Bettering The Better Business Bureau: A Follow Up

We recently blogged about the enlightening TV special that ABC's 20/20 ran, exposing the Better Business Bureau. In the program, investigators uncovered several eye-opening truths about the supposedly respectable organization. Particularly interesting was the disclosure that the Better Business Bureau requires companies to pay a subscription fee in order to be eligible to receive a higher grade in their online rating system. This system is currently under much scrutiny--and for good reason. In fact, after a group of small business owners created a couple of fictitious companies (including one named for a Middle-Eastern terrorist organization, and one a white supremacist group) and paid to have them be accredited (and given A ratings) by the BBB, the process is now being compared to a "pay-to-play" scam. As a company that refused to pay their fees and has been unfairly downgraded by the Better Business Bureau, we at HillTop Records feel very strongly about this issue. We're glad that it is finally getting the attention that it deserves.

Among the more prominent critics of the BBB's questionable practices is Connecticut Attorney General Richard Blumenthal. In his recent letter to Alan L. Cohen (Vice President and General Counsel of the Council of Better Business Bureaus), Blumenthal expressed his concern that "certain BBB practices threaten its reputation and effectiveness as a reliable resource for consumers." He also went on to write:

"I appreciate that you and your colleagues have met with my staff and engaged in serious discussions toward resolving my concerns, but much more needs to be done. I repeat my call for the BBB to de-couple enrollment fees from ratings. At a minimum, the BBB must disclose to consumers that its rating system is influenced by fees... I am concerned that the new alpha rating system skews ratings results in favor of BBB dues-paying businesses... I find no reasonable basis for tying rating points to a membership fee--in essence, creating what could be viewed as a 'pay-to-play' system, rather than a transparent and equitable 'rating' system."

You can read the published letter in its entirety right here. You can also read excerpts from a statement made by Alison Southwick, spokeswoman for the national BBB:

“We disagree with his characterization that BBB does not adequately disclose the fact that accredited businesses financially support BBB,” she said. “However, we are always interested in hearing from our partners in consumer advocacy, and are pleased to accept constructive feedback from his office and other consumer advocates.”

Whether or not the BBB actually agrees with the accusations made by Blumenthal and other opponents, the organization is obviously on the defensive. In particular, the Los Angeles branch of the BBB--its largest local branch and also the largest source of controversy--has announced plans to conduct a full investigation. The L.A. branch is where the BBB's new alpha grading system (which replaced the original satisfactory/unsatisfactory rating system five years ago) was first created. Since it was implemented in L.A. and across the country, the grading system has proved to be very lucrative for the Better Business Bureau; in fact, according to its 2009 tax filing, the L.A. BBB accumulated over $6.2 million in accreditation fees in 2008. What's more, in a deposition for a lawsuit in which the L.A. branch was sued over its grading system, CEO William Mitchell testified that his office employed over 30 sales representatives who earned a 45% commission for selling first-year memberships to business owners.

With so much money involved, it is not hard to see why the BBB has favored this new rating system--or how it has created an unfair playing field for legitimate business owners. As a company who has refused to pay BBB's accreditation fees, we at HillTop Records are all too familiar with the repercussions. For years, we have been jumping through the BBB's bureaucratic hoops, trying to raise our suspiciously low grades--when all along, we could have bought an A+ for $395. In the light shed by 20/20's expose, it is comforting to know that we are not alone in our outrage.

Stephen Cox, president and chief executive, responded to the outcry from business owners and consumers with a proposed plan to conduct an "independent third party" review of the Better Business Bureau's accrediting process. "We are moving ahead with implementing changes right away," he said in a recent statement. "Some are immediate, others will take longer to complete. All will support our commitment to help consumers easily and quickly find trustworthy businesses."

You can watch the original TV report on ABC News' official website, as well as read late-breaking updates on the controversy. We will also do our best to keep our readers abreast of the issue right here on our HillTop Records blog.

Add A Little Music To Your Thanksgiving Weekend!

While we know the food and family are enough to keep you busy, you may just be seeking a little more entertainment this Thanksgiving. If that's the case, you might want to check out one of the several great music festivals set to hit American cities this holiday weekend:

The 31st annual San Diego Thanksgiving Dixieland Jazz Festival (11/24/2010 - 11/28/2010) in San Diego, California kicks off holiday festivities today. The lively event brings over 15 bands to the Town & Country Hotel and Convention Center, first for a dance on Wednesday night and then the Thanksgiving Champagne Buffet with live jazz on Thursday afternoon. The music continues on until Sunday, when the festival concludes with a "Hymn-A-Long." You can expect to hear everything from traditional Dixieland to swing, bluegrass to Zydeco, ragtime to rockabilly. It's all here at this "crown jewel of jazz festivals."

Looking for an unconventional way to spend Thanksgiving while at the same time giving back to the community? Head to The Vagabond in Miami, Florida. There you may enjoy the 2nd Annual Diggers And Shakers (11/25/2010), a techno and dance concert whose proceeds benefit the Community Partnership for Homeless. The non-profit organization helps Miami's homeless transition from living a life on the streets to enjoying greater stability and self-sufficiency. DJ's from around the world are set to light up the stage. The party is sure to be huge and last until early morning. The concert starts at 10PM, and early arrival is highly recommended.

In Portland, Oregon, the Oregon Symphony is collaborating with performers from around the world (including world record holders, Olympians and gold-medal winners) to bring you the Cirque de la Symphonie this Thanksgiving weekend (11/27/2010 - 11/28/2010.) The incredible concert is set to combine classical music with dance and circus acts like aerialists, acrobats, mimes, clowns, contortionists and jugglers to create a magical and memorable holiday.

Be sure to keep checking back here at our HillTop Records blog for more information on upcoming music festivals and events! Happy Thanksgiving from all of us here at HillTop Records! We wish you all a fun and safe holiday!

Is It Really A Better Business Bureau?

Way back when we started our HillTop Records blog, we addressed the negative reviews that we have floating around the Web. We wanted all of our readers and songwriters to know that we are aware of what people are saying and that we are doing our best to not only combat the negativity, but do away with it altogether. Here at HillTop Records, we stand behind our work--and if you read the letters of thanks sent in by our satisfied customers, you will see that we are not the only ones who do. However, no matter how hard we try to conduct our business with honesty and integrity, there seem to be other entities determined to undermine and tarnish our reputation. In particular, we're talking about the Better Business Bureau...click right here.

Years ago, we were offered entry into the Better Business Bureau's accredited membership program. We declined, not seeing the necessity of paying their annual quoted fee of $395. Ever since we declined their membership offer and refused to pay their fee, HillTop Records has been receiving poor grades (as low as an F) on the BBB's official website. The organization will sometimes say that it is because HillTop has failed to respond to 1 or 2 complaints; however, we know that we respond promptly to any correspondence from the BBB, and when we've contacted them to ask what so-called "complaints" we haven't responded to, we've gotten abolutely no response from the BBB. It's been frustrating, to say the least. But we've long suspected that we're not alone in this predicament--and on Friday night, November 12, we got the confirmation that we've been waiting for.

Some of you may have watched the recent expose ABC's 20/20 did on the Better Business Bureau. It aired last Friday, November 12th, and can still be seen in its entirety right here. Among the highlights was an interview with Wolfgang Puck. The celebrity chef and respected business owner has also received an F rating from the BBB--and he says it is because he refuses to pay their membership fees. The way Puck put it: "If you become a member, you're sure to get an A. But if you don't pay, it's very difficult to get an A... you get a D or an F. To have to join an organization to get a good grade, I think is wrong."

Other reputable business owners shared similar feelings in the 20/20 TV special. Erwin Schinnerl, General Manager of the Ritz-Carlton Boston Common, explained that his company's F rating was due to only 2 complaints--even though his hotel has served over a million guests. This unbalanced math, he said "seems to be somewhat unusual, to say the least." However, while it may seem unusual to Schinnerl, the result is one that many business owners have experienced in their dealings with the Better Business Bureau.

ABC's reporters found even more examples of surprising--even shocking!--BBB grades. One that stood out was the F rating that Disneyland Resort got last year. The grade was questioned by bloggers, and the case subsequently reviewed. Disneyland is now apparently in good standing with the Better Business Bureau. However, one has to wonder how the "Happiest Place On Earth" ever failed the organization's tests.

"This rating system is really unworthy of consumer trust or confidence," said Richard Blumenthal, Connecticut Attorney General who is currently investigating the BBB for misleading and deceptive business practices. "At a minimum," said Blumenthal, "the BBB must disclose to consumers that its ratings system is influenced by fees." Blumenthal has been a key player in the investigation of the BBB's questionable practices ever since stories of business owners being forced to buy higher grades came to light. He calls the controversial sales tactic "very, very troubling--and it could be illegal, because their failure to disclose to consumers could very well be deceptive and misleading."

President and CEO of the Council of Better Business Bureaus, Steve Cox, appeared on 20/20 to deny the accusations. He said that reports of BBB sales reps telling business owners that they had to buy a membership to improve their grade were "anomalies" and "in violation of [their] sales policy." However, the amount of evidence that reporters were able to dig up made his rebuttals pretty hard to believe. The investigators at 20/20 even went as far as to videotape a couple of small business owners as they spoke on the phone with BBB sales reps--and were told that in order to raise their low grades, they had to purchase a membership. In both cases, the business owners relinquished their credit card numbers--and within 12 hours, their C or C- grades were miraculously changed to A+. Despite this supposedly desirable outcome, the business owners were far from pleased. The proprietor of Liz's Antique Hardware of Los Angeles, one of the businesses in question, said to 20/20: "I feel like I've been taken. I feel like I had to buy a membership to raise my grade."

These sentiments were echoed by Brian Kraft, owner of the Entertainment Career Connection (a company in the L.A. area that trains local students to work in the production industry.) Because of a few complaints that were sent to the wrong address, Kraft's company was given a C rating by the Better Business Bureau. When he tried to protest, the BBB dropped the grade even further to an F. He has since spent over a million dollars unsuccessfully trying to sue the organization, and he voiced his frustration on 20/20: "These guys are bullies. They're bullying me. I can't do anything about it. It's my good name--my company's good name. It's 30 years of hard work."

We at HillTop Records certainly empathise with these small business owners, as we ourselves have fallen victim to the BBB's methods of trading money for good grades. But it wasn't just the owners of legitimate companies struggling with low grades who were interviewed by reporters for the 20/20 segment. The program also gave examples of when the Better Business Bureau gave out very high grades to new members when they shouldn't have. Take, for example, Hamas--a Mid-East terrorist group that was listed as an accredited member (with a grade of A-) on the BBB website. The people who purchased the accreditation (for the price of $425) were not actual members of Hamas, but a group of annoyed bloggers and small business owners. The anonymous opponents of the BBB's controversial and perhaps illegal practices wanted to prove a point--and they did, both with Hamas and with Stormfront (a fictional white supremacist organization that managed to buy an A+ grade from the Better Business Bureau.) According to one of the bloggers, the point was that "they're more interested in money than credibility." And the money in question is no small sum. Businesses pay the BBB anywhere from $395 to $5000 for membership and better grades, and in fact, William Mitchell (head of the Better Business Bureau in Los Angeles) makes over $400,000 each year. Pretty impressive for a non-profit organization.

Cox's response to 20/20 regarding the Hamas and Stormfront incidents? "We made a mistake." When pressed further, he disconnected his microphone and abruptly concluded the interview. After the 20/20 segment aired on TV, Cox released the following statement: "It has been pointed out that some of our practices have not measured up to the standards consumers and business owners expect from the BBB, and for that we apologize... We can and will do better." All of us here at HillTop Records hope they do, but they've got a long way to go.

Great American Songwriters: John Cougar Mellencamp

John Mellencamp, John Cougar, Johnny Cougar--the man has gone by many names. However, despite the ever-changing moniker, one thing has remained the same: the obvious musical talents of John Cougar Mellencamp. The American singer/songwriter is well known for his populist brand of heartland rock, filled with organic instrumentation and devoid of synthesizers. His unique sound and Americana themes have won over the hearts and minds of countless listeners (including many HillTop Records songwriters)--and won Mellencamp an impressive number of awards. However, long before he broke the record for the most tracks by a solo artist to hit number-one on the Hot Mainstream Rock Tracks chart or was inducted into the Rock and Roll Hall of Fame, Mellencamp was just a regular American boy--one with sizable setbacks and hurdles to conquer.

Mellencamp's childhood was a bit rocky, to say the least. He was born with a mild case of spinal bifida that affected him throughout his early years. Later, around the same time that he graduated from high school, John eloped with his pregnant girlfriend and became a teenage father. Despite the obvious trials and tribulations that went along with that, he managed to get through college and start a number of bands (the first was called Crepe Soul, which he formed when he was 14) while at the same time working a day job installing telephones. He got his first big break in his early 20's, when he met Tony DeFries of MainMan Management. It has been an uphill (if sometimes slow) climb ever since; however, Mellencamp's early personal struggles have always lent a compassionate, heartfelt and even inspirational tone to his songwriting.

Chestnut Street Incident, Mellencamp's first album, consisted of various cover songs and a handful of originals. It was released under his first stage name, Johnny Cougar (his manager's suggestion) and it was a commercial flop. After being dropped from his first label and finding new representation, Mellencamp moved to Europe for a while. His first hit song, "I Need A Lover," was not originally released in the U.S.--but it was quite successful in Australia! It did eventually reach Mellencamp's homeland, and it became a No. 28 single. Pat Benatar covered the song for her debut album In the Heat of the Night, solidifying Mellencamp's early presence as an American songwriter.

The 1980 album Nothin' Matters and What If It Did marked a turning point in Mellencamp's career, as it produced two Top 40 singles: "This Time" and "Ain't Even Done With the Night." Interestingly enough, Mellencamp himself hated the tracks; he called them "stupid little pop songs" in an interview with Record Magazine in 1983. "John Cougar" was obviously frustrated with his career--with the limitations and expectations put upon him by his management and audiences. However, despite that frustration, he finally released his breakthrough album in '82. American Fool managed to catapult him to a new level of success, thanks to three songs that remain popular to this very day: "Hurts So Good," "Jack & Diane" and "Hand To Hold On To." The musician finally had the commercial clout to take matters into his own hands, and his first order of business was to get the record company to add his real surname to his stage name. And John Cougar Mellencamp was born.

Since the early 1980's, Mellencamp has been turning out hit after hit. His first Top 10 album was Uh-Huh in '83; it gave us "Pink Houses" and "Crumblin' Down." Popular songs that followed include "Lonely Ol' Night," "Cherry Bomb," and "Paper in Fire." The last two were from 1987's The Lonesome Jubilee, an album that prompted Mellencamp to depart from his usual songwriting style. That year, he was quoted by Creem Magazine as saying about the record:

"For the first time ever, we talked about the record before we started. We had a very distinct vision of what should be happening here... Now, in the past, it was always 'Let's make it up as we go along' – and we did make some of The Lonesome Jubilee up as we went along. But we had a very clear idea of what we wanted it to sound like, even before it was written, right through to the day it was mastered."

This was only one of many telling stories that Mellencamp told the press. The artist has never been shy about letting the public into his personal life, and perhaps that is why his fan base has remained so loyal. With the help of these personal interviews, a reader can see how Mellencamp's songwriting has coincided with real-world events. Along with tapping heavily into his personal experiences, he also tends to incorporate political and social-economic themes. Even the heaviest lyrics are, however, often paired with upbeat and catchy melodies. In this distinct way, the prolific songwriter has helped to forge a new path for American music. In October 2008, he told Classic Rock magazine: "I think I invented that whole 'No Depression' thing with the [1985] Scarecrow album, though I don’t get the credit."

"Get A Leg Up," "Love And Happiness," "Walk Tall," "My Sweet Love"--Mellencamp's greatest songs still enjoy airplay today. He has teamed up with other celebrated artists (including Chuck D of Public Enemy, India Arie, Babyface, T Bone Burnett and Trisha Yearwood) and continued to release much more than the usual amount of rock, folk and blues covers. And yet, John Mellencamp has managed to retain a truly unique and easily identifiable sound. Whether he is singing "The Times They Are A-Changin'" by Bob Dylan or one of his many original singles, it is easy to pick out Mellencamp's one-of-a-kind voice and style. The multi-talented musician (he also paints, writes and acts) has earned many awards, including a Grammy (Best Male Rock Performer for "Hurts So Good" in 1982; he has also been nominated 12 other times) and the 2010 Americana Lifetime Achievement Award. What's more, John Cougar Mellencamp is not stopping anytime soon--he continues to push the envelope and try new things. In addition to his regular songwriting and political activism, the musician is currently in collaboration with horror novelist Stephen King, crafting a musical entitled Ghost Brothers of Darkland County. It should be released sometime next year, and we at HillTop Records can't wait.

Meet... Choral Singing

Okay, we know it's not technically an instrument. However, choral singing--with its distinct sound, nuance and practice--can very well be likened to an instrument. And with the 2010 holiday season just around the corner, you are sure to hear it more than usual. Here at HillTop Records, we use choral singing quite a bit in our recordings. To hear an example, check out two of the Featured Songs currently on our official website: "Bright Starry Night" and "A Christmas Greeting." Choral singing is used heavily in holiday and religious music, and we've all heard it time and time again. But what exactly defines choral music? What are its different styles, and the techniques involved? Once you've learned a little about this unique type of singing, you may agree that it deserves a spot on our instruments series.

One nice thing about choral singing is that unlike complicated instruments that take years of practice to master, it is readily available to everyone. In fact, studies show that more than one in five households have at least one singing family member. This makes choral singing the most popular form of participation in the performing arts. You can't participate in choral singing alone (by definition, the artform requires a group of singers) but not to worry--there are currently over 270,000 choruses in the United States! A choir or chorus is a body of singers who perform together. The first term applies to groups affiliated with a church, while the second refers to a group that performs in a theater or concert hall; however, the two words are relatively interchangeable. Additionally, a "choir" can be the secondary definition of a subset of an ensemble (ie. "woodwind choir") or a subset of voices within a polychoral composition.

Most often, a choir is led by a conductor or choirmaster. It is usually comprised of four sections intended to sing in a four-part harmony. However, in reality, there is no limit to the number of sections or parts within a choir. The choir can sing with or without instrumental accompaniment--and if there are instruments involved, they can vary from a single organ to a full orchestra.

Do not let its unstructured nature or lack of a special tool fool you, however. Singing in a choral or chorus takes as much of a skill set and discipline as any other instrument. Choral singers must be able to sight-read fluently, perfect their pitch and timbre, pronounce the text of the piece, correctly interpret the theme or message, stay in tune with the ensemble even if it modulates away from the "perfect" pitch, and monitor their own voices as well as those around them.

The types of choirs currently in existence are many. There are church choirs, school choirs, collegiate and university choirs, professional choirs, community choirs, and even signing choirs and those that integrate sign language with vocals. Very often, you will see a choir characterized by gender--whether it be an all-male choir, an all-female choir or a mixed (male and female) choir. The simple reason for this designation is vocal range: A male choir can have tenor, baritone and bass components or extend to include falsetto and alto sounds. A female choir is typically comprised of soprano and alto voices, while a mixed choir can include any range. Lastly, choirs can be differentiated by genre: vocal jazz choirs, gospel choirs, symphonic choirs, etc.

Undoubtedly, the most prevalent choirs are somehow affiliated with a church. However, the type of church involved can drastically change the sound and use of the choir. For instance, the Moravian Church of colonial America historically used groups of strings and winds to accompany the vocals. In more modern times, churches of the Western Rite almost always include an organ. Eastern Orthodox churches, some American Protestant groups, and some synagogues do not use instruments at all. If you attend an Anglican or Roman Catholic service, meanwhile, you may notice that the choir is used for more than leading congressional song. Anthems, motets and even full liturgies are performed to enhance the experience. At the other end of the spectrum, some contemporary churches have abandoned the traditional choir altogether and replaced it with a more casual (ie. much livelier and lacking a conductor) group of singers.

Historically, the use of choirs (religious and otherwise) dates back to ancient Greece. Evidence of the 2nd-century B.C. Delphic hymns and 2nd-century A.D. hymns of Mesomedes that Greek choruses sang remain. These singers were used in religious ceremonies and also in theatrical works like classical Greek dramas by Euripides and Sophocles. In medieval times, Gregorian chants and other types of music were sung by choirs in Catholic churches. And throughout the Renaissance period, sacred choral music was the principal type of formally-notated music in Western Europe. During the Baroque era that developed around 1600, choral music adopted an operatic flair--and although the artform died down a bit during the 18th century, legendary composers like Mozart and Haydn still experimented with choral singing. Beethoven wrote two grand choral masses, and pioneered the use of chorus as part of symphonic music with his Ninth Symphony and Choral Fantasia. In the 19th century, choral music was officially divided between church and stage--with the two styles and themes being obviously different. From Berlioz to Bruckner, Mendelssohn to Brahms, many of the greatest Western composers tried their hand at choral music.

More contemporary examples of this oldest of instruments can be heard in compositions by Richard Strauss, Arnold Schoenberg, David Lang (his Little Match Girl Passion won the Pulitzer Prize) and Philip Glass. Changes in attitude, trend and cultural climate keep the art of choral singing fresh and ever-changing. Just look at the Black Spiritualist movement pioneered by the Fisk College Jubilee Singers, or the LGBT members of GALA Choruses! Here at HillTop Records, we think the fact that they are comprised of pieces of our physical and emotional selves (ie. human voices) makes the choral or chorus one of the most fascinating and beautiful instruments (if not the most) in the world.

What's Happening In Music In: New Jersey

Our recent HillTop Records blog entry on Bruce Springsteen really got us thinking about home towns and how where a songwriter is from can continue to influence his work long after he has moved away. This is definitely the case with Springsteen, who hails from New Jersey--a state with a vibrant and important musical heritage. As diverse and distinct as the state's population, Jersey's music scene encompasses many styles and genres. If you live in the Garden State or are planning a visit, you may easily fill your calendar with concerts and events.

First of all, the cities of New Jersey play host to some of the country's most important musical events. In particular, Live Earth's benefit concert to raise money to combat global warming took place at Giants Stadium in East Rutherford in the spring of 2007. The gigantic concert was broadcast worldwide via television and Internet streams; however, if you were in New Jersey during that time, you may have been lucky enough to see the event live. To this day, Giants Stadium is used as a major musical venue. Others include the Izod Center and Asbury Park, where Jon Bon Jovi and Springsteen himself have played many times throughout their careers.

Another historical concert held in New Jersey was the Atlantic City Pop Festival of 1969. The monumental event predated Woodstock and drew over 100,000 people to the famous race track of Atlantic City. Legendary performers included Janis Joplin, BB King, Little Richard, Tim Buckley and Crosby, Stills & Nash. In more recent years, New Jersey continues to offer a full calendar of annual concerts and festivals. Depending upon what time of year you choose to visit the area, you may attend a number of exciting events: The New Jersey Folk Festival, the Bamboozle Festival, the Hoboken Spring Arts & Music Festival, the Jersey Shore Jazz & Blues Festival, the Asbury Park Jazz Festival, the Black Potatoe Music Festival, the Delaware Valley Bluegrass Festival, the Long Branch Jazz and Blues Festival, the Somerville Jazz Festival, the Wildwoods Country Music Weekend and the Cape May Jazz Festival (whose 34th annual installment takes place this weekend, November 12-14!) are all popular choices throughout the year.

As you can probably tell by the list of festivals above, jazz is an integral part of New Jersey's cultural landscape. Throughout the 20th century, Newark was an especially important hub of jazz innovation. Dizzy Gillespie, Bill Evans and Sarah Vaughan all hail from Jersey. Blue Note Records (a company that has produced literally hundreds of great jazz albums) was born there as well. But of course, jazz is not the only American genre that has been in part shaped by New Jersey. The state has given us pioneering hip hop artists like Naughty By Nature, Queen Latifah, Faith Evans, The Fugees and The Sugarhill Gang. In the world of hard rock and heavy metal, Canadian-born Sebastian Bach credits Jersey (wherein he has lived for 20 years) with much of his success. Meanwhile, we can probably agree that punk rock would be entirely different without the likes of The Misfits, Patti Smith or Saves The Day--and none of them would be around if it weren't for New Jersey.

The state's most important contributions to music are, however, within the realm of pop. Some of the greatest American musicians of all time are from Hoboken and its surrounding cities. Frank Sinatra, Connie Francis, George Clinton, Dionne Warwick, and Frankie Valli and The Four Seasons (whose rise to fame is depicted in the recent Broadway hit, Jersey Boys) were all Garden State natives. Add Springsteen and Bon Jovi to the mix, and you've got a virtual factory of American icons in New Jersey.

If you are a musician or music-lover looking to connect with like-minded locals, check out JerseyMusic.com. The Aquarian Weekly (both its online and print editions) is another valuable resource for classifieds, upcoming events, and even interviews with local bands. At the same time, Jersey has a strong radio presence. In fact, WFMU from Jersey City and WPRB from Princeton are two of the most well-known independent/college radio stations in all of America. WBGO, based in Newark, is an equally important independent jazz station and WRPR from Mahwah is beloved for its rock programming.

Lastly, if you love classical music, you will not be disappointed in what Jersey has to offer. The New Jersey Symphony Orchestra, the New Jersey Philharmonic Orchestra and the Princeton Symphony Orchestra all have a lot going on--especially with the next holiday season upon us. The New Jersey Intergenerational Orchestra, the Ridgewood Symphony Orchestra and the Baroque Orchestra of New Jersey are other excellent institutions that add depth and variety to the rich music scene of New Jersey. Be sure to check back here at our HillTop Records blog for more information on upcoming events and musical highlights of New Jersey and other parts of the country!

Meet the Synthesizer

A contemporary instrument with a surprisingly old birthday, the synthesizer was invented back in 1876. It was developed by the electrical engineer Elisha Gray, best known for crafting a telephone prototype. Over the following decades, the synthesizer was fine-tuned--and in the 1960's, the first modern synthesizer (ie. the version that we are familiar with today) was made commercially available. Since then, musicians around the world have been using synthesizers to fuse and create sounds that would otherwise be impossible. The cutting-edge instrument had a considerable impact on 20th-century music--and here at HillTop Records, we use at least one in nearly every recording session!

The synthesizer is commonly used to imitate the sounds of other instruments, and even its appearance seems to mimic something else: a keyboard. Most synthesizers feature piano-like keys that the player uses to produce sound. However, some have been built to resemble violins, guitars and even wind instruments. Despite the camouflage, however, the synthesizer cannot be confused with an ordinary instrument. Its complicated interworkings and multiple components set it far apart from the rest.

In order to generate sound through various analogue and digital techniques, the modern synthesizer features a number of high-tech components. A combination of DSP software and hardware is most common; however, there are also synthesizers that are purely software-based (they are called softsynths.) A classic analog design is emulated by an operating system of circuits and/or virtual stages. These may include electronic oscillators that create raw sounds with a timbre dependent upon a generated waveform, ADSR envelopes that help to "shape" the volume or harmonic content, a voltage-controlled filter (VCF) that in turn shapes the sound generated by the oscillators, an oscillator of adjustable frequency (LFO) that modulates frequency, a voltage-controlled amplifier (VCA) and ring modulators.

Sound complicated? Well, it is--but oddly enough, the modern synthesizer is not especially difficult to play. If you know how to play a piano, then you have a basic understanding of how to operate a keyboard synthesizer. The same goes for variations with guitar-style interfaces, drum pads, or wind controllers (like the Lyricon, which imitates the saxophone, and the trumpet-style versions manufactured by Steiner, Yamaha, Morrison and Akai.)

The variety and versatility of the electric synthesizer makes it an invaluable component to any musical recording. The instrument has been used in many genres, but is by far most prevalent in rock. The first #1 album to feature the synthesizer was Pisces, Aquarius, Capricorn & Jones Ltd. (1967) by The Monkees. It was recorded right after Micky Dolenz bought one of the first Moog synthesizers--and the unique, versatile sound was an immediate success. Shortly after, The Doors used the same instrument (played by Paul Beaver) to record the title track of their 1967 album Strange Days. Then, in the world of classical music, Walter Carlos used a Moog to record Switched-On Bach (1968), an influential album that is still considered to be one of the most successful of its kind.

From The Beatles' Abbey Road to Simon and Garfunkel's Bridge over Troubled Water, the Moog synthesizer has helped to shape some of the greatest rock albums ever recorded. Famous musicians who have used it include Richard Wright of Pink Floyd and Rick Wakeman of Yes; in fact, both men loved the instrument so much that they soon switched to playing it exclusively. With the birth of Synthpop (subgenre of New Wave) in the 1970's, the electric synthesizer became even more popular. More modern examples of its use include songs by Duran Duran (the band's keyboardist, Nick Rhodes, used Roland Jupiter-4 and Jupiter-8 synthesizers) and Soft Cell (in particular, their 1981 hit "Tainted Love" used a synthesized melody.) You can also hear the synthesizer in "Don't You Want Me" by The Human League, "Just Can't Get Enough" by Depeche Mode, and "Enola Gray" by OMD. Peter Gabriel, Frank Zappa and even Stevie Wonder have used the synthesizer as well. Pretty impressive for an instrument that was only introduced to the mainstream market about 50 years ago!

If you're interested in learning more about the synthesizer, check out Synthesizers.com--and be sure to subscribe to our HillTop Records blog for further updates!

Falling For November's Best Music Festivals

If you're like us here at HillTop Records, you may be shocked to realize that it's already November. This year has certainly flown by, and now it is winding down. But don't say good-bye to 2010 quite yet--there is still a lot to look forward to throughout November and beyond. In particular, you've got the following music festivals and events:

Brooksville, Florida welcomes November with the Riverhawk Music Festival (11/4/2010 - 11/7/2010.) The weekend-long event takes over the Sertoma Music Ranch and features 20 national, regional and local bands on 3 stages and around campfires.

That same weekend, the Moab Folk Festival (11/5/2010 - 11/7/2010) comes to Moab, Utah. The festival highlights the beautiful autumn scenery by showcasing live music in both indoor and outdoor venues.

Although it is probably not feeling the change in weather as much as other parts of the country, the sunny city of Sarasota, Florida is still celebrating November. If you're in the area this weekend, do yourself a favor and get to the 20th Annual Sarasota Bluesfest (11/6/2010.) Along with a full day of outdoor concerts, the festival will have booths selling food and crafts.

Blues not your thing? Then perhaps check out Pucho & the Latin Soul Brothers (11/6/2010) at the Bethel Woods Center for the Arts in Bethel, New York (the unique event combines jazz, Latin music, soul and funk) or METAL CUSE (11/6/2010 - 11/7/2010) in Syracuse, New York. The latter is an all-night hard-rock festival for a cause; proceeds benefit the Ronnie James Dio Stand Up and Shout! Cancer Fund.

In other genres and cities, the Mountain View Fall Bluegrass Festival heads to Mountain View, Arkansas from 11/11/2010 to 11/13/2010 and the Fiestas Patronales & Biz Expo hits Pembroke Pines, Florida 11/11/2010 - 11/21/2010.

Other exciting events worth marking on your calendars:

- the Austin Celtic Festival (11/6/2010 - 11/7/2010) in Austin, Texas
- the PGMA Fall Music Festival (11/11/2010 - 11/13/2010) in Eugene, Oregon

- the Southern Ohio Indoor Music Festival (11/11/2010 - 11/13/2010) in Wilmington, Ohio

- the Bluegrass Festival (11/12/2010 - 11/14/2010) in Wickenburg, Arizona

- the Miami Music Festival (11/12/2010 - 11/14/2010) in Miami, Florida

- the 2010 Yuma Fall Smooth Jazz Fest (11/13/2010) in Yuma, Arizona

- Bainbridge Symphony Orchestra: Northern Lights (11/13/2010 - 11/14/2010) in Bainbridge Island, Washington

- the Brazos Valley Worldfest (11/13/2010) in College Station, Texas

- the 18th Annual Slack Key Guitar Festival Kauai Style (11/14/2010 - 11/15/2010) in Lihue, Hawaii

- the Suncoast Dixieland Jazz Classic (11/19/2010 - 11/21/2010) in Clearwater, Florida

- the Bayside Rocks Festival (11/20/2010 - 11/21/2010) in Miami, Florida

- the South Shore Music Festival (11/20/2010) in Tampa, Florida

- the San Diego Thanksgiving Dixieland Jazz Festival (11/24/2010 - 11/28/2010) in San Diego, California

- the South Carolina Bluegrass Festival (11/25/2010 - 11/27/2010) in Myrtle Beach, South Carolina

Lastly, November marks the grand finale of the annual Bands of America Grand National Championships. You can still root for your favorite marching band at regional competitions in Indianapolis or St. George, Utah this coming Saturday, 11/6/2010. Then, the final event takes place 11/10/2010 - 11/13/2010 in Indianapolis, Indiana.

Remember to keep checking back on our HillTop Records blog for more updates and information on upcoming events!

Genre

We have been asked many times by our songwriters to define the musical genres of their submitted songs. We're all fairly familiar with the most popular music genres: Rock, R&B, Country, Gospel--we've mentioned all of these many times on our HillTop Records blog. But far beyond those, the world of genre extends to encompass a dizzying array of musical styles. From geographical origin to theme to time period, a "genre" can be categorized in any number of ways. What's more, many genres overlap and intertwine to create subgenres or hard-to-label styles. Sometimes, it is easy to identify the genre of a song, but other times... Well, it can actually get pretty confusing. So what exactly is music genre--and just how many are there?

Technically speaking, a genre is a categorically or typological construct that identifies musical sounds as belonging to a specific type of music. That type can be distinguished from other styles for a variety of reasons. The point of view, rhythm, instruments used, geographical or historical origin, or overall feel of a song can label it as belonging to a particular genre. However, because of the personal and subjective nature of this categorization process, the attributing of specific genres to songs can be confusing--and even controversial. Genres often intersect and fuse to create other genres, and most musicians and bands tend to identify with more than one. There is even a population within the music industry that believes that the generic classification of musical genres in any logically consistent way is practically impossible--and, what's more, that attempting to do so sets limitations and boundaries that hinder the development of music.

That all being said, there is a set list of commonly accepted criteria that aid in the classification of musical genres. The first is the "art vs. popular vs. traditional" distinction. A piece of "art music" is a piece that was primarily created as a work of art. It is usually instrumental, and it usually incorporates many elements of textbook songwriting. The "art music" label typically refers to classical (including non-European classical) music, contemporary classical music (including electronic, experimental and minimalist music) and certain types of jazz, religious, folk, world beat and New Age music. Meanwhile, "popular music" is a generic term used to identify any style of music that is readily accessible to the general public. While art music must be sought out on public radio stations or special programs, popular music is heavily distributed through mass media. While it is also created as a piece of art, a popular song is also written to make a profit. The last of the three, "traditional music," serves yet another purpose--to orally transmit a cultural or religious lesson or story. It is deeply rooted in history, and often accompanied by dance or ritual. Traditional music is also commonly referred to as "folk music."

Other criteria used to identify a particular genre include time period (e.g. "50's rock" or "romantic period"), region or nation of origin (like "southern gospel" or "Australian music"), technique or instrumentation (an example is the heavy use of electric guitar in rock music or the synthesizers and drum machines or club music), fusional origins (e.g. "Latin jazz" and "folk rock") and sociological function (Christmas music, wedding music, etc.) Sometimes, a new criterion will be introduced--and when that happens, new genres arise. For example, "fusion genres" are differentiated from one another by things like tempo, rhythm and musical influences. As a fusion genre becomes more distinct and original (through the addition of songs and criteria), it can drop the "fusion" label (which denotes a secondary or subgenre status) and become a full-fledged genre. A good example of this process is alternative rock, which gradually grew from a fusion subgenre into a recognizable, mainstream genre all its own.

New genres are constantly being created, and it is nearly impossible to list them all. To date, as many as 572 different music genres have been identified. Some you've definitely heard of. In fact, some are even featured on our official HillTop Records website. But others are rare, obscure--and even down-right weird. Here, just for fun, are a few of the more unusual musical genres that we've come across:

- Aleatoric music: a genre in which at least part of the composition is left to chance and/or determined by unpredictability

- Biomusic: a type of experimental music crafted using the synthesized sounds of living things (including sounds made by humans in a directly biological way)

- Punk cabaret: a fusion genre that combines the upbeat, over-the-top style of musical theater with the aggressive, raw sound of punk rock

- Anti-folk: a genre that mocks the seriousness and pretension of mainstream music (and, in turn, itself) through raw or experimental sound

- Visual kei: a sub-genre of J-rock (Japanese rock music) that is characterized by the heavy use of make-up, elaborate hairstyles and flamboyant costumes

- Bitpop: electronic music made using old 8-bit computers, game consoles and toy instruments (e.g. the Commodore 64, Atari 2600, Nintendo Game Boy)

- Bakou: trilling vocals created to accompany traditional Senegalese Wolof wrestling

- Screamo: a genre that evolved from hardcore punk to combine traditional rock instrumentation with synthesizers and screaming vocals to create short and chaotic-sounding songs

- Unblack metal: created as a response to black metal, this genre uses the same musical sounds but pairs them with lyrics and images that promote Christianity

- Chylandyk: a type of Tuvan throat singing that hits two or more pitches simultaneously to create a sound likened to the chirping of crickets

- Ezengileer: Tuvan overtone singing similar to chylandyk; however, this genre imitates the sound of trotting horses

- Ranchera: pop mariachi written for film soundtracks in the 1950's

- Organica: a musical genre created by the band Slips Into Space in 2007. It is written without predetermining the outcome of the overall sound, and is said to create audible hallucinations.

What's Happening In Music In: Salt Lake City

Known for its majestic mountain scenery and large Mormon population, Salt Lake City is not often considered to be a hot bed of culture. However, the city actually has a thriving art scene, cultivated mainly by its younger demographics. The students, young married couples and snowboarders that live in Utah's capital have a variety of concert venues and local genres to choose from. Whether you live in Salt Lake or are planning a visit, you may find this installment of our HillTop Records local music scene series useful.

The most dominant genres in Salt Lake City are blues, rock and roll, punk and indie rock--or, at least, that is what you will most commonly hear playing in a concert hall. When SLUG ("Salt Lake Underground," the city's 18-year-old free monthly music magazine) put out a call for local musicians to submit tracks for a compilation album, however, they were startled by the number of bands who responded--over 200! Hip hop, jazz-rock, punk--it was all there. The magazine eventually trimmed the number of tracks submitted down to the 59 that they felt best represented the Salt Lake City music scene.

To experience this thriving aspect of the city's unique culture, check out one of its most popular live music venues. The Depot, The State Room and Juniors Tavern (a private jazz and blues club) all offer a great mix of up-and-coming and more established artists. And then, of course, there's the aforementioned SLUG--still the #1 resource for all things happening within Salt Lake City's music scene. You can listen to live recordings of recent shows, read interviews with local musicians, and find a full calender of upcoming events on their website.

If you find yourself becoming inspired by the beautiful landscape, you're not alone. Plenty of successful songwriters have come out of Salt Lake. If you're looking to connect with other musicians in or around the city, check out the Local Band Network. It shouldn't be hard to find a musician or band with similar tastes. From the syncopated indie music sound of Hello Amsterdam to Newgrass artists like Ryan Shupe and the RubberBand to even rarer genres like Hawaiian (check out The Haole Boys), the musical acts of Utah have something for everyone. The Almost, SHeDAISY, Royal Bliss, The Summer Obsession and The Used are all from the Salt Lake area as well. If you are into heavy or death metal, you may be surprised to find that the city has an extensive underground scene. The Pagan Dead, Incendiant and other moderately successful acts all began their careers in Utah. This affinity for the dark and angry could possibly be part of a counterculture backlash brought on by the state's obvious ties to religion.

Of course, one cannot describe Salt Lake's music scene (or culture in general) without mentioning the influence of The Church of Jesus Christ of Latter-day Saints. Not surprisingly, Utah produces a large amount of religious music. Its most famous musical group is the 300+-member Mormon Tabernacle Choir. The choir has been releasing albums since 1910, and its members perform at least weekly for a radio program called "Music and the Spoken Word." Local Mormons also played an integral role in the rise of Contemporary Christian music across the U.S. Gospel music became popular in the 1960's, and musicians like Michael McLean and Kenneth Cope have become quite famous for their religiously charged easy listening songs. To cater to a younger generation, the area developed a new genre called "Mormon pop." Magstatic, SweetHaven and Shane Jackman produce some of the most successful examples of the style.

At any time of year, you'll find great concerts and events in Salt Lake City and other parts of Utah. However, there are particular festivals that draw especially large crowds. Consider planning your trip around the Park City & SLC Music Festival (known for its excellent chamber music) or the annual free Twilight Concert series that takes place each summer. The latter has been around for over 20 years and in 2010, crowds peaked at 40,000 attendees. The Park City International Music Festival and the Autumn Classics Music Festival (formerly the Deer Valley Music Festival) are also popular. Meanwhile, the lauded Utah Symphony and local a capella companies like Voice Male, Octappella and BYU's Vocal Point usually have something exciting planned. For a comprehensive calendar of upcoming music events in Salt Lake City, check out City Weekly--and be sure to follow our HillTop Records blog as we highlight fun festivals and concerts in the upcoming months!