The Kasabian concert at the Kool Haus seemed like a concert somewhere in England (even though I havent been there). This band out of Leicester pumped out amazing electronic, rock beats with an amazing light show. Ive heard them on the radio with their hit Club Foot and have noticed them gaining more and more interest of us fellow Canadians.

After mingling in the crowd during the opening bands and at intermission I met Jeremy, straight from London, England who arrived to Toronto the night before for business. Finding out about the concert the day of, he was shocked that Kasabian was playing a venue like the Kool Haus.
Kasabian is one of the top bands in the UK. Theyre brilliant! he said over and over.

Brilliant and fantastic were the popular words of the evening as I numerously heard not only Jeremy say, but also many others after almost every track ended.

Tom Meighan, the lead singer and the three other band mates all had the British shag and a killer sound to go with them. There is nothing better than hearing a band in concert and being exposed to the songs that you dont hear on the radio especially when you know that they are massive somewhere else in the world.

For those of you who are wondering the same as I was about what the heck does Kasabian mean? they named themselves after Linda Kasabian, who was Charles Mansons getaway driver. That is about how American these boys get, everything else other than their name seemed strictly Brit.

I think that we will be hearing more of Kasabian in the future and who knows maybe their huge fame in England it may make it here to Canada, just like it has for many UK bands.

Farris Green
farris@sugarcainentertainment.com

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Tuned Percussion can be a wonderful teaching tool for elementary school - but its also a potential minefield for music teachers

This article is to give you some hints and tricks on how to maintain and look after the instruments, plus the types of music to play which have the greatest chances of success.

1)Organization is the key

With tuned percussion instruments in a music class you have to be totally organized.

Each instrument needs a shelf where it lives permanently - so that students know where it goes back after it has been used. You’ve got to establish these places early in the routine and have ordering about how the students go about picking them out and playing them.

2) Go All Diatonic or All Chromatic

One of the big problems is that many orff style tuned percussion instruments are sold in two bits - the main “diatonic” part of the instrument, plus they offer a “chromatic extension” which is simply the black notes on a separate box resonator.

In my experience these things are far more hassle than they are worth, particularly for elementary school classes. You are much better off with just a diatonic instrument that isn’t in “two bits”

Organizing a class so that everyone has to get the main instrument, and then get the chromatic extension and put it in front is far too difficult for most elementary classes.

In theory of course the elementary class can use just the diatonic bit, and the more advanced can use the full chromatic.. but it rarely works that way!

The only schools where I’ve seen those chromatic extensions they are generally put away into a cupboard and never used!

Still, I would recommend getting fully chromatic instruments if you have more advanced or older students!

3) Play everything in C Major

One of the big “time wasters” is those substitute F sharp and B flat bars that are included with many of the diatonic instruments. These have to be a complete waste of time for teachers. Often you can spend half the class making sure that all the students have the right notes on their instruments, and then you’ll still hear something funny going on whenever you hear an “F” because one student has an F# on their instrument!

The best tip I have for this is to simply take those substitute bars, put them into a box and lock them away!

The best solution is to simply find music, transpose music or write music that is only in C MAJOR. This way you’ll never have to worry about changing notes around, and you can concentrate on music making!

4) Go for Wood - Not Metal - and get them all at once!

I’ve seen more broken “Metallophones” at schools than any other instrument. For some reason they always seem to have gotten lost bars and damaged rubber strips under the bars which result in a loud “clunk” whenever you try to play them!

Glockenspiels are very challenging for young children - the bars are really small… and piercing on the ears as well.

My advice… go for WOOD every time. Simple, diatonic box resonated xylophones.

You should really take ALL your budget in one year and dedicate it to this - don’t buy one or two at once.. That will not suffice for a whole class. Get a class set of ten to twenty xylophones that are all identical and they will last for years.

Get one or two at a time and you’ll find that they get mixed up and no-one knows what bars and bits go with what instrument!

5) Mallets all identical - all in one place

One simple thing you can do is get a full set of mallets, and make them all identical!

If you get a box or a large jar and dedicate it to this purpose then students will know that they have to get and return the mallets to this location and they’ll get used to this procedure.

If you only have wooden xylophones then you won’t have to worry about different mallets for the glockenspiels and metallophones.

Of course I’m talking about ideals here - and I know that its very rare that you get the budget to go out and get a full class set of new orff tuned percussion instruments for your elementary school.

Hopefully whatever instruments you have you’ll be able to use some ideas from this article to make tuned percussion more enjoyable in your classroom.

Kevin Tuck is a percussionist and teacher who runs multiple websites with his company, the Fun Music Company. One of Kevin’s blogs is all about percussion and how it can be more easily used in schools, and you’ll find it at http://www.percussioneducationonline.com

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Microphones are one of the most sensitive instruments. They can stop performing due to various small problems. The first step lies in identifying the cause for the non functional state of the microphone.

However, before you start repairing your microphone, here are a few general tips to help you to stop it from failing again. The microphone being a responsive object is sensitive to even slight changes in the weather. It is always advisable to keep the microphone inside a moisture proof box.. If the humidity or the moisture content in the air affects the membrane of the microphone, the sound quality may start distorting or sometimes even disturb the entire signal flow.

Various microphones are found faulty due to various reasons. You can find a microphone with no transmission or low or erratic RF output. In certain microphones the ON and OFF switch is sometimes faulty. When the ON and OFF switch is faulty, you can be assured that at least the audio output is not affected. However, a faulty R.F. output or driver transistor can produce some symptoms that may partially or fully disturb the sound content and quality.

You can use a bridge rectifier to protect the rig against reverse polarity. Applying a light oil or WD40 to the contacts can in most cases, cure noisy crackling that is caused by a microphone switch. It can also be used in crackling squelch volume controls. Also, it can be used to clean the outside of rigs and to improve the clarity of channel displays.

In order to avoid confusion you can follow this small advice that will help you to cope with all your extension problems even in the future. Instead of having several power leads with different plugs trailing across the repair bench, cut all your power leads down to 6 inches and fit them to a connector block with just one pair of wires going back to the power supply. This will make your work much easier.

Whatever you do, remember the power transistors and regulators usually contain poisonous substances In order to be safe and sure, wash hands and nails scrupulously after handling broken or cracked devices and various parts of the microphone.

A danger also exists on some home based rigs and power supplies. They have only two core cable or switches in the neutral wire. So be aware. The earth tags should be bolted to chassis and not pop riveted to a transformer lug.

Another important thing that you should remember is about microphone socket pins. The microphone socket pins splits can often close up and can further cause a bad connection. In a microphone when the knob is loose, do not wrap knob along the diaphragm with a tape to solve the problem. Use a screwdriver to tighten the knob.

Hence, getting your microphone repaired is no rocket science. Anyone can do it, provided he or she is well adapted to the mechanism of a microphone and can identify the areas of problem.

Victor Epand is an expert consultant for music gear, speakers, and microphones. You can find the best marketplace for music gear, speakers, and microphones at these 3 sites: music gear, music equipment, speakers, sub woofers, and microphone repair, microphone safety, microphone maintenance.

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Was the request six months ago, a sixtieth birthday party, the client said. It got me thinking. There is a whole untapped market out there for people who lived as teenagers and twenty somethings through the sixties and seventies. They are all coming up to this big sixtieth birthday date and they all love the kind of music I love to play and earn my living out of! More than that, their kids are off their hands, their mortgage is paid up and they can afford to splash out on a big celebration.

That isnt the real reason for writing this article, in fact it has very little to do with the subject which is about the day in the life of a working professional London musician. It did get me thinking, however, how things have changed from my own youth. When I was young, sixty-year-old men smoked untipped fags, wore flat caps and suits and listened to Max Bygraves. Now the average sixty year old will be a fan of Wilson Pickett, Otis Reading, James Brown and The Stones and be dressing in Gap. He or she will definitely not be a smoker!!

The engagement was in West Sussex, a lovely part of the world, in late June. The weather was perfect as I loaded up the car. For a soul band music gig you need amplification and some lighting as well as a cd player for keeping the music and atmosphere going for when the band takes a break. I picked up my bass player Andy mid afternoon, and we drove down together to the sixtieth birthday party. Andy is no stranger to soul band work. He was musical director a few years ago to the Flirtations, a sixties Motown soul music band who had three or four hits back in the nineteen sixties. A very experienced and talented musician Andy has also worked with Van Morrison, Phil Collins and Eddie Reader as well as 1980`s swing band Wall Street Crash. Being a close friend for twenty-five years the trip down to the party was a pleasure. Good company, good conversation, lovely weather and countryside and the anticipation of a very rocking gig with some great players!

As usual we arrived early. The party we were playing soul music for were still having dinner and would be at least another hour. That was fine with us as the venue of the party was delightful. The person whos sixtieth birthday it was had arranged drinks for us and so while we brought the musical gear in to the venue a pot of tea was rustled up for us. Over a brew and the gear sitting outside the function room, we decided on what order the soul music for the party should take. There is no point playing the real lively soul music tunes too early on. A group of sixty year olds with full stomachs are not going to appreciate being coerced into getting down to Mustang Sally by a full on soul band after a big rich pud! The party is always best started with some more laid back soul music by people like Al Green and Ben E King.

The other musicians from the band start to arrive and bring their gear in. There is still time for a cup of tea and we order it for them whilst guitars and drums are brought into the hotel. Shortly the room begins to clear. The sixty-year-old birthday boy is obviously keen to party and doesnt want to waste time on speeches! As the guests make their way to the bar, go out for a smoke (the young onestheyll learn) or take the lovely Sussex evening air, the band dives in and sets up the gear for the party. We meet the host who insists on describing, in detail, a gig he went to in the sixties featuring Stax star Otis Reading who was a master of the soul music genre and a legend in soul music. We are torn between setting up on time and listening to some one recount their memories of a legend! Being a big fan myself I am able to recount a few memories of my own of seeing the Blues Brothers soul and blues band with legendary players Booker T, Steve Cropper and Duck Dunn. These guys are soul music legends too, having played and written the hit Green Onions and having backed Otis Reading and Sam and Dave on many of their live gigs both in London and America. Steve Cropper was also the writer of Sitting on the Dock of the Bay, Knock on Wood and In the Midnight Hour, all soul music tunes we play in our soul band as part of our set and tunes we intended playing for the sixtieth birthday party that very night.

The band is set, the lights are on and we have started our evenings entertainment. There are already a few people on the floor dancing to that great Bill Withers tune Lovely Day and it makes me realize that people who were growing up in the sixties are much more in tune with live music and are used to dancing to a live band than the current generation. What also hits home is how the generation of today, when they get the opportunity to listen to a great soul band playing great soul music, get caught up by the music we play and respond so well to it. It makes me realize that bands such as mine will be playing soul music for a party like this and like we do for younger persons weddings, long after current musical trends die.

The evening progresses, the soul band picks up in tempo, the horns are riffing those familiar riffs from such favourites as Hold on I`m Coming, Dancing in the Street and I Feel Good. I always kid Mark our main singer and master guitarist when he sings I Feel Good by James Brown. James Brown is in his mid seventies, American and black. Mark is white, in his forties and from Scunthorpe! At the end of the tune I say what I always say.it always gets a laughIts like James Brown was in the room!

The audience is hanging in there with us. Drenched in sweat and transported in time, they are back in the Flamingo in Soho or some other sweaty dive of their youth. I look round and the boys in the band are having a ball. We are working real hard; we are sweating more than the audience. To make a band like ours rock as hard as it does requires a great deal of energy. Soul music isnt music played off the back foot; it is high-energy music that drives. As such, whether it is loud or quiet, it requires total commitment and all ones physical resources. An amateur band just doesnt cut it. They are unable to give the energy coupled with the sense of groove that good soul music requires. It needs relentless practice of ones instrument, high energy all evening that cannot dropin fact it must increase as the evening progresses and a lot of stamina that only constant work on your instrument gives you.

Before we know it the night is over. We manage to persuade the birthday boy, after two encores, that it is time to finish. He is delighted with the band and the soul music we have played for his party. A few of his guests have come up for business cards. They too have sixtieth birthday parties coming up and they too love their soul music!!

We have been paid and the gear has been packed away. We are debating whether to employ a roadie at the moment. Everyone in the band loves playing soul music for a party but no one likes to cart gear! The funny thing is this. Every year technology makes musical gear lighter but somehow every year the gear feels slightly heavier!! As you, me, everybody, gets nearer to his or her sixtieth birthday party I suppose everything gets just that little bit heavier!

We say our goodbyes. Hugs and handshakes. You wouldnt believe that we see each other on average two or three times a week! On the way home we leave the radio off. It is time for quiet reflection. We discuss the gig. What went well. How we could improve the set order. We decide we can`t. What new tunes we want to incorporate into our soul music band party repertoire. This isnt easy. The most important criteria is to get people up dancing. There is sometimes a conflict between favourites and the sort of tunes, which will fill the floor for the party. This is always our main priority. It is what we get paid for. Paid well for. We have a reputation to maintain.

Andy has been dropped off. It is two oclock. I am home fifteen minutes later. The gear is brought into the house. Must look into getting that roadie!

On goes the computer. Must check my emails. June and July are a busy time. Just as I thought. Three pressing messages that require an answer. Get to bed at three thirty. Please God dont let the kids wake me up before ten on Sunday morning. Ill need to be up then as the band are in Birmingham in the evening doing another soul music party and the M6 can be murder at this time of the year.

The kids come jumping into our room at eight thirty! It doesnt matter. Monday I am totally free. I can get them off to school and come home and sleep. Someone once said If you can earn your living doing what you love you will never do a days work in your life How true.

ABOUT THE AUTHOR

Jeff Williams is a London based trombonist and vocalist who has worked all over the world in most areas of the business. He also runs a successful, specialist, live music agency using the best of London musicians, servicing both private and corporate clients playing all over the country. He would be happy to advise you with your own event or party and offers bespoke solutions for the perfect occasion.

Contact him on 020 8761 8932 or 07747 801471
Email him on bonejeff@aol.com
Visit the website http://www.jazznotjazz.co.uk

Copyright (c) Jeff Williams, JazzNotJazz.co.uk

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Folk’s Songs: Samo , Rotation (Jarrett), Ling’s Lope, Seed of Blakzilla, Laura Elizabeth, Galilee, Blues 4 Curtis, Rotation II (Jarrett), Same Page…, Blasphemy (Kirkland)

Personnel: Jeff “Tain” Watts: drums, percussion; Marcus Strickland: tenor and soprano saxophone; Christian McBride: acoustic and electric bass; David Kikoski: pianoforte; Juan Tainish: vocals; David Gilmore: guitar; Henry Hey: keyboards; Samuel Torres: percussion

Tain & the Ebonix - Folk’s Songsreleased on the Dark Key Musiclabel contains songs dedicated to friends and influences of Jeff “Tain” Watts. Giving back to his fans, friends, and influences is just one of the many endearing facets of Tain. An extraordinary musician, an in-demand drummer, an innovator of sound, tempo, and pace, and in some circles, he has been called one of the most important drummers of this generation, but with all of this said, Tain remains approachable, humble, and all about the music. To add to the excitement of Tain’s latest release, which he had been telling me about for almost 2 years, I had the opportunity to experience Tain & the Ebonix live at The Living Room in New York on April 2007 for his Folk’s Songs CD release party.

Folk’s Songs starts with Samo , which Jeff has dedicated to Jean Michel Basquiat. Born in the same year, their rise to fame seemed to parallel one another. Jean Michel Basquiat’s influence, a Neo-expressionist movement artist who died at just 28, shows that Tain’s creativity draws from all of his senses and experiences. The groove between the saxophone and the drums contains the feeling of rebellion, creativity, and peace, which may have been the state of mind of Jean Michel Basquiat as he spray-painted his way from graffiti, with the now famous spray-painted “Samo” (same ol’ …), to fame. Track 2, Rotation, is dedicated to Tain’s former band mate, saxophonist Dewey Redman. What better track than a free-flowing Keith Jarrett song to play in memory of one of America’s foremost free jazz musicians. Tain shows off his skills as he tackles Keith Jarrett’s improvisational style with its characteristic departure from standard chord changes and tempo, and Marcus Strickland and Tain are up to the challenge. Ling’s Lope shows some swing and takes the tempo down as Tain dedicated this track to his longtime friend Branford Marsalis. Seed of Blakzilla is definitely a fun and rollicking track that fits perfectly as Tain dedicates this to comedian Dave Chappelle. Transitioning tracks, like only Tain can do with his beat and music, he follows Seed of Blakzilla with the romantic Laura Elizabeth, which is a tribute to trumpeter Laura Kahle. Staying with this change in tempo, the band rolls into the ghostly ‘hymn-like’ track - Galilee, this track is in memory of pianist James Williams, another young talent who passed on before his time. The release rounds out with Blues 4 Curtis, a tip-of-the-hat to Curtis Mayfield; Same Page, which is a tribute to the Citizens of Earth; and Blasphemy, which is a dual tribute to drummer Don Alias, and composer Kenny Kirkland.

Websites where you can procure Tain & the Ebonix - Folk’s Songs are Amazon, Chamber of Tain, and CD Baby; for digital download at Digstation.com.

Luxury Experience. All rights reserved.

E.F Nesta is the owner, contributing writer, and Publisher of Luxury Experience Magazine (http://www.LuxuryExperience.com).

Luxury Experience Magazine is a monthly magazine that features experiential editorials on luxury products and services; we do not book reservations or sell products on-line.

Luxury Experience Magazine’s mission is to provide experiential editorial exposure on luxury products and services, and introduce brands and products to an audience across 80+ countries.

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In this article I’m going to explain a few tips for making rap beats if you’re a new producer. If you just starting out, it can be a bit of a daunting task to learn this craft - but its a ton of fun and well worth it once you start getting good. Here are a few tips to get you on your way.

Read everything you can get your hands on

When I was first starting out in producing, I literally read everything I could on how to make beats. One of the first things you should do is make an account with Future Producers Forum. The first year I started making beats, if I wasn’t actually making music, I was living in this forum. It will literally answer pretty much any question you could ever want to know when it comes to making beats. It has an array of seasoned veterans that have helped thousands of other beatmakers get started. The great part with this forum is the search function. If you have any question at all, chances are someone already asked the same question which you can find by searching. Whatever you use to make beats - whether its hardware of software, you’ll find a plenitude of information on it at Future Producers Forum.

I would also suggest getting a few books on producing as well. There are a ton of books that specialize in Fruity Loops or Reason if you are using those platforms. One of the first books I read when I just started was “Beat Tips Manual” by Sa’id. That manual has helped thousands of producers understand the basic technical aspects of making rap beats to help them get started.

Listen, Listen, Listen

This is probably the most important, yet most overlooked advice that successful producers always shed to those just starting out. If you want to get good at music, you have to have a deep understanding about the craft. You need to be actively listening to your music when you’re listening. You should set a portion of your day to just sit down and really listen to some classic records.

For example, listen to the Thriller album by Michael Jackson. Take a track and first listen to just the drums, try to zone in on the drums and figure out why they were laid down the way they were, what effects did they add in with the drums, notice the placement of the panning with the drum sounds, etc. Dissect songs piece by piece and write down what you find. This will vastly improve your own production.

Am I completely lying to you?!? For all you know this article could have been written by some guy that doesn’t know anything about music. Click here to listen to my music so you can be the judge.

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The good thing about being a beginner is the internet is loaded with easy acoustic guitar tabs. Just search around and you will find them You can even find some songs that are arranged for “easy guitar”. These are good because you will be able to play the songs and have them sound good.

Now they may not sound completely the same as you are used to hearing because many times the difficult parts are re-arranged to be easier to play or left out all together. This doesn’t matter to the beginner acoustic guitar player. The idea here is just to learn something that will be fun to play. You can now go hang out with some friends and trade what you know with what they know.

Another good thing about easy acoustic guitar tabs is they help you to learn the basics of guitar. Learning chords and rhythms will be a lot more fun if you have a familiar song to put them to. Practicing chord exercises all the time can get a bit boring but if you are working on them in a song, chances are you will keep on practicing and then move on to more difficult stuff.

Look around at books to find “easy guitar” versions of Beatles songs or Bob Dylan songs or any others you can think of. There are tons of them. Piano players use books like this all the time.

Easy acoustic guitar tabs are also a great way to keep kids interested in music and practicing. Sometimes younger players will get bored very quickly and eventually lose all interest but if they have songs easy songs to work on, they will keep playing maybe for a lifetime. Too many times I have seen kids give up because they don’t get results right away. Sometimes the only way I could get them to keep playing is to have plenty of easy acoustic guitar tabs on hand.

Want to know even more about playing acoustic guitar and easy ways to speed up your learning? Visit my site below.

http://FreeAcousticGuitarLessons.wordpress.com

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Hours before their tour bus caught fire along the Pennsylvania Turnpike, Matt Thiessen and the other members of Relient K were discussing with Switchfoot ways the bands could support the non-profit Habitat For Humanity in their upcoming fall tour. “A week after the bus fire, it occurred to me that we were just talking about people that have lost homes and then I was focused on all my shirts being gone,” shares Thiessen.With only the clothes on their backs and a few personal items they managed to grab on the way out, Relient K watched helplessly as their bus turned to ash in the early morning hours.

Fortunately, much of the band’s equipment was salvaged from the wreck. The experience left the band shaken, but gave Thiessen a new outlook on what matters in life, “It was nice to give myself a reality check and realize that my concerns and my short-term problems are not a big deal. We tend to say we’re all about the big picture in life. Then when something like that happens to us, we tend to focus on ourselves.”

Relient K is focusing on other as they co-headline “The Appetite for Construction” tour with Switchfoot (which also includes special guest, Ruth). One dollar from each ticket sold will be donated to Habitat for Humanity. but the support for the organization won’t end there, “We just recorded a song that Jon [Foreman, lead singer of Switchfoot] and I wrote together. It’s called ‘Rebuild’ and it’s for Habitat. Jon’s going to release the song for free on the [Habitat] website. You can donate money to the organization when you download it.”

Thiessen has a couple of projects in mind to benefit the non-profit, including an EP he may put together after the tour. Besides raising funds for Habitat for Humanity, the bands on the “Appetite” tour also hope to raise awareness for the organization, which includes encouraging individuals to become involved in local builds.

“Every night we’re able to have some reps from Habitat come out to the shows. The whole local chapter thing really works out for a national tour,” remarks Thiessen. By highlighting the efforts of local Habitat for Humanity chapter, Thiessen hopes that community support and involvement with the organization will increase.

At the time of the interview, Thiessen and his tour mates were sitting in Springfield, IL anticipating an evening concert. Yet their thoughts are with the people of California and the fires that are raging. Hailing from San Diego, the members of Switchfoot have been directly affected by the wild fires, “I was talking to the bass player and he’s got 20 people staying at his house,” shares Thiessen. “Jon was talking about it from stage yesterday and he mentioned the San Diego fires and how Habitat can help.”

“Appetite for Construction” marks the first time that Switchfoot and Relient K have toured together since 2001, the same year Relient K released their popular second album, The Anatomy of Tongue in Cheek (Gotee). However, Thiessen says the band still nods to early songs, still performs “Sadie Hawkins Dance”, but has also matured personally and musically. “You can’t write the same songs that you wrote when you were 19 when you are 27,” he explains.

Relient K released its debut album in 1999, when Thiessen was only 19. Now a few years from the landmark age of 30, Thiessen reflects on the past seven years, “When we started, we were on the road in a van stopping at Wendy’s to eat every day. One by one, the guys got married. Everyone in the band is now married. We’ve gone through a couple of member changes.” The band’s current line-up includes Thiessen (lead vocals, guitar, piano), Matt Hoopes (guitar, vocals), Dave Douglas (drums, vocals), John Warne (bass, vocals), and Jon Schneck (guitar, banjo, bells, vocals). Sadly, December 29 marks long-time drummer Dave Douglas’ departure from the band to pursue other interests.

Even as band changes, Relient K remains a perennial favorite of teenagers and young adults, both Christian and non-Christian despite receiving criticism for their departure from Gotee Records (who the band still uses for distribution in Christian markets) to the mega-label, Capitol Records. Undeterred by public opinion, Thiessen asserts that while the band expanded beyond the Christian market, their faith should not be in question. “We try to be who we are and a lot of people are drawn to the way our band does things and how we seem happy in doing them-the fact that we are all about our faith and writing about it, standing for it, and not backing away from it. We’re definitely not throwing Bible from the stage like Stryper did back in the day; but we also don’t shy away from writing songs about what we believe.”

Serving as a great equalizer among fans of varying beliefs, the band hopes to counter the myth that all music produced by Christians is substandard. “It’s a stereotype that goes along with Christian music,” sighs Thiessen. “Once they hear that label, they think minor leagues. I’ve seen it on message boards like, ‘You know that band’s a Christian band?’ And the next post is like, ‘Oh, crap! I don’t like ‘em now.’”

“Everybody’s got their own opinion of the Christian faith and sometimes people haven’t been introduced to it in a very good ways,” continues the impassioned Thiessen. “It’s tough for them to embrace a band that expresses the faith they may have been pushed away from.” Even though they play bars and clubs as well as Christian music festivals, the band sees what they do as ministry, “But if we tell people that our ministry is to be less abrasive than other Christian band, it’s kind of a weird thing. We’re just trying to be a part of these kids’ lives with our lyrics and who we are as people.”

In fact, to make their current tour more youth group-friendly, the bands have asked all venues to refrain from serving alcohol. “Band like Switchfoot, Ruth, and Relient K-we do club shows and the Warped Tour, but we also love being involved in Christian youth culture, too.” Growing up in the church and going to youth group, Thiessen has encountered many different Christians and their public statements on faith. He says, “Personally, I wouldn’t find myself drawn to someone who just comes out of nowhere, who doesn’t know me and starts grilling me about my faith. I’m not going to embrace something I haven’t known because some stranger’s yelling at me about it.”

Instead of being a “preaching band”, Relient K tries to show that Christians in a band can do more than just sing worship songs. “I feel like we’re ambassadors molding the whole thing together and making things [between the secular and sacred] less separated. I feel like that’s kind of the point of the Christian faith-to be less separated from everything and not have this isolated us against them mentality.” Branching out of the Christian bubble has been good for the band, who released their fifth album, Five Score and Seven Years Ago (Capitol) in March. Then October saw the release of the band’s first full length Christmas album, Let It Snow Baby…Let It Reindeer (Capitol).

The reviews for the albums have been positive, often comparing Relient K’s harmonic vocals to that of the Beach Boys, a comparison that seems to have been unnoticed by Thiessen. “That’s my favorite band in the whole world!” exclaims an excited Thiessen. “To get a comparison like that, wow!” Citing the band’s landmark album, Pet Sounds, as his favorite, Thiessen says, “I can listen to that record and I don’t think we’re ripping off the Beach Boys. If people can see the influence, I feel like I did my job. You always want the things you love to come across in your music.” Thanks to Capitol Records, Thiessen has about every song the Beach Boys has ever released, including a framed vinyl of Pet Sounds in his living room-a living room that Thiessen gets to see far too little because so much of his life is spent on the road.

When discussing the band’s latest release, Let It Snow Baby…Let It Reindeer, Thiessen offers listeners a touching mental picture on what it means to come home after being on tour. Describing the song, “Merry Christmas, Here’s To Many More”, Thiessen shares, “It’s got the imagery of me coming home and all the friends I’ve ever known are at my house and having a Christmas party. It’s about being loved and accepted from your friends and family. I spend most of my life not seeing a lot of my friends. At Christmas time, I get to come home and be with the ones I love.” Not only does Thiessen find comfort at home with friends and family, but his efforts for Habitat for Humanity are helping many across the country to do the same.

For more information on Relient K, please visit them online at relientk.com. To get involved or make a donation, to Habitat for Humanity, check out habitat.org.

Amy Sondova is a writer specializing in media writing, including interviews and reviews, as well as blogging. Having interviewed over 30 of the top musicians, writers, and speakers in the Christian media, Amy has also written countless columns, reviews, and articles on various topics including mental illness, self-injury, working with teenagers, and Christianity. As well as holding a B.A. in communications, Amy also has a M.A. in biblical counseling, and has worked as a professional therapist. You can visit Amy’s blog at http://www.amysondova.com or check out her online e-zine, http://www.BackseatWriter.com, a faith-based site focusing on God, culture, music, counseling and photography.

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Maria Muldaur captures the 20’s, 30’s and 40’s sound so well on Naughty, Bawdy, & Blue that you will wonder if you are listening to original tracks cut 60-80 years ago.

Maria Muldaur - Naughty, Bawdy, and Blue

Naughty, Bawdy, & Blue: Down Home Blues, Up the Country Blues, Separation Blues, A Good Man is Hard to Find, Handy Man, New Orleans Hop Scop Blues, Smile, TB Blues, One Hour Mama, Empty Bed Blues, Early Every Morn, Yonder Come the Blues

Personnel: Maria Muldaur: vocals; James Dapogny’s Chicago Jazz Band: James Dapogny: piano, arranger, leader; Kim Cusack: clarinet, alto sax; Russ Whitman: tenor sax, baritone sax, clarinet; Jon-Erik Kellso: trumpet; Chris Smith: trombone, tuba; Kurt Krahnke: bass; Rod McDonald: guitar, banjo; Pete Siers: drums; Bonnie Raitt: vocals with Maria Muldaur on Separation Blues; Rob Bourassa: guitar solo on Handy Man and Early in the Morning; Dave Mathews: piano on Empty Bed Blues; Kevin Porter: trombone on Empty Bed Blues

Naughty, Bawdy, & Blue was produced by Maria Muldaur and Ron Harwood, and was released on the Stony Plain Records label. Maria Muldaur known for her classic hit Midnight at the Oasis (1974) shows her true love for folk, roots music, bluegrass, and ‘old timey’ music of the American rural south on Naughty, Bawdy, & Blue. To say that she has soaked in the soul of blues, jazz, and ‘old timey’ music would be an understatement; she is the purest form of reincarnation of the 1920’s through 1940’s sound. Complementing her on this release is the legendary James Dapogny’s Chicago Jazz Band that not only holds the distinction of having performed with some of the greats that are covered on Naughty, Bawdy, & Blue, but the band consists of that unique mix of instruments to accompany Maria (clarinet, sax, trumpet, trombone, tuba, banjo, guitar, piano, bass, and drums). Minus the static, crackling sound, and that distinct echo that were a part of the albums pressed in the 20’s, 30’s and 40’s, this will take you back in time to an era that set the table for female singers of today. Maria shows her respect for the singers she covers as she states, “they were the more sophisticated, polished, urban blues style performers; and they were decked out in lavish finery and accompanied by the most accomplished jazz musicians of the day.” From head to toe, CD cover image to music covers, Maria becomes this era of music, she is as saucy, racy, and liberated as the divas of this era were.

The release opens with the track Down Home Blues, which was originally performed by Mamie Smith, and Maria shows she has learned her trade to a tee as she hits all the highs, lows, and sassy parts to perfection. In Up the Country Blues, originally performed by Sippie Wallace, Maria’s voice captures the blues as she shimmies and saunters through the song. The track Separation Blues is shared vocals with Bonnie Raitt and Maria, two performers who had the distinction to have performed this song with the legendary performer Sippie Wallace, who made it famous. Maria covers the track A Good Man Is Hard To Find, recorded by Bessie Smith circa 1927, with the original swagger that was signature Bessie Smith. One of my favorite tracks is Handy Man, originally performed by Ethel Waters (circa 1928); it is a true treasure in the way Maria sings with a wink and a leer in her voice as she belts out the playful, spicy, and risqu lyrics. Maria is not afraid to take on a challenge as she covers all the greats from Sippie Wallace, Bessie Smith, Victoria Spivey, Alberta Hunter, Ma Rainey, Mamie Smith, Ethel Walters and Sara Martin, and she does it to perfection. Naughty, Bawdy, & Blue is a release that you can not fake your way through as it would show in a downbeat, Maria truly embodies the sound of the ‘old timey’ music, as well as the standards from the 20’s, 30’s, and 40’s. A must buy if you love blues, jazz, and great music.

Websites where you can procure Maria Muldaur - Naughty, Bawdy, and Blue are Amazon, CD Universe, Barnes & Noble, Music Outfitter, Stony Plain Records, and MSN Music.

Luxury Experience. All rights reserved.

Ef Nesta is the owner, contributing writer, and Publisher of Luxury Experience Magazine (http://www.LuxuryExperience.com).

Luxury Experience Magazine is a monthly magazine that features experiential editorials on luxury products and services; we do not book reservations or sell products on-line.

Luxury Experience Magazine’s mission is to provide experiential editorial exposure on luxury products and services, and introduce brands and products to an audience across 80+ countries.

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Anybody interested in modern music sooner or later asks the question, “Where did it begin?” Well, if you leave blues music out, you will not have much of an answer. So let us look at where the blues came from, where it went and who it met on the way. We will also take a look at the “blues sound” and how it has its unique effect on our feelings.

The blues as a musical phenomenon began around 1911 when W.C. Handy published popular songs, notably “Memphis Blues” and “St Louis Blues”, which affected the hearts and souls of the black people. By the nineteen twenties the general population were beginning to hear this new music through its influence on jazz. Early blues singers like Bessie Smith and Billie Holiday sang with jazz bands while others played with “jug bands” accompanied by fiddle, kazoo and washboard.

Of course to people like W. C. Handy who were brought up singing in church, the piano was the natural instrumental accompaniment to their songs. But the guitar is portable and always was popular so it had to have a place in blues and jazz. Blues guitar players like twelve string guitarist Leadbelly and future electric guitar player B.B. King were making sure the guitar would be an integral part of the blues. Other blues guitarists made their living in smoky saloons playing slide guitar using a bottle neck or the blade of a knife to fret the notes.

After the Second World War young artists like Elvis Presley and Bill Haley were wrapping the blues in a new package called “rock’n'roll” and the players of the electric blues guitar like B.B. King were heralding the arrival of the lead guitar, soon to be a great attraction for both musicians and audiences. Throughout the evolution of the blues the guitar had always taken its turn for solos in jazz bands but now it competed with the singer for the attention of the audience.

Blues guitar can be played in any key that takes your fancy and comes in three basic forms: eight bars, for example “Heartbreak Hotel”, sixteen bars like “Saint James Infirmary” and twelve bars like “St. Louis Blues”. For some reason the twelve bar blues form is way more singer-friendly and popular with audiences than the other two, and it is the basis of many great songs outside the blues idiom.

If you go poking around the internet you will find that the blues scales are just your garden variety major and minor scales except that the third, fifth and seventh notes are played flat. However, you may be astonished to learn that blues players managed for centuries without knowing about European musical theory. They learnt to sing and play from their families and friends just as many of the young white blues players of the nineteen sixties learnt from imitating the artists they heard on records.

And this is where the blues takes another direction. After years of imitating their idols something odd happened to the white blues guitar players in Britain and the USA. They developed their own authentic, original styles. The older blues players even began using the new arrangements of classic songs and adopting some of the unbluesy musical innovations introduced by young white guitarists like Eric Clapton. So the beat goes on. A foreign culture influences American popular music and in turn gets fresh input from a new generation of guitar players from all over the world.

Ricky Sharples has been playing guitar his whole life, and is presently engaged in building a blog called Learn How To Play A Guitar For Free. Ricky’s blog features free tools, lessons and resources for guitarists of all ages and stages. Ricky updates the blog regularly so if you are interested in learning to play guitar there will be an enormous variety of tip, tools and tutorials for you.

For Blues Guitarist - Blues Guitar Chords & Progression
Learning how to play and improvise great blues riffs and licks is not as easy as it might seem to a novice but the one good thing is that focused learning and practicing with a great blues backing track will help a lot in understanding blues chords a...

What Can You Expect From A Blues Guitar Lesson
A lot of the old time players will tell you that there is no such thing as a blues guitar lesson and that you have to learn it all on your own from the pits of your soul. That is a little extreme and although playing blues guitar is a lot about feel ...

Guitar - An Instrument With a Long Story
A guitar is a very versatile instrument with a long story behind it. The guitar has typically six strings, but some have four, seven, eight, ten, and even twelve strings. Regardless of the number of strings, it holds an interesting place among musica...

The 3 Siblings Of Guitar
The guitar is an instrument that has been around since the 1500s. It is one of the most popular musical instruments and it is widely used with a huge variety of music genres, from classical to rock music and country music.Whether you're a thinking of...

Learning Blues Guitar - Mastering the Sounds of the Greats
Many people the world over decide to pick up the guitar and start playing because they are inspired by their favorite blues artists. Learning blues guitar is a fun and rewarding experience and in reality is not much different than learning how to pl...

Cheap or Expensive Instruments - Can Cheap Guitars Really Rock and Roll?
Nowadays, you can buy a pretty good electric guitar from as little as $70 and there are a number of good brands making them. Although most cheap guitars have a very good quality, professional musicians prefer hand-made electric guitars created by pro...

Acoustic Guitar Lessons
These mini guitar lessons have been put together for the beginner acoustic guitar student who feels a need to play music but is a bit short on direction.Lesson One - What kind of guitar are you going to buy?If you have a rough idea of what kind of m...

ADIRONDACK versus SITKA SPRUCE
Both of these timbers make great soundboards on flat top acoustic guitars. They have had popularity at different times in history heres the story so far.Adirondack or Red Spruce was very popular piror to WWII. It is found on a lot vintage acoustic ...

Kids Electric Guitars - The 3-4 Kids Guitar and Other Options
Choosing an electric guitar for your child.The description usually assigned to kids electric guitars is "Short scale or 3/4 sized".But this description, while fairly accurate, isn't quite the whole story. Some short scale electrics are longer than o...

Gibson Guitars - A Fine Recollection
Gibson guitars have been around since before the turn of the century. Over the years they have earned a very fine reputation. Many think of Gibson guitars as the Cadillac of guitars-high quality and pricey. Orville Gibson, founder of the company, in ...