Ruby James‘ album Desert Rose…Something earthy and unexpected, that brightens the landscape with its deep tones and originality. Something that surprises and tantalizes you with its beauty and roots firmly planted in a sometimes-harsh terrain. Something you happen across by chance and will never forget. Desert Rose…This is artist RUBY JAMES. From a little bit of here and a little bit of there, RUBY follows in her grandfather’s footsteps as a nomadic traveler with a passion for music. From her earliest years, RUBY sat with him as he played guitar and sang old cowboy songs by Waylon Jennings and Johnny Cash. These moments were when he would tell her trying tales of life on the road that took him from living “Grapes of Wrath” style in the back of dusty wagons during the Great Depression, to the dark bunkers of Iwo Jima in WWII. In those special moments, RUBY’s passion for music was born. “I credit my grandfather as my biggest influence, because with his presence always came song and music,” RUBY reveals. “He grew up traveling in a covered wagon from job site to job site, through the old mining towns across the California and Arizona deserts. This gypsy blood runs deep through my veins, and I truly believe it is what has shaped my spirit.” RUBY burst onto the music scene as a solo artist in 2006 with the release of her debut EP, Sweet as Sin, immediately captivating critics and crowds with her energy, sophistication and a kick ass stage show. Her sultry yet sweet voice rocked premiere venues from Central Park in New York City, Hard Rock Live, Austin’s Continental, and LA’s Troubadour and Hotel Cafe. Whether it be on her own or sharing stages with Jackson Browne, Jane Weidlin, Soul Asylum, 7Mary3, War and Fastball, RUBY is often compared to legendary icons Stevie Nicks, Sheryl Crow and Chrissy Hynde. Desert Rose, the first full length album from RUBY JAMES, promises the journey will continue with her gutsy brand of sweet grit and a timeless return to the roots of music. For this album, she unites with producer/bassist JOHN AVILA (Oingo Boingo, Reel Big Fish), and guitarist RENE REYES (Collateral, Buffy the Vampire Slayer, Saving Silverman), Desert Rose also features acclaimed artist’s MITCH MARINE (Dwight Yoakam, Smash Mouth), WILLIAM V. MALPEDE (Texas Chainsaw Massacer, Runaway Jury) and organist MIKE BOLGER (Beck, Red Hot Chili Peppers). As studio and writing partners, RUBY JAMES and Reyes tell stories of life in the real world with relatable lyrics set to resonating and unforgettable melodies and on stage have a palpable chemistry reminiscent of Stevie Nicks and Lindsey Buckingham. “Music is the only way I am truly able to express myself. When I am onstage, writing music or in the studio is when I feel the most alive and true to the essence of who I really am.” Infusing the tracks on Desert Rose with her rustic soulful voice, you are invited as the listener to live every song with her. “Everything Good Goes Away,” one of the darkest, most passionate songs on the CD, is prominently featured in a pivotal scene in Meg Ryan’s new film, “The Women,” and on its soundtrack. “This song is one of the most desolate, saddest songs I’ve ever written…but it is my favorite,” RUBY explains. “There’s not a lot of hope in this one…it’s about the darkest of places one can go, when you hit that bottom. Everyone can relate to this though…we’ve all been there… The title song, ‘Desert Rose,’ has a lot of depth and meaning. It’s a song of hope and love and survival…to me, it’s like a little lullaby or prayer…this song really encompasses all of my heart and the soul of where I come from. ‘When I’m Gone’ is fun, and it shows a lighter side to me. I love performing this song…I just have fun with it. It’s a song about breaking up and moving on. It’s sassy and it has attitude. ‘It’s getting late but I’m not sleeping/Why do we stay to say goodbye?’ RUBY is currently working with CHARLIE SEXTON (Bob Dylan, The Arcangels, The Sextones), WILL SEXTON (Waylon Jennings, Dave Baerwald, Abra Moore) and MIKE THOMPON (Don Henley, The Eagles) for her upcoming sophomore album, tentatively titled The Austin Sessions. The Sexton brothers lend their legendary skills to RUBY’s innovative songs, both as producers and playing on the tracks. “The Austin Sessions was an entirely different experience for me…it was really amazing,” RUBY exudes. “Will and Charlie are legends in Austin, and it was very inspiring to collaborate with them. We set up in Charlie’s house, where Charlie has recorded with some of my favorite artists such as Lucinda Williams. We played and recorded for three days straight. There was a lot of magic in the air…the vibe of Will and Charlie working together as brothers at that time was really special, and so much incredible music was made in these sessions.” RUBY is also gearing up for numerous tour dates through 2008, which will take her from LA to New York and back down to Texas, with various stops on the way. “For me, the stage is the ultimate reward,” RUBY states. “Most artists would probably say they give birth to a song on paper, but for me, the stage is where I give birth. Right now, every time I perform live, somebody new is hearing my songs for the first time. It keeps it fresh somehow…” RUBY JAMES is quickly blossoming in the musical landscape, forever imprinting it with her original, colorful, unexpected tones…like a true Desert Rose.

links:
www.rubyjames.com

www.myspace.com/rubyjames

Tags: 7Mary3, Charlie Sexton, Chrissy Hynde, Desert Rose, Jackson Browne, Jane Weidlin, Johnny Cash, Ruby James, Sheryl Crow, Soul Asylum, Stevie Nicks, Waylon Jennings, Will Sexton

Melissa Suzanne has been recording and singing professionally since the age of 13. She has over 15 years of professional experience in voice, acting, musical theater and dance. She just completed a new - Inspirationally Unplugged CD -, available for purchase mid March. Additionally, Melissa is gaining exposure on the big screen in both feature films and Primetime television. She has been featured on several established and new series debuting this fall including “Samantha Who?” starring Christina Applegate, “ER”, “House,” and “Women’s Murder Club” with Angie Harmon to name a few.

Melissa enjoys many different types of music but has been most strongly influenced by contemporary R & B, Soul, Motown music, and the amazing talents of singers Donny Hathaway, Whitney Houston and Stevie Wonder. Some of her other favorite artists include: Maxwell, Musiq Soulchild, James Ingram, Michael MacDonald, Sam Cooke, Michael Jackson, Elliott Yamin, Eric Benet, Michael Bolton, Luther Vandross, Kelly Clarkson, Otis Redding, Billy Joel, Brian McKnight, Gavin Degraw, Coldplay, Celine Dion, Robin Thicke, Amos Lee, Jagged Edge, Usher, Jodeci/ KC and Jojo, Justin Timberlake, India Arie, Boyz II Men, Pink and Michael Buble.

Most recently, she worked with Kevin Flournoy on her highly anticipated first album. Kevin has been in the industry for nearly 20 years as a professional pianist for such legendary acts as Gladys Knight, The Pointer Sisters, and Donny Osmond. She also worked with well-known celebrity vocal coach Doc Holliday (Making the Band 3) during her vocal recording sessions for her debut album at Westlake Studios in Hollywood. There are many acclaimed musicians that played on the demo album, some of which include Kat Dyson (Prince, Cyndi Lauper), Alex Al (Stevie Wonder, Luther Vandross), Michael Ripoll (Kirk Whalum, Yolanda Adams), Morris O’Connor (Stevie Wonder, Teena Marie), Frank Vilardi (Celine Dion,Rod Stewart), and several members of the Seattle Symphony.

links:

www.myspace.com/melissasuzannemusic

www.melissasuzanne.com

Tags: Angie Harmon, Christina Applegate, Doc Holliday, Donny Osmond, ER, Gladys Knight, House, Melissa Suzanne, Samantha Who?, The Pointer Sisters, the Seattle Symphony, Women’s Murder Club

Ashton Harrell is a 13 year old boy who started singing before he could talk! (or so it seemed) His first singing experience on stage was at the young age of 4 when he asked his mother if he could go on stage at a local amusement park and sing “Take me Home Country Roads” karaoke in front of hundreds of people. He ran up and sang it word for word even though he couldn’t hardly read. And that was where the seed to perform was planted.

While Ashton sang and acted in several plays and talent shows from the ages of 4 til 9, and appeared in several commercails, His big break came when is was ten. He auditioned and made a Radio Disney group callled RD7.

From 2006-2007 Ashton had the privalege to tour for Disney and opened for major recording artists such has “The Jonas Brothers”, “Kelly Clarkson”, “Miley Cryus”, “The Cheetah Girl’s”, and “Raven”.

Since that one year term has ended, Ashton continues to travel and perform for thousands every year. Most recently “THE CARTOON NETWORK” named Ashton one of 20 of AMERICA’S MOST TALENTED KIDS.

Ashton is currently working on writing original music and has had the privilege to work with some of the most recognizable names in the Industry. Just this summer, Ashton had the opportunity to attend The School Of Pop” in Hollywood California-founded and directed by Greg Himelstein and got to study under producer and songwriter Ron Harris who was responsible for Christina Aguilera’s “Genie in the Bottle” debut album. He also worked with Producer/Songwriter Andrew Lane with “Silent Choas”-who is responsible for $140 million dollars in record sells to date.

Ashton’s unique rocker style and vocal ability has lead to this 2 word response to be made over and over again!~~~~~~ “ABSOLUTELY AMAZING”

To date these are some of the comments
made about Ashton’s Talent!

“You have the personality, stage presence, and you voice WOW. I will be in touch”
Disney Producer at School of Pop Showcase

“That kid just has it. He has the voice and the musical hear. I didn’t want to stop Listening”
Debbie Gibson, Totalpopstar

“He would be someone who would just be great to work with. He has the voice”
Joey Lawrence, Totalpopstar

Random Youtube comments

“I luv it” you have an awesome voice! A true rising star”
arielsandersmusic

Hey - fantastic job! Great tone & great feel, great pitch!!!! Can’t wait to hear more!!! thanks for posting so we all can enjoy!!!
Angie

that was so freakin unreal good! u have a most excellent perfect pitch natural sounding tone! kudos my little man :o)
erikscreemer

dude, your gonna be a star someday. and your so young! cant wait to see what u will sound like in a few years from now!
shaniatwainismyhero

links:

www.myspace.com/ashtonharrellsings

www.youtube.com/user/ahsings

Tags: America's Most Talented Kids, Ashton Harrell, Debbie Gibson, Joey Lawerance, Kelly Clarkson, Miley Cryus, Radio Disney, Raven, THE CARTOON NETWORK, The Cheetah Girl's

Why The Blues

Malcom Kennedy

Repost Courtesy of The Washington Blues Society

Although I have had an interest in the blues, by way of rock, since my
high school days, and have always had some blues in my album collection,
I didn’t pay much attention to the names of the local bands I
would catch over on Ballard Avenue, in Pioneer Square, or at the Jolly
Roger during the mid ‘80s.
When I went out on Friday and Saturday nights, I wanted to go see
live blues for three primary reasons: 1) the music was dance-able,
and I could meet ladies who wanted to dance, 2) If the band was
playing blues, you could count on solid sets of great tunes, which
wasn’t true in rock clubs back in the day, and 3) the cover charge
was always reasonable.
Then, I discovered Blues To Do and found a resource for blues show
previews, CD reviews, local bands’ ads with their schedules and, of
course, the calendar. One afternoon, while in search of an ale, I
stumbled across a copy of the Bluesletter. I was jazzed! A blues
society, right here in town with monthly meetings where they hosted
two free live bands! Since I only knew a few bands, the ads were
every bit as interesting to me as the articles, which were mainly about
people and bands I hadn’t discovered (yet). The first part of every
month I looked for both publications so that I could get my blues fix. I
read every word in both the Bluesletter and the Blues To Do cover to
cover. For me, the CD reviews were of primary importance, because
I did not have many local blues CDs, and I wanted to know which
I would enjoy the most with my limited ability to invest in my music
collection.
I share a birthday with a friend, and we decided to celebrate together.
He was a member of the Salmon Bay Eagles and knew we could take
our wives there to see so good blues for free on a Thursday night!
Life was (and is) good!
I kept meaning to attend a WBS meeting. Back then, the society held
them at the Irish Emigrant on University Avenue near Ravenna Blvd.
They had put together some pretty good line-ups of local talent; but I
never made it down. Then, I read about a new club called Highway
99 Blues Club which would include a Blues To Do store selling local
bands CDs and much more. Happy doesn’t even begin to describe
how I felt about that. The opening was delayed, and I called and/or
drove by at least once a week to see if they were open. I was like
the proverbial kid in the back seat, “are we there yet, are we there
yet?” When Highway 99 finally opened, it was everything I hoped for:
there was “Blues For Sale,” something near and dear to my heart. In
the store, I found signed CDs by local artists, original artwork by Phil
Chesnut and Two Scoops, back issues of Blues Revue, Living Blues,
T-shirts, blues candles and more. Did I mention local blues CDs? I
was like a kid in a candy store. No, happy just doesn’t capture it.
By that time, I’d subscribed to Blues To Do for awhile, and submitted
a few CD reviews of my own. I decided to put my money where my
mouth was and pony up for a subscription rather than pick them up
for free. Although readily available, I wanted to support this important
blues resource, and knew that the $20/year price was worth it to help
keep Blues To Do around. Carolyn and I were also semi regulars on
Thursday Blues Night at Salmon Bay Eagles, so we joined the Eagles
to support the blues there, too. Now, with the Highway 99 Blues Club
open, the society moved their meetings there and we also tried to
make it to those as well. We decided to attend the annual Holiday
Party since Harmonica Playboy and the Midnight Movers would be
performing. Carolyn and I decided to lay our money down to support
the blues, join the blues society right there, and get the Bluesletter in
our mailbox every month. For us, the rest is history.
I was never much into top 40 radio, my musical tastes were formed
by what I heard in friends cars,’ at parties, my older brothers’ record
collection, a friend’s dad’s collection, and friends turned me on to and
listening stations at Cellophane Records, and eventually Tower Records
and Silver Platters.
I originally found my way to the blues because it is the root for many
of my favorite bands. They did blues covers, and I listened to it, were
influenced by it; if they revered the blues, then it must be the stuff. By
the late ‘70s I couldn’t stand the crap on the radio, so I started listening
primarily to punk, reggae, and blues. Punk addressed the teen
angst and was good to skateboard to, reggae had powerful messages,
killer grooves and heartbeat rhythms, and blues had roots, substance,
authenticity it had all the qualities I liked about rock and none
of the ones I didn’t. Blues, like most genres, also has a multitude of
sub genres to explore: Delta blues, aka country blues, Chicago blues,
west coast jump, Texas shuffle, Piedmont picking, Northern Mississippi
Hill Country, Memphis blues, New Orleans Blues, St. Louis
blues, acoustic blues, electric blues, piano blues, harmonica blues,
slow blues, rocking blues, soul blues, swing blues, blues with a feeling,
low down and dirty gut bucket blues. Recorded blues can trace
its history to the early ‘20s, and the roots go back to the period just
after the civil war, field hollers (“arhoolies”), and Africa before that.
From its earliest days, blues incorporated elements of popular song;
be it folk, big band, string band or rag into it; but blues is a truly American
art form whose offspring include jazz, soul, funk and rock and roll.
Taken together, these have all have come full circle, and made their
mark adding to the melting pot of the blues we know today.
Blues heals the wounds of hard times, lying and cheating and good
love gone bad, and blues can be either deadly serious, lighthearted
and silly or bawdy, it can bring you up so at least for a time you can
leave you cares and worries behind. Blues music is popular across
the USA, Europe, Britain, Japan and Australia. There are hundreds of
blues festivals all across the world, blues societies worldwide, numerous
publications from small newsletters to magazines, satellite radio,
cable TV and the Internet (with artists’ web sites, record labels and
blogs). About the only place you don’t find the blues is mainstream
media, especially radio. When you find blues on the radio, it is almost
always in odd (bad) time slots, or on small or public stations. With
all the love for the blues you would think that the mainstream media
would be clamoring to embrace it. They know it is effective in advertising
and occasionally you hear some blues on TV or in movies;
when was the last time you heard Howlin’ Wolf or Jimmy Reed on
radio in drivetime?
What’s a blues fan to do? Here are some suggestions. Subscribe to
blues publications, join your local blues society, volunteer at an event
or festival (it’s fun and easy) or volunteer your expertise to a Board
position (it’s fun; but a lot of work). Write up and photograph shows
or blues cruises, write radio station music directors and request the
blues, go to the free Washington Blues Society monthly Blues Bash
(2nd Tuesday of every month at the Red Crane), support Blues
Thursdays at Salmon Bay, buy local bands CDs at their shows or
through the blues society at our merchandise table, go to live shows
and festivals. Get involved, because if you don’t, you’re the one who
loses out. Without more support, the blues might fade away. Blues
societies give us an opportunity to support the music we love; we love
“the blues,” because it is real music about real lives with a rhythm that
speaks to our souls. The lyrics area real, they speak of daily life: happiness,
sadness, disappointment, delight, anguish, contentment. The
blues is such a rich and meaningful music, and for me, that answers
the question: “why the blues?”

Tags: Blues, Blues Music, Malcom Kennedy, Washington Blues Society

New sounds and a new look are not all that’s new for Shemekia Copeland these days. She’s made a solid reputation as a blues shouter for the past decade or so, with a handful of Alligator Releases and regularly packed houses across the country and in Seattle at least once a year, even opening for the Rolling Stones at one point. Now, after a long wait we get her latest release on Telarc, Never Going Back, which is very nicely produced by Oliver Wood of The Wood Brothers (brother to Chris Wood from Medski Martin and Wood, who also plays stand up bass on Shemekia’s new release). This tasteful recording brings out more of Shemekia’s soft vocal side, which if you’ve seen her live, is a very attractive sound for her voice. But don’t expect less powerful music. This is a more meaningful sound than she’s ever had before. Whether the credit goes to these changes in producer and labels, or just her natural growth into her own distinct and broad talents, this is a keeper in a line of keepers from Ms. Copeland. Never Going Back retains her longtime guitarist, Arthur Neilson, Who’s superfine talents are also featured on his solo discs, and at her live shows too. Look for Northwest appearances on January 28th and 29th at the brand new Snoqualmie Casino in North Bend; and January 30th at The Lincoln Theatre in Mt. Vernon; and January 31st at Seasons Performance Hall in Yakima Washington.

Never Going Back (out 2/24 on Telarc) was in production when she signed on for the Bluzapalooza 12 day tour of Iraq and Kuwait. “I was deeply honored to go over there and entertain our troops,” Copeland who returned on November 7th reflects, “It was the hardest but the most rewarding thing I’ve done in my career.” Copeland jokingly adds, “and Lord knows I love to hang out with men in uniforms.” View photos from Shemekia Copeland’s trip at: www.shemekiacopeland.com/bluzapalooza2008.html . Copeland was joined by blues icons Michael Burks, Deanna Bogart, Zac Harmon, Moreland and Arbuckle and Tony Braunagel.

This experience gave Copeland a new perspective on “Broken World,” the premiere single from her vintage-soul and forward thinking blues album Never Going Back. “Broken World” is a mid-tempo soul stirrer that asks to “find some peace and compassion/ bring live back into fashion.” “The song could stand for any of the many issues in out country right now however I could fix a small part of this broken world” Shemekia Copeland’s performances for out troops surely mad a worthwhile mark.

Repost Courtesy of Blues To Do and Marlee Walker

For More Info go to www.bluestodo.com

Tags: Arbuckle, Blues To Do, Deanna Bofart, Marlee Walker, Michael Burks, Morland, Never Going Back, Shemia Copeland, Telarc, Tony Braunagel, Zac Harmon

Tommy Osuna talks about his upcoming CD “Trippen”:

Buddy Miles (Buddy Miles Express, Electric Flag, Band of Gypsys) was like a great piece of earth, and I am honored and grateful for his contribution to this record. When I first called Miles’ manager/publicist, Duane Lee, to ask if Miles would be interested in working with me, he was sitting beside Lee and agreed to speak with me about it. Right off the bat Buddy and I hit it off. We discussed life and what I wanted to accomplish with this record. He was excited that the album would be all about the music and nothing else, just playing our asses off.

With his recent passing, I’ll never forget what he said to me on our last day of sessions, “I have not felt like this since I was playing with Jimi”. Moments later, I played a killer solo on “Mama”.

It’s such an honor that the last recordings of Buddy Miles are found here on my album, “Trippen”. Buddy Miles fans, unite and enjoy!

More about Tommy Osuna:

Tommy Osuna is an accomplished guitarist, composer, producer, multi-instrumentalist, and music teacher living in Pine Mountain, CA.

He has produced over a dozen independent record releases, including his own 1997 release, Third Stream which showcases his composition and guitar work by combining world music and rock styles. In his 2005 release, Message from the Tiki Man, Tommy describes the album as “a journey of musical experimentation”

As a guitarist, Tommy Osuna has performed with Johnny Cash and Glen Campbell, and Jamaican reggae legend Earl “Chinna” Smith. Smith invited Tommy to visit Jamaica to meet other reggae greats, who were also very impressed with Tommy’s abilities to combine Reggae and other world styles.

Tommy developed his talents at Musicians Institute in Hollywood, CA and Berklee College of Music in Boston, MA. He founded Rhythm Music Magazine with musician/friend, Kyle Russell in Boston. They went on to start OSBC Entertainment, a full-service booking agency for artists in the Boston area as well as opening up 7 Mystic Studios, a recording facility that featured terrific vintage analog gear for musicians who desired the warmth of analog.

Currently, Tommy is the publisher of World Rhythm magazine, devoted to global music and culture, and he owns and operates the Osuna School of Music, for kids ages 2 to 102, where his teaching niche is in composition and improvisation. “Music is a medium for teaching lessons on life (a la The Karate Kid), and I’m thrilled that a lot of parents have referred to me as a a role model for their children”, he says.

Boston Metronome says “Osuna is a man with a vision. He already is one of the true guitar greats, even if he is not a household name”. Boston Globe says “Tommy’s way of portraying music is all his own”. Bakerfiled Press says ” Tommy plays with a soul thats amazing”. Jazziz editor says ” Tommy plays like water, a very unique stream”.

links: www.myspace.com/tommyosuna
www.tommyosuna.com

10 ways to stay focused and build your independent music empire.
By Jesse Gray | January 2009

As we roll into the New Year it’s time to make those ever-famous (or infamous) New Year’s resolutions. But have no fear; our list doesn’t require cutting out chocolate or getting up at 5AM to run. We want to help you where it really counts – your music career.

So how did we come up with this master list of goodness? We asked. We solicited answers from working musicians far and wide, as well as tapping into our own staff (we have a few hundred active musicians working here). After we sifted through the rubble we found ten diamonds that kept getting mentioned over and over. And now, here for your career-enhancing pleasure are the best of the best. Have a rockin’ 2009.

1. Write down your goals
You’ve heard this mentioned by everyone from your high school trigonometry teacher to the success guru on the late night infomercial. And there’s a reason that everyone keeps telling you that you should do it – it works. Writing down your goals for the year helps you to visualize the entire year in a snapshot and provides you with a clear course of action to take away from it. It also serves as a reminder that you can look back on throughout the year in case you’ve forgotten anything or strayed off course.

So as it pertains to music there are a few keys things you should have on your radar. Make a list of the venues you want to play and actively pursue them, partner with bands, record your next album, play in a charity gig, or rehearse twice a week. Whatever it is, make sure you write it down and commit yourself to making it happen.

2. Build (and use) your mailing list
You know you’ve said it, “Don’t forget to sign our mailing list.” But the question is have you done anything with those names? Your mailing list is one of the most overlooked weapons you have available. When the time comes for your CD release party a postcard in the mail and a well-timed email is often all it takes to get people motivated to buy advance tickets. Playing an area where you don’t make it to that often? Pull names from the last time you were there and send out an email or two a few weeks in advance.

One of the oldest tricks in the book (and it really works) is to get two personable fans or friends, one male and one female, to walk around the club with a sign up sheet for your mailing list. Because they are canvassing together the chances of them drawing a connection and getting a name are much greater. Plus, people are more likely to sign up when you bring the list to them as opposed to them having to cross a club to seek it out. Remember, make it easy for them.

3. Leverage your drive time (and downtime)
There are looooong hours on the road whether you are traveling from gig to gig or sitting around after sound check with nothing to do. This is a prime opportunity to take care of all the mundane (yet extremely important) details of your music career.

Bring your laptop along with you and get a wireless card. With these tools you can update your web site, check and respond to your fan email, book shows, and generally just stay connected with the engine that runs your career. Having an iPhone or Blackberry is a good start, but they don’t offer the functionality that a laptop does.

4. Use the web aggressively
OK, you have a MySpace page, big deal. What else are you doing online? Start a group on Facebook, piece together your own music videos and put them on YouTube, set up profiles on other music services and social networks like iLike, imeem, and more. Get a Sonicbids EPK, and use it. Don’t just rely on MySpace – have your own site too. You need to control your brand and your own site is that place.

Blog regularly – and make it interesting: have an opinion, be funny, or intense, respond to fans’ comments. Interact with your fans via email, or let them upload their gig photos to your site. Set up your own social network with ning.com. It’s a big world out there and you have a number of avenues to get your voice - and music - heard.

5. Co-Promote
Find bands that have a similar sound, vibe, and feel as yours and make friends with them. Help them out by mentioning them on stage, promote upcoming gigs together, split costs to print flyers and posters, wear their t-shirts on stage.

A good rule of thumb is to try to make friends with a band from every city or town that you play in. This way every time you are coming there to play you can have them act as advance PR and get the word out. A big part of making this a successful venture is to do the same for them – remember there is no give without take. Make sure you show up at their shows and support them when they come to your town. A $7 cover charge and some face time could equate to 25-30 extra people at your gig next time you play their town. Heck, they may even let you crash at their place and save you hotel costs, too.

6. Seek sponsorship from a corporate entity
Even in a recession there are plenty of corporations that are looking to get as much exposure as possible. Companies like Jagermeister, Coca-Cola, Miller Lite, Vans, etc. are all prime positioning partners. One way to secure funds is by putting their logo on your materials such as your stage banner, drum heads, and anything else that gets exposure from their target market – your fans. Book an aggressive tour schedule and use it as leverage. Even something as simple as offsetting your poster printing costs by placing their logo on it goes a long way in helping you to promote on the cheap.

7. Book ‘em
Keep a book with people’s names and contact info along with what band they’re in or how you met them. Split it up by city for easy reference. When you need to book a show, contact someone, or remember people’s names it’s all right there like your own personal Yellow Pages. If you’re not old school you can do a lot of this with your phone, including keeping detailed notes. Just make sure that you have it backed up somewhere in case your phone dies or goes missing during that wild after party.

8. Always write a set list
A lot of musicians do it on the fly, and if that works for you that’s cool. However, we’ve all seen (or been guilty of) doing the band huddle. The song ends and everyone turns to each other to figure out what to play next. This can present a very unprofessional image as well as ruin the flow of a show. By having your set list ready everyone can transition right to the next song without losing the crowd’s interest or energy.

9. Rehearse weekly
It sounds like a no brainer, but the fact is a lot of bands either don’t feel like they need to or just don’t bother to keep a regular practice schedule. It’s just the same as any other trained skill – you have to practice to get better and stay sharp. How many times have you listened to a band’s album and it sounded tight, then you saw them in concert and they were anything but. Chances are you never went to see them again. Don’t let the grind of rehearsal jade you. Keep it interesting by writing a set list and constantly coming up with new ways to bridge songs. Or work on a set of cover songs that you like, even if you’ll never play them live it will help work on your timing and transitions. In the end it only means a better live performance and that’s always a good thing.

10. Play, Play, Play
Nothing does as much for a band or artist as exposure and that means playing out as much as you can. The benefits are numerous, such as building your fan base, selling merch, gaining name recognition, selling albums, making contacts, and so much more. There are very few artists who can live off of digital distribution and CD sales alone. Plus, the biggest benefit of all is that it’s fun! Don’t miss out on some of the most memorable moments of your life – get out there and jam.

A few days ago I received an email from Jasmin telling about her cousin being honored as a Hallmark Hero for the organization he founded called “Songs of Love” . There was a video link attached to the email hosted by Regis Philbin called “Hallmark Heroes” featuring John Beltzer and his organization. I was so moved by the video that I felt compelled to write about it here and bring some attention to such a worthy cause. I’ve included the video below for viewing. I want to say that people like John Beltzer really can make a difference in the world. My hat is off to him and everyone who has contributed in one way or another to the “Songs of Love” foundation.

Gary Draper, president

RockTheBlues.com

(click on arrow below to view video)

The Songs of Love Foundation is a national nonprofit 501(c)(3) organization that creates uplifting, personalized songs for children and teens struggling with a life-threatening illness or lifetime disability–free of charge. Each CD is professionally produced with lyrics containing the child’s name and references to all of his or her favorite activities, things, people, and pets. Songs are written and performed in the musical style that the child likes best (pop, r&b, rap, rock, alternative, etc.), by a variety of talented professionals.

As each child is unique, so is every “song of love” composition. In 11 years, the Songs of Love Foundation has reached out to over 14,000 children in over 500 hospitals and health care facilities in all 50 states. The songs have often been played to alleviate pain and trauma during painful and scary hospital treatments. The song recipients have played their “songs of love” in all kinds of situations and settings such as car trips to the hospital, show and tell at school, for family and friends in person or on the phone, and even for the doctors and nurses. The children have their “songs of love” always available to them whenever they are feeling down.

The Songs of Love Foundation has been featured on the Today Show, 60 Minutes, NBC Nightly News, CNN, Dateline and People, Parade and American Profile Magazines. Performers such as Billy Joel , David Lee Roth, Jamie Lynn-Sigler, Nancy Sinatra, Michael Bolton and Ronnie Spector have all contributed their voices on a “Song of Love” for an individual sick child.

Any immediate family member or hospital staff member who wants to make a song request can call 1-800-960-SONG or visit the web site at www.songsoflove.org .

Tags: 60 Minutes, Billy Joel, CNN, Dateline, David Lee Roth, Gary Draper, Hallmark Heroes, Jamie Lynn-Sigler, John Beltzer, Michael Bolton, Nancy Sinatra, NBC Nightly News, Regis Philbin, Rock The Blues, Ronnie Spector, Songs of Love foundation, Today Show

Seattle radio station 102.5 KZOK’s “Young Stud” contest was held to find the new young lead guitarist for the nationally acclaimed rock band “Spike and the Impalers“. Ian Crawford, the previous “young stud” joined “The Cab”, an up an coming rock band, currently touring with such acts as “Panic! At the Disco”. The search began in the spring of 2008 and lasted for several months. Of the 500 applicants, only four were called back to the station, where they would individually perform their rendition of Van Halen’s “Eruption” and “You really Got Me” (originally written by the Kinks). Twenty year old Aaron Balsley entered the competition approximately two weeks before its commencement. In mid-May he appeared on the Bob Rivers morning show for the first time, where he performed “Eruption” and “You Really Got Me”. A few days later, he was called back to the station for a one-on-one interview on the Bob Rivers show with Bob, Spike, and Joe. The contest was nearing its end and the band was torn between Aaron Balsley and Josh Jones as the winner. Originally, the winner would have been announced and debuted at the Impalers’ May 31 show at the Emerald Queen casino. Due to indecisiveness, the two finalists were to both play the show, leaving the decision, as to who the winner would be, up to the audience. The show turned out to be the final round of the “Young Stud” contest. The finalists began by playing a back-and-forth duel of various Edward Van Halen guitar solos, then going into “You Really Got Me” with the full band behind them. The solo section of the tune was increased by a substantial amount as the two players went through a massive, improvisational guitar duel. After the show came to an end, the audience filled out ballots and voted on their preferred guitarist. On the morning of Monday June 2, 2008, Aaron Balsley was announced as the new “Young Stud” guitar-player of Spike and the Impalers, live on the air, at approximately 9:55 a.m. Balsley was officially debuted on June 29, 2008 at Auburn, Washington’s, White River Amphitheater, where Spike and the Impalers shared the stage with Marshall Tucker Band, Kenny Wayne Shepard, Starship, and Foghat.

(Click on the arrow below to view a video of Aaron’s audition for the KZOK’s Bob Rivers morning radio show contest)

The Beginning

Aaron Balsley began playing Christmas Day of 1998 at age ten. He began by mimicking the sounds of the popular punk scene at the time, and dove head-first into classic rock after he heard Eddie Van Halen’s “Eruption” for the first time, in the summer of ‘99. During the Summer of 2005, Balsley entered his first seriously performing heavy metal band, called Dying To Live. That band came to an end in the winter of 2007. After that he was on a search for a new band to call home. That’s when he received word of 102.5 KZOK’s “Young Stud” contest, fortunately was able to win, eagerly joined Spike and the Impalers, and never looked back.

Nowadays

Aaron plays with Spike and the Impalers, as well as his own original rock group “Kissing Girls”. The Impalers are getting ready for their show at the Little Creek casino on January 17, 2009. Kissing Girls will make their live debut in early February of 2009

Web Addresses

Aaron Balsley - www.myspace.com/aozrock

Spike and the Impalers - www.myspace.com/spikeandtheimpalers

Kissing Girls - www.myspace.com/kissinggirlsband

Dying To Live - www.myspace.com/thisisdyingtolive

Tags: Aaron Balsley, Bob Rivers, Kissing Girls, KZOK, Lord Aaron Balsley, Spike and The Impalers, Spike O'Neil

It’s been a busy year for Pacific Northwest Blues in the
Schools. This past Summer and Fall, the PNBIS teaching
team of Curley Cooke and Annette Taborn received
a great deal of help from Al Rowe and Alice Stuart. We
especially want to thank Alice for her work, and wish her
the very best as she represents the Washington Blues
Society in the Solo/Duo category at next month’s International
Blues Challenge in Memphis! Good luck Alice!
This past year, we have reached more young people
through structured Blues in the Schools programming
than ever before. We conducted programs at the Washington
Correction Center for Women (Purdy Prison),
Louis Braille School for the Blind, Zion Prepatory Academy,
Centrum Country Blues Camp in Port Townsend,
Dunlap Elementary School, Springwood Youth Center
and provided individual lessons at the Secondary Academy
for Success (SAS) alternative school.
This year was our third year at Purdy, and once again, it
was a very successful program for a very special group
of Washington women.
Washington Correctional Center for Women Superintendent
Douglas Cole observed that “The offenders who
have participated in your programs praise the way your
music has helped them build confidence, teamwork, and
most importantly, self esteem. Pacific Northwest Blues
in Schools is not only educational but also inspirational.
We ask that you please consider future programs at our
facility”.
The Louis Braille School for the Blind in Edmonds is a
school for blind, and blind and autistic children. Our
programs here consisted of four, one-day mini concerts,
with significant student participation with some hands-on
with guitar, harmonica and percussion and hand clapping
from the students. We taught versions of some of
our usual Blues in Schools songs like “Louie Louie” and
“Baby What You Want Me to Do” and added some Ella
Jenkins songs with rhythm exercises. We are thrilled at
this is our second year at the school and we have developed
a great working relationship with the staff and
students at this very special learning community.
At Zion Prep, we joined the summer school already in
progress, and held a three week workshop that culminated
in a Blues in Schools addition to the final concert
attended by the entire school, parents and administrators.
We were excited to return to our sophomore year
at Zion Prep!.
Our workshop at the Centrum Blues Camp during the
Country Blues Festival in Port Townsend focused exclusively
on the poetry of Langston Hughes applied
to blues music. We taught a daily class on Langston
Hughes, and rehearsed five songs/poems on harmonicas
and vocals, upright bass, guitars, violin, accordion,
and even a washboard!. We had a great little group
when we started, and we performed at the camp’s participant
concert at the end of the week. We look forward
to the Country Blues Workshop at Centrum, a true highlight
of the summer months for any acoustic blues fan.
The Country Blues Workshop’s Artistic Director Phil
Wiggins called Curley shortly after our workshop and
thanked us participating this past year at Centrum.
“The new addition of the Langston Hughes workshop
was an exciting and valuable addition to the Centrum
Country Blues Camp,” said Phil.
We returned to Dunlap Elementary School, in South Seattle
for our third and most successful PNBIS program
yet. We worked with fourth graders on blues history, introductions
to songs, singing, songwriting, harmonicas,
and percussion. We also helped them adapt Langston
Hughes poetry to songs. This four-week program
concluded with a school concert attended by the whole
school and many parents. We are grateful that the Principal,
staff, students, and the entire school community
have been - and perhaps most importantly - continue to
be extremely supportive and enthusiastic about having
PNBIS programming at Dunlap Elementary School.
The Springwood Youth Center is a beautiful new facility
in a low income apartment community in Kent that serves
over 700 children, many of whom are considered “at risk”
from the age they are eligible for Head Start services as
a child right on through adolescence and high school.
The Springwood community is close to 100% immigrant
refugees, and the community approached PNBIS to provide
a music program that would complement the existing
summer school and this past fall’s after school program.
We are fortunate to work with 15 to 20 children three to
four days a days a week. Curley has ongoing meetings
with Springwood staff, community members, and volunteers
to develop a longer-term, strategic two-year plan
for a holistic music program to meet the unique needs of
this unique community South of Seattle.
Curley and Al have been teaching one-on-one guitar and
bass lessons to students throughout the year at the Secondary
Academy for Success (SAS).
*Next year we will continue to build on our blues history
teaching, songwriting, the Langston Hughes poetry/music
project, and develop a local blues and music history
program. We will also continue with our primary program
of vocals, harmonica, guitar, drums, percussion, and
stage presentation as these are all important skill-building
opportunities for young people,” says Cooke.
*We have been researching local artists and Northwestbased
music,” added Cooke. “We also plan to begin
adding a local music aspect to each of our projects; artists
we plan to include are Ernestine Anderson, Quincy
Jones, Ray Charles and Jimi Hendrix.”
As we look to 2009, we are developing new programs
in partnership with the Seattle Urban League, and the
Northwest African American Museum. Please visit our
website to learn more about Pacific Northwest Blues in
the Schools: working together, we can provide young
people with an important way to not only express themselves
through music, but learn specific skills in English,
History, and Social Studies… all through blues music.
(Co-editor’s Note: The Blues Foundation featured Pacific
Northwest Blues in the Schools in December, 2008
on their home page, www.blues.org, as part of their “Affiliate
Spotlight.” We are grateful for this national recognition
of the work that PNBIS does, and hope that more
Washington Blues Society members will support PNBIS
in 2009!).

Author: Annette Taborn, Pacific Northwest Blues in the Schools

Source: Washington Blues Society Bluesletter

Tags: Al Rowe, Alice Stuart, Annette Taborn, Blues In The Schools, Curley Cooke, Ella Jenkins, Langston Hughs, Pacific Northwest Blues In The Schools, PNBIS