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Brad Sucks: Guess Who's a Mess album cover

Guess Who's a Mess, my third album. 10 tracks, instant downloads.

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More Than Soup (brad sucks guitars remix)

Craig Tanis aka Starfinger made a song called More Than Soup for Songfight. It made me laugh and I found it real catchy so I asked if I could remix it.

Also available is a version without guitars:

More Than Soup (brad sucks no guitars remix)

It was pretty relaxing and fun to work on a song that wasn’t mine.

Posted on - November 28, 2003 [at] 1:36 pm by Brad
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Wow! Adam Gessaman at made a video of himself walking to campus and back all set to my song Making Me Nervous:

Matt started by recording his feet and being the drone that I am, I decided to take his idea and copy it — even though my shoes are no where near as classy as his. It took me about an hour to patch together, and rather unlike Matt’s laid-back stroll, mine reflects the insanity of the last week.

So, without further (and unwarranted) ado, here’s my walk to campus and back today, [Divx MPEG-4 AVI, 18 MB] with the soundtrack provided by Brad Sucks.

Very cool! Thanks for using my song, Adam!

Posted on - November 27, 2003 [at] 10:52 am by Brad
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Scott has a thoughtful entry up wondering if Creative Commons licenses interfere with performing rights organizations like BMI and ASCAP.

Here is my Creative Commons rant as I haven’t had one in a while. As I’ve talked about before here, I just “don’t get” the Creative Commons. They seem like good people with a noble purpose. I get asked occasionally why, being allegedly a web nerd and down with the online music, I don’t have CC licenses on all my stuff.

I don’t really have a good answer other than that licenses, even very gentle ones like the Creative Commons, just don’t seem very progressive and/or rock and roll to me. “Here is my free music… AND NOW HERE ARE THE RULES FOR MY FREE MUSIC.” What’s the point?

It all just seems like artists are worrying about one potential disaster scenario: someone makes money off of their work and they don’t get any. But at the end of the day, most of the people using Creative Commons licenses are so far away from this ever happening that it seems ridiculous to me to even be the least bit concerned about it. What if Madonna rips off one of my songs? First of all: what makes you think Madonna wants your songs? And as an unknown artist, what do you really have to lose if that were to happen?

Being worried you’re going to lose out on the possible royalty winfall feels like lottery mentality to me. The odds are so so so SO small that you will ever win anything worthwhile or be ripped off by anyone powerful. I likes worryin’ just as much as the next guy, but even I can’t get worked up about something as improbable as that.

If there’s money to be made in churning out crappy tracks in a home studio and putting them online, it seems infinitely more likely to me that the money will come from delivering good music and building a fan base that’s willing to support you to make more. That should probably be the thing that artists need to spend a lot of time thinking about, not whether they bought a Super 7 ticket today.

I’m not against the Creative Commons by any means, I just don’t understand what I as an artist have to gain by using their licenses. I’d happily put one on my music the moment I could see some sort of practical benefit to it, but right now I just don’t see the use.

Posted on - November 27, 2003 [at] 7:12 am by Brad
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This blog’s usually about music, but the good fellas at Penny Arcade are doing a charity drive called Child’s Play wherein you buy things off of this wish list and sick kids at the Seattle Children’s Hospital get the toys and games.

I think it’s a really cool and worthwhile idea. Good on Tycho and Gabe for using their awesome gaming power for good rather than the more obvious choice of evil.

Posted on - November 26, 2003 [at] 3:06 pm by Brad
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Catching up on some Zeropaid this morning, two articles caught my eye. Bands ‘urged to cut album tracks’ about record labels asking their artists to slim down their albums:

“The final choice will always be the artist’s, but I feel – and consumer research bears it out – that the public thinks albums have too much filler,” Mr Ienner told the paper.

Unfortunately they don’t name any artists except Outkast (for having a lot of songs on their new album) and Bruce Springsteen (for having only 8 on Born To Run). I don’t think Outkast’s doing too badly.

That article is also really funny if you read it as a call to action to reduce album content when you contrast it with the article Indie-Structable Rock Scene Smashes Major Labels:

“Bands are looking to make a good, solid album that you want to buy rather than an album with two singles and the rest is filler,” said Andrew Katchen, a music writer for the Boston Globe. “There’s less of an expectation and money funneled into an indie record, as opposed to say a Nelly album that has to sell millions of copies just to recoup marketing costs.”

Ie. If you reduce the cost of an album and marketing and so on, it becomes much MUCH easier to make a profit.

Posted on - November 25, 2003 [at] 6:04 pm by Brad
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I mentioned Vocaloid way back in July and now it’s popped up in this New York Times article. It does a good version of hyping the possibilities of voice emulation, here’s a fun quote from Michael Stipe:

Michael Stipe of R.E.M. heard a Vocaloid version of “Amazing Grace” online, and he said he was impressed. (The Yamaha Corporation includes samples with a recent press.) But he wasn’t prepared to rush out and have a font created. “I would hate to think that 250 years from now Altria would use the Michael Stipe voice to sell organic soy to a Mars landing,” he said. “It’s intriguing in 2003. I’m not sure about 2303.”

I think I’ve heard two different recordings from this thing. The Japanese one sounded really good and the English Amazing Grace one sounded pretty fake to me. I’m assuming this will go in the digital actors bin of “you can produce an OK lifeless facsimile of the appearance or sound of an actor or musician, but you can’t make them do anything worthwhile without a ton of work and possibly the original artist”.

The article also talks about cloning Elvis’s voice for use in commercials but doesn’t mention that there’s a whole industry of Elvis impersonators already out there. I’m not sure making a program really makes an Elvis jingle much more attainable for advertisers.

Posted on - November 24, 2003 [at] 3:52 pm by Brad
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You’re Not Going Anywhere
Genre: Rock ballad
Length: 3:35
Date: 11/21/03

Here’s a plodding sad-ish song to break up my streak of fairly up-tempo stuff. I think the mix may be messed up but I have fluid in my ear.

Posted on - November 21, 2003 [at] 7:59 pm by Brad
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I got bumped off the Atlanta radio interview this morning because it ran long. I can only assume it was because of all the Michael Jackson jokes that needed to be said, which I can understand. Apparently the producer’s gonna reschedule with me.

Posted on - November 20, 2003 [at] 10:47 pm by Brad
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The fine fellas at Songfight pointed this article out to me, which talks about a lot of the lack of music filters on the net that I was complaining about the other day. But unlike me who just whined, this article actually pointed out a few neat things, like this iRATE software:

One promising though unpolished piece of software for finding new music is called iRATE Radio, created by a New Zealand computer programmer named Anthony Jones. It serves up a steady flow of legal MP3s from sites like IUMA, which are then rated by the user.

I haven’t had a chance to try it yet, but I think it’s great that people are working on this sort of stuff, seeing the potential in the net indie scene, etc, etc, blah blah.

Posted on - November 20, 2003 [at] 12:26 am by Brad
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Gonna be on “The Regular Guys” show on WKLS in Atlanta, Georgia at 9 EST tomorrow morning.

Posted on - November 19, 2003 [at] 11:12 pm by Brad
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