How to Fully Enjoy a Justin Bieber Concert

Whenever Justin Bieber is in town, his concerts are always sold out the morning the ticketing booths open and if you have tickets to his concert, you've probably spent a bomb on it. So if you did, you would want to make the most out of this special event. Check out these tips of how you can do so.
Bring someone special with you. Special moments will spark special feelings with people whom you had those moments with. And how much more special can an occasion be other than a Justin Bieber concert? So bring that special person with you, hold his hand, sing along with him and when the moment and song is right, who knows, you might even get your first kiss.
Make a scrapbook with your other friends who are Beliebers. Justin Bieber has millions of fans around the world. To stand out, you'll have to do something special other than screaming his name. So, make a detailed, beautifully-adorned scrapbook with plenty of photos of you and your friends. Don't forget to include your contact number or email too. Who knows? Your scrapbook might be so good that it compels Justin to want to go out with you. To make sure Justin gets your scrapbook, you could hand it over to your local Justin Bieber fanclub, who most probably has contacts in JB's management team.
In addition to that, the concert might only be for a night, but you can make it last by the use of a camera. DSLR owners, don't forget to bring your zoom lens (at least 150mm zoom, depending on how far you are from the stage) to get close up photos of Justin. Photos that you should take include you and your friends with the stage in the background, awesome fan signs that the other concert attendees have written, something crazy and memorable which you did at the concert and lastly, if you have the chance, a photo with Beebs too. Don't forget to upload these photos on your Facebook profile, Tweet it or blog about it to make your friends squirm in envy.
Lastly, you wouldn't want anything horrible to ruin the fun for the night. Thus, remember to travel in groups or have your parents send you as close as possible to the concert venue, don't accept anything from strangers and I know that you might be curious, but if you're under the legal drinking age, do not consume any spirits or you'll be in trouble with the law.

Music Spotlight: Hayes Carll "KMAG YOYO and Other American Stories"

Hayes Carll is a real gem on the Texas music scene. He has the a voice that reminds me sometimes of Steve Earle and at other times of Hank Williams Sr. And accessibility from your Garth Brooks fans to hipster college kids. This album is Texas through and through, but stands out with it's sad, unique and often funny lyrics. Carll had some success on the Americana scene in 2008 with the song "She Left me for Jesus" (which is funny as hell, no pun intended), but I knew almost nothing about Carll until a few months when a friend introduced me to his stuff, and within the next few weeks I saw him on Austin City Limits and then Jay Leno playing the song "KMAG YOYO" (which stands for 'Kiss my ass guys, you're on your own"). I was sold on that song right then, so I bought the whole album (KMAG YOYO & Other American Stories) last week and it's been on constant circulation since.
The first time I listened to the album all the way through, sans the songs "Stomp and Holler" and "KMAG YOYO", I was a little bored with the album as a whole. But recalling my first listen to The National's "High Violet", (which almost put me to sleep, but every listen after it developed and revealed itself more and more, and now is one of my favorite records) I decided to give "KMAG YOYO" another shot, and I am glad I did. On that second listen the tracks "Another Like You" and "Grateful for Christmas" jumped out at me and sucked me into the stories Carll was singing. Upon each listen another song or two sticks with me when something new or funny reveals itself in the songwriting.
Hayes Carll is Americana through and through. The sound of this album would be ideally enjoyed driving through east Texas with all the windows down. The electric guitar reminds me of a Drive-By Truckers album on songs like "KMAG YOYO" and "Stomp and Holler" while the piano on "Hide Me" could fit in on a Tom Waits album, and when the choir in the background starts humming, expect goosebumps. "Hard Out Here" could be played on the jukebox at a honkey tonk and fit in with that lonesome moan of the slide guitar and the line "I used to have a heart but the highway took it" swaying with a jingle jangle reminiscent of Dylan's "Rainy Day Women 12 & 35″.
The songs are all good, but sometimes they go on just a little too long. "Chances Are" is a "sad country song" in every sense of the word and very upfront, about 2 minutes in to that song my mind starts to wander a little. The same is true with "Grand Parade", not bad by any stretch, just sort of one-dimensional. But maybe I just haven't listened to the album enough yet. Or it could be that there are just songs on "KMAG YOYO (& Other American Stories) that are SO excellent that decent songs lose their luster when places right next to them. Either way, they don't detract from the album as a whole.
Of the excellent songs on the album, the masterpiece is the song "KMAG YOYO". It's a funny, surreal story about a young solider in Afghanistan and his unlikely journey through the military and U.S. government. I laugh out loud a bit every time I hear "slippin' out the back door, gonna join the peace core, tell me I'm a hero so someone else can fight this war". It's bitingly ironic and political, Carll brilliantly lets his sense of humor make a very serious point about the war in Afghanistan. It's pure gold
If you take one thing away from this review, I hope it is: "KMAG YOYO (& Other American Stories)" is worth your time and money (don't illegally download, that is just sleazy). It's early in the year, but as of March 22, "KMAG YOYO (& Other American Stories)" is one of the best albums of the year, as far as this humble blogger is concerned.

Buying Drums

Choosing a new drum kit is a big deal, and believes me there a massive range to choose from. A lot of drummers do not research into the available on the market well enough and they end up regretting their choice further down the track. I am going to discuss certain factors to take into consideration when purchasing a new drum set
Drum Sizes
To be able to select the right sizes for you, you will first want to determine which style of music you will be primarily be playing on the drums. For example if you are going to be playing hard rock, you will lean toward larger sized drums. However if you are a jazz or funk drummer, you should be looking at drums that are smaller and offer lots of punch.
How many drums?
This is another spot where drummers generally go wrong, they decide that they want a lot of drums, and if they are on a budget, generally quality is sacrificed for quantity. What I mean by this is that say you want a 6 piece drum kit (bass, snare and a couple of toms and floor toms) and your budget is $2000, you will pay for drums 6 drums that are worth $2000 which means on average each drum will equate to being worth $333 dollars each. But say if you then looked at a four piece drum kit worth the same price, on average each drum would be worth $500, which would generally mean higher quality drums. So unless you are a metal drummer who requires a heap of drums, I would recommend looking the number of drums needed carefully.
Drum Look
Okay so if you are going to spending a lot of money on a drum kit you may as well put the little bit of extra money into making it look nice. Generally wrap covers come cheaper than having the drums painted. I would recommend find a finish that you want, without looking at the price and then spend the extra money accordingly. Having the exact finish you want will be worth it.

Introduction to Digital Music Recording: Part 1 - Finding a Space for Your Home Studio

If you're a musician, at some stage you've probably considered the idea of recording yourself, or your band, or the cool duet you do with the cat (she takes the high notes). Digital music recording technology has come a long way in recent years, and the best part is that you no longer need to remortgage your house to be able to build a decent quality home studio set up.
The first step on the home studio path is deciding where you're going to work. Are you a garage band with access to a real garage, or are you a solo act who neatly folds onto a single chair in your study? Before you think about shelling out for any equipment, you need to sort out where you're going to be recording music. As the experts say, "location, location, location". It's pretty important. Here are the things you should consider.
Peace and quiet
It almost goes without saying that if you live near a railway line or in a flight path you might want to consider recording at a mate's house instead. Always remember that you're aiming for minimal background noise, unless of course you're recording at a live venue in which case ambient chatter and intermittent clanging are part of the experience and therefore the recording. Choosing a time that you have the house to yourself is always an excellent plan. There's nothing more frustrating than laying down a perfectly executed riff that's ruined by a door slamming, the dog barking or someone yelling, "Honey, I'm ho-ome!".
Sized to fit
If you're solo artist who will only be recording a single instrument at a time, then it shouldn't be too hard to find a corner that will accommodate you and your stuff. If you're going to try simultaneously recording all members of a cello octet, you'll need to think through your space requirements a little more carefully. In some cases it could even be worth booking a local studio or hall, instead of cramming into your spare bedroom. Remember that some musicians don't like to feel confined when they play (drummers and lead guitarists in particular), so realise that you'll need a lot more space for simultaneous instrument recording. If space is tight, you should instead consider recording instruments one-by-one.
Acoustically sound
If you've ever sung from the choir stalls of a stone cathedral, you'll notice your voice sound distinctly different from when you sing in your living room. Floor and wall coverings such as carpet, curtains and wallpaper act as dampeners, which stop soundwaves from reverberating and echoing within a space. A bit of an echo can be a good thing, especially when you're recording vocals or acoustic guitar - both sound fuller and richer, as if the notes have more body. People sing in the shower because it's where they sound best! I know plenty of musicians who routinely record in their tiled laundry or bathroom for this very reason, so for a crisper, fuller sound try to avoid overly dampened rooms.
Love thy neighbour
A quick note about sound levels - if you're know you're Armageddon Loud and that you're going to be recording regularly, keeping your nearby neighbours happy should be a priority. One person's music can be another's noise, and if neighbours suspect you're breaching acceptable sound levels, a quick phone call to the local council or police can shut down your jam sessions quicker than a grace note. Be considerate about the hours you play, and consider soundproofing if you regularly rock out in close proximity to your neighbours.

Passing the Sting Symphonicity Tour Baton to Sarah Hicks

Sarah Hicks seems perfectly suited for her recently announced appointment as conductor for the latest extension of the Sting Symphonicity Tour scheduled with twenty-nine dates in Europe over June and July of 2011. This cosmopolitan virtuoso was born in Japan, raised in Hawaii and holds an impressive musical pedigree, first as an accomplished piano and viola player in her youth, and then as an adult earning degrees from Harvard in music composition and the Curtis Institute of Music in conducting. Known in orchestral circles as an enthusiastic supporter of new music and contemporary works, Hicks already maintains a crazy schedule traveling back and forth between her three positions as Principle Conductor of Pops and Presentation for the Minnesota Orchestra, Associate Conductor of the North Carolina Symphony and Staff Conductor of the Curtis Institute of Music in Philadelphia. She has extensive experience with the pop/rock genre after working with such notable rockers as John Mayer, Ben Folds and frequent Sting band trumpeter Chris Botti.
Hicks is also the epitome of a 21st century Orchestra Conductor 2.0 as a woman embracing the internet and social media to spread her musical message to a younger, hipper and tech-savvy audience through platforms including her blog "Inside the Classics" and a Twitter profile, where her bio announces succinctly, "Have stick, will travel; conductor-girl on the loose." She is also a self-proclaimed pop culture junkie devouring the latest entertainment news applicable to music through such unlikely sources as Entertainment Weekly, Rolling Stone and In Touch. For all these reasons, the Symphonicity podium awaits Sarah Hicks, who was kind enough to share how she landed this impressive gig, what audiences can expect during the upcoming leg of the tour, and her quest to find the perfect pump.
First, congratulations on your appointment as conductor for the summer 2011 extension of the Symphonicity Tour. How did this opportunity come about for you? You probably didn't respond to a help wanted advertisement seeking an "experienced conductor for rock star orchestra tour." Were you previously acquainted with Sting or have you worked together in the past?
I got hooked up with this gig via the "Botti connection." I first met and worked with Chris Botti nearly 3 years ago, and we hit it off musically. He had me come and conduct many of his orchestra dates, and he thought I'd be perfect for "a big symphony tour that Sting's planning," as Chris said. An opportunity to do a short Russian tour in the winter of '10 fell through, and then soon after the team decided to go with Steve Mercurio (who conducts all of Andrea Bocelli's tours). As the tour continued, they decided they wanted to go in a different direction, and they came back to Chris's recommendation (me!). I got the phone call in February. I was so thrilled but had to contain myself because I was in an airport security line, and it's probably wise to not act too crazy!
Were you a fan of The Police in their heyday?
Yep, from back in the "Ghost in the Machine" and "Synchronicity" days.
Would you call yourself a fan of Sting's solo work?
As of that February phone call, I had every one of Sting's studio albums on my laptop except "Symphonicities - Live in Berlin." Of course I immediately went out and bought it.
Are there any Police or Sting songs you consider favorites or that hold special significance for you?
"Wrapped Around Your Finger" was one of the first videos I remember watching on MTV. We weren't allowed to watch much TV when I was growing up, so I'd often sneak into the den late at night to get my MTV fix (they actually played music back then). I was obsessed with "Ten Summoner's Tales", in particular "It's Probably Me" and "Shape of My Heart". I lived in Prague for awhile in 1994, and listening to that album nearly every day got me through those first few really lonely weeks in a new town. As for favorite songs, there are really too many!
How are you currently preparing for the tour?
First, I had to clear my schedule of prior commitments, and there were a lot of those. One set of shows that's still on my docket though are concerts with Chris Botti and the San Francisco Symphony in mid-July; Sting didn't want to take me away from Chris, so I'm flying overnight from Europe to the West Coast and back. And this was really sweet; Chris called me the day I met with Sting and his team to let me know that he wouldn't be offended if I decided to drop the San Francisco dates. There's a lovely mutual respect between them.
Otherwise, I'm learning music, watching the Berlin DVD... and hunting for shoes. I love a nice 4-inch heel when I conduct, and I want some really fierce ones for this tour.
After already visiting Europe previously, will this leg of the tour offer anything different for the audience?
The set list will be different, and the show will have a different flow - talks are ongoing.
Previously Sting has been supported by the Royal Philharmonic Concert Orchestra. Will the RPCO be involved this time around, or will you be working with various other local orchestras?
No RPCO, but a whole slew of local orchestras. It's going to be incredibly complicated, and we actually have another conductor who is going ahead of the show to prepare the orchestras.
You have worked with an impressive list of orchestras worldwide already in your career. Do you foresee difficulties or challenges with an ever-changing cast of musicians?
It's always challenging to step into a new situation with a new group of musicians, but that's also part of the fun of the job. Every orchestra is different, and that should bring a new element to the show every night. And I love a challenge.
How would you compare or contrast your personal conducting style to that of your predecessor, the animated and entertaining Steven Mercurio?
Hard to say, you know, because although I get to see a lot of conductors in action, I rarely get to see myself! Many audiences and musicians have told me I'm graceful, but I'm so focused on the music when I'm conducting that I'm not entirely aware of what I'm doing. One difference between myself and Steve, though, are those high heels I was talking about. How many conductors do you get to see in 4-inch patent leather?
How have your peers responded to your involvement with Sting's orchestral tour?
Friends and colleagues in the business are thrilled for me, and I have a list 20 people long of musicians who offered to join me as my baton carrier/personal assistant. (For the record, I don't usually have a personal assistant, much less a baton carrier! Musicians have an odd sense of humor...) And my friends in Europe are excited to see us live.
What are you most looking forward to on this tour?
Working with Sting, of course, and seeing how things evolve over the course of two months. Classical orchestra tours are usually much shorter (a couple of weeks), so this is a whole new world for me. And although travel can be exhausting, I love being in new and unfamiliar places, and feeling the different vibe that each city has.
Are you dreading anything about the tour?
As I said, travel can be exhausting. I already travel quite a bit, but not the day-after-day kind of tour travel, so that's going to take some getting used to.
Is there any chance the tour might be extended to other regions such as the United States? And if so, would you be able to continue as conductor based on your commitments to the Minnesota Orchestra, North Carolina Symphony, and the Curtis Institute of Music?
Don't know, but it would be exciting if the tour would be extended.
Can you tell us something about yourself that would be surprising to learn about an orchestra conductor?
I guess people have this image of orchestra conductors as gray-haired and dead serious (and usually male). I don't really fit any of those criteria! I don't listen to classical music in my downtime, current favorites are Arcade Fire, Dirty Projectors, of Montreal and Robyn. And I love playing Rock Band on our Xbox (put a microphone in my hand and I'm happy).
Yoga is a hobby of yours, and Sting is well-known as a yoga practitioner. Are you game for group yoga sessions during the tour?
Wouldn't that be something! Although I don't think my once-a-week butt could keep up with lifetime practitioner Sting.
Your final question is multiple choice. Please choose the most appropriate answer from the following list. How would you prefer to be addressed by fans and supporters during the Symphonicity Tour?
a) Madame Maestro Hicks
b) Chief Conductor Hicks
c) Ms. Hicks
d) Sarah
Sarah. Although I tell people that because I lived in Philadelphia for 9 years, I also respond to "yo!" said with the inimitable Philly accent, of course.

Advice About Making Hip Hop Beats

Hip hop beats are easy and fun to make. There are many free samples available online, but remember to try and be creative.
If your sounds are not creative and unique, they will be boring. Most artists recommend listening to lots of different music, not just hip hop. If you only listen to that, you will never come up with anything new.
If you are using the sounds as a background for rapping, you may need to soften them a bit. If the bass is too loud, it can overpower your rap. You want people to be able to hear your rapping, not just the music.
You can try to choose a beat that seems to go with your rap, if you already have one in mind. Of course, some rappers become inspired by the beat and do their best work without having a plan. If that describes you, remember to write down what you are saying or record it. Otherwise, you could lose something really good.
Starting out with the lyrics is another way to find a beat. Just saying the words out loud should give you an idea of the rhythm and timing you are looking for.
You can use the internet to make beats for free or you can invest in some software. It really depends on whether you are just fooling around and having fun or if you want to make a career out of this.
It's not as hard as you might think to make a career out of producing a beat. Today, many vocal artists will buy an original beat or background. It's the easiest way for them to be sure they are not infringing on some other artist's copyright.
The music industry is constantly changing. When everyone sounds the same, listeners get bored. So, as you learn how to make beats for free, think about how you can create something new and different. After you've been doing this for a while, it is easy to get stuck in a rut. You need to change it up every once in a while to get unstuck.
If you're having a hard time coming up with ideas, talk to other producers, song writers or singers. If you don't know anyone in the business, talk to your friends. Ask them what they like. Get their input on the projects you have already completed. Be open to constructive criticism. It will actually help you improve your hip hop beats as time goes by.

As Good As Lennon - The Best Paul McCartney And Wings Songs

There seems to be a common misconception, when anyone discusses the individual songwriting abilities of John Lennon and Paul McCartney, that Paul was the lightweight, melodic counterbalance to John's freewheeling, tempestuous genius. My view is that they were both creative equals, capable of inspiring each other to explore avenues of musical expression they would not normally go down. Many songs they wrote individually, within the confines of The Beatles, are testament to this.
However, this unique dynamic would be lost in their "solo" years - and here, one can argue that McCartney's tendency to flippant experimentation became more prevalent as did Lennon's obsession with self and increasingly poor judgment of basic, melodic material. With Lennon's early, tragic death, a consensus seems to have grown that his was the greatest and deepest of all The Beatles' multitude of talents.
As a brief response to this, I'd like to put forward some perhaps unheralded examples of Paul McCartney and Wings songs that might serve to redress this imbalance. Of course, such a selection is undoubtedly subjective but I would hope it may elicit some acknowledgment that Paul, too, was (and still is) a pop musical genius.
1. Let Me Roll It - from the 1973 album Band On The Run. A noticeably Lennon-esque production, especially on the vocal. As heavy as a pop song can get.
2. Call Me Back Again - from the 1975 album Venus and Mars. If there's been a better vocal on any solo McCartney record, I've struggled to find it. A grandstanding, New Orleans brass section is punctuated by Jimmy McCulloch's tasteful, blues guitar phrasing.
3. Check My Machine - from the 1980 album McCartney II. If this was played to most people, they would never guess it was McCartney. It sounds more like an edgy dance/electronica experiment, about 10 years before the mainstream got anywhere near that kind of thing. Staggering.
4. Every Night - from the 1970 album McCartney. Overshadowed, arguably, by the song Maybe I'm Amazed from the same LP, this is a sublime, effortless acoustic guitar exercise that also confirms his tremendous ability as a multi-instrumentalist.
5. Hope Of Deliverance - from the 1993 album, Off The Ground. A breezy, acoustic guitar flavoured gallop, decorated by Linda's and Hamish Stuart's backing vocals and Robbie McIntosh's sparkling lead licks
I'd be interested to hear if someone else can suggest other solo McCartney songs that might confirm my argument.

I'd like to advise anyone to check out a guy I discovered recently who reminds me so much of Paul (and that's saying something). His name is James Henry.
If you like any of the Paul McCartney and Wings songs above, you will probably enjoy James Henry, so click the link below to get a free download of James' song Saturday Morning - a freewheeling slab of Beatle-ish, melodic pop if ever I heard it.