C.R.E.A.M. - How Kenny Beats and Marc Rebillet Are Still Getting the Money

Even in the best of circumstances, making a living as a working musician is tough. Streaming services, which pay artists pathetic royalties, seem more concerned with other sources of revenue than they do investing in the artists that drive current profits. This pandemic has wiped out touring, a crucial source of income for musicians. And with face-to-face contact discouraged, things like studio sessions and songwriting rounds have gotten a lot tougher.

Luckily creatives are... well, creative. Traditional touring might not be an option, but artists are finding other ways of delivering their music. Two guys in particular are adapting especially well: Kenny Beats and Marc Rebillet. The two beat-makers have a lot in common, as evidenced by this heavenly collab, but it’s their differences in business models and relationship with the internet that make them both worth featuring in this article.

If you’ve spent any time on my Instagram, you’re familiar with my worship of Kenny Beats. The man is a fantastic, hard-hitting producer, but he’s also the type of collaborator that consistently brings out the best in his rapper buddies. The YouTube video I linked to above is the latest installment of The Cave, Kenny’s web series where he brings in artists to make a quick song on the spot. It’s hands-down my favorite music channel on YouTube. The songs almost always hit, and Kenny’s goofy, easy-going nature leads to plenty of hilarious banter.

As a hit producer, Kenny isn’t quite as affected by the shutdown on live music. But during a pandemic, spending hours in a place called “The Cave” with lots of other people isn’t the best idea. So a couple of months ago, Kenny Beats launched his own Twitch channel.

For those who don’t know, Twitch is a live streaming platform best known for its video game streamers. Wondering where that Fortnite montage on YouTube got all its sweet clips? Probably Twitch. Kenny Beats is far from the first musician to live stream on Twitch (or in general), but his schtick translates to the platform without the growing pains other artists deal with. Viewers get the same behind-the-scenes cookups, hilarious rapper cameos, and Kenny Beats charm that they would watching an episode of The Cave.

Twitch is nothing new for Marc Rebillet. He’s been live streaming his raunchy, loop-based musical improv since long before the pandemic. It’s the perfect platform for an entertainer like Rebillet. His off-the-cuff genius means that he can deliver a never-ending supply of fresh content, and live stream chats allow the audience to be a part of the creative process.

But Marc Rebillet is a live performer too, and losing his 2020 tour dates must’ve hurt. Good thing he has those improvisational skills. A few weeks ago, Rebillet announced a summer tour held exclusively at drive-in theaters, and I can’t wait to see how it plays out. As an employee of the music industry, I’m excited by and invested in how musicians are going to adapt to the new normal. And as a Marc Rebillet fan, I’m happy he’s found a way to keep his career going strong.

Kenny Beats and Marc Rebillet may be at the top of their game, but their adaptability in the face of a global pandemic is a glimmer of hope for working musicians everywhere. Alternative income for artists is something that’s going to be valuable long after this pandemic subsides. And hopefully, this will spark a new era of artists everywhere getting the money they deserve.

Lyle B.

Forgotify's Finest - "Touch Me - Steve Lombardo Remix"

Welcome back to another installment of Forgotify’s Finest, or as I call it: What The Hell Am I Doing Here. Last time I did one of these, I added another rule to my original list. I also decided these function better as general guidelines rather than hard-and-fast rules:

1. The track must be music, not any old sound recording.

2. The track has to sound relatively professional. No kids playing acoustic guitar into the Music Memos app.

3. The track ideally is attached to a full project.

4. The new guideline: The track can’t just be bad. There has to be something more going on that I can talk about.

This time around, I was able to find something intriguing after just a few minutes of browsing. “Touch Me - Steve Lombardo Remix” meets all my criteria. It’s a pretty high-production value song attached to a remix album with four other songs (not including the original “Touch Me”). Best of all, it’s not bad. And here at Off Pitch, not bad is good enough. 

I stopped on this song for a couple reasons. The first and most obvious: it didn’t sound like garbage. The second: a “Steve Lombardo Remix” implies the existence of an original “Touch Me.” And maybe there’s more to be explored there.

Turns out my instincts were right. I couldn’t find much on Steve Lombardo, but a quick search for Jody Vukas brought me right to his various internet profiles. Although Vukas doesn’t have a ton of streams or monthly followers, his social media is evidence that he’s still actively making music. This surprised me, considering the original “Touch Me” came out in 2008 and most artists I bump into on Forgotify aren’t still in the game. My guess is that this particular song was a Forgotify candidate because it’s a small artist’s remix of a small song. Given his social media following, Vukas likely has plays on other tracks.

All of this is well and good, but it takes a little bit more to make a series as prestigious as Forgotify’s Finest. So it comes in handy that Vukas has a cool day job: he runs a cannabis cultivation consultancy (say that five times fast) based in Denver, Colorado. In addition to being impressed by Vukas’s jack-of-all-trades nature, I was intrigued by this particular combination of trades. When I think of EDM, I imagine shady dealers pushing their product in club bathrooms, not responsible business owners making an honest living in an increasingly-accepted industry.

I think this potentially outdated association speaks to my ignorance of house music and EDM in general. You may have noticed that I’ve barely mentioned the music itself in this so-called music review, and that’s for good reason. It sounds well-made to me, but I have no frame of reference to judge it beyond that. All of the remixes on this project clearly sound different, but if I were to try and describe each of them, my descriptions would not. It would be obvious that I don’t know what I’m talking about, assuming that it’s not already.

This foray into house music has made it clear to me that I need to spend more time in the realm of EDM. I want to be able to speak knowledgeably on as many genres as possible, and my familiarity with electronic music is just not there yet. And if this is what Forgotify’s Finest is developing into, then so be it. At its core, it’s a music discovery program, and there’s no reason to think myself above it.

If you’re a fan of house, give these remixes a listen. Hopefully some of you are able to appreciate them better than I can. And maybe one day, when I’m a major house head, I’ll be able to say that “Touch Me” and its remixes were the songs that started it all.

Lyle B.

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On Pictures - School of Rock

I’ll be honest: movies are my pop-cultural weak spot. Music? I’m your guy. Television? All over it. Weird, ubiquitous, multimedia phenomena? Regrettably up-to-date. But I’ve never been a big fan of the big screen. To remedy this shortcoming, I’m starting a new article series, Off Pitch On Pictures, where I’ll watch and discuss some of the most iconic films in history. The stipulation: all of these movies will feature music as the focus of the story, or at least as a major plot device. Can’t get too far out of that comfort zone.

First up is a movie I have seen many times: School of Rock. In this early-aughts classic, rock guitarist Dewey Finn (Jack Black) gets kicked out of his up-and-coming band for his embarrassing onstage antics. With the threat of eviction hanging over his head, Finn impersonates his substitute teacher roommate and scores a gig at a snobby elementary prep school, where he discovers his students have some serious musical talent. School of Rock is a fantastic movie, sure, but the passion in the performances and the attention to detail elevate it above just another silly Jack Black comedy. It’s essential viewing for any fan of rock n’ roll.

But let’s say you’re not a rock n’ roll fan. That’s fine! Neither was Mike White, who both wrote and acted in School of Rock. This one’s a great movie regardless of your musical preferences. First: Like any memorable comedy, School of Rock is stuffed with quotables. From insults that have entered my everyday lexicon (“You’re tacky and I hate you!”) to goofy one-liners (“Would you tell Picasso to sell his guitars?”), this movie never lets you go too long without a laugh.

As good as the writing is, the performances are what really sell School of Rock. Joan Cusack’s uptight Principal Mullins does more than just play foil to the unkempt Dewey Finn. Cusack’s delivery and mannerisms make it clear there’s more to Mullins than meets the eye. Miranda Cosgrove, who plays teachers’ pet Summer Hathaway, proves that child actors can often hold their own. And while the rest of the primary cast isn’t quite as solid as Cosgrove, almost all of them have a standout scene or two.

One performance, however, stands above the rest: Jack Black as Dewey Finn. Black isn’t known for his acting range, but his tendency to play some version of himself in everything is a strength in School of Rock, not a weakness. None of Finn’s passion for rock music is faked; Jack Black is really that much of a fan. I mean, this might as well be Dewey Finn on stage. Throw in Black’s musical talent and gift for physical comedy and you have a seamless fit between actor and role.

Jack Black’s performance is just one example of why School of Rock is greater than the sum of its parts. This movie isn’t just a great comedy, it’s a genuine love letter to rock n’ roll. The attention to detail in everything from the soundtrack, to the set design, to the band’s AC/DC-inspired outfits, shows School of Rock’s commitment to selling the audience on rock music. This wasn’t a movie designed solely to entertain you for an hour and a half. School of Rock wanted you to walk out of the theater and into the record store. Or if you’re watching in the present day, switch tabs from Netflix to Spotify.

Three major influences got me into rock n’ roll: my parents, Guitar Hero 3, and School of Rock. Of these three, School of Rock was the one that introduced me to the idea that rock was an institution, not just a genre of music. It can be consumed and discussed and appreciated long after the song stops playing. And while my listening has expanded beyond just rock n’ roll, I’ve kept that core belief that music is something to be revered. Maybe even blogged about.

Lyle B.

Top of the Charts

Well, it finally happened. After inching his way up the ranks, Drake tied Madonna for most top 10 Billboard Hot 100 songs last week, when “Pain 1993” featuring Playboi Carti debuted at number 7. No matter your feelings on Drake (or Madonna), this is quite the accomplishment. To clinch that one spot, Drake had to beat out artists from across the musical landscape, from the Beatles to Rihanna to Elton John. Though this is undeniably impressive from a sales standpoint, there’s a more important question: does it really matter?

Before I get into it, here’s a quick overview of what the Billboard Hot 100 measures. The Billboard Hot 100 takes into account radio play, sales numbers, and streams to calculate the “hottest” songs of a given week. As the ways consumers listen to music have changed, so has the calculation, so Drake’s path to number one looked different than Madonna’s.

Right off the bat, there’s an easy argument for why Drake’s record doesn’t really matter. Comparing sales numbers is like comparing Jordan to LeBron: it’s a different game now. Music has never been more accessible, so the numbers are going to look different across eras. And yes, the Billboard Hot 100 measures a song’s success relative to others that come out at the same time, but the streaming era has favored large artists with deep pockets. Especially Drake.

Even if you could compare sales throughout history on a 1:1 basis, there’s still the question of whether sales numbers matter at all. I’ve expressed my skepticism of numerical ratings before, and I’m equally hesitant to base conversations around sales numbers. They’re important to the artists, because sales equal revenue, but they’re a poor measurement of quality. Popular things CAN be great, but they certainly do not HAVE TO be great to be popular. They just need to appeal to a lot of people. Or be attached to a TikTok dance.

Another Billboard story was in the news this week. Doja Cat’s “Say So” remix featuring Nicki Minaj hit number one on the Hot 100 chart, with Megan Thee Stallion’s “Savage” remix featuring Beyoncé coming in at number two. This is big news: aside from being a major accomplishment for the individual artists, it’s the first time two female rappers have taken the top spot. It’s ALSO the first time four black women have held the top two spots. This matters. It’s not just significant because of the numbers, it’s significant for what the numbers mean in a genre that has favored men, and an industry that has favored white artists.

Do Billboard rankings matter? Brace yourself for the most satisfying answer you can get from an opinion piece: it depends! Billboard and other sales charts do a great job of capturing trends and getting a feel of the general musical climate, but they don’t really serve as evidence for how quality an artist is. Before you quote that Billboard article, apply some context and decide if it helps to make your case. Or just ask me! Chances are I have a pretty strong opinion.

Now back to trying to figure out the “Savage” TikTok dance.

Lyle B.

Upsides/Downsides - Seventies Saga Songs

Though I missed it by a couple decades, I’ve always had a special place in my heart for the music of the 1970s. The seventies saw rock n’ roll explode into dozens of diverse subgenres, pop songwriting reach new heights, and funk become a fixture of popular music. And I haven’t even mentioned disco, a genre that deserves an entire article itself. But one musical relic of the 1970s can be a bit divisive: a type of classic rock anthem I’ll be referring to as the “saga song.”

These songs are stylistically diverse, but they have a few things in common:

1. Song length: These bad boys are looong. Especially if you’re listening to a live version.

2. Multiple sections: These songs are broken up into distinct sections with different instrumentation and energy.

3. A bitchin’ guitar solo: While it’s not a requirement for a saga song, most of these tunes have a dedicated 3-5 minutes for their virtuosic guitarists to show off.

The songs on this list are, without a doubt, classics. But after decades of radio play, and with runtimes that occasionally overstay their welcome, saga songs have weathered their fair share of criticism. As a fan of many saga songs myself, I’ve taken the liberty of breaking down the upsides and downsides of some of the most iconic saga songs of the 1970s.

Stairway to Heaven

Artist: Led Zeppelin

Released: 1971

Runtime: 8:02

Upsides:

• Marriage of folk and hard rock perfectly encapsulates Led Zeppelin’s diverse style

• Recognizes need for more recorders in rock music

• This one DEFINITELY wasn’t stolen, guys!

Downsides:

• Disappointing lack of references to Lord of the Rings

• Satanic messaging a little heavy-handed

• Song’s full potential wasn’t realized until Dave Grohl covered it

American Pie

Artist: Don McLean

Released: 1971

Runtime: 8:33

Upsides:

• Available in a four-minute version, thank God

• Better than “We Didn’t Start The Fire”

• Unprecedented success in rhyming “Chevy” with “levee”

Downsides:

• Disturbing lack of guitar solo, bitchin’ or otherwise

• Film COMPLETELY deviates from the plot of the song

• Apparently, whole “day the music died” thing was meant to be taken literally

Free Bird

Artist: Lynyrd Skynyrd

Released: 1973

Runtime: 9:08

Upsides:

• Solidified the place of Southern rock within the canon of rock history

• Arguably the most bitchin’ guitar solo on this list

• DJs able to take their time in the bathroom for once

Downsides:

• “FREE BIRD!”

Bohemian Rhapsody

Artist: Queen

Released: 1975

Runtime: 5:55

Upsides:

• Compositional masterpiece that showcased Queen’s vast range of influences

• Gave us this iconic scene from Wayne’s World

• Really fun to sing “Galileo!” in that high voice

Downsides:

• A measly five minutes and fifty-five seconds

• Serves as poor guide on how to get away with murder

• Responsible for more “I was born in the wrong generation” complaints than any other song in the history of popular music

Hotel California

Artist: The Eagles

Released: 1977

Runtime: 6:08

Upsides:

• Thought-provoking lyrics with multiple interpretations

• Intro too complicated for average Guitar Center customer

• Contained groundbreaking revelation that there might be a dark side to LA

Downsides:

• We’re all too stupid to understand why Don Henley called wine a spirit

• Honestly, I prefer “Take It Easy”

• Dreading the day someone makes “AirBnb California” parody

Nitpicking aside, these songs have earned their overplayed-ness. If you haven’t heard these before, 1) How? and 2) definitely go give them a listen. In the far more probable scenario that you don’t know much from these bands beyond what’s on this list, I encourage you to dive into their discographies. There are plenty of deep cuts that could go toe-to-toe with any song on this list.

Lyle B.