Archive for October, 2008
Brooke Fensom – “Take Me Home”
October 31st, 2008 | Author: admin
Brooke Fensom – “Take Me Home”, Official music video. Created by Laura Fensom. … “new music” “new songs” “must see” original “brooke fensom” “take me home” unsigned “New music videos” 2009 “new musicians” “new artists” awesome hot gorgeous creative “music video” official
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By: brookefensom
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Kebnekaise – Horgallten
October 29th, 2008 | Author: admin
name Kebnekaise after the highest mountain in Sweden, and started out as a mainly instrumental rock band in the tradition of Hendrix and Cream, releasing the debut album Resa Mot Okänt Mål in 1971. For the second album they recruited six new musicians: guitarists Glenngård and Böckler, percussionist Hassan, harmonica player Lindström, and drummer Netzler. Soon bassist Göran Lagerberg, who had played with Tages in the ’60s, also joined the group. If the first album had been influenced by blues …
By: Yetstream
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By: Yetstream
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Gaither Vocal Band live concert highlights from Orlando, Florida
October 17th, 2008 | Author: admin
Highlights from the first Homecoming Concert with all five of the new Gaither Vocal Band members. Featuring Bill Gaither, Mark Lowry, Michael English, Wes Hampton and David Phelps. Taped in Orlando, Florida on Valentines Day 2009.
By: gstudiosvideo
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By: gstudiosvideo
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UAE Dubai Lime Music Video 13
October 15th, 2008 | Author: admin
This is the video from the Dubai lime jam at Central Perk coffee shop in Dubai Marina in April 2006 – A number of new musicians played at the event which marked the opening of the new Central Perk coffee shop at the Waves, Damacs new residential tower. All of the video’s and interviews of musicians are available at dubailime.com for your viewing pleasure. Also check out Dubai lime to get free access to lots of VIP events in and around Dubai – its simply the greatest coolest thing you can do …
By: Dubailime
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By: Dubailime
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1976 Interview with Al Kooper – Musician, Singer , Song Writer and a 60’s Rock Icon
October 13th, 2008 | Author: admin
Al Kooper has been involved in a career that has spanned many decades. Born on February 5, 1944, he joined a group called The Royal Teens which found some success with a couple of hit singles. He then engaged in a series of sessions [as a guitarist] and ultimately became a songwriter, co-writing the hit “This Diamond Ring” for Gary Lewis And The Playboys. He went on to form The Blues Project and then found his first taste of true fame as a founding member of Blood, Sweat & Tears. Though he only lasted through one album, Child Is Father To The Man, this brought him enough visibility to venture out as a solo artist.
Here, in late 1976, the keyboardist/guitarist/composer/producer talked about his current solo album, Act Like Nothing’ Wrong, and forayed into his past to describe projects from back in the day.
Steven:
When did you first start playing?
Al:
I first started playing when I was six years old. I sat down at a piano and played ‘The Tennessee Waltz’ on the black keys because that’s the only song I knew. And from that day on I was hooked. We couldn’t afford a piano and the only time I could play is when we’d visit someone who had a piano. So I would not go with my parents to someone’s house unless they had a piano. Finally, they bought one when I was about ten and I went through a myriad of teachers because I played by ear; I had trouble playing technically which still exists today.
I played until I was about fourteen and then I played guitar for years. I quit because it wasn’t real status to play the piano at that time. Piano was like milk, it’s the basic food, the basic instrument. You can figure everything else out off of it. All the horn players in Blood, Sweat & Tears cut me on piano, all the horn players played piano better than I did. Eventually the trombone player [Dick Halligan] took my place on keyboard when I left the band.
When I was a junior in high school, I took private lessons from a guy on Long Island named Gerald Knighter. That was extremely helpful but it was also a tremendous setback in my playing career as he told me I would never be a good player. He quit teaching me piano. I don’t think I’ve ever overcome that; I convinced myself that he was right and I quit ever thinking I could ever play. It hurt me immeasurably [even] today.
Steven:
When did you first start working with Blood, Sweat & Tears?
Al:
Right after I left The Blues Project; there was this kind of glimmer in my eye concept. Actually I didn’t do much playing in that band because I wrote the horn charts and the horn charts is usually what I would have played on the organ or the keyboard and so it didn’t leave me very much to play.
Steven:
Was the idea of using brass in a sort of rock band your idea?
Al:
Yeah, the brass thing was an idea that I had and I wanted to introduce that to The Blues Project but there was no acceptance for it there. I was just turned down cold. And I was writing all these songs that showed up on the first Blood, Sweat & Tears album that were adaptable for brass and that I heard in my head. I heard them [songs] in my head, finished, and they had to have brass, they couldn’t make it with just The Blues Project instrumentation. So I had to quit and put together this band and that was my motivation.
Steven:
What instrumentation were you using on the first BS&T album?
Al:
I bought an organ which I had custom-wired; it was a Hammond and I had little things put on it that I liked. I had the volume pedal removed so it could go anywhere on the floor and I had the stops pre-set to how I wanted them. And I had the thing beefed up so it was louder than a regular one. Of course, this was in ’67 before they made those chopped up ones. All of us bought instruments when we got the advance from CBS; it’s just that mine was the most expensive. Steve [Khan] got a guitar, Bobby [Colomby] got a set of drums and a couple of the horn players got axes. Nobody really had much money in those days, and so I sort of made a pact with everyone and said, ‘Look, if anyone ever splits the band, they oughta be able to walk with their axe.’ And of course when I got kicked out, they kept the organ. I thought it was terrible, it really pissed me off.
Steven:
Was Super Session the project you went into directly after BS&T?
Al:
Yeah, I didn’t have anything to do and that’s why I did it. Either did Bloomfield; we found out that our careers were amazingly parallel. In that we both played with Dylan, we were both in blues bands, and we both quit them to form horn bands [Bloomfield assembled The Electric Flag]. And we were both kicked out of our horn bands. And so it just seemed that we should come together.
It was very casual, thrown together, hastily assembled album. The thing that’s important about it is that none of us were trying anything, it was just totally relaxed. We didn’t have anything to prove except go in there and play music. And of course it was bigger than anything any of us had out at the time. Before that, I assume we all probably tried too hard.
Steven:
Your first album after Super Session was…
Al:
I Stand Alone, which is why it was called that. OK, after all this shit, here I am by myself now.
Steven:
At this point, did you primarily consider yourself a guitarist, or a keyboardist, a writer, a singer?
Al:
Yes, all except the last one. Yeah, singing was always my weakness. The problem was that the music I’ve always loved and felt was not the voice that God gave me. I always wanted to have a throat transplant with Buddy Miles or something. I love black gospel music more than anything and I just can’t sing it; it’s very frustrating to me. So I do the best I can but it’s sort of useless; I get better at it every year but I’ll never be the thing that I’m imitating.
Primarily, my main instrument is the Hammond B3 organ like they had at Columbia [recording] Studios. There were some ridiculous organs at Columbia in those days; some where the tremolo wouldn’t turn on. I think on some days when we were recording Child Is Father To The Man album, I had a Hammond organ where you couldn’t turn the tremolo on, it just stayed without tremolo. I’d have to use the vibrato for any change but that’s what it was.
Steven:
Did you used to amplify the organs?
Al:
I didn’t really use any amplification. When I used to play with Dylan, I played a Hohner Pianette, and I used it on the Highway 61[Revisited] album. It was the first Hohner electric piano; I remember because they brought it to us to try it out. This girl named Chris White, I think, she’d bring Dylan harmonicas and she’d bring me all these keyboard things. I used it live and on stuff like ‘Just Like Tom Thumb’s Blues.’ And I used it in the beginning of The Blues Project and on the first album, Live At The Café Au Go Go.
Then I used a Farfisa organ with The Blues Project because I didn’t have a Hammond organ until Blood, Sweat & Tears. I played the Farfisa about ¾ of the way through The Blues Project and then they brought a cheap portable Hammond organ, an L111, and I used that until the end of The Blues Project. It was a big update over the Farfisa but there were sounds I couldn’t get on it that I could get on the Farfisa. The Farfisa was a cool organ. When I think about it, it’s best exemplified by Country Joe & The Fish. They really used it, it was their sound. They were funny organs.
Steven:
In summing up, what is it about your playing that you think most people recognize?
Al:
I use a lot of moving bass lines especially in composing which I got from Dylan; Dylan did that a lot. Like, if you play a C chord, F chord, C chord, F chord, you keep moving your bass up from C, D, E, F, to change what the chord is. You get an almost gospel feeling to it. And I like having chords which do not display the root in them. Probably the two most complicated songs I wrote are on my last album, ‘Missing You’ and ‘Turn My Head Towards Home.’ You can’t really tell what key they’re in because they modulate so much.
Steven:
And you’ve always seemed to approach your music very tongue-in-cheek; you don’t seem to take yourself too seriously.
Al:
I don’t take anything really super seriously. The book is a great platform to unveil my sense of humor. It’s called Backstage Passes and will be out in February [1977]. It’s not serious, great to put down next to the toilet and pick up when you’re getting down to it. It’s just meant to make you laugh, there’s a lot of information and pictures in it, and it’s just not a serious work. All the things that passed before my eyes from 1959 to 1969. I talk about my bar mitzvah at the Hollis Hills Jewish Center on Union Turnpike. Everybody is the same – if you cut my hair off, I look just as nerdy as I did then.
By: Steven Rosen
About the Author:
Here, in late 1976, the keyboardist/guitarist/composer/producer talked about his current solo album, Act Like Nothing’ Wrong, and forayed into his past to describe projects from back in the day.
Steven:
When did you first start playing?
Al:
I first started playing when I was six years old. I sat down at a piano and played ‘The Tennessee Waltz’ on the black keys because that’s the only song I knew. And from that day on I was hooked. We couldn’t afford a piano and the only time I could play is when we’d visit someone who had a piano. So I would not go with my parents to someone’s house unless they had a piano. Finally, they bought one when I was about ten and I went through a myriad of teachers because I played by ear; I had trouble playing technically which still exists today.
I played until I was about fourteen and then I played guitar for years. I quit because it wasn’t real status to play the piano at that time. Piano was like milk, it’s the basic food, the basic instrument. You can figure everything else out off of it. All the horn players in Blood, Sweat & Tears cut me on piano, all the horn players played piano better than I did. Eventually the trombone player [Dick Halligan] took my place on keyboard when I left the band.
When I was a junior in high school, I took private lessons from a guy on Long Island named Gerald Knighter. That was extremely helpful but it was also a tremendous setback in my playing career as he told me I would never be a good player. He quit teaching me piano. I don’t think I’ve ever overcome that; I convinced myself that he was right and I quit ever thinking I could ever play. It hurt me immeasurably [even] today.
Steven:
When did you first start working with Blood, Sweat & Tears?
Al:
Right after I left The Blues Project; there was this kind of glimmer in my eye concept. Actually I didn’t do much playing in that band because I wrote the horn charts and the horn charts is usually what I would have played on the organ or the keyboard and so it didn’t leave me very much to play.
Steven:
Was the idea of using brass in a sort of rock band your idea?
Al:
Yeah, the brass thing was an idea that I had and I wanted to introduce that to The Blues Project but there was no acceptance for it there. I was just turned down cold. And I was writing all these songs that showed up on the first Blood, Sweat & Tears album that were adaptable for brass and that I heard in my head. I heard them [songs] in my head, finished, and they had to have brass, they couldn’t make it with just The Blues Project instrumentation. So I had to quit and put together this band and that was my motivation.
Steven:
What instrumentation were you using on the first BS&T album?
Al:
I bought an organ which I had custom-wired; it was a Hammond and I had little things put on it that I liked. I had the volume pedal removed so it could go anywhere on the floor and I had the stops pre-set to how I wanted them. And I had the thing beefed up so it was louder than a regular one. Of course, this was in ’67 before they made those chopped up ones. All of us bought instruments when we got the advance from CBS; it’s just that mine was the most expensive. Steve [Khan] got a guitar, Bobby [Colomby] got a set of drums and a couple of the horn players got axes. Nobody really had much money in those days, and so I sort of made a pact with everyone and said, ‘Look, if anyone ever splits the band, they oughta be able to walk with their axe.’ And of course when I got kicked out, they kept the organ. I thought it was terrible, it really pissed me off.
Steven:
Was Super Session the project you went into directly after BS&T?
Al:
Yeah, I didn’t have anything to do and that’s why I did it. Either did Bloomfield; we found out that our careers were amazingly parallel. In that we both played with Dylan, we were both in blues bands, and we both quit them to form horn bands [Bloomfield assembled The Electric Flag]. And we were both kicked out of our horn bands. And so it just seemed that we should come together.
It was very casual, thrown together, hastily assembled album. The thing that’s important about it is that none of us were trying anything, it was just totally relaxed. We didn’t have anything to prove except go in there and play music. And of course it was bigger than anything any of us had out at the time. Before that, I assume we all probably tried too hard.
Steven:
Your first album after Super Session was…
Al:
I Stand Alone, which is why it was called that. OK, after all this shit, here I am by myself now.
Steven:
At this point, did you primarily consider yourself a guitarist, or a keyboardist, a writer, a singer?
Al:
Yes, all except the last one. Yeah, singing was always my weakness. The problem was that the music I’ve always loved and felt was not the voice that God gave me. I always wanted to have a throat transplant with Buddy Miles or something. I love black gospel music more than anything and I just can’t sing it; it’s very frustrating to me. So I do the best I can but it’s sort of useless; I get better at it every year but I’ll never be the thing that I’m imitating.
Primarily, my main instrument is the Hammond B3 organ like they had at Columbia [recording] Studios. There were some ridiculous organs at Columbia in those days; some where the tremolo wouldn’t turn on. I think on some days when we were recording Child Is Father To The Man album, I had a Hammond organ where you couldn’t turn the tremolo on, it just stayed without tremolo. I’d have to use the vibrato for any change but that’s what it was.
Steven:
Did you used to amplify the organs?
Al:
I didn’t really use any amplification. When I used to play with Dylan, I played a Hohner Pianette, and I used it on the Highway 61[Revisited] album. It was the first Hohner electric piano; I remember because they brought it to us to try it out. This girl named Chris White, I think, she’d bring Dylan harmonicas and she’d bring me all these keyboard things. I used it live and on stuff like ‘Just Like Tom Thumb’s Blues.’ And I used it in the beginning of The Blues Project and on the first album, Live At The Café Au Go Go.
Then I used a Farfisa organ with The Blues Project because I didn’t have a Hammond organ until Blood, Sweat & Tears. I played the Farfisa about ¾ of the way through The Blues Project and then they brought a cheap portable Hammond organ, an L111, and I used that until the end of The Blues Project. It was a big update over the Farfisa but there were sounds I couldn’t get on it that I could get on the Farfisa. The Farfisa was a cool organ. When I think about it, it’s best exemplified by Country Joe & The Fish. They really used it, it was their sound. They were funny organs.
Steven:
In summing up, what is it about your playing that you think most people recognize?
Al:
I use a lot of moving bass lines especially in composing which I got from Dylan; Dylan did that a lot. Like, if you play a C chord, F chord, C chord, F chord, you keep moving your bass up from C, D, E, F, to change what the chord is. You get an almost gospel feeling to it. And I like having chords which do not display the root in them. Probably the two most complicated songs I wrote are on my last album, ‘Missing You’ and ‘Turn My Head Towards Home.’ You can’t really tell what key they’re in because they modulate so much.
Steven:
And you’ve always seemed to approach your music very tongue-in-cheek; you don’t seem to take yourself too seriously.
Al:
I don’t take anything really super seriously. The book is a great platform to unveil my sense of humor. It’s called Backstage Passes and will be out in February [1977]. It’s not serious, great to put down next to the toilet and pick up when you’re getting down to it. It’s just meant to make you laugh, there’s a lot of information and pictures in it, and it’s just not a serious work. All the things that passed before my eyes from 1959 to 1969. I talk about my bar mitzvah at the Hollis Hills Jewish Center on Union Turnpike. Everybody is the same – if you cut my hair off, I look just as nerdy as I did then.
By: Steven Rosen
About the Author:
Steven Rosen is a Rock Journalist. Since 1973 he has accumulated over 1000 hours of audio content and 700 articles and interviews…all now available for licensing or purchase.
Contact Steven Rosen for more information and review more of Steven’s published interviews at classic rock interviews
Visit Classic Rock legends…for biographies, discographies, audio clips, classic rock articles, top 10 albums and more.
Guitar Lessons for Beginners Acoustic – How to read and play music charts theory
October 10th, 2008 | Author: admin
Go to yourguitarsage.com for the Ebook that supports this video. This video teaches you how to read music charts that you might see in today’s professional studio. Check out http to get your hands on my new ebook that unlocks many of the secrets of this method of reading and playing songs. Formore guitar lessons, see my other free tutorials. For original and cover music by me, Erich, go to www.myspace.com . Since I’m so busy making new video tutuorial lessons all the time and teaching guitar …
By: yourguitarsage
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By: yourguitarsage
About the Author:
Brent Titcomb Gives Advice to New Musicians
October 9th, 2008 | Author: admin
In this www.artistshousemusic.org clip, Canadian Singer Brent Titcomb covers all of the essential information that independent artists today need to know. Titcomb speaks about maximizing your resources in home recording, Internet marketing, promotion, merchandise, and more.
By: ArtistsHouseMusic
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By: ArtistsHouseMusic
About the Author:
Timely & Lucrative Audio Interview Ideas
October 3rd, 2008 | Author: admin
Lucrative to one person may mean something different to another.
There’s millions and millions of different topics and niches and products out there.
My niche, the internet marketing crowd and copywriting and marketing niche, it is such a small niche.
Copywriting niche, if you ask ten people on the street, “What is copywriting?” I guarantee you probably out of ten, maybe one may know what copywriting is.
My niche is a very small niche, but there are huge niches out there. One niche that I like within my small niche here is I like business opportunity. It’s that saying, “Catch a man a fish, feed him for a day. Teach a man to fish, you feed him for life.”
When you’re selling a business opportunity on how to make money, or you’re selling them a system that he can implement and use to provide for his family for the rest of his life, that has a lot of value. There are a lot of people looking for that. So, I like business opportunity. One of my main products is an HMA Marketing Consulting System. That really is a business opportunity. It teaches you how to be a marketing consultant, and if you take to it and study it and implement it, you could make a nice living doing marketing consulting. So, it’s a short cut to the process.
Those type products have a lot of value, and it’s great to use audio interviews, expert interviews and testimonial type interviews to promote that type of thing.
So, I would go with business opportunities and you might find some other niches that are even more popular that have a higher demand and say, “Do your research.”
A lot of my recordings aren’t necessarily business opportunity, but they’re information trainings. Copywriting really, it could be a business opportunity, but there’s skills like negotiating and copywriting and sales scripting and how to get more referrals. Those are all skill type interviews, and those actually will translate into more money in your pocket.
So, my niche, business skills and business opportunities have been pretty good for me. So, I would stick with something like that, and I would also think about the type of margins when you’re creating your information product. What could they sell for?
Business opportunities tend to sell for higher margins. People will pay more for those. People will pay a million dollars. I don’t know how much a McDonald’s franchise is. Maybe they’re two or three million now, or they’ll pay a million dollars for a Subway. Franchises are being sold everyday, and these things go for fifty, sixty, seventy, eighty, a million dollars because they’re business opportunities.
When people buy into them, they believe that that franchise is going to support them for the rest of their life. So, I would consider something like that with high margin. I absolutely believe that audio can sell high ticket items like that.
By: Michael Senoff
About the Author:
There’s millions and millions of different topics and niches and products out there.
My niche, the internet marketing crowd and copywriting and marketing niche, it is such a small niche.
Copywriting niche, if you ask ten people on the street, “What is copywriting?” I guarantee you probably out of ten, maybe one may know what copywriting is.
My niche is a very small niche, but there are huge niches out there. One niche that I like within my small niche here is I like business opportunity. It’s that saying, “Catch a man a fish, feed him for a day. Teach a man to fish, you feed him for life.”
When you’re selling a business opportunity on how to make money, or you’re selling them a system that he can implement and use to provide for his family for the rest of his life, that has a lot of value. There are a lot of people looking for that. So, I like business opportunity. One of my main products is an HMA Marketing Consulting System. That really is a business opportunity. It teaches you how to be a marketing consultant, and if you take to it and study it and implement it, you could make a nice living doing marketing consulting. So, it’s a short cut to the process.
Those type products have a lot of value, and it’s great to use audio interviews, expert interviews and testimonial type interviews to promote that type of thing.
So, I would go with business opportunities and you might find some other niches that are even more popular that have a higher demand and say, “Do your research.”
A lot of my recordings aren’t necessarily business opportunity, but they’re information trainings. Copywriting really, it could be a business opportunity, but there’s skills like negotiating and copywriting and sales scripting and how to get more referrals. Those are all skill type interviews, and those actually will translate into more money in your pocket.
So, my niche, business skills and business opportunities have been pretty good for me. So, I would stick with something like that, and I would also think about the type of margins when you’re creating your information product. What could they sell for?
Business opportunities tend to sell for higher margins. People will pay more for those. People will pay a million dollars. I don’t know how much a McDonald’s franchise is. Maybe they’re two or three million now, or they’ll pay a million dollars for a Subway. Franchises are being sold everyday, and these things go for fifty, sixty, seventy, eighty, a million dollars because they’re business opportunities.
When people buy into them, they believe that that franchise is going to support them for the rest of their life. So, I would consider something like that with high margin. I absolutely believe that audio can sell high ticket items like that.
By: Michael Senoff
About the Author:
Michael Senoff is a sought-after Internet marketer, interviewer and business coach with more than 50,000 students on four continents. For a limited time he is giving away free over 120 hours of in-depth audio interviews with some of the richest and most successful marketers, copywriters and business experts in the world at his famous website http://hardtofindseminars.com