Why I Took Down Thirty Two

This past year, I uploaded a lot of music to my Youtube channel. It’s the same channel I once had guitar demos and vlogs, but I also released a lot of my music there before I used Soundcloud. Now, most of my discography is available on Mediafire or Dropbox, and I use Youtube to allow easy access to my better material. Honestly, I would erased most of 2011 through 2013 from my discography if I could. I was putting out almost ten albums a year, and recording so much I released them only a month apart.

Then I took a break in 2013, came back with Away From Japan, a great album that rebooted my discography. Since then, every album I release is something I enjoy listening to. I refuse to put out music I don’t love. Before, I figured I couldn’t enjoy my own music and just put out what I thought didn’t suck.

But I grew to detest Thirty Two. It was my first entire album of singer/songwriter tracks without instrumentals. I put out albums with my singing before, but they had instrumentals to fle…

Eric Johnson - Tones

Obsession often comes from a small germ. My current music taste originates in obsession, generally. I go through artists in phases. An ex-girlfriend complained that once I discovered someone new, I would research and obsess over them until I found out everything I could. That was a result of my obsessive compulsive disorder. When I met my wife, my OCD and depression improved, so I no longer felt the need to divulge my psychosis into whoever grabbed me next. With Genesis, it was hearing "That's All" on the radio, which led me to listening to "Misunderstanding" several times a day. I played David Sylvian's Gone to Earth every day for almost two years. When I heard Eric Johnson's "Trail of Tears" from Live in Austin, I somehow lapsed into a new obsession.

What strikes me about Johnson is his own OCD apparent in his guitar tone. He is notorious for nitpicking the details of guitar rig. Oddly enough, he currently plays two Fender Twin Reverb amps …

Patrick Aei - Make My Blood Flow

Make My Blood Flow Wiki

In October, I commenced recording my cover album, Make My Blood Flow, and finished up in late December. Back in November, I think I said I wouldn't post about my music on here anymore, but this is my blog and I want to promote the album.

Literally the only thing keeping me from releasing this record was the cover art. My wife and I talked about her being in the picture, but we never agreed on what to do. I wanted a picture of her at night knocking at a door, as if wanting someone to let her in. She thought that was stupid. So, I had pictures I took a few months ago that I went through, and I found this one.

The track list for those interested:

1. Hackensack (Fountains of Wayne/Katy Perry)
2. Hope That I Don't Fall in Love With You (Tom Waits)
3. Soap (Melanie Martinez)
4. Lonesome Tears (Beck)
5. Northern Downpour (Panic at the Disco)
6. Like Red on a Rose (Alan Jackson)
7. I Still Can't Believe You're Gone (Willie Nelson)
8. Walkin on a …

Cartel - Chroma

My wife said I should review this album, and a year later I finally am. Cartel is a band never heard of before we met, and the only reason she really digs them is because of a personal connection with the band. Someone in her immediate family may have married a member of the band and subsequently divorced him, but I am not going on record saying that. No one's going to Google Cartel and read this shit anyway.

Cartel is the logical extension of bands like Blink-182 and Green Day. Imagine the high pitched, slightly whining vocals of those bands and amplify that over guitar players who probably started playing because of Van Halen but settled for Tom Delonge. They figured out you could make the instrument sound "really radical" through a loud amp without much talent. This band has a lot of those moments. I could film a early 2000's skating movie based around this album with meaningless scenes of teenagers doing tricks and looking really stoked.

But honestly, I like thi…

Alan Jackson - Drive

I don't have a straight answer as to why I'm reviewing Drive. Perhaps I like to challenge and surprise myself, but I may want to revisit a very awkward time in my life. 2002 was not my most memorable time, and music in this era was fairly middle of the road. Country, Rock, and Pop underwent drastic changes. Hip Hop sat on the bench as the contender of mainstream music.

When Somebody Loves You was about as middle of the road you could get in 2000. I mean, Alan put out a song called "www.Memory," which we promptly forgot about after 9/11 in favor of patriotic manifestos. Jackson was no longer a Neo-Traditionalist and more along the lines of an aged Country star amongst a growing population of younger singers and bands with much less Country oriented music. Think about how watered down Brad Paisley, Rascal Flatts, Blake Shelton, and Dierks Bentley sound in contrast to early Alan Jackson or George Strait. Hell, even consider how boring Garth Brooks got when he tried to m…

Alan Jackson - High Mileage

This album came out right when I was consumed in Britney and Backstreet. I was a kid, so my standards of quality were not developed for shit. Alan Jackson was a little old for my tastes. It did not help that High Mileage featured much maturer work. While I loved his cover album, Under the Influence, and distinctly remember talking about Drive with Dan and Nell Jackson, songs like "Little Man" and "I'll Go on Loving You" struck me as the work of a much older artist. Mind you, I grew up on songs like "Chattahoochee" and "She's Got the Rhythm (And I've Got the Blues)." Jackson's early material appealed to a younger and older generation.

But when I listened to High Mileage during my freshman year of college, I found a gem. The darker themes and maturer sound appealed to me because I understood love, disappointment, depression, and alcohol a lot more than when I was eight. Though I never got the allusion to "Honky Tonk Heroes&qu…

Alan Jackson - Here in the Real World

I reviewed Alan Jackson's unofficial debut, New Traditional, shortly after starting this blog. Never did it occur to me that I should review more of his albums, but I think he fits my criteria. Despite success almost from the moment he hit the airwaves, I rank Alan as not only a misunderstood artist, but also a fantastic songwriter who never gets recognition. As I said before, I cannot believe a guy from Newnan, GA, a town thirty minutes away from me, wrote "Here in the Real World."

Lately, I am revisiting Country of the eighties and nineties, and Alan was the first artist to launch my obsession with the genre. Long before I swore off Country music as a teenager, I referred to myself as Alan's number-two fan: I said his family was his number-one fan group. In fact, I knew Alan's father-in-law, Dan, who once cussed at me for wrecking his wheelchair into a table. We talked more about George Jones than Alan, and I heard some behind the scenes stuff I will take to m…