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Boney James - Trust

OK, so this CD is like going on 17 years old (and I may have mentioned it here before), but I just heard a cut roll out on my station ("Another Place, Another Time") that makes me wish Boney was in another place and another time. I know the guy has huge talent, but why he has chosen the path of Smooth A/C vocals, covers, and sleepy tunes is perplexing to me. I got serviced with his latest, and I have to say, it's more of the same old Boney, IMO. Other than the first single, which I actually like, and one other cut, it's the same stuff I have been hearing from him for the last 10-15 years. I know the guy is revered by Smooth Jazz fans, and that he makes the usual festival circuit---and is a big drawl. But when I hear music from "Trust," it's reminds me how much this guy sold out to the machine. Please bring back the old Boney! I miss him. :(
 
Say what you will-But I waaay agree with you. Boney has not grown at all. All of his CDs have the same formula and they run into each other.His shows are all the same.
I call the audience Sheeple-The are sheep who follow the herd. If Boney is supposed to be a leader in the scene he is doing a poor job of leading the way into the future.
 
Would Boney and the Jazz Masters ( they should be shot for taking on that name)-among others be a perfect example of why smooth jazz has died ?! Mediocre easy listening with a beat.
 
I adore this album, did when it first came out and it still holds up strong. Im going to dig it up and listen on the way to work! It was released with no fanfare on a small label (spindletop) and although Paul Brown was in the mix it didn't have that dense, dark thing going on that came about with Backbone. Lots of diversity on this one. His new one is very same old same old and has 5 vocals that are just not strong songs melodically - guess it's that NuSoul thing but sounds one-note and whiny. The instrumentals are OK but with all the subpar stuff I am getting in the mail OK from boney is fine for now.
 
Boney meeds to work with a producer. It's obvious he doesn't have the sense or imagination to move his music forward-If his fans that support him wouldn't buy this turgid piece of music then maybe he would get the message-Time to change .
 
Kudos on the Jazzmasters post-They should be arrested for calling themselves that/ You should have to go through a committee to be able to use the name "masters"
when you are obviously not-
 
I pulled out "Trust" and have been listening to it over the last few days and just wondering WTF happened??? So much of what was coming out at the time sounded like this - full bodied, powerfully played songs with guiar solos, bass solos, etc. These songs were tight and even back then purists attacked them. So they weren't "jazz" but they weren't "smooth" either. And guess what - Paul Brown produced it. the Smooth Body Snatchers took over both of them after that. Such a shame. This CD is a good illustration of the road not traveled.
 
AnotherCat said:
I pulled out "Trust" and have been listening to it over the last few days and just wondering WTF happened??? So much of what was coming out at the time sounded like this - full bodied, powerfully played songs with guiar solos, bass solos, etc. These songs were tight and even back then purists attacked them. So they weren't "jazz" but they weren't "smooth" either. And guess what - Paul Brown produced it. the Smooth Body Snatchers took over both of them after that. Such a shame. This CD is a good illustration of the road not traveled.

This is EXACTLY what I have been talking about all along. No need necessarily to "evolve." All I am asking for is these guys to get back to what hooked us in the first place. The sound and material is there, right in front of everyone. Cat's right. A lot of stuff produced in this early-to-mid 90s timeframe has good vibe. Guys who have the requisite talent CAN play like this. Why can't they see it? Too many artists, producers, and labels hopped on the BA Smooth Jazz cruise ship, and the format promptly ran aground. I challenge any Boney James fan to compare this CD with any other (even his latest) and see what we are talking about. Hard to imagine it's the same artist. This is one of the best examples of how a monopoly (in this case, BA) can stifle creativity and competition on radio and in the studio. Several artists have finally gotten the message, but some big name loyalists continue to cling to the anchor of a scuttled ship.
 
This is EXACTLY what I have been talking about all along. No need necessarily to "evolve." All I am asking for is these guys to get back to what hooked us in the first place.
Preach!!!
Sometimes when you have had to second guess yourself and not be yourself for so long you actually forget who you are and what you can do. A lot of our artists need to detox from 15 years of being told they had to do one thing. Now it's turned out to be the wrong thing. What is really scary is that these artists in their 20s did not hear the pre-smooth verison of the music. They were barely out of diapers when the music was gutted. I think that's why a younger artist will put out an album that they think is high-energy or more interesting than the run of the mill stuff when in reality it is pretty "lite."

Notice again that two of the best post-smooth CDs have come from "old guys" - Patrick Bradley and Will Sumner. It's easier for the people who lived thru pre-smooth to play like it needs to be played post-smooth and it's easier for indie artists who are not "stars" and did not get forced into a mold by major labels to stay in touch with the sound they need to be making.
 
Now that CD sales are in the tank it may be too little too late.many artists who contact me still thinik it's about a radio single-Greakin Clueless
 
producer57 said:
Now that CD sales are in the tank it may be too little too late.many artists who contact me still thinik it's about a radio single-Greakin Clueless

We have been lamenting about the labels and promoters continued reliance on the "singles" strategy for airplay for a couple of years now. Here's my beef: (1) With all due respect to the folks who decide what single to push, invariably it is not the best cut on the CD; (2) Given the state of this format on terrestrial radio, do listeners even care about what's charting, or does it even matter? Last I checked, BA's Smooth Jazz Network had 16 terrestrial radio affiliates nationwide, two of which were "weekend only." The overwhelming number of these affiliates are in smaller markets. To think Allen Kepler's weekly Smooth Jazz Top 20 countdown has the same impact for listeners (and subsequent music sales) today that Casey Kasem's weekly AT 40 had back in the 1970s is laughable if not certifiably insane.

In the days of a la carte digital downloads, listeners can no longer be duped into dropping $15 on a CD based on one or two tracks spoonfed by labels and promoters. I am doing both the artists and my listeners a disservice by not going deep on CDs as soon as they hit the streets. I can't tell you how many e-mails I have gotten from listeners saying, "WOW, that is like the third or fourth great tune I have heard from that CD! I've got to pick that one up." I know labels, promoters, and artists get more "mileage" on CDs by releasing singles. But our listeners constantly crave NEW music, and it is my job as a programmer to give it to them. I was recently serviced with a Gregg Karukas single off a CD that was released in 2009. Decent tune, but I was spinning it since GK's release, and I am ready for something new from Gregg.
 
The rules have changed back to where we started from and the "single" philosophy is no longer valid. It will be interesting to see how long it takes some artists and promoters to understand that it's now working just a bit differently. The P1's who are again our primary listeners, the only ones we have left and those who pay the bills are now our main concern. The P2's, who were the main target of BA are no longer in the house. They treated us like a toaster or any other appliance that they had no emotional equity in. Our P1's want true variety and lots of new music. Listeners don't keep listening to one song for months on end. It just doesn't work that way. When I get my stream up and running around the 1st of May, there will be lots of new music and multiple cuts from different releases. In fact artists don't get more mileage on singles. The first thing they need is airplay and some airplay is better than none. Multiple cuts will give an artist more exposure during any given day. My philosophy is that you want to release a single, that's ok with me but don't be disappointed if I don't play it because it doesn't fit what I'm doing and there could be better stuff on the full CD. I will play something for 4 or maybe 5 months and that's it. I believe that's the endurance level my audience will stand for and then it's time to move on. I'm going to play 40+ new instrumentals and a handfull of new vocals and it's to the benefit of the artist to have more than one good track on the CD. I also don't care about the charts...from anyone. If it helps me get better service then maybe but for the most part they are not worth the time to report my "spins". My audience does not care if you need two more spins on the chart to get to number one. I do care enough to play your product correctly to get the exposure you need that will not only sell product (what a concept) but also keep my listeners coming back for more. When you get into the trenches, the late, great Bill Gavin said it best. He stated that there are two kinds of PD's. The first one can pick the hits and if you one of those, give yourself a pat on the back. The second one can't pick his nose but if he's smart enough, he'll find a guy who's like the first one. This is a brave new world and for the most part, the music is dead on terrestial radio. It's not going to work on AM and you still have to pay for satellite, so let's cut to the chase and move to the new platform which is the web. Some artists are getting the message by producing new and exciting music while others are still giving us the same old same old. Some labels are sending the entire CD as a download so we can pick and choose what we feel is the best music for our audience. We are at a time of great change, not only in our format but in our society also so let's see who adapts and who becomes the dinosaur. Change is the only constant so let's embrace it to color a new world.
 
To Bill
You are right on the money-Music and great artists are always supposed to be growing and exploring new territory-even in commercial formats. That's how you survive as an artist/producer. The music and the country need the reset button. I'm doing my part
 
My philosophy is that you want to release a single, that's ok with me but don't be disappointed if I don't play it because it doesn't fit what I'm doing and there could be better stuff on the full CD

Over the last 2 years it was rare for the single to be the song that would fit the sound of the show I was doing - they never hit the strongest songs on Peter White's CD, just the softest and Jaared has a hit staring everyone down that the label has ignored and sent out the more formula songs from the CD.

Any of you who remember pre-BA remember that most of the trades charted the album then listed the 2-3 tracks that were getting the most airplay - it usually does come down to 2-3 tracks as far as a consensus but it didn't come down to 1 back then and there wasn't have the diversity of programming there is now with internet stations being tracked. I'm not big on "charts" or the concept of "single" because I don't think the listeners care. Caring what is #1 is more of a teen thing and the word "single" is starting to sound to me like "typewriter" or "casette deck"
 
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