Patriotic Music: Surprising Secrets About Those Flag-Waving Sounds

Whether played by a marching band, an orchestra, or a rock group, there are patriotic tunes that everyone in America finds familiar, exciting and uplifting. But how much do you know about how these songs were created? And what do you know about the people who wrote them? There are some surprising facts behind all of this glorious music. So, fire up the barbecue grill, look up at the fireworks, and strike up the band as we reveal the secrets behind the most influential nationalistic musical moments of all time. "Star Spangled Banner," Francis Scott Key, 1814.<br> Schoolchildren in America all learn how Key watched the British bombardment of Fort McHenry during the War of 1812 and so admired the courage of the beleaguered American forces that he wrote four stanzas of "The Star Spangled Banner" (only the first is usually performed). Key based the melody on an English drinking song called "To Anacreon in Heaven." The song has only been the national anthem since 1931, and there was a strong movement to replace it with one of the other songs on this list. "America (My Country 'Tis of Thee)," Samuel F. Smith, 1832.<br> The music was composed in the 1700s, sometimes attributed to Henry Cary. First popular in Great Britain as "God Save the King (Queen)," the song became bi-continental in 1832. Modern audiences have been greatly moved by the R&B version by Ray Charles, a truly wonderful blending of emotion with what musicians call "the groove." "Rally 'Round the Flag," George F. Root, 1862.<br> Written for the Union army and its supporters during the Civil War, the song was hugely popular in the North. This didn't prevent Confederate troops from writing their own lyrics and singing the song throughout the South. "When Johnny Comes Marching Home," Louis Lambert, c. 1863.<br> Lambert was a pseudonym for Union Army Bandmaster Patrick S. Gilmore. His lyrics, set to an old Irish folk song, were popular through the whole Reconstruction Era (1865-1896). It appears in an extended instrumental version on the soundtrack of Stanley Kubrick's film "Dr. Strangelove." "Battle Hymn of the Republic," Julia W. Howe, 1861.<br> Howe is another lyricist who succeeded by utilizing a pre-existing piece of music, in this case a camp meeting tune of the 19th century (which also became "John Brown's Body"). The profound power of the words combined with the compelling melody cannot be denied, and it was sung at the funerals of Winston Churchill, Robert Kennedy, and Ronald Reagan. "Overture: 1812," Petr Ilyich Tchaikovsky, 1880.<br> Patriotic music doesn't always revolve around the July 4th celebration, or even refer to the USA. Tchaikovsky got Russian hearts a-pounding with his "1812 Overture in E Flat Major Op. 49," written to celebrate the 70th anniversary of his country's victory battle during the Napoleonic Wars. "Semper Fidelis," John Philip Sousa, 1889.<br> Popular ever since it was first performed, the effective and spirited tune takes its name from the U.S. Marine Corps motto meaning "always faithful" and is dedicated to the Marines. "America the Beautiful," Katharine Lee Bates, 1895, 1904, 1913.<br> Originally a poem that Bates twice revised after its first publication in 1885, "America the Beautiful" was sung to several different melodies. The song associated with it today is "Materna," composed by Samuel A. Ward in 1882, but it was also often performed to the tune of "Auld Lang Syne." "Stars and Stripes Forever," John Philip Sousa, 1896. <br> Composed on Christmas Day, "The Stars and Stripes Forever" has become the country's official march (US Code, Title 36 Chapter 10). Sousa wrote lyrics to the song, but they are little known today (sample: "Let martial note in triumph float / And liberty extend its mighty hand / A flag appears 'mid thunderous cheers, / The banner of the Western land.)" "Yankee Doodle Boy," George M. Cohan, 1904.<br> "You're A Grand Old Flag," George M. Cohan, 1906.<br> "Over There," George M. Cohan, 1917. <br> Known as "the man who owned Broadway," Cohan was a superstar before the term was coined. While his film biography is called "Yankee Doodle Dandy," the title of his first big tribute to America is actually "The Yankee Doodle Boy." Cohan excited U.S. audiences again in 1906 with "You're a Grand Old Flag," although the original line was "You're a Grand Old Rag." It was America's entrance into World War I in 1917 that inspired Cohan to write "Over There," for which he received a congressional medal. "God Bless America," Irving Berlin, 1938.<br> The prolific Berlin (900+ songs despite being unable to read music) originally wrote this song right after the first World War, but did not complete it until just before World War II. Kate Smith first performed it during her radio show on Armistice Day, 1938. An immediate sensation, the song was often suggested to replace the "Star Spangled Banner" as the national anthem. "Star Spangled Banner," Jimi Hendrix, 1969.<br> The legendary guitarist took the stage near dawn on the final day of the Woodstock Music and Art Fair. The 13th song in his hour-long set was an incendiary rendition of the venerable tune. In a performance that was somehow savage and grand at the same time, Hendrix wrestled new levels of emotion from the song and generations have never heard it quite the same way again. "Apocalypse Now," Francis Ford Coppola, 1979.<br> The music in question is "Ride of the Valkyries," from Richard Wagner's opera, "Die Walkure" (1854-56). The composition fit perfectly into director Coppola's nightmarish vision of the Vietnam War. The sequence, featuring a helicopter attack at dawn, never fails to raise the emotions of viewers. Scott G owns G-Man Music & Radical Radio (<a target="_new" href="http://www.gmanmusic.com">http://www.gmanmusic.com</a>) where he makes radio commercials for Verizon Wireless, Goodrich, Micron, National Steel, the Auto Club, and many others. He is also recording artist The G-Man, with 4 albums on iTunes and Delvian Records. <a target="_new" href="http://pg.photos.yahoo.com/ph/immedia">http://pg.photos.yahoo.com/ph/immedia</a>@pacbell.net<br>/detail?.dir=8e52&.dnm=dd51.jpg&.src=ph

Motorhead Inferno

<P align=center>Motorhead-"Inferno"-Review by <A href="mailto:preyinglizard@houston.rr.com">Les Lewellyn</A><BR> <P align=left>When David Grohl of Nirvana and Foo Fighters fame release the sensational CD "Probot" this year it rekindled my metal tastebuds. For those of you not familiar with his project I'll explain. He recorded songs on which he played all instruments and he had guest vocalists come in and sing as well as write the lyrics and play whatever instrument they might also play. The cd features vocalists such as King Diamond, Snake from Voivod, and many other great singers/musicians. The whole cd flows like it was a gift from God or at least the Heavy Metal God. On that cd Lemmy from Motorhead does a fantastic job on the tune "Shake Your Blood". On first listen I was excited to hear Lemmy singing on such a awesome tune and the excitement was enough for me to do some google searching and that is where I found out that the boys were back and had a new CD released on the indie label Sanctuary entitled "Inferno". Like Monster Magnet, being on an indie has enhanced their sound big time! <P align=left>Always a rough and tough rocking band, Motorhead has never rocked like they do on this CD. What's amazing is how great Lemmy's vocals sound. I have loved the band since their beginning and my fondness for Lemmy dates back to his Hawkwind days. I have to say I have enjoyed Motorhead whenever I've bought a cd and listened. But NEVER have I been entrapped into their sound like I am today. <P align=left>The opening song, "Terminal Show", features Steve Vai on guitar. I have to admit even though I'm a guitarist I respect Steve Vai but I just can't get into the instrumental cds he's released. Actually, I dig them I just don't find myself playing them very often. But Steve takes hold of "Terminal Show" and sounds like he's in the band. He refrains from overplaying his part and he fits Motorhead like a glove. Philip Campbell, Motorhead's guitarist, allows Steve Vai to play with no conflicts and it's sweet as honey! But Philip Campbell then goes on to play lead on all the rest of the tunes like a banshee in heat except the end of "Down On Me" on which Steve Vai returns. What's cool about this is the fact that the two tunes on which Steve Vai plays guitar are not necessarily the best on the cd. It's a seemless collection of tunes that will rock the toughest crowd. I can only imagine how great they sound live and I can't wait to catch them on their current tour. <P align=left>Mikkey Dee returns on drums and this cat pounds the hell out of them. Lemmy attacks the bass like a maniac and his vocals are his best to date. The cd never gets politcal but it does paint a dim look at life in these troubled times. It's really kind of creepy how convincing Lemmy sounds on the tune "Killers". Obviously the dude is fascinated with murder because he sings three tunes about the topic. I'm glad he's got his bass and band to keep him busy!!!! <P align=left>I know I claimed Monster Magnet have the best cd this year but I have to say that Motorhead are coming in with a tie at least! "Inferno" is a must buy cd for any hard rock fan. From start to finish the album soars past and demands repeated plays. I am sure that Motorhead's old fans will freak out over this cd and also they've created a cd that will hopefully get them some new young fans. Visit their site at <A href="http://www.imotorhead.com"><a target="_new" href="http://www.imotorhead.com">http://www.imotorhead.com</a></A> Buy this CD!<BR> <P align=center>Copyright August 2004 by <A href="mailto:preyinglizard@houston.rr.com">Les Lewellyn</A> <P align=center>Originally published by <A target="_New" href="http://www.preyinglizardmusic.com">Preyinglizardmusic.com</A>

Music & Citizenship: Can Playing a Musical Instrument Help Your Child Become a Better Citizen?

Disregard the popular image of rappers with their ghetto blasters, terrorizing neighborhoods with eardrum-splitting cacophony. Consider instead our delightful school bands and orchestras? and ponder on whether those students might be becoming our best future citizens. Unlikely as it may seem, recent scientific research suggests this hypothesis might actually be true. It appears studying music can, in fact, impact the development of the human personality, especially in the area of socialization. In particular, music education encourages self-discipline and diligence, traits which carry over into other areas. According to statistics compiled by the National Data Resource Center, students who can be classified as 'disruptive' (based on factors such as frequent skipping of classes, times in trouble, in-school suspensions, disciplinary reasons given, arrests, and drop-outs) total 12.14 percent of the total school population. In contrast, only 8.08 percent of students involved in music classes meet the same criteria as 'disruptive'. Neurobiologist Norman Weinberger reports on another research study by Martin Gardiner of Brown University. According to Weinberger, writing in the Winter 2000 Issue of MuSICA Research Notes, Gardiner's study checked the relationship between arrest records of teenagers and their degree of involvement in music. He analyzed a large-scale data base that included information gathered over a period of many years for more than a thousand residents of Rhode Island. Gardiner tracked people from birth through the age of thirty, and found that the greater the involvement in music, the lower the arrest record. Teens who had music education were less likely to get into trouble than students who didn't. However, those who were also involved in playing a musical instrument had even fewer brushes with the law. Those who had the most experience, including good sight-reading ability, had a negligible arrest record. Gardiner's study, which took place in 2000, is backed by others. The National Association for Music Education publishes a fact sheet on its website which quotes the Texas Commission on Drug and Alcohol Abuse Report. According to the January 1998 report, secondary students who participated in band or orchestra reported the lowest lifetime - and current - use of all substances (alcohol, tobacco and illicit drugs). And a 1990 study at the National Arts Education Research Center, concluded that students who participated in arts programs in selected elementary and middle schools in New York City showed significant increases in self-esteem and thinking skills. The results of studies such as these are promising for the future of our society, especially in the light of a 2003 Gallup Poll Survey showing record numbers of Americans now play musical instruments. This survey - conducted by the Gallup Organization (commissioned by NAMM, the National Association of Music Merchants) - found that Americans are playing musical instruments at the highest levels since 1978. Just over half, (54 percent), of households surveyed had a member who plays a musical instrument. And in 48 percent of households where at least one person played an instrument, there were two or more additional members who also played. Ninety-seven percent of respondents agreed that playing a musical instrument provides a sense of accomplishment and encourages expression, and 85 percent believe it makes someone smarter. An equal number regretted not learning to play an instrument and 67 percent said they would still like to learn. Interestingly, the survey also showed that an increasing number of young people are becoming involved in music, with the percentage of people ages of 5 to 17 who play an instrument at 31 percent, up from 25 percent in 1985. Of the total respondents a further 27 percent were between the ages of 18 to 24. Most of those questioned began their music education before their teens with 64 percent saying they started music study between the ages of 5 to 11 and 18 percent between the ages of 12 to 14. In his highly acclaimed book, A Users Guide to the Brain, Ratey John J, MD notes: "The musician is constantly adjusting decisions on tempo, style, rhythm, phrasing and feeling - training the brain to become incredibly good at organizing and conducting numerous activities at once. Dedicated practice of this orchestration can have a great payoff for lifelong attention skills, intelligence and an ability for self-knowledge and expression." Good citizens require many of these same skills in order to live harmoniously with other human beings. So as you move to a new town or take up a new job, it could just be worth enquiring if your neighbors and colleagues are musicians. Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His book-CD-DVD course titled "How To Play Chord Piano" (<a target="_new" href="http://www.chordpiano.com">http://www.chordpiano.com</a>) has sold over 100,000 copies around the world. He holds an advanced degree from Southern Oregon University and was the founder of Piano University in Southern Oregon. Previous to that he worked as an assistant music therapist at DeWitt State Hospital in Auburn, California. He can be reached at <a target="_new" href="http://www.pianolessonsbyvideo.com.">http://www.pianolessonsbyvideo.com.</a> He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" with over 55,000 current subscribers. Those interested may obtain a free subscription by going to <a target="_new" href="http://www.playpiano.com/">http://www.playpiano.com/</a>

An Introduction to CD Mastering

While many people think that the mixing of the separate audio tracks is the final step, a recording must be mastered well in order to sound good. CD mastering is the last chance for creative input when creating a compact disc. After a disc is mastered, it can be printed, reproduced, and sold. The process of mastering a CD includes several steps. The first step is putting the songs, called tracks at this point, in order. Next, the volume is leveled for all of the songs. The length of time between songs is also adjusted, and any editing on the intros and ends of the songs (such as fades and crossfades, etc.). Also, any unlisted, secret songs, usually known as hidden tracks, are added at this point. There are several ways to master a CD. First, the mix can be sent to a professional CD mastering engineer, which is what professional musicians with major recording contracts usually do. These mastering engineers often work in their own mastering facilities, which are different from standard recording studios, in that they have much less gear and are designed for the best playback of the mix as possible in order to fix any slight discrepancies. Aside from professional CD mastering engineers, CDs can be mastered at home using computer software. This option is usually more realistic for unsigned artists or musicians who are just starting out. Depending on the quality of the software and the skill of the person doing the mastering, the CD may sound great or it may sound muddy and unprofessional. Online CD mastering is another option. CDs mastered online can be a great time-time, in that, instead of sending a mix to a mastering engineer, the mix is sent over the Internet. This option requires a high-speed Internet connection. Free CD mastering is obviously the cheapest way to master a CD. Artists may want to use free mastering programs on demos or other early recordings that artists use to send to record labels to generate interest. Many CD burning programs included on many computers can be used to do basic but necessary mastering functions. The difference between a professional sounding CD and an amateurish recording is often found in the mastering. All of the songs played on the radio are extensively mastered in order to sound slicker and more listenable. <a target="_new" href="http://www.e-cdmastering.com">CD Mastering Info</a> provides detailed information on CD mastering engineers, facilities, and software, as well as online and free CD mastering. CD Mastering Info is affiliated with <a target="_new" href="http://www.original-content.net">Original Content</a>.

Anglican Arrogance: Small-Minded Choirmembers

<B>What is "Episcopal" music?</B> We often hear people express concern about losing ties to our Anglican heritage, which dates back about 500 years. One area that draws attention is music. To approach the question of what is official Episcopal music, we might look to our own denominational hymnbook, The Episcopal Hymnal (1982). Compiled by the Standing Commission on Church Music, this edition surely reflects what is both traditional and sanctioned. A brief sampling of selections from TEH '82 should shed some light on what is authorized and what is not. First, a survey of origins will be useful. Of the 726 hymns in this book, several are Gregorian chants, which originated in the Middle Ages. They were codified under Pope Gregory in the 8th century and compiled in the Roman Catholic Liber Usualis. An example of chant (or "plainsong") is Of the Father's Love Begotten. Naturally, it existed only in Latin for centuries. Other chants in the hymnal include Russian Orthodox, Slovak and Czech. Another source of hymns is the Lutheran chorale, having been composed specifically for the German Reformation to provide a singable alternative to chants. They were first found in collections by Johann Walther, Martin Luther's right-hand man commissioned to bring music back to the people by providing singable tunes in the vernacular, i.e., German. An example of this is A Mighty Fortress (words by Luther with tune derived from a German tavern song and later harmonized by J. S. Bach, a devout Lutheran). Don't forget Angels We Have Heard on High, also written by a Lutheran, Felix Mendelssohn, who incidentally was a convert from Judaism. Many of our hymns are borrowed from the colonial American "Sacred Harp" school, found in songbooks like Virginia Harmony and David's Psalter. Amazing Grace is an example of this, written by an ex-slaveship captain. A few, like Donald Fishel's Alleluia No. 1 or Kathleen Thomerson's I Want to Walk are recently composed and are associated with the non-denominational renewal movement of the late 60s/early 70s. Some come from other denominations like Methodist, Baptist, Presbyterian and even Shaker (Tis the Gift to be Simple). Finally, let's not forget Christmas carols, many of which are French in origin (Il est n?), Negro Spirituals (Go Down Moses) and Hispanic folk songs (Du?rmete, Ni?o Lindo). In fact, in the preface to our hymnal, the Commission states plainly they deliberately tried to represent the church's diversity by selecting from non-European traditions such as Afro-American and Asian.<br> There are, of course, hymns written by professing Episcopalians/Anglicans, like Ralph Vaughn Williams' For All the Saints, or Healey Willan'sO Lamb of God in the service music portion of the book, or Sir C. Hubert H. Parry's "Jerusalem" set to O Day of Peace. And there are a few tunes by Thomas Tallis, Orlando Gibbons, and other notable Elizabethans who were chronologically close in history to Henry VIII's break-away from Rome, but these are in the minority! (And if any William Byrd tunes had been picked by the hymnal committee, it would have been ironic indeed, since although he and Tallis held the copyright monopoly under Elizabeth I, Byrd was a lifelong Roman Catholic!) All in all, MOST of our hymnody was written by NON-ANGLICANS After all is said and done, a survey of TEH '82 reveals that "Episcopal" music is really "Eclectic" music. Our church has borrowed from many traditions and put its seal of approval on it. So the next time you feel anxious that we are losing touch with our roots, just remember our musical roots spread out far and wide, and yet it is still an Anglican tree, perhaps stronger for its diversity! P.S.: James and his wife were confirmed Episcopalian in 1979. Since this writing, Mr. Weinberg has left the Anglican communion due to corruption, heresy and unGodly politics in the Episcopal Church (ECUSA). James began piano lessons at age 5 with his mother. In time he studied at a variety of private studios including the Eastman School. After high school, he entered SUNY Fredonia as an organ major, transferring to Stetson University in Deland FL. While raising a young family, James entered Peabody Teacher's College in Nashville. Later he trained as a Navy broadcast journalist, and once a civilian again, spent five years as a classical radio announcer & producer at WPLN in Nashville. In 1985, James completed a bachelor's degree in church music at Belmont College (cum laude) and returned for a master's in music education, conferred in 1991. His area of emphasis for the M.M.E. degree was Elementary/Primary Pedagogical Methodology. His internship was at Montessori Academy in Brentwood teaching pre-school through 6th grade. Now in his 6th year of teaching piano at Belmont Academy in Nashville, James has 35 students. He is also organist at Belmont Heights Baptist Church. See <a target="_new" href="http://88keys.8m.net">http://88keys.8m.net</a>

Ouch, It Hurts When I Sing!

When I first set out to write this article about voice problems in singers, I was looking for two experts from contrasting fields of medicine ? "medical" and "holistic". What I found, instead, in the first practitioner that I interviewed, was a delightful mixture of the two. The following biography of Dr. Brian Hands was taken from the website VOX Cura, his Toronto clinic. There is a link to the website at the bottom of this article. "Dr. Brian Hands, M.D., FRCS (C), is a member of the Royal College of Physicians and Surgeons in his field of laryngology, sits on the Board of the Canadian Voice Foundation, is a member of the Voice Foundation in the U.S. and is on the editorial board of The Medical Post. Brian Hands' life-long passion for the arts, combined with his medical practice as an ear, nose and throat specialist, has led to a growing practice among performing artists of all disciplines. He is voice consultant for the Canadian Opera Company, Stratford Festival, the major theatrical companies, Mirvish Productions and the former Livent as well as major record labels." I hope you'll enjoy reading about Dr. Hands and his work treating singers with voice problems. Linda Dessau: Why did you decide to focus on the voice problems of singers? Brian Hands: As an ear, nose and throat resident, options for training in taking care of voices is limited. After a few years of practice, a board member of the hospital where I was working offered me the position of voice doctor to the Canadian Opera Company. I quickly became fascinated and passionately excited by performers who use their voice ? the purest sound a human can produce. I loved doing it. At that time, in Toronto, CATS and the Phantom of the Opera were beginning their production. Touring singers from all over the world would call the Canadian Opera Company for referrals if they had voice problems while they were in Toronto; eventually rock singers, movie people and theatre people from Stratford all started being referred. This is the work I get the greatest enjoyment from, and I try now to limit my practice to only voice problems. I identify with the strong emotional aspects involved in performing; I love the creative arts. I believe in taking a mind/body/soul approach and use elements of energy work, chakra therapy, color therapy and yoga. I find the performers find these approaches easy to relate to. I start with a Western medical method of taking a patient's history and doing a physical assessment. And once that's done, I deal with the emotional and spiritual aspects of the person. I appreciate that my clients see me as non-threatening, like a friend ? not a conventional doctor who just wants to label them and get them on their way. I see them as a whole entity and not just as a medical problem. Most voices DON'T have pathology, or a physical ailment. The singers are so relieved to hear that their vocal cords are fine! After a few short minutes in my office we're usually able to get to the deeper problems, emotional "baggage" that may have been with them since childhood. This brings more relief, the fact that someone is listening to them and understands them. I've heard many times, "How do you know so much about me, when we've just met?" Another joy for me is facilitating, for these singers, the cathartic release of their pain through singing. LD: What are the most common vocal disorders? BH: Muscular tension dysphonia or supraglottic hyperfunction - excessive muscle tension in muscles above the larynx. Common symptoms are pain after singing, inability to hit high notes, difficulty in passaggio (transitioning between the different registers of the voice), constant clearing of the throat, pain in neck and head and tightness in the jaw. LD: What's a myth about singing that you'd like to correct? BH: The myth that some people should just mouth the words because they "can't" sing ? with training anyone can sing! LD: What happens when a singer comes to your office for treatment? BH: We take an extensive physical history, find out about any allergies, examine the neck and throat, and look inside the mouth by using either a flexible or rigid endoscope. Frequently we use a sophisticated video exam called a videostroboscopic evaluation of the larynx. After all of these procedures we decide on a form of treatment. The most common course of action is reassurance that there's no structural damage to the vocal cords, coupled with talking about the underlying emotional issues that are bringing on the physical symptoms. Sometimes treatment involves speech therapy, and occasionally speech therapy and medication. It's rare that a patient needs surgery. LD: Is a vocal disorder a lifelong issue? Why or why not? BH: No, because once someone has mastered the proper breathing technique, they'll eliminate the physical symptoms that lead them to the clinic in the first place. Breathing needs to establish a deep connection between the 3rd chakra (solar plexus) and the 2nd chakra (creative energy) by planting their feet firmly on the ground through the 1st chakra. With those connections in place, the patient can deliver a breath from the 3rd chakra with inspiration from their heart (4th chakra) and then to their 5th chakra (larynx, throat chakra). Often, the trouble is that the spiritual connection (7th chakra) has been broken and their intuitive center (6th chakra) recognizes this. And thus there is a backlog of energy at the 5th chakra; an incoordinate activity with too much tension in the area around the larynx (leading to the muscle tension described earlier). LD: What are the three most important things a singer can do to prevent vocal disorders? BH: 1. Breathe correctly 2. Drink lots of water 3. Warm up every day For more information about Dr. Hands and the VOX Cura clinic, visit their informative website at http://www.artindex.com/voxcura/intro_index.html This article was originally published on the Muses Muse Songwriter's Resource website (March 2005) http://www.musesmuse.com (c) Linda Dessau, 2005. All rights reserved. Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. Feel like your creativity is blocked? Sign-up for the free e-course, "Roadblocks to Creativity" by visiting <a target="_new" href="http://www.genuinecoaching.com">http://www.genuinecoaching.com</a>

CD Clubs: How to Get the Best Deals Online

(1) The BMG Music Service offers the best deal you'll find -- 11 CDs for the price of shipping ($2.79 each) when you buy one CD at full club price, which is typically about $15 plus shipping. That works out to about $4 per CD. Its chief competitor, Columbia House, has an offer that works out to about $8 per CD. (2) When you join, you will receive a catalog in the mail about every three weeks, along with a postcard that highlights a featured selection in the genre you selected when you joined. You must return this postcard by the due date or the club will send you the selection. You can decline online, however, by logging into your account. This makes the process much easier. (3) If you forget to return the card and receive a CD you don't want, the clubs are good about letting you return it. But the beauty of this system for the clubs is that this happens often enough and many people don't bother sending it back. They just pay the invoice. (4) If you don't see the CDs you want in a newspaper or magazine advertisement visit the club's site to browse. Copy down the item number of the CDs into the form (some titles will not be available as free selections and this will be indicated). Also, the clubs usually do not have the latest and greatest albums until months after their release. (5) The clubs press their own CDs, which some people feel makes them inferior. But if you can hear the difference, you have better senses than most humans. (6) The clubs no longer have toll-free numbers, so the best way to contact them is by email. Always include your account number. The current phone number and email address is listed each month in your membership catalog. William Pilgrim has been a member of both BMG and Columbia House. You can read more about the clubs and their history at <a target="_new" href="http://www.dealdude.com">http://www.dealdude.com</a> by searching for keyword "cd clubs." Copyright 2005 cc Media, Inc.

The Music Industry and Its Lack of Talent

So it has come to this... what we see overrides what we hear. What we see now influences HOW we hear. And what we see drowns out all that is heard to the point that we are virtually deaf. Be it the pop music forced down our throats by the incessant rambling of the local radio station, or the sexy video bombarding our television on MTV, all is lost. Or at least misplaced somewhere deep within our own psyche. Since when has what is being seen suddenly dictated what is being heard? This cannot be the reality of it all, yet it has become all too clear that in fact this is the only reality: sex and image comes before content and talent. No one shall ever hear the likes of classic rock and roll again, as the music industry is overrun with cookie-cutter sex pistols whose waistline is the most important thing, not the talent held within that waist. For some time now, music has not been music, but a corporate image force fed to its "fans" with commercial weight absent of anything worth hearing, and overloaded with what may be worth seeing. At no time will any music now or in the future possess anything resembling a creative lifeforce that grew in the 1920's, flourished in the 50's and 60's, and fizzling out in the mid-to-late 70's. For so long now music has lacked style while becoming bloated upon gaudyness and imagary. And now, it is too late. Thank the heavens for my 8 track. At least Edison created the recording device so that the greatness of the past can be heard again... you just need to know where to look. I attended Rutgers University and played trumpet, piano, and any other valved instrument thru college to this very day.

Improvisation and Musical Form

Do you ramble on endlessly with your improvisations? If so, good. This has its place in music making and in new age piano playing in particularly. Just listen to New Age pianist Michael Jones's music to hear an example of this kind of free-form improvisation. Now, some of you want to create something that will give the listener a slightly more cohesive experience. How is this accomplished? By forming the music into a shape - an ABA shape for our purposes here. To give form to music does not require as much theory and technique as most people think. In fact, it is as simple as applying the principles of repetition and contrast. Now in most new age piano music there is some kind of form that the composer uses whether it's extended "A" form ala Michael Jones, or extended "A" extended "B" and back to "A" again as in some of George Winston's music. Think in sections people. A section of music can last for as long as the person who created it is involved with it- that is, as long as the inspiration is fresh. As soon as the music sounds dull it's time for a change - the next section of music. This is the point where a composer will add something-new (contrast) or, if she is smart, end the piece. If the music does not have that freshness, that touch of inspired in the moment fantasy, you'll be able to detect and hear it. Some composers are so in touch with their feeling that they can take you on a 20 or 30 minute journey using very little means - but by using the elements of repetition and contrast maintain listener interest. First, get your "A" section. The first few bars (8 usually) is more than enough to propel you forward. You must adopt a listening attitude to hear what is coming next. You don't force nor will it into being. This will not give you what you want, which is, I'm assuming, inspired content. Listen, listen, listen and the music will come. If it doesn't just do what Beethoven did. He worked on 3 or 4 pieces at a time. When the inspiration dried up on a particular piece he was working on, he just moved on to another and picked up on the others later on. You can do the same. Be bold and go forward. Don't be afraid of making mistakes. Be afraid of not trying. Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Legend Vega Releasing New Pop CD

Legend Vega is scheduled to release her newest CD this summer, Personal Space. Fans characterize Legend's style as a cross between Mariah Carey and a female version of Ricky Martin. She was born under the lights of Broadway in New York City but raised to the beat of Salsa and Merengue on the hot sands of Puerto Rico. Legend Vega is an experienced singer, songwriter, and model. She has just finished recording her newest CD with all of her own material. Her mainstream pop style and her Latin background make her an excellent crossover artist for the U.S. market. Her album features a broad mix of pop music recorded in English but with many Latin influences. Legend has sung in a variety of venues from Caribbean resorts to outdoor festivals, and even on Broadway. She has performed with famous artists such as Elton John as an opening act at the Conquistador. On Broadway she performed as the lead vocalist in &quot;Tony and Tina's Wedding&quot; where she sang 32 songs nightly under director Larry Pellegrini. She has also exhibited her vocal skills as a duet partner and backup singer on various CDs for other artists. In addition to her talents on stage, she also enjoys writing songs. She identifies themes, composes the lyrics, and develops the melody for all of her works. She has also been very involved in the arrangements of each of the songs on her new album. She has completed a multitude of songs in a wide variety of styles (Pop, Rock, Romantic Ballads, Salsa, etc.) &quot;What I really love about singing is being able to reach into someone's soul and touch their life in a special way. By writing my own music, I feel that I can do this even better ? it's as if I am having a very personal and intimate conversation with each of my listeners.&quot; -- Legend Legend has an energetic and alluring on-stage presence as a dancer. She has performed concerts in styles ranging from classical ballet to Brazilian samba. She has performed solo dance shows and sang with artists such as world renowned flute player Nestor Torrez. &quot;My real passion is singing. For me, dancing is just the way my voice radiates its influence through my body. Dancing is a natural extension of the sound of my music.&quot; -- Legend In addition to her musical and dance talents, she also has the physical look necessary for mainstream pop marketability. She is an experienced and successful model. She has appeared in print ads (perfume, hair, clothing, etc.), television commercials (beer, hair, etc.) and live fashion shows (Victoria Secrets, etc.). Although modeling is not her main focus, her style and appearance is a plus to her on-stage audience appeal. Legend has a bachelor's degree in TV and film production, and has also studied classical opera and composition at the Conservatory of Puerto Rico. She has hosted a television series about music topics (House of Rock) and produced a pilot for her own music show (Latino Connection). She has also had small cameo appearances in a variety of other television programs. Her new album features a variety of pop songs. The music was recorded in San Juan under the leadership of Grammy award winner, Ramon Martinez. Legend co-arranged and co-produced most of the songs with Joaquin Fernandez. The instrumentals feature such well known musicians as Januse Bakun (bass player for Ricky Martin and Mark Anthony), Reynaldo Torres (drummer for Luis Fonsi), Rey Reyes (singer for Menudo), Joseph Fonseca, Aldo Mata, and many others. Visit Legend Vega's Official Website<br> <a target="_new" href="http://www.legendvega.com">http://www.legendvega.com</a>

Rickenbacker 4003 Electric Bass Guitar

The Rickenbacker 4003 electric bass guitar is one of the few electric basses to have earned the accolade "classic" as a title for itself. The Rickenbacker 4000 Series guitar is attributed for creating new dimensions of bass playing capabilities. Basses by Rickenbacker are made by hand in America, using traditional methods refined and honed. The Rickenbacker 4003 electric bass guitars can be traced back to the original 1928 patent. This bass guitars pickup is renowned for its unbelievable clarity and wide range response. The 4003 electric model is a single, hum protected design with high power output. Adjustment screws lower and raise units according to the guitarists preference. The Rickenbacker has a toggle pickup selector that guitarists may switch from one output channel to the other, or both. Each 4003 electrical bass has separate pickup controls and separate treble and bass tone controls. The hallmark of this guitar has always been the neck which runs the full length of the bass. Rickenbacker electrical bass guitars have a fluidly sculpted body and head that serves to establish proper instrument balance. You can play easily without fatigue due to its thin fast neck and ergonomically accurate body contour. Make sure to always protect your instrument, especially if your on the road alot. All Rickenbacker bass guitars are protected with a deluxe molded hardshell case, which also includes an accessory pocket, heavy-duty hardware, and extra padding. Copyright ? JJ PERSISTENT PUBLISHING, INC. PERMISSIONS TO REPUBLISH: This article may be republished in its entirety free of charge, electronically or in print, provided it appears with the included copyright and author's resource box with live website links. Jeremy Hier is the Business Manager and Webmaster of <a href="http://www.best-guitar-deals.com/" target="_blank">Best Guitar Deals</a> Jeremy Hier is a freelance writer and regular contributer He likes to offer his advice and tips to consumers looking to purchase <a href="http://www.best-guitar-deals.com/acoustic-guitar.html" target="_blank">acoustic guitars</a> and <a href="http://www.best-guitar-deals.com/electric-guitar.html" target="_blank">electric guitars</a>

An Interview with Jon Bon Jovi ? 100,000,000 Bon Jovi Fans Cant Be Wrong

The idea originated with singer Jon Bon Jovi. Jon kept upping the ante with his label and ultimately they consented to a four-CD set of essentially new material. Here, he talks about this 20th anniversery project (100,000,000 Bon Jovi Fans Can't Be Wrong) and the things that make Bon Jovi unique. 100,000,000 Bon Jovi Fans Can't Be Wrong was released November 16, 2004 Steven:<br> Did it begin as a simple one or two CD box and then just started to grow? Jon:<br> I didn't know what it would be, to be honest with ya. It was dependent on what the record company would allow and what kind of package they would want to do. So, being brutally honest with you, it was dependent on what they were willing to pay for. It came down to what they would sell it for and there was this whole discussion [about that]. So they were cool. At first they were like, 'Well, we'll do a 24-song set' and I said, 'Keep it, that's not a box to me, it's a two-record set.' And then they said, 'Well, what do you want to do?' and I said, 'Well, how 'bout 50 songs?' And they said, 'OK, we'll do that.' Steven:<br> Was there a lot of re-mixing and re-mastering that had to be undertaken? Jon:<br> No; 40 of these songs nobody in the world has ever heard. Forty. And the other ten are rare soundtracks and things that people wanted us to release and we didn't have the vehicle. Like there's a song called 'Edge Of A Broken Heart' that was a fan favorite from the Slippery When Wet era that was on a soundtrack for a little movie called The Disorderlies. And so this was an opportunity to release it finally. So, that was like a no brainer. Things like that. Steven:<br> Jon, not having heard the record, can I randomly choose some titles here and have you talk about them? Jon:<br> I think it would be better for me to tell you a couple songs because you haven't heard them. You know what I mean? It would be a better story. There's a couple things on the first CD but there's one called 'Why Aren't You Dead?' Certainly would be a fan favorite and it was during the period between '90 and '92; we wrote it, having written songs in the past like 'Bad Medicine' and 'You Give Love A Bad Name' so we knew how to write those kind of tongue in cheek, cute choruses. When we tried to do it because we knew how when we did it for what was to become Keep the Faith, it didn't ring true anymore. We knew it was time to move on, so this is the classic case of this is the one that got away. So, people who were big fans of that era of the band will hear this one and go, 'Yeah, that's what I love.' So that's a good example of that. 'Miss Fourth of July' is a great one. That one and a song called 'Only In My Dreams' that Tico [Torres] sang, very influenced [when I was] in my Tom Waits era. Tom was such an influence on me in those great ballads that he writes and the great picture lyrics. And I wrote songs like 'Bed of Roses' because of Tom but while I was knocking out songs like this, these didn't make it. But '?Fourth of July' which is really a pretty neat song, something that perhaps I'd love to hear Don Henley sing, really talks about the loss of innocence and youth and how at that point in my career, I was really dis-enfranchised by what the business of music had become. Steven:<br> Speaking across the board, when you're trying to determine what songs will eventually make their way onto a CD, you try to determine what really makes the song work, the poignancy of the lyrics and ? Jon:<br> What works for a record when you consider that, for me, a record has to say something about who you are at that point in your life and that it's not repetitious and then finally that there's continuity in the record so it has, in fact, a beginning, a middle, and an end. You can't have two songs that are a 6/8 waltz, the Tom Waits-influenced thing. You can have one and then you move on and the other one doesn't get hurt. Steven:<br> As you were sequencing the material and re-listening to this music, could you sense a growth in the songwriting and your own profile as a musician? Jon:<br> Oh, sure. I think we've gotten better with time but that's subjective, I guess. It depends on who you ask and how the song touched people. You know, you get a song like 'It's My Life' and it moves the masses; you get a song like 'Everyday,' you think it's the end all, be all, and it's not a hit single, it doesn't mean I don't love it just as much. So, am I supposed to judge everything by hit singles? No. It's a hard question to answer. I think we've gotten better; we're certainly diversified, we've grown. We're not still writing 'You Give Love A Bad Name' twenty years later, or trying to. Let's put it that way. Steven:<br> What about your relationship with Ritchie as a guitar player? How would you explain that? Jon:<br> Ritchie is twenty times the guitar player I'll ever be. I play guitar as good as a songwriter, to be honest with ya. You know what I mean? Jeff Beck's got nuttin' to worry about with me. The truth of the matter is what I wanted to do with the guitar was write songs and the way I learned to play was about that. It wasn't mimicking some guy's hot solos, it was 'What chord progression was that?' and 'What inversion is that?' That stuff actually never ends either; you never stop learning. In fact I really feel humbled on this new studio record by John Shanks who I think is going to surprise a lot of new people. Because he and Richie went just crazy with guitar stuff like tunings and different instruments and it was really fun to watch. You know when to chime in and when not to but those guys, they're great. It [new record] sounds like us but it's very contemporary. It's hard to describe what it is but it's pretty rockin,' I can tell you that. And there's only one song that's a slow song on the record. That song is called 'These Open Arms' but that's it, man. This is a rock record. Steven:<br> You just mentioned how this new record sounds like you and at the some time has a modern feel. How have you been able to consistently change without ever losing your core integrity? Jon:<br> When grunge came along, we didn't pretend we were from Seattle; when rap came along we didn't add a scratcher. And a lot of times, guys are real guilty of that stuff, they jump on the bandwagon. Even the great Stevie Tyler was out there singing with Britney Spears and 'N' Sync [during the halftime ceremonies of a Superbowl game]. I wouldn't have done it. A lot of my peers suddenly in '92 pretended to be from Seattle and got all dark and pretend to be somethin' they weren't. Or, as much as I dig Gwen Stefani, when I heard them puttin' a rapper in the middle of the record, I went, 'Oh, that's a different thing.' That's not for me, I'm not doin' it. We stayed true to who we were, we grew with what we did. Like it or not and trust me, there's people on both sides of that coin, the one thing I can say is it's honest. It is what it is but at least you know what it is. It's not trying to be something it's not. Steven:<br> So you were honestly a bit skeptical about the reception of Crush in the marketplace? Jon:<br> Not skeptical, I believed in it, but I didn't know it was gonna find another generation of fans. That was the amazing thing because that record touched six-year olds and sixty-year olds. Everybody felt some reason to say, 'No, it's my life.' And of course everybody wants to be in control of their own life. I didn't realize that when we wrote it. When we wrote it I was selfishly thinking of my movie career. Like Frankie said 'I'll do it my way.' Sinatra. I'm gonna get a president elected, I'm gonna make movies, I'm gonna make records, I'm gonna do everything you tell me you don't want to hear from me. And that was exactly what that song was about and then you see athletes using it, kids chanting to it, and all this amazing stuff happened. Who knew? Steven:<br> And that guides us to the final question: You have all the money and cars and prestige anyone could ever want so what is the guiding force? Jon:<br> You know, I just really enjoy writin' a song. That gives me greater pleasure than recording it, which is second, and touring it, which is last. I get great pleasure out of it. You know it's gonna be there forever and that to me is the greatest feeling of all of them. Thanks a lot for your time, you did a great job. Steven Rosen is a Rock Journalist. Since 1973 he has accumulated over 1000 hours of audio content and 700 articles and interviews...all now available for licensing or purchase. <a target="_new" href="http://www.classic-rock-legends-start-here.com/classic-rock-interviews.html">Contact Steven Rosen</a> for more information. Discover <a target="_new" href="http://www.classic-rock-legends-start-here.com/index.html">The Classic Rock Legends of rock and roll</a>

The Art of Music

Music is the art of arranging sounds in periodic time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre. It is also the vocal or instrumental sounds possessing a degree of melody, harmony, or rhythm. Music can also be when an aesthetically pleasing or harmonious sound or combination of sounds are produced example the music of the water falling from a tap in a vessel. Most of the time music is kept in memory and performance only. If handed down orally, this music may be considered "traditional" or not considered composed by individuals. Different musical traditions have different attitudes towards how and where to make changes to the original source. If the music is written down, it is generally in some manner which attempts to capture both what should be heard by listeners, and what the musician should do to perform the music. In most of the parts of the world music is a part of everyday life. Chanting and singing during religious rites and festivals are very common. Music as a performing art is very usual among Indians. It was also among the seventeenth-century New England settlers who used music during their religious observances by chanting psalms in the meeting house as an important communal activity. By the end of the century psalm singing had become dissonant since worshipers could no longer read the musical patterns in the religious book. The right rendering of tunes was of lesser importance than religious passion so many ministers and musical refreshers, observed the teaching of musical notation to restore order in the community. Regular singing soon gave rise to the development of singing schools and the creation of music for secular entertainment. The revolutionary war saw a flowering of musical creativity. Supporters of the American cause quite often changed the words of British songs, such as "Yankee Doodle," to taunt their adversaries. The immediate post revolutionary cultural climate was one of optimism that Americans could create their own culture free of English influence. In the 1850s, the call for an independent American music was heard again, this time from a composer whose New York lectures in the early fifties inspired an interest in the development of an American musical language. But the drive for cultural independence fell short. With the wars came the marches and sentimental songs that spoke of home, wives, mothers and children became popular. Composers and entrepreneurs printed many of these. In the second half of the century, many successful American composers had studied in Europe and adopted the romantic style despite the ongoing arguments for an American music. Many men who earned their livelihoods as professors achieved respectability with works that bore considerable resemblance to similar pieces being composed in Europe at the time. In the end of the century, major orchestras came up in New York. Smaller communities observed performances by local bands, which reflected the popular taste for dances, marches, and synchronizing excerpts. The troupes moving throughout the country, performed combined comedic episodes, scenes from Shakespeare's plays, dancing, and minstrel songs performed in black face. Patica Masicuz is the owner of <a target="_new" href="http://www.btxmusic.com">BTX Music</a> which is a premier resource for music information. for more information, go to <a target="_new" href="http://www.btxmusic.com">http://www.btxmusic.com</a>

Memorizing Music - How Is It Best Achieved?

When memorizing music there are several things you can do that will make your job that much easier. Memorizing music is important as most people know you play better when having the music in your head rather than having your head in the music. So where to start when memorizing music effectively? I agree with Fred Noad, when discussing memorization in his book, Solo Guitar playing, he states...Learn to play a piece from beginning to end with absolutely correct fingering and with complete continuity (however slow) before committing it to memory. To learn music in this fashion helps with an overall visual memory of the piece and it helps with continuity rather than have the piece sound disjointed and fragmented. If you think about it you will realize that our thoughts and memories are nothing more than powerful images or, pictures, if you like. To prove my point let's say I ask you to think of an elephant. What do you see? Is it the word elephant written down (which could be a picture) or is it a picture or part picture the animal itself? I bet you I know the answer. Another test would be to ask how you dreamed at night. Do you dream in words or are your dreams a series of pictures rather like a scene from a movie? You need to work with your brain rather than against it. Why not utilize the natural operation of your memory? It's crazy not to! I also know from my days at Teacher's College that most people have different strengths when it comes to learning something new based on the body's different senses. Some people are visual learners, some learn better with their tactile (touching) sense and some are strong auditory learners. What is clear in most literature about memory is that a combination of as many of your senses as possible is a stronger way of learning anything. Because of this we should employ most of our senses when learning a new piece of music. Of course we can't include taste and smell to any great degree (unless you want to eat your music!) but we should definitely try to use our other senses of sight, hearing and touch. So, having established a method of learning a new piece of music what comes next? What are the nuts and bolts, so to speak? I would actually take a step back. That is, start not with playing a piece of music but rather just reading it, just like a book, on its own. What I would be looking for is how it is put together. I would look at the key, form, and structure of the music? What about sequences and repetitions? What about dynamics, articulation and tone? Breaking a piece up into its component parts first before you start to play it and get a visual memory of the piece allows you to take a short-cut of sorts. If you understand where the repeats are, for example, you have already cut down on the amount of bars you have to memorize. If you know about the dynamics of the piece before you play it physically your brain won't have to deal with too much information at once. As Sharon Isbin says in the Classical Guitar Answer Book..."The more you understand the language and structure of a piece, the easier it will be to memorize." I liken it to driving to an unfamiliar place or suburb in your car and using a roadmap. If you just turn up and expect to find the street it would be very difficult indeed. But if you look at the map beforehand you stand a much better chance of finding your destination by noticing the signs along the way. You recognize where you are, with much less stress! Of course, I'm talking about reading the music AWAY from the guitar. This should be your very first step. I would then employ the Noad method after this. Next I would test my memory by playing the separate phrases in the music. If you definitely know a phrase, try to string it together with the next phrase in the piece and so on until you get to the end of the piece. If you are not confident to play phrases try playing one bar at a time and going back to the printed music when a bar is forgotten. In this way the music can be overlapped until the whole piece can be played by memory. I would leave the piece for several days to a week after that. Then I would test my memory again by trying to play the whole piece, making note of where I faltered or needed to consolidate. Leaving it for a period of time allows your subconscious brain to keep "working" on it for you. The subconscious is really quite powerful and when you get out of its way, you'll be amazed at what it can achieve. Studying a new piece in this fashion should yield results. And remember, the more you practice (properly) the easier it will become. Good luck! Trevor Maurice is an Australian, living in beautiful seaside Maroubra, in the eastern suburbs of Sydney. He's been involved in playing guitar (mainly classical) for longer than he cares to remember and has also taught the instrument for many years. He is teacher trained, having a Diploma of Education (Majoring in music) He has also taught Primary (Elementary) school for many years and had a long-held dream to build a quality website for the classical guitar that is of use to anyone even slightly interested in this beautiful instrument. He has now made that dream a reality with the highly rated... <a target="_new" href="http://www.learnclassicalguitar.com/index.html">http://www.learnclassicalguitar.com/index.html</a>

Pakistani Pop Music

Pakistan is blessed with talent and when we talk about Pakistani Music, you can never stop picking up one of the best Pakistani pop song uptill now because there are number of such hit songs nobody can judge the best one in past decades such as "Dil Dil Pakistan&quot; , &quot;Huwa Huwa&quot;, &quot;Mehndi ki Raat&quot;, &quot;Na Kaho&quot;, &quot;Dil Haray&quot;, &quot;Ankhain Milanay Walay&quot;, &quot;Wakt&quot;, &quot;Neeli Neeli Ankhain&quot;, &quot;Jaisay Chao Jeo&quot;, &quot;Garuj Burus&quot;, &quot;No More&quot;, &quot;Ankhoun ki Sagar&quot;, &quot;Na Tu Aigi&quot;, &quot;Addat&quot; left the audience agape and many more. Our artists' are popular all over the world. Many new talented artists in Pakistan are still working hard to bring quality Pakistani music. We can easily judge Alamgir as the pioneer of music industry who's first big hit was "DEKHA NA THA KABHI HUM NAY YEH SUMMA", and remains the song he is still most identified with, though later songs such as "Yeh Shaam Aur Tera Naam" and "Mein Ne Tumhare Gagar Se Kabhi Pani" continued to add to his composition. Alamgir, it must be said, laid the groundwork that countless others used to break into the music industry. He not only sang well, he was a performer in the true sense of the word. There is no denying Alamgir's contribution to the evolution of the pop music genre in Pakistan. NAZIA HASSAN was the first one to cross the forbidden Pakistan-India border to sing in an Indian film called "Qurbani" which was "APP JAISA KOI". And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release "DISCO DEEWANE" which became the biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, "Boom Boom", in 1984. This second collaboration with Biddu, the undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point in the pop history. And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named "Dil Dil Pakistan" in 1986. Their album released in 1987 with gems like "Yeh Shaam" and funky "Goray Rung Ka Zamana". Then came Jupitars with their evergreen hit songs &quot;Yaroun Yehi Dosti Hai&quot;, continued with Hassan Jehangir's &quot;Hawa Hawa&quot; in 1990, "Sanwali Saloni" by Vital Signs in 1991, "Sar Kiye Yeh Pahar" in 1992 by the Strings, Sajjad Ali's "Didi" ripoff "Babia" in 1993, Najam Shiraz's "In Se Nain" in 1995, Junoon's "Saeein" in 1996 or Awaz's "Mr. Fraudiye" in 1997. Junoon came into the race with their World Cup Hit song &quot;Jazaba-e-Junoon Tou Himat na Har&quot;. This is only to be expected in a growing industry. Perhaps the biggest unexpected success of an experimental song, however, was Sajjad Ali's street-wise 1995 hit "Chief Saab". Full of Karachi slang and tough imagery, "Chief Saab", perhaps more than anything else signified the coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion of the pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gave the music for Hollywood movies and as well as for many Bollywood movies too. The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success with the haunting "Saeein" to recast itself as a completely different sort of band. Here we saw pop again intersecting with folk and vice versa. In 1994, FM radio brought about another mini-revolution in Pakistani music. From Landhi in Karachi to Krishan Nagar in Lahore, names like female vocalist Hadiqa Kiyani and young Shehzad Roy suddenly became household names. Even iconoclastic recluse virtuosos like guitarist Amir Zaki (whose almost purely instrumental album "Signature" did well in the market) were receiving the kind of airplay the big bands of the '80s could only have dreamed of. Pop industry had big turnaround when private channels came into the scene, Like IM which became the medium to introduce young talents in the pop industry names like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal which not only rock the Pakistani pop music but also made their names worldwide. The new arrivals made their presence felt through remarkable individual songs, even though full albums for now seemed beyond most new acts. Ahmad Jehanzaib's Ek Bar Kaho, Fuzon's Ankhon Ke Saagar and Schehzad Mughal's Bas Yunheen were each excellent. The first two were carried by soulful, ardent vocals and the last shone through affecting lyrics. Hot on their heels, honourable mentions must also go to Aks stunningly understated Neela Aasman, noori's jangle-pop perfection Tum Hans Diyae, Junoon's excellent Garaj Baras, Sajjad Ali with Teri Yaad, Aamir Zaki's insightful and incisive People Are People, EP's piledriving Hum Ko Aazma, Najam's infinitely catchy ! Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar's startling Chanoo ki Ankh, Jal's splendid addat and yes even Ali Haider's insipid but still memorably melodic Chandi Ratain. Abrar's Preeto was the novelty hit of the year. The Pepsi Battle of the Bands did a great job in throwing up a wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others all have Pepsi to thank. The Pepsi Battle of the Bands got all these fledgling bands great exposure. Recently, a team of talented Pakistani musicians and artists took the long road to Mumbai, via Dubai, possibly to make history, for this was the first time in recent memory that Pakistanis had gone to India to create the background score for a Bollywood film. The film in question is Pooja Bhatt's Paap, and former Vital Sign Shehzad 'Shahi' Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio session player and keyboardist Faiz Ali Naqvi, were the foursome representing the world of Pakistani music in India. Strings enjoyed considerable success with Dhaani. Probably the most hyped album of the year, with lead single Chaaye Chaaye being the standout favourite. String gave the soundtrack for Spiderman 2 which was a remarkable effort. Junaid Jamshed's Dil Ki Baat was understated but assured and notwithstanding JJ's quite public and tortured ruminations over religion and music, the album showed that JJ is still competent at middle of the road pop and that Shoaib Mansoor still has the magic touch. Shahzad Roy's Rab Jane was hobbled by his illness and yet catches the fire while Karavan's Gardish seems to have suddenly picked up and was sold like hot-cakes. Schahzad Mughal's Jhoom Lay was one of the most pleasant of surprises of the year. So this proves that our music industry has dared to move forward with hope rather than skepticism. About The Author Faiza Kamal Hi, i am a student of BS Software Engineering in first year from Karachi University and i am 19 years old. <a href="mailto:siddiqi_fai@hotmail.com">siddiqi_fai@hotmail.com</a>

Building A Good Relationship With Your Guitar

The guitar is considered the friendliest musical instrument there is. It is because the guitar is the handiest musical instrument that could stand on its own. A group can enjoy music with just a guitar even without the accompaniment of winds and percussions. The term &quot;acoustic&quot; is referred to, in the music context of today, the rendition of songs in all the glory of guitars. No percussion and piano and other instruments needed, just guitars. Sometimes, it can be the jamming of more than just one guitar. Acoustic is a favorite type of music today because of its relaxed and soulful rendition of songs. The guitar can be carried everywhere and is one of the easiest instrument to be learned in no time. All you need is a songbook or song hits and you're ready to take the stage and perform to your heart's desire. It may sound so easy and can be done in a snap, however, playing a guitar is an art that needs to be perfected with constant practice. There are basic steps you need to know before mastering playing the guitar. Basically, a guitar is like a friend you need to familiarize yourself with. Get to know the guitar and you'll be able to make good music together. For beginners, the first lesson starts with getting to know the guitar and its parts. Some examples of different types of guitars are the electric guitar, the base guitar, the 12-string guitars and the non-electric acoustical guitar. Parts of a guitar: Head ? is where the tuning keys are found. The strings are wound up around pegs which can be twisted to loosen or tighten the strings. Tuning Keys ? are the keys which hold the strings. These keys are twisted to adjust the tones of the strings Nut ? found at the edge of the fret board on which the strings pass before wrapping around the tuning keys Fret board ? is where pitch and expression of the tones are controlled. Frets ? 19 divisions on which fingers are placed Little Metallic Bars/Fret bars ? thin metallic bars dividing the frets Neck ? accommodates the fret board Sounding Board ? the body of the guitar Sounding Hole (Rosette) ? sounds produced are resonated. This serves as the amplifier of the acoustical guitar Strings ? are of different sizes made up of either steel or nylon which are the foremost cause of sounds Bridge ? the part where the strings are attached opposite. It is found at the body of the guitar. Tuning the guitar is the next thing a guitar player should know. It is where he can further intensify his mastery and familiarity with the guitar. It is a gift if a person has the remarkable natural ability of hearing. He can determine if the guitar has good quality through hearing its tune for the first time. However, there are people who do not posses that certain gift. But there are other ways of tuning the guitar. One way is the ordinary method. The first step to the ordinary method of tuning the guitar is finding a tuning instrument like a piano or an organ to base the tune. <ul> <li>The E chord or the 6th string should be based on the sound of the lower &quot;mi&quot; key of the piano or organ. <li>Press the same string on the fifth fret, which makes it the A and base its sound on the sound of the &quot;la&quot; key of the piano or organ. <li>Press the 5th string on the fifth fret, which makes it the D and base its sound on the sound of the &quot;re&quot; key of the piano or organ. <li>Press the 4th string on the fifth fret, which makes it the G and base its sound on the sound of the &quot;so&quot; key of the piano or organ. <li>Press the 3rd string on the fourth fret, which makes it the B and base its sound on the &quot;ti&quot; key of the piano or organ. <li>Press the 2nd string on the 5th fret, which makes it the e and base its sound on the higher &quot;mi&quot; key of the piano or keyboard. </ul> Make sure that every string's tune sounds just like the sound of its corresponding key on the keyboard. And with that, you now know how to tune your guitar! Knowing the parts of a guitar and learning how to tune it are vital aspects in picking or choosing very good quality of guitar. In choosing your own guitar, you must first try the accuracy of the frets. To do this, you must tighten all the six strings and check to hear a full tone when strummed or plucked. Then do a complete scale for each string by, first, plucking the open string, then press the 2nd fret (of the same string), then the fourth fret, fifth fret, seventh fret, ninth fret, eleventh fret and twelfth fret. Each scale must produce the exact sound of the musical scale: do, re, mi, fa, sol, la, ti, do. The sound when the twelfth fret is pressed must be one octave higher than the sound when the open string is plucked. This process is called the mechanical test. After completing the mechanical test, the next step is tuning the guitar. Since you already know the process in tuning, what you must achieve is to look for the fullness or roundness of the tone and not the loudness. Lastly, the next thing you must consider in finding the best guitar for you is the comfort you will achieve while playing it. Choose a guitar that would require you to exert minimal pressure in pressing the frets in order to produce a full and booming sound. In this way, you would avoid blistering your fingertips which would make your practices easy, enjoyable and painless. About The Author The writer, Ismael D. Tabije, runs the website <a href="http://www.song-lyrics-with-guitar-chords.com" target="_new">www.song-lyrics-with-guitar-chords.com</a> that features guitar lessons, guitar chords, guitar song books, guitar sales and unlimited MP3 music and video downloads.

How to Get Past Creative Blocks

When I first began playing the piano and improvising, there were times when the music just wouldn't flow. No matter what I did, I couldn't make it go any further. Blocked and frustrated, I wondered why this happened. One minute I would be in flow and enjoying the process of playing the piano. The next, I would find myself trying to come up with material I soon realized that the more I tried to "come up" with something, the more blocked I became. The solution to this particular problem is simple, yet many find it to be frustrating in itself. The answer is simply to walk away. That's right! If you're playing the piano and it just won't come anymore, I suggest getting up and finding something else to do. Why? Because you can not force play! It's that simple. And that difficult because we want to get back into the "groove." But getting back to this place requires you to ease up a bit. You see, the creative process is somewhat similar to meditation. Meditation can't be forced or willed into working. It must be allowed to work. So too the creative process. There are times when I won't touch the piano for weeks on end. This used to bother me until I saw that I needed time away - a regenerative period so to speak. Natalie Goldberg of "Writing Down the Bones" fame describes this lackluster period as composting. Don't worry about losing your creative ability. You never lost it. Just give it time to compost and when you return to the music, you will hear something new and wonderful! Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

How to Compose Your Own Music Using 8-bar Phrases

Some people think composing is this miraculous thing that only genius's do. What a myth! It's a skill that can be learned. What can't be learned is the intuition that guides the creative force. What can be learned is the technique. And the most important part of composing technique has to do with THINKING IN PHRASES. A musical phrase can be 2-bars long. It can be from 4 to 8-bars long as well. It is a unit of music that composers use, along with repetition and contrast to create ENTIRE SECTIONS OF MUSIC. There is no secret here people. It's like building up a structure. That's why music is often referred to as frozen architecture. It is built up. The building up creates FORM. A structure such as ABA form can be composed of the A section (8-measures) B section (4 or more measures) then back to the A section. Now you may be thinking, it looks logical but how does it transfer into actual music? Ah, this is where you get your feet wet and actually try composing a piece. We start from simple means and learn the principles of repetition and contrast first. We start with an 8-bar phrase for the A section. Now a problem arises. How do I fill up this section? You can either start with the melody or with the chords. If you've had a chance to look at my free lesson, you'll see that by improvising, MATERIAL IS INSTANTLY CREATED! This solves your problem doesn't it? Now, you may be thinking, how do I get this material into the 8-bar framework you've been talking about? First, you need to be able to count in 3/4 or 4/4 time. Not very difficult but if you can't do this now, there are many sites on the web that can teach you this. Now it's just a matter of transferring this raw improvisational material into the 8-bars. Most likely, you will be jotting down your chord changes. I explain this in a lot more detail in my online class. It's a quick sketch method. You have the raw uncensored germ coming from your improvisations - you then write down what chords you are playing and perhaps the first 2-bars of melody so you remember what the initial impulse was. The reason I use the 8-bar phrase is that it is a nice unit of time to work with. I don't try and reinvent the wheel here. It's been used for centuries and can be used in New Age music as well. Once you have this 8-bar phrase you can repeat it and add in another section (B) to add contrast. This may be hard to understand by just reading about it. You have to do it in order to really understand. Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

All About Eminem

Marshall Mathers, was born October 17, 72, and could be by far the most notorious and recognised rap music musicians of this age, having the alias Slimshady. Slim Shady is perhaps best known for being one of the very few influencial white rappers in the hip hop industry, and not only one of the most critically acclaimed. Marshall Mathers is in addition infamous for the controversy with respect to lots of slim shadys controversal lyrics, that has been stated by the critics to be racist, angry and dangerous. First discovered by the legend Dr.Dre, then the long awaited release of the Infinate, his up-to-date set on Shady Aftermath Records, already had leading fans of hip hop excited about Slim Shady. Jam packed of amazing lyrical hits that delve deep into the outlook of a pervertly distorted but super special rap artist, the hits carries alot of the most unbelievable and scary hurtfull lyrics ever put down. And the real grounds for the immense profits of Marshall Bruce Mathers III. Marshall Bruce Mathers III perchance sums eminems white hiphop artist label better by announcing "Every now and again 1 motherf***er comes along and guess what that happens to be me." It remains to be seen for how long Slimshady will be about, but slim shadys potential for certain overstepped the man marshall Mathers is more freqently likened with, Ice. However he is not slim shadys only opposition in the hip hop cosmos. Vanilla Ice told Vibe Magazine of late that Eminem "raps like a school girl" adding "I merely dont like that tiny squealing voice." Marshall Bruce Mathers III also separates himself from the Ice man by going on the attack against most everybody in his lyrics. Barry Hynes<br> <a target="_new" href="http://1st-for-eminem.com">For more Eminem info.</a>

Oh My Aching Head! Can Music Really Make You Feel Better?

We all know, if only instinctively, that music has a profound effect on us. If we didn't believe that music affects us then singing lullabies to calm children and help them sleep wouldn't be universal. In reality melody, harmony, and rhythm probably impacts the human brain in ways that are far more profound than we realize. We all know that an up tempo melody from our favorite performer stirs and energizes us just as a slower melody can help us relax or even prompt sad emotions from the depths of our soul, but did you know that evidence has been found linking the merging of melody, harmony, and rhythm with pain management? The direct implication of this is that by incorporating the right melody (we'll discuss what defines the right melody in a moment) into your schedule it is possible to reduce your need for pain medication and thereby save money and aggravation. Sound good? I know it does to me. Who wouldn't like to save a little more money that they are already sending to the pharmaceutical companies. And the best part is that the melody(s) that you need for pain management may already be in your collection. Researchers suggest that the magic melody that you are looking for in your quest for melodic pain relief isn't one particular song that fits all. Instead personal taste is an important factor ? but don't run out and put on your favorite hard rock selection, it probably won't do the trick. Instead, you want to look for a gentle, soothing melody that helps you relax. This might mean an old Natalie Cole melody that distracts you and draws you in to a more comfortable moment, but whether your taste if for Natalie Cole, Handel, or something more modern, the key is to find a melody that has a slow steady beat (ideally at or under sixty beats per minute, which is just below the resting rate of the human heart) that will help you relax and let the pain medication do its work more effectively. Once you have found the right melody(s) sit back and focus on the melody for at least fifteen minutes. If you can do this, it can have the effect of lowering your heart rate and breathing rate thereby releasing the tension that comes with (or in some cases even causes) the pain. If you find it difficult to focus on giving the melody your undivided attention, try prefacing your selections with an additional melody that picks you up emotionally and sucks you into the moment before going into your quieting music which should relax you ? after all, relaxing you is the primary function of many analgesics anyway so why not do it with a melody that's already in your collection? Or better yet, what better excuse to go out and add a new CD to your collection? And hey -- even if it doesn't help your aching head, its a heck of a lot cheaper than other means and pleasant to boot! Duane Shinn is the author of over 500 music books and products such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He can be reached at <a target="_new" href="http://www.chordpiano.com">http://www.chordpiano.com</a>. He is the author of the popular free 101-week e-mail newsletter titled <a target="_new" href="http://www.playpiano.com/">"Amazing Secrets Of Exciting Piano Chords & Sizzling Piano Chord Progressions"</a> with over 56,650 current subscribers. Those interested may obtain a free subscription by going to <a target="_new" href="http://www.playpiano.com">http://www.playpiano.com</a>

10 Ways for Unknown Musicians to Get the Word Out

When Clear Channel controls the radio and the monopoly newspaper doesn't like you, how do you win over new audiences? The good news: there are many, many ways. Here are ten of my favorites. 1. Approach a local college or alternative radio station or community access cable TV station with a programming idea, like a live songwriter showcase. Other musicians will want to be a part of your show, and you'll build an audience for your own music--and theirs. 2. Write CD or concert reviews for a local alternative (or mainstream) paper. 3. Give copies of your CD away to public radio and TV stations for their fund drive premiums. 4. Organize, publicize, and perform at charity events for your favorite causes. 5. Lead songwriting or performing workshops in the schools (these are usually paying gigs, and all the parents hear your name). Invite some of the kids to perform with you; they're sure to bring a bunch of relatives along who will pay for their tickets and maybe buy a CD. 6. Announce your gigs in every community calendar. Newspapers, magazines, radio stations, community web sites, cable TV stations--they all run event listings. Type out one paragraph that includes a tag line about what you do, such as "Sandy Songwriter, River City's 'Homegrown Bono,' will perform labor songs and love ballads at The Trombone Shop, 444 4th Street in Downtown River City, Wednesday, January 15, 7 p.m." If admission is free or there's a charity connection, say so. Include contact phone number and e-mail. 7. Find Internet discussion groups related to your cause. Whether it's immigration, voting reform, peace, safe energy, the right to choose...there will be discussion groups online. Post responses and include a "sig"--a short on-line business card. Use different sigs for different purposes. Here's one of mine (in a real e-mail, it would be single-spaced): __________________________ Shel Horowitz, mailto:shel@frugalfun.com, 800-683-WORD/413-586-2388 "I make the world INSIST on learning why YOU'RE special" News releases, brochures, newsletters, ad copy, web copy, resumes, etc. http://www.frugalmarketing.com * http://www.principledprofits.com _____________________________ 8. Set up a simple low-cost website. Include a couple of sound clips, pictures of you performing, a place for people to sign up for your fan newsletter, a link to your favorite musicians, and, of course, your tour schedule and gig availability. 9. Get exposure on other people's websites. Write CD reviews, endorse their music with a blurb, submit articles on the local music scene...and always include your contact information and a statement that encourages people to visit your site. 10. Use the letters columns. Call in to talk shows. Post messages to Web forums...in short, use every feedback tool you have to spread the word. Copywriter, marketing consultant, and speaker Shel Horowitz is the author of six books and publisher of five websites, five webzines and three ezines. His two most recent, Principled Profit: Marketing That Puts People First (<a target="_new" href="http://www.principledprofits.com">http://www.principledprofits.com</a>) and Grassroots Marketing: Getting Noticed in a Noisy World (<a target="_new" href="http://www.frugalmarketing.com">http://www.frugalmarketing.com</a>) have both won awards. He's currently engaged in a campaign to get 25,000 people to sign--and spread--the Business Ethics Pledge: <a target="_new" href="http://www.principledprofits.com/25000influencers.html">http://www.principledprofits.com/25000influencers.html</a>

Music For Self Improvement

Would you like to pop in a CD and have a better quality of life, and even self improvement? There are three ways you can use music to accomplish this. Music For Motivation Put on energetic music, and even doing housework seems less like work. Using music to motivate yourself or change your mood is an area where you can trust your experience and experimentation. When you find the msic that energizes you, relaxes you, or makes you happy, keep it ready for when you need it. Music For Intelligence Music creates neural pathways in your brain that stimulate creativity. Studies show that music trains the brain for higher forms of thinking. In one study, three-year-olds were split into two groups. The first had no special training in, or exposure to music. The second group studied piano and sang daily in chorus. Eight months later the musical three-year-olds were much better at solving puzzles. They also scored 80% higher in spatial intelligence than the other group. There's also anectdotal evidence that listening to music, especially from Mozart's era, can help you study and learn better. Hopefully there will be more research. In the meantime there's no reason not to do your own experimentation. I've heard that Stephen King writes with loud rock music playing, so the benefits of music may be according to your own tastes or brain-organization. Music For Brainwave Entrainment Want to listen to some music, and get smarter, or have instant easy meditation? There are products now that "entrain" your brainwaves, in order to put you in a meditative state. Music is embedded with beats and pulses that entrain your brain waves to a specific frequency. Put in the right CD or MP3 for your activity, and you get better brain function. Science? Partly. Brain wave frequencies vary with mental state. Daydreaming and light meditation take place in the "Alpha" range of frequencies, for example. So if you listen to music containing beats at a frequency of 10 Hz you will generate more brainwaves at a 10 Hz frequency and enter a relaxed Alpha mental state. Do these things really work? Yes. I've found two products that put me in a peaceful state unlike any other music or meditative practice. Studies will prove the effects (some have already), and disprove the wilder claims. Given my results, however, I wouldn't wait for more research. Many things work long before the scientific proof arrives. If you are skeptical, you can wait for more evidence of the benefits of brainwave entrainment. Meanwhile, why not try classical music when you study, just to see if it helps? Experiment with music - Mozart isn't dangerous. Steve Gillman writes on many self help topics including boosting brainpower, losing weight, meditation, habits of mind, creative problem solving, learning gratitude, generating luck and anything related to self improvement. You'll find more at <a target="_new" href="http://www.selfimprovementnow.com">http://www.SelfImprovementNow.com</a>

Flaming Guitars! Minarik Fuels The Excitement Of A New Generation Of Musicians

Celebrating an endorsement between G-Man Music and the fiery axe-makers known as Minarik Guitars, Scott G (The G-Man) reviews the Minarik Inferno X-treme. From the Telecaster to the Flying V to the Iceman to the Warlock, some guitar designs are forever branded on our consciousness, and now there's a new one: the Minarik Inferno X-treme. The body shape erupts in furious fingers of flame. If ever there was a guitar design destined to ignite the imagination of young players, especially boys and girls who want to rawk, this is it. Not that the Inferno X-treme lacks subtlety. With scientifically placed tone chambers, this instrument can sing sweetly if that's what you desire. Or, it can live up to its appearance and enable you to carve sonic craters in the parking lot. Although this guitar has a look that will inspire thousands of preteen statements along the lines of "Mom, that's the one I want," I suspect that tons of established players will find it useful in the studio or on the road because of its delicate balance, sleek feel, and stunning versatility. (And besides, the cunningly crafted guitar is also available in a more traditional body shape.) "So, what's the story on Minarik Guitars?" I can hear you ask. As the designer of the B.C. Rich Goddess Warlock and several other noteworthy models, Marc Minarik already has a legacy in the business. Now heading up his own company, Minarik has the goal of fusing quality workmanship with visually exciting design concepts. Actually, his plan is much more complex than "make it attractive and build it right." Marc Minarik is as eager to talk about the playability of his guitars as about their construction and appearance. And if you inquire about the light weight and the chambered body, he is just as pleased to demonstrate the superior nature of his firm's products. The flame-shaped body isn't just flashy; the size and curve of the flames have been carefully calculated to positively affect the tone and balance of the instrument. The flame design is eye-candy, but it's the application of the physics of sound that makes the Minarik Inferno X-treme really hot. With a wonderful combination of form and function, the Minarik guitar line may have some interesting side effects, like bringing vitality to retail sales, launching a new generation of guitar players, and saving music from passive pop. Not bad for a guy with a dream about a flaming guitar. Minarik Contact <br><a href="http://www.minarikguitars.com" target="_new">www.minarikguitars.com</a> <br>818-383-1254 <br><a href="mailto:minarikguitars@aol.com">minarikguitars@aol.com</a> About The Author Scott G (The G-Man) proudly plays a Minarik Inferno. He creates radio commercials and composes music for songs and spots at G-Man Music & Radical Radio. A member of the National Association of Record Industry Professionals (<a href="http://www.narip.com" target="_new">www.narip.com</a>) and The Recording Academy (<a href="http://www.grammy.com" target="_new">www.grammy.com</a>), he also writes about music for the Immedia Wire Service. He is on the Web at iTunes, www.myspace.com/thegman, and www.gmanmusic.com. <a href="mailto:immedia@pacbell.net">immedia@pacbell.net</a>