Rules for Mixtapes
I done be a published author now! Enjoy.
Although (insert guy's name here who wrote article in last issue of paper) showed his proficiency at creating mixtapes, there are many on the Gordon campus who may not be familiar with the rich tradition of these types of albums. In light of this misfortune, I’ve put together 11 easy steps to a successful mixtape.
1) Theme- Themed or concept albums are sometimes looked down upon in the world of serious mix makers. Having a cohesive theme that unites a compilation, however, can be a thing of beauty: full of subtle allusions and nuances. Lyrics can share words or idea, guitar riffs and string arrangements can echo throughout. Usually, a compilation is made with a certain someone in mind, and this can help shape a themed album. With members of the opposite sex, a good mixtape can signal mutual interest and a hope of something more. But this can be a very delicate matter. With some themed discs, creators are often enticed into including tracks they may not normally simply because they fit so well with a certain concept. This can get sticky, and lends itself to the inclusion of novelty tracks, which brings us to the next rule:
2) Novelty tracks- These are cutesy little numbers that grate on a listener’s nerves after the third listen. Do not include them on any mixtape. You will regret it.
3) Transitions- Arguably the most important aspect of a compilation, transitions are the difference between a group of songs thrown together on a CD and a work of art. Good transitions show that the creator has spent time listening to and carefully placing each song. It is also where creativity can be most subtly expressed. A slow jazz number can be placed next to a ragtime piece. New new wave and old new wave can stand side by side. Noticed that Belle and Sebastian’s “Dylan in the Movies” ends on the same note the Shins’ “Girl Inform Me” begins? Now’s your chance to share that with the world. Transitions, however, serve a much larger purpose than simply bridging the gap between two songs. Well-crafted transitions help give the album an overarching flow, which is the next point.
4) Flow- Flow is the impressionistic soundscape of a compilation. Ideally, a mix will include upbeat, energetic pieces as well as more somber songs. The tendency to create mixes that only encompass one particular emotion is a common mistake. Even break-up albums should have the occasional pop piece, if only to add a note of irony. Also, there are plenty of sad-happy songs that fit in nicely on any type of mix. The Velvet Underground’s “Who Loves the Sun” is a prime example of this phenom. There are several tricks of the trade regarding flow, but these guidelines are more giving, and can be bent or even broken, accordingly. They are as follows:
5) The Opener- The first track should introduce the listener to the mix, allowing them to situate themselves “audially” before inundating them with a really spectacular song. If anything, the first track is a bit of a tease: a hint or promise of what is to come. This is not to say that it shouldn’t be a great song, it just should not be the greatest song. Allow yourself an appetizer before getting to the pot roast.
6) The Hook- The hook is traditionally the second track on an album, although it can be the third. This space is where you place your baby— that song that perfectly embodies the feel of a given compilation. A hook’s purpose is clear: to catch a listener off-guard, to draw them in and keep them listening.
7) The Centerpiece- As the name suggests, the centerpiece serves as a sort of second hook. This is where another favorite song is placed. Depending on the length of the compilation, it is usually the 6th or 7th track. If the mix is generally upbeat, the centerpiece song will be a full-out, climactic rocker. If the mix is mellow, or even somber, it will be a lush, deep, highly emotional song. After the centerpiece, the mix should take an emotional turn, to create a lull after the storm, in effect.
8) The Closer- The last track can be difficult to choose, but it usually ends a mix in one one of two distinct ways. The first type of closer lets the listener down easy and softly, and ends the compilation on a quiet, powerful note. The other option bombards the listener with one final, glorious, upbeat track, bringing the album to a decisive musical end.
9) Simmer Period- Don’t give the mix away just yet. If it’s at all possible, a good mixtape should be allowed to marinate before it is given away. Listen to it over the course of a week. Are there some tracks that don’t seem to fit? If there are, it’s back to the drawing board. Shuffle tracks around, delete and add on. If it doesn’t sound perfect, don’t give it away.
10) Title- After the mix has been created, a well-chosen title is essential. Although some mix makers use the words “mix” or “complilation” in the title, others prefer to leave those words out. Theme can often dictate a title, although lyrics or song titles can also have a part. Often, simple and enigmatic is the way to go. “The Starlight Mix,” “No No, Yes Yes,” or “Wakeup Shakeup” are all fine examples.
11) Cover Art- The fact that you can only draw stick figures does not mean you are exempt from cover art. (See explodingdog.com). If you are not artistically inclined, be on the lookout for quirky illustrations: in books, magazines, or online. A beautiful cover makes a CD look very professional, and lets the recipient know you’ve put a lot of thought into the album.
So there you have it, Gordonites: how to make a mixtape. If you’ve not had any experience with making them, now’s your chance to break out your CD burner and try your luck. Anyway, it’s easier than actually telling her you like her.