released December 31, 2016
I remember in the early 1980's when the first personal computers came out. CDs were just invented, digital as opposed to analog keyboards and effects were new, as was MIDI; an amazing new way to link synthesizer keyboards or other 'controllers' to a computer. With it you could make music like never before heard. I got real into to that. Next thing you know...
I was a little high school kid when my brother and I were signed to a local Phoenix label. Our music was created with synth, drum machine, sax, nz-samples, guitar and bass -- using a MIDI synth/controller/computer setup and multi-track analog tape. Later, we recorded to ADAT tapes and DAT tapes.
It was really cool and cutting edge, but, as a sax player who had played in several jazz combos by that point, I started to get bored with the synthetic sound of the stuff those early digital keyboards made, as well as the process itself. I like to PLAY, I like REAL SOUNDS MADE BY ACOUSTIC INSTRUMENTS, and I especially like the synergy or chemistry of mixing personalities, rather than doing all of it alone. I wanted to go back to playing in groups, instead of creating in some sort of laboratory. So, from about 1989-1999 I got away from MIDI and computer-based composing/recording.
From 1999-2004 I was a member of an Industrial Heavy Metal band called MINISTRY, which had been around since the 1980's but had a heyday in the 1990's. There was a clear hierarchy in the band. At the time I joined them, they were basically a two-piece band, Al and Paul, with a few helpers like myself and others that were sort of lower on the totem pole. During my time with the band, I not only toured and played shows, but wrote and recorded music and made a lot samples. They had been using MIDI and making computer based music, like me, since the 80's but had followed the cutting edge ever since, where I went retro. When I first got into the studio with those guys, Paul showed me the software that they were using to edit stuff together and I realized that digital and professional recording had come a long, long way in the 10 years that I had ignored it. The fact that a representation of the actual sound wave was on the screen to manipulate at a microscopic level really, really impressed me. It was way better suited to my editing style compared to trying to wrestle a bunch of MIDI data. So, what I had wanted in the 80's was now in front of me and I was blown away! Very shortly after that, Paul decided to stop using the editing software that they HAD been using (I forget which one...I think it was Studio Logic), and switch over to this other brand, PROTOOLS, that seemed to be becoming the industry standard. Paul and I learned Protools together in 2000. At some point...I want to say 2001...USB cables, laptop computers and portable, 2-channel digital audio workstations became available and I got one as soon as I could.
It was a BIG DEAL back then. Why? Because now, I had the power to actually create an album ANYWHERE. I had a studio in a briefcase. The world was my studio.
That feeling may be no big deal now, but I was completely obsessed by it in 2001... By 2004, I was a whiz at protools and making music anywhere from just about anything...but FIRED from Ministry for helping Paul make a demo for his new project. He had quit the band and the two of them were in a battle with me stuck in the middle...but that's a whole separate story...
Suffice it to say that I had put so many hours into learning protools that I could do it in my sleep, but had no band. Musically, I was at a crossroads. In addition, there was a whole other dimention to what was going on in my life; I had also just become a father. It was an emotional time, to be sure. I felt like I had been making a living using protools and had gotten these serious skills together but those skills were now going to get completely wasted. I was dropping out of the public eye, just as my skills really started to blossom.
Result: I was determined to be a dad AND keep creating music. Who cares who hears it.
By 2006, I had been out of MINISTRY for 2 years, had gotten married, had a newborn daughter and a new job--installing microwave radio, the type used for cellular communications--which put me back out on the road much of the year. While I was not thrilled to be away from home, I was making way better money, the job was interesting and it had quite a bit of 'down-time'. In other words, there was a lot of traveling, hurrying up and waiting-- almost like like being in a band -- just without the shows. So, it was perfect for me. I still had lots of musician friends and played in a few local Austin bands. I would record them back home and take the raw footage with me on the road, chop it up, edit it into song structures, then layer other instruments on top of that. And I could do that anywhere.
Then my buddy Pinkus from the Butthole Surfers (and now Honky and Melvins) invited me to partake in a 'MUSICIANS VIDEO BLOG-THING' being organized. He encouraged me to document what I was doing so I could be a part of it. So, that was the original reason for me taking all the footage. I was supposed to be one of many musicians involved, and I was excited to show how I was able to do my THANG ANYWHERE. I purchased one of those new fangled digital cameras with 2.0 mega pixel resolution. I needed one for work, anyway, but now I could double duty the thing: armed with it, I proceeded to document my travels as I worked and created a number of albums.
This is the context of my video series. Sadly, the Blog-thing fell through. Like so much of the entertainment business, it just never happened, I never really learned the reason.
But it didn't matter--my life was getting really messed up: In 2008, the financial crisis hit, I got laid off, and... everything got quite complicated. I scraped through some dark times, but by 2010 I had gotten a divorce and full custody. And I was BROKE.
By 2012, I had moved up to Seattle to be in the same town as the rest of my family. A year later I began working with Danny Barnes (x-Bad Livers) on a new band TEST APES, and we are slowly getting something really great together. I guess I am still determined...
I had not forgotten about the footage, but never got the will to edit that huge, daunting pile into anything...until one day I realized that it was coming up on EXACTLY 10 YEARS AGO! Suddenly I had self imposed a deadline on myself! So, I went ahead and started to dig in. With that said:
Its my pleasure to present to you THE SOUNDTRACK for my little 17 part rockumentary-travelog-music video series-thing: MAXBRODYWORLD TV.
UVALDE TO EAGLE PASS, 1-3
ST. LOUIS, 1-2
ISA at TYPEWRITER MUSEUM
VICTOR IN TX
while creating the music of
INSECT SEX ACT
and also featuring music from
link to episode #1:
(c) 2016 Max Brody/Various Bands
(p) 2016 Your Favorite Cheese Musick, BMI