Canadian Musicians Blog

Frankie White and The Dead Idols are ‘hands down’ the REAL DEAL.

by Andre Kaden Black on August 31, 2010

In a very short time Frankie Whyte and the Dead Idols have started a well deserved buzz within Toronto and the rest of Canada. I can’t remember going to a show and seeing a band rock out this hard. I had the pleasure of chatting with Frankie about songwriting, influences and the band’s intense stage show.

You’ve been compared to artists like Joan Jett and Motley Crue. Would you call them your main influences and if so, who else would you add to your list of musical influences?

I wouldn’t call Joan Jett an influence… she’s a great songwriter/artist and I can really get on the level with what she does, but I don’t listen to her often enough. There’s a volume of artists that really inspire our band – from Motley Crue to Tom Petty to Bon Jovi to Keith Urban… the list would be endless, and most likely inconsistent in genre. Music Lover – Face Melter – Songwriter; that’s the order of things in my heart. We just love music in this band.

How would you describe a live show to someone who hasn’t seen Frankie Whyte & The Dead Idols on stage?

We put great emphasis on showing the audience that we care about what we do… I want to really mean every word that comes out of my mouth, I want Danny to really mean every note he plays, I want to make some sort of physical commitment to the song that’s entertaining for an audience to watch, I’m excited by the music we play – and I want to show it. People can expect us to put up the good fight, time and time again, because every member of that audience is worth it; every time.

Speaking of live shows, you’ve toured/played with some heavy names including KISS and L.A Guns. How did it feel sharing the stage with people you look up to so early in your career and did you learn anything from it?

We’ve been very fortunate to play with some of our heroes, how can you not learn, even from just watching those bands play live? If there’s one thing that’s consistent from band to band, it is to give it all you got.

You worked with Our Lady Peace’s Duncan Coutts on the EP you released last year called “Hollywood Ending.” How did Duncan hear about the band and what is it like in the studio with someone who’s worked with some of the greatest rock producers of all time?

Working with Duncan is an unbelievable experience. He really wants to push you to be the best you can be. He’s the type of person that will take your vision, and lay the groundwork – so you can now see the road to executing your vision.

I understand you have been focusing a lot of time on writing new material this year working with some great songwriters in Canada and the U.S. Do you enjoy the songwriting process and why?

Songwriting is actually way down the list for me! I love rocking out, I love playing guitar, the songs are finished, and they’re being delivered to the ears of an audience. Songwriting can be a long battle-like process that can take a lot out of me at times. Which is why I’ve sought out the art of the “co-write”. Sitting at home, writing songs for 18 hours a day – I will do it, but it’s extremely easy for me to lose perspective in that kind of environment, I get too lost inside of my own head. So I’ve turned songwriting into a more social/fun atmosphere, almost like playing a show. When you’re co-writing: you meet someone new, you’re talking about the bands you love which is exciting and inspiring, you’re motivated to be the best you can be, because someone else is watching you do what you do, there’s that little bit of pressure there to deliver.

Being a female in a rock group can be difficult since the majority of rock bands have always all been male. Do you run into situations where people have been surprised after seeing you preform?

I remember hearing a story from the KISS tour… a member of our team was standing out in the audience watching the first Sarnia show and he heard a man in the audience say “is… is that a girl? And she’s playing lead guitar?” Perhaps the initial doubt makes my victory even sweeter when that person ends up wearing our shirt. If anything, it keeps me on my toes as a musician/performer. I always feel like I have something to prove to people. I’ll never be lazy about it.

Growing up in Canada, which Canadian artists/bands did you grow up listening to?

As a kid I was very much enamored by The Tragically Hip, the first album I ever bought was “Phantom Power”. As a teenager and to this day, I think you could ask me about the majority of Canadian music, and I’m able to recommend my favorite album, with a long list about “why” I think it rules, to accompany your listen. Bryan Adams, Bruce Cockburn, Gowan, Blue Rodeo, Rush… it’s all great music to fall in love with.

This question is for the gear-heads out there. What is your stage set up and do you have a favourite guitar you use or plan on buying in the future?

I’m still trying to figure that out myself, and I’ve spent some time fooling around with different ideas, researching what my favorite guitarists use or have used in the past. I use a VOX AC15, and then on my board: a Diamond Memory Lane delay and a Keeley Katana boost, I don’t have the patience to mess around with volume pedals for solos. As for guitars, I use a Les Paul and a Fender Esquire. My favorite guitar is definitely the Les Paul, it just feels so right!

What can we expect from Frankie Whyte and the Dead Idols in the future?

More music, more tours, more more more. We can’t sit still for too long.

Last but never least. What advice would you give all the young females fronting a rock band trying to break through in Canada?

The concept of possibility. What you want can happen for you, because it’s possible. And it’s been proven possible, because it’s happened for others. It doesn’t mean it’s easy, more often than not, it’s very, very hard work. But always remember, it’s “possible”.

In conclusion Frankie Whyte & the Dead Idols are a living breathing example of a tight band with loads of work ethic. If the band isn’t writing, they’re in the studio. If they’re not in the studio you’ll find them on tour. What more can I say? This is without question a band to keep your eye on.

You can check out some of Frankie Whyte’s music at www.myspace.com/frankiewhyteandthedeadidols

Dawn of A New Period for Internet Marketing: iMarketing

by admin on August 29, 2010

This is a guest post by shyla crystal

Corporations, in the modern millennium, continue to strive for efficient performance since the economic climate continues to be in a fiscal downward spiral. Assets are now being moved away from costly advertising campaigns and replaced with search engine optimization, user generated content and social networking that really help companies get discovered in search engine results.

These types of inexpensive modifications are building the foundation for a different age in internet marketing. A new era that may cause a shift in strategy towards internet marketing. The potential for SEO marketing marks the Dawning of a new era in internet marketing or Incoming Marketing (iMarketing).

Incoming Marketing

Incoming Marketing is internet marketing strategy dedicated to having businesses get found by consumers; while, conventional internet marketing is aimed at finding customers. Incoming marketing does not wait for customers to locate a business; rather, incoming marketing makes it possible for a business to be found online by customers. Traditional marketing utilized methods which inadequately targeted markets. They used outdated promotional techniques like: hard copy advertising, television advertisements, email, junk e-mail as well as industry events. Today’s technology has made conventional marketing and advertising methods outdated and are even more costly. Digital recording device makes television ads less impressive, caller Identification prevents calls, junk e-mail filter prevent bulk e-mail and RSS can make print and display advertising less useful. Although it continues to be feasible for you to advertise by means of these conventional platforms, those methods cost more and are losing its’ charismatic appeal with consumers.

Core of Incoming Marketing

At the heart of any Incoming Marketing campaign is Search Engine Optimization (SEO). SEO makes it easier for potential customers to find the content of your website and attracts customers to your business. This is actually the practice of developing your website together with incoming links to your website in order to increase traffic and search engine positioning, where most customers begin the actual buying process. Targeted traffic is the life-blood to any online business where the world is your marketplace.

Changed Perspective in Internet Marketing

Instead of viewing You Tube, Twitter, Facebook or perhaps any social media platform from an entertainment perspective, Incoming Marketing captures potential customers through these kinds of platforms. By means of monetization, Incoming Marketing converts social platforms into streams of revenue. Whilst creating a video which everyone likes, this video might possibly promote a product or service sponsored through an online network. The video can be advertised across several social media platforms and eventually go viral. Social marketing increases the outcome of your content material and additionally is most likely to draw customers to your site. This converts into considerable profits to the marketer. As opposed to buying text advertisements in print media, Incoming Marketers create their own blogs which people subscribe to and look forward to reading. This particular changed viewpoint developed substantial adjustments in the manner which many of us use the web. Many of us shifted from read-only static websites in order for customers to be able to connect with friends and share their opinion, known as Web 2.0 properties. Web interactivity has added a dimension of personalization to the web never before achieved by means of conventional marketing methods. Web interactivity has created quite a stir in the marketplace such that customers feel empowered in many ways. Instead of cold calling, Incoming Marketers created practical content on their blogs so that website visitors are able to leave comments for any of the following reasons: looking for more information, input on service improvement, or a product review. In many cases, targeted search-engine advertising is far more effective and economical than display advertising on large media sites.

Future of Inbound Marketing

The fact that modern technology and the economical downturn have triggered a change in lifestyle and employment practices in our society, mass unemployment provides opportunities for giving birth to home based businesses by means of the internet. These home based businesses are usually the breeding ground for inbound advertising. Restricted budgets have forced small businesses to become more cost-effective and innovative in their marketing and advertising strategies to attract highly qualified customers to their businesses. With Incoming Marketing you need only a minimal investment to create a website for your business and quality content that attract back links and ranks your site in Google organic search results. Once ranked, your site remains ranked until it is displaced.

The Internet’s Influence On Music Libraries Evolution

by admin on August 24, 2010

This is a guest post by shyla crystal

As the world progresses forward in technology every section of society is influenced. The evolution of music libraries from physical libraries to virtual libraries is indeed due in great part to the endless internet. Those who publish music have seen and adapted to use the internet as a prime source for continued profit.

At first the internet was seen mainly as a threat to the livelihood of music artists and recording studios. Producers were concerned for their financial books, since they believed internet sharing would kill their businesses by leaving them with no means to make profit from the music. The rush could not be stopped, however, and music has flooded the web through both legal, and currently illegal, means.

In the beginning, only a few producers viewed the web with such hope and promise, so much so that they invested in making online stores to sell and distribute their merchandise. Soon these small sites grew as more and more bands signed deals with them to sell their works on their sites. With the ability for many small bands to post their creations on these sites, the development of sub-genres grew to form their own recognized groupings.

People’s libraries are now full of the most diverse, unique, and avant-garde music in history, combining cultures and styles that no business analysis would have predicted people would like. Although most of western civilization takes part in illegal downloading or streaming of music, it has exposed them to bands that would never have seen success otherwise. Businesses now show profits from these internet discoveries, when thousands of fans from the internet show loyalty by buying merchandise, concert tickets, MP3s of the band’s music and videos, and supporting traffic on the music label’s website.

To better cater to the public’s insatiable love of music, programs like iTunes provides vast stores of individually priced songs and albums from as many years and genres as they can. The power of specialized genres is definitely apparent when one browses through the nearly endless list of available songs, and realizes that it is always growing. ITunes is one of the most successful stores to supply a person’s music library, along with other entertainment mediums, such as movies and television shows, straight to a portable device anywhere in the world.

Online access has allowed the music library itself to change in not only what is contained with the Internet upgrades, as well as the libraries themselves, have allowed the customer to listen to music he or she is interested in before purchasing it. The libraries have now become much more than a mere location holding a vast amount of songs, now they come with options for the customer to personalize the store to his or her desires. This ability to personalize also allowed for the advent of Genius, an Apple program that makes suggestions for the customer based on past purchases and personalization changes.

The music industry has never been the same since the first online music library; it has changed for the better. From the physical to the virtual, musical stores and music libraries have come a long way since the emergence of online power. It can be assumed that as the internet grows at an exponential rate, the music libraries themselves will also continue to evolve to suit the needs and desires of the people.

Bloody Brilliant – The Malarkeys

by Johnny Canuck on August 22, 2010

When I hear that a band called The Malarkeys play Celtic music, I’m inclined to get my earplugs, a large case of beer and prepare for a blow. After all, “malarkey” means wind, insincere or exaggerated talk and Celtic music can be raucous and over the top.

But the group is guilty of false advertising; the music is thoughtful, sensitive and melodic. Sure, the cuts on this release describe drinking with friends, various wild goings-on and the sea. But tucked in are songs about togetherness and friendship and yearning. One notable exception is a piece about cycling, a first in Celtic, I’m thinking.

Their website says that the band blends traditional and new types of Celtic music, but I feel that there’s more here than a mashup of old and contemporary styles. The songs are carefully crafted, as though a cabinetmaker was putting little bits together to build a piece of furniture.
The Malarkeys are easy and unpretentious folk. The band is an old friend around a fire, sharing the odd story and song with that open and welcoming Maritimer (the cradle of Canadian Celtic) mindset which focusses on sharing and relationships.

It’s notable that all the musicians are well seasoned from years of toiling in other bands and endless songwriting. The music exudes ease and comfort that normally comes when people have seen it, done it and don’t care about the t-shirt.

The production values are basic, but appropriate to the genre. The aural stage isn’t cluttered with extraneous and pointless effects. I would have preferred to have the voices a little more forward from the instruments, but this is just a personal bias.

All in all, a very nice release … this one goes into my permanent collection.

Want to have your music reviewed? Contact Johnny Canuck at MusicReview@prod.shaw.ca for information on how to submit your CD.

Why You Need A Vocal Coach

by Lori Paul on August 19, 2010

Here’s a typical scenario…you enter the studio with a brave face, energy held back and nerves in check (mostly). Maybe you’re slightly caffeinated. I seat myself behind my Mac as you make your way to the centre of the room and stand behind the microphone, held in a boom stand (in case you play guitar as well). You adjust the mic stand to your level and arrange your notes on the music stand as you offer up a plausible excuse as to why you won’t sound good today. Something along the lines of…

‘I’m not warmed up…I’ve had this cold…I’ve been really busy so I didn’t get a chance to practice much…’

I smile and pull up your track, ready to record your vocal, having heard it all before.
‘Then just sing gently to begin with…’ I suggest, familiar with all these garden variety excuses and countless other imaginative justifications for why we let ourselves down, universally it seems, by not making time for making music.

We singers are a funny breed. We grew up singing along with our favorite recordings, emulating the performers we admired and dedicating songs into hairbrush microphones, clad in Mickey Mouse pajamas. You didn’t? OK, so some of us are funny and others are in denial. Maybe not you. Maybe you sing when no one’s around with the discretion and decorum befitting this special event… in other words, rarely, and here’s the thing…you must sing, at performance volume, with focus and dynamic expression, every day to become proficient. That’s right, I said it. Every single day.

Once you arrive at competence and confidence, you can do with your voice what you will…chain smoke Marlboros, shoot Cuervo in between songs and open for Metallica every chance you get but until you have the expertise that comes with approximately 10,000 hours* of vocal practice over years of performing, you are, in all likelihood, underdeveloped (and of course I say that with all the love).

I’m not claiming that you must be a technically excellent singer to become a compelling performer but if your voice is your primary instrument and you’re an aspiring amateur or a struggling professional, you’re well advised to learn how to make the most of your voice and to understand what’s necessary to remain healthy through the ongoing rigors of rehearsal, recording and, in some fortunate cases, extensive touring.

A good vocal coach can help you prioritize your goals and help motivate you to up the ante and challenge yourself. A good coach will listen deeply…to how you sound, to what you say and, sometimes more significantly, to what you don’t say because fear is a powerful silencer. A good coach will also discourage any negative self-talk you may indulge in and call you on your self-deprecating tendencies as the power of your words cannot be overestimated and you’re best served by befriending yourself rather than berating yourself internally, as some of us do incessantly, and to our spirit’s detriment.

A good coach will encourage you to believe you can improve significantly, with focus.

I’ve been coaching vocalists now for about a decade, having spent the previous 20 years learning the craft and, to a modest degree, the art of performing on stage as a lead vocalist. I started out in children’s choirs, then fell under the spell of the folkies (Joni, Neil, Bob) as I made my way into the blues rock arena (Joplin, Stones, LedZep) and R&B club acts (Marvin, Aretha, Stevie). Finally, inevitably it seems, I landed in a jazz trio (Billie, Ella and Sarah, respectively). My career seems to have peaked in 1986 when I opened for great acts like BBKIng and Tower Of Power while 2010 finds me releasing my 3rd album of self-penned songs to a small but mighty following (admittedly made up largely of family and friends… cue the crickets).

But back to my original point. If you’re uncertain as to how to make the most of your vocal strengths or if you struggle with ongoing inconsistencies in your delivery, you will likely benefit by having a vocal coach evaluate your performance. Ideally, this is achieved through recordings so that you can develop solid mic technique and learn how to make the most out of future studio time in the process. Had I known then what I know now, I would have asked for help earlier and more often in my career, without the mistaken belief that by doing so I was admitting to a lack of capability that would somehow ‘out’ me as an impostor. This fear of being found out keeps many a potentially exceptional performer from getting help when it’s most needed and can contribute to the despair and insecurity many artists are prone to feeling to begin with, even at the best of times.

Three Amazing But True Facts About Singing (That You May Not Know)

1. Ensuring that your song is in a suitable key for your vocal range is imperative.

This is the most common mistake singers make. Either by straining to hit the money notes of the original vocalist or by jumping up the octave when the melody goes too low to follow. If you’re not able to cover the notes that a given song requires, either change the key or choose a song that is within your range capability. And no, singing the harmony part when the going gets tough is not a viable solution to this dilemma but I admire your strategic thinking here. Nice try!

2. All singers have a ‘vein of gold‘, and it’s your holy grail quest to uncover your own.

The ‘vein of gold’ concept, introduced by Julia Cameron of The Artist’s Way series of publications, describes an important concept in developing your style as an artist in any medium. While it’s true that the great actor Robert DeNiro is capable of playing a comedic role, I’ll bet we can all agree that he’s not at his shining best in this genre. DeNiro’s most compelling screen characters come to life when he is Travis Bickle in Taxi Driver or Jake LaMotta in Raging Bull. These dark and dangerous men are depicted innately, one might say more naturally by the actor. This is DeNiro’s vein of gold. And so it is with singers. You too have a genre-strength, a kind of story that becomes you, a language of nuance or bombast (occasionally both) that best fits with your energy and your personality. It’s not that you can’t sing in a wide variety of styles but rather that by honing in on the style that suits you best (by an audience’s estimation, not just your Mom’s) you will stand out in a way that makes recognition by peers and critics possible. Not likely, mind you, but possible at least, and that’s a start.

For the benefit of those born yesterday, there are countless excellent singers out there, able to imitate their idols admirably, but figuring out how you set yourself apart from these showboating model/dancers is very likely key to your success as a performer.
Gimmicks may work for a while but a unique voice is timeless and unforgettable, especially when telling a story of its own, and that’s what we’re shooting for here.
Also, any adult unfamiliar with the grail quest is emphatically and enthusiastically encouraged to go directly and without delay to the writings of Joseph Campbell, specifically, the stages of the hero’s journey, a psychological trip that we’re all on, whether we know it or not. For an excellent albeit brief overview of the steps involved, see http://www.mcli.dist.maricopa.edu/smc/journey/ref/summary.html.

And lastly, because I know you’ve got better things to do that read my ramblings all day long, why don’t we all learn to play a musical instrument?

3. A basic understanding of how to play an instrument is invaluable for singers.

Piano or guitar seem to be the most practical in the long run, but any instrument is helpful. The ability to chord along with the songs you’re learning is a very useful skill which often leads to writing songs of your own, given time and a concerted effort on your part. You owe it to yourself to explore playing, even if you just learn a few fundamentals. If you can get to a level of proficiency that allows you to accompany yourself as a solo performer, you will open up a world of opportunities that may be lost given a complete reliance on the availability (and interest) of other musicians.

May I suggest that you go to making music as one whose hair is on fire goes to water?

No one can make it happen for you, though some may be able to guide you in the right direction. Others will offer helpful maps that may be worth making room for in your gig bag. You decide what’s worth carrying when you’re ready to travel.

Here’s the truth as I see it… only you know what you’re capable of creating and who you are becoming as a performing artist. Only you know your reasons for wanting to be heard. Only you can determine what you will say, once your audience is before you.

Thing is, we all can use a little help gettin’ there. Don’t be afraid to ask for directions. Don’t worry if someone ‘doesn’t get you.’ Just find someone who does and move on to where you feel supported and understood. Coaches, like teachers, friends and band mates, may come and go, some are a good fit while others are not but if you can connect with someone who can truly inspire you, you’ll be richer for the experience in all your days to come.

And this is what I hope for all people everywhere. I hope you give yourself a chance to uncover your musical voice and that you explore it’s full range of color and expression.
I hope you find a way to share the stories of your life.
I hope you find other singers whose voices blend with yours.
I hope you find yourself in the company of musicians who bring out the best in you.
I hope you sing for your soul, to comfort and to console, to celebrate and to mourn, to live fully, musically, until all sound fades and we go, gently or not, into that good night.

* In his book ‘Outliers’, Malcolm Gladwell cites the “10,000-Hour Rule”, claiming that the key to success in any field is, to a large extent, a matter of practicing a specific task for a total of around 10,000 hours.

WHY JOIN A BAND OR CHOIR?

by Jaci Redlin on August 19, 2010

Why join a band or choir??? Many life-skills can be learned from being part of a band or choir. The musical knowledge, enjoyment, and friendships may or may not last past the teen years, however, other valuable skills will.

Skills such as working as a team, sharing the spotlight, accountability, professionalism, behaviour protocols for formal settings, and self-discipline will carry on with the student into the work force and home.

The relationship building skills teach children how to work together toward a common goal, setting any personal differences aside for the sake of the project. As band and choir students often become quite close throughout the process, there are often opportunities to learn how to offer grace, forgiveness, and encouragement.

During the process of learning a piece of music to a performance standard of quality, skills such as self-awareness, self-discipline, and self-critique are learned. As well, students learn to accept being constantly challenged to work harder to obtain a higher level of quality. It is beneficial to learn to appreciate this form of criticism rather than to interpret it as rejection.

With public performances, students have the opportunity to learn stage presence. In a group, students learn this skill with the support of their band or choir members in a positive and embracing setting. These performances can boost confidence in even the shyest child, as they are never out there alone and therefore can achieve success in this challenge. This type of confidence has the potential to spill over into the workplace later in their future.

Lastly, music demands a student to put oneself out there and TRY!!! This is such an important skill to learn. There are many situations in life where a person must try something new. Band and choir present children with opportunities to learn how to try new things in an environment where they are supported and guided into success, building their confidence and diminishing any fear of new challenges.

Believe it or not, band and choir are about much more than just the music. Personally, my favourite childhood memories and friendships were made in my band and choir classes. It is my pleasure to add that some of those friendships have sustained through the years and continue today, now 12 years later. Of my childhood mentors, my band and choir teachers have made lasting impressions on me and, although I didn’t realize at the time, they contributed in shaping who I have become as an adult. (On behalf of myself and other former high-school band and choir students, I’d like to thank the band and choir teachers out there who have persevered in feeding our souls and pouring into our futures.)

Why join a band or choir??? Because there’s nothing to lose and lots to gain!

Lunenburg Folk Harbour Festival – 25 Years

by Jim Dorie on August 19, 2010

A lone cannon sits inside a depression formed by the old ramparts surrounding it and children run, play, and climb over the cannon. The significance of this is not lost on me and I say a silent prayer to be living in a country where the young ones are still so innocent. I’m standing on Blockhouse Hill in the town of Lunenburg, Nova Scotia where the main stage for the Lunenburg Folk Harbour Festival is situated. The festival is celebrating its 25th year this summer and the weather is as beautiful as the town itself.

Lunenburg was established in 1753, is the birthplace of the Bluenose, and in 1995 was added to UNESCO’s World Heritage List. The town is a wonderful display of gingerbread houses, old churches, parks, piers and wharves, many of which will serve as billets for performers, or as venues for some of the many concerts over the weekend. The presenting society has a mission statement that declares in part, to “strive to celebrate the joy of traditional and contemporary folk music. This was quite evident this year with the introduction of the first Traditional Music Conference facilitated by folklorist Clary Croft, who is best known as the successor to Dr. Helen Creighton. The conference also saw performances by Margo Carruthers, Jeff Davis, Ken Whiteley, and Bill Plaskett & Friends.

During the days, festival attendees can choose from a variety of performances staged in a number of locations within easy walking distance of each other. A number of churches and church halls, as well as the historic Lunenburg Opera House are the indoor venues for the daytime performances. The Heritage Society Bandstand and the Fisheries Museum Wharf are the locations for the outdoor stages, and with the weather as great as it was, all stages had great audiences. The main stage hosted evening performances throughout the four-day festival and was also the setting for the immensely popular Sunday Gospel Concert. During my walks about town, I was also able to learn some of the history of the area, its diverse economic background, and a bit about the origins of its settlers.

A few of my personal musical highlights of the weekend include James Keelaghan, a gifted singer-songwriter; Red Molly, a three-piece female act from New York that played a variety of acoustic instruments and sang incredible harmonies; House of Doc, a Winnipeg based band with Mennonite roots that played a blend of gospel and bluegrass; and the fabulous duo Mike Stevens and Raymond McLain. I was totally unprepared for the spectacle that I witnessed on Sunday morning. People began lining up hours before the gates opened to get the better seats for the Gospel Concert, which took place between 10:00 AM and noon. Hosted by The Lustre Brothers, the concert featured a long list of acts that included Ken Whiteley, Jeff Davis, Connie Kaldor, The Grass Mountain Hobos, and many more over the two-hour time slot. The tent was filled to overflow capacity and the atmosphere was definitely like a revival. Matt Anderson was the second-to-last act and he took the stage with his mother and they sang a beautiful harmony that earned them a standing ovation. The finale followed this and the stage was filled with as many of the morning’s performers as could find room. If contemporary churches offered music like this, maybe their seats would be fuller!

In summary, it was a weekend of great music, beautiful surroundings, good food, and a chance to see quite a few old friends and make a few new ones. This is one festival that I surely will return to over the coming years.

The “Man in Black” just keeps walkin’!

by admin on August 19, 2010

Dave Pittet and the Big River Band, a marvellous Johnny Cash tribute band, will be in Langley at the Starlight Casino for August 19th and at the Cascades Casino August 20th.
Don’t miss it!

Mike Turner of “Crash Karma” talks about his new group and his life as a Musician.

by Andre Kaden Black on August 02, 2010

The big rock bands of 90′s Canadian rock have finally been united thanks to the debut album from Crash Karma the new Canadian super group featuring Edwin (I Mother Earth), Mike Turner (Our Lady Peace), Amir Epstein (Zygote), and Jeff Burrows (The tea Party). The self-titled album is full of rock riffs, giant drums, and hooky chorus’s. I was lucky to catch up and chat with Guitarist/Producer Mike Turner.

First off, I want to say for someone who wasn’t Canadian born you have had a tremendous roll in Canadian music. I cant think of many Canadian rock bands who weren’t influenced by OLP and now CK. How does it feel making such an impact on other aspiring musicians lives?

Thanks for the nice words, even if I find them a little too flattering! I’ve always thought that music is an international language and that you are only of a ‘nationality’ in that where you live can dictate what music or art you’re exposed to and have the opportunity to be influenced by. As for having had an influence, I’m not so sure that what I’ve done is of lasting impact other than perhaps I can serve as an example of what you can do if you set your mind to it and are willing to work hard. I’m certainly not the most gifted player technically speaking but I’m lucky enough to have an identity of my own and love music enough to be willing to do whatever it took to play it full time.

How did the members of Crash Karma all come together?

It was through Amir, he had worked with me @ my studio on an EP of his own and I produced an album for his band, Zygote. He had arranged to meet Edwin with the idea of co-writing with him for a new solo record but on the way to that meeting decided to suggest a band featuring Jeff Burrows (at this point Amir only knew Andy Curran who worked at the management company that had handled the Tea Party) and myself. Ed agreed that it sounded interesting and that if the rest were into it, he would be as well. A series of phone calls and we found ourselves in a room together deciding to give it a try.

Having toured with OLP throughout the 90′s and even contributing to the creation of the festival “Summersault” in 98 and again in 2000 (which featured acts such as The Smashing Pumpkins and Foo Fighters) do you see a difference in the audience from then to now being back on tour with CK?

Well, the music industry is a completely different place now than it was then, that’s for sure! There are real differences in audiences on a superficial level, more diverse tastes and shorter attention spans due to the increased consumption of ‘on demand’ media via the internet. At the essence the experience is the same even with all of these changes. When a band is having a good night and the audience is in synch with them it feels every bit as great as it always has. The experience of live music is the same as it’s always been, band and audience build on each others contributions to make the event greater than it could have been without the participation of both.

You were involved in the music production for the new CK record. Will you be taking a break or can we expect more music from a production standpoint?

I certainly hope so! I’ve been producing for a while now and enjoy the musical collaboration that it presents. Check out ‘Bury The Bully’ or more recently ‘Sixxxer’ as well as ‘Age Of Daze’ as examples of what I’ve been up to on that front and look out for ’20 Amp Soundchild’ that should be done in the next few weeks. I’m always looking for interesting projects to be involved with and excited by.

Which do you prefer more – writing and recording your material or performing it live and why?

The beauty is that they’re totally different yet complimentary things. The trick is to keep them in balance! I love the studio in terms of being able to carefully craft a ‘sonic environment’ that enhances the material you’re presenting and I love playing live because of the ephemeral nature of that experience, a great show exists at one particular moment in time and is shared by only those in attendance a that time (thankfully the less great nights aren’t forever either!)

I know growing up you were heavily influenced by punk rock, which bands/artists did that include and in which way did they influence you?

That’s a long list…maybe the important thing is that most of them never ‘gave up’ even when tastes changed away from what they did. You can still get records by New Model Army and Killing Joke and they’re 25 and thirty years into their career! I suppose it’s that they have retained their passion all along. We could all be so lucky!

What are you currently listing to? Any recommendations?

I listen to a lot of demos from bands that are interested in working with me but that’s a private thing! A couple of records that I’m liking right now…..hmm…the new Yeasayer record is really solid, and I loved the Jonsi (from Sigur Ros) record that came out last year…also, loving the new Deftones single!

I have seen some of your instruments you own and I must say you have a pretty nice collection of gear. If you had to choose one guitar and amp to tour with which ones would you choose and why?

I love my Tom Anderson guitar works Hollow T classics! The best guitar ever! As for amps, I’ve recently started using the Axe FX Ultra from Fractal audio live and it is pretty damn amazing! I drive a Boogie 4X12 with a VHT 2-50-2 and that’s about as happy as I’ve ever been live!!
As for amps in the studio I tend towards my modded early ’80s JCM 800 (2204 I think…100W with metal switches) for the big crunch, a Matchless DC-30 for nice shimmer, a Silver face Fender twin for clean and the big furry, saturated stuff either comes from my ’95 Boogie Trem-o-verb or a Marshall JMP-1 / VHT 2-50-2 power amp most of which ends up going through a Boogie 4X12 with vintage 30s in it. Usual recording chain is 57 and 421 for mics going into Chandler Abbey Road edition pre/EQ (usually pretty flat) and maybe a little bit of compression from a Drawmer 1969 I usually sum them to one track to avoid too many options down the line. I guess that’s more than you asked, but I do tend to get lateral….

Now having success in not only one but two major bands in Canada what are some of the things you do to stay grounded?

Understand that although music is one of the most important things in my life, it doesn’t mean it’s that big of a deal to anyone else. That and don’t hang out with sycophants to feed your own ego! Maybe a bit of yoga as well….

Last but never least, what advice would you give artists, producers and performers who are trying to follow their dreams?

Like I said above, don’t assume that everyone will make choices the same way that you do because of your priorities. The other is, be outstanding. The chances are that when your friends/family/girlfriend/boyfriend tells you that you’re great, they’re coming from a place of love and that won’t allow them to be really critical. That’s your job. Be critical of yourself; is that new tune you just finished as good as the latest Muse single? As good as whoever your heroes are? The chances are you’ll never feel that way but that should be the spur that keeps you trying to get better. Never settle and don’t concentrate on what you’re good at, work on what is difficult and sucks to practice because that’s what needs the work. Learn to play and sing so that you don’t spend forever in the studio! Yes you can tune and time a performance of almost anything and while doing that does improve your ears and critical listening skills, when you go to play live you’ll have to do it right without a second chance.

After meeting Mike Turner and finding out how down-to-earth a guy who has experienced as much as he has in a lifetime can be very refreshing at times. From all the years of hard work, Mike will most definatly go down in history as a major contributor to Canadian music.

To get more info on the band or tour dates visit their website at www.crashkarma.com

Why you NEED a Content Map for Social Media

by Drew Betts on July 27, 2010

Growth in your community through Social Media is directly related to several things:

1. The relevance of the your content to your community (ie: if you’re a chiropractor, are you educating people about back pain or posting on Twitter about who you’re cheering for in the World Cup?)
2. The quality of your content (are you providing value?)
3. The amount of content you publish
4. The consistency with which you publish
5. Having a logical progression to your content (starting with the basics, and building on those concepts over time so you keep people interested…”Top 10 tips on…”)

The top performers in Social Media are publishing a LOT of high-quality content that is well matched to their communities, and they’re publishing it in regular intervals (often every couple of days).

This type of action takes planning. It doesn’t happen by accident. The main challenges people face when attempting this are:

1. Identifying what type of content is relevant
2. Knowing what to post and when
3. Setting aside regular time to create content
4. Motivation to consistently publish
5. Illness, vacations, business emergencies and other “life got in the way!” situations that can interrupt a regular posting schedule

The solution? A Content Map. The Content Map is something I develop with my clients in a focused 1/2 day brainstorming session. The end result is a clear and simple, yet powerful map of what content you’ll be publishing over the next 6 months. The Content Map includes:

1. Exactly what type of content to be generating, that will be relevant for your community and provide value to them
2. A publishing schedule of what content to post and when to post it so you can maintain consistency and a sufficient frequency
3. An inventory of content that is created in advance and held back for times when “life happens” and you can’t generate your regular content

The Content Map is a powerful tool that will allow you to overcome the main challenges of Social Media content publishing and build a large and more vibrant community faster.

Frankie White and The Dead Idols are ‘hands down’ the REAL DEAL.

The Internet’s Influence On Music Libraries Evolution

Bloody Brilliant – The Malarkeys

Why You Need A Vocal Coach

WHY JOIN A BAND OR CHOIR?

Lunenburg Folk Harbour Festival – 25 Years

The “Man in Black” just keeps walkin’!

Mike Turner of “Crash Karma” talks about his new group and his life as a Musician.

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