We all have that one friend who is too good at everything. Luckily, at the label, we have a lot of those friends. One in particular is Zack Messick. You may know Zack from Re-Education Camp (If you don’t know Re-Education camp, then you should). We are extremely excited to announce that Zack has a solo project that he has graciously decided to release through Bad Apple Records.
Check out the details below.
12 Parsecs to Home is the solo project of Zack Messick of Re-Education Camp. He enjoys just about every type of music there is, and most of it has had some sort of influence on his own sound. After writing and recording with REC, and performing with full band versions of All Around the Dinner Table and Sempervivi, he found himself with musical ideas that still weren’t being expressed.
Tales from Sol will be released on Halloween 2016, but it is available NOW for our supporters on Patreon!
Influenced by music ranging from classic/prog rock like Rush and Pink Floyd, the New Wave of the late seventies and early eighties, old school hip hop like Tribe Called Quest, modern pop, and coupled with a love for all things NASA and space-related themes, Zack Messick (bassist and composer for Re-Education Camp) created a unique sound for his debut full-length solo effort. Tales from Sol is an instrumental rock album delivering heavy doses synths, piano, and strong driving bass lines. It’s intended to tell the story of a weary traveler moving through the solar system, reflecting over past memories back on Earth. So, sit back and take yourself on a journey…
Contributed by Zack Messick of Re-Education Camp. Their album Psyop’s Boombox is available on iTunes.
Every musician remembers their first instrument. Some got it for a birthday, others for Christmas, or maybe it was purchased with money save up from a summer job. No matter how the instrument came to be owned, it holds a special place in the heart of the owner.
I remember my first bass. It was Christmas, and I was 12. After we had all opened our presents, there was a note that led me to the closet. When I opened the door, there was a brand new Squier P-Bass in cherry red with a white pickguard. It was beautiful.
The trouble is, that a lot of times a starter instrument is cheaper and lower quality. As a musician progresses, sometime they need more versatility or a different sound. Unfortunately, this often means that the first instrument gets traded in, or left forgotten in a closet.
But it doesn’t have to be that way. My first P-bass is still my primary instrument. Now it is nothing like it was when I first got it. In fact, the only thing still original about that bass is the body itself. But it’s soul is still there. Continue reading ‘Giving Your Gear a Facelift’ »
Contributed by Jon Gore of Re-Education Camp. Their album Psyop’s Boomboxis available on iTunes.
You might not know this, but many of the musicians with Bad Apple Records used to be in bands together before they became what they are today. One example of this was the band Brick House Blend, which consisted of Zack and myself (currently Re-Education Camp), Derek Price (currently Sempervivi) and two other musicians, Carl Wilson and Ande Fee, who are also currently in other bands.
Like many band experiences with multiple artists, we had moments when we all agreed on what to do and moments when we disagreed about the band’s direction and sound. For the most part, we agreed on what our sound would be (which ended up being quite varied, possibly to appease everyone’s tastes).
One of the times when we disagreed, however, was when it came to the topic of performing cover songs. Some of the members of the band (myself included) were generally opposed to cover songs. Whenever I would see a cover band with several talented musicians, my first reaction was always, “Oh, that’s a shame.” I thought that it was a shame that these wonderfully talented musicians weren’t able to come up with something original that they could call their own. The other side of the debate was that cover songs were ways that we could connect to the audience and re-energize them to stay with us during our lengthy sets (I think we topped out at 4 hours at one point).
Continue reading ‘Replication vs. Innovation’ »
I’ve been playing music since I was 10. I’ve been in bands since I was 15. There was a fire in me from the first time that I heard an indie artist play music. I wanted to be that guy. I wanted to play noisy rock shows for 12 people. That was considered success, because it was never really about success.
Then that fire went away. It’s been about a year since the last time I played a show. I don’t miss it, at least not yet. Every time I practice with my band for the next gig, I always leave saying “I wish that I could just get paid to practice.”
Continue reading ‘When the Fire Dies’ »
Contributed by Jon Gore of Re-Education Camp. Their album Psyop’s Boombox is available on iTunes.
I remember it very well when the Notorious B.I.G. (aka. Biggie Smalls) was shot and killed while riding in a car after an awards show. In hip hop, that day (March 9) is remembered well and honored by many. Whether people liked him or not, it was definitely a defining moment in the music’s history and perhaps showed how far off track it had become.
Another noteworthy follow-up to that incident was a tribute song by P. Diddy (known then as Puff Daddy), who was Biggie’s producer and manager. The song, ghost-written by label artist Mase, was a tribute to the legendary MC using a significant portion sampled and interpolated (see the chorus) from the Police’s “Every Breath You Take.” Now, I might say that I love the Police more than Biggie (yep, I said it). I grew up with older siblings who watched MTV during its early days, and I vividly remember Sting and crew’s unique song style. So, when I heard this sample, I thought that it was a blatant disregard for the original. Many agreed with me while others took it a step further and said it was no different than any other song that sampled another. Well, who was right?
Continue reading ‘The Art of Sampling’ »