Get Famous.
Submit your stories and photos here.
Your Favorites. One Location.
READ ONLINE
Pick up your copy
TODAY!
MEDIA KIT 2012
Advertise with us!
Ignition Music Magazine is a free publication, based out of St. Augustine, Florida, that covers both local and national music. Our coverage area spans from Gainesville to Jacksonville, but we’re currently in the midst of an even larger expansion, reaching out to a more widespread audience. The Ignition team lives and breathes music. Regardless the genre, artist, venue or sound, we at Ignition are ready to experience it, and in turn, share it with the world. Holler.
Jan. 24th at Jack Rabbits
Photos: Dan Florez
A brief history of the band presented by the current bassist (and a member of The Wobbly Toms) Jeremy Rogers:
The band formed in 1994, playing lots of shows and touring until 2001, when I (bass player numero tres) broke my thumb on tour in west Texas. We played with lots of great bands, had some songs on a few pretty influential surf videos, saw much of the country from the van windows, and had some good times. None of us stopped playing at that point, and formed or played in a bunch of bands, including My Captain, Exhaustra, the Eastern Wave, and Papercutt.
When asked about the differences between playing a Boredom show vs. The Wobbly Toms, Jeremy offered this: Both are physically taxing (the Toms on the fingers, Boredom on the rest of the body); both are quite enjoyable, but my heart is with the Toms. I love playing music. Reuniting with friends to play songs that are 17 years old is pretty fun.
Energetic to say the least, for any punk fans their show is not to be missed. You can find more information and recordings at www.reverbnation.com/boredomband.
Perhaps best known due to the blog http://blog.iso50.com, a Tycho show is a full auditory and visual experience. Thick swirling melodies equally heavy and ethereal present an interesting paradox to be sure. Live you can expect 70s-influenced video and still images projected over the entire stage and band, creating a show in the truest sense of the word.
Speaking with members of the crowd, I discovered the majority of fans to be graphically minded individuals. Graphic designers, photographers, artists of all sorts. A designer based in Jacksonville explained, In college we all wanted to be Scott Hansen (the lead musician). He was a huge influence on all our work. Artists known for both music and visual style? Lets just say they have at least one more fan.
If you read my first column last month, and are reading this one to learn the next step in songwriting to success, you have probably fulfilled the first requirement: desire. You want to try to make songwriting something you can do professionally. Becoming a successful songwriter is not easy, but desire will get you through the first level.
You have also decided whether you will accompany yourself on an instrument, work with a co-writer or by hearing the music in your head, or try and accompany yourself with the help of a computer and music recording software. For me, recovering from a serious automobile accident while still a teenager gave me time away from typical high school stuff to learn how to play the guitar, so from my experience we will touch on accompanying yourself and getting your song down for others to hear. From there I moved on to co-writing and group-type sessions but we will get to that later. Later still, I began to use a computer and music software to literally create songs in the digital realm, and I will cover that in more detail further along in the article.
Let’s say you’ve learned an instrument well enough to play some chords and hum a melody along with those chords. You’ve got an idea for a song and maybe a title, so you start by playing the chords and fitting in your words to a part of the melody. Does it sound like a verse or a chorus? Choruses usually (but not always) convey the theme of the song, and in most any event they are the catchy part or “hook” of a song. One of the differences between songwriting and poetry is that there is rarely a chorus in a poem. As mentioned in my last column, there are many ways to write a song, and a chorus is not necessarily a requirement of a successful song. Perhaps you’ve got a couple of verses to go with the melody, a verse usually being the narrative that tells the story, but you can’t seem to get it to sound like a finished song. What to do? What nearly everyone does is record what you have so far on either a tape or disc recorder, the simpler the better, or use one of many computer music software programs to get what you’ve got down so you can hear it over and over again at the touch of a button or mouse. Now you can work on the lyrics without having to play the melody over and over again ‘til your fingers bleed (or your mother hits you over the head with a frying pan). Headphones help!
I grew up in the era of AM radio, a term some readers may have never heard of. Back in the 1950’s when rock music was being born, AM radio was king of the “music” hill. In those first days of rock and roll, the 45 rpm single was the way most young people bought their favorite artists’ music. Because AM radio was a tightly formatted medium, where the DJ’s tried to get as many different songs as possible on the air in their time slots, most hit songs were rarely longer than three minutes. As such, one of the necessary ingredients in writing successful songs in those days was keeping them shorter than three minutes. Out of that a formula evolved wherein an intro, three verses and a chorus or two with a short musical bridge somewhere in the middle became the standard by which songwriters of that era created those early rock, country and R&B hits. It is still a good rough form to use today, though by the late 1960’s, FM radio took over and the length of songs played on the radio also changed.
Let’s say for the purpose of learning how to write a pop song that can still be heard on the radio and internet today, we’ll use that basic formula as a template for a complete song. For basic songwriting, let’s keep the recording really simple. We will get to a more complex recording method after the song is written and ready for arranging and demo recording. If at first all you’ve got is a melody and a song idea, then put that down on the recorder. Listen to other songs that have become popular and see if you can get a feel for the verse/chorus structure in them.
Remember you are going to arrange the verses and chorus combo for a demo that will probably be different than the way the song was first written, so don’t dwell over it if it doesn’t flow like a finished song.
You may also have come up with some lyrics without a melody and if that is the case, then sing the lyrics as best you can into the recorder and try and fit the chords over them with a trial and error method. Many songs have been written using the four basic chords in any given key. They are, for example, in the key of “C”: C, F, G7 and A minor. These chords in several combinations make up many pop songs. Technically they are named “ tonic” (C), “sub-dominant” (F), “dominant” (G7) and “relative minor” (A minor).
For more on this article, pick up the Feb. Issue of Ignition Music Magazine!
Papercutt, the popular St. Augustine 80's Hair Metal Tribute Band will be
performing live at Mardi Gras Sports Bar, 123 San Marco on Saturday February 25th. The band is best known for their brilliant stage presence, laser light show and outrageous make up and costumes as they play the top hits from the 80's including Motley Crue, Twisted Sister, Bon Jovi, Quiet Riot, Def Leppard, Gun's and Roses, Van Halen and many more classics. Wear your best 80's dress up outfit as prizes will be awarded for the best 80's costume. Don't miss the hottest show in town as WYRE 105.5 will be Live with their Skybox in the parking lot leading up to the event. for more info visit www.mardibar.com or facebook.com/mardibar.
by Alex Galbraith
The Black Keys have been called everything from roots-rock saviors to complete sellouts since they broke onto the scene with their 2002 debut, The Big Come Up, but I think I can say with complete confidence that I will be the first to bestow this description upon the duo:
The Black Keys are the Chuck Norris of the music world.
Im not talking about the ridiculously over-the-top Chuck Norris of internet joke fame. I mean the 70s martial arts flick Norris. The guy who could play a character named Colt without a hint of irony. The Norris that let you see Bruce Lees teachings bursting out in every scene he filmed. The real, fictional Chuck. That is the Black Keys.
For those of you not versed in late-70s awesome, lets just say the Black Keys influences are incredibly evident, and their latest album,
El Camino, is no exception.
Jacksonvilles Son of a Bad Man recently had the opportunity to share the stage with a number of national acts at Metropolitan Park, as part of the Big Ticket Event.
The quartet, comprised of Shawn Fisher, Brett Barley, Jordan Allen, and Brad Moxey, played alongside bands such as Taking Back Sunday, Sleeper Agent, Young the Giant, Manchester Orchestra, Switchfoot, and several others.
It looked like we had 200 or 300 people watching us, Brad Moxey, drummer for the band, said. We played all new songs, and the response was great. We even had some sing- along/clap-alongs, the part of being in a band that I live for.
The band got to the Big Ticket stage by way of several rounds of competition held at Freebird Live. In the final round, this Southern rock/pop group was judged on its stage presence, the crowds participation and response, and how well they fit the already established bill.
Son of a Bad Man was awarded the final main stage slot at Big Ticket, while the other eight finalists were given the chance to play on the festivals local stage.
Playing with big names is nothing new for Son of a Bad Man; theyve toured extensively around the southeast and have shared stages with the likes of Los Lonely Boys, Gin Blossoms and Our Lady Peace, to name a few. Theyve also played both local and national-scale festivals such as Planetfest, Blackwater, and Lollapalooza.
