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But some sessions just fell apart in the studiolike, almost to the point where it made people angry because it was beyond their capabilities. Some of the musicians actually loved it and thrived on it. Even people who have played in bands that did those songs, they just played their part. "It was amazing how some artists got itlike, immediately," Reilly continues. I wanna do this at scale, do a volume of stuff.' "For him, a light bulb went off, and he said, 'I love this idea. "When I talked to Roscoe about it, I was just trying to get my head around what it would cost," Reilly says. "Scott had this idea," Ambel tells me: "What if we had this label that was just solo instrumental versions of classic records? I played him some tracks I had recorded with Nashville guitarist Ben Hall playing a solo acoustic version of the Beatles' 'I Feel Fine,' Chet Atkins style, and I said, 'You mean like this?' And he said, 'Exactly.'" And, until it closed in 2012, Ambel owned the much-beloved Lakeside Lounge, in the East Village. Since 1999 he's been partners in a recording studio, Cowboy Technical Services, which recently relocated to a new facility in Greenpoint, Brooklyn. A guitarist, producer, and recording-studio owner who's fashioned a varied career in music, Ambel has played with Joan Jett, Steve Earle, and the Del-Lords.
#AMBEL DONT CALL ME UP HOW TO#
"I knew from the start it had to be iconic: iconic songs, iconic artists, iconic albums."įor advice on how to make this admittedly left-field notion into a reality, Reilly turned to an old friend, Eric "Roscoe" Ambel. Many people read it on paper and went 'Ewww!!!!' I wondered: Could we do a quality version of solo instrumentalists recording an entire album? The idea, on paper, reads just as horrible as it reads well. Some of it got to the point where it was misleading casual fans. Even the stores started saying it was bad. "Four or five years ago, there were a lot of bad covers and computer-generated stuff selling at iTunes and getting streamed at Spotify," he says months later, over a plate of tacos in New York City. His project, he explained, is called Solo Sounds. A onetime manager of madman Mojo Nixon who went on to work for such going concerns as Amazon and now The Orchard (a distributor of music, video, and films), Reilly knows all about fascinating ideas good and bad. Last March, in the midst of mingling and rattling on about the Loudness Wars or the soulless hell that pop music has become, Scott Ambrose Reilly, a fine fellow and utter character better known among intimates as Bullethead (for his bald noggin, which does indeed resemble a projectile), sidled up to me and began talking about a new project he'd been working on. There's an intoxicating energy to it all.
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Everyone has visions of morphing into a mogul.
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Many of the craziest ideas I've heard in 30 years of writing about music have been expounded on at the South by Southwest Music Festival, held each year in Austin, Texas. Most are nonsense, but every once in a whilethe gramophone, onstage monitors, Les Paul's overdubbingthe biz comes up with a winner. While it hasn't always made money or hit records, the music business has never been short on ideas.