Song ideas are like seeds. Some of them grow while others stay dormant. This one grew into a moonflower (in French, Fleur de Lune), a song for the end of summer when gardens are lush and nights are still hot. I’ve actually grown moonflowers. It’s true when ready to bloom the flower opens in the evening. You can watch it unfurl delicate and bright white like a lace dress. Under most conditions it usually lasts for only one night.
In the song, the arrangement of instruments are symbolic. The piano represents the “fleur de lune,” who most will see as the symbol of a woman (but doesn’t need to be). The piano plays a countermelody with the vocal and also has a “dance” with the trumpet when the song modulates. The trumpet represents a person in pursuit of “fleur de lune” as a love interest.
Countermelody, also referred to in classical music as counterpoint, is a secondary melody played simultaneously with (but not with the same rhythmic pattern as) the primary melody, in this case the vocal. Because it can stand out on its own as a separate melody, if you are unfamiliar with the music you may at first think there is simply some competing melody going on. There’s only so much processing the brain can do with a piece of music if you listen to it once or twice. However, when you become more familiar with it, as I have after listening many times, the piano part sounds like a countermelody and blends in.
Long ago I traveled to the Greek islands at the end of the summer, and the month of August has been sacred to me ever since. I wanted this song to evoke memories of island romance and exotic places. The song contains an element of my longing to go back and for the summer to never end. But it must, just like a flower’s beauty must fade.
Sad, sweet, and sexy with a Latin groove that might just put you in the mood to sway with someone special. Enjoy!
Fleur de Lune Waiting by your side on a summer night Knowing you’ll be gone by the morning light and I’m waiting, Fleur de Lune Fleur de Lune Found you in a garden with your heart-shaped leaves clinging like a vine to anyone you please Such a flower, Fleur de Lune
Fleur de Lune Why do you only show your face at night then like the moon tumble out of sight
Fleur de Lune Soon you’ll only be just a memory One night is all you have to open up for me Then you’re a fading flower, Fleur de Lune Ma Fleur de Lune won’t you flower
Fleur de Lune Why do you only show your lonely face at night then like the moon tumble out of sight
Fleur de Lune Waiting by your side on a summer night Knowing you’ll be gone by the morning light Still waiting, Fleur de Lune Fleur de Lune You speak no word and still I hear the sweetest voice Hold you in my hands until you make the choice but to flower, Fleur de Lune
‘Cause soon you’ll only be just a memory, Fleur de Lune One night is all you have to open up for me, Fleur de Lune then you’re a faded flower, Fleur de Lune It’s getting lighter by the hour, Fleur de Lune Yours is the fate of a flower ma Fleur de Lune
In a not too distant future, a guy walks into a publisher’s office with a bunch of recordings of his songs. He wants to know if anyone is interested in buying them. The publisher plays maybe 30 seconds of each song and then folds his arms and says, “I’ll tell you what. I’ll give you five dollars for each of these songs.” The songwriter sits there confused and asks, “But don’t I get a royalty deal or something? I mean how could you only offer me five dollars for each song?” The publisher says, “Because just about anyone can write a song these days.”
More people than ever are generally under the assumption that anybody can write a song. It’s become more salient through the Internet how many people are writing songs. The two dominant Publishing Rights Organizations, BMI and ASCAP (who collect performance royalties for songwriters when their music is played live, in a public recording, or on the radio), have members numbering 900,000 and 715,000 respectively as of May 2022. At the time, their combined catalogs contained a staggering 25.5 million songs. Of course, only a fraction of this total are songs that have become popular.
There are countless more songwriters who see no reason to join ASCAP or BMI but who have hired the services of a music distributor such as CD Baby to get their music onto streaming platforms like Spotify. Some simply put their music out there on Youtube or Tik Tok with little concern for performance royalties or publishing rights. If you explore the Internet in places like Reddit, you’ll see some of these amateur songwriters actually have quite a bit of talent. It’s enough to make you wonder: Can just about anybody write a song?
The question is fundamentally different compared to asking can anyone become a musician. Learning to play an instrument is at first a very mechanical process, a stage where if it’s too uncomfortable somebody will just drop it. However, if you progress you begin to learn more about music and how harmony and melody work. While to a great extent you rely on imitation, you begin developing an ear for music. You can use certain cognitive skills that facilitate the process (e.g., learning through books), or you might have an instructor. When you’ve put enough effort into it you become more proficient. You can play songs, but you won’t necessarily be able to write your own songs. You may know basics about song structure, but you can’t exactly put together chord progressions. It’s at this point many people experiment with original musical ideas, and that’s the start of becoming a songwriter.
So, the first part of the answer to the question, can anyone write a song? –is yes. It takes an effort, but even someone without much musical proficiency can likely learn to write a song. It might only be a very simple song compared to someone who has developed more musical proficiency and can likely write the kind of song many indie artists are releasing. The second part of the question is how sophisticated will your songwriting become? That depends on your goals and development as an artist.
There are simple songs. “Happy Birthday” is short and simple but still a song. The Guinness Book of World Records claims it’s the most recognizable song in the English language, and this is likely because of how frequently people have heard it. It has a practical use and it’s associated with tradition. Kids learn to love it (though I admit singing at birthdays was a little embarrassing for me). The song shows up in countless videos.
Compare this song to one that might be close but not quite as popular, “Birthday” by The Beatles. The song contains one of the first “riffs” I learned on the guitar, which I still recall was when I was in the 6th grade. It is vastly more sophisticated as a song. The familiar phrase the song opens with that has a dominant 7 structure repeats over first the I, then rises to the IV, then back to the I, and then goes to the V and resolves to the I –which incidentally is similar to but not the same chord progression in “Happy Birthday.” Then a new melody is introduced sung in-between the phrases. The song has several distinct parts and changes that are variations of the opening musical theme, one which only contains percussion, which was a great way to build tension in the song and then resolve it. The creative elements in the song demonstrate exceptionally honed songwriting skills. This is clearly not a song just about anybody could write.
However, a musician can likely create a song that sounds like “Birthday” after hearing it. it’s easier to create songs that sound like other songs than it is to create songs that sound more original. In fact, there’s a phenomenon in which some songwriters who hear a song that’s gained popularity write a song that sounds like it. Whether this is intentionally or unconsciously done, it appears to work because familiar sounding songs don’t conflict with what people expect from a song.
Contemporary cultural values can also bias a person’s impression of what to expect from a song. The Beatles were a dominant musical force in the UK, Europe, and the US when they released the song “Birthday” on The White Album in 1968 and still had a huge following. If a new band released a song like this today, do you really think it would become so popular? But even though the psychedelic era of the 60s has driven off in painted hippie vans for a permanent holiday, it doesn’t make the song less brilliant as a song. It means less people may want to hear it today.
Given its popularity I also wonder: Can someone who is not a musician create a rap song? Rap is unique in that instead of sung with specific notes and melody lyrics are more often spoken words with a rhythmic pattern, usually over a drum beat and/or a simple chord or arpeggiated harmony in the background. Rap artists sometimes come up with the rhythm pattern and the lyrics in an a cappella manner and may also perform it in this way, which they may refer to as a song even though some might argue it’s closer to a poem. So, when there is no melody, creating a rap song has unique qualifiers unlike songs that have a true melody, and a person who understands the rhythms associated with the genre and has a knack for creating lyrics can write a rap song.
If you ask someone who may be lacking musical expertise to put lyrics to a melody, the person might not be able to go beyond repeating the same note, which I’m not suggesting is inferior. Technically, it’s the simplest melody you can have in a song.
But God forbid I start writing about what is a “good” song. I’m only addressing the notion that just about anybody can write a song. I think it’s certainly becoming easier to become a songwriter, maybe even easier to become a good songwriter. These days many of the tools that were out of reach for most musicians in the past are readily available, including those that facilitate getting down your song ideas and that allow you to make great multi-track recordings of your songs. Technology has changed the way people write songs, and it’s changed the form of new songs that have become popular.
What about computers? Will AI technology soon allow anybody to write a song with the help of a computer? I’m sure with programming you can make a computer generate a song, but compared to songs created by those who have honed their craft as songwriters computer generated songs would likely be only the product of imitation derived from programming. But wait, didn’t I just write above that’s how musicians begin to become songwriters? -through imitation and basic understanding of music, song structure, etc.? I know there are people who insist computers can learn. Some can even write their own programs. But let me know when computers can respond to the human element we call “inspiration,” the thing that compels people to write a song and others to fall in love with it.
“This music is immediately accessible and appealing, going a long way toward Flaire’s goal of making jazz more visible (and audible).”
-C. Michael Bailey
C. Michael Bailey is a senior writer for the All About Jazz website who over the years has offered an amazing number of album reviews, nearly two thousand as well as 579 other articles and reviews. He discovered my new album, Sounds Like Jazz, and has written a review on it:
Some highlights from the review (and my comments):
“Coming from seemingly out of nowhere, guitarist and composer Peter Flaire makes a case for exposing a larger audience to jazz.”
–If you wonder why isn’t jazz more popular, it’s not because it’s a style of music that simply fell out of favor with a contemporary audience because much of today’s music still carries a jazz influence (including hip hop, rap, and R&B). I can think of at least three reasons for the sag in interest. As discussed by musicians at one popular forum, one of the “problems” with jazz in today’s world is when there’s too much emphasis on improvisation, i.e., long solos with blazing notes. This is often impressive to other musicians, but consumers of music are not necessarily musicians themselves. How well an audience responds to a jazz musician’s improvisational indulgence depends on factors other than the virtuosity of the player.
Secondly, a lot of jazz presents the listener with dissonant tones. The use of altered and extended chords are at the core of jazz, so if you remove them you end up with the rhythms of jazz but with a bland harmonic texture and tone.
A third reason the jazz genre itself might seem unappealing at first, particularly to a younger audience, is because it’s associated with a history of covering jazz standards. There are brilliant versions of songs like “Autumn Leaves,” “Blue Bossa,” or “Round Midnight,” songs that jazz lovers might say seem to transcend time, but they are associated with the historical development of jazz. They are academic for students to learn from, and indeed there’s great value to this, but it leaves many listeners today with a lingering feeling that this is “old” music.
The characteristics some describe as making it unappealing to listen to jazz can be modified so that you still get a form of jazz. You get what “Sounds Like Jazz,” hopefully appealing to more people but that doesn’t disappoint those of us who are already fans of jazz. The smooth jazz movement said to have peaked around the 1990s was a similar attempt to make jazz more popular. Music technology and recording as well as how music is delivered to the public has vastly changed since then.
“The opening ‘Change’ is a contemporary take on love in the 21st century.”
–The lyrical theme of the song “Change”is about how even though the state of the world seems to be one in which it’s so hard to find compassion, and hope for the future appears to be gone, we can at least as individuals and then collectively change this even though change is something many people are not okay with.
” ‘Leaving Home’ is the closest thing to a traditional ballad that captures the essence of Flaire’s artistry.”
–I was writing songs when I was 19, and this is one of them, but it’s been altered in various ways to become what you hear on Sounds Like Jazz. It’s a song that actually has two meanings. The easy one to understand is a person wanting to leave a sad life behind to find a new tomorrow, but because memories of the past where you’ve had your home make it difficult this requires determination.
The other meaning behind the song draws from the philosophy of Plato’s Allegory of the Cave. In general, what humans know as the truth is not necessarily so because we are ultimately bound by our human limitations of understanding. The metaphor is that of a person who lives inside a cave and only sees shadows on the wall cast by the artificial light of a candle. What if someone could come out of the cave? They would see the true forms of things. They would find wisdom. They would have knowledge of a type that transcends those who only dwell inside the cave. The cave is “home” to people who believe the shadows they see are reality, and they don’t (or can’t) know anything beyond it. Sound a little like The Matrix movies? –as if those in the cave have taken the blue pill but those willing to venture outside the cave (if that’s possible) are willing to take the red pill?
Today, you find some people seem to be so bound by a socio-cultural or political reality to the point that they’re like someone living in Plato’s cave. There are forces that exert pressure to keep you inside a cave and call it a home. Once I became more aware of how these forces work I took more control over my own life, but it required “leaving home.” The song is sad because what I’m talking about is a solitary act. Nobody can take the red pill for you.
“Flaire is a capable singer with an immediately identifiable timbre.”
I try to sing cool and focused. Developing yourself as a good vocalist is one thing, but to find your own unique voice and a style that fits is something much more difficult and in some cases even more valuable. Think of the name of a famous singer and at the same time you can probably also hear the “identifiable timbre” of their voice. It’s the accomplishment of a mature vocalist.
Believe it or not, I spent many years wailing hard rock before I made the switch to jazz. In doing so, I discovered rather than having a loud emotional tone I prefer to sing in a way I consider to be cool and focused.
Thanking C. Michael Bailey for writing an album review that’s also cool and focused. Read the full review: May 2022: Music In The Air
In any evaluation of the indie music scene, I think new artists have to take into consideration the state of the world has not been much improved for more than two years since the pandemic. War in eastern Europe is not just about the destruction and atrocities committed. It’s effect on global economies, how things like fuel supplies are being weaponized, even the potential threat of nukes looming are making the world a harder place to live in. Inflation has made food, gas, and housing prices soar, and yet we hope someone will hand out $5 or so for a music download. Is it little wonder there are indie artists trying to squeeze some kind of benefit out of offering their music for free?
Consider how the state of the world might be affecting listeners:
First impressions are crucial. Many factors influence whether or not someone is more likely to reject your music: the time of the day, how busy someone is at a given moment, was the person irritated because of lack of sleep, and so on. Consider how on a psychological level all the above factors mentioned so far, global issues and personal stressors, can be combined to become the underlying cause for either ignoring or rejecting a new artist’s music. Today’s world is distracting people. The new artist today is essentially being faced with more moments of bad timing. It limits the chances for a good first impression of your music.
New artists may need a better understanding of how the world is affecting listeners and potentially turning them away from their music. You might think new artists can still find favor with a large audience by either presenting the music at the right moment or by presenting it in a repetitive manner (e.g., radio plays). If you can afford to have a marketing team behind you then you’re already a step ahead of most us. But still, no amount of marketing is going to make up for world events making people less likely to be in the mood to listen to new music.
You might think you can take advantage of someone’s desire to escape the madness. Listening to music can provide a therapeutic benefit, periods of respite, but does nothing to change the actual state of a broken world. The issues will still be out there when you put the headphones down.
But don’t things like the therapeutic effects of listening to music help you cope with issues? Can’t music provide you with a sense of hope?
It did in the past, at least for someone as sensitive as me, but I’m an artist. I’ve perhaps foolishly appraised the power of hope so high assuming if you write it into music it will get through to inspire a listener. The inspiration can be blocked because of the extra ill effects of today’s world. A song that goes into the territory of breaking through repressed emotions (i.e., emotions repressed as a psychological defense protecting someone from overwhelming anxiety) may not be welcomed. It depends on the listener. The increasing pressure individuals need to endure is only making it more likely the walls of psychological defenses stay up, which means your new song designed to inspire people may actually be rejected upon first impression.
It was hell during the pandemic as live performances were lost, but now even on a post-pandemic stage, are new emerging artists with original music (not to be confused with bar bands) getting much of a break? For all anybody knows, the post-pandemic artist may not even yet be post-pandemic given the ups and downs of COVID restrictions. Uncertainty about the future has always been an existential dilemma for all of us, but in almost a Darwinistic survival of the fittest our existential dilemma appears to be responsible for killing off the opportunities new artists need, and with the loss of opportunity will come the loss of art.
…art itself can grow from adversity but suffers before anyone takes notice.
I think it’s already the case that desperation caused by the above factors along with increased competition are suppressing creativity and fostering “copycat music,” new music that sounds incredibly similar because its goal is to emulate already successful music. This is unlike the trend that has existed for decades with pop music in which new artists have either ridden the coattails of prior popular music by recording cover versions or tried to create new music that sounds like bands getting the most radio play. I’m talking about the loss of originality –songs with no new sonic, musical, or thematic elements. Not even a unique or distinct vocalist. No new approach other than what is already selling.
We are quickly losing awareness of how one of the things that made the independent artist shine was not being held back by the constraints caused by the demand to sell and succeed coming from record label execs and producers. Artistic license is still one of the things that makes indie music production fulfilling. I tried hard to take a style like jazz and create a new brand on my newly released album, Sounds Like Jazz. Although some people hear the word “jazz” and they think it means the same as “old” (because of jazz standards), it’s actually a form of music that’s been progressing since the 30s and 40s when first popular. It grew in part from adversity because it was derived from Blues, which developed from the music of African slaves. That’s particularly inspiring to me. It’s an example how art itself can grow from adversity but suffers before anyone takes notice.
New indie artists today require extra resolve. I’m not suggesting we succumb to the state of the world and stop creating new music, only re-evaluate how it’s affecting new artists and their ability to create new music, share it, and most importantly how to gain enough attention by a distracted audience. An artist can reconcile with the state of the world, go underground, detach from it, even channel it to some extent, but waiting for things to improve is no longer an option.
I’m going to shift my perspective for a moment to write about something that pertains to psychology and the process of recording music.
Ever notice how some days your recorded songs sound too slow, but other days too fast, still other days just right? Or, on some days it seems the groove is lacking or just not there, but other days you’re impressed how tight the groove really is?
How could this be? It’s not a true hearing impairment. You might even start blaming your audio system or computer, but it’s not your gear. This is a type of phenomenon cognitive psychologists sum up like this:
Moods infuse judgements.
The same stimulus (i.e., the recorded music itself that remains in the same state) seems to be creating a different perception with the same person at a different time. To a large extent it happens because shifts in mood and mental status can affect auditory perception.
But if the same stimulus is perceived in altering ways, how do you pin down a final version?
Before it was released, I listened to the songs on my album when tired late at night or early in the morning and many times felt like some of them were rushed. I wanted to slow the tempo down for the final mix, but I learned to wait a day or two because I realized at the same time, if I was in a really bright mood (like after exercising or eating), it seemed the tempo was too slow. Only over time did I settle on what sounded right, and I suspect many musicians impulsively or impatiently keep going up and down with things like tempo without realizing that your mood is actually playing tricks on you.
This phenomenon is not the same as when live music is played at a different tempo compared to the original recording. In these cases the psychological energy associated with live performances (including audience response) affects how fast the musicians feel is right. This too can be way off. I’ve seen many musicians who play a song as if faster is better, but that rule of thumb definitely doesn’t generalize to recorded music where you need to anticipate if the song is played over and over, what’s the best tempo for it. Plus, we expect live music to sound a little different than what was originally recorded. Our mood at the moment is not the only thing altering our perception and judgement of what we hear.
Since most of us are our own worst critics, it’s important to learn how the perception of your own music can make you alter it, especially if you’re potentially going to make it worse. Almost by definition, artists are emotional people, and when stressed or worn out from thinking creatively our own minds can start to work against productivity. It could get to the point that you think you need to re-record a song because you’re not feeling it, even though everyone else does because they’re in a different mood or got adequate sleep last night.
Hold off on those major changes and remember: Moods infuse judgements.
Celebrating the launch of my Youtube channel, I have finished work on my very first music video! Click on the screenshot above to view it.
I chose the song “I Want To Be Free” from my new album Sounds Like Jazz because the visual concept I had in mind for it was simple enough to work with what tools I already have, like a Canon EOS camera, a tripod, and the free version of Lightworks video editor. Lots of work trying to get the audio synchronized with all those clips, and many hours exploring how to use video FX. I’m quite satisfied because my original goal was to create something more interesting to look at than the static album cover used for the music already sent to Youtube by my distributor. I think I more than achieved the goal, and did so the indie way –on a marginal budget ($0 actually) but with maximal effort.
The song “I Want To Be Free” has a retro jazz sound reminiscent of the days of guitarist Django Reinhardt. Its sentiment grew out of how I felt when we were all being introduced to the term “lockdown.” It’s a lighthearted but sincere song about something in this day and age should not be taken for granted: your freedom.
If you like the video and the song, please share.
I Want To Be Free
I want to be free Free like the wind Free to go anywhere Never a care I want to be free Free from the start Free to the end Start over again You talk about plans, plans aren’t all they seem I want to be free and I want you with me.
You ask me how do you live like anything goes Who really knows anything goes
I want to be free Free like a cat Roaming the street Find me a treat I want to be free Flying down a highway pass Running free ’till I run out of gas Forget travel plans, plans aren’t all they seem I want to be free and I want you with me.
You ask me how do you live like anything goes Who really knows anything goes
I want to be free like the wind Free to go anywhere Never a worry Never a care Free from the start and free to the end Free to start over and over again Free like a cat that’s roaming the street Strolling down an alley gonna find me a treat Fly down a highway ’till I run out of gas So forget those plans, plans aren’t all they seem I want to be free but I want you with me
Free like two waves in an endless sea I want to be free and I want you with me
Peter Flaire has been played over the airwaves of Albuquerque and livestreamed on the KUNM website. The University of New Mexico KUNM Radio Music Director who hosts a show “Ear To the Ground” spotlighting local New Mexico musical artists has compared my music to jazz artists Ben Sidran and Mose Allison. After hearing Sounds Like Jazzhe wrote to me, “Your work here is extraordinary — I can’t believe you can get such sax phrasing w/o actually playing the instrument!” He’s referring to the tenor saxophone you hear in the recordings, which are the sounds of a real saxophone but played as a MIDI sampled instrument on a keyboard. Takes a lot of practice to get that right, and it’s the kind of technology available to producers such as myself to transform their visions into high quality recordings.
Click image to hear the song Change by Peter Flaire.
I’ve been saying for weeks that the world seems poised to go right from the COVID era and straight into war…
My music on the album Sounds Like Jazz is not just about jazz. There is a bit of activism built into some of it. I’ve said the music is infused with lyrical themes of our times, but I never thought I’d be explaining a song within the context of war breaking out in Eastern Europe.
I’m not sure if most people understand how Russia invading the Ukraine has the potential to cause immeasurably more damage in a very short period of time compared to how the world was impacted during the last two years of the COVID era, in particular the psychological damage. Every human being who has an understanding of war is affected by it on some level. When events such as these occur we tend to defend ourselves as individuals with denial, rationalization, or minimalization. When the shock sets in we feel pain and are consciously horrified by such violence. Many want to do something to put an end to these atrocities, but it’s not in our nature to run toward a war. War is the ultimate failure of human nature.
I just read from NBC news that the Russian government is praising Putin for “saving” Ukraine with an invasion. I’ve seen enough of this kind of propaganda for one lifetime, and I know given there were Russian people in St Petersburg who protested the invasion I’m not alone.
Some people believe in the power of politics. I think the political machine has become too corrupt to do that anymore. I believe in the power of music to speak to the soul. We don’t need more weapons and bombs and heartless death. We need CHANGE. This song will continue to be posted on social media in anti-war sentiment. If you see it please share.
Change
When hearts are broken can we ever be free I think it’s about time to let love be Never could lose a feeling inside me But I ain’t afraid to change No I ain’t afraid of change
What happened to love all these years Could it take us away while leaving us here over the distance to bury our fears I want to believe in change
I want to believe in change I want to believe in change I may be feeling alright with change I want to believe in change but there’s a feeling inside me
Don’t you run away, take control of these feelings going down I know you never mean to push it away when we need our world tochange
What happened to hope all these years It’s just another face stained with tears Tell me why is it so hard to end these fears I want to believe in change
I want to believe in change I want to believe in change I may be feeling alright with change I want to believe in change
Do you want to believe I want to believe
I ain’t afraid of change I may be feeling alright with change Feeling alright living my life I ain’t afraid of change Live my life for change Now I’m gonna believe gonna believe Gonna believe in change
When hearts are broken can we ever be free
To listen to the song “Change” on my first album Sounds Like Jazz, check out the BandCamp link .
Drop me a comment on Twitter where this song is now being re-Tweeted before it’s too late.
Now that my new album, Sounds Like Jazz [jazz/soul/pop], is released and available on BandCamp, Spotify, Apple iTunes, Amazon, and Deezer, as an independent artist the arduous work of getting the word out about the music has begun. The internet is filled with opportunities, but you really need to find the right sources that provide a chance to share your music so others can get interested. You could be the best songwriter in the world but you’ll remain obscure until enough people actually find out who you are.
I was once optimistic enough to believe if you’ve got a song that’s potentially a hit then once released to the public there could be no stopping it, as if people would discover it automatically. That was wishful thinking — in part a misunderstanding of how when AM/FM radio was more popular if a new song got airplay people eventually found out about it. The internet has changed this, and with millions of independent artists now promoting their own music you cannot simply rely on those who have heard it to spread the news.
I’m finding many of the people who have offered feedback about some of the songs on my new album are musicians themselves who have their own projects. That’s great because it provides a reality check on what I think about my own music, provides examples of a first impression (which I can’t have anymore), and helps me understand what exactly people like about it.
Here are some examples of the comments I’ve received at Reddit over the past week on two songs that appear on my new album, Sounds Like Jazz:
“Beautiful. Love your sound and sense of style. Keep ’em coming.”
“The recording quality of this is fantastic. Really dug the song. It reminded me of some classic 70s jazzy rock.”
“Beautiful composition to listen to while taking a relaxed walk by the sea on a sunny day… i like.”
Yesterday, someone on Reddit even asked, “Where can I support your work?” After about a week of posting there those words were incredibly encouraging.
That’s the bright side of it, for now. Not every subReddit is friendly about posting a link to your music, and some will even ban you if you try to do it. So if you’re a musician reading this make sure you read the rules for each subReddit before you try. The one linked above is fantastic. See you there!
Lots more for me to do. Onward to Twitter!
If you see my music out there on Youtube, like the song New Wheels, if you like what you hear please click the Like button to give it a thumbs-up. That means a lot to new artists. Thank you for your support!
Sounds Like Jazz is not only available on Bandcamp. I’m now on Youtube and other streaming platforms. What you find on Youtube is not my official artist channel. The way Youtube works for artists who have a first release, I actually can’t claim an official channel until I have a distributor send a new release to Youtube two more times. But I’ve still got my own website!
If you prefer to check out Sounds Like Jazz on Youtube…Be my guest! Subscribe, Share it, Like it. Click the button. Thank you for your support.
Peter Flaire 