Guest Blogger: 

Got a note from an ambassador wanting to take his region to the next level. He’s got multiple a cappella festivals, a harmony sweepstakes, ICCAs… but knows that a city’s reputation starts and ends with its local groups.

So, this got me thinking: what elements are needed, and which things don’t matter quite as much? Thinking out loud:
(note: this is not for all a cappella groups, but rather those that have a chance of blowing up in today’s media)

NEEDED: SOLOIST

Yes, everyone in your group must be able to sing well, but not all of them need to be amazing soloists. What do I mean by “amazing soloist”? A lead voice so compelling you would buy this person’s solo album: Jeremy Lister. Scott Hoying. Margareta Bengtson/Jalkeus. Jerry Lawson. The group can share solos, but you need at least one person whose voice is world class.

NOT NEEDED: SIMILAR VOICES

You’ll have an easier time building a blend if you create a group around similar voices, but it’s definitely not necessary. You can be Take 6 or you can be Straight No Chaser. Both are winning formulas.

NEEDED: GREAT BASS

After the soloist, the second loudest element in all popular music is the bass. That’s how it should be in your group’s mix as well, and that voice should be as low and as powerful as possible. The octave pedal can work, but if your group name isn’t a palindrome (hello, Sonos!), I don’t like your chances.

NOT NEEDED: GREAT VOCAL PERCUSSIONIST

Not every contemporary group features vocal percussion. If you’ve got one, great. If that’s not part of your sound, not a deal breaker.

NEEDED: ORIGINAL MUSIC

Your ensemble will likely have more success with cover tunes than original tunes early on, but eventually having music that you’re known for will become essential to keep you from simply being a cover band in the eyes of the public. Note that this isn’t always an original song, but it can be: Straight No Chaser has found success with both “The Christmas Can Can” (old music, new lyrics, new concept), and “Who Stole The Egg Nog” (entirely new). An original arrangement can serve this purpose, but it has to be as arresting and memorable as, say, the remake of “Mad World.”

NOT NEEDED: ORIGINAL CONCEPT

Yes, it’s excellent if your group has a new sound or approach, but I have to admit, there are plenty of bios boasting a sound and style unheard ever before in a cappella, and most fall short. Don’t tell the world you’re different. Show them. Don’t focus on being amazingly different. Just be amazing. Not convinced? Nothing about Pentatonix on paper looks much different from many other groups. There’s no huge fundamental concept behind it all, but the way they do what they do has indeed become revolutionary, and inspired millions.

Keep reading on Deke Sharon’s blog!

A Cappella Arranging

The world loves to sing. From barbershop groups to madrigal choirs to vocal rock bands, there are tens of thousands of vocal groups in America. The success of mainstream television programs such as Glee and The Sing-Off not only demonstrates the rising popularity of vocal music; it reflects how current trends inspire others to join in. In addition, through various online and on-the-ground vocal music societies, the “a cappella market” is well defined and well connected. Like singing itself, a cappella is a global phenomenon.

At the heart of every vocal group is the music it performs. This often means writing its own arrangements of popular or traditional songs. This book is the long-awaited definitive work on the subject, wide ranging both in its scope and in its target audience – which spans beginners, music students, and community groups to professional and semi-professional performers, vocal/instrumental songwriters, composers, and producers – providing genre-specific insight on a cappella writing.

The tone of the book is instructive and informative, yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook – and a “good read” – for every vocal arranger, whether amateur or professional; every vocal music classroom, and any professional recording studio.

The oldest Door, and the band’s cofounder along with Jim Morrison, Ray Manzarek often came off as a kind of bespectacled, perpetually stoned professor, somewhat akin to Donald Sutherland’s character, “Dave Jennings,” in Animal House (“Would anybody like to smoke some pot?”). Onstage, however, with his head flailing wildly and fingers flying maniacally across the keyboard while improvising the bass parts on his Fender Rhodes organ, Manzarek evinced a total psychedelic, blues-driven intensity.

Raymond Daniel Manczarek (he dropped the “c” soon after cofounding the Doors) was born on February 12, 1939, to a working-class family in Chicago, Illinois. His grandparents had immigrated from Poland in the 1890s. Manzarek started practicing piano at an early age, and he eventually studied classical music, including Bach, Rachmaninoff, and Tchaikovsky, at the Chicago Conservatory. However, Manzarek was blown away when he first heard the Chicago blues and eventually fell under the sway of such legends as Muddy Waters (in his official Elektra biography, Manzarek listed Waters along with Belgian singer-songwriter Jacques Brel as influences), Jimmy Reed, John Lee Hooker, and others. He also discovered jazz artists like Miles Davis, John Coltrane, Ahmad Jamal, Ramsey Lewis, and Bill Evans to round out his musical education.

After graduating from the Catholic all-boy St. Rita High School, Manzarek embarked on a conventional career path, earning a bachelor’s degree in economics from DePaul University. After briefly attending UCLA law school and serving a two-year stint in the army (where he got the opportunity to smoke some genuine “Thai stick” in Thailand), Manzarek headed back to UCLA, where he majored in cinematography, completed three well-received short film (Evergreen, Induction, and Who and Where I Live), and met fellow film student Jim Morrison. According to Manzarek in his autobiography, Light My Fire, “instead of realizing our parents’ dreams, much to their chagrin, we created our own dreams.” To help pay for tuition, Manzarek took the stage as “Screamin’ Ray Daniels” on weekends at a total dive called the Turkey Joint West with his brothers, Rick (guitar) and Jim (harmonica), in a local surf/blues band called Rick and the Ravens. Manzarek would frequently coax fellow film students, including Morrison, to join him onstage and help him belt out such classics as “Louie, Louie,” in front of the crowd of blitzed college students. In the summer of 1965, Manzarek and Morrison cofounded the Doors after a chance meeting on the beach in Venice. Soon later, at a Transcendental Meditation session, Manzarek recruited drummer, John Densmore, who in turn brought guitarist Robby Krieger into the Doors.

Post-Doors, Manzarek recorded two solo albums, The Gold Scarab (which was billed as “a busy fusion of Jazz, Exotica, Rock, Rumba and Salsa”) and The Whole Thing Started with Rock ‘n’ Roll. He also performed in several bands (including the Nite City), recorded a rock adaptation of Carl Orff’s Carmina Burana with Philip Glass, produced four albumbs with influential Los Angeles punk band X (Los Angeles; Wild Gift; Under the Big, Black Sun; and More Fun in the New World), backed Beat poet Michael McClure’s poetry readings, and collaborated with poet Michael C. Ford. In 1996, Manzarek recorded The Doors Myth and Reality: The Spoken Word History. Manzarek’s autobiography, Light My Fire: My Life with the Doors, was published in 1998. In 2001, Manzarek published his first novel, The Poet in Exile, which explored the myth that Jim Morrison had faked his death. In 2002, Manzarek organized the highly controversial group the Doors of the 21st Century with Robby Krieger that later morphed into Riders on the Storm and then Manzarek-Krieger. In 2006, Ray Manzarek published a second novel, Snake Moon, an “erotic ghost story” set during the Civil War that was a reinterpretation of the Japanese film Ugetsu (directed by Kenjo Mizoguchi).

The Doors FAQ: Drawing upon unique sources, Rich Weidman digs deep and serves up fresh perspective on the music, from the garage to the hits to the outtakes; and on the band’s members, from their roots, influences, and key industry partners to their rare talents, personal foibles, love affairs, and arrests. This volume also details every studio album and live recording, all the highs and lows of the Doors in concert (including the notorious 1969 Miami concert), Morrison’s 40-day trial, and the death of the “Lizard King” in Paris in 1971, as well as post-Morrison milestones. Unlike the straightforward narratives of other Doors biographies, this inventive, ceremonious biographical collage leaves no stone unturned, covering the band both with Morrison and post-Morrison, including the 2010 When You’re Strange documentary and the recent pardon of Morrison by the State of Florida for the Miami concert. Countless rare images from album art to ticket stubs to posters accompany the text, in this dazzling edition of solid rock scholarship.

As much as she is known as a singer, an actress, and an entertainer, to many of her fans Cher is, more than anything, the ultimate survivor. There are even jokes on the internet about how, in the event of a nuclear catastrophe, all that will be left will be “cockroaches and Cher.”

Increasingly, she has come to symbolize a resilience and invincibility— both professionally and personally—that is central to her appeal. She may have achieved the extraordinary feat of scoring hits in every decade since the sixties, but her career has nonetheless not been without its lows. She is also a woman who can be seen to have had her fair share of life experience, from a difficult childhood through two divorces and numerous relationships.

In fact, many of her hits since the eighties deal with surviving heartache and coming out the other side, stronger and wiser. As she sings in ‘Believe’: “I know that I’ll get through this / Cos I know that I am strong.”

Cher is the first to admit that she has amazing staying power. Back in 1990, when ABC News’ Diane Sawyer asked her which of her lyrics she liked to sing most, she immediately thought of Jimmy Cliff’s ‘Too Many Rivers To Cross.’ “I’ve been licked, washed up for years, and I merely survived because of my pride,” she said, quoting back the lyrics. “It’s me! It says everything about me in those two lines. I’ve been on my way out for twenty-five years. At this rate I’ll be 100 before I’m gone!”

To many, Cher also epitomizes the idea of the outsider who has overcome hardship and adversity to reach the upper echelons of fame and wealth. Like a modern-day Cinderella, she is the poor girl from the valleys of California who looked radically different to the cookie-cutter blond, blue-eyed ideal that was so prevalent when she was growing up in the fifties and yet still managed to become a star—mostly through her own determination and hard work.

“I invented someone who was funny and interesting: not the most beautiful person on the block, and yet still could convey that kind of feeling across,” she told Barbara Walters in 1985. “I think that you can invent your life as you go along. You’re born with a huge piece of paper or a canvas and you can put anything on it you want to.”

Cher: All I Really Want to Do takes readers through the ups and downs of a career that spans more than 50 years in show business. Beginning with her breakthrough alongside husband Sonny Bono in the ’60s, it takes in the high highs – and low lows – of the ’70s, the big-screen success of the ’80s, and global superstardom in the ’90s, and continues right up to her latest comeback alongside Christina Aguilera in Burlesque. There’s detailed coverage of every major album, film, and tour, from “I Got You Babe” to “Believe,” “Half-Breed” to Moonstruck, “Gypsys, Tramps & Thieves” to Mermaids, and beyond.

Guest Bloggers: Darryl and Tuezdae Littleton, authors of Comediennes: Laugh Be a Lady, contribute a little something for Tina Fey’s 43rd birthday today.

Despite SNL’s imperfections over the years, the show’s output of talent can’t be denied and no comedienne has been more impressive than Tina Fey. By sheer accomplishments and accolades alone she’s in a class all by herself – female or male. An alumni of Chicago’s Second City, the writer / actress / producer / author has managed, in a career spanning a mere 17 years, to amass 7 Emmys, 4 Screen Actor Guild, 3 Golden Globes and 4 Writer Guild of America Awards. Fey’s film, Mean Girls had a worldwide box office take of 129 million dollars. Baby Mama made 64 million and Megamind pulled down 321 million worldwide.

Her comedy virginity was broken by old Marx Brothers movies and Honeymooner episodes. Her father forbade the viewing of The Flintstones since he deemed them a Honeymooners rip-off. However, she was allowed to watch Second City TV and adopt Catherine O’Hara as the woman she wanted to be one day.

During middle school she did a project on the subject of comedy. Then Tina went to work on learning her chosen craft by studying playwriting and acting in college earning a degree in drama; next stop – Second City and total immersion in the religion of improvisation. She took a stab at stand-up, but realized her strength lied in improvisation.

Besides, being quick on her feet and a nimble wit, Fey was also a writer with a wicked pen. In 1997 she got her SNL gig by submitting scripts, which got the attention of then head writer Adam McKay, who suggested her for a paid writing slot. She took personal improvement to the next level and lost 30 pounds to make her physical package more TV friendly after seeing herself on camera. Following that version of scaling back she got approached to do a lot more sketches.

In 2000 she got the coveted co-anchor position on SNL’s ‘Weekend Update” along with Jimmy Fallon. Fey was now not only the first female head writer for the show, but according to alumni, Dennis Miller – the funniest “anchor” to ever sit at the Weekend Update desk.

30 Rock had already been green-lit be NBC by the time Fey left SNL at the end of the 2006 season. It had actually been a rejected pilot idea she presented in 2002 to a cable affiliate of NBC’s. In 2003 she signed a renewal contract for SNL that also allowed her to develop a sitcom. As soon as she left in 2006 30 Rock made its premiere in October of that year and ranked very poorly. Regardless, NBC stuck with it and the show became a critical darling if not a ratings blockbuster. Fey and the show won so many awards that you forgot there were other nominees.

On top of all the industry recognition Fey became a cultural phenomenon. Between September 2008 and March 2011 she impersonated Sarah Palin a half dozen times, with the September 13^th maiden voyage holding the distinction of going viral to the tune of 5.7 million hits (a SNL record), and the October 18, 2008 sketch where Fey meets the real Sarah Palin being the highest rated program since 1994. Fey’s debut as a screenwriter (Mean Girls) grossed 129 million worldwide and her follow-up, Baby Mama made 64 million at the box office.   She’s been ranked as hot and beautiful by Maxim and People magazines respectively and voted one of the 50 most powerful women by the New York Post.  And did we forget to mention that in 2011 Tina Fey was Forbes magazine’s highest paid TV actress.

Well, not every comedienne is going to be a Tina Fey, but she’s a yardstick; something to aspire to be and she’s just hitting stride.

Comediennes: Laugh Be a Lady chronicles the evolution of the humor through the research of Darryl and Tuezdae Littleton and the scores of interviews they conducted with veteran female performers from all mediums, as well as Tuezdae’s own experiences as a comedienne. Startling facts are revealed and tributes are paid to the icons of yesteryear by the titans of today in their own words and sentiments. Women have always made us laugh, from their outrageous characters, pratfall humor, cutting barbs, clever wit and unforgettable side-splitting moments. Their “herstory” has only just begun.

credit: Paul Hoelen Mandarine Montgomery

John Kruth is the author of Rhapsody in Black: The Life and Music of Roy Orbison (Backbeat Books). The following is part of a Q&A on MusicTomes.com. Please visit their site for the full interview.

You’ve previously written about the life and music of Townes Van Zandt and Roland Kirk, how did you come to choose Roy Orbison as your next subject?

I have pretty eclectic tastes and listen to all sorts of music from Don Cherry to George Jones to Ravi Shankar to Glenn Gould to Captain Beefheart…. but ultimately its passion for my subject when it all comes down to it. You better love your subject! Roy’s classic sides for Monument, to me, are some of the greatest records made in the last century from the way they were written, performed and recorded. Also the story of his life fascinated me, the way he overcame incredible tragedy and managed to continue creating in spite of the devastating cards that fate dealt him. Ultimately he was a sonic alchemist who turned pain into beauty.

Orbison’s widow, Barbara, has a notoriously tight-grip on all things Roy, and as you chronicle in the book, had a lot of control over Roy himself. Did this present any problems in your research or in contacting people who knew and worked with Orbison?

In my earlier 2 biographies I worked closely with both of the widows. I wish I could have spoken with Barbara but I was warned by a number of people that she would want to control the contents of the book. So I avoided any contact and just quietly forged on. There were a few people who declined interviews with me because the book is unauthorized. Sadly Barbara was ill and has since passed away. I was hoping that she might’ve liked my book and I could have interviewed her for the 2nd edition.

What did you run across in your research that surprised you?

Writing a biography is kind of like going out on a date with someone you really like but you don’t know all that well and the relationship is suddenly on the fast track and things are unfolding at an alarming rate. There are plenty of surprises, some set backs but you made the commitment. Perhaps it’s more like a shot-gun marriage – cause you gotta see it through at least until the baby arrives! Surprises? How great (and how lame) some of the MGM tracks were – check out the Hank Williams record that Roy made. I never heard it before, and most of the musicians don’t even recall recording it. Its wild, sounds like a Lee Hazelwood production.

Keep reading this interview on MusicTomes.com!

About the Book

Orbison’s singing has inspired everyone who has heard it, from Springsteen to k. d. lang, and laid the very foundation for goth. While fascinating from a pop culture standpoint, it is Orbison’s life’s journey that makes a great story that has yet to be told to its fullest. Rhapsody in Black: The Life and Music of Roy Orbison doesn’t shy away from or trivialize the personal pain, alienation, and tragic events that shaped Orbison’s singular personality and music. Roy Orbison wasn’t merely a singer but a sonic alchemist who, in the end, transformed unfathomable human misery into transcendent melody and platinum records. Rhapsody in Black contains new interviews with over 20 people who worked closely with Orbison throughout his life.

Guest Blogger: 

Celebrating his sixtieth birthday today, Pierce Brosnan was well-known in the 1980’s as the title character of private investigator Remington Steele, from the ABC-TV show of the same name. But that notoriety nearly cost him the role of James Bond.

Pierce Brendan Brosnan was born in County Meath, Ireland. An only child to mother May, Pierce’s dad, Thomas, was a carpenter who walked out on the family after only a few years. May moved to London to seek work as a nurse, leaving Pierce to move among relatives, friends, and even a Christian Brothers mission. In a 1997 interview in Cigar Aficionado magazine, Brosnan admitted, “It wasn’t all bleak…you learn how to create your own happiness.” When May remarried, eleven year-old Pierce joined the couple in London. One day, stepdad William took the boy to the cinema to see a film called Goldfinger. Young Pierce was very impressed, realizing, “…James Bond was very cool.”

Brosnan attended school to be a commercial artist and landed an apprentice job in a small South London studio at the age of eighteen. But he had become enamored with movies and, at the urging of a co-worker, joined up with a local theater workshop. Soon, they had formed the Oval House Theater Company and Pierce quit his art job. He waited tables, cleaned houses, anything that allowed him to be free to act in the evenings. Brosnan attended drama school, acting in repertory theater and London West End productions like Red Devil Battery Sign by Tennessee Williams. The playwright had personally selected Brosnan for the lead role.

British theater led to appearances in British TV by 1980. His wife, actress Cassandra Harris, landed a supporting role in the 1981 Bond flick For Your Eyes Only. Brosnan would amuse Harris by offering his impression of 007 when he would drive her home from the studio (Perhaps a view of things to come for Brosnan. Tragically, Harris would succumb to ovarian cancer in 1991.) A successful 1981 ABC-TV mini-series, The Manions of America, lead to Brosnan’s casting in NBC-TVs Remington Steele in 1982. The detective show ended up being in the top twenty-five TV ratings, but was canceled after four seasons as those numbers waned. Broccoli recalled Brosnan from the For Your Eyes Only days and he tested for the role of Bond for the upcoming The Living Daylights. Pleased with the results, producers named Pierce Brosnan as the new James Bond.

Apparently, NBC read the trade papers that day and, realizing the ratings boost having the “next James Bond” would give the network, they immediately renewed Brosnan’s contract as Remington Steele – effectively blocking his chances to play Bond. Ironically, the series would only air six episodes before getting the axe once more, but the damage was done. The Living Daylights would shoot with Timothy Dalton as 007.

Brosnan was understandably upset, but continued to work on TV and in films, including hits like Lawnmower Man in 1992 and Mrs. Doubtfire in 1993. When the 007 legal snafus were cleared up in 1994, it became apparent that Pierce Brosnan would be Bond in GoldenEye (over suggestions that included Mel Gibson and Ralph Fiennes) and it wouldn’t be enough to rescue the world – this time, he was expected to rescue the character from oblivion.

So, with that small task at hand, it was Pierce Brosnan who brought Bond into the 21st Century. It was Pierce Brosnan who had to come to terms with a new boss – still M, but this time, a female (gasp!). It was Pierce Brosnan that, with his four Bond films, brought nearly $1.5 BILLION to box offices worldwide. In his four turns as James Bond, Pierce Brosnan brought the suave and calm demeanor to the character that one would expect from an experienced performer. In 1995, he told Big Screen magazine, “The way I see James Bond is as a man with a passion to get the job done…This film is…not a cure for cancer, it’s supposed to be fantasy.” Film critics like Roger Ebert praised his portrayal of 007, offering that Brosnan was  “…somehow more sensitive, more vulnerable, more psychologically complete, than the (other) Bonds.” High praise, indeed.

No matter, producers Barbara Broccoli and Michael G. Wilson decided to (get ready, here it comes…) “reboot” the role of Bond once more in 2005, just as Brosnan was in negotiations for a fifth whirl as 007. In a 2005 interview for Premiere magazine, he said, “It would have been sweet to go back for a fifth…It would have been wonderful to go out there for one last game and pass the baton.” Less poetically, he added, “…it f***ing sucks.”

Since leaving the world of Bond, Brosnan has worked steadily in films, with a wide variety of genres – drama, comedy, romance, western – even singing his own parts in Mamma Mia!, the quirky musical featuring the music of ABBA.

Like several of the actors who played 007, Brosnan has used his celebrity status to further many philanthropic causes. He has championed environmental activities by organizations like Save the Whales and Global Green, among others. Brosnan’s work for children’s welfare includes First Star and UNICEF in his home country in Ireland. The actor has also supported animal rights and women’s health.

James Bond FAQ is a book that takes on the iconic cinema franchise that’s lasted for so many years. Sometimes serious as SPECTRE, sometimes quirkier than Q, but always informative, this FAQ takes the reader behind-the-scenes, as well as in front of the silver screen. Everyone’s included: Connery, Lazenby, Moore, Dalton, Brosnan, and Craig; little-known facts about TV’s first shot at 007, the same Bond story that was made into two different films; whatever happened to those wonderful cars and gizmos that thrilled everyone; plus much more. It’s a book for the casual, as well as hardcore, James Bond fan.

As the album that spawned the original hit version of “No Woman, No Cry,” the song that remains Bob Marley’s best-loved (and most-covered) number, the Wailers’ 1975 Live album ignited a trend for in-concert recordings that persisted for much of the next decade, at least in western markets. More recently, the regular release of archived live recordings from the same period has done much to distill the importance of such documents—even the original “No Woman, No Cry” has been supplanted on certain Marley compilations by other live recordings.

Nevertheless, an hour or so spent in the company of a great live album is almost . . . almost . . . as good as being there; or, at least, know­ing somebody who was. And here are ten of the very greatest.

Trojan Reggae Party—various artists (1971)

Recorded live in London in 1971, and the soundtrack to many a period party, Trojan Reggae Party preserves punchy performances from the Cimarons, Bruce Ruffin, Nicky Thomas, the Pioneers, Dandy Living­stone, Greyhound, and more. (All had scored U.K. hits recently, with Thomas’s impassioned “Love of the Common People” and Ruffin’s loopy “Mad About You” especially outstanding.) Hard to find, and ex­pensive when it does turn up, but a seriously magnificent album.

Live—Burning Spear (1977)

Recorded on Burning Spear’s sensational visit to London in 1977, where he was accompanied by local reggae band Aswad, Live is an electrifying set that could easily be his best album ever.

Live—U-Roy (1978)

Not an album per se, Live was a twelve-inch EP capturing highlights of the DJ’s summer 1976 visit to the U.K. Recorded at the Lyceum Ballroom, with Sly and Robbie in thunderous attendance, it whets the appetite for more. Which, sadly, has still to be delivered.

Prisoner in the Street—Third World (1980)

Third World’s studio output often painted them as the soft and sweeter side of roots reggae. This set tears expectations to shreds, delivering wildfire eruptions through “96 in the Shade,” “African Woman,” and the title track, keeping it up so long that the vinyl has practically melted by the time you hit the end.

Live at the Music Machine—Dillinger (1981)

Recorded in London before a deliriously packed house, it is no surprise to find this album has since been repackaged as The Best of Live. Because that is what it is, as Dillinger travels through all his best-known numbers: “Natty Don’t Need Glasses,” “Roots Natty Congo,” “CB 200,” “Judgement Time,” and, of course, “Cocaine in My Brain,” a thumping celebration of white powder and its power, together with a lesson in literacy that the crowd that night knew by heart.

Live at Reggae Sunsplash—Big Youth (1983)

He opens with “I Pray Thee”/“Satta Massagana”; closes with “Hit the Road Jack”; and, in between, delivers a seething greatest-hits collection that is topped by what might be a career-best “Green Bay Killers.”

Live at the Controls at Jack Ruby Sound Ocho Rios J.A. —Brigadier Jerry (1983)

A blistering dancehall celebration, with the Brigadier joined by fellow stars Sammy Dread, Michael Prophet, and, sounding great in the midst of things, the veteran Dennis Brown.

Junjo Presents Two Big Sounds—various artists (1983)

The album that introduced the world to Beenie Man, a wild DJ collection that also features Dillinger, Michael Irie, Fathead, and Ringo, recorded live at 82 Chisholm Avenue, Kingston, in early 1983.

Prince Jammy and the Striker Lee Posse Presents Music Maker Live at the Halfway Tree Jamaica —various artists (1984)

Horace Andy, Chaka Demus, Don Carlos, Super Liki, and many more gather for a night of high-energy dancehall mania. Raw and unproduced to some ears, this album redefines excitement.

Live in Tokyo—Augustus Pablo (1991)

Pablo’s reluctance to tour is good reason why there are no live recordings from his earlier period; but this set, dating from his first-ever visit to Japan in 1991, catches him making up for lost time.

Vibes Alive—Israel Vibration (1992)

Recorded in California the previous year, the long-running saga of Israel Vibration hits the road with the ever-seething Roots Radics.

Live On—Wailing Souls (1994)

Another album that you wish could have been recorded a decade-and-a-half before, but it wasn’t, so you live with it. And that really isn’t that great a hardship.

Party in Session Live—Michael Rose (1997)

Recorded at various halts on former Black Uhuru frontman’s Michael Rose’s 1997 U.S. tour, what could have been a wearying set of revivals instead morphs into a magical celebration of past and present.

Cultural Livity—Live 1998—Culture (1998)

Spanning the years with a crowd-pleasing set, Cultural Livity scarcely remedies the absence of a 1970s concert recording from this most powerful of live bands, but it’s still hot. Especially if you can ignore the keyboards.

Live at Reggae Sunsplash 1994—Garnett Silk (1999)

Garnett Silk was poised to become the biggest reggae star of his era when he was killed in a house fire in December 1994. Recorded at Sunsplash earlier that same year, this is thus the sound of Silk at his peak, neither beholden to the familiar versions of his greatest hits, nor particularly interested in them. If you own just one Silk album, make sure it is this one.

Live—Ziggy Marley and the Melody Makers (2000)

A handful of his father’s songs could, but do not, overshadow Ziggy Marley and the Melody Makers’ own material on an album that captures all the joy and excitement of a period Melody Makers gig.

Words of Truth—Sizzla (2000)

Two CDs for the price of one: a new studio collection and a savage Sizzla live set that is alone worth the price of admission.

Live—Luciano (2000)

The king of the 1990s roots-consciousness revival, Luciano is caught live at the end of the decade he dominated with a set that shows you how he accomplished such.

Live in Paris—Yami Bolo (2000)

Yami Bolo’s version of “Curly Locks,” which turns up at the end, is what clinches this as a fabulous album—but the entire performance is spot on.

Live in San Francisco—Capleton (2007)

Too many live albums are now delivered as DVDs these days, and the pros and cons of that approach are for you to decide. This stunning Capleton set, however, repeats the concert on an audio disc, and it’s definitely worth diving into.

If You Like Bob Marley… is the unique and utterly compulsive story of the King of Reggae, told not through the life and times of Marley himself, but through the music and magic of the musicians who grew up around and under the influence of Bob Marley and his band, the Wailers.

Houses of the Holy

As Dave Lewis (see the http://www.tbl.com website and Record Collector magazine feature) reminds us, March saw the 40th anniversary of the release of Led Zeppelin’s fifth album. Having numbered their first three LPs and titled the fourth with four symbols, they more conventionally gave the fifth a title: Houses of the Holy (a reference to their audiences and concert halls). The Zeppelin mystique was assuaged by the fact that the title was not printed on the sleeve but came as a paper wrap-around. The sleeve itself was a strikingly tinted photo montage of the Giant’s Causeway. Nor did the album contain the song ‘Houses of the Holy’, which was eventually released in 1975 on Physical Graffiti.

Houses of the Holy was a hugely-anticipated album, following the band’s elevation to international fame during the preceding two years, and the fourth album which contained ‘Stairway To Heaven’. Many were hoping for another ‘Stairway’ on the new album, and Robert Plant revealed in one interview that the band did indeed have a song metaphorically fired from the same cannon. This was ‘The Rain Song’, a very attractive altered-tuning ballad with rising and falling dynamics. The remaining seven songs included the uptempo rollercoaster ‘The Song Remains The Same’, the delightful acoustic / electric mix of ‘Over The Hills and Far Away’, the heavy rock winter nocturne of ‘No Quarter’, the unbuttoned and joyful rifferama of ‘The Ocean’ (its opening riff combing a bar of 4/4 with one of 7/8), and the two controversial tracks ‘D’Yer Mak’er’ and ‘The Crunge’.

These were received by the more prog-rock ‘hairy’ part of Zep’s audience as ideological crimes: the first for being reggae and the other for being James Brown funk, and both for being apparently Not Serious. How dare Zep waste several inches of vinyl bandwidth on musical jokes! was the cry. What happened to the Viking-horde-clamouring-for-Valhalla head-banging which was what the World’s Official Heaviest Band were supposed to deliver?

Keep reading on Rikky Rooksby’s blog!

Rikky Rooksby is a guitar teacher, songwriter/composer, and writer on popular music. Considered the premiere author of songwriting guides, Rooksby has also written numerous music history and guitar instruction books and has published over 200 interviews, reviews, articles, and transcriptions in music magazines. He has also transcribed and arranged more than 40 chord songbooks, including music by Bob Dylan, Bob Marley, David Bowie, Eric Clapton, The Beatles, and many other artists.

A member of the Guild of International Songwriters and Composers, Rooksby is also a sought-after teacher who leads courses on music at The Oxford Experience and other international continuing education summer schools.

Guest Post: Jonathan Feist is the author of Project Management for Musicians, published by Berklee Press, distributed by Hal Leonard.

Here’s a joke about a film composer that I like to tell to my project management students—among other reasons, because there just aren’t enough jokes about film composers, out there! It nearly made it into my book, Project Management for Musicians, but I had to cut it out, due to space constraints.

So, this film composer goes to his doctor, and says, “Doc, I’m supposed to be finishing up a film score, but I just can’t concentrate. I wonder if there’s something wrong with me. Maybe I have Lyme Disease?”

The doctor looks at him and says, “Lyme Disease! Did you see a bullseye rash? Do you have any joint pain?”

The composer says, “Well, I’m a little sore, but I think that’s just from skiing last weekend. We went to Aspen for a few days. I was hoping the mountain air would clear my head. But no dice, I still can’t write.”

The doctor asks, “What about your reflexes? Do you notice any change in your hand-eye coordination?”

The composer says, “Hmm, nah, in fact, I just got my highest score ever playing Guitar Hero with my daughter. We play every day for a couple hours when she gets home from school. My reflexes are in tip-top shape.”

The doctor thinks for a minute, then asks, “Tell me, how many drinks do you have in a week?’

The composer shrugs and says, “Not too many, really. Maybe a beer at lunch. A couple glasses of wine at dinner. But not to excess, I’m not a real big drinker.”

The doctor nods, frowns, and says, “Hmm, I think I know what’s wrong with you. “

“You do?”

Yes,” he says. “I’m afraid, there’s something wrong with your butt.”

“With my butt?!” cries the composer, shocked.

“Yes,” says the doctor. “It’s too far from your chair!”

Do you also suffer from CBPS— Chair/Butt Proximity Syndrome? It’s a common affliction, in music as with any profession. Studying project management can help!

Project Management for Musicians

Get organized, and take charge of your music projects! This book will help you harness your creativity into clear visions and effective work plans. Whether you are producing a recording, going on tour, developing a studio, launching a business, running a marketing campaign, creating a music curriculum, or any other project in the music industry, these road-tested strategies will help you to succeed. Music projects come in all sizes, budgets, and levels of complexity, but for any project, setting up a process for planning, executing, and monitoring your work is crucial in achieving your goals. This book will help you clarify your vision and understand the work required to complete it on time, within budget, and to your highest possible quality standard. It is a comprehensive approach, with hundreds of music industry-specific tools for keeping your work on track, mitigating risk, and reducing stress, so that you can complete your project successfully. You will learn to: develop work strategies; delegate tasks; build and manage teams; organize your project office; develop production schedules; understand and organize contracts; analyze risk; and much more.

1. Jamaica Mistake-a
On January 16, 1996, Bono and his family wound up on the receiving end of police gunfire when his plane landed in Negril, Jamaica. Planning to meet up with Adam Clayton on the island, somehow local police were of the belief that a plane loaded with drugs would be landing in the same area around the same time. When the gunfire finally stopped, the Hewsons, Chris Blackwell, and Jimmy Buffett were offered an apology by the local police, who had fired at the wrong plane.

2. Oasis Kiss
In March 1996, a photo of Bono and Liam Gallagher of Oasis sharing an open-mouthed kiss caused a stir. Taken backstage at the Point Depot in Dublin, fans of both bands quickly derived that it was an alcohol-fueled joke, but not before the media got a lot of mileage out of it. Bono confirmed this to Rolling Stone in 1999, saying, “Actually, what happened was he had a guitar pick in his mouth, and he dared me to take it off him while the paparazzi were standing around. I couldn’t resist.

3. Tabloid Trash
In September 1998, U.K. tabloid the Daily Star published photos of Bono’s bare ass. Bono had been changing his clothes on an Italian beach during a vacation with his wife Ali at the time the paparazzi snapped his bottom. The couple sued the paper for invasion of privacy.

4. Shut Up, Paul
In June 2008, after Paul McGuinness suggested that Radiohead’s 2007 pay-what-you-like download release of In Rainbows had backfired, Bono announced his disagreement with U2′s long running manager. Bono called the Thom Yorke-fronted band “courageous and imaginative in trying to figure out some new relationship with their audience,” in an open letter to the music weekly NME. Calling Radiohead a “sacred talent,” Bono added, “such imagination and courage are in short supply right now,” and explained that U2 “feel blessed to be around at the same time.”

In U2 FAQ, award-winning music journalist John D. Luerssen goes beyond the essential facts, delving into the legendary fables and unique anecdotes that make U2 FAQ an indispensable read for all U2 disciples. How did Bono recover his cherished suitcase of lyrics 23 years after its 1981 disappearance? What movie dialogue is sampled in the middle of “Seconds”? What effect did bull’s blood have on Larry’s drumming? How did Bono’s visit to Central America inform The Joshua Tree? What are the details of Adam’s 1989 marijuana bust? How did Mick Jagger wind up on All That You Can’t Leave Behind? These are just some of the topics U2 FAQ explores.