YNGWIE MALMSTEEN









Yngwie Malmsteen is one of rock's premiere virtuoso guitarists. Along with Eddie Van Halen, Joe Satriani, Steve Vai, and a handful of others, Yngwie has dominated the world of solo guitar for over two decades. When he was barely 20, Yngwie exploded onto the L.A. rock music scene with his lightning harmonic-minor riffing in bands such as Steeler and Alcatrazz and then with his own Rising Force lineup. His 1984 Grammy-nominated album, Yngwie J. Malmsteen's Rising Force, established overnight the style now referred to as neoclassical melodic rock. Legendary for both style and technique, Yngwie's long career reached new heights when his classical work for orchestra and solo electric guitar, Concerto Suite for Electric Guitar and Orchestra in Eb Minor, was released 1998, proving that his classical credentials were genuine.
Yngwie has recorded twenty-six solo albums and a dozen more with other bands, as well as fourteen live performance DVDs. His 1998 three-volume Play Loud instructional video series is considered the most authoritative source for how to play his neoclassical style, covering everything from harmonic minor scales and diminished chords to advanced arpeggios. With an international fan base, Yngwie continues to record and tour around the world yearly.
Always a controversial figure, Yngwie commands attention; whether music fans love him or hate him, their fascination with him continues to fuel message boards and music/video download sites across the Internet as well as the Letters to the Editor sections of music magazines. A respected musician among his peers in the music industry, with endorsements such as Fender guitars (Yngwie Malmsteen Signature Series Stratocaster), Marshall amps, Dean Markley strings, DiMarzio pickups, and Korg effects pedals, Yngwie continues to play and compose at a level of mastery that many career musicians only dream of.








Deb's Top 5 Songs Of The Day:


Zakk Wylde, In This River
Yngwie Malmsteen, Cracking The Whip
Yngwie Malmsteen, Let The Good Times
Zakk Wylde, Pride And Glory
Yngwie Malmsteen, Paraphrase





Local Artist Of The Day:


Calveris

NEIL YOUNG












After Neil Young left the Californian folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. Just as importantly, Young continually explored new musical territory, from rockabilly and the blues to electronic music. But these stylistic exercises only gained depth when compared to his two primary styles: gentle folk and country-rock, and crushingly loud electric guitar rock, which he frequently recorded with the Californian garage band Crazy Horse. Throughout his career, Young alternated between these two extremes, and both proved equally influential; there were just as many simpy singer/songwriters as there were grunge and country-rock bands claiming to be influenced by Neil Young. Despite his enormous catalog and influence, Young continued to move forward, writing new songs and exploring new music in his fourth decade as a performing artist. That restless spirit ensured that he was one of the few rock veterans as vital in his old age as he was in his youth. Born in Toronto, Canada, Neil Young moved to Winnipeg with his mother following her divorce from his sports-journalist father. Young began playing music in high school. Not only did he play in garage rock outfits like the Esquires, but he also played in local folk clubs and coffeehouses, where he eventually met Joni Mitchell and Stephen Stills. During the mid-'60s, he returned to Toronto, where he played as a solo folk act. By 1966, he joined the Mynah Birds, which also featured bassist Bruce Palmer and Rick James. The group recorded a couple of singles for Motown, which were ignored. Frustrated by his lack of success, Young moved to Los Angeles in his Pontiac hearse, taking Palmer along as support. Shortly after they arrived in L.A., they happened to meet Stills, and they formed Buffalo Springfield, who quickly became one of the leaders of the Californian folk-rock scene. Despite the success of Buffalo Springfield, the group was plagued with tension, and Young quit the band several times before finally leaving to become a solo artist in May of 1968. Hiring Elliot Roberts as his manager, Young signed with Reprise Records and released his eponymous debut album in early 1969. By the time the album was released, he had begun playing with a local band called the Rockets, which featured guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina. Young renamed the group Crazy Horse and had them support him on his second album, Everybody Knows This Is Nowhere, which was recorded in just two weeks. Featuring such Young staples as "Cinnamon Girl" and "Down by the River," the album went gold. Following the completion of the record, he began jamming with Crosby, Stills & Nash, eventually joining the group for their spring 1970 album, Deja Vu. Although he was now part of Crosby, Stills & Nash, Young continued to record as a solo artist, releasing After the Gold Rush at the end of the year. After the Gold Rush, with its accompanying single "Only Love Can Break Your Heart," established Young as a solo star, and fame only increased through his association with CSN&Y. Although Crosby, Stills, Nash & Young were a very successful act, they were also volatile, and they had split by the spring 1971 release of the live Four Way Street. The following year, Young had his first number one album with the mellow country-rock of Harvest, which also featured his first (and only) number one single, "Heart of Gold." Instead of embracing his success, he spurned it, following it with the noisy, bleak live film Journey Through the Past. Both the movie and the soundtrack received terrible reviews, as did the live album Time Fades Away, a record recorded with the Stray Gators that was released in 1973. Both Journey Through the Past and Time Fades Away signaled that Young was entering a dark period in his life, but they only scratched the surface of his anguish. Inspired by the overdose deaths of Danny Whitten in 1972 and his roadie Bruce Berry the following year, Young wrote and recorded the bleak, druggy Tonight's the Night late in 1973, but declined to release it at the time. Instead, he released On the Beach, which was nearly as harrowing, in 1974; Tonight's the Night finally appeared in the spring of 1975. By the time of its release, Young had recovered, as indicated by the record's hard-rocking follow-up Zuma, an album recorded with Crazy Horse and released later that year. Young's focus began to wander in 1976, as he recorded the duet album Long May You Run with Stephen Stills and then abandoned his partner midway through the supporting tour. The following year he recorded the country-rock-oriented American Stars 'n Bars, which featured vocals by Nicolette Larson, who was also prominent on 1978's Comes a Time. Prior to the release of Comes a Time, Young scrapped the country-rock album Homegrown and assembled the triple-album retrospective Decade. At the end of 1978, he embarked on an arena tour called Rust Never Sleeps, which was designed as a showcase for new songs. Half of the concert featured Young solo, the other half featured him with Crazy Horse. That was the pattern that Rust Never Sleeps, released in the summer of 1979, followed. The record was hailed as a comeback, proving that Young was one of the few rock veterans who attacked punk rock head-on. That fall he released the double album Live Rust and the live movie Rust Never Sleeps. Rust Never Sleeps had restored Young to his past glory, but he perversely decided to trash his goodwill in 1980 with Hawks & Doves, a collection of acoustic songs that bore the influence of conservative, right-wing politics. In 1981, Young released the heavy rock album Re*Ac*tor, which received poor reviews. Following its release, he left Reprise for the fledgling Geffen Records, where he was promised lots of money and artistic freedom. Young decided to push his Geffen contract to the limit, releasing the electronic Trans, where his voice was recorded through a computerized vocoder, later that year. The album and its accompanying, technology-dependent tour were received with bewildered, negative reviews. The rockabilly of Everybody's Rockin' (1983) was equally scorned, and Young soon settled into a cult audience for the mid-'80s. Over the course of the mid-'80s, Young released three albums that were all stylistic exercises. In 1985, he released the straight country Old Ways, which was followed by the new wave-tinged Landing on Water the following year. He returned to Crazy Horse for 1987's Life, but by that time, he and Geffen had grown sick of each other, and he returned to Reprise in 1988. His first album for Reprise was the bluesy, horn-driven This Note's for You, which was supported by an acclaimed video that satirized rock stars endorsing commercial products. At the end of the year, he recorded a reunion album with Crosby, Stills & Nash called American Dream, which was greeted with savagely negative reviews. American Dream didn't prepare any observer for the critical and commercial success of 1989's Freedom, which found Young following the half-acoustic/half-electric blueprint of Rust Never Sleeps to fine results. Around the time of its release, Young became a hip name to drop in indie rock circles, and he was the subject of a tribute record titled The Bridge in 1989. The following year, Young reunited with Crazy Horse for Ragged Glory, a loud, feedback-drenched album that received his strongest reviews since the '70s. For the supporting tour, Young hired the avant-rock band Sonic Youth as his opening group, providing them with needed exposure while earning him hip credibility within alternative rock scenes. On the advice of Sonic Youth, Young added the noise collage EP Arc as a bonus to his 1991 live album, Weld. Weld and the Sonic Youth tour helped position Neil Young as an alternative and grunge rock forefather, but he decided to abandon loud music for its 1992 follow-up, Harvest Moon. An explicit sequel to his 1972 breakthrough, Harvest Moon became Young's biggest hit in years, and he supported the record with an appearance on MTV Unplugged, which was released the following year as an album. Also in 1993, Geffen released the rarities collection Lucky Thirteen. The following year, he released Sleeps With Angels, which was hailed as a masterpiece in some quarters. Following its release, Young began jamming with Pearl Jam, eventually recording an album with the Seattle band in early 1995. The resulting record, Mirror Ball, was released to positive reviews in the summer of 1995, but it wasn't the commercial blockbuster it was expected to be; due to legal reasons, Pearl Jam's name was not allowed to be featured on the cover. In the summer of 1996, he reunited with Crazy Horse for Broken Arrow and supported it with a brief tour. That tour was documented in Jim Jarmusch's 1997 film The Year of the Horse, which was accompanied by a double-disc live album. In 1999, Young reunited with Crosby, Stills & Nash for the first time in a decade, supporting their Looking Forward LP with the supergroup's first tour in a quarter century. A new solo effort, Silver and Gold, followed in the spring of 2000. In recognition of his 2000 summer tour, Young released the live album Road Rock, Vol. 1 the following fall, showcasing a spectacular two-night account of Young's performance at the Red Rocks Amphitheater in Morrison, CO, in September 2000.







Deb's Top 5 Songs Of The Day:



Neil Young, Heart Of Gold
Neil Young, Keep On Rockin' In The Free World
Neil Young, Old Man
Neil Young, Cinnamon Girl
Neil Young, Southern Man



Local Artist Of The Day:




Picciuto

JIMMY BUFFETT

From Jimmy Buffett's myspace

www.myspace.com/jimmybuffett









In four hundred words or less, this is what happened form early adolescence until now: I broke out of the grip of Catholicism and made it through adolescence without killing myself in a car. I flunked out of college. I learned to play the guitar, lived on the beach, lived in the French Quarter, finally got laid, and didn't go to Viet Nam. I got back into school, started a band, got a job on Bourbon Street, graduated from college, flunked my draft physical, broke up my band, and went out on the road solo. I signed a record deal, got married, moved to Nashville, had my guitars stolen, bought a Mercedes, worked at Billboard Magazine, put out my first album, went broke, wrecked the Mercedes, got divorced, and moved to Key West. I sang and worked on a fishing boat, went totally crazy, did a lot of dope, met the right girl, made another record, had a hit, bought a boat, and sailed away to the Carribean. I started another band, worked the road, had my second and last hit, bought a house in Aspen, started spending summers in New England, got married, broke my leg three times in one year, had a baby girl, made more records, bought a bigger boat, and sailed away to St. Barts. I got seperated from the right girl, sold the boat, sold the house in Aspen, moved back to Key West, worked the road, and made more records. I rented an apartment in Paris, went to Brazil for Carnival, learned to fly, went into therapy, quit doing dope, bought my first seaplane, flew all over the Carribean, almost got a second divorce, moved to Malibu for more therapy, and got back with the right girl. I worked the road, moved back to Nashville, took off in an F-14 from an aircraft carrier, bought a summer home on Long Island, had another baby girl. I found the perfect seaplane and moved back to Florida. Cameron Marley joined me in the house of women. I built a home on Long Island, crashed the perfect seaplane, lived through it thanks to Navy training, tried to slow down a little, woke up one morning and I was looking at fifty, trying to figure what comes next. You have to take the best from whatever the situation is and go on. That's the whole point of the music to me. All through American history populist singers and humorists have served as the nation's tickle spot, people like Will Rogers and Mark Twain. I see myself in that vein and fulfilling that sort of responsibility. I give people a few shots. It's as much a satirical pinprick as anything else. You just have to remind people of the day-to-day funny things. When I write songs, I look for interesting little innuendoes or pieces of situations everybody has experienced.








Deb's Top 5 Songs Of The Day:


Jimmy Buffett, Why Don't We Get Drunk And Screw
Jimmy Buffett, Mexico
Jimmy Buffett, Margaritaville
Jimmy Buffett, Cheeseburger In Paradise
Jimmy Buffett, Come Monday




Local Artist Of The Day:


High Tied

JOE SATRIANI












It's been 20 years since guitar monster Joe Satriani shook the world with his debut solo release, Not of This Earth. But when we broke this news to Satch himself, he couldn't believe it.
"Wow," he marvels. "I had no idea." Quickly he logs onto his website, satriani.com. "Whaddya know! You're absolutely right!"

Of course, this just proves that Satriani isn't the type to look back - especially when he's got something like Super Colossal on his mind.

Who can blame him? Even in a catalog that's overflowing with some of the most amazing six-string wizardry ever documented, Super Colossal, his newest Epic release, stands out. Whether you're a connoisseur of the guitaristic arts or someone who simply digs great grooves and passion in music, this CD lives up to its name.

In fact, though Satriani has had a dream career that's ranged from building a reputation as the teacher that the greatest guitarists sought out for lessons, to exploding all over the map with more than ten million sales of 11 solo albums (two platinum, four gold), 13 Grammy nominations, 3 platinum DVD's, the historic G3 guitar summits, and tours/sessions with everyone from Mick Jagger to Deep Purple to Spinal Tap, Super Colossal is an unprecedented achievement.

Why? Because it's about more than playing guitar.
It's about the magic in music.

More precisely, it's about finding that sweet spot where sweeping gestures and a craftsman's attention to detail enrich each other.

You hear it in the title track's thundering, foot-stomp beat and intricately textured lead line, in the spiritual intensity of "A Love Eternal" and the raucous, party-down exhilaration of "Crowd Chant, and in the cinematic menace of "One Robot's Dream."

And especially, you feel it because Satriani is digging down, finding the right note and letting it fly, and focusing more on touching hearts than blowing minds.

Super Colossal, then, completes his transformation, long in progress, from stunning instrumentalist to fully-realized artist.

"People who picked up on my records early on knew that I couldn't be easily pigeonholed," Satriani says. "I was never a metal player or a fusion player or a straight-ahead rock player, though these are all elements of my personality. I think I just go further into each of those places now, especially on Super Colossal. To me, there's more variety here than on any other album I've done."

This attention to detail shines throughout Super Colossal. Encouraged by the sounds he was discovering through the interplay of instrument, amp, speaker simulators, and processors, Satriani found ways to express himself through long notes, perfectly selected and caressed, as well as the occasional blinding run. "It was a journey for me to play a song like 'Ten Words,' he points out, "to learn how to be restrained. You're not just wailing. It's hard to make an instrumental that really says something, that's not just background music or some superficial 'get up and dance' thing. There's nothing wrong with either of those forms; it's just that I'm not doing that. I'm going deeper.

"Besides, after making records for - now that you've pointed it out - 20 years," he adds, just a bit wryly, "I'd feel bad if somebody said, 'Man, you're just playing indiscriminately.' You're supposed to get better and to learn how to make the music work, and sometimes that does mean laying back and really speaking through your guitar instead of treating it as a vehicle that lets you play really fast, which increasingly means less and less to me."

After finishing his tracks, he sent them out for live drum overdubs: Four - "A Cool New Way," "One Robot's Dream," "The Meaning of Love," and "Made of Tears" - went to session giant Simon Phillips in L.A.; the rest were cut by Satriani's longtime associate Jeff Campitelli in Vancouver, at The Armoury, a studio that co-Producer Mike Fraser (AC/DC) had recommended. The acoustics of its main room yielded exactly what Satriani wanted for the rhythm track: a big, brawny resonance that complemented the power of his most aggressive lines, and a rich whisper for softer moments.

"I wanted a sound that was complex and emotional but never revealed the technology behind it," the guitarist explains. "As a result I managed to find the best guitar tones I've ever put on record. The sound of this album, the incredible variety that somehow fits under this umbrella of Super Colossal, makes it special in my book.

"And," he reminds us, "I didn't even know I was celebrating 20 years."







Deb's Top 5 Songs Of The Day:



Fall Out Boy, Sugar We're Goin' Down
Judas Priest, You've Got Another Thing Coming
Green Day, Time Of Your Life
Little River Band, Oh, What A Night
Pat Benatar, Hit Me With Your Best Shot




Local Artist Of The Day:



Calveris

JIM CROCE











In the music industry, arguably the worst tragedy that can befall an artist is to die in their prime, when he or she is just beginning to break through to the mainstream and reach people on a national level. One such artist was Jim Croce, a songwriter with a knack for both upbeat, catchy singles and empathetic, melancholy ballads. Though Croce only recorded a few studio albums before an untimely plane crash, he continues to be remembered posthumously. Croce appealed to fans as a common man, and it was not a gimmick -- he was a father and husband who went through a series of blue-collar jobs. And whether he used dry wit, gentle emotions, or sorrow, Croce sang with a rare form of honesty and power. Few artists have ever been able to pull off such down-to-earth storytelling as convincingly as Croce. James Croce was born in Philadelphia, PA, on January 10, 1943. Raised on ragtime and country, Croce played the accordion as a child and would eventually teach himself the guitar. It wasn't until his freshman year of college that he began to take music seriously, forming several bands over the next few years. After graduation, he continued to play various gigs at local bars and parties, working as both a teacher and construction worker to support himself and his wife, Ingrid. In 1969, the Croces and an old friend from college, Tommy West, moved to New York and record an album. When the Jim and Ingrid record failed to sell, they moved to a farm in Lyndell, PA, where Jim juggled several jobs, including singing for radio commercials. Eventually he was noticed and signed by the ABC/Dunhill label and released his second album, You Don't Mess Around with Jim, in 1972. The record spawned three hits: "You Don't Mess Around With Jim," "Operator (That's Not the Way It Feels)," and "Time in a Bottle." The latter would become Croce's breakthrough hit, shooting all the way to number one on the Billboard charts. Croce quickly followed with Life and Times in early 1973 and gained his first number one hit with "Bad, Bad Leroy Brown." After four years of grueling tour schedules, Croce grew homesick. Wishing to spend more time with Ingrid and his infant son Adrian James, he planned to take a break after the Life and Times tour was completed. Unfortunately, the tour would never finish; just two months after "Bad, Bad Leroy Brown" topped the charts, Croce's plane crashed in Natchitoches, LA. Croce and the four other passengers (including band member Maury Muehleisen) were killed instantly. Ironically, Jim Croce's career peaked after his death. In December of 1973, the album I Got a Name surfaced, but it was "Time in a Bottle," from 1972's You Don't Mess Around with Jim which would become his second number one single. Shortly afterwards, "I'll Have to Say I Love You in a Song" reached the Top Ten. Several albums were released posthumously, most notably the greatest hits collection, Photographs and Memories, which became a best-seller. Several other compilations have since been issued, such as the 1992 release The 50th Anniversary Collection and the 2000 compilation Time in a Bottle: The Definitive Collection. Listening to the songs Croce recorded, one cannot help but wonder how far his extraordinary talents could have taken him if he would have perhaps lived a few years longer. Unfortunately, such a question may only be looked at rhetorically, but Jim Croce continues to live on in the impressive catalog of songs he left behind.







Deb's Top 5 Songs Of The Day:


Jim Croce, Don't Mess Around With Jim
Jim Croce, Say I Love You In A Song
Jim Croce, Time In A Bottle
Jim Croce, Lovers Cross
Jim Croce, Bad, Bad Leroy Brown




Local Artist Of The Day:

Every Avenue

THE PUBLIC WILL NOT FIND YOU!







That's right the public will not find you. You need to show the public you're out there and ready for them!


A few ways would be:

* Get played on as many radio stations as possible (Internet & FM/AM)

* Get as many interviews, reviews as possible, you need to build up your reputation!

* Get your fans involved as much as possible. Tell them to spread the word, give them options to spread the word about you online and offline.

* Play at as many different venues as possible. Gaining fans from these venues can really help you.

* Going on tour with other bands/artists or just playing a venue together will also help you gain their fans and vice versa.

* We know you love your music, but lets hear some testimonials about your music too. Either from fans or even a trusted resource such as a music magazine.

* Put everything you got into anything you do and you'll get results! Don't put only half of your effort into it, that will get you no where.

* Getting awards! If your band or you as an artist gets an award that puts your marketability alot higher.

* Once you know what you want to do and have started making music then you need to look into getting with a Management & Promotions Team and also a Record Label that will get your music out there. These are the two best resources you can have. And make sure to do your research on these companies! Don't jump into anything right away.






Deb's Top 5 Songs Of The Day:


ACDC, She Shook Me All Night Long
Cat Stevens, The First Cut Is The Deepest
Diamond Rio, One More Day With You
Drowning Pool, Bodies
Elton John, Can You Feel The Love Tonight




Local Artist Of The Day:


David Kender

VOCALLY SPEAKING...The Cutting Edge

by Diana Yampolksy











In this column, I would like to talk about something that every singer who aspires to greatness must have: a cutting edge. This term is actually the title of an obscure movie about figure skating that I enjoyed very much and, more importantly, perfectly encapsulates exactly what I want to say in this article. In the movie, a figure skating duo from the United States is aiming to win the gold medal at the Olympics. During their practices their coach tries to find something that will give them an advantage over the competition. The turning point in their quest is when he asks them why they think they have a chance of winning? They couldn't come up with an adequate answer and he goes on to tell them that they need a cutting edge; something extraordinary that will ensure they become Olympic champions. He informs them that their competition will be doing essentially the same jumps and routines they are and, therefore, it really comes down to who has a better day instead of who the greatest skaters are. The coach then goes onto tell them about a very dangerous jump called the Deadly Spiral.It is so difficult and life-threatening that nobody else would everdare to try it. If the duo could master this jump then they would be absolutely guaranteed the gold medal. At first they are apprehensive but he convinces them that they have the technical skills necessary to safely nail it. Much of the rest of this movieis about them practicing the move, nearly killing each other and then finally succeeding in their task - becoming Olympic champions.The Deadly Spiral was obviously their "cutting edge" over the other skaters.

Similarly, I have a lot of CD's in my collection with good music,decent songs and even adequate vocals, but the majority are missing their own "cutting edge". Take a moment to ask yourself: as a singer, what makes you different? I think you would agree with methat a singer who sounds just like everyone else is pretty boring.(Nobody ever sold a million records while performing in a tribute band!) Every singer that has become a legend (Elvis, The Beatles,Celine Dion) had something original and unique that set him or her apart from every previous singer. Their voices were unique andoriginal, but they also had other intangible qualities as well. Now you are probably asking yourself what you can do to gain your own cutting edge. There are essentially two ways to do it.The first way is to do it is as the afore mentioned skaters did. Find or create something that will give you a leg up on the competition. It may be a particularly difficult or beautiful song that you learn how to sing exceptionally well. (Sort of like yourown Deadly Spiral.) Or it could be the way you carry yourself onstage, what most people call stage presence. It can even be aunique look as long as it relates well to the style of music you are performing. Most people wouldn't classify the members of KISS as being extraordinary singers and songwriters but they achieved a perfect balance between style of music, songs, vocals, image and performance.The second way is to develop it from within your self. It is important to understand that you already possess your own uniquequality that separates you from every other person on the planet: your spirit. If you wish, you can take this to mean that I am talking about your soul. At the very least you have to admit thatyour DNA differs in some way from every other human being. Furthermore, your experiences are not completely like those of any other person. Either way, what you have to learn how to do is to unleash your own individuality and channel it into your vocal performances. Rob Thomas of Matchbox Twenty is a prime example of a singer whose cutting edge is his own inner energy, which is incredibly high and "orgasmic" and that transfers directly to the audience. As I outlined in my book, Vocal Science - Flight to the Universe, singers can only invest their performances with their own individual spirit when they are grounded in flawless technique,which will also prevent them from damaging their main commodity, ie. their voice. Whenever a new student starts instruction with me we first concentrate solely on the technical aspects of singing. Asthe student progresses and develops to the point that the technique becomes second nature to him, his individuality naturally starts to come out in his vocal performances. This is very exciting to witness and is one of the things I love most about my job. Ivividly remember a student who once called me after a performance because he was very excited about what people were saying with regard to his new way of singing in light of the work we had done together. As is the case with many amateur bands, many of the same people (friends, family) usually come to all of their performances.This time, several had told him not only had his pitch and projection improved immensely but he sounded more original andtotally different. They told him that whereas before he had sounded like Bono of U2 and Michael Hutchence of INXS, now they couldn't really compare him to anyone else. He had developed his own cutting edge and was exhibiting something that was unique to him.When a singer develops his own cutting edge it is truly a joyous experience. It's like witnessing the singer being reborn. Until next time, keep working at developing your own unique style and besure to stay tuned for future excerpts from my new book, Vocal Science II - Flight from the Virtual Music to Reality, in upcoming issues.



****** Diana Yampolsky is a Toronto-based Vocal Coach/Consultant. She isthe creator of the Vocal Science Program, which has been designedto achieve Accelerated Vocal Development and guarantees to turn abeginner into a professional singer in a matter of hours. Thistechnique focuses on the idea that the voice is an expression ofthe emotional, physical and spiritual state of the person singingand Diana therefore works not just on the voice but on theperformer as a whole. The Royans School for the Musical PerformingArts (www.vocalscience.com) specializes in Accelerated ArtistDevelopment, including Vocal Coaching/Consulting, In Studio VocalProduction Expertise, Style Identification & Differentiation, VoiceRepair and Psychology of Performance.








Deb's Top 5 Songs Of The Day:



Jimmy Buffet, Margaritaville
Meatloaf, You Took The Words Right Out Of My Mouth
Joe Cocker, The Letter
Pantera, This Love
Journey, Open Arms




Local Artist Of The Day:


Calveris

Press Kit Strategies










The main goal in creating a press kit is to generate interest in an artist and the music they play. A press kit includes background information, photos, samples of music, a listing of past and future gigs you have scheduled, and any other pertinent information.

A press kit is used as a way of introducing and artist to newspapers, the media, promoters, and music industry leaders. You can create a press kit that is mailed to the appropriate recipients and it is a good idea to have an electronic form of your press kit that can be emailed and posted on web sites.Things to include in your press kit:Offer a limited a mount of information about yourself, your band, and your style of music. Don't give the reader more information than they want. If your introduction is too lengthy, you will lose the interest of your intended audience.Talk about your music, the way in which you perform your songs, your sound, and who your influences are. You will want to give a good idea of what you may sound like in these descriptions. Do not be afraid to interject a little humor into your descriptions. You will get someone's attention during the very first minute they open your press kit. If you do not captivate them immediately, they will lose interest.

Describe the things that make you special in comparison to everyone else. What are your skills and experience level? Why would a record promoter or executive gain by giving you a chance to record and market your music? Record companies spend a great deal of money in promoting new artists. You will want to make it clear why you would be a good investment.Include press clippings and quotes as they become available. A remark made about you by a reputable person will go a long way in making your press kit credible. This will let the reader know that you have been recognized as a talent to be reckoned with and could possibly create extra momentum for you while you are trying to launch your career. Whether you are in need of a singer, musician, or actor press kit, recognition from others is a great tool in promoting yourself.You really only need one page of your press kit to be devoted to a biography and one page that includes quotes and press clippings. This rule stands even in an online portfolio. By keeping each topic on a simple page, you are much more likely to hold the interest of the person who receives your press kit. Make sure the tone of your band press kit is in line with who you are as a person and the type of music you perform.

A sample of your music in the form of a high quality CD or clips that can be heard in an electronic press kit are critical. Make certain you label the CD with your name and contact information. If someone loves your music but has misplaced the rest of your press kit, you will want this information to readily available to them.Be careful not to overdo the self-promotion. You should be positive and state your ambitions, but shameless self-promotion will make you look unprofessional and less than credible. Also avoid including too much personal information. No one cares (yet) about your first pet, your grades in elementary school, or your personal phobias. Keep the focus on your music and your accomplishments. You want to be sure you do not look desperate for work, even if you really are.Include a personal cover letter to whomever you send your press kit to, and try to avoid sending your musician press kit unsolicited. It is always better to have a referral from a friend or associate of the person you wish to see your material.






Deb's Top 5 Songs Of The Day:




Peter Townshend, Let My Love Open The Door
AC/DC, Son Of A Bitch
Bob Seger, Drift Away
Nickelback, Feeling Way Too Damn Good
Disturbed, Stricken




Local Artist Of The Day:

Christine LeDoux

SONGWRITING










Everyone has a different approach when it comes to songwriting. Some people need to have a particular tune or 'riff' in their heads first - something to write around, while for others the music can come later. Whatever method you use, at some point we all end up facing the same dilemma... what to write about? Ugh! The dreaded writers block. Some days we're just not inspired enough to write, so it is put off until ‘later.’

The best way to keep the creative juices flowing is to establish some sort of writing routine. Even if you're not in the mood to write, just sitting down (or taking a walk) and getting your head into that "writing place" is sometimes all you need. Forcing yourself to write? You think, “How’s that going to work?” Give it a chance and you may be very surprised at what you come up with. It doesn’t have to be a set time or day, just try to manage a little time, whether it's one or two days a week, or ten minutes to half an hour a day, and you may find yourself ending up 'in the mood to write' after all. It may sound stupid, but pick a topic to write about. Yes, it could be something as simple as the weather, or whatever mood you're in, or think back to past experiences, or pick up a book or a magazine and find a word or phrase that makes it easy for you to get started writing. Before you realize it, you may be writing about something completely different, but it was that one 'stupid' thing that got you over the hump!

A great idea is to keep a journal or little notebook. Something that you can keep nearby in case an idea creeps up unexpectedly. An idea may come to you and you don't have the time to start writing. But if you can jot down a few lines, it will make it much easier to pick up later and expand on it, instead of trying to search for the words that came to you yesterday.

Keeping a personal journal is a good way to come up with ideas without even trying. If you would rather not have a journal lying around, keep one on your computer, password protected. Personal journals keep your most intimate thoughts and emotions, the basis for many, many songs. If you find it hard to start, just make entries short, thoughts of the day, things you’ve done, what you thought about it, and before long the entries become longer and longer. When you look back at what you’ve written, you may find some nice ideas.

Remember that writing takes practice, just like many other things in life, and you cannot expect to get any better at it, without making the effort to write more often.






Deb's Top 5 Songs Of The Day:


Rod Stewart, Every Picture Tells A Story
Bob Seger, Hollywood Nights
Devo, Whip It
Disturbed, Down With The Sickness
Eagles, Take It To The Limit


Local Artist Of The Day:


Free Element

ANI DI FRANCO







BIOGRAPHY

Ani DiFranco is a songwriter, vocalist and guitarist perpetually on the move. From the raw “folk punk” of her early albums through the jazz/funk grooves she created during her years touring with a five-piece band to the twists and turns of her current work as a solo artist, Ani’s restless creativity continually leads her and her listeners into ever more exciting territory.

Born in Buffalo, New York, DiFranco was already singing and playing guitar in public before she was old enough to drive. As a teenager, the poems she’d been writing in “long skinny columns” soon evolved into lyrics, and music became a way for the teenager to talk about the things that mattered most to her: the power dynamics of romantic entanglements, the fragmentation of her family, the choices she watched her friends making, and the state of life in her hometown and her country.

The early 1990s brought a temporary relocation to New York and classes in poetry and politics at the New School, but her real education came on weekends, as she hit the road with increasing frequency and growing confidence, developing her signature percussive finger picking and dynamic range in order to grab and hold the attention of noisy bar crowds. Even the need to fill time while re-tuning became an opportunity to improvise off-the-cuff stories about whatever had happened during the course of her day, which became yet another hallmark of her style. After just about every one of her funny, outspoken, intimate gigs, she’d leave behind a fresh batch of converts eager to spread the word to everyone they knew, via cassettes at first and then CDs. Rather than waiting for some A&R bigwig to sign her, Ani simply created her own record label, Righteous Babe, eventually turning down legions of potential deals when she realized they had nothing to offer that she couldn’t provide herself. In the process, the born performer began to learn her way around the recording studio, too, gradually developing her own innovative means to convey the spontaneity, intensity and wit of her live concerts on disc.

Nearly a decade and a half of hard work, glowing word of mouth, and relentless touring later, the self-described “Little Folksinger” is packing joints like Carnegie Hall and amphitheaters around the world, though she still makes each venue she plays feel as cozy as a living room and as sweaty as a neighborhood dive. That DIY label of hers, still based in Buffalo (with a European branch based in London), has now released 16 of Ani’s own CDs and about a dozen more by an eclectic hand-picked roster of artists whose music is as unclassifiable and unpredictable as hers.

But that’s only part of the story. Over the years, Ani has swapped album appearances with Prince and Maceo Parker, produced recordings by Dan Bern and Janis Ian, performed orchestral versions of her compositions with the Buffalo Philharmonic, helped find wholly new fans for the songs of Woody Guthrie and the stories of Utah Phillips, had her own tunes covered by the likes of Dave Matthews, and Chuck D, recorded duets with both John Gorka and Jackie Chan, and inspired countless other musicians to
rewrite the rules of the recording industry by striving for self-sufficiency and refusing to allow art to be subsumed by cold commerce. Through her Righteous Babe Foundation, she’s been able to support grassroots cultural and political organizations around the country, and she has repeatedly lent her time and her voice to such diverse pursuits as opposing the death penalty, upholding women’s reproductive rights, promoting queer visibility, and preserving historic buildings back in Buffalo (including a long-neglected church currently being transformed into the new headquarters of Righteous Babe).

Ani DiFranco’s career has been full of surprises—for her, and for the rest of us— and she’s no stranger to change, both sudden and slow. But some things remain unchanged, like her commitment to speaking the truth, as she sees it, without fear or concession. Bruce Cockburn recently observed in Performing Songwriter that Ani considers it part of her job description “to try and reflect real life in [her] songs. The life of the streets; the life of nations; the lives of people coping with power or its absence, looking for joy through the loneliness and pain and the complexities of relationship; the life of the spirit. All these are the stuff of human experience, and human experience is what we all share.”

She does so with two basic instruments, both of which are also constants in her ever-evolving world: her trusty guitar and her unforgettable voice. Vanity Fair describes the latter as “astonishing…coolly, permanently urgent, tugging at the sleeve or close at the ear, like the murmur of a lover who knows every last secret and decides to stay.”







Deb's Top 5 Songs Of The Day:



Jackson Browne, Load-in/Stay
Nickelback, Someday
Fall Out Boy, Sugar We're Goin' Down
Seether, Truth
Nine Inch Nails, The Hand That Feeds



Local Artist Of The Day:


Michael Ferentino

AEROSMITH









For over three decades, Aerosmith have been one of rock's most revered and popular bands, crafting classic songs full of raw guitar runs and intensely energetic vocals. The band first reached fame in the 1970’s with a string of hits including "Dream On," "Sweet Emotion" and "Walk This Way." During this period, Aerosmith's music defied easy categorization, falling somewhere between hard rock/blues and early punk, with occasional power ballads here and there. The band enjoyed major popularity throughout the 1970's, but a split from 1979-84, and the serious substance abuse and drug addictions that contributed to their decline, would nearly relegate them to the annals of history. However, in 1984, Aerosmith was born again. They went on to enjoy resurgence in popularity that has made them one of the top-selling and most popular rock bands in the world today.

Throughout their rough and rocky history, Aerosmith defied failure and even defied mediocrity in a fast-paced rock-and-roll world abundant in tragedy and also-rans. Aerosmith signed with Columbia in 1972 and debuted their first album simply titled Aerosmith, which included a hit single, "Dream On". After constant touring, the band released Get Your Wings in 1974, which did quite well on the charts, but it was Toys in the Attic in 1975 that established Aerosmith as international superstars. Originally pegged as Rolling Stones clones, Toys in the Attic showed that Aerosmith was a unique and original talent in their own right. Part heavy metal, part glam rock, and part punk, Toys in the Attic was an immense success, starting with the single "Sweet Emotion", then a successful re-release of "Dream On", and a new song from the album, "Walk This Way". Both of the band's previous albums re-charted as a result. Aerosmith's next album, Rocks, went platinum swiftly and featured two hits, "Back in the Saddle" and "Last Child".
Their next album, Draw the Line, was not nearly as successful, though the title track proved to be a minor hit. While continuing to tour and record into the late 1970’s, Aerosmith acted in the movie version of Sgt. Pepper's Lonely Hearts Club Band, covering the Beatles hit "Come Together." As their popularity waned and drug abuse began affecting their output, Joe Perry left the band in 1979 during the recording of their sixth studio album Night in the Ruts and formed The Joe Perry Project. Perry’s role in Aerosmith was initially taken by longtime friend and songwriter Richie Supa and then later by guitarist Jimmy Crespo who recorded the remainder of the album.

Aerosmith released its mammoth-selling Greatest Hits album in 1980, and in 1981 the band suffered another loss with the departure of Brad Whitford. Rick Dufay replaced Whitford and the band recorded their seventh album, Rock in a Hard Place. The album was considered a relative failure. The tour that followed this release is notable for Steven Tyler’s collapse onstage during a 1983 performance.

On Valentine's Day 1984, Perry and Whitford went to see Aerosmith play. They officially rejoined the ranks of Aerosmith once more in April of that year. Steven Tyler recalls, "You should have felt the buzz the moment all five of us got together in the same room for the first time again. We all started laughing - it was like the five years had never passed. We knew we'd made the right move."

Aerosmith embarked on a lucrative reunion tour entitled "Back in the Saddle", which produced the live album Classics Live II. Their problems were still not behind them when the group signed with Geffen Records and began working on a comeback.

1985 saw the release of Done with Mirrors, their first studio album since the highly publicized reunion. It fared relatively well commercially, but it did not produce a hit single or generate much hope for their comeback. By the time the record was released, Tyler and Perry had exited drug rehabilitation. The group appeared on Run D.M.C.'s incredibly successful cover of "Walk This Way", blending rock and roll and hip-hop and successfully beginning Aerosmith's comeback. The group's next release was Permanent Vacation (1987), which included the hits "Dude (Looks Like a Lady)", "Rag Doll", and "Angel". Their next album, Pump, was received even better; Pump featured four Top Ten singles: "Janie's Got a Gun", "What It Takes", "Love in an Elevator", and "The Other Side". Aerosmith was definitely in the midst of a major resurgence.

Despite significant shifts in mainstream music at the beginning of the 1990’s, the band's 1993 follow-up to Pump, Get a Grip, was just as successful commercially. Though many critics were unimpressed by the focus on power-ballads in promoting the album, three songs ("Cryin' ", "Crazy" and "Amazing") proved to be huge successes on radio and MTV. The music videos featured then fresh up-and-coming actress Alicia Silverstone; her provocative performances earned her the title of "the Aerosmith chick" for half a decade. Steven Tyler's daughter, Liv Tyler, was also featured in the "Crazy" video. Aerosmith signed with Columbia Records again in the early 1990’s, but they had to complete two contractual albums for Geffen before recording for the new label.

The next album, Nine Lives, was plagued with personnel problems, including the firing of manager Tim Collins. Reviews were generally mixed, and Nine Lives initially fell on charts, although it had a long chart life and sold double platinum in the US alone. It was followed by a series of late '90’s releases, mostly earlier material that was live or retrospective. The albums sold relatively well, but also marked a second decline in popularity and critical respect for the band.

Aerosmith's biggest hit of the '90’s, and its only #1 single to date, was the love theme from the film Armageddon, "I Don't Want to Miss a Thing". This song was conceived by Joe Perry and Diane Warren, although Warren alone received songwriting credit. Steven Tyler's daughter Liv was featured in the movie. In 1999, they were in the Disney-MGM Studios ride (and later in the Walt Disney Studios Park ride), Rock 'n' Roller Coaster. Aerosmith provided the soundtrack and theme for the ride, which is based on their recording session and following concert.

The band started its next decade with the release in 2001 of Just Push Play, which charted well. They were also inducted into the Rock and Roll Hall of Fame. Later that year, the band appeared as part of the United We Stand concert in Washington D.C. for 9/11 victims and their families. Stubbornly, the band flew back to Indianapolis for a show the same night, refusing to interrupt their Just Push Play tour schedule.

In 2002, Aerosmith released the 2-disc compilation O Yeah! Ultimate Aerosmith Hits and embarked on the Girls of Summer tour with opening acts Kid Rock and Run-DMC. In 2003, Aerosmith co-headlined with Kiss on the Rocksimus Maximus tour. Their long-promised blues album, Honkin' on Bobo, was released in 2004. The Album continues to be a success, helping to inspire the resurgence of blues and roots music across the US and Europe. A live DVD, You Gotta Move, followed it in December 2004. The band also lent its well-known "Dream On" to an advertising campaign for Buick in 2004, targeting their audience, which is now composed largely of people who were teenagers when the song first charted.

In 2005, guitarist Joe Perry released his eponymous solo album. Many claim that it is in many ways truer to the Aerosmith of the '70’s than any of their recent output. This is mostly due to its raw energy and lack of song doctoring. In October 2005, Aerosmith released a CD/DVD named Rockin' the Joint. The band hit the road for the Rockin' The Joint tour on October 30th with Lenny Kravitz and is still touring.

They expect to be on the road until some time around Spring 2006. Rumor has it that they will begin work on a new album at that time. It was announced in January that the band will embark on a 5-week tour with Cheap Trick in the spring. Rumors of a tour started a week before the announcement when Cheap Trick front man Robin Zander joined the band onstage for "Come Together" during a concert in Tampa, Florida. Early reports also indicate that the band plans to resume touring in the fall of 2006, most likely in support of the new album. According to insiders, an upcoming tour may see them alongside Motley Crue.







Deb's Top 5 Songs Of The Day:



Aerosmith, Don't Want To Miss A Thing
Seal, Kiss From A Rose
Smokey Robinson, The Tears Of A Clown
The Who, Won't Get Fooled Again
Bob Seger, Drift Away




Local Artist Of The Day:


One Common Fate

FOOLING YOURSELF????







What do you want to do with your music? Do you want to do it for fun or are you contemplating to go for a career? You probably have been in this situation a million times, or you have pondered the idea. Should you do it or shouldn't you? You say it is so hard to do such a thing, but what isn't challenging in life?

So if your doing it for fun, then have fun! Hope you enjoy the times you have and don't regret anything.

However, your putting all this time into practicing, getting fans, self promoting 24/7, 365 why not try and take it to the career level? I'd say it would be a risk worth taking if you try and set out to make it your career! Anything in life is not 100% safe, so you might as well get your act together and start planning this out!

*remember I'm taking into account you have a decent fan base already...

Some basic questions to ask yourself before planning to make your music your career:

* What Genre are you in?
* What type of venue do you see yourself playing at, is it a restaurant, concert, pub, hall, etc...
* What would be your start up costs? Example: Equipment, Instruments, etc...
* What would be your running costs? Meaning what do you have to consistently pay for each month. Including food, housing/rent, clothes, car, etc...
* Do you have an easy time talking with people; not signing; but how do you react to the public. If you don't react very well you might think about taking some public speaking classes, etc... These will really help you out!

Okay that is basically what you need to figure out before planning to take your music seriously and make it a career. You can do this, so keep reading!
What you need to do next is to plan out how your going to create your career, what will be your income?

Some Income Examples:

* CD Sales, Digital Song Sales
* Royalties (this might be difficult)
* Merchandise Sales, t-shirts, pants, hats, etc...
* Fan Club - Subscription Based - Exclusive Content
* Venues/Tours - Get a decent cut or don't do it!
* Market yourself, open up grand openings to stores, play live music at car shows, get contracts from local companies needing to promote their product.

Now you figured out your potential income, how do you do all this and still focus on your music? Get a management & promotions team for yourself, not a street team! And a record label, the record label might have a promotions team within its organization so that is up to you how that will work. Remember do your research on these organizations and meet in person with them. This will help in the long run!

So from there everything should be running smooth, keep getting at least 3-5 venues every week, with decent profit cuts. Make sure you sell your CD and merchandise at the show, basically get a person or persons to help do that; maybe someone from the management and promotions team.

Now you're actually in your career doing what you love!

Extras Tips:

* Make yourself a budget in Excel or other similar software. Creating a budget and really sticking with it will benefit you greatly! I highly recommend it.
* Budgets include, income, expenses, and other costs. Make sure you save your money too! Don't go spending everything! You might also want to do a 60/40, 60% saving and 40% spending, that's a good percentage to help you save for unexpected costs.






Deb's Top 5 Songs Of The Day:


Nickelback, Someday
Bryan Adams, Summer Of 69
REM, Losing My Religion
Tool, Sober
Peter Townshend, Let My Love Open The Door



Local Artist Of The Day:


Calveris

Live Music







Music is said to be the food of the soul. There is nothing more persuasive and pleasing than good music. Soothing music heals the mind. No entertainment is complete without music. Playing of your favorite music and songs instantly changes your tension filled mind to a more relaxed and serene state of mind.

Though people can listen to songs and music on stereo systems and walkmans, however, they do not think twice before lining up for live music concerts the reason – passion. It is the power of passion that attracts them to see the stars perform in person and live. Nothing beats it.
Live music is also preferred at parties and events. Live music entertainment consists of classical music, Jazz, Swing, World music, period music of 50’s, 60’s, 70’s, 80’s and the 90’s and performed by artists who haven’t made it big. Classical music consists of quintet, quartet, trio, duo and solo. Performances of live music can be given on any instrument as a piano, guitar, keyboard, cello, harpoon, flute, trumpet, saxophone and the jazz set.

Whether it is a birthday party, wedding reception, a private party or a corporate party, live music is a must if you are not hiring a DJ to mix songs for you. Even if there is a DJ, live music is not a bad idea. Almost every city and town in the US has bands that perform live music. The choice of songs and music may be limited with a live music performance, but it is the limited selected songs and music, which makes the band endearing to people. DJs would charge 25% – 50% of what a live music performing band charges. However, the allure of live music is something that is irresistible if one can afford it. Some live music performing bands capture and reproduce the tone of music that were not recorded properly by the unsophisticated recording machines of the 50‘s and the 60’s.

A DJ can mix songs to provide you the ultimate music entertainment. What needs to be done though is that you should give the DJ a list of your preferred song long before the event. That gives the DJ time to arrange the CDs for you. The variety of music becomes enhanced when a DJ plays CDs. A sudden request from the guest also may be honored by the DJ and the song may be played. Most DJs come prepared with a number of CDs to meet immediate requests.






Deb's Top 5 Songs Of The Day:


Green Day, Time Of Your Life
Don McLean, American Pie
Styx, Come Sail Away
The Doobie Brothers, Drift Away
Billy Squier, Rock Me Tonight


Local Artist Of The Day:


The Saltines

Start A Garage Band








You got yourself a guitar and several of your pals play. Maybe you even got someone who has a set of drums. You write your own music. You want to start a band. Here are a few tips on getting started.

Before getting more equipment, before you can even practice, you'll need a place to practice. This is hard because parents for the last 50 years have hated starter up teen-bands. Particularly if your genre is Rock and Roll, Grunge, Death Metal, or the like.
Check with your parents and see if they'll let you practice in the garage or basement. Or perhaps a friend lives out in the boondocks and his parents don't care if you blast away at their place. Find a place that don't get you visits from the police or irate landlords. Not everybody appreciates loud, rockin' jams like you guys do! Take it easy, and find a safe, isolated place to do your thing.

If possible, find a friend that doesn't play music but likes yours. Get him or her to be the "live mixer." He or she can sit across the room and make recommendations on the level of the vocals, guitar, bass, horns, etc. This will help you when you audition for money, so you don't sound incoherent. That friend can find you the right volume for all your instruments.

GETTING THE RIGHT EQUIPMENT
Microphone-A good dynamic mic is the cheap way to go. Get one that doesn't have a humm when you plug it in. They have junk out there and they don't mind selling you this stuff. After all, they're not using it! Before you buy a mic, ask the clerk to plug it into an amp. See if it has a hum. What does it sound like? Look for an omnidirectional mic. This kind of mic just picks up sound in front of the mic. You won't get as much backfeed with this type. Backfeed is that obnoxious whistle that you hear in the school auditorium when teachers have a get together. You don't want that. Second best mic-Cardroid- It basically picks up in front of the mic in a heart shaped form. Cost-$30-$80.

Sound System-Check around for one that fits your needs. A two speaker one should do the trick to start. If you don't want to spend several hundred dollars on one, you can start with a good one piece amp. Cost-$100-200.

Guitar Amp-Get one with like two-12" speakers, 4-10" speakers. See if the clerk will let you try one out. Like, one of the cheap ones.Try to get one with all those special effects built in. That way, you don't have to spend your money on extra boards, pedals, accessories, etc. They run about $150-$300. Don't get stuck on the big time brand names to start. Get one that sounds good to you guys.

Electric Guitar-A used Fender or Gibson Les Paul is the ideal. The Epiphone Les Paul can be had for less and is a fine instrument. I basically depends on what type of music you a playing. Sometimes, you can see on in the papers on sale.
Keyboard-Check out the low priced ones. Sometimes they'll let you patch into your amp. I'm not real knowledgeable on keyboards, so ask a friend.
Drums-Get a set that suits your needs. I'm not an expert on this one.

GETTING THE RIGHT SOUND
Experiment with your numbers. You might want to try to split up the lead between the guitar and keyboard, etc. If you have a super guitar player, it's usually better to let another instrument creep into your leads for variety. And don't copy another band (unless that is your thing). Make your own music!

SAFETY
Don't use a lot of extension cords. Make sure that the electrical outlets can handle what you have plugged in. If in doubt, check with someone who knows about electricity and electrical loads. Play it safe.

Read all the safety instructions that come with your equipment also.
Good luck in your endeavor. I hope that you'll be jammin' soon.





Deb's Top 5 Songs Of The Day:

3 Doors Down, Love Me When I'm Gone
Matchbox 20, Closing Time
Breaking Benjamin, So Cold
Sean Paul, Temperture
Neil Young, Keep On Rockin' In The Free World


Local Artist Of The Day:

Ali Handal

Benefits Of Music







Music has been a part of existence since time immemorial. And, it is everywhere –in the rhythms of nature, the chatter of animals and birds, the babbling of babies, and in the dancing of brooks. Listen and you will hear sweet tunes all weaving a magic of their own.It is well known that the origins of music go back at least 50,000 years. Music seems to be ingrained in our genetics and tunes are rhythms that are integral to our lives. Music seems to play many roles in our lives:

• Research indicates the children who learn music are more likely to become doctors, engineers, and computer professionals. Music learning develops areas of the brain responsible for language as well as reasoning. Music is known to sharpen memory. A Rockefeller Foundation study reveals that those who studied music have SAT scores of 427.

• If a child in the womb of its mother listens to music it is born with highly developed intelligence.

• Music molds people—it teaches coordination, teamwork, discipline, and self-expression.

• The therapeutic values of music are well documented. It heals people with mental problems, developmental and learning disabilities, Alzheimer’s disease, brain trauma, and hypertension. That music heals has been recorded in the works of Aristotle and Plato and in the centuries that followed.

• That plants respond to music is reality not a myth. Plants are known to thrive with music and also move towards the sound.

• Children who grow up in a music filled environment are happy, fulfilled, and joyous.

• Music takes the devout closer to god and in religion congregational singing has always worked. Singing hymns lifts any heaviness from the mind and frees the soul.

• When music is played in hospital waiting rooms and so on it ebbs tensions and calms the mind.

• Music has meditative properties and can be used for healing, exercising, and training modules.

• When music plays, people function better. Many find that they enjoy work or activities like cooking and cleaning when music is playing. It erases tensions and lifts weights off the shoulder. Music actually introduces lightness into the body.

• Music reflects the culture of a society and strengthens bonds. It creates a camaraderie and oneness as seen in football matches, military training, and festivals.

• Romance and love would not have so many hues but for music. Music and song have captured feelings, passions, agony, distress, and more succinctly. Through song many a romance have been immortalized. Mating calls and songs are universal in nature.

• Scientists are using music to map behaviors and unravel the many mysteries of the human mind and consciousness.

• Music settles down anger and resentment quickly and also helps us overcome feelings of sorrow and loss. It lifts the mind and spirit out of despair and gives hope. From centuries ago a mother has always sung lullabies to her fussing child lulling it to sleep with softly whispered songs.

• Music has other uses it can raise levels of excitement and cause frenzy. It is used to call armies to war by the beating of drums, to instigate raw emotions during revolts, and to drum up frenzy at football matches and rock shows.

Did you know that while classical music soothes and opens up channels in the mind, rock music can set pulses racing, and chants can send you into a trance. Music used differently has varied effects on human beings. Music can be a panacea or hell depends on how it is used.







Deb's Top 5 Songs Of The Day:


Meatloaf, Life Is A Lemon And I Want My Money Back
Neil Young, Old Man
The Cars, The Dangerous Type
Louis XIV, Finding Out True Love Is Blind
Eagles, Hotel California




Local Artist Of The Day:


Tony Jones

LAUGH IT OFF









Taking life too seriously is probably one of the major causes of illness, actually. If you are a songwriter, especially with it being such a high-risk business, having a sense of humor about it all is probably your best bet. A song that makes people smile seems to be a better moneymaker that those that make people unhappy, so this can be a good direction for your lyric writing as well. Here are a few ways you can put a little more sunshine into your songwriting and your songwriting life.

LAUGH AT YOUR CRITICS
Yes, it hurts when you hear someone really slam your music, but sometimes we can be our own worst critics. If you catch yourself badmouthing your playing, calling yourself stupid and getting angry when no matter what you try, a part just sounds bad to you, don’t get mad, and just laugh. The same goes when you get a bad review—laugh. Even if you laugh in disgust, just the exercise of laughing helps heal your body of stress, and may even get some extra oxygen into your brain so it can think of a way to fix your bad bit. Laugh at the fact that the critic probably missed something really obvious. You’ve got to laugh. If you get audience members who heckle you, laugh then, too—they probably forgot their meds, broke up with a significant other, or wish they had a significant other but no one wants them because they are so obnoxious, and are probably wishing they could get the attention you are getting. See it as an indication that you must be doing a good job, because the heckler feels threatened enough to act out at you, and just smile—it’s the worst thing you can do to them.

LAUGH AT YOUR MISFORTUNES
Try to take everyday life with a chuckle. When you get stuck in traffic, sit back and sing along with the radio, no matter how bad you sound if you are alone, and laugh at your goofs. Not only will this help pass the time, but you may come up with some good melody lines, lyrics or arrangement ideas, and be far happier when you arrive than the person that sits there obsessing over the fact that five people have nearly caused him to wreck and that he may now be late for an appointment because he now needs to stop for gas. Rethink delays as reasons to do crosswords or catch up on some reading that you hope will inspire your next batch of songs, and you will not only further your work, but be happy when you get where you are headed which will always help your career. If you get sick, think of it as an excuse to write more and play less, and catch up on that sleep you promised you would last month, and be happy for the vacation, even if it is just an hour more a night and you are struggling through the day. A positive attitude seems to help people heal faster, too, studies have shown, so get out those comedy videos, watch comedy shows or rent a funny movie and laugh to yourself that it’s research for another song. Even money woes can be laughed at, if you sit and notice that you have a place to sleep, songs you can pitch, and a computer to get in touch with people and learn things from—you are ahead of many, so smile at your good fortune.

LAUGH WITH OTHERS
Some of the best bonding experiences are those where you had a good laugh with pals. If you are in a band or have a co-writer, try to find fun, non-musical things you can enjoy together to blow off steam so you can center in on your music when you are writing. Find excuses to vent, especially ones where you can yell or scream together—roller coasters are fun, and often laughingly scary, but so can be a round of disc golf. Go see a good movie, or sit and laugh at a funny show after practice when everyone is winding down—earlier taped shows of “Family Guy” or “The Simpsons” are my family's favorites , but try to let these be after practice fun, not be the reason practice is late, or doesn’t go off at all. This way, you end practice on a high note, even if things didn’t go well, and can go home with a smile and have something positive to write more music about, if nothing else.

So try to take a lighter view of songwriting. Sure, you may feel like a fake forcing yourself to laugh at first, but after a while, just like learning guitar, you will feel more natural doing it the more you practice. With a positive attitude, too, and the ability to look at things from a funny viewpoint, you may find you suddenly can do things you before talked yourself into thinking were impossible. Whining may make for good blues, but a lot of folks don’t like to listen to a whiner. The life of the party is usually a welcome sight, trust me, I know!!!






Deb's Top 5 Songs Of The Day:


Humble Pie, 30 Days In The Hole
Judas Priest, You've Got Another Thing Coming
Kiss, Beth
BTO, Takin Care Of Business
Little River Band, Oh What A Night




Local Artist Of The Day:

2nd Life

“Music is the art of thinking with sound.” Jules Cobarie










The Continuing SerenadeMusic is the rhythmic accompaniment to our lives. People are born to music, study to music, drive, eat, sleep, and dream to music. People spend more money on music than on books, and music stars become our idols and companions.

We expect to hear an auditory signal and will usually supply one when none exists. Some people will talk to avoid silence. Others will leave a TV or radio on in the background, or provide their own music by singing, humming, rapping or whistling. An extreme example is person who whistles while walking through a graveyard. Their auditory signal adds comfort and warmth to the cold and foreboding environment.

The auditory signal is critical to success in live training. Imagine training devoid of audio (no laughter, no conversation and no lecture) and you see the point. Audio is present in training. What that auditory presentation lacks is variety, especially where music is concerned.

Composer George Burt once commented, “When we see pictures and hear music at the same time we invariably make a connection, if only on an unconscious level.” When music is combined with information powerful brain connections occur. Anyone who learned their ABCs by singing a song, learned to say words by watching Sesame Street, or remembers the song that was playing on the radio during a critical moment in their life knows first hand the power of auditory signals.

There is ample evidence of the effectiveness of music in aiding learning. A wealth of studies from the education, musicology and health care fields demonstrate the effectiveness of music in increasing learning, healing and self-esteem. History also proves the point. Twice in the past, audio and video were separate and then combined. The result was electrifying.

Sound WinsThe first silent films were short scenes lasting only a minute or two. They were immediate, but short lived sensations. Absolute silence, the total absence of both voice and musical sound proved to be a deadly combination. Viewing a silent film was described as “cold and bare, ghostly, lifeless and colorless.”

Fortunately for the theater owners, musicians were already on their payroll. The theater owners told the musicians to play something, anything. They did, and it worked. Music became so effective at solving these problems that film critics of the era called music the “flame which brought life and warmth” to the experience. Live music accompaniment continued out of necessity until The Warner Brother's “talking” picture “The Jazz Singer” came out in 1927. Within one year, silent films were extinct! Silent film stars, directors, musicians, and non-talkie theater locations went silent themselves. The public had spoken for sound.

Several years later radio found itself threatened by television. Radio networks feared that the combined audio and video signals of TV would put them out of business. There were some dislocations, but radio did not die.

The comparison between silent films and radio is instructive. When people had a choice between a solitary auditory signal (radio) or an auditory signal combined with a visual signal they favored the combination, but still patronized the audio signal. Conversely, when people had a choice between a solely visual signal (silent films) or one combined with audio, they, by acclimation, chose the combined signal. TV AFFECTED radio. Talkies DESTROYED silent film. Sound won.

Sound Wins Again Home video games had been around since the late 1970s when Atari introduced the home video game equivalent of the silent film: “Pong.” Pong offered a limited visual presence, and more importantly, an auditory signal that consisted of only a single “pong” as the electronic ball bounced from side to side.

Home video games progressed from this simple beginning, becoming more interactive and visually stimulating, while largely ignoring the auditory signal. Like silent films, home video games didn’t emanate warmth. And also like silent films, the bottom fell out of the home video game market. By 1984 American stores were refusing to carry video games.

And then in 1985 something revolutionary happened. Nintendo introduced gamers to the Super Mario Brothers. By 1990, Mario the Italian plumber was recognized by more American children than Mickey Mouse!

Super Mario Brothers succeeded because it was a complete package, offering striking visuals and, more importantly, auditory coherence. Lead designer Shigeru Miyamoto in describing the game's design stated, “The state of mind of a kid when he enters a cave alone must be realized in the game. Going in, he must feel the cold air around him. Not just the experiences but the feelings connected with those events were essential to make the game meaningful.” The game's music was instrumental in connecting those feelings.

Mix In MusicFortunately for live training, it already has an audio signal: the trainer. Unfortunately, listening to that one auditory signal all day makes for really boring training. It’s not an accident that we refer to it as “death by lecture.”

Film composer George Burt once observed, “When placed together (video and audio) to achieve a common goal, a great deal more is expressed than would be possible by means of either medium alone.” Music, when properly inserted into the training environment can lift some of the cold, lifeless quality that often typifies training.

Among other usages, music can provide cover for silent activities and small group discussions, announce the beginning and ending of breaks, reflect the emotions of the learning and enhance activities.

Twice in history an audio-visual medium faced a crossroads. In both cases, success resulted when the auditory and the visual signals were integrated. Trainers who, with history as their guide, integrate the auditory component will gain a huge advantage over the competition. They will never hear complaints about “death by lecture.”





Deb's Top 5 Songs Of The Day:


Jim Croce, Operator
Nickelback, Feeling Way Too Damn Good
Bread, If
Foghat, Slow Ride
Jefferson Starship, We Built This City On Rock N Roll


Local Artist Of The Day:


Christine LeDoux

HONESTY PAYS







Well, the temptation is there, all the time. You really want that music job, but they want more than you can offer. They want more experience, more stage time, more studio credits, more copywritten material, and more connections that can help them. People at work want you to admit that there is something more going on between you and an act you opened for once, or someone you met that gave you a good reference. Sure, you could concoct all sorts of fictional accounts of what happened, even write them down so you have them all straight, and play the part of someone you are not. Hey, it’s been done before. Here are a few thoughts of why you shouldn’t, and why it’s best to just be you, and an honest you at that.

IT’S JUST A WHITE LIE
Okay, say you want to say you started out really early as a musician. You could say you took music in school, learned several instruments, and were in child talent contests. You can even tell them specific dates, name of the school, and who your teacher was. Problem is, if you do go somewhere, there are professionals out there who do fact checking, and they will check your story—all of it. If you are really just another kid who started out making noise with your buddies in college and found out you had a knack for the bass, and can’t read a note, that may also be discovered, and you will be discredited. Why not just admit you caught on really fast, and found you had a talent, and offer to have people hear your demo? If you really are good, act mature and have no problems jamming with anyone, you may well win out over some bookish type who not only can’t get along with anyone, but is unable to improvise or write, and has to have all his music written out for him note-for-note. If all you have won is a local contest, make sure you point this out firmly, and be proud of it, not apologize for it not being some major one, or say you did win a major prize (which again, can be checked). If all you are is a checkout person, but happened to be lucky enough to ring up a major celebrity, say that you did, but don’t try to say he asked you out, because trust me, that will cause even worse trouble when it is discovered he was at a major do that night in public and you were nowhere to be seen. Trust me, it will come back and bite you—why not just tell the truth?

CONSEQUENCES
Many people forget that some “innocent” lies can cost them big money. Saying you played in a big name band and you didn’t can lose you a gig after you get it, and that is lost income. Saying you are someone’s significant other or pal can get some people angry enough to ask for you to either retract it or face a lawsuit or even psychiatric evaluation. Lie enough about enough things, especially on taxes, and you could wind up in jail. Be known as a liar, and you may never work as a musician, no matter how good you are, because no one knows they can trust you about anything, or can’t help but wonder how much you will exaggerate what you did do with them to pad out your resume further, and don’t want to be drug into your problems telling the truth. You could lie about them, next, and cause them trouble, so why should they put up with a potential liability when there are plenty of honest musicians out there? THINK ABOUT IT, HONESTY PAYS!!






Deb's Top 5 Songs Of The Day:


Steppen Wolf, Born To Be Wild
The Beatles, Hey Jude
Seether, Remedy
Nine Inch Nails, The Hand That Feeds
James Taylor, You've Got A Friend




Local Artist Of The Day:


Mike Hayden

Hypnotic Power of Music








Music is intimately related to the subconscious mind because it stirs our emotions. Perhaps you can recall listening to a jingle and finding the tune and the advertising slogan replaying in your mind over and over, even if you disliked the jingle. It just stuck in your mind.

Sometimes we may be consciously aware of the suggestions which are becoming impressed upon our subconscious minds. Many others times we may simply act unconsciously upon those suggestions - without any conscious awareness of why we feel propelled to act in a certain way. Big corporations spend billions of dollars on advertisements in order to create exactly that effect - to get you to purchase specific product or to act in a certain way.

Knowingly or unknowingly, all of us get affected by music we listen to. Here is one example from an email I have received:

"I want to tell you a story that you may find interesting. About two weeks ago whenever I walked on the streets, people would stare at me. I am not used to it, so at first I thought that there was maybe something odd about my outer appearance on that day. I looked in the mirror and there was nothing strange about either my clothes or my hair - I was totally normal. This lasted about a week - day after day. I must say that I was quite amused by all this, particularly because sometimes I would notice that these strange gazes were in fact gazes of admiration.
Later, however, I have discovered the possible cause of all this - a song. An ordinary pop song called "Superstar" by Jamelia. Basically, during that week I used to listen to this recording with my headphones while being engaged in other activities (such as working) sometimes without even noticing. One of the main phrases of the song which are repeated over and over again in the song are "You've gotta be a superstar, 'cause you've got eyes on you no matter where you are." My subconscious mind understood the lyrics literally and wherever I would go I "had eyes on me".

I later decided to stop listening to the song and noticed that gradually people stopped staring at me. Isn't it amusing?"I suppose you can imagine what happens to people who listen over and over to music with words such as "I am a loser" and similar. Perhaps you want to pay closer attention to the lyrics of the songs you are listening to. It's also good to remember that when we watch TV, we are in a state of hypnotic trance and what we watch and listen to in that relaxed and entranced state does get into our subconscious minds to a lesser or greater extent - so you may want to choose your listening and watching menu wisely.

Another aspect of music, is the music itself. Some music helps you to feel more relaxed, some music makes your body move, maybe even dance, some music puts you into a sensual and lovemaking state of mind, while other types of music makes you feel unsettled or perhaps inspire you to engage in some form of combat or on a more positive note, jump up and plunge yourself into a vigorous physical exercise.

When you are practicing self-hypnosis without hypnosis recordings, you may want to pick some music that by itself elicits within you the emotional state that is most appropriate for the goal you are working on. The music does not have to be slow and relaxing - it may be quite energizing. If you feel like moving and dancing, rather than lying down, it is OK to use your body and dance your self-hypnosis outcome. There may also be times when you would prefer to relax into your self-hypnosis outcome, and there may be times when you feel more like getting into physical action. Rhythmic, repetitive movement is trance inducing.

One of the main reasons for using music for self-hypnosis is to help you maintain mental and emotional focus on your outcome. The music that helps to elicit within you emotions which are appropriate for your self-hypnosis outcome, will take care of the focus. Your intention can then ride of the wave of music, making focusing an effortless process.

If you are working on increasing sex appeal, the appropriate music would be the one that makes you feel sexy. If you are working on increasing financial abundance, the appropriate music would be the one that brings feelings and images of opulence and wealth. If you are working on healing, the appropriate music would be one that helps you to feel relaxed and peaceful, allowing your body to rest, regenerate and heal.







Deb's Top 5 Songs Of The Day:


Steve Miller Band, Jet Airliner
Tool, Aenima
Ted Nugent, Fred Bear
Paul Simon, You Can Call Me Al
Black Eyed Peas, My Humps



Local Artist Of The Day:


Ryan Smith

Tinfoil Returns to Toledo, armed with a new CD and Righteous Babe Recording Artist, Hamell On Trial!

Written by Dave Harms of Tinfoil







Put together a civil engineer, a social studies teacher, a welder/fabricator, and a full time student; add a drum kit and a few guitars, and what do you get? Some of the most energetic and original music we've heard lately!
They’ve been described as the band with a conscience, writing songs about life in Northwest Ohio, warts and all. Styles vary - some blues, some punk, a few ballads, some heavy, some light, some artsy poetry rock, and some classic rock - and yet all with a distinctive sound that unifies their work. Each song is a glimpse into a life, a situation, and they present some unusual vignettes. When have you heard an album with songs that tackle issues such as anorexia, prescription drugs for the elderly, a promising young fashion design student who ends up a hairdresser and wonders what happened to her dreams, an unrequited high school crush?
Tinfoil has been performing regionally in support of Waylon Crase, Help Wanted and A Murder Of Crows but on May 6, Tinfoil will be performing with Righteous Babe Recording Artist, Hamell On Trial. The event will be held May 6 at Mickey Finns, 602 Lagrange at Huron, Toledo, OH. 43604. Hamell On Trial is on tour supporting his latest CD, Songs for Parents who Enjoy Drugs. More information on Hamell On Trial can be found on his website: http://www.hamellontrial.com.
Tinfoil members hale from the Tiffin, Green Springs, and Walbridge areas. Dave Harms (rural Walbridge), singer/songwriter/guitarist, is a teacher at Penta Career Center. Rich Patterson (rural Green Springs), drummer, is a welder/fabricator employed at C. S. Bell Co. in Tiffin. Rod Gillespie (Tiffin), guitarist/ songwriter/singer, is a civil engineer with Makeever & Associates in Bucyrus; and Joe Lewis (Walbridge), songwriter/bassist, is a full time student.
Not your usual local band. But then they never have been. This is their 10th release. Tinfoil has been bouncing from Columbus to Detroit, Cleveland to BG for years now, and the creative flow (should we call it a creative tidal wave?) has yet to slow. They've built their own studio and formed their own label to record and distribute this prolific output. The 14 songs on their new release "Dead Language" take you on a wild ride that twists and turns with their many different styles and personalities. What Tinfoil does is gives deadly characterizations, moments frozen in time with each song going wherever the song demands. They have the usual love-gone-wrong songs, but then they have some quite unusual situations.
To check them out, you can go to their website www.tinfoilmusic.com, and you'll find, among other things, free downloads of singles and unreleased or alternate versions. You can find Dead Language on amazon.com, as well as cdbaby.com. They're included on the Oasis Record Company Radio Sampler, and played on XM satellite radio by dj Billy Zero and on WBGU 88.1 in Bowling Green by DJ Dom, who features the band during his radio show on Friday nights from 8 – midnight.
Interesting story about Rod and the tablecloth: Way back in the 50's Rod's mom was a waitress in a restaurant in Kenton, and Elvis Presley and his band were on tour when they stopped in to eat there. Elvis wasn't a big famous legend at that time. They signed the tablecloth and she kept it. When he was younger he thought it was a pretty lame souvenir, but now he wonders....did some of it rub off? Is this how the music thing started????
Interesting story about Lora: Lora was a student of Dave's his first year of teaching, bright and full of promise, but midway through the year, the victim of a tragic traffic accident. The song Lora was written in her memory, from the viewpoint of the boyfriend she left behind. He sent a copy to her family, and they were so touched, they came in and thanked him, and the song was sealed in a time capsule at her gravesite.

Interesting story about You Have All the Answers: This song was written a long time ago by Dave about a rotten teacher in his past. So who's the teacher, now, Dave? Huh??
Interesting story about Rich and the broken bass drum head: oh wait, that story isn't interesting.....





More information about Tinfoil can be had at www.tinfoilmusic.com, or by contacting Dave Harms at 410-346-8679






Deb's Top 5 Songs Of The Day:


Train, Drops Of Jupiter
The Beach Boys, Good Vibrations
Fall Out Boy, Sugar We're Goin' Down
Eagles, Take It To The Limit
Gordon Lightfoot, Time In A Bottle



Local Artist Of The Day:

Tinfoil

CHILDRENS MUSIC











Music is powerful and persuasive. It touches one’s emotion, motivation, creativity and relaxation. It has the soothing effect that can calm our mental nerves. It inspires you to do something new and productive. It gives you ideas. It lulls you to sleep. The list is definitely endless.

Music is many things. It makes us happy, annoyed, melancholic, afraid and mad. Music is also for every one. It invades almost anything and everything. Different milieus have their own music to recollect. Various races and continents also enjoy distinctive music. Young and old alike take pleasure in it.

In every stages of life there will always be music for it is perpetual. In fact, there are unique types of music that caters to specific group of individuals. Rock and metal music cater to hyperactive music enthusiasts. Love, acoustic and pop songs blend well with lovers and emotional persons. For kids there is the children’s music.

Children’s music can give kids a magical experience. They can play roles with it. For a moment, they can be a pretty princess with a castle or a dashing knight in shining armor. They can simultaneously play musical instruments. They can dance and sing.

Music is entertaining most especially to children. Thus, even at the very young age they must be exposed to music. By doing so, kids develop their sense of adventure and discovery.

Aside from that, they can be knowledgeable about children’s music lyrics. They can also develop the basic languages.

Children’s music can also be treated as therapy. Application of children’s music can treat some physiological and psychosocial elements of illness. Treatment is aimed for the acquisition of non-musical behavior by virtue of systematic musical methods.

Studies have proven that children with developmental delays and learning disabilities like Down’s syndrome respond to music. Thus, exposure to music can boost response and expression. As a result, individual expressions and talents like singing and dancing can be discovered.

Children’s music treats developmental delays and learning disabilities by drawing out movements. The latter develops self-awareness which can easily be manifested. Examples of these movements are gripping the beater, tapping a triangle, playing cymbals and drums and the likes.

The relationship between children’s music and movement cannot be overemphasized. The rhythm of music creates the ideal stimulus that results to coordinated movements. These movements lead to repetition which is a mode of child learning.

Aside from entertainment and therapy, children’s music is also a special kind of education. It develops the cognitive skills of children. Exposure to music stimulates learning about colors, numbers, shapes and parts of the body. As a consequence, though may not be the primary goal, it increases the child’s intelligence.

Stimulation of cognitive abilities leads to multi-sensory development. The latter contributes to the ability of a child to retail information and be attentive to detail. As a result, the child becomes confident and clever.

Children’s music can also develop the child’s social skills. Usually, musical experiences are done in groups. Participants can sing in unison or one after the other. With this process, every one is encouraged to participate thus participants eventually become closer.

Children’s music can be so powerful that it can develop both the intrapersonal and interpersonal aspects of a child. It simultaneously augments functional abilities at the same time the expressive and creative capacities of a child.






Deb's Top 5 Songs Of The Day:


Breaking Benjamin, So Cold
Taproot, Calling
Cream, Sunshine Of Your Love
BTO, You Ain't Seen Nothing Yet
Smokey Robinson, The Tears Of A Clown



Local Artist Of The Day:

Every Bridge Burned