Are You a Music Snob? Find Out Here!

hey everybody I'm Rigby Otto I'm Keith Williams gave Onorato so we haven't had Keith here for a while but keith was on an episode with Dave Jen was that March March back last March when Keith Shanahan accounting had about 400 subscribers and now he's got about 50,000 427 I had four in 21mm 407 it's all because of me yeah is Dave it's a Dave influence yeah so when we were talking about what we're gonna talk about today I want to talk about how most of my friends our music snobs as a matter of fact I'm surrounded great yeah throw us in the fire so yeah I wanna I want to talk about this so Keith will describe earlier today with listening a pop song well actually yeah I can but even if I went back to when I met you I met you because I was seeking somebody out to learn to play jazz and then I only listened to straight-ahead jazz from about 1987 until about 2001 or so like that whole time I heard you describe it as a jazz coma but I was in a jazz coma and he's raced right that's I only listened to music that was released between like 1946 and 1964 there's a beautiful symmetry to that so when we were sitting earlier today we're listening to top 10 top 20 pop current yeah that was 19 I was I was remembering that it was killing me it's so aided it's so painful and I grew up on a farm and I remember my father leaning back we were digging a ditch or something and my father would lean back on his shovel and he's wipers brown and he go it's a lot like work today he's less than these songs and he's so engaged and I'm sitting there going it's a lot like killing me and the fact is we were just talking about it before we threw the camera on the fact is you you actually are engaged you you don't have that feeling of I can't believe it's the same chords again if I hear this auto-tune one more time I'm gonna I said actually in the middle of the filming I said if this was playing in a store and I was in line I believe he's deaf that's the CQ saying it's a snare drum thing just haven't hit enough scratches it's the only why it doesn't I'm fascinated by it I mean this mania to be fascinated no no I'm interested I really you know things that are well produced and you know I can I can respect well put-together melodies we are some beautiful the beautiful production today I don't know probably production is is really top-notch I mean it's it's so precise the mixing everything is so right yeah but you know I would say I'm gonna throw it over day but the fact is I I started playing guitar because of the music that was around when I was 14 years old I was 14 in 1974 some incredible music and it was guitar bass music so I wanted to learn how to play guitar because of the music that was on the radio now I don't know where that leaves us in the present context the kids actually grew up going I need to have this big computer setup and a mini rig and that's what they aspire to I'm lost around no I think the people I think kids you know have laptops and they will the kids that can afford it every ah yes and they they get by with the plugins that they have and they don't really have most of them don't have Mike Brees will have a there you a thing or focused right input right aw yeah front end that's what they have and as a ton of used stuff out there you can do that all pretty inexpensively yeah yeah so so you know people don't aspire to have studios like I have where they have need Mike freezing rain/sleet they might be right yeah I personally like that stuff I like real tubes but I but I also like stuff that's not I'd like computer-based yeah you know but the ax effects and the the you know a great plugin great plugin no problem any of the UA plugins I use them all I use whatever gets the job actually somebody could look in this room and think that you that you actually wrote oops not right not knowing that there's an axe FX over on the couch and you know that you play with it in a check stop it on time because that's the tool for that job yeah right yeah yeah whatever gets the job done fastest you'll do that but he won't oh no that's not true is that true yeah I mean I don't know this about you well I'm just a perfect example um like the the new Fender egg what we're talking about all right something like that I'm fully for technology if it is easy to use and it really sounds good I don't care what it is as well as long as it's user-friendly and I don't have to sit there for 30 minutes hitting micro buttons to get something if I can plug it into something and it's banned there it's there I don't have to do a massive amount of tweak agent it unless I'm in that mood right that's what I look okay getting back to the being snobs though yes are you yes do you guys really dislike this music because contemporary music because it just doesn't have guitars and then actually I find it it feels to me incredibly repetitive okay and and I have to say and I sound like such an old guy when I say this I do okay fine what do you are we all I am two whole years older than you Rick yeah so is it the curse so that the reality is I remember that music being more different and maybe it was just the way the radio was it was more different song to song oh no question I'm talking about getting the car the fact is when I was 14 years old my son's 14 been and he listens to a tremendous variety music it just wasn't available to me I had Jackson five posters I was looking from Motown I was 1974 a lot of it I was not the kid early I was not an early adopter of Zeppelin and hard rock that was not me you know I I grew up playing acoustic guitar around a campfire with my family that's the guitar I started playing so that that was I'd have to say for me that would I've noticed difference the main difference in new music and I was born in 71 so my first heyday well I would say we probably like 78 79 to 82 83 that era was the most influential to me so I had all the 60 50 60 70 stuff and then the early eighties like hard rock stuff started hit so I kind the game of all of that what I noticed in most new music that that I don't like is that most the time when I listen to a pop track it's one guy who has done everything pretty much on a computer yeah they're what I what I love about music is four or five individual people bringing to the table what they do best yeah that is what I hear in modern music that is missing in a lot of pop songs I'm not saying there are great bands there's hundreds of new rock bands that I can list that are great they ain't guitar-based bands rival sons and big wreck oh there's a ton of bands that are really good that that have been out and last but a lot of those folks are recording the way those records were made once funtime right everybody right where at least you knew with the site yeah like yeah I'm a friend of ours Dave Cobb who's a producer as can say Dave Cobb I've known Dave for years and his whole thing was I remember talking him before he even did the Bravo son stuff and he was doing Chris Stapleton before that he was like man I just want to do records that are earthy I want to go get back to that that's what's really missing and and he goes if he goes if I sell one record I'm happy if I sell man's okay I don't care I just want to do it for the art's sake and to save that well and you know that all joking around about my thing with jazz I wasn't actually ever in a big band for the same reason I wanted to hear people listening to each other in a room yes and I wanted to see ball groups a small group and I wanted that and I wanted to be surprised my thing about a soloist was if you could play something that I didn't see coming you boy you have my attention right and that's still true you know we made a video today and you were playing some guitar parts and I'm I'm a bobble head on this video I mean there's I say some things but the fact that they're bouncing and laughing because yeah he plays something I'm like I didn't see that coming I wouldn't have played that part and you know I guess that's how you are with some of this you know pop production it's the it's delightful it brings you delight to hear that happen and I was like wow I like playing along with it that that thing is I've always liked yeah I'm with Records Inc look you got your an improv guy right and it's not so challenging so so once you you know you hear the first eight bars oh all right I know the whole song now I get to play with it you that earlier on this thing you're like oh okay I got the progression yeah okay they only played it once okay now there's perfect example if you really want to break down brass tacks you know when you first heard Steely Dan you couldn't do that no yeah yeah with Beatles records you can there's I mean yes you can get to corporate but there's all the idiosyncrasies right and the individual people yeah dad I when I did that video about with a drum filled video and we had to figure out she said she said yeah well first of all it's in b-flat it's yes it's up a half-step something or key yeah and then it's got all this intricate it's got the linear things the live data that uh then it's got that bound and that there's so much syncopation in the guitar part they have the harmonies that you know use suspensions and things like that it's so sophisticated yeah but it doesn't sound it like if you just listen to you're like oh this just a pop song but when you pick it apart like the XTC songs yeah same kind of thing you start picking those apart you're like man there's like little mini symphonies with just three parts here you know that's what I missed that's what I you know I turn the radio on and I can it's not and I'm not oh those things are in the production and what I was gonna say I'm in the musical that's come that's what I miss it's not in the musical yes it's in the production which I've yet all about production but to me you gotta have the music before the production yeah you know so that's well to me what is the biggest thing lacking in in modern music on pop radio especially and it's not that I don't like rap I mean it's not that I don't like I like anything that's that's melodically cool and like you said gives me something to kind of be surprised by like I wasn't expecting that you know and a perfect example I can go back to is like as far as a pop element you know like the Adele records and and or even going back to like the 80s yes stuff where the songs had little twists and turns that you were not expecting but it was still a three-minute pop song yeah and so you could have it you had about every element you had the basic guy out there who doesn't know music it all can go I can hum to that and I really like it and remember it then you've got the musicians who go wow they took a really simple song but made it really cool and I'm that and then you kind of have this stuff that's like in between that I was like I like stuff that like I might not get it the first time I'll listen to it like perfect example like first time or her tool like I had to listen to it three or four times and then they start realigning my head to go WOW okay this is yeah this is not just a copy of what I thought at what this is something else you know that's what keeps me interested and unfortunately on most modern radio I turn it on and I go it's this repetitive like the same you know I think also that it even comes down to people's bands yeah that they like you know a lot of Alice in Chains fans will only listen to Layne Staley it's kind of like they're live in hell but the black gives way to blue what's the name of the record the record the first-rate William Duvall on it is one of the best sounding rock records I've ever heard it's absolutely phenomenal the songwriting is amazing on it and I think a lot of people check my doing dude they're like unbelievab one of the best singles they ever put on yeah seriously and I think that because ask these records came out I was listening to Miles Davis cookin yeah as list I was back in 1955 of you guys were actually with blues and jazz records too so but I know but people don't want to give records a chance like that you know if you know yes because they're well and especially now since these does work guitar bass records we have a lot less guitar on the radio so like even your son said you know would you ask him like well you know what do you listen to it he's like well my friends all listen to rap music and then he's like well I don't really even like music you know it's like but I can't I kind of get it though because it you know way it almost tells me that he's like it's not challenging me I don't hear something maybe that's sparking to something that I really it's all sort of monotone or Dylan said think that the boys listen to rap and girls listen to pop he said yeah I could see that and yeah and that was interesting which is why do you see a lot of girl singer-songwriter a girl guitar players nowadays yeah he's just that's good players are yeah yeah where are the guitar players in this Ken Pasch music and that's great yeah I always said there's a huge lack of women with guitar players and musicians that need to be out there a Friday night you know so doesn't happening now yeah and I'm glad to see it I really am I mean that's you know I mean I do I want to tell Swift record know what I can respect her because she she he's out there with a guitar somewhat and and at least trying to be a little different hey Mike I'm gonna put a guitar on whether she really plays it or not I don't know Mike but at least there's some kind of element there that you know I mean well and when you made the acoustic guitar intros record and I called you up I'm like I didn't know you knew all those signs you like what do you think I learned when it was 1974 it's the same songs you learned when and you're absolutely right and yet I might be you know a musical snob or whatever in the whole jasmaine and things although that's not what I listen to now I have typically with Americana and stuff when my family gets together and I and I like coos ticket are comes out that's what gets called what I'm gonna hold a horrendous gonna sing along and that's what's gonna get you know yeah it's out is it those tunes all my friends asked me about how do you remember those songs all this awesome series from my acoustic guitar intro video and I said why just remember from back then yeah yeah exactly and you learned them during your most important period that you can oh yeah and everything it was yeah I have a pretty good memory for things like that yeah yeah when I learned when I learned these things and and learning multiple styles of guitar was very important if you grew up in this early 70s because there's a transition I listen the Beatles and the stones and Zeppelin and the who in the late 60s and Jimi Hendrix and then in the early 70s when acoustic singer songwriters when Jim Croce Brad Harry Chapin Gordon Lightfoot all the the people in the 70s Bob Dylan that we're playing and whose two canoes Taylor they had Paul Simon's music had incredibly sophisticated picking parts yeah and some of the stuff would be finger picking some of it would be flat picking through the strings and now you get a live stream after your acoustic one were you kind of when you needed to know all these techniques yes yeah you know I mean I was it was the only guitar it was like 9 or 10 years old and I got thrown 50 ways to leave your lover not knowing the court anything about court progression or anything you know and when I was taught that the you know the guy that was teaching me was a Berkeley guy and he said he said you know this is not a pop song he said it's sold as a policy but he said really this is jazz if you really want to break this down and then what's going on and that kind of really opened me up to like oh wow there's more than just you know and that song just to just to get that song down for me was a major feat and then after that I was like okay well then I've really got into jazz and became sort of a snob I'm not a jazz player but I got into it I could respect it and it really inspired me so because I was a blues kid so it was not that far stretch you know so but that but perfect example right there you know would that song ever make the radio today right no but it's it should and I'm not being a snob for saying that you know we're trying not to be trying not to dwell this thing is a musician I love the fact that everybody one does have their own opinion yeah and I love people who are passionate about their opinion because it touches them it's it's not we're not here because we're trying to sell people's records we're here because those records are touched us and changed us and became helped us become the people we are the musicians we are so it's important stuff so I just because I don't agree with somebody on you know like you know I know people are like well the white stripes are the worst band I've ever heard I like the white stripes I think they did some great stuff because I knew where they were drawn from and they were trying to do something different and and whether you want to give them the accolades or not I mean they really did in the 90s early 2000s I mean change a lot of landscape in the fact that you know it was the guitar of the day I mean he was Jack White was on every cover yeah and yeah so I kind of give him credit was he the greatest player no was his songs the great no but you know he had he was passionate about it and so that I can respect and even if I don't agree with somebody on there on what they like what they do like are there a snob I can I can totally be cool with that because you at least those people who are snobs have a passion and they're like you know like I know people who love kiss okay and that's the kiss is the greatest band ever and you can never put them down I get me my totem again okay so it's like you could go man that's a good event though man you know when I was first starting my first band I was every and I met this drummer at this music store and I don't know was eighth grade ninth grade something like that and and he said he heard me playing and I was playing electric guitar and and in this music store and he said hey do you want to start a band and I said yeah yeah what do you play and he said drums said sure and and I knew his brother and his brother is a great guitar player so he said yeah let's get together so he gives me a cassette here's the nine sighs I want you learn well and there's two of those nine sons one was don't take me alive by Steely Dan and one was long distance run around yes right and and that all the songs were like this wouldn't want to be like you Alan Parsons yeah just like that right okay so I said he goes just yeah just learn the parts and in we'll have our first practice so I got the cassette and I said okay I got it just figure him out by ear because that's what you did right there with Larry Carlton solo and and I had heard heard the songs and I didn't think about oh this is incredibly complex no you never do you didn't you didn't think I'm gonna have to learn this right right so I'm like okay what's he playing there it's funny at this sit when I got to sit with Larry and he's telling me hey that one chord that you play in the intro I'm borrowing my with my ring finger I'm playing both the DNA string and I and he goes that's the only thing you had wrong in there I said well my fingers not bad enough to hit those two singers our signatures where so but that solo that I played on that was I learned back it was the first thing I learned in the first band and learning yes learning progressive right that's that was okay you were thrown into the fire thrown into the fire so you want to be in this band here's the songs we have to okay yeah if a different drummer on a different day was at the music store you'd have been in a completely other world well this is enough this is one other story that I've never told I had these friends that wanted to start a band there are a couple of years older than me they wanted to start a punk rock band and this guy John and and Steve Steve ball John Eckert and this other guy Tim Farrell so they really wanted me to teach them how to place they could have a punk rock band so now whatever to Tim's house and that's related rehearse and they it was all punk rock stuff that was going on at the time and and so I would start teaching them the guitar and then I got this kid Dave - Barry oh this is my brother John's band now he came over and played drums though and he's still in the game and yeah that's a crowd so Dave came over and and they and Tim couldn't really play well enough to actually cover the parts but John the bass player Steve and John was the singer they could play so I would be showing Tim there's Tim would just say why don't you just play the guitar so that I start playing and it was all punk rock so we became the Monroes and that was our the name of our band it was a punk rock band and and we practiced all the time at Tim's house and so I was this is after my Steely Dan and yes and all that yeah after that then I went to punk rock yeah I didn't say anything I did the same thing with a pump thing huh and what the pumping was good about the punk thing was it was like okay I got these songs down quick so you're like you gave you confidence to go back to the horror stuff for me and was like I remember like learning like the damn them clash and like a whole bunch of punk stuff you know and and like Dead Kennedys always crazy stuff and so but well it gave me the conference like okay I can't play this stealing dance though for 50 ways to leave your lover great yet so give me something I can you know so I put on MC 5 or whatever you know and it was like oh okay I got this you know whoo great okay so now it gave me the comments to go back and be like okay I think I can maybe master this or at least get this one down and so it was like that that kind of like reward it with your attitude and everything in plus that was the thing you know rock band you just want to come Rock yeah it was like that was the most fun I mean the guys that were so excited to play that music and it was really fun to play yeah and that was I mean ultimately that's what you want music anyways this is you know what I get when we're talking about this feeling I still get that same feeling when it even when I'm listening to pop songs that some people or a lot of people pretty much all my friends think or cheesy and they want to get away from it as fast as possible but I listen to you guys talk about the punk bands that you were in reiterates for me something that's that's a theme and so one of the reasons actually that I had this channel at all is that I had a jazz quintet for four and a half years we had a weekly gig it wasn't that it was that kind of well okay was that there was that kind of music but the reality was it was playing small group with guys who were almost all better than me but every week and it was that conversation it was a community yeah and you guys had that in your punk bands at a very early age I never did I was in a couple of garage bands and then I went off to college and I said well I'd like burn out my guitar they're like oh okay well let's see here's your classical guitar right right here's your parking book yeah you may come back next week and read about you know the pace where you forgot right exactly yeah as I had it all but but I didn't get the plane to ban that I didn't get that punk rock experience because I would argue that the thing that you're really getting there is that moment of community and yes we did that's the best part of about being an absolutely yeah I mean I would say that's the small group jazz thing and that was the part that kept speaking to me even though that music was completely I mean I have any friends who listen to that stuff you did but I really didn't have friends at college who listened to that when I found jazz the first time I could play any of it but it was that idea that there was this small community and I actually think that in modern context we're all looking for that all the time well I really believe that jazz the the the failure of jazz at being a successful art form has something to do with the actual jazz musicians not wanting to be part of a band and I always say what are the most famous bands of all time the Miles Davis quintet of the 50s the quintet of the 60s weather report Pat Metheny group Chick Corea electric van Mahavishnu Orchestra well I would it all chests all of Chicks fans greatly where I was gonna say actually I'm certain they never brought the catalog of Art Blakey the Jazz Messengers yeah John Coltrane's groups yeah Miles Davis's groups you'd pretty much have all the guys all you want to have get on the 50s and early 60s they'd all went through those groups yeah and they so they all got to play with each other they all never stayed those groups they had a bandleader they had a they had a concept and they had communication skills from making multiple records together and playing multiple gigs together yeah yeah and that just doesn't exist most jazz musicians want to just come in play their part get paid they won't do any rehearsing for free right right and that is that is you've won Rock players know bands there's no bands and that's why there's no successful jazz and we were talking about Mary love you and I'm just talking to my wife Ann about this that that an inside joke for an inside joke to work it has to have a shared community sense but it also means that you're excluding some people so this whole conversation about joking around our that's what we're joking around about us being sniped is that that and I think this is really true of current jazz is it's very exclusionary yeah like I had a copy a downbeat laying at home and and picked it up and said ah I didn't know downbeat was a jazz magazine I don't know and I look at it and except for the article about man fracture I don't know anybody that's in this current magazine and I feel bad cuz there was a time when I knew everybody yeah there was in that magazine and I think I'm not keeping up I'm not a member of that community anymore and it's that feeling a loss of not belonging to that group and there was a time I like from that's I knew who I was my musically because it was frankly it was so narrow even though I had come from sort of a folk rock thing and ended up doing an Americana thing the next time I had a band yeah and that was kind of like your Punk experience it's like wow that I learned that song fast it was really it's really fun to play this music with these people I'm gonna do this every week even if we don't get a gig yeah see there's no mystery to me about why why bands historically in jazz have been have have been successful the ones that have been successful because they always approached it like rock bands did I think you do see some of that now I mean the Chick Corea put a trio together tour on that trio and then Northstar cute puppy yeah it was a huge group of people play together all that's right yeah or even or even the spin-offs from snarky puppy Bob Reynolds and Mark Lee Terry guys that we've actually talked to but those guys are doing this there's something that a core group of people you gotta quit Saul on bass these guys keep showing up and you find out oh they actually work Berkeley at the same time even though nothing there no there were only there for six months and then they spun up into a band right and I see and see I see that changing actually even though jazz is well jazz always in the dumper oh it's not always no I'm selling the popular music right but I do see it coming around though in younger players with jazz what I'm what I'm seeing is sort of the jam band scene and jazz is starting to kind of do this and cross what you should know that for a long time I mean I'm yeah modeski Martin and wood bela Fleck yes in the early nineties of things so you're sure it was improvised it was cool yeah and you so you're starting to see when I say younger guys like guys in their 20s now we're getting exposed to that they are doing bands that are crossing hip hop jazz bluegrass rock every see they're kind of taking everything so there is a microcosm of that coming back and which is cool and I'm glad to see it whether it'll become a popular you know radio form like well doesn't but ultimately that doesn't matter if they do err and to make a living ride they can draw people or an League per exam like snarking pub is a great example of you know band that I've turned a lot of people onto and they're like man these guys sound like the old stuff but their input their my yeah but they're keeping it alive yeah one of the bands that are actually trying to push it you know and they're getting named they've had a name for why you know so it's it is there it's just sort of fracturing you know which all of this is fractured all right with with the internet it's just totally taken the reins off everything and it's like you just throw everything in a gumbo and it's just you know some of them work some of it doesn't you know it's like cooking so it's it's what I do likes it getting back to what we're talking about with like the modern music why I personally don't like a lot of the top 40 so I missed the interplay between musicians yeah yeah and I the individual I probably I totally agree with and the producers that are the few producers that are producing all this that's why you've got a handful of guys doing everything so we want to know what you guys think put your comments in the comments section tell me if you guys hate pop music or if you hate jazz cuz I'm sure you hate love okay to us I'd probably hate both of those yeah so follow Keith and his channel because what were lutely follow dave on instagram at dojo guitar repair follow me on instagram at rick be out of one and don't forget to bring the fringe thing [Music]

Channel: Rick Beato

Views: 239,215

Keywords: rick beato, everything music, rick, beato, music, music theory, music production, education, five watt world, podcast, music snob, Metal, Jazz, Indie rock, musical elitism, hating pop music, music you hate, bad youtuber music, Why People hate Jazz, Why People hate POp Music, Smashing Pumpkins, what makes this song, what makes this song great, keith williams five watt world, dojo guitar repair, dave onorato, dave onorato guitar

Id: xWGzprEeZhU

Length: 29min 21sec (1761 seconds)

Published: Sun Nov 17 2019