It’s often overlooked just how spectacular The Beach Boys were as a vocal group. This clip should prove that these guys were second to none as you hear them pull off some complex harmonies with nary a hitch on the song “Let Me Wonder.” They’re soloed at 1:46 where you can really hear what they can do. By the way, the audio stops at 3:46 even though the clip goes to 7:22.
1. Remember that they’re all singing at the same time. There’s no layering going on here like we’d do today.
2. Check out the sound of the tape rewind at the beginning of the clip, something hated back in the day, especially if you were wearing headphones. The next generation of tape machines alleviated the problem by lifting the tape away from the heads during rewind so you didn’t get that noise.
Three years in the making, Skylar Grey’s debut Don’t Look Down finally arrives in stores on Tuesday. Following the release of “C’mon Let Me Ride,” “Final Warning,” and “Wear Me Out,” the singer-songwriter gives us one last video for “White Suburban.” In the clip, a somber Skylar sits at the piano while reflecting on her first love.
“I still remember you in that big old white Suburban/ And though you look right past me with disregard/ And although I’ve since moved on and I’ve been in love a few times/ There’s still a piece of me that holds on to you,” she sings.
She will kick off her “Don’t Look Down” tour in Philadelphia on July 10, playing shows in New York, Boston, Chicago, and L.A.
Eminem serves as the album’s executive producer, with contributions from Big Sean and Travis Barker.
You should never treat recording as anything other than something that must take your entire focus. Indeed, you’ll need to give it 100% of your concentration to sound your very best. To that end, recording should never be treated as a party. It’s not a place for your friends or fans to hang out, and it’s not a place for a couple of six packs. Just because you might be a punk band, it doesn’t mean you have to carry the lifestyle over to recording. The Sex Pistols had to be wild, wasted and non-conformist because that was their image, but they were deadly serious when recording. Green Day also had that persona in the early days but were really serious when recording and that’s why they climbed the ladder and most of the others from that scene didn’t. So if you want to make the best recording you can, don’t show up wasted, show up on time, and show up prepared. Good music makes you cool, not your act.”
BOBBY BLAND [Jan. 27, 1930 – June 23, 2013] was, in his prime, the most powerful blues shouter of all time, though capable as well of a caressing tenderness. “Turn On Your Lovelight” is what the rock world knows, I guess, but the man’s legacy is also in “Ain’t Nothing You Can Do,” “Farther Up the Road,” “I’ll Take Care of You,” “I Pity the Fool,” “Cry Cry Cry,” “If You Could Read My Mind,” to my ear the finest “St. James Infirmary” of them all, the entire Two Steps from the Blues album (the best Southern soul album, even including Otis‘; it has the impeccable and beautiful and scary “Lead Me On,” for many the greatest performance of his career. The list goes all the way up to his Malaco sides, particularly “Ain’t No Love in the Heart of the City.” It is not true that Bobby Bland never made a bad record; it is true that his ratio of great to mediocre is as high as any other singer you can name, in any genre you care to cull. To call him Bobby “Blue” Bland always seemed redundant to me—as if he could be heard for so much as eight bars and you wouldn’t know that this was his core, his essence and, one way or another, a heap of your own… He was a key voice of the black Southern working-class from the ’50s onward. His role was to play the shouter from the anonymous ranks, the totally heartbroken man among an all-but-totally heartbroken folk. (And of course, once in a while, shouting with all the more exuberance because of that everyday heartbreak.)… I, who found him on the radio and held him very close to the center of my being for the better part of half a century, will never be able to thank him enough. Or often enough. Or even express what I’m thanking him for altogether adequately. —Dave Marsh, from Rock & Rap Confidential.
Part 2: http://www.youtube.com/watch?v=411PF-4KCbw
In this clip from www.artistshousemusic.org- Blues musician Chris Thomas King speaks with a group of students at Loyola University, New Orleans, about making it today in the music business – setting and achieving goals, managing time, managing your art as a business, and more.
Baton Rouge, LA, native Chris Thomas King is probably best known for his role as blues singer “Tommy Johnson” in the film “O Brother, Where Art Thou?” Under his own name, King has been recording albums exploring the intersections between blues and hip-hop since the late 1980s. His most recent album, “Rise” was written and recorded after losing his home and recording studio to Hurricane Katrina in 2005, and explores the aftermath of that disaster.
Scotty McCreery, country music artist and winner of American Idol season 10 gives us a backstage pass to his recent “Weekend Roadtrip” tour on the 119th episode of Pensado’s Place! Soundcheck starts at 3:48.
311 Front man Nick Hexum discusses how he got his start in the music industry, as he recounts his humble beginnings, focusing on his craft, his first show and how he finally got signed.
Backstage at the 2013 NBA All-Star game, Legend hipped Billboard to how singers can nail the national anthem and spoke a bit about his forthcoming, Kanye West-assisted album.
On Sunday (Feb. 17) John Legend sang the “The Star-Spangled Banner” at the NBA All-Star Game in Houston, continuing trend of top R&B singers performing the national anthem on huge stages. Alicia Keys sang a lengthy version of it at the Super Bowl earlier this month, while (albeit with a bit of hullabaloo) Beyonce knocked it out at President Barack Obama’s inauguration in January.
“This is probably one of the most high profile years for controversy and for virtuosity,” Legend said backstage to Billboard before he sang in Houston’s Toyota Center, where the All-Star game was held.
“It’s just something that is part of the cannon of songs that, if you are a singer, you should be able to nail,” Legend added. “It’s almost like a demonstration of ability. It takes some ability to do it right. It takes some range and it takes some skill. It’s not an easy song.” That said, Legend provided some tips for how to sing it well from the jump.
“Start low enough,” he cautioned. “Because you have to take it high by the end. You’re going to start slightly lower than what’s comfortable for you because you have to get so high by the end and if you start right in the heart of your range, it’ll get too high by the end. So the biggest key is starting low enough. So I have my little pitch pipe on my iPhone to make sure I start off in the right range.”
Later this year John will release his fourth solo album, “Love in the Future,” targeting June as its drop date.
“We’re basically done with it,” Legend said. “Kanye [West] produced it with me, the same core team we’ve had since [my debut album] “Get Lifted.”
Kanye West lately hasn’t been a producer in the sense of making music from scratch. On “Cruel Summer,” his 2012 album G.O.O.D. Music record label’s compilation album that he executive produced, he opted to be more of an editor to productions provided by others. The same goes for how he’s assisting John on “Future.”
“He doesn’t actually make beats anymore,” Legend said of Kanye. “That’s what he’s been doing on my album, kind of supervising and getting younger producers to kind of craft the sound. We oversee it together. It’s been great working with Kanye, because I think he has a great ear and he pushes me in the right direction and that’s been good for the project.” [Billboard]
Ben Caplan, the man behind the voice behind the new record “In the Time of the Great Remembering”, sits down with Glenn Gould’s favourite piano to share a quick lesson on vocal technique in Studio Q.
William (Bill) Wesbrooks is Director of Vocal Performance at New York University’s Steinhardt School. Bill Wesbrooks, from NYU, talks about the performing arts department and what is takes to get in.
We were extremely excited to welcome the legendary Robert Owens to the Point Blank Studios for the next instalment in our Live Masterclass series. The Chicago house music mainstay offered an insight into how he lays down and records vocals in the studio by working on a new track with producer and Point Blank tutor Raffertie live in front of the students watching in the audience.
In this clip from www.artistshousemusic.org – Phil Frohnmayer is a Professor of Voice and Coordinator of Vocal Activities at Loyola University New Orleans. He has recorded for Centaur and Albany Records and regularly appears as a soloist with the Louisiana Philharmonic Orchestra and the New Orleans Opera.
Philip Frohnmayer talks about his career and about teaching classical voice.
Vocal techniques from the great Eric. He presents some great techniques and pointers explaining that everyone can sing.
Singing Lesson video series for all the singers out there who are interested in how to sing from the diaphragm. You should do the exercises in this voice lesson every day for a week or until you can feel the results I describe in this video. Do this if you want to achieve maximum results in learning how to sing properly from the diaphragm.
In this video, I share 3 tips to help you sing better. This is a response to the large number of vocal coach questions I get about the voice. I hope it helps.
There’s been an amazing response to these videos on vocal technique. Here are some more “Quick Tips.” This vid deals with nasality in the voice. The same principles that apply in this vid for alleviating nasality also apply to developing a healthy belt voice sound.
Voice lesson series on Vibrato. When he give lessons as a voice coach he gets asked about it all the time. In this video, I answer the following questions: What is vibrato? What are wrong ways of producing it? What is good approach for getting it in my voice?
Alan Ett Music Group is a full service music productions company catering to the needs of the various aspects of the entertainment industry. Their personnel includes composers, producers, music supervisors, engineers, sound designers and a superb production support staff. AEMG has successfully produced music for thousands of network, cable and syndicated television shows, national TV and radio commercials, feature films, CD-Roms, DVD’s, video and computer games, and live stage productions. Media City Sound is a full service audio post production facility located in Studio City, CA. They offer all aspects of audio post including 5.1 and stereo mixing, sound effects editorial, voice-over recording, ADR / FOLEY, sound design and ISDN and AC3 encoding for DVD.
Great techniques for connecting your head and chest voices smoothly. Watch and learn!
Jacqueline Bobak, from California Institute of the Arts, talks about being the coordinator for vocal studies at Cal Arts. Great stuff!
Voice coaches, get asked all the time “How do I learn to sing from the diaphragm?” So in order to help you out, here is an online singing class that talks about it.
World Famous Vocal Coach, Author, Composer, Video Producer and Screenwriter Jonathan Morgan Jenkins teaches how important it is for every performer to breath properly before beginning to learn how to perform with the maximum amount of energy.
Dianna Heldman, Professor of Vocal Performance at New York University’s Steinhardt School, discusses some of the strategies she uses to impart good vocal technique to her students, and how she approaches working with the student to identify and resolve problems of physical and technical natures.