For the last 10 days my Acoustic Bottleneck Political Blues, "Keep The Boom Boom On The Hush Hush", has been rockin the Top Ten @SoundClick! It ranked as high as #4 and currently ranks #10 out of 55,588 Blues songs. And after reaching #1, it's currently ranked #2 out of 1,928 Acoustic Blues songs! That is an amazing accomplishment, considering that it's in competition with 4,867 accepted Blues bands, as well as every other sort of Blues act and song imaginable! https://soundclick.com/share.cfm?id=13720606
This is INSANE! My song, "Keep The Boom Boom On The Hush Hush", is still #1 in Acoustic Blues and moves to the #4 spot in Blues @SoundClick!!!!!!!!!!!! YESSSSSS!!!!!!!!!!! Keep The Boom Boom On The Hush Hush # 4 in Blues out of 55,573 songs # 1 in Acoustic Blues out of 1,928 songs
HOLY MOLY! Just when I didn't think it could get any better... This happens...
My song, Keep The Boom Boom On The Hush Hush, #5 in Blues and #1 in Acoustic Blues SoundClick!!!!!!
Keep The Boom Boom On The Hush Hush # 5 in Blues out of 55,572 songs # 1 in Acoustic Blues out of 1,928 songs
This is gettin' serious! It's been 8 days and now my song, "Keep The Boom Boom On The Hush Hush", is #7 in Blues and still ridin' the #2 spot in Acoustic Blues at SoundClick!!!
Keep The Boom Boom On The Hush Hush # 7 in Blues out of 55,572 songs # 2 in Acoustic Blues out of 1,928 songs
Okay, I'm waiting for industry reps to contact me about signing a big fat recording contract, so I can follow in the famous footsteps of all those who have gone before me. (Checking to see if I turned up the volume on my phone's ringer. Looking through my email's trash folder, to be certain an important contact wasn't accidentally flagged as Spam...) ;o)
I think this is called a "bullet" in music industry geek speak. After one week's time, the stats, as of yesterday, report that the rough recording of my song, "Keep The Boom Boom On The Hush Hush", has reached the #10 spot out of 55,567 entries in the "Blues" chart, and it is holding steady as the #2 ranked song, out of 1,928 song in the Acoustic Blues chart at SoundClick! I think it's safe to say, that I have a hit on my hands!
Keep The Boom Boom On The Hush Hush # 10 in Blues out of 55,567 songs # 2 in Acoustic Blues out of 1,928 songs
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Update: Tomorrow will be one week since I uploaded my song at SoundClick and it's holding at the #2 spot in the Acoustic Blues chart there and it bumped its way into the #11 spot in their Blues chart! It is in competition with Blues acts of every sort. In the 'Blues' chart my solo acoustic effort is competing with bands of all kinds, solo artists, electric ensembles and acoustic acts, you name it. So, reaching the # 11 spot in Blues is HUGE! And hangin in at the #2 spot in Acoustic Blues is fantabulous!
Keep The Boom Boom On The Hush Hush # 11 in Blues out of 55,565 songs # 2 in Acoustic Blues out of 1,928 songs
This is wild! I thought that I'd check back in on my song, "Keep The Boom Boom On The Hush Hush", at SoundClick. 24 hours after posting it, it had reached the top .1% in Blues and the top .5% in Acoustic Blues. Then, a day later, it fell back a bit. I truthfully did not expect it to rise to an even higher level. But check this out! From #65 in Blues to #13, and from #11 in Acoustic Blues to #2!
Keep The Boom Boom On The Hush Hush # 13 in Blues out of 55,562 songs # 2 in Acoustic Blues out of 1,927 songs
My latest song upload, was written in 2012 in response to the Cafe Racer shooting in Seattle, which took the lives of two local performance artists and fellow street performers, Drew and Joe. These two lovable characters were a breath of fresh air in the street scene of the Pike Place Market. Their combo quickly moved into the local bar and regional festival scenes as well, ultimately establishing their own space in the Fremont District in the old Hale's Ales Brewery building to host their circus style shows.
When I dropped by Cafe Racer to check out how to get a gig there, Drew was there and mentioned that he was booking the music. I played my first and only show there shortly before the tragic event.
After writing this song, a friend encouraged me not to share it so soon after what had happened. So, I shelved it.
Of late, I've been working on the music video and will release it shortly.
After recently and rather suddenly, losing another fellow musical artist and past bandmate, I wanted to release this song as a remembrance to two colorful Seattle locals, whose musical performance pursuits touched so many.
There are as many types of songs as there are songwriters. That's where that old adage comes into play. 'You can please some of the people some of the time, but you can't please all of the people all of the time.' Topical songs about political matters, of injustice, bigotry, discrimination... fit into that category of songs that will be heralded by some as offering the truth and criticized by others, who, for whatever reason, find the truth too challenging a concept to easily accept.
The simple music/video concept, of creating a slideshow of images to accompany the music and lyrics I've written, is one that I've been exploring. This method of pairing visuals to lyrical content poses it's own challenges. Especially, given that political topics are innately hot button issues, which usually have at least two distinct viewpoints, dominantly and sometimes loudly, shared by their supporters. Some caution, that care needs to be taken when sharing such harsh imagery, depicting man's inhumanity toward his fellow man. As these images can inflame deeply rooted emotions, which resonate like an open wound.
As writers and videographers of the horrors currently happening around us, we walk a fine line, of both following our passions and the risk of enraging those who'd rather believe, ignorance is bliss. In my specific instance, my music/video apparently struck the wrong chord in some viewer or censor. FB did not feel legally or morally obliged to follow up their ban of my music/video with any explanation, regarding why they took the action of censoring my original content. I believe my next recording project will be called, "Banned On FaceBook."
A year ago, I stumbled upon an online ad for a book called, "Performing Religion in Public" (2013), which features my street performing efforts and even includes a photo of me playing musical saw. I had absolutely no idea that I was included in this work.
Performing Religion in Public by Clair Marie Chambers, Simon W. du Toi and Joshua Edelman
Chapter 12 - Busking and the Performance of Generosity: A Political Economy of the Spiritual Gift by Clair Marie Chambers
"In another conversation with gregarious storyteller Reggie Miles, I asked him to describe a favorite moment from his career. He followed with a touching story about how a warm spring day, a "beautiful little girl" in a flowing dress began to dance to his music, all of her own accord. Soon, another little girl joined her, and a crowd began to gather to witness the dance. The bearded Miles, in his signature rugged denim jeans, flannel shirt, heavy boots and red suspenders, was more than likely a gruff counterpart to the dancing children, the juxtaposition forming something of the charm for the gathering audience. What Miles emphasized in his story was that while the dancers and the audience were responding to his music, he was no longer the star act, but instead an instigator of an event that they all created together - a 'focused interaction,' in Goffman's sense, a ritual community in process through the exchange. He was additionally pleased that several people pulled out cameras and camcorders, which meant his music was being recorded and distributed throughout the word. The performance was out of his hands, but also giving back to him in many ways (on more than one occasion, he told me, someone has recognized his act from a YouTube video, which often results in a tip, and reinforces his belief that anyone recording him live in the Market is good promotion). Never satisfied with only one example, Miles then launched into a related tale about a Christmastime ferry ride across the Puget Sound, when buskers used to be allowed to play in the passenger cabin as the ferry made its crossing. Miles had taken out his saw, and with his bow coaxed a soulful rendition of 'Silent Night.' A woman and her daughter began to sing along. Then another musician, unknown to Miles, stepped up and took out a mandolin. Soon, others gathered around, rounding out the impromptu chorus with harmonies. Miles told me that what impressed him most about his profession is that it always brings strangers together and creates spontaneous communities based solely on the love of music. 'What an incredible moment,' he said. Miles smiled broadly at me all during that conversation, obviously enjoying it, and I realized we'd been talking late into the evening as the Market vendors began shutting up their stalls. I smiled back. I expressed my gratitude to him for his time, and my apologies that I had no more change to put in his guitar case, especially since I noticed his saw leaning against his chair, and had hoped to hear him play. With the utmost in graciousness, Miles took up his saw, and I knelt to listen. 'Greensleeves' hauntingly echoed down the tiled walkways. I realized later that Miles, as a busker, would have never refused my request, because he understood that busking depends on the continuation of the exchange between artist and audience. Once that flow is stopped for whatever reason, busking stops being the art that it is and turns into a musical commodity. In our conversation and with 'Greensleeves', Miles gave me a gift that, in giving itself, gave me to myself. I experienced my economic relationship and my political identity with this person in a way that took us out of the normative exchange of money for services and created something different, where the mutual exchange reimagined the status of the art commodity as about the free flow of a gift in constant consumption, rather than performing hierarchical relationships of possession..."