Why I woked up dis mawnin’ and had mese’f a beer, yo

Band practice last nite – very productive.

Guitar Tom and I demo’d his 1st ever song a cuppla weeks ago and drummer Mark wanted to do the drums at it, specific-like.

I wrote the lyrics to 3 choons yesterday at the orifice.

So last nite I brought some 312 and Tom brought some Fat Tire and we drank the latter and I brought mines home – more on that inna bit.

We rehearsed and re-arranged Tom’s song and got it down.

Then we wroted the music to the lyric I brought and derranged ’em and got ’em down. We playt each choon 5 times and made a little set of 25 minutes and recorded same on the Zoom H2. We’ll rehearse them again next time and than we’ll record the drummage and start the overdubs, mebbe on the 3rd time

So anywhat, we drank the Fat Tires (I had 2, and Tom took 1 home as Mark don’t drink but wine) and I took my 312’s home.

I was ver’ tired so after unloading my gear I put the beers in the fridge loose and this AM when the daughter opened the fridge a beer bottle come out and the top loosed such that some foam were escapin’ so I hadda glass and drink it what is why I woked up dis mawnin’ and had mese’f a beer, yo.

A C/L story, or, “The long, plastic hallway that is the music industry.”

A rather respectable professional commented on my story as quoted above. Here’s the story, simply an exchange of emails earlier today regarding a Craigslist ad:

The ad, https://chicago.craigslist.org/chc/muc/5885835054.html:
Please read ad in full detail before responding.
My name’s Jeremy Mazuca. I have been around music and musicians my whole life through family and friends. Some grammy winners. I have great ears for musical talent. My experience with the music industry is from birth. I was born into it. I am president of My Playlist Records. MPR is an independent record label that caters to all genres. Now with that being said, I do not accept Christian Music because this falls under a whole new market. Hip hop and rap I am not a huge fan of however it is accepted within my label as long as it fits a certain criteria. The only rap I would accept is lyrical poetic rap. Influences like: common, mos def, nas, mf doom, eminem, lupe fiasco, slum village, wu tang clan, outcast, etc. Most music I get is not what I’m looking for. I have to be picky in regards to what sells in media music stores. If I just sign anyone or someone who sends me music where I have no emotional connection, it won’t sell. When I listen to your music, I need to feel something in my soul. I am not here to waste time. If you are thinking of joining a label via a legal binding contract, contact me. I get a lot of interested people whom send decent music and when I respond, I don’t here back from them. I also get people who can’t handle constructive criticism. If you waste my time or bs me, I will just block you and ignore you. I currently am starting my label from the bottom meaning I don’t have money to invest in you yet. “You” would be a band, composer, or artist. I can’t pay for recording time, radio time, tv time, etc. So right now I am currently offering: marketing, p and r, worldwide connections, world wide touring opportunities, advice on your music and brand, unlimited digital music distribution, and will help you along your musical career to the best of my ability. I would like to have a big business one day. I would like to earn with you some music awards one day. I am not just in this for the money, although it would be awesome to have a chauffeur one day. I do this for the love of music. As a label, my job is to sell and promote your music. I also will help build you a large audience and fan base. I am located in san antonio tx so if you are out of state, it is not a problem. Out of state musicians are very welcome. Composers are widely welcome because the video game, tv, and film industry need your talents. I do not want to be questioned of my experience. I have nothing to prove to anyone. I am a new upcoming label but I am the best marketer and promoter you’ll find when it comes to music. I am looking for artists or bands whom have no music released yet. iTunes, Google play, Amazon, and Spotify all have deadlines so the sooner you send me music the better. Bandcamp, reverb nation, soundcloud, youtube, or any track I can easily open and listen to will be accepted. I listen to demos on a daily basis. Don’t worry about copyright infringement when it comes to sending me music. It is a federal crime I have no use for. Please send me music that is ready to be sold and put out to the public. Serious inquires only. Only those who are hungry for success as I am. I do have a Facebook at My Playlist Records.
These are demos for a current recording project – these are songs written and recorded by me with our drummer within the last 6 months.

We are currently recording new material as a 3-piece, and searching for a possible 4th.

I own all rights to this material.


If you believe something fits with what you are doing, I can be reached at

mick: 312-***-****
Don’t need demos. Need songs ready to be sold
Don’t need attitude. Forget it.
you are lucky i’m not a major label. Your ass would get shot for running your mouth.
Very professional, douchebag.

We both know a  “major label” wouldn’t shoot someone, much less threaten them.

My ex was from Texas and you scare me not at all.

Now, don’t be such a pussy and listen to the music.

If there’s something there you can use, we’ll talk.

If not, good luck, and thanx for the laugh.
don’t be a whiny little bitch.
A major label would chew you up and spit you out.
I’ve been in the music industry my whole life.
28 years.
I just said I don’t need demos as my ad stated. Apparently you can’t fucking read.
You are a retard.
You got butt hurt. Your music is mediocre at best. don’t come to any label until you are ready. You are wasting my time and money. You are lucky i’m not charing you for your ignorance.
Name-calling? ‘-D
What are you, all of 28?  So that’s 10 years, at most?
And still no money made to invest in your so-called “label”?
Daddy or mommy or your boyfriend gave you a cuppla bucks because you couldn’t cut it in school?
Can’t play a lick so you wanna be a industry parasite?
Can’t get laid so you wanna hang with musicians?
We’ve been posting under 20 minutes and you claim to be able to evaluate my music?
Mid-afternoon and you are still hung-over?
Your alleged “label” name and graffic is as lame and silly as your unprofessional attitude.
I think I may write a song about you even as I post quote your emails to every real music-industry person I know.
Once again, good luck, take an aspirin, consider selling your guns and getting some counseling.


Apparently looks like this:

bandcamp; vlayman;
THD; blog.
I mix with olive juice.

MVx2: *A Long Year*

 <— click

1. I’mCrazy Again 03:18
2. Play 05:32
3. My Last Sweet Breath w Grankspoine 03:51
4. Unconventionally Pretty 03:32
5. The Shiv 05:34
6. Riddim, Oh Yeah 03:48
7. Kimberly Don’t Come Easy 04:02
8. The Blame (I Take) 03:25
9. A Long Year 03:26
10. sLOP 03:11

This one’s proto Los Martoonies, circa The Strangers, post Bustouts.

released November 24, 2016

Drums: Vezina
Not drums: Vlayman
Not drums or bass or vox on # 3: Grankspoine of England
bandcamp; vlayman;
THD; blog.
I mix with olive juice.

Leonard Cohen, RIP

Leonard Cohen, RIP

While there are some elderly performers who have become “greatest hits” acts (some much younger ones, also), and some have just sort of cruised, others have won a Nobel, or could/should have.

Leonard Cohen’s latest CD was delivered to me the day he died and I did not listen to it, or any of his music that day to any great extent, because I want to give it the attention and time it always deserves.

While I never saw him in person, I treasure his recent performance DVD’s for their great musicianship, songs, and not least for Cohen’s own emotive performance. Not to mention his banter.

With Neil Young, Dylan, Willie Nelson, the deceased Johnny Cash and Merle Haggard and so many others, they allow popular music to age gracefully, and make that part of life part of an unabashed part of their music, continuing to write and to perform with a consistency of quality and vitality that was perhaps unexpected in their genres, but so fucking welcome.
bandcamp; vlayman;
THD; blog.
I mix with olive juice.

My Friday nite recording adventures

So, last night, at the instigation of the drummer, we again did “improv” recording. (I gotta getta better name for that, because they’re really a little more structured.)

In a exchange of emails during the week, he indicated how cool last week’s session was, and let’s do it again.

This time, while I brought my head and bottom, (and my amp and cabinet), I left the bass stuff in the truck, except my Hohner B2B j-style.  Tom had his 30 w. Peavey Classic (what a sweet amp), also, but we never plugged it in. I DI’d and I gotta say, the hi-z input on the Zoom R16 is really, really good, with this bass – I get a very convincing and inspirational grind out of it what rules for monitoring in cans, altho’ I typically re-amp or at least heavily EQ ifd I keep the trax.

I have a cheap Zoom 505 multi-FX and so I had Tom dick wiffit whilst I set up the drum mic’s, what were typical but slightly altered in that there were only 5:
E6502 on kick;
SM57 on snare;
SP C4’s in XY for OH’s (again on that imaginary snare/kick bisexting line opposite the hats)
RE320 looking across the rack toms, pointing at ye olde floor toms

The eighth track on the R16 was a SM58 for yo’s vocal styleeings.

Aiight, and since we agreed to do this as of Thursday, I got up at 8:30 AM Friday (I took the day off already) and by 10:15 I had the lyrics to 5 choons.

1 6-pack Lagunitas IPA – like, yum.

So then, wif me seated behind the recorder and Tom to me right as we faced the kit, we started on each song.  First, we either chose some chords (“Hey, Tom, what’s yer fave 3 chords?”) or used a word (one song as FAGG for the verse) or started witha bass riff inna single chord.  Then I would take a cupopla minnitz to fit the bass to the lyrics, and then we’d write the chorus and whatever bridge.  Going thru the parts we’d work out the derrangement, and also candy-shite like where to  put stops and breakdowns and one choon even opens wif just bass and vocal.

Then we’d do a practice partial-run of the parts.

Then – and half the time the other guys didn’t know – we’d be recording the take. Most were first takes, of 5 we did do two fecund takes.

The results? Mebbe I’ll post a ruff inna while as I have 58 minnitz of 8 tracks I’ve just started on, but, I think, as far as the drums go, stellar.  And that was the idear, to get drum tracks to the songs to what we will in the coming weeks overdub the guitars and the bass and the alleged singing and do all the sweetening  and mixing and masturding, etc.

We have so much stuff with Tom, now, I am gonna publish some tracks of just me and Mark (and a couple with Herr Grankenspoine) as MVx2 separately, and come up with a new project name for this aggregation.

Did I mention we’re having a blast?

Azza aside, we recorded between 6:00 and 10:30, and then sat around until 1:00 AM tellin’ war stories.  thumbsup

carpal diem!


Re the above

That’s Mark’s basement.

312 is a awesome beer originally made by Goose Island Breweries, recently bought by Budweiser or similar – there is now nat’l distribution so it’s available – look for a bright yeller package. “312”, BTW, is Chicago’s area code.

SPC1’s are pencil mic’s made byStudio Projects which I have fallen in love with for overheads. Short story long, UI was using vLDC (large diaphragm condensor) Audioi Tecnica AR404’s and loving ’em, and sometimes CAD M179’s (kinda MDC). Thing is, when ya do that it seems to kinda work best when the OH’s are the drum-kit sound, and the other mic’s become spot mic’s that help highlight the individual tubs.

That works great inna good room and/or with careful trial and error of placement, but if you get it wrong you tend to have issues with cymbal brightness and level, and then you have to futz with EQ, and room sound, and it can limit your choices of effect-processing (ex., reverbs).

I’ve gone the other way now, where the drumkit highlights the beat instead of the wash, such that the kick and the snare (typically a plate on the snare) are the majority of the sound, along with the tom spots, and the OH’s give the cymbals and room sound to taste on top, instead of starting with ’em.

It gives me more control, and allows for faster placement.

And how do I place ’em? In the ORTF pattern, I said, what was a lie; also, they are SP C4’s.
Actually, I had ’em in X-Y; see here.

I have also used ORTF, and like it just fine, but it’s a little tweakier, and XY is very easy.
Also cool is that you use one mic stand and put the mic’s on a mic bar, like this

except they are turned so the fronts meet at a 90 degree angle like this:

I take an imaginary line from the center of the snare thru the center of the kick and place ’em onnit, as stated above.

Last night’s jammage and recording a new writing approach

Last night I recorded my drummer OD’ing on a Granx collab (coming atcha later today, G – it’s great!) and also on a MVx2 choon I originally playt to a loop of him.

That tookt about 2 hours because of lotsa BSin’, etc., and I mebbe had me a cuppla 312’s.

We did the OD’s by me having rendered the reference track to mono, and recording the drums on 6 trax (E602 to kick, SM57 on snare, RE320 on floor toms, Perception kick mic on racks, OH’s was SP C1’s in ORTF about 5′ up and 6′ out on the kick/snare axis).

So I left the drums pluggt in and DI’d the guitarist, Tom’s Les Paul thru a blues-driver into a channel and my headless bass into a channel and we jammed straight thru for 28+ minutes with me laying down a riff, the drums catching and then the guitar, going 3-5 minutes, stopping and then me starting a new one.

It was noteworthy because we had nothing written – I just thought up a bass line, figured the tonic for emphasis, and started playing – including changes that I made very obvious by nodding at the band, and showing my hands to Tom.  I could not do what he did – he follered me with very little hesitation, and even less mistakes, he’s that good.

Mark and I have been locking well for at least a year now – it was damn-near seamless.

So we ended up with 6 tracks of drums, plus a bass and guitar track each, in a half hour of improv.

I told the guys the bass and guitar were irrelevant (if fun), that the key thing was to get the drums inna groove for looping and writing to. That said, some of the playing is worthy just because of the interaction.

Anywhat, if ya get the chance to try doing this, do try doing this.

carpal diem!