For about two years now I’ve been working with a fantastic LA based indie/pop band named The Monthlies. Over the past few weeks we’ve been putting the finishing touches on their upcoming EP titled “Horror Flick“, which will include a very cool version of Dexys Midnight Runner’s ‘Come on Eileen’. If you search YouTube for this song you will see that several groups have covered it, but most versions are similar to the original. Not this one!

The Monthlies, in doing what they do best, have put their own unique spin on this 80′s pop standard. I won’t say much about what you’re going to hear other than if you are expecting an updated rehashing of the Dexys version you’re in for a big surprise. We hope you enjoy The Monthlies version of ‘Come on Eileen‘ and please leave a comment below if you’d like to share your thoughts with the band.

[See post to listen to audio]

The Monthlies are…
Wes O’lee – Vocals, Rhythm Guitar
Jana Bonderman – Lead Guitar
Chris Hall – Bass, Backing Vocals
Nick Miller – Drums

If you like what you hear check out their MySpace page for more songs and a video of their last single, Hip Girl.

This is a great product that I can easily see being both a marketing tool and a full digital version of a body of work for bands. For marketing it could be a 3 song demo+Bio and pics or an entire album with full artwork. Either way I think it has great potential for getting exposure and income.

Check out vook.com.

• Is this plug-in really necessary?

I guess this may work well in the broadcast world, but they’re pitching it as a mix tool for vocals. To me that means mixing, as in mixing music. Does anyone else feel that the engineer who uses this plug-in is just plain lazy?

Maybe I’m a little irked because a HUGE part of mixing a song with vocals, especially a lead vocal, is the human placement of the vocal within the track. That requires listening to all the parts of the arrangement and finding the best place for the vocal as the song progresses from beginning to end. That requires feel and emotion from the mix engineer. Can you get that from a plug-in?

Then again, maybe the real reason I so annoyed is because this could potentially put me out of a job. It’s like the Ronco Rotisserie of audio – “just set it and forget it”.

To me, I think this may be the laziest plug-in ever created. What do you all think? Feel free to leave a comment below.

You can read a description of Vocal Rider on the Electronic Musician web site.

(Side note: I actually have the Ronco Rotisserie and it is awesome! If this plug-in produces the same results I’m screwed.)

Google Wave! It’s The Future! Convergent Communication 3.0! The bleeding zeitgesty edge of real-time innovation! But, er, what exactly IS it, and what potential does it have – if any – for artists, labels and the music industry?

I’ve been puzzling over this since Google Wave was first announced earlier this year. Now it’s launched in beta, with Google having sent out the first 100,000 invites for the service, allowing those people to invite others.

There isn’t much specific information online about Google Wave and music, apart from this fairly brief Hypebot post. However, there are quite a few articles talking about what Google Wave means for brands, which offer ideas that can be translated to the music industry.

With those as the basis (and properly referenced and linked to), I’ve tried to put together a brief Google Wave primer. Read on, and do please post a comment if you have views or ideas on the subject.

First off, what is Google Wave?

In a nutshell, it’s like email meets instant messaging meets social networking meets document editing meets online collaboration. Sort of. Or, to relate it specifically to Google products, it’s like Gmail, Google Talk and Google Docs all mashed up into one service, with Facebook-style applications thrown in for customisation…

Continue reading the full article here.