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.

Journey Rocks the Road With Night Ranger, Foreigner

When Journey released Revelation in 2008, they not only appeared at number five on the Billboard Hot 200, they also earned their eleventh platinum album. The New York Times proclaimed "the band...feels alive." And that was even prior to the Journey renaissance fueled by the inclusion of "Don't Stop Believin'" in Broadway's Rock of Ages musical and on television's hit show Glee.
The band's keyboardist, Jonathan Cain, said his daughters assured him that placement was going to be huge: "Good for us and good for Glee. Glad they can get some mileage out of a song that's almost 30 years old now. Journey's sort of ageless in that sense. We're not like some old creeper band from the '80s with long hair that nobody cares about."
Cain saw it coming as soon as the reformed Journey started playing the tune again in 1998. He observed that "it was the one that always resonated with the kids, and they would always start charging the stage. I knew something was up. I didn't know how big it was going to get. It's kind of neat to see that side of it through their eyes, how the young generation perceives us."
Indeed, with their latest CD, Eclipse, Journey has a chance to really solidify that new generation of fans. The disc is set for release in North America on May 24 exclusively through Walmart. Europeans get their shot on June 3. Eclipse is the iconic band's 14th studio album and their second with lead vocalist Arnel Pineda (the band's sixth front man).
Of the new effort, lead guitarist and band founder Neal Schon declared, "I'm in love with this record, which I haven't said about one of our albums for a long time. It's a rock record and it sounds amazing."
Cain added that it's "a concept record with some spiritual themes to it... pretty tough, hard-hitting stuff. We just felt like it was time to send a message to the world about how we feel about life in general."
To support the release, Journey is hitting the road along with Night Ranger and Foreigner. And Schon is pretty excited: "We've got a lot of hits to play and there's plenty of time to do some new stuff too, so we're gonna mix it up. We haven't toured with Foreigner for over 10 years, so we're really looking forward to this run."
The run kicks off on July 15 in Wisconsin and wraps up on October 21 with Journey in Seattle. In between, they'll cover a large swath of North America.
Among the stops in the Northeast, Journey plays Mansfield, Mass. on August 12. Hartford, Conn. hosts Journey after that on August 25. Cincinnati, Virginia Beach, Charlotte, Hershey, and more round out the August itinerary.
For September, Journey hits West Palm Beach as well as New Orleans, Atlanta, Dallas, and Kansas City, among others. October puts the '80s rockers in cities like Mountain View, Portland, and Englewood.
In addition to North America, Journey also plans to first venture to other countries with Eclipse. Schon says that the band fashioned the record with touring in mind: "You know, I really fought for this record to be the way it is. It's a rock record. It's built for the places we're about to play. We're playing a lot of big shows - South America and Europe - and we're going to be touring the whole world on and off for two years. So I wrote for what I felt we were missing in our show."

The Steely Dan Mu Major Chord [And Beyond] For Guitarists, Part Two

In Part One we discussed the essence of the Steely Dan Mu Major chord - a root position major triad with the 2nd added and voiced adjacent to the 3rd - and possible 3 note voicings on guitar. In Part Two we look at the evolution of the Mu Major concept in the music of Walter Becker and Donald Fagan, and how to apply these ideas to the guitar.
The Steely Dan Mu Major chord evolved in later albums as the music--and the West Coast Studio musicians performing it--leaned more towards a jazz interpretation of the chord changes, where dissonant intervals [major and minor 2nds], slash chords and quartal harmonies abound. Starting with Dr. Wu [from the Katy Lied album], the Mu Major concept expanded to include minor chord function as well. This approach relies on the bass player to indicate the tonality [root], as the chord voicing replaces root and/or 5th with other scale tones [tensions] to add dissonance and richness.
Home At Last, from Aja, is a good example of this. Although played on piano on the recording, these 3 note voicings are playable on guitar. The intro is a G minor root position voicing on strings 4, 3 and 2, with the 2nd degree [A] replacing the G on string 4 [can we call this G Mu Minor?]. The 2nd chord, same strings, is an F Mu Major, i.e. a root position triad with G replacing F. The other 2 intro chords are an A Mu Minor [same as G Mu Minor, 2 frets higher] and Bb Mu Major [same strings, C D F].
Following the G minor intro, the verse section ["I know this super highway, this bright familiar sun"] begins with an Ebmaj9 chord. This voicing is best described as a slash chord, Bb/Eb, i.e. a Bb major triad with an Eb in the bass. This 4 note voicing can be played on strings 5, 4, 3 and 2 [Eb Bb D F]. The bass player is playing Eb. Like the Mu major and minor chords, however, the function of these chords can change if the bass player changes the root. For example, with the bass playing a C root this becomes a Cmin11 Eb/b3, Bb/b7, D/9, F/11]. This voicing is also used in Green Earrings, from Royal Scam. Starting at bar 3 with the Bb/Eb, the voicing moves in whole steps [Ab/Db, Gb/Cb].
Green Earrings also has an example of quartal harmony, occurring during the Am7 vamp which harmonizes the 1st 8 bars of the verse. These are 3 note voicings stacked in 4ths. These voicings were explored notably by John Coltrane [McCoy Tyner's work on Love Supreme, My Favorite Things, Transitions], Miles Davis [the quintet albums with Herbie Hancock], Bill Evans, etc. in the '50's and 60's. The voicing for the Am7, played on strings 3, 2 and 1 is D G C. With the bass player sounding A this voicing sounds like Am11, but with a G in the bass it's a Gsus4 or G11, F in the bass an F13, etc. Quartal chords are built upwards in 4ths, unlike traditional triad- based harmonies [built in 3rds]. When we invert these stacked 4ths, we end uo with mu major and mu minor- type voicings. For example, the Am11 voicing from Green Earrings, when inverted, would be G C D, and, inverted again, C D G, low to high. This creates a major 2nd dissonance between the C and D. This interval is the essential characteristic of the mu major sound.

Christian Wolff Concert Review 4-7-11 at UVA

Christian Wolff is an experimental and classical music composer who was largely self-taught in his musical education. This being said, there are relatively few "traditional" compositional paradigms which he adheres to; creating both a unique and jarring listening experience for the audience. Immediately upon the outset of the concert, his novel approach is blatantly obvious with songs that provide the performer an incredible amount of freedom - so much to the point that not any two interpretations of the same piece are performed, or heard for that matter, in the same way. A manner to approach the music in, from the perspective of a nubile experimental music listener (such as I am), would be strictly avant-garde. As with any pioneering music composer, the music has an exploratory tone to it; there is a palpable pushing and feeling around for boundaries that do not exist.
Periods of silence marked by brief outbursts, both identifiable in source and otherwise, followed by more traditional classical feeling sounds, are all common in the work of Wolff. Certain compositions, such as Play (1968) or Stones (1968) are completely unstructured, providing both performers and listeners with an abundance of freedom that can be overwhelming to those who have little experience with the world of early experimental music. At the same time, there is, paradoxically enough, a very natural feel to many of the compositions that is somewhat soothing to the audience, despite the abruptness of the pieces.
Although what I have been saying about the concert appears to go back and forth between the extremes of musically jarring and oddly comfortable, these, it appears, are entirely appropriate sensation combinations when listening to experimental compositions. In fact, there is an air uncertainty about the performers, looking about from one to another, which helps put the audience at ease with their own internal clashing of feelings and interpretations about the compositions.
The influence of his contemporaries is apparent in his compositions. The open form of Paris (1968) seems to be inspired by Earle Brown. The freely floating, unfocused, and asymmetric rhythms of Morton Feldman as appear to have entered Wolff's compositions. In all of Wolff's works, the autonomy of interpretation associated with John Cage could be felt along with other avant-garde influences from the experimental New York School, of which they all were an integral part.
Influences from abroad are also apparent, as Wolff borrows from the electroacoustic styling of the French based GRM. More specifically, Play (1968) had the influence of Pierre Schaeffer and musique concrete - as the sound was based off many unidentifiable, nontraditional "instruments" and the piece was devoid of any traditional musical elements. Despite the fact that Wolff is not associated with the minimalist musical movement, I could not help but hear some elements of the movement in his music - silence, brevity, directionless or non-goal driven, conceptual aspects. Also, as a matter of statement, although electronic aspects are frequent in experimental pieces, there was a marked absence of those sounds at this concert.

Hard Rock With Ibanez Tube King Tk999 Overdrive Pedal

I really enjoy playing rock and blues stuff on my electric guitar. Every guitarist needs the equipment that helps him with his style. One of my favourite gear parts, is my Tube king Tk999 overdrive pedal by Ibanez.
That's because it gives a crunchy rockish feel to my riffs and solos. When I turn my pedal on I can rock around the universe. I can play endlessly for hours because I enjoy the sound so much.
Ok, the instrument or the gear of a guitarist comes second. Yes! His technique and feel must be his or her most important qualities. But there are are some days which you do not have the courage or the feel to play. These days everything you've got must help you to get up. Here comes the good equipment.
Ibanez Tube King TK999 is an electric guitarist's must have overdrive pedal. Imagine your favourite guitar players, your kings of rock 'n' roll, your absolutely favourite guitar riff! Yes, the tube king can come really close to these sounds.
A every important feature of the king, is the actual fact, that it contains a real tube. Yes even with a very cheap amplifier, even with a cheap old guitar, the quality if this pedal, can save you in a gig or recording.
I have spent so many hours studying, playing and even watching my guitar. The king was a great company on those moments! Those moments of joy, when your hands are in pain from the hard strings, when your heart beats like crazy, when feel so tired yet so full and content inside! In so many of these moments I had the tube king to keep me company, and help me get the results I wanted from my sound.
When I talk to fellow guitarists, about the King most of them feel the same way with me. Of course not all my death metal friends feel the way i do. If someone likes full distortion sounds at top speed riffs, the I don't think the king does the job for him. Yeah! definitely! Don't even think of tk999 overdrive pedal if you are really into death metal.
To cut a long story short, I would like to conclude by saying one thing. In my opinion the the tube king TK999 overdrive pedal is the best thing I got to get the crunchy sound I like on my riffs and solos.
This is what I had to say about this very good overdrive pedal, which I enjoy playing so much. I'll always be proud for having one! Let's not forget that practising and souls makes a true guitarist. Though gear can play a very big role to someone's sound.

Listing The Beatles Albums In Order Of My Preference

As anyone who has even a cursory knowledge of pop history will know, The Beatles released 13 albums during their time together as recording artists, on the EMI Parlophone label in the UK and on their own Apple label, towards the end of their career.
Most people might even be able to list each of these releases in chronological order, such was the pervasive influence of the group on western culture in the 1960s and beyond.
As a lifelong fan, a question I am often asked is What Is Your Favourite Beatles Album? This is akin to being asked, as a parent with three children, Which is your favourite child? Its an almost impossible question to answer, and I find the only acceptable way to approach this conundrum is to try and list a few of the Beatles albums in order of my preference. Performing this exercise at different points over the last thirty odd years would undoubtedly have thrown up differing results, so here goes for 2011 and we'll revisit the question sometime in the next couple of years!

• A Hard Days Night: released 10 July 1964. The first Beatles album to contain exclusively self penned material. All fourteen songs attributed to Lennon/McCartney, their style and execution epitomised the exuberance and joy of youth. Lennon in particular hit a purple patch at this time, with the title track and others such as Any Time At All, I'll Cry Instead and I'll Be Back all from him. Sheer fun.
• Sergeant Pepper's Lonely Hearts Club Band: released 1 June 1967. A sprawling masterpiece, rated at number one in Rolling Stone magazines 500 greatest albums of all time, it took over 700 hours of recording time and saw The Beatles basic sound augmented like never before. Its finale, A Day In The Life, was considered by some a vision of Armageddon.
• Revolver: released 5 August 1966. Placed at number three in Rolling Stone Magazines 500 greatest albums of all time, a monumental achievement and anecdotally regarded as the bands best album. With mind shuddering songs such as Eleanor Rigby, Got To Get You Into My Life and Tomorrow Never Knows, its grandeur and ambition has rarely been matched.
• The Beatles (The White Album): released 22 November 1968. A sprawling mish mash of songs, mostly composed during their three month stint in India with the Maharishi Mahesh Yogi, earlier that year. It is notable for its diversity and stark in its portrayal of the Lennon/McCartney songwriting partnership as, effectively, at an end. Given a lukewarm reception critically on release (by their standards), opinions on it are now much more positive, to the extent that Rolling Stone listed it as the tenth greatest album of all time.

Rockabilly Music Followed a Simple Formula to Create a Revolution - And Also Broke The Rules!

In some ways, different flavors of popular music have been all over the board stylistically. There are big differences between Sinatra and Hank Williams! But in other ways--structurally speaking--it's surprising how closely different pop styles follow similar structural patterns. In that respect, rockabilly music shares much in common with many different genres of popular music.
Having grown out of a combination of country, blues, gospel, and rhythm and blues music of the early half of last century, it shouldn't be too surprising that rockabilly music shares much in common with each of those genres. Specifically, rockabilly songs typically follow the familiar 12-bar blues pattern that forms the foundation of millions of songs that have been written and recorded in not only the blues style, but also country, rock and roll, folk music, and many others.
So, what exactly is the "12-bar blues" pattern? For musicians who play in any of the styles I've mentioned here, the pattern is second nature. Musicians who don't pay much attention to music theory may not even realize they're playing the pattern--it just appears in so many songs that it's been ingrained into them. But many non musicians have maybe heard the term and wondered what it's all about. And for rockabilly fans, why should you care?
Well, you certainly are not required to understand the 12-bar blues pattern to enjoy rockabilly music, but if you're interested to know how it works, here's a down-and-dirty basic summary!
The pattern is simply a structure that the song writer uses to create a song that makes sense to the western listener's ear. There's no law that says a song writer must stick to the structure, but one can't go too far wrong with it. The structure brings instant familiarity to the listener and makes them feel comfortable with where the song's going. The composer applies this structure typically to the verses of the song and--not surprisingly given the structure's name--it is 12 bars, or musical measures, long. The end of those 12 bars leads comfortably into the next section of the song whether it be another 12-bar verse pattern or a variation used as a chorus, solo, or bridge section.
Let's take the classic Carl Perkins song "Blue Suede Shoes" for our example. The song sticks to the 12-bar blues structure and may be the greatest rockabilly song ever written. Think of the first verse of the song where Perkins helps us count out the measures by providing us with the famous "Well it's one for the money, two for the show, three to get ready, now go cat go."
The "one," "two," and "three" of the lyrics fall on the first beat of measures one, two, and three of the verse. Add in the "go cat go" and you've already made it through four of the 12 bars in the pattern. Perkins uses essentially the same musical chord for those first four measures. That chord may specifically be an E or an A or any other chord depending upon the key in which the song is played, but generically it is known as the "one" chord. The choice of that chord is related to the 12-bar blues in that a very common chording pattern (one, four, one, five, one) typically works hand in hand with the 12-bar pattern. That's another discussion for another day and starts diving deeper into music theory than most fans want to get!
After those first four bars, the song switches to what's known as the "four" chord and the song's melody changes accordingly. The song stays on the four chord for two bars. In our example, Perkins sings, "Now don't you step on my blue suede" and we're six bars in--half way through the pattern. The word "shoes kicks off the seventh bar of the pattern back on the "one" chord and Perkins fills the rest of bar seven and bar eight with a nifty guitar riff.
Over bars nine and ten, Perkins sings "do anything, but lay offa my blue suede shoes" over what's known as the "five" chord. He finishes off the pattern back on the one chord with his great guitar lick again and then the whole pattern repeats itself as he launches into the "Well you can knock me down..." of verse two.
"Blue Suede Shoes" is a brilliant example of the 12-bar blues pattern in rockabilly music. It's actually somewhat unusual because the song doesn't have a distinct chorus section. Instead, Perkins builds what serves as his chorus right into the last eight bars of the verse so that the two actually share the same 12-bar pattern instead of using distinctly different patterns for each.
"Blue Suede Shoes" is simply a great example of the 12-bar blues pattern used in rockabilly and other forms of popular music. Things get even more interesting when song writers start playing with and experimenting around the standard pattern. There are no set rules about how many bars a song or its individual sections has to have. For example, Gene Vincent's brilliant "Be Bop a Lula" uses a standard 12-bar blues pattern for the chorus (where Gene sings, "Be Bop a Lula she's my baby. Be Bop a Lula I don't mean maybe." and so on.) But his verse sections use an unusual eight-bar pattern and it all works beautifully.
If you consider the 12-bar blues pattern a rule, then songs like "Blue Suede Shoes" prove that the rules make great rockabilly music. And songs like "Be Bop a Lula" prove that, with rockabilly, the rules are made to be broken!

A List Of Good Guitar Accessories To Have

The six string is a wonderful instrument and one that is going to provide you with years of enjoyment and maybe even a career. When you first begin to learn there are certain good guitar accessories to have that will really help you progress faster.
The first thing you will need is a tuner. This is an essential piece of equipment. Learning to tune by ear is an important learning curve that will help you understand tone and notation. But before you do that, you are going to need a little help. A tuner will make sure your instrument is always in perfect pitch. This will help to make the shapes and progressions you are perfecting sound as good as they possibly can.
There are only a certain number of basic chord shapes. A great way to discover new and exciting variations is with a capo. A capo can really turn those basic shapes into new sounds and open up a world of possibility. You basically put it onto any fret of your choosing and strum your basic chords. The only difference will be that the chords will sound higher, fresher and different.
Every guitarist needs a plectrum. This is the tiny piece of plastic you will hold in your strumming hand to attack the strings with. Some players prefer to play without one, but to begin with, a plectrum is going to make learning far easier on your fingers.
Cleaning is very important. Strings will become dirty and avoiding cleaning is sure to snap the strings quicker and have you spending more money. There is a variety of cleaning products on the market, many professionals prefer using lemon oil. It is down to you, try a few out and see which one fits the best.
As you progress, you may want to get into the world of effects. There are lots of different effects out there and it is possible to make a guitar sound like an organ, a human voice, anything you can imagine. Popular pedals are delays, reverbs and of course distortions.
These are just some of the good guitar accessories to have. All of them will help you learn and make the whole process much more fun and easier. Keep practicing, never give up and you may be surprised at how fast you are improving. Who knows, after a few years we may be seeing you on the television and topping the charts.

Cheap Electric Guitars - Some Details For You To Have A Look At Before Parting With The Cash

When you come to buy your first guitar there are some general rules that are going to apply, however the number one is going to be taking your time. There is generally no need to rush into it and it is best to find a guitar that best suits your playing style and pocket.
So, having made the time to get the choice right there are some things that you can add to your list of things to consider:
• The action (or the gap between the fretboard and the strings): if the action is too high, it could make playing difficult, uncomfortable and probably painful for you. If it is too low, you may experience buzzing frets, which believe me is one of the most irritating problems you will encounter.
• Please make sure the guitar's neck is straight. Having a bent or warped neck will make playing difficult. This can be checked by simply holding up the guitar and looking along the fretboard.
• You will also need to check the intonation by playing the Twelfth fret harmonic, and then the Twelfth fret note. They should sound at the same pitch. If they are not, that will require fixing.
• The electrical wiring is vital on any electric guitar therefore you will need to check the tone and volume controls work and also the pickup selector switch works.
You will need to check that all the pickups function and that they sound clean with no crackles or loss of sound level.
Even an online guitar shop will offer a free set-up with each new purchase. This option should always be taken because a well set up guitar will be a joy to play from the outset. A badly set up instrument will be a frustrating and ultimately damaging playing experience.
For your first amplifier a solid-state one (rather than a tube amp) should be considered. Marshall, Fender, Line 6, Vox and Peavey all make a great range of cheaper and very functional starter amps.
Other bits and pieces you will need are a guitar lead and I would recommend that you don't go for one which is too short or even too long. About 3m is perfect. You will also need a guitar strap, picks in a range of thicknesses so you can find out your preference (they are pretty cheap). No matter what guitar you buy you are going to have to change the strings too, again this will be down to personal preference, but please make sure that whatever strings you choose are suited to the guitar you have brought.
A clip on chromatic guitar tuner is also a must unless you have a trained ear unlike about Ninety nine percent of us.
You can part with as much or as little as you wish, but musical instruments are certainly examples of the 'you get what you pay for' statement. The internet provides a fantastic source of information for researching guitars and how well they perform. It should probably be noted at this point too that the biggest selling acoustic in the world is the Washburn d10s acoustic guitar which starts at less than £140. The world's bestselling electric guitar is the Fender Stratocaster which is a little bit more pricey; however there are some great models out there and a couple of hundred pounds will get you a decent and playable example.  need not always be a false view and if you stick to some of the advice above you will not go far wrong.

Washburn Electric Guitars - For Discerning Guitarists Everywhere

The bestselling acoustic guitar in the world is the Washburn D10S acoustic guitar. It is available as both a six string and twelve string models. Now that may or may not be a surprise to you, but what of the company that makes these tremendous value for money guitars.
Washburn Guitars have effectively been making guitars since 1964. Whilst they market themselves as making guitars since the late 19th century, effectively this was because of a connection with a company called Lyon and Healy who were guitar makers in and around 1884. Washburn was actually their flagship brand with the name emanating from the middle name of one of the founders George W Lyon. The name Washburn was then sold and used until the 1930's when the company Tonk Brothers stopped using the name and then eventually went out of business just after World War II. The brand name was resurrected by Rudy Schlacher who started importing guitars from Japan. This then moved to Korea and consequently China. The brand is owned by Schlacher's US Music Corporation.
Apparently, Washburn were one of the first brands to formalise endorsements from guitar players, which was a bold move and certainly helps the whole industry. There are currently seven performers with signature models including Paul Stanley of Kiss with a Washburn electric guitar and George Lynch (Lynch Mob) with a Washburn acoustic guitar. There are currently 64 featured artists endorsing Washburn mandolins, banjos, resonators, electric and acoustic guitars.
Washburn acoustic guitars start at less than £100 for one of their classical acoustic guitars such as the C40. There are a great range of Washburn traveller guitars for around £100 that come with cases so you can play at any time and in any place. There are many other models available which include the Wd7s, Wd10s, Wd15s.
Washburn electric guitars include the very reasonably priced WIN14-F which has been around since 1999 when their master craftsmen set out to design a modern classic for the 21st century which led to the birth of the Idol. The Idol has won countless awards and accolades and Washburn has now expanded the Idol family to an even more versatile instrument. Washburn also make a range of decent electro acoustic guitars including the hb32dm archtop.
Many  are fitted with Humbucker pick-ups that have a feature called Voice Contour Control (VCC). In essence, this system changes the tone of the pick-up to a single coil. It does this by turning the tone knob so you do not get the hum you would usually get from a single coil. This means that a guitar player will get the best of both worlds, the richness of tone available from a Humbucker and then a thinner sound from the simulated single coil from the VCC system.
So, Washburn design and build guitars in a traditional style whilst embracing modern technology to provide today's guitarist with innovative sounds to enhance their playing experience. Washburn guitars really are great value for money, provide a great selection and are most certainly meant for everyone. Well, they do have the world's bestselling guitar in their armory!

How Can You Sing Better? - The Importance Of Recording Your Voice

As a singer and musician with almost thirty years of musical experience, I am often asked by people I meet, "how can I sing better?" Most of the time people who ask this question are not professional or even semi-professional singers, but everyday folks who just enjoy singing and would like to know what they can do to improve their singing voice. So, aside from taking lessons or a formal course of study, how can you sing better? There is one very basic thing you can do that is likely to significantly improve the quality your singing: that is to record your voice, and then listen back to the recording.
Why to record your voice
We you sing, you're not just playing an instrument, you are the instrument. The resonator for the sound you make isn't the inside of a snare drum, or the body of a guitar, or the inside of a tuba - it's your actual body. This means that the sound you hear when you sing will be different to what others hear, simply because you are your own amplifier. How many times have you heard your speaking voice on a recorded message or on a video and thought, "do I really sound like that?" You're hearing yourself the way others hear you. As a singer, listening to a recording of yourself singing is the first step in really hearing your own singing voice, and then identifying how you can sing better. You will also hear yourself better by listening to a recording because you're actively focused on listening. When you are actually engaged in singing, your brain is doing some serious multitasking. You may be doing any or all of the following things simultaneously:

• reading lyrics and a melody from sheet music, or recalling them from your memory
• modulating your pitch and thinking about tempo
• tuning in to backing music you're singing to
• preparing for key changes
• paying attention to the words and interpreting a song's meaning
• experimenting with dynamics (changes in volume)
• pondering what's in the fridge for dinner

By taking all this extra stuff out of the equation and just listening, you'll be able to hear things about your singing voice that you've probably never even noticed before.
How to record your voice
Don't be put off the idea of recording your own voice because you think it will be technically difficult. If you have an old cassette recorded or a dictaphone then you might just want to go analogue and dig them out. Ideally though, if you have access to a computer, you should use a basic music recording software program to record your voice. If you have a Mac, then I'd recommend you use the included Garageband software; if you have a PC, there are inexpensive  alternatives that will do the job just as well. You can even use these programs to build backing tracks.
How can you sing better? Listen to yourself
In many ways, recording yourself singing and then listening to the recording makes you both pupil and teacher. When you listen, listen as a teacher. Take note of what sounds good, and what doesn't, and ask yourself questions such as:

• Is your voice weaker in some areas?
• Are there any pitch problems?
• Is there minimal variation in your singing (i.e. does every line you sing sound pretty much the same?)
• Are your words clearly enunciated and understandable?
• Do you ever run out of breath in the middle of a phrase?
• Would an audience be convinced about the words you're singing?

Pretend you're listening to someone else, and be critical - identifying what doesn't sound good is actually a positive thing, because it's the first step in pinpointing what needs to be worked on. If you think it all sounds 100% perfect, then you really need to call in a critical friend who can provide you with some honest feedback!
Even professional singers have weaknesses, but the trick is to identify problems and then practice, practice, practice to overcome them. Recording and then listening to your own singing voice is one the most simple, effective ways to start learning how to sing better.

Great Moments In Opera, The Conclusion To Wagner's "Tristan And Isolde"

It is the third and final act of "Tristan And Isolde" that we find Tristan in his castle at Kareol in Brittany. Tristan has been wounded in a fight with Melot, whom he basically for some unknown reason provoked in to a sword fight to simply not defend himself. As Melot trust his sword in to his stomach area. Tristan is badly wounded. This being clear from the heavy bandages he wears and the blood which can be seen in area where he was struck yet Tristan is more depressed than physically injured. It is however as Tristan receives news that Isolde is on her way that he rejoices and asks if her ship has been sighted yet only a gloomy tune is heard from the shepherd's pipe.
It is however after sometime that the shepherd's tune signals the arrival of Isolda's ship which prompts Kurwenal to leave Tristan in order that he might greet her. Tristan, once left alone begins to inexplicably remove the bandages from his wound which were preventing it from hemorrhaging further. Tristan frantically removing the very bandages which in fact were preventing him from bleeding to death. This being a point in which the music increases in exhilaration as the dramatic conclusion to our story begins. Isolde makes her way to Tristan, who is on the verge of dying yet just as is he is about to depart from this earth he sees Isolde; who rushes to his side. Isolde's emotions showing as she holds Tristan in her arms, who is ever close to death and as the two spend their last moment, they seem to share a certain joy. As if knowing that it is all over for them, for they do not see this as an ending but a new beginning. It perhaps being in another life or world that they are bound to meet again.
It also while Tristan and Isolde are spending their last moments or at least those in the world we know that Isolde's soprano voice is heard singing "Liebestod" (love is dead). Isolde, ever a lovely lady of passion with bright hair a crimson, flowing down the length of her body and with sadness to heighten her beauty even beyond what we had seen; sings this haunting melody of love. It being as if she is saying that to this is what their love has led her and Tristan to and as she starts to slowly die with Tristan, the music increases in tension of romance and sacrifice to love. It not even being clear what exactly is causing Isolde to die yet it is as if this did not matter. For it might simply be the lack of will to live without Tristan or perhaps simply the will that she in hope might join him wherever it is he is venturing to; in his journey beyond the life which he has known up till this point. "Liebestod" being a most tender moment in any tragic opera which in the typically Wagnerian style holds certain elements of even being triumphant.


Marke, the king (Tristan's uncle who also happens to be Isolde's husband) arrives shortly after Isolde, with peaceful intensions. Marke claiming that he has been made fully aware of the love potion which was used on the two of them yet his arrival only adds to the tragedy. It being Kurwenal, (Tristan's loyal friend) who in his believe that Marke and Melot have come to kill Tristan engages Melot in a fight in which both men are killed. Brangäne, (Isolde's faithful lady in waiting) also having arrived sees Isolde die while Marke grieves the death of his friend as he explains that Brangäne has told him of the love potion. All which making it clear to him that there had never been any intention from their part to betray him and he is not only not opposed to their union but wishes it for them; that they might live in joy yet sees that it is too late. "Warum Isolde, warum mir das?" claiming Marke's sentiments as the opera comes to an end with Isolde's "Liebestod".
In conclusion, I would say that "Tristan And Isolde" offers one of the most dramatic endings in tragic opera in which again we see that it was just a matter of timing that made this ending sad which did not necessarily have to be as such.

My name is Gianni Truvianni, author of many an article to be found on the internet along with the book "New York's Opera Society". My works also include the books "What Should Not Matter", "Love Your Sister" and several others which still remain unpublished though I am presently looking to change this.

The Five Best Vocal Performances Of Any Paul Carrack Songs

Could someone within the realm of pop music sing the telephone directory and make a successful career out of it? I feel that ludicrous statement could be applied to the wonderful English rock/pop vocalist Paul Carrack who, over a varied career spanning 30 years or more, has proved himself to be an outstandingly gifted singer (and no mean songwriter). As a solo artist or in bands such as Ace, Squeeze and Mike and The Mechanics, he's applied a meticulously crafted, spine-tingling delivery to practically everything he's worked on (hence my telephone directory reference) and, in no particular order, I would like to list 5 of those songs that I feel best reflect his unique talent:
1. Eyes Of Blue - From his fifth solo album Blue Views, released in the UK in 1995. Quite a standard song, but elevated to something extraordinary by the great man's vocal. There exists film of a live performance executed in the key of A, as opposed to the recorded version in C, with only his own keyboard accompaniment and it is truly stunning (you can search for this gem easily enough on You Tube).
2. Tempted - From the 1981 Squeeze album East Side Story. One of Glenn Tilbrook and Chris Difford's most soulful songs, produced by Elvis Costello no less, phrased beautifully by a master at work, it is a perennial favourite of many Squeeze fans.
3. Over My Shoulder - From the 1995 Mike & The Mechanics album Beggar On A Beach Of Gold. A fine example of Carrack's silky vocalising, underrated songwriting ability and whistling prowess! It was that album's most successful single in the UK, reaching no. 12 in the charts.
4. How Long - The hit single from way back in 1974 that served to introduce the world to Paul Carrack's vocals. Still pretty much exquisite, although I would say not yet a fully rounded voice, it was to be the zenith of Ace's existence and their only chart entry. They were to disband in 1977.
5. The Living Years - Released in the UK in December 1988, under the Mike & The Mechanics brand and described later by Burt Bacharach as one of the finest lyrics of the previous ten years, Carrack appropriated the lyric with supreme sensitivity and almost gospel-like fervour in its later stages. A deserved hit on both sides of the Atlantic.
There are, in truth, so many Paul Carrack songs I could list here, but this is just a personal selection which I hope will inspire others to comment.

Five Essential Paul McCartney Albums You Should Have

As an integral part of The Beatles, it is widely acknowledged that Paul McCartney is one of the most talented, versatile and hard-working pop composers that has ever lived. Since their break-up in 1970, ratified by a court ruling some 12 months later which dissolved The Beatles as a business partnership, McCartney has continued to produce music on a regular basis of a consistently high standard, although perhaps not scaling the heights he achieved with the Fab Four.
He has released something in the region of 40 solo albums to date, some of them one could argue with content comparable to his work in The Beatles. I would like to put forward a selection of albums that epitomise the man's breath-taking abilities as a musician, producer, bandleader and all-round good egg!

• Band On The Run - released 7 December 1973; Q Magazine in the UK later placed this at number 75 of the top 100 greatest British albums of all time. It reached no 1 in the album charts and was the top-selling UK album of 1974. Stand out cuts include the title track, Let Me Roll It and the Dustin Hoffman inspired Picasso's Last Words (Hoffmann had told McCartney what they were and asked him if he could write something about it, only to be astonished as McCartney began to create the chorus right in front of him)
• McCartney II - released 16 May 1980; reaching number 1 in the UK and number 3 in the US, it divided critics at the time but is now seen as McCartney at his multi-faceted best, from the bluesy guitar breaks of On The Way, the electronica of Check My Machine and the euphoria of Coming Up
• Chaos And Creation In The Backyard - released 12 September 2005; produced by Radiohead collaborator Nigel Godrich, it showed a more reflective approach than of late and spawned hit singles Fine Line and Jenny Wren
• Venus & Mars - released 27 May 1975; a worthy follow-up to Band On The Run, it harboured the singles Listen To What The Man Said, Letting Go and a barnstorming Jimmy McCulloch song Medicine Jar
• McCartney - released 17 April 1970; amidst the aggrieved collapse of The Beatles, McCartney put out a collection of recordings he'd been working on alone during the previous six months, ignoring pleas from the other Beatles to delay release against Let It Be. The overall low-key production was punctuated by an absolute jewel, Maybe I'm Amazed.