Happy Birthday, Ringo!

00333865Ringo Starr, the most famous drummer there ever was, turns 75 today! Backbeat Books is marking the day with the publication of Ringo: With a Little Help by Michael Seth Starr (no relation!).  Here’s a link to Michael’s recent visit to Good Morning America, and 15 fun facts you may not have known about Ringo!

https://gma.yahoo.com/fun-facts-ringo-starr-author-talks-biography-funny-112054023–abc-news-music.html#

 

Explore Electronic Dance Music Grooves with Josh Bess!

Hal Leonard Books has published Electronic Dance Music Grooves: House, Techno, Hip-Hip, Dubstep, and More!, Josh Bess’s guide to building exciting, powerful, and compelling EDM grooves.  Josh introduces his book below, and provides audio content examples at his website, www.joshbess.net.  Check it out!!


 

00128989Electronic Dance Music Grooves is a book designed to help anybody and everybody learn to program a wide variety of electronic dance music drum grooves with the use of MIDI programming. It will help somebody starting out from the most basic levels all the way to advanced producers, musicians, and programmers.

Electronic Dance Music Grooves teaches you more than mapping out beats and grooves; it will hopefully become a stepping-stone to a new way of thinking and creating. The main purpose behind Electronic Dance Music Grooves is to introduce new styles of music and grooves that you have possibly never played, programmed, or even heard of before, along with tips and tricks to create something new for yourself.

Throughout the book, you will easily see how powerful and important a drum groove is to music styleidentity. Understanding what creates a specific genre’s groove, from the rhythm and dynamics to the choices of individual sounds, plays a huge role in identifying a tune’s style and genre. As there are currently thousands of electronic music subgenres, rather than covering each and every style there is, we’ll cover the main foundational styles of Electronic Dance Music, which have stemmed to create new styles, subgenres, and categories. With the grooves learned throughout this book, you will gain the necessary understanding, techniques, and knowledge to create the rhythmic structure and patterns for any of your favorite electronic music styles.

Tony Sclafani Talks About the Grateful Dead’s Farewell Concerts on WGN Radio

As the band’s farewell concert neared, Tony Sclafani, author The Grateful Dead FAQ, spoke with Brian Noonan on WGN Radio about the cultural and musical impact of the Grateful Dead.

>>LISTEN HERE<<

00333698The Grateful Dead rose out of San Francisco’s ’60s underground rock scene with an unprecedented sound and image. Its members, steeped in rock, folk, classical, and blues; their instrumental prowess; and their refusal to bow to commercial conventions helped originate jam band music. Unapologetic in its advocacy of drug use as a means toward mind expansion, the Dead helped catapult psychedelic music. After performing at the Monterey International Pop Festival and Woodstock, the group became iconic without ever scoring a hit single. A large, devoted fan base – “Deadheads” – began to follow the band everywhere. The group suffered a tragedy when bandleader Jerry Garcia slipped into a coma in 1986, but returned the next year with a top-selling album and surprise hit single, “Touch of Grey.” By 1993, the Dead was the top-grossing live act in the United States. The band ended when Garcia died in 1995, but the music lives on with a stream of live releases.

In Grateful Dead FAQ, Tony Sclafani examines the band’s impact and influence on rock music and pop culture. This book ventures into unexplored areas and features a host of rare images, making it a must-have for both Deadheads and casual fans.

Four Smart Ways To Use Your Press Materials Better

Bobby Borg, author of Music Marketing for the DIY Musiciandescribes ways to improve usage of press materials in his latest article from Hypebot!

Most musicians know that songs, biographies, one-sheets, photographs, videos, press releases and interviews can all be used to help get gigs, blog reviews, radio play, endorsements, and so much more. But in what formats should these materials be submitted? Let’s review 4 possible options together with feedback from a few industry pros.

1. Physical Press Kit

This involves gathering your bio, press release, cover letter, business card, and CDs into an attractive two-pocket folder (such as one you customize using services like Vista Print), stuffing these items into a padded mailing envelope, and shipping them off via services like FedEX or The United States Postal Service.

Says Jeff Weber (Music Producer, Label Owner, and Author), “While I don’t care to receive anything other than the CD and a contact number, physical materials are the preferred method of delivery for me. A high quality CD allows me to evaluate the artist’s songs and performances in their purest form.”

Says Fred Croshal, former general Manager at Maverick Records and current Vice President and founder of Croshal Entertainment Group, “When I’m considering a band for management, I much more prefer to review and listen to materials that I can hold in my hands. It’s a more personal experience. “

2. Personal Website Link

This involves creating a customized destination on the web that includes music, videos, pictures, and bios, and then emailing a link (or links to different pages on your site) to your professional contacts.

Says Christian Stankee (Artist Relations for Sabian Cymbals), “I prefer an external link to the artist’s personal website. I want to see what the public sees. An artist’s site is a true tell of an artist’s ability to market their brand and to potentially market ours.”

Says Attorney Sindee (who helps license copyrights), “I also like an email with an external link to the band’s personal website. There’s no clutter on my desk or floor, it’s simple and easy to view, and I get a sense of what the fans and general public see of the band.”

Click here to read the rest!

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The Not Necessarily Top Ten Underrated Seinfeld Episodes

Seinfeld FAQ is now available from Applause Theatre & Cinema Books! Within the text, Nicholas Nigro includes many lists, including the one below ranking underrated Seinfeld episodes. Do you agree with this list? Leave a comment below letting us know if you think the list is spot on or if there are some episodes that should be added/removed!

The Not Necessarily Top Ten Underrated Seinfeld Episodes

10. “The Doodle,” where George agonized over whether a woman’s sketch of him was a good or bad sign vis-à-vis a relationship.

9. “The Cheever Letters,” where Susan Ross’s father’s big secret—a longtime, passionate affair with writer John Cheever—was unmasked.

8. “The Pen,” which found Jerry and Elaine in Florida visiting the Seinfelds and learning entirely too much about Jack Klompus’s “astronaut pen.”

7. “The Pony Remark,” frequently considered the episode that first established the Seinfeld benchmark in humor.

6. “The Dinner Party,” where the gang’s determined mission was to procure a chocolate babka and a bottle of wine for a party they were all attending.

5. “The Parking Space,” which considered the urban conundrum of who has the right to street parking space, someone backing in—like George—or someone pulling in nose first.

4. “The Apology,” where George testily bristled over not having received—from his vantage point—a well-deserved “Step Nine” apology from a recovering alcoholic.

3. “The Junior Mint,” where a piece of Kramer’s candy fell into the open body cavity of Elaine’s former boyfriend during a major operation.

2. “The Pilot,” where Jerry and George’s sitcom pilot was at long last cast and shot.

1. “The Abstinence,” where George transformed into a genius, an Elaine a blithering idiot, while they were both abstaining from sex.

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Michael Beinhorn Featured at ChandlerLimited.com

Record producer Michael Beinhorn, author of the new book from Hal Leonard, Unlocking Creativity: A Producer’s Guide to Making Music and Art, is the subject of a three-part interview at chandlerlimited.com.  Here’s Part One 1!

00122314Shell Rock, IA – JUNE 2015 … It’s been just over three decades since a young keyboard player in Bill Laswell’s group, Material, made the jump to production as co-producer for Herbie Hancock’s Grammy® award-winning album, Future Shock. Many of the tracks on Future Shock including the hit “Rockit” were co-composed by Michael Beinhorn.

Future Shock was hailed as groundbreaking, and it’s only fitting that Michael Beinhorn’s production aesthetic and career have continued on an exciting arc of energetic, boundary-pushing records.

Michael’s artistic journey has seen him play many roles: producer, engineer, composer, arranger, performer, technical innovator, and shepherd to some incredibly rocking recordings of the modern era. A review of Beinhron’s discography is eye-popping, including, Red Hot Chili Peppers, Soul Asylum, Sound Garden, Aerosmith, Hole, Marilyn Manson, Ozzy Osbourne, Korn, and a host of other artists. With Michael’s place in music production lore firmly in place, he can now add Author to his resume with the release of his book Unlocking Creativity: A Producer’s Guide to Making Music and Art.

Beinhorn’s seasoned audio palate, and strong desire to bring to fruition the sounds only he hears, has led him to not only stretch the limits of pro-audio gear, but literally create a new audio format along the way.

Michael has been a longtime Chandler Limited user, and we were fortunate to catch up with the ever-busy producer when we provided additional gear for his Courtney Love session (Wedding Day EP) at Tommy Lee’s studio, The Atrium, in early 2014.

In this three-part interview, we’ll cover Michael’s thoughts on today’s music industry, his production methods and gear, and a dissection of the Courtney Love ‘Wedding Day EP’ sessions, which used a lot of Chandler Limited gear.

CL: Okay, we’re convinced you’re not only a music producer, but a time traveler too. When we were coordinating with you seemingly across multiple time zones and airports for the Courtney Love session, you were in the middle of another production in Europe, and jetting back and forth. So many records in now, what keeps the creative flame burning for you?

MB: I’ve always believed it was an unquenchable lake of fire located near the Islets of Langerhans. Seriously, the one thing that gets me going is this crazy idea that a recording project can still be an exposition of creative ideas. That all of us together, the artist, engineers, producers, etc can become a team of artists working toward a unified common goal which is potentially so much greater than what would be accomplished by just one artist alone. That fusion, when it’s present, is the most addictive substance and the most potent source of energy I have ever encountered. I suspect it also might be the fountain of youth.

CL: You were stationed in Europe for a lengthy session, and relocated most of your gear there too, including your Chandler Limited Mini Rack Mixer. Can you tell us more about that project?

MB: I was working in Copenhagen with Mew, who I also worked with in 2004. We cut tracks in a recording studio (STC), but all the overdubbing was done at the band’s rehearsal space (which had been an auto repair shop in a previous incarnation) and the singer’s apartment. It was a real undertaking just to get these places acoustically sound for recording and playback. The band’s rehearsal space had plaster walls, a front and back room and, having been a car repair shop, there were two holes cut in the wall which separated the rooms, presumably to accommodate cars being fixed. The band were initially skeptical about improving separation between the two rooms until the guitarist set up an amplifier in one room, ran a cable to the other and began playing, whereupon, he realized that the amplified guitar was nearly as loud in the room he was in as it was in the room where the amplifier sat. Needless to say, a lot of similar adventures took place. Since I knew the singer’s apartment and the band’s rehearsal space were immutable parts of the recording equation, I brought along some gear I knew we’d need. All I can say is, thank goodness for the Chandler Mini Rack Mixer.

Read the rest of Part 1 here!

 

 

Max Mobley on WAAF!

Max Mobley, author of Rush FAQ, talks with Mike Hsu of WAAF about his book and Rush’s “R40 Live 40th Anniversary Tour”!

>>LISTEN HERE<<

00110231Rush FAQ documents the amazing story of the world’s greatest Canadian prog rock power trio, from its origins in a church basement in Willowdale, Ontario, to its induction ceremony at the Rock and Roll Hall of Fame. Covering 40 albums, 10 DVDs, thousands of mesmerizing live shows, and millions of rock’s most loyal fans, the story of Rush is as epic and unique as its music. Rush has been maligned by the press for decades, and misunderstood by a legion of mainstream rock fans and rock glitterati. And yet only the Beatles and Rolling Stones have earned more gold and platinum records. Few artists, if any, have been as influential as Rush’s three virtuoso – bassist-keyboardist-vocalist Geddy Lee, guitarist Alex Lifeson, and drummer-lyricist Neil Peart.

Rush’s focus has always been about its muse and its music. As such, Rush FAQ studies the evolution of the band’s sound, from the early days of Zeppelin-esque blues-rock to complex, synth-laden opuses to the return of concept-album bombast with the critically acclaimed Clockwork Angels.

With wit, humor, and authority, music industry veteran and unabashed Rush geek Max Mobley examines the music, gear, personalities, and trials and tribulations of one of rock and roll’s truly legendary acts. It is a story Rush fans will treasure and rock and roll fans will admire.