorded called “Somewhere Down the Road.” It speaks to the optimism and ideals that a young person might hold as they prepare for the future.

Unfortunately, the future for these nine has put them “Through Heaven’s Gate,” another song written to describe their new home – in a glory land with jasper walls, golden bells, angel band and harps of gold. 

Jukebox: Jukebox On My Grave

Ellis Paul: Jukebox On My Grave

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From the stock of Maine potato farmers, Ellis Paul moved to Boston, studied music, connected with the folk genre, then developed a signature singer/songwriter sound incorporating pop, rock and contemporary stylings. Ellis Paul's wise perceptiveness and charisma have built him a strong fan base. He's also a hardworking, resilient touring artist who has garnered numerous awards for at least a dozen album releases and music, some featured in soundtracks for the films, Shallow Hal and Me, Myself, & Irene.

In 2005, "American Jukebox Fables" was Ellis' first solo CD since 2002's "The Speed of Trees." His voice has character, and his songs understand the bond between land, life, heart and soul. I think he chose that as the title for his CD because it has considerable variety much like a jukebox would, and Paul is definitely a storyteller. 

The CD begins on an up-tempo note, but Ellis can also create an intimate and familiar feeling with songs like "Time" and "Goodbye Hollywood." Keyboards and percussion provide the primary instrumental excitement that serve to increase the emotional impact of his material. Ellis possesses all the fundamental elements for success as a singer/songwriter. His messages are profound, and they make us think. 

"Jukebox On My Grave" leaves us with his simple wish to mark the music man's final resting place. His jukebox songs also reference some of his influences - Robert Johnson, Bob Dylan, Joni Mitchell, Marvin Gaye, Johnny Cash, George Jones, Rolling Stones, Hank Williams, Buddy Holly, and others. It takes a lot of imagination and skill to be both polished and fanciful all in one. Ellis Paul shows us how to do it in a distinctive, masterful fashion. 

I notice that the album’s cut of this song mentioned Johnny Cash “singing Ring of Fire upon my grave,” but the video linked above references the song “Boy Named Sue” instead. Perhaps Ellis Paul had second thoughts about Johnny singing “I went down, down, down as the flames went higher” upon his grave. 

In any case, it‘s a noble, auspicious thought to want a jukebox on one’s grave after you’re gone. I wouldn’t mind having a music machine six feet above me, and I'd even bequeath each of my friends a few rolls of quarters to keep the music coming. We don’t need tears or headstones, but music will keep memories vivid.  As Ellis Paul sings,

And all my friends, when they drop by,
can drop a quarter down,
and hear Robert Johnson's cry.
A flood of memories,
come wave by wave,
carried by the voice,
inside the jukebox,
on my grave.

You can hear Hank Williams,

and some George Jones,
some Beatles songs,
a little Dylan,
some Rolling Stones,
Joni Mitchell and Marvin Gaye,
and Johnny Cash he’s risen,
from the ashes on my grave, my grave.
That's Johnny Cash there,
singing "Boy Named Sue" upon my grave.

Self Reflection: You Turn Me On I'm a Radio

Joni Mitchell: You Turn Me On I’m a Radio

Joni Mitchell: You Turn Me On I’m a Radio

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Please don’t tune me out! It’s a common feeling that many musicians have. As I pondered music with “self-reflection,” I quickly decided to put on an old well-played LP by Joni Mitchell called “For the Roses” that dates back to 1972. While her first few albums in the 1968-71 timeframe had rather expressive folkie singer/songwriter material, I always enjoyed hearing Joni’s stylistic forays into the jazz and pop genres. “For the Roses” documented one of those transitional periods and is a great album from one of the 20^th century’s most significant female recording artists. Always straightforward, lyrical and reflective, Joni’s music is close-up and personal.  

Joni had been asked by her record label to write a radio-friendly hit to include on her fifth album, “For the Roses.” So she came up with “You Turn Me On I’m a Radio.” She had hoped that such a witty song with multiple references to radio might actually get DJs to sit up, take notice of it and convince stations to play it. Sure enough, the approach worked, and “You Turn Me On I’m a Radio” became her first Top 40 hit. It also didn’t hurt that the song was also about love, had flavors of country and pop, and it was well arranged with nice backing vocals and a harmonica solo played by Graham Nash. Joni Mitchell made her song’s purpose quite clear: “And I'm sending you out, This signal here, I hope you can pick it up, Loud and clear.”     

As a musician myself, I always laugh at Joni’s astute advice and wisdom when she immediately launches the song with “If you're driving into town, With a dark cloud above you, Dial in the number, Who's bound to love you.” Hey, in the music world (and radio business specifically), why not practice a little reciprocity of love? Support those who support you. A little neighborly exchange and working for each other’s mutual benefit goes a long way to establishing relationships, finding affection, getting music on the airwaves, building fans and tuning the static from your reception (puns intended).     

As far as Joni’s “self-reflection” in the song, this verse says it all and is downright genius: “Oh honey you turn me on, I'm a radio, I'm a country station, I'm a little bit corny, I'm a wildwood flower, Waving for you, Broadcasting tower, Waving for you.”

And if you want your hit song to get airplay, close with “Call me at the station, The lines are open.” LOL, what a great way to get people calling in to request it!