Skip to main content

Wallpaper hangin'

A few years ago, Kev did a blog post about a "wallpaper" gig. As in, he was playing music meant to be in the background. Over the weekend, I did my first DJ gig as a wallpaper artist as well.

My aunt's 50th birthday party was Saturday night. She had an entire restaurant in downtown McKinney rented out for the night and she asked me to provide music for the party portion after dinner. She had suggested music from her college days, like the Go-Gos, A Flock of Seagulls, and Talking Heads. Since I have a vast library of songs from the '80s (popular and not-so popular), this was a piece of cake.

I wanted to keep the music peppy and recognizable. You can't be a punk purist about everything in life, you know. And when you're DJing something other than your personal playlist, you have to understand that you're not the only one listening to the music. I might know how awesome "One in a Lifetime" sounds in Stop Making Sense, but the average listener probably knows the opening lyrical stanza and chorus hook at most. Generally speaking, I wasn't so sure most of the attendees even knew who the Talking Heads were. But they enjoyed my playlist.

Another big thing I wanted to make sure went well with this gig was the music's volume. Meaning, not too loud, but not too soft. My reasoning is because of a certain late-night place that I like to go with Diana, Ryan, and/or Matt. On some nights, its P.A.'s insanely loud volume drowns out a normal speaking voice, so we all have to yell at each other. The volume doesn't really fit the vibe since the place is very chill and relaxed.

Keeping that in mind, I asked my father (who provided the P.A.) to keep things at my (and the whole place's) preference of a volume level. No one complained that things were too loud or too soft.

DJing is a fun thing to do and I see no problem serving the crowd. If you wanted to hear the newest Dillinger Escape Plan record, I'd play it in the car or at home for you. I'm not about to put that on something for a general audience. Hell, most people I know who like all kinds of music cannot get into those guys.

This kind of DJing isn't settling; it's doing the job asked of you.

Comments

Popular posts from this blog

It's a Long Way Down

There was a time when I listened to Ryan Adams' music practically all the time. Back in 2001, as I finished college and tried to navigate post-college life, the double dose of Whiskeytown’s Pneumonia and Adams’ Gold led me to everything else he had made before. It was countrified rock music that spoke to me in a deep way, mainly on the musical front. I don’t tend to really pay attention to lyrics, but I connected with Adams’ lyrics about being young and perpetually heartbroken. I thought some self-inflicted mental pain about awkward and failed attempts at relationships put me in the headspace to relate to songs by Adams, as well as Bright Eyes. There was so much time and energy spent on anger and sadness directed at myself for things not working out, so I found solace in songs like “Harder Now That It’s Over” and “The Rescue Blues.” As it turned out, there was a pattern in my life: if I had a little taste of a feeling of sadness or anger, I could relate to those who had it

I ain't got no crystal ball

I've never been a big fan of Sublime's reggae-punk-ska, but I feel bad for their hardcore fans. Billboard reports that a four-disc box set featuring previously released and unreleased material is on the way. How is this a bad thing? Well, the number of posthumous vault-raiding collections greatly outnumber the band's proper releases. That usually isn't a problem, but the quality of them is very suspect. When they were together, the band recorded three proper albums, Robbin' the Hood , 40 Oz. to Freedom and Sublime . Sublime would be the band's breakthrough record with the mainstream, but that success was very bittersweet. Shortly before its release, frontman/guitarist/songwriter Bradley Nowell died of a heroin overdose. In the following years, the effects of apparently a bad record deal have yielded compilation after compilation. Here's the rundown so far: Second Hand Smoke (1997) Stand By Your Van -- Sublime Live in Concert (1998) Sublime Acoustic: Br

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J