This lucky duck of a record enjoys the particular honor of being the first in the series. The band is Dawes, a four-piece group from California by which I’ve been completely struck since first serendipitously hearing the band play on a friend’s iPod. The album was North Hills, the band’s only at the time. I was immediately drawn to the authenticity of the music, to the tales of heartache so soulfully delivered by lead singer Taylor Goldsmith, and to the image of a setting country sun I so often associate with the music of Jackson Browne (who goes so far as to make a cameo), Neil Young, or The Band.

Nothing Is Wrong, released earlier this month, picks up right where I’d hoped it would. The instrumentation leaves no room for frills: electric guitar, piano, bass, and drums are highlighted by sprinkles of organ, acoustic guitar, and a chorus of CSN harmonies to supplement Goldsmith’s commanding vocal, which for good reason is usually the centerpiece of each number.

I was lucky enough to catch the band twice in Chicago on what I assume were two consecutive national tours (or perhaps one big one with a couple laps). The first was as an opener at the Double Door in which the group’s familiar older songs were very well-received. The second was a headlining slot at Lincoln Hall several months later, in which the band had really begun showcasing many of the tunes that would make up this album, and there was little doubt that people had begun taking notice.

Tracks “So Well” and “A Little Bit of Everything” ring just as emotionally true on tape as they did in those Chicago venues. I’d already fallen for the sparse tale of love lost in “Million Dollar Bill” after Goldsmith’s side project Middle Brother released it earlier this year.

It’s not often I have a favorite moment on an album with so many highlights, but the soaring coda to “Fire Away” may be it. It also doesn’t hurt that the brilliant chorus of interlaced vocals is supplemented by the aforementioned Jackson Browne, the king of that dreamy, introspective, Southern California sound in my mind, nor the fact that Browne himself could have written it. Many of the reasons for which I enjoy Dawes’ music are the same as those that make Browne one of my all-time favorites, a list Dawes is no doubt working their way up.

–

Dawes, Nothing Is Wrong. (2011)

I fancy myself an artist. I create music–write it, record it, play it, share it. I’m a member of a band that maybe you’ve heard of but likely haven’t. We just finished recording our first full-length album after a couple of smaller “warm-up” efforts. In the coming months, as we take stock in where we are and where we go from here, I’ve become obsessed with the avenues by which music reaches its listeners.

Let me reveal some biases. I’m of the old-school frame of mind that albums matter, regardless of whether it’s vinyl, a CD, or some form of digital download. No matter how hard I try, I can’t abandon the traditional method of releasing songs as a group whose whole is greater than the sum of its parts. But to avoid sounding too much like the old man yelling at the neighbor kids to get off his damn lawn, I get it. It’s not like it used to be. Lots of people prefer to pick and choose songs on iTunes et al., and really I’m fine with it. What worries me far more is the medium through which they listen.

In many ways the physical product has become superfluous, but as consumers eschew the clumsy packaging in favor of the ease of transport (believe me, my iPod is bursting at its seams), an unfortunate byproduct is gaining steam–poor sound quality. Above all else, I’m astounded by how little the casual music listener cares about sound quality. Say what you will about the death of the CD, but at the very least, that disc forces its listener to put it into a player with speakers or headphones that reproduces a fair if not nearly exact representation of what the artist intended. A lackadaisical attitude on the part of the listener that began with the birth of the .mp3 and found oxygen via the invention of the iPod has stretched to incredible heights.

As mobile phones become increasingly all-encompassing, but continue to run at connection speeds that pale to standard high-speed internet, or amplify sound with speakers comparable to that of a string between tin cans, why on earth should an artist devote so much time, energy, money, and passion to recorded work?

Have you seen that HP commercial starring Alicia Keys in which she’s pumping some new something or other that lets one “hear music the way the artist intended”? I share her lament, but sorry folks at HP, I’m not convinced of the marketing tactic that there are enough people out there dying to hear music the way the artist intended or else they’d be doing it already. It’s called a stereo, and in 2011, they’re not exactly flying off the shelves.

Case in point: my brother and I have been doing some home improvement work on location the last couple of weeks. It’s the kind of environment in which a radio would be blasting nearby to shoot a bit of life into the handymen. Well, said radio couldn’t produce a decent signal, so in lieu of silence, we’ve turned to listening to music by way of his cell phone. Yes, of course! The cell phone! The next logical step in that transition. It’s a marvel of technology without a doubt to be able to punch a few buttons and have Pandora do what the old radio in the corner couldn’t, and that’s provide some music. Of course, our situation offered few alternatives, but there are assuredly plenty of people who use this technological wonder as their primary source. It’s a far cry from truly hearing what you’re listening to, is it not?

Another: my girlfriend, who is a music fan and has excellent taste, listens primarily via the speakers on her netbook, which is something of a crime that a more thoughtful boyfriend would have remedied with an improved solution long before now.

Back to that silly Alicia Keys anecdote. I’ve been especially fascinated with the nature of how people will hear our album. As we spend weeks and months tweaking every little detail to ensure not a single second of a single song is misrepresented, is it truly that important? With every scrutinized note, can we be confident that others will hear it the way we intended?

The answer to the first question is an emphatic yes. This album is a representation of ourselves as musicians, as people, and as artists. One of our many goals is to have this album mean something to others, but without question, it first must mean absolutely everything to us. Anything less just won’t cut it.

The second question is the problem. I suppose the easy solution is to worry only about what we can control, but hell, I’ve never had the will power to live by that logic in the past, so why start now? The saving grace lies in those who are leading the charge against the grain. Vinyl sales have risen from the dead to become something more than just a novelty. The fourth annual Record Store Day was held at independent record stores nationwide last weekend in honor of celebrating “the art of music.” Hundreds of bands ranging from obscure-hipster-groups-only-the-skinniest-of-jean-wearers-know-about to Lady Gaga released special edition material to mark the occasion.

The message here shouldn’t be some soap box cry about the good ol’ days or gobbling up vintage Hall and Oates 7″ B-sides in some arms race to prove one’s level of fandom. Instead, it’s good to know there are some people out there trying to do something cool to help encourage music fans to slow down in an era that’s anything but slow-paced. Next time you pick up a new CD or download one of iTunes’ top songs, give it a real listen. You will likely hear something you didn’t notice before.

Then, buy 100 copies of Borrow Tomorrow’s new album, and give one to all your friends. Yahtzee!

cj

Borrow Tomorrow at Double Door. Chicago, IL. 1.29.2011

There are so many exciting things to report I hardly know where to begin. We still have yet to decide on a name for what will undoubtedly be the most thoroughly complete representation of our band thus far, in other words, the “new album.” There’s an urgency within the walls of our studio and rehearsal spaces unlike ever before. With every playback comes the discovery of another nuance, another brilliant musical opportunity to showcase the strength of these songs as extensions of ourselves. Emotional authenticity and honesty are certainly hallmarks of our songwriting, but throughout the recording process, the songs on this new record have grown legs. The goal has always been to produce something of which we (as a band) can be incredibly proud because with this pride comes the desire to share, and what’s the point of creating something without sharing it with friends, family, fans, and everyone in between? I want you to hear these songs and picture yourself in the driver’s seat, trying to find a “better way to get where I’m going to” (from Sometime Back in the ’70′s) right along with us, and I think you will.

Borrow Tomorrow at Radio Radio. 1119 Prospect St., Indianapolis. Doors at 8pm. Show at 830pm. Boto at 10pm.

In the midst of all this hard work in the studio, we’ve played perhaps the most extensive schedule of live dates over the course of the last 8 weeks than we have in any comparable stretch in our band’s history. Appearances at quite possibly Indy’s two best venues (the Vogue and Radio Radio) and a trip to Chicago to play the renowned Double Door have proven quite a remarkable stretch for us considering there were plenty of days in which I could only dream of playing in these rooms. Of course, one of the reasons I set out to write this today was to help remind all of our Indy friends and fans to come out to Radio Radio tomorrow night (Sat. Feb. 12). The turnout at the Vogue last month was fantastic, and I’m confident all of you will be just as supportive this time as well.

As we continue to write, record, and share our music on local stages, all I can hope is that you’re as excited as we are. With any luck, we’ll be wrapping up recording by the end of the month, and we’ll start planning the release party. Meanwhile, come see us tomorrow night at Radio Radio! To help you get back in the rock ‘n’ roll spirit, check out the cool video from the Vogue below:

Browns Victory. Cleveland, OH. 11.7.2010

I’ve enjoyed my fair share of entertaining sporting events, usually revolving around the Indiana Hoosiers, but my weekend in Cleveland, Ohio, last week has firmly planted itself on my short list of all-time favorites. People, relevance, weather, limited-run seasonal beer, and victory, each playing an integral role, perfectly combined to create a memory none of us will soon forget. That is, unless you count the hours of 8pm to midnight Sunday evening that no one really remembers anyhow.

Cleveland fans are a special maniacal breed, and the most furious devotion is typically reserved for the Browns despite the team’s recent, ahem, mediocrity. However, they’ve been kind enough to welcome this Indianapolis fan with open arms, and as long as I am willing to take a ribbing about how “real football is played outdoors” and never mention a certain unfortunate late-season decision, I can blend in with the best of them.

Of course, it can’t be underestimated how perfect an opponent the New England Patriots were on this beautiful Sunday afternoon. The Colts and Pats have developed a ferocious rivalry thanks to the success of (and subsequent media love-fest with) their respective high-profile quarterbacks. There is not a team in the league I’d have enjoyed seeing the Browns crush more, and crush they did.

Below are some photos I’d like to share. Photo credits belong to Lauren, our resident photographer. Thanks, Lauren!

…and that’s a victory hug if I’ve ever seen one.

"And the leaves that are green turn to brown." --Paul Simon

The changing of seasons never ceases to amaze me. There’s certainly something remarkable about the first time you step out of the house and, seemingly overnight, it just feels like fall. Sure enough, autumn has arrived.

Meanwhile, here are some of the latest goings-on:

While I spend most of my time here blathering on about music-related topics, I want to note that today (tonight, in fact) marks the beginning of a particularly special time of year for many Hoosiers–the first official day of college basketball, and the start of a new Indiana University basketball season. Hopes are unquestionably the highest they’ve been in 3 years, and I am ready to see Coach Crean and the boys begin to turn the corner.

Now, back to the blathering. Tonight, Adam and I (as Chris and Richie) entertain at the Hidden Shamrock. The Shammy is on Halsted just south of Diversey. Join us at 10pm for a evening of beer, classic covers, and certain debauchery.

Borrow Tomorrow is happy to get back on stage this weekend (Saturday, Oct. 16) at Doc’s Music Hall in Muncie, IN. We’ll get started at about 10pm. Hope you can join us!

Also, check out this cool article in Muncie Star Press about our return home for the show.

If you managed to miss my incessant ramblings about it on other internet outlets, be sure to check out our first “official” video featuring our tune “Shy Away.” A big thanks to Chris Baer for directing. We’re awfully proud of the result. Please share it with everyone you know! You’ll be doing this fledgling group a tremendous favor.

As always, thanks for checking in.

Chris and Richie: Dressing Room Destroyers

Greetings,

As I’ve poured most of my blogging efforts lately into the Borrow Tomorrow blog, I’ve decided to finally stop neglecting things over here (at least temporarily).

Below are some new dates to report for Chris and Richie shows in Chicago. If you’ve never joined us, we play a shit ton of your classic bar covers all night long. The beer flows like wine and shots of Jame-O are plentiful. Parental discretion is advised.

Thursday, Sept. 16 – Merkles 9:30 pm
Friday, Sept. 17 – Hidden Shamrock 10 pm (Halfway to St. Paddy’s Celebration)
Friday, Sept. 24 – Hidden Shamrock 10 pm
Friday, Oct. 15 – Hidden Shamrock 10 pm
Friday, Oct. 22 – Merkles 9:30 pm

Borrow Tomorrow Notes

If you’ve not yet had a chance to check out Borrow Tomorrow’s appearance as the featured guest on this week’s Indy In-Tune Podcast, please check it out! It features 4 Boto songs and a lot of insight about how the songs came together. Big thanks to Darrin for being such a great host.

Link to Borrow Tomorrow Podcast with Indy In-Tune

Borrow Tomorrow’s next show is Saturday, Oct. 16 at Doc’s Music Hall in Muncie, IN. We’ll take the stage at 10pm. Hope to see you there!

LISTEN:
Chris Jerles – Born with a Broken Wing

The festival featured artists among the likes of Collective Soul, Bret Michaels, Everclear, Foghat, and Blue Oyster Cult along with miles of world-class barbecue. We kicked things off at 12 noon on the final day, but the real adventure began the night before, as Boto arrived on Sunday to stake its claim of the city, or “the West,” as we continued to refer to the land guarded from “mid”-westerners like ourselves by a giant arch.

After consulting local law enforcement that just moments prior asked us to please remove ourselves from the arch park area, the officers recommended we visit the historic landing, and soon thereafter we’d picked this place as our watering hole of choice.

The celebratory spirits, MacGruber sightings, countless humorous pleasantries, and shop-talk with the Shitty Beatles were no match for the staggering bar tab, wrestling-induced rug burns, or killer hangovers that followed, but the rock star lifestyle doesn’t come with training wheels, folks.

Thankfully, we were able to pull ourselves together in time for our set a few hours later. But for my raspberry forehead, Robert’s spending the night spooning the toilet, Andrew’s dry-heaving in the trailor, and Randall’s constant look of overwhelming nausea, outsiders were none-the-wiser. That’s a six-letter word we like to call talent.

Enjoy a few of Luke’s* photos below:

*Photos courtesy of Luke Trout. Contact him here.