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Congress acts, sort of saves Internet radio

February 9th, 2010

It’s not all bailout negotiations, partisan recriminations, and White House meetings this week in Congress—our elected officials also found some time to pass the Webcaster Settlement Act of 2008. its name might suggest that the bill “settles” something, but it does not. Instead, it gives the webcasters and the music labels still more time to hammer out a royalty compromise acceptable to all sides before a crippling new rate kicks in.

Still going…

Remember all that heat and smoke from last year’s webcaster royalty inferno? Remember how even Congress got fitfully involved, threatening to pass some legislation to overturn the outrageous fees webcasters would have to pay? Remember how you thought that it was all some arcane dispute that would burn itself out soon and that couldn’t possibly keep going for a year and a half? Well… it could. And it did.

The music industry and the webcasters are, in fact, still negotiating a deal that would replace the one laid down from on high by the Moses-on-the-mountain figures over at the Copyright Royalty Board. The judges—no doubt fine people who make excellent small talk and have superlative taste in wines—set a statutory rate for webcasters to pay for all that music they were streaming. It turned out to be retroactive for a few years, too, since the proceeding had taken so long. It also turned out to be really, really high.

Webcasters cried foul, especially Pandora founder Tim Westergren. The CRB rate would bankrupt many webcasters, they said. in the face of these claims (and the threat of Congressional action to overturn the CRB rate), the music labels decided to negotiate a settlement of their own with the webcasters.

certain fee caps were agreed upon and small webcasters were given a better deal, but the big players and SoundExchange (which collects royalties for the major labels) couldn’t agree on the all-important royalty rate. (A separate deal between webcasters and the songwriters was reached earlier this year.)

Congress’ action this week gives the two sides more time to wrap up negotiations. The Webcaster Settlement Act of 2008 passed the House on Saturday and the Senate today, and there’s no obvious reason why President Bush would refuse to sign it. The bill extends the negotiation deadline until next February; without it, the crippling CRB rates would go into effect quite soon. Pandora has already said it would go out of business when it had to make its first royalty payment under the CRB rates.

Closing Pandora’s box

The bill was introduced only last week, and it came after both sides said that they were close to a deal. But, according to Pandora’s Westergren, the National Association of Broadcasters tried to kill the bill when it was introduced.

“Yesterday, Congressman Jay Inslee, and several co-sponsors, introduced legislation to give us the extra time we need but the National Association of Broadcasters (NAB), which represents radio broadcasters such as Clear Channel, has begun intensively pressuring lawmakers to kill the bill,” wrote Westergren on Pandora’s blog. “We have just a day or two to keep this from collapsing. This is a blatant attempt by large radio companies to suffocate the webcasting industry that is just beginning to offer an alternative to their monopoly of the airwaves.”

But the bill did pass both chambers of Congress and the royalty negotiations will continue for a few more months. While radio broadcasters may have some incentive to kill off competition, the recording industry has no desire to see these businesses fail; some money is better than none, after all.

The RIAA and SoundExchange actually worked with the webcasters to see the bill through, providing a serious lobbying counterpoint to the broadcasters. in a statement issued Sunday night, SoundExchange boss John Simpson said that “this bill favors all webcasters and simulcasters—large and small. It paves the way for SoundExchange to use the coming months to pursue helpful solutions that allow all services to focus on business development. And, although there are no agreements yet, I am hopeful.”

The webcaster and the RIAA got their way; perhaps the goodwill generated by actually working together on something will now carry the negotiations through to the end.

SF Black Metal Band Ludicra May Come to Knoxville After Tour With Mayhem Canceled

February 9th, 2010

Even though the legendary Norwegian black metal band Mayhem has canceled its scheduled U.S. tour in April, at least one of the openers still wants to hit the road that month, according to the metal blog Invisible Oranges.

San Francisco’s Ludicra, who play a particularly arty but altogether bad-ass brand of black metal, still plan to tour now that Mayhem has pulled out. and rumor has it that one of their stops will be in Knoxville. More details to come. (Read an interview here with the band’s drummer, Aesop Dekker, about the new album, The Tenant, due out in March on Profound Lore.)

Ludicra were set to open the Mayhem tour with New York bands Tombs and Krallice. Tombs played at Planet Caravan in Asheville last fall, and Krallice opened for Wolves in the Throne Room at the Hideaway in Johnson City last spring. No word on whether either band will be coming back this time.

Hard Rock Cafe in Seattle opens Wednesday

February 9th, 2010

It’s official: the Hard Rock Cafe in Seattle is set to open on Wednesday.

More photos here. Monday morning the internationally-famous chain opened its doors to media at a preview event where the new restaurant showed off its very stylish, “rustic refined” look. Walking in rather early on a Monday morning I saw workers rushing to set up and put other finishing touches. I imagined everything was kind of like one of those reality shows where employees are freaking out as they pull off the last pieces of painter’s tape and patrons walk in.

That said, the place looks great. Inside you’ll find vintage-style wood complemented by a brown and black color scheme. Soft lighting sets a mood that makes stepping outside into the gray, overcast kind of painful.

Also: See photos from when the guitar went up

See more of the memorabilia in the store.

One thing you’ll notice is that this Hard Rock is definitely a product of the iPhone age, with touchscreens everywhere. There’s a vertical panel showing off memorabilia in the waiting area and a little bit farther by the bar is a Microsoft Surface table. the demo for this was pretty interesting – it had music performance photos, videos, games and a touchscreen piano. I could easily see people drinking beers or cocktails while sitting near this island playing a fun matching game similar to what you already see in bars now. the difference being that this is a big, beautiful multi-touch screen, so you don’t have to crowd around.

The booths have touchscreens too. Like the others they have access to memorabilia but also give diners the ability to vote on music to be played.

Upstairs there is a bigger, square bar and dining tables surround a raised stage where bands will play. upon entering the Black Eyed Peas “I Gotta Feeling” was playing but later staff could be heard singing along to Pearl Jam.

So far, it had been everything I was expecting of a Hard Rock Cafe. it was only when we were taken up to the rooftop lounge area that I got excited. with modern couches surrounding gas fire places, an outside bar and a view of the Pike Place Market, it was actually a pretty hip spot.

I joked with Amy Bauer, the restaurant’s marketing manager, mentioning Seattle’s tendency to be, well you know, rainy. she laughed and told me they had tents.

But as preliminary comments on this post and talk I’ve heard already indicate, some Seattlites are skeptical of the place’s success.

It’s location near the Market doesn’t seem to be coincidence, as the giant, upside-down blue guitar hanging outside is sure to catch the eye of wandering tourists. but as the cafe is soliciting local bands, it seems it wants to attract local music-lovers.

It’s been a topic of conversation among locals already, wondering if it will be like Planet Hollywood, which opened in 1996 and shut down in 2001 after going bankrupt.

Be sure to check out the photos in our gallery. the restaurant opens on Wednesday at 116 Pike St.

Learn Guitar Online, Chuck Berry – 3 Tips For Rock and Roll

February 9th, 2010

Chuck Berry is, without a doubt, the most influential and imitated rock guitarist. It’s arguable that Rock and roll was born with Chuck Berry. whether it’s the opening lick from the Beach Boy’s ” Surfin’ U.S.A.” or the guitar riff from Michael J. Fox’s “Back to The Future” movie, Chuck Berry’s guitar style is instantly recognizable.

His hit songs of the late 1950s and early 1960s not only defined rock guitar, they defined the form and content of early rock and roll music. Berry’s hit “Johnny B.Goode” is one of the most popular rock songs of all time.

Here are three tips to help you play authentic Chuck Berry style rock guitar.

Tip 1: Learn the twelve bar blues song form in all keys.

Many of Chuck Berry’s hits were in the twelve bar blues format, an example in the key of G would be:

G///|G///|G///|G///|C///|C///|G///|G///|D///|D///|G///|G///||

Johnny B.Goode is played using this format. the interesting thing about Chuck Berry is that he is known for simply walking out on stage and playing his songs in different keys each night … this definitely keeps his backing band on their toes.

To be able to play along with Chuck’s songs it’s important to be able to play the blues in all keys, for example you may have a version of Johnny B.Goode recorded in Bb, and your friend may have a version of the same song recorded on a different date when Chuck decided to play the song in the key of F.

Of course this keeps the songs interesting for Chuck who has been playing the same songs for many years, however it can be tricking if you don’t recognize the unique sound qualities of each individual key.

Here’s some more examples in a variety of popular keys:

F///|F///|F///|F///|Bb///|Bb///|F///|F///|C///|C///|F///|F///||

Bb///|Bb///|Bb///|Bb///|Eb///|Eb///|Bb///|BB///|F///|F///|Bb///|Bb///||

C///|C///|C///|C///|F///|F///|C///|C///|G///|G///|C///|C///||

Tip 2: Learn the blues scale in each key

Chuck Berry’s lead guitar style is based on the blues scale an example of the blues scale in the key of G would be: G, Bb, C, Db, D, F.

Chuck who use this basic blues scale and often make slight variation for musical effect depending on the song Chuck would either play blues scale with an added 2nd resulting in this hybrid “G” blues scale:

G, A, Bb, C, Db, D, F.

Berry would also play his same scale , with an added harmony note a forth below the melody note resulting in a scale played in double stops.

example of descending hybrid blues scale in key of G using double stops:

melody note = Bb, harmony note = F // melody note = A, harmony note = E // melody note = G, harmony note = D etc.

Tip 3: boogie-woogie bass patterns

Berry created his trademark rhythm guitar sounds by adding in the 6th and flattened 7th notes.

Instead of playing a whole bar of a eight note rhythm based on a single major chord, Chuck Berry would break up the sound be adding a major sixth chord on the third and seventh eight notes. This would lock into the snare drum beat and provide a solid rock beat.

example of boogie-woogie rhythm in the key of G shown as eigth notes (eight notes to a single bar), counted 1&2&3&4& = 1 bar, when counting in this manner the major sixth chord occurs on the 2 and 4.

Grand Central Publishing

February 9th, 2010

Grand Central Publishing

$26.99 / $32.99 Canada

Your grandmother loves classical music. She says those old guys – Mozart, Bach, Debussy – make her feel relaxed.

Your father favors classic country: Johnny, Patsy, and Hank are on his playlist. He can’t get enough of them.

But you you love classic rock, particularly the heavy stuff: Molly Hatchet, AC/DC, and Black Sabbath. that head-banging music really gets your blood pumping.

But would a heavy metal rock band sound as sweet if they were called “Polka Tulk Blues Band” or “Earth,” two names under which Black Sabbath performed before they made it big? Read about that and more in “I am Ozzy” by Ozzy Osbourne (with Chris Ayers).

Born in 1948, John Osbourne had a typical British boy’s upbringing. He lived in a small house in a small town with his parents and siblings, and he got into trouble like any boy. But when he was a teenager, the trouble escalated.

Following a stint in prison (because he “nicked” a few things from a local shop), John worked odd jobs, then decided that he wanted to play in a band. He hung a sign in a store window: “Ozzy Zig Needs Gig.”

After a few failed tries with other groups, Ozzy and three mates from the neighborhood started their own band. Tony was a wicked riff player, Ozzy says. Geezer was a genius at lyrics. bill was “a phenomenal drummer”. the four lads tried different names for the band before settling on Black Sabbath in 1969.

“In less than three years, we’d gone from backstreet kids to millionaire country gents. it was unbelievable,” says Ozzy.

On-again / off-again with the band, Ozzy spent much of the next four decades in a haze. He says he was often under the influence of more than one drug, plus alcohol. He married and had a family but continued to sleep with groupies. He was kicked out of the band, divorced and quickly married again, went broke and made “multi, multi, multi” millions of dollars anew.

And yet, now “dry” and in his sixth decade, he has many regrets. He abused both his wives – and regrets it. He missed the childhoods of his children, and regrets it. and, sadly, he never knew for sure that his parents were proud of him.

Filled with unbelievable charm, self-depreciating humor, and gob-smacking truth, “I am Ozzy” was a delightful surprise of a book.

Author Ozzy Osbourne is bluntly honest, but with a wink as he tells about his years with Black Sabbath and with his own band. He lays to rest a few myths (the infamous bat-biting incident, for instance, was accidental) and he’s apologetic to many, many people he wronged. Subtly preaching, slightly bragging, and definitely wild, this is a fun biography and I liked it.

This book is going to be very popular with teen boys as well as big boys but beware that the “f-word” is plentiful, among other expletives. But if he’s a metal fan or loved Ozzy’s show, “I am Ozzy” is classic.

The Bookworm is Terri Schlichenmeyer. Terri has been reading since she was 3 years old and never goes anywhere without a book. She lives in Wisconsin with three dogs and 10,000 books. Her weekly review appears in MesquiteLocalNews.com every Sunday.

Great Movie Death – DJ Get Scratched!

February 9th, 2010

In this scene from Hellraiser 3, Pinhead crashes a Nightclub and makes his presence known. After unleashing the hooks and chains on some party goers, Pinhead goes after the DJ. He levitates 5 CDs and launches them in the DJ’s head, wraps some chains around his eyes and shoots another CD in his mouth to finish him off. Guess he’s not into Heavy Metal. You can always count on the Hellraiser series for good movie death, especially the kind that make you cringe. why can’t people just leave that puzzle box alone?

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Demanding a Replay: Hot Chip, 'One Life Stand'

February 9th, 2010

WHEN IT’S COME to infectious electro-pop singles over the past few years, virtually no one has done it better than London’s Hot Chip.

The five-piece band, helmed by co-vocalists Alexis Taylor and Joe Goddard, was a promising but goofy indie-dance act at the start of the 2000s, but grew stronger and more singular over time. in 2005, Hot Chip linked up with the influential DFA Records and since then has been responsible for a stellar run of tracks — giddy, mixed-genre earworms like “Over and Over” and “Boy from School” from 2006’s “The Warning” album that simply demanded to be played on repeat.

Hot Chip’s 2008 LP, “Made in the Dark,” was an overstuffed grower of a record that featured the band’s most successful song to date, “Ready for the Floor,” which eventually hit No. 6 on the U.K. singles chart. By that point, though, critics and fans began to wonder if Hot Chip was merely a singles band and whether its albums could match the high bar set by its individual tracks.

The group’s newest record, “One Life Stand,” should quell any doubts.

Keeping with the pensive vibe they struck on a collaborative 2008 EP with renowned British avant-garde singer Robert Wyatt, “One Life Stand” marks the continuation of Hot Chip’s “mature” period, a treacherous step for any group but one that they pull off with ease. Where the band was twitchy and scattered before, here they’re grown-up and focused, exploring themes like marital love, friendship and devotion with the same knack for melody and catchiness that they’ve shown in the past.

At a slender 10 songs, “One Life Stand” alternates between upbeat, dancefloor-ready numbers and somber, romantic ballads and is more cohesive than any of Hot Chip’s previous full-length albums. Buoyant tracks like opener “Thieves in the Night” and “We have Love” extend throbbing, techno-inspired verses into triumphant choruses, showcasing the contrast between Taylor’s aching falsetto and Goddard’s huskier croon. Throughout, the pair (who share lyrical as well as singing duties) is reflective and sentimental, imbuing even the record’s cheerful songs with an undercurrent of sadness.

Hand me Down your Love,” Taylor announces his true love but wonders if he’ll ever be good enough for her. “I’ve known for a long time that you are my love line / So why can’t I be bright like my lover’s light?” he asks. With “Brothers,” part of a tear-jerking suite of ballads in the album’s second half, Goddard examines fraternal camaraderie without veering into mawkishness. “I will drink my fill with my brothers. And if one of us gets ill, then my brothers will watch over me,” he states simply.

Overall, “One Life Stand” is impressive lyrically, too, but the sounds that carry its words are just as compelling. whether splitting the difference between new Order and modern techno on “I Feel Better” or dialing things down on tender, slow-burning songs like “Alley Cats,” the arrangements are well built and distinctive, and the band’s sparkling melodies come through clearly.

It’s just one of the many ways Hot Chip show its maturity with this album, and it’s a lovely thing to absorb.

Written by Express contributor Joe Colly
Photo by Bevis Martin and Charlie Youle

2010 Calvin Awards: Best Use of Music

February 9th, 2010

while Oscar and other awards organizations honor theatrical scores and individual songs, we here at BOP like to take a different approach to looking at music as it fits into the overall creation of a film. Although certain composers will be the reason that a movie might win in this category, a good soundtrack can be just as impacting to the cohesiveness and flow of a film. therefore, BOP looks a the use of music on the whole rather than segmenting down to the more specific categories.

For this year’s Calvin awards, our winner in the Best Use of Music category is (500) Days of Summer. It’s possible we might have given this movie the prize just for the adorable dance number performed to Hall and Oates’ “You make My Dreams,” but the truth of the matter is that our two leads, Tom and Summer, might not even have a relationship if not for a shared affinity for the Smiths on the elevator. and just as the movie itself is a bit offbeat, so are the artists whose songs populate the film, from Regina Spektor to the Temper Trap (“Sweet Disposition” has really caught on thanks to its presence in the film). There’s even a tune from She & Him, Zooey Deschanel’s own group, and in an homage to the Graduate, a Simon & Garfunkel song. the soundtrack is well thought out, with all of the songs serving the story.

(500) Days of Summer won this category rather handily, but that doesn’t mean that Inglourious Basterds didn’t also have some ingenious incorporation of music. this is pretty much a trademark of all Quentin Tarantino films, with Pulp Fiction being absolutely mind-blowing in terms of soundtrack, and the Kill bill films doing a bang-up job of incorporating genre music along with popular songs. Inglourious Basterds does a really nice job of melding spaghetti western sounds from Ennio Morricone with some R&B from the likes of Billy Preston and modern rock in the form of David Bowie’s “Cat People”. there are some tense moments in the film that the music helps to drive with a purpose.

Third place goes to up and its glorious score from Michael Giacchino. With themes dedicated to particular characters, he does a masterful job of switching moods and enhancing the action with amazing musical accompaniment. of particular note is the way he swaps out Muntz’s triumphant theme at the beginning of the film to something more dissonant as the man becomes a dark shadow of himself, consumed by his obsession.

We find another animated film in fourth place; this time it’s Wes Anderson’s fantastic mr. Fox. Combining a marvelous score from Alexandre Desplat with contemporary tunes from the likes of the Beach Boys, the Rolling Stones and Burl Ives, the music in the film definitely contributes a great deal to its singular presentation. It’s a shame that Jarvis Cocker’s original song “Petey’s Song” didn’t get a Best Song nod from the Academy, because it’s clever, hilarious and tells a story economically in its own right.

Rounding out the top five is Watchmen, which means that we were able to reconcile our discomfort with the inappropriateness of Leonard Cohen’s “Hallelujah” during a big sex scene with the greatness of Bob Dylan’s “The Times they are A-Changin’” during the opening credits. There’s also a hilarious moment during an Ozymandias scene where a Muzak version of “Everybody wants to Rule the World” plays. It’s a solid soundtrack that combines some classic tunes along with some great alternative stuff from the likes of Muse and My Chemical Romance.

Sixth and seventh go to Adventureland and Coraline. Set in the ’80s as it is, Adventureland makes great use of “Satellite of Love” by Lou Reed, which is actually a bit of a plot point, along with tunes from Bowie, big Star, the Cure, the Replacements and many more. also, Falco’s Rock Me Amadeus is featured pretty unforgettably. as for Coraline, its fine score from Bruno Coulais perfectly accompanies the dark children’s tale, and the “Other Father Song” from they Might be Giants is particularly striking.

Filling the final spots in our top ten are away we go, Bandslam and the Princess and the Frog. a quirky film like away we go calls for an equally idiosyncratic soundtrack, and Alexi Murdoch certainly delivers. and although High Fidelity set the standard for the use of the Velvet Underground’s “Oh Sweet Nuthin’” in film, the Sam Mendes movie does interject it at a perfect time as well. Bandslam has a lot of original tunes and remakes from actors/performers in the film, and we can promise you’ll be tapping your feet and humming Vanessa Hudgens’ rendition of everything I own for several days after you see the film. and the Princess and the Frog takes advantage of its new Orleans setting to be chock-full of outstanding jazz, blues and R&B songs. Randy Newman delivers once again.

A few movies just missed making the top ten, and they include Avatar and its score from James Horner, the Hangover (thanks mostly to “In the Air Tonight” and “Stu’s Song” performed by Ed Helms, though that Danzig tune at the beginning is pretty kickass) and Crazy Heart, with songs produced by T Bone Burnett. (Kim Hollis/BOP)

Best AlbumBest CastBest DVDBest SceneBest TV ShowBest Use of MusicBest Videogame

Stylist takes fast track to music

February 9th, 2010

ALTON — the nighttime music scene lacks a majority of female rockers, but lately, one up-and-comer helps fill the void.

Bassist and vocalist Valerie Shaw, 26, of Alton, a hair stylist by trade, started learning how to play bass nearly four years ago and now makes regular appearances all around Alton. she usually plays with “one-man band” Jason “Gordo” Gordon, who she one day hopes to emulate. they especially share a bond over the Beatles. they have honed their version of “Come Together” and plan to have a joint side project completely dedicated to reworking “Abbey Road,” the 11th studio album by the Fab four.

“We realized we had a perfect fit together,” said Shaw, who met Gordon, of Alton, about four years ago. “He’s sickly talented. He gave me comfort performing on stage and also the ability to improv.”

Shaw made “Hallelujah,” by Jeff Buckley, her own, which she sometimes sings two times a night because her growing fan base adamantly requests it.

“We create our own music,” Shaw said about collaborating with Gordon. “I love free-styling with him, and I love singing with him.”

Shaw, no neophyte when it comes to music, played first chair clarinet for the Bunker Hill High School band. she grew up in Bunker Hill and graduated from the high school. she started taking band class in fifth grade. she credits Bunker Hill band director Gary Dollinger for giving her the foundation she has in music.

“I would say I’ve always had a natural ear for music, but he built my ear,” she said.

And when it comes to the bass, Shaw gives all the credit to Dan Pace of Alton, who she asked to teach her how to play the instrument after she saw him playing in a band at Harris’ in Downtown Alton.

“He taught me everything I know,” she said.

She had just started trying to teach herself the bass for about a week when she came upon Pace. during a break that night at Harris’, Pace showed Shaw two bass lines from “Roadhouse Blues,” by the Doors, in five minutes. That was all it took for her to ask for lessons, she recalled.

“I was using a felt pick then,” she recalled. “I’m all fingers now. Dan taught me the end line (of “Roadhouse Blues”) and how to mute on his break.”

She played out for the first time seven months later at Big Muddy Pub’s open mike night. she hit the open mike scene heavy for awhile before she broke from it to concentrate on lessons with Pace, who she calls her mentor.

“I have learned from a lot of different musicians, but Dan has given me everything I’ve got,” she said. “I took a year doing basic theory and technique.”

Eventually, she again ran into Gordon, who had been living in Arkansas but moved back to Alton. as she was jogging last year on Ninth Street, she saw him.

“We met up a few nights later and did our first little jam together,” she recalled. “We jammed for about seven hours that night.”

Gordon plays several popular spots Downtown, including Chez Marilyn, Big Muddy Pub and also Tony’s Ranch House in Godfrey, Hawg Pit BBQ Barn in Grafton and regularly in St. Louis. Gordon has let Shaw join him at gigs ever since last March, when they reconnected. Shaw and Gordon played Wednesday at Scenic Lounge in Godfrey.

“One day, when he slows down, we’re going to do our Beatles cover band. That’s the goal,” she said.

In the meantime, for the last four months, Shaw has been learning “slap bass.”

“I’ve gone from pick to all fingers to slapping and singing and playing at the same time,” she said. “To sing a melody and play a rhythm is extremely hard.”

She has at least 15 songs down that she sings and plays bass on. the first song she learned to sing and play three years ago, after six months of practicing, was “Walking After Midnight,” by Patsy Cline. now, it takes her a week to learn both the vocal and instrumental part of a song.

“I feel like my style is very unique and modern,” said Shaw, who performs numbers that are not typically from “female” genres. “People tell me I sound like 15 different singers, so it’s hard to say who I sound like.”

She loves classic rock, Motown, funk and blues, but some females who she covers are KT Tunstall, Regina Spektor and Nina Simone.

“I like songs I can make my own,” Shaw said. “I sing songs people don’t hear performed often and that can be changed respectfully into something modern and unique.”

Shaw admitted she never really thought of herself as a singer, but fellow musicians encouraged her and pushed her to sing.

“I didn’t sing until people started making me sing,” said Shaw, who has worked full-time for five years at Dutch Hollow Medical Day Spa in Godfrey as a stylist and makeup artist. “I love music, and it’s my passion, but I wish I could play the bass as well as I am a colorist.”

She said she loves being a stylist first and foremost, but just a “tiny, tiny bit more than making music.

“I make color without even thinking,” said Shaw, who is booked with any of her 400 clients at least two weeks in advance. “Now, I’m still in that stage where I’m still thinking when I play. I want to play without even thinking.”

Recently, Shaw started some side projects to advance and broaden her music knowledge. she will have her first practice Monday with a new all-girl band she formed with Sarah Shoemake of Alton on guitar and vocals, Sarah McGibany of Alton on guitar, Jennifer Hayden of Godfrey on violin, and Shaw on bass and vocals, of course.

Shaw also auditioned and won a place with a new alt-metal, formerly all-male band, yet to be named, out of Jerseyville.

“When it comes to heavy metal, it’s like a foreign language to me,” Shaw said. “But I’m open to all kinds of music, and this is a new experience for me. I feel very privileged and grateful to be doing two things I love; one is my career, and one is my hobby.”

Visit www.valeriesadvancedstyles.com, call (618) 410-1375 or e-mail valerieshaw@rocketmail.com to contact Shaw. call (618) 465-9046 for information from Pace about bass lessons.

jmoon@thetelegraph.com

What Is 'Progressive Rock'? (Other Than Unpopular)

February 9th, 2010

1. Experimentation

While most rock bands experiment during practice, prog bands are encouraged to do this on their records. When making a prog album, feel free to go beserk in the studio.

Of course, you won’t actually sell any albums. but at least you won’t end up like this:

Above: The Nicolas Cage of music.
Two. different. Songs.

2. Choosing a Band Name


How to choose a prog band name

You really have two options when choosing a prog band name. you can either go with something “simple but random”, like Yes, rush and Camel (may we suggest “Spinach”, “Taco” or “Hat”?); or you can use a complex title if it is sufficiently outlandish.

The second route is riskier, but the payoff is enormous if you nail it. Enthusiasts love to quote their favourite obscure bands, and the zanier the better. (“Oh, you haven’t heard of Mr Bungle? Next you’re going to tell me you aren’t a fan of Van Der Graaf Generator.”)

Some suggestions to get you started:

  • Interstellar Spinach
  • The Epic Taco Project
  • Hat Dimension

Vintage examples are The Mars Volta and Porcupine Tree. In fact, The Vintage Examples would probably work, too.

Okay, so you have a record. ten songs, four minutes apiece.


Before.

You may need to tweak some of the titles and insert an instrumental track to amp up your “wackiness”, but the most important thing you’ll need to do is merge those tracks into three or four longer songs.

Don’t worry, the songs don’t actually need to sound similar, just make sure that they flow into one another. (May we suggest the accompaniment of a flute, viola, trumpet or tambourine to ease the transition?).

The final product will look something like this:


After. Also, your band is now called Mushroom Sword.

You will now be referring to these songs as ’sections’.

Congratulations! you have attained prog rock success. you will now spend the next 30 years hiding from an impossibly devoted cult following while living in your mother’s basement.

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