Linear Style Salsa
Origin:
Linear Style Salsa originated in America, and was mainly developed for the purpose of performing on stage. In Linear style, dancers stay aligned to the same line which makes it easier for viewers to watch. Linear Style is now fast gaining popularity around the world, with two main styles: LA Style and NY Style from Los Angeles and New York respectively.
Music:
Linear Style Salsa has exactly the same music as Cuban Salsa. The music is played in 4/4 with beats 4 and 8 representing a pause and the other beats representing steps. Claves, Congo or the tin drum are often used to mark the main beats of the music. The music is quite similar to Mambo.
Dance:
Linear Style Salsa has a 4/4 rythm. Unlike Cuban style of Salsa, Linear Style does not have a pause on the 4th and 8th beats. Instead, Linear style offers a quick, quick, slow stepping with the slow step taking up two beats of timing. Both dancers dance in a straight line, with most moves ending up with dancers swapping sides while still aligned to the same line. Linear Style salsa also features a lot of moves where the leaders comb themslves, or the followers.
Latinos NZ Popularity Scale: 6/10
Linear Style Salsa is fast gaining popularity in New Zealand. Having said that, most salsers in a Latin Club follow the Cuban style of dancing and the Linear Style is saved for performing on stage.
Get a bit of variation in your Salsa moves with LA and NY styles!
Article taken from Latinos.co.nz (http://www.latinos.co.nz)
Yo Is Rap Just Another Four Letter Word?
Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.
Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!
Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.
Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.
I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.
Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org
Acid Mothers Temple And The Cosmic Inferno Starless And Bible Black Sabbath Music Review
Godzilla footsteps start the album. Slowly entering the first minute of the record are the steps and then a few hits on the gong. A moment of chanting, some feedback and we’re into the riff that will perpetuate the whole of this 34 minute song. Right away you get most of the elements of the heavy groove.
Tabata’s deeply buried vocals, Hiroshi’s crytal clear synth, the buried double drums, the heavy heavy bass riff that haunts your sleep, that when you wake you hear, being pummeled and of course the master of psychadelic guitar, Kawabata on the wah pedal.
These footsteps and mind wanderings of the singer must be played loud, really loud, like the real monster was there. Like a devil that breathed fire was chasing you. Like you were driving into the thick fog in OB after being in the clear light only moments before. This Black Sabbath homage works. This cross pollination of Sabath, Godzilla, Japan and the occult melt your mind around another reality. You believe. Believe. Testify. Time melts away and the pillow becomes your grave. In the middle of the night you can be the synth, leave the guitar, relax back into the groove, feel the spaces, be the panning, struggle into the quiet double drums. You can imagine yourself there. And, there is where you want to be. This is the best live band on the planet and this record gives you a taste in your headphones when the band is halfway across the planet.
The masterful mixing, the relentless assault, the heavy groove are all reasons everyone should be fans. Tabata’s singing on the title track coupled with the level it’s mixed a make you wonder if Ozzy if guesting on the album. This songs stops and starts multiple times, each time the groove is reinvigorated with new synth, the vox and guitars. I love the drumming on this disc as well.
The second track sounds like some crazy speed metal/pinball game soundtrack/jefferson airplane on go fast drugs. The drumbeats per minute, the notes per bar, the synth all sound as if there is no tomorrow. The singing grounds the song in some form of 60’s rock that you start to wrap your hands around and then is disintegrated. Godzillas cries finish the epic. There are only two tracks on this album and the title track is so amazing that it dwarfs Woman From a Hell. It’s supposed to.
Blog San Diego is an online resource for live music reviews, cd reviews, music news & features.
Music Fans And The Internet Converge And Flourish
Virtually all established music artists maintain web sites - or their record company does it for them. Some use them as a personal connection for fans, by providing periodic blog entries. It’s a tool to sell a few CDs from past years, announce show dates and provide some connection for the fans. There are also hardcore fan sites, especially for veteran bands like the Rolling Stones and Aerosmith, who have assembled twenty five or thirty years worth of fans. True also for musicians who have been gone for a long time; you can find many sites for Elvis and others for ground breaking rockers like Eddie Cochran and Buddy Holly.
Many of the newer acts maintain web sites, but virtually all of the emerging musicians who are aggressive use multiple resources on the web. The biggest online phenomenon in the music business has been the emergence of MySpace and, to a lesser extent, other social networking sites such as Pandora and Pure Volume. For some bands, MySpace has supplanted the need for a personal website.
By the end of 2005 more than 600,000 bands were using MySpace to upload songs and videos, announce shows, promote albums and interact with fans. The reason? There are 50 million potential fans on MySpace, and many of them use the site to search for new music as well as established acts. MySpace has acted on the remarkable marriage of music, listeners and their web site by starting a record label.
Established acts like Nine Inch Nails and Madonna, Wheezer and Depeche Mode have previewed albums and videos on the site, prior to releasing them. MySpace Music is a prime convergence point for bands and fans. The lead singer for Dashboard Confessional believes that MySpace is what drove the band’s success, leading to their record contract.
What sets MySpace and similar sites such as Pure Volume apart from the web presence of established music powers like MTV.com and Rollingstone.com is the inclusiveness inherent in a social networking site. All artists are welcome on MySpace, from Christian rockers to death metal thrashers. Also important is the format: everything on the site is linked to something else. Click on a user’s image and you’re sent to a profile featuring pictures, blogs, personal interests and links to cyber pals and bands. Keep clicking and you’re sent to more profiles and search results.
The regional rock act Coppermine out of Brooklyn is an example of the promotional power of MySpace. Jonathan Buck, guitarist and lead singer of the group says his band’s profile on MySpace has drawn nearly 300,000 visitors. The band can instantly distribute messages and news to more than 115,000 MySpace users who have added Coppermine as a friend on their profile. With that network in place, Coppermine no longer has to devote time and money to flooding radio stations with CDs or plastering concert posters around town.
Record labels understand that the Internet is the most effective promotional and communications device out there. Radio is more constrained; formats are fewer and the consolidation in the radio industry has reduced airplay to safe, established acts. When’s the last time you saw a video on MTV, or at least a complete one? The Internet and its social networking sites have become the source of choice for both music and music videos for millions of fans.
Madison Lockwood is a customer relations associate for ApolloHosting.com. She brings years of experience as a small business consultant to helping prospective clients understand the ways in which a website may benefit them both personally and professionally. Apollo Hosting provides website hosting, ecommerce hosting, vps hosting, and web design services to a wide range of customers. Established in 1999, Apollo prides itself on the highest levels of customer support.
Samba In New Zealand
Origin:
Samba originated in Brazil, with the music containing a combination of Iberian, Native and African influences. The modern day Samba as we know it was developed from a Brazilian style called Choro. Samba is a big part of the world famous carnival parade, and nicely compliments the Bateria.
Music:
Samba has a lot of variations, but most variations have one thing in common: A heavy percussion presence. Samba Music is played in 2/4. The common modern day Samba has the Pandeiro as the most common percussion instrument. The Violo is the other instrument which is always present. The music can vary across all themes, and is not specific to any them or emotion.
Dance:
Samba’s most common dance variation is Samba no p which is a solo dance. Men dance with their whole feet on the ground, whereas women usually dance using the balls of their feet. The rythm is played in 2/4 and the stepping is called as and-a-one and-a-two. The knees are used a lot in Samba, with one knee bending at a time with the upper body straight.
Latinos NZ Popularity Scale: 5/10
Samba is slowly becoming more popular in New Zealand, although Latin Clubs tend to stick to other forms of Latin Music. However, some clubs now have Samba Nights with Samba and other Brazilian rythms and dance.
New Zealand’s biggest Samba event is Jambalaya. Don’t miss it next time!
Article taken from Latinos.co.nz (http://www.latinos.co.nz)
You Can Compose Your Own Music!
Whenever someone uses the word composer, inevitably, the names of Beethoven, Bach, and other classical personages come to mind. This can be very intimidating to those who want to record their musical thoughts and ideas down.
In fact, comparing yourself to ANY composer will be detrimental to you. Why? Because you will always have to live up to someone’s expectations of what is good music or what is not good music. This comparison trap will lead you nowhere and will result in a drying up of the creative spirit. The solution to this trap is to begin where you are and for most of us that means begin EASY!
I’ll never forget the first time I tried to compose something. It was for classical guitar. I tried to create something original and it took me 2 hours just to write out 4-bars of melody. Of course, I didn’t know what I was doing. There has to be some kind of method that works for you. Now, the method I use today has been very easy to work with because it gives me the freedom to compose AND improvise at the same time. I compose using 8-bar phrases.
To do this all one has to do is write out 8-bars on a sheet of paper. Any paper will do. It doesn’t have to be music paper or manuscript. In fact, I just use a spiral bound journal with ruled lines on it. Whenever I want to memorialize an idea, I draw out 8-bars very quickly. I then improvise and allow myself the freedom to play anything that comes out of me. If I try and think something up, the music will usually wind up sounding forced or contrived - qualities that music is better off not having.
Once the idea (either melodic or textural) appears, I write out the first 2-bars so I remember what it is and use chords to quickly fill in the 8-bar section. After this is completed, I may draw another 8-bars and see what else comes. If nothing more is coming at this particular point, I put the journal away and come back to it later on. This method has served me well over the years and is an excellent starting method for beginning composers.
Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/pianolessons.html for a FREE piano lesson!
Write Songs The Music Industry Wants To Hear!
Sure, art for art’s sake is cool… but what if you’re pursuing a career as a songwriter? This article is full of suggestions for how you can tailor your songs to suit the requirements of music business professionals.
Many of us bemoan the state of commercial music today, but what are you doing to improve things in your own microcosmic corner of the universe? Are you working to create the next wave of great material songs that have a lifespan of more than a few weeks or months? How can you use your talents to actually make a powerful contribution… and make a living while you’re at it?
The first step is to take a good look inside and explore what you as a unique individual have to say, lyrically and musically. What do you think about, believe in, stand for? What makes you tick? These precious truths that bubble up from the soul provide the driving force behind great songwriting. These sparks of inspiration, these aha! moments, are what listeners crave when they play a song. They’re also what People Behind Desks are desparate to find. Do you have the courage to lay bare your personal truth in public? I firmly believe that’s what it takes to achieve success with your songs.
The cynical among us will say, no, you just need the right equipment, a catchy hook and a whole lot of money behind you. Sure, those things help, but if you’re trying to break into the business, your song has to simultaneously grab people by the guts, tickle their ears, and slam them over the head like a 2-by-4. Strive to write songs that take risks, tap into the universal via the personal, and motivate people to laugh, cry, feel, dance or take action. Make an effort to innovate, not imitate what’s already out there. In other words, write your passion. Songs miraculously translate to listeners the exact emotion you felt while you were writing them. Do your best to work that magic!
Another quality that professionals look for in a song is strong dynamic flow. Skillful use of the many conventions of songwriting can manipulate listeners in the most enjoyable way. Don’t be afraid to push those emotional buttons! Here are some ways to go about it:
Suck listeners in with lyrical, melodic and chordal tension.
Create a question in their minds: how will this turn out in the end?
Throw their bodies off balance with chords or melodies that are unexpected or quirky.
Take a strong point of view that’s boldly provocative, unique or intensely felt.
Paint a vivid picture in the mind’s eye.
Set a palpable mood.
Construct an entire sonic and/or lyrical environment.
Once you have piqued people’s interest, crank up their involvement using all the techniques in your lyrical toolbox, i.e. rhyme, meter, imagery, metaphor, alliteration… you name it. Avoid clichs like the plague, or turn them on their heads somehow. Experiment until you find the melody lines that best show off your lyrics, and vice versa. Salt your song with enough repetition to make it memorable, but not so much that it becomes predictable. Use chord progressions that are fresh, stimulating the ear rather than lulling it into complacency.
When it comes time for the ultimate payoff, your Hook, don’t settle! This is your Money Shot, and most music biz pros will hit the eject button if they don’t hear a strong hook in one listen. One listen! Here are a few ways to enhance your hook:
Construct your song so that all roads, lyrically and melodically, lead to your hook.
Remember that famous music business adage: Don’t bore us, get to the chorus.
More hooks is merrier! Instrumental riffs, backups, rhythmical chord movement, and verse melodies can provide secondary hooks.
Fear not repetition (up to a point, of course).
Throw in memorable monkey wrench words that stand out.
Make sure the world can sing along.
Play with the language: use slang, twists of phrase, even invent a new word!
Finally, People Behind Desks really appreciate it if you know your marketplace. Don’t submit a country ballad when their artist is a heavy metal guitar-shredder. And if you’re the performer, have at least 3 crowd-pleasing, radio-ready songs in hand before you shop a deal. Make a detailed study of the hits in your chosen genres, and incorporate those lessons into your work. The Internet has made it incredibly easy to educate yourself about what’s selling these days, so there’s no excuse for ignorance.
Look at the world for a moment from the perspective of a music industry pro: They’ll respond positively if they think your song will save their job. By bringing them dynamic, single-worthy, heartfelt material you’ll be well on your way to doing just that, and creating a career for yourself as well.
Happy songwriting!
2006 by Alex Forbes
Award-winning hit songwriter Alex Forbes has seen over 65 of her songs released, many of them landing on the Billboard charts, on TV and in feature films. Her hits in the U.S. include Dont Rush Me, (Taylor Dayne), Too Turned On, (Alisha) and Nothin My Love Cant Fix. Her song, You Are Water is featured on the hit Classical/Pop album by Hayley Westenra. Alex has taught songwriting since 1990 and has appeared on many music industry panels. She offers one-on-one coaching, song critiques and interactive teleclasses for up-and-coming songwriters on her site, http://www.CreativeSongwriter.com.
10 Music Download Legal Points
Everybody’s doing it: downloading music and sharing files. People who share music files on the Internet argue that downloading is legal; today they can be sued by the record industry. Can one be sued without a great intrusion into personal lives of an individual?
1. Enjoy music downloads from safe and legal sources. Get the facts and not the scare tactics, about online music services.
2. The prosecution has to able to prove, with adequate evidence, that the IP address used for music downloads can be linked to the person accused of illegal content sharing. There is a growing concern for privacy. Legal experts worry about the intrusiveness of Internet monitoring in order to prove a court case.
3. These IP address–numbers–given to user by the ISPs are dynamic and change rapidly. The starting point is to establish that there is enough bona fide evidence to prosecute.
4. It is difficult to a pin an IP address on any one person. The IP numbers that some ISPs assign to their users can change from one session to the next. The music industry must be able to link file-sharers to specific IP addresses at the times those addresses were used for file sharing.
5. Since their are personal freedoms involved, the courts want to make sure that the individual is revealed to the public.
6. These copyright allegation lawsuits are a minefield, because they involve the personal information of the defendant.
7. In Canada, under its privacy laws, people are protected through court confidentiality orders. In the United States, the Recording Industry Association of America (RIAA) must get a order to reveal the downloader’s identity.
8. It is difficult to give a definitive decision on the interpretation copyright law itself.
9. The legal tactics of the U.S. recording industry, which have been suing individuals for sharing music on-line. The entire music industry has changed dramatically. Since file sharing began, there has been an increase in the popularity of DVDs and video games that have put recording sales revenue in a slump.
10. The Recording Industry Association of America (RIAA) desires the industry be compensated for losses due to copying, but what decision would make it a flat-out victory. Can the recording industry prove that its bottom line was really affected by file-sharing. In the U.S. the RIAA can sue for statutory damages of $750 per song on a file-sharer’s hard drive. But look dramatic price cuts by big box retailers. Once selling music files for charging 99 cents a song was the norm, now look at Yahoo who now offers $60 a year for all you can eat program. How can the RIAA or CRIA claim such high damages?
Downloading music has been around only a few years and is still evolving. A good road map is needed for what we have to do in the future in the area of copyright on the Internet. It doesn’t mean copyright law does not protect content. For sure, whatever rulings are arrived at, will have long-term effects for us all.
Vincente Applegate
Dedicated to offering news, articles, and instruction on online music downloads. You have a definite choice of music sources online. Visit http://www.anymusicdownload.com for more information.
Call For Bands Going Beyond MySpace
You’re loaded up on MySpace tons of friends and fans with pictures from your most recent shows, flyers for your next tour, and comments from the peanut gallery on everything from the outfit you wore last week to the person you just broke up with. But as much as this is working, it’s limiting. Hugely limiting.
With your own website, your band goes to the next level. First, there’s the credibility. MySpace is for basement bands, kids who practice after school when their drummer isn’t grounded. When you have your own website, you can actually be a basement band with a drummer under perpetual house arrest, but to the rest of the world, you are a professional group of serious musicians, each member with an email address that includes your band’s name.
Include a link to your website in every email you send out, list it at the bottom of flyers, put it on business cards and attach it to the demo CD you send out to record companies. Reviewers can get information about you from your site and, in turn, you can post comments they print. Give bios of the band members and ways to contact you. List lyrics to your songs and tour schedules. The more you have on your website, the more street cred you get and anything is better than a little spot on MySpace.
Next, there’s the possibilities. What can’t you have when you’ve got your own website? You can sell your new album, t shirts in a variety of styles, hats, posters, patches, pins. You can upload samples of your songs, making a pseudo-demo tape available for fans, club owners, recording executives, and potential agents to listen to. Have a variety of forums for your fans to meet each other, get rides to shows, ask you questions, discuss your music all conveniently separated into categories that would be impossible in the endless list of comments on MySpace.
You can also communicate with your band members through your website. Use secure pages that the public won’t have access to and pass notes back and forth when one is out of town. Upload clips of that bass line you’re working on or lyrics that you’re having trouble with. Even if you all have ‘real’ jobs or go to school full time, you can still have band practice via the website.
Websites are a great way to develop your cult status as well. Upload live tracks from your shows and start a bootleg craze, new millennium style. Offer limited edition, hand screened t-shirts and patches. Create a blog and pick a fan out of every show to memorialize. Make up rumors about yourself and spread them. Start an online war with another band. Get noticed and get people listening to your music, talking about your band, and coming to your shows. Then start your own label and help them make their website as big of a success as yours is.
Madison Lockwood is a customer relations associate for ApolloHosting.com. She brings years of experience as a small business consultant to helping prospective clients understand the ways in which a website may benefit them both personally and professionally. Apollo Hosting provides website hosting, ecommerce hosting, vps hosting, and web design services to a wide range of customers. Established in 1999, Apollo prides itself on the highest levels of customer support.
Andy Kim Hits All The Right Notes
I stumbled upon Andy Kim’s web site a while ago and have come to appreciate a forgotten gem in Canadian rock. About a month ago, I even took in one of his concerts.
The one thing that struck me during Andy Kim’s Christmas Special, which took place at the Mod Club Theatre in Toronto on Friday, December 2nd, 2005, was the sheer diversity of the guests who took part. And not just in style, but in age as well. Is this a renaissance of sorts for Andy Kim? You bet it is.
Let me begin with a refresher in the school of Andy Kim. At the tender age of 16, with nothing but desire and raw talent in his pockets, Kim left his native Montreal for New York City in the late 60s in search of stardom. Many Canadians found themselves in the same predicament as Kim, as there was no Canadian music industry to speak of. In this light, Andy Kim is a true Canadian rock trailblazer.
Along with Neil Young, Joni Mitchell, The Guess Who and The Band, Andy Kim was part of a small but dynamic Canadian contingent that found fame in the United States. All have left an undeniable mark on the rock’ n roll landscape. Not bad for Crazy Canucks, eh?
With 30 million records sold, countless tours in the United States and a rock anthem under his belt - Sugar, Sugar was recently inducted into the Rock’n Roll Hall of Fame - Andy Kim has returned.
While Toronto and New York have welcomed him back, his native Montreal has ironically remained cool to his comeback. Far from keeping Andy Kim down, he will force people to notice him as he did when Jeff Barry discovered in him over 35 years ago.
This brings us back to the concert. In a sleek black suit, Kim kicked off the evening with a rousing rendition of Rock me Gently - a song that brought him a Juno Award in 1974. From that point forward, the tone and mood of the night were set. If there were any among the 550 plus people in attendance who were skeptical, he quickly made them a believer.
This set the stage for an impressive list of Canadian artists to showcase their music. The group included Esthero, Hayden Neale of Jacksoul, Shaye, The Hidden Cameras, Andy Stochansky, Danny Michel, Blair Packham and Jully Black.
Ron Sexsmith who performed and co-wrote What Ever Happened to Christmas alongside Kim also treated fans to a special guest appearance.
There was nothing formulaic to the evening. This much was clear as musicians moved on and off the stage with a flair of what I would call slight unprepared coolness. Whatever it was, when the music started, each of them brought with them a unique element to the concert. It was a magical night that reminded us how Canadian music continues to thrive and evolve.
Above all, for 2 1/2 hours, many of Canada’s musicians, who were barely in existence when Andy Kim began writing music, had a chance to perform with a rock legend. It had to be gratifying for Andy Kim - who influenced so many musicians - as he watched people of another generation connect to his music. Not only that, all are self-professed fans.
Of course, all good things must come to an end, and what better way to end the night than with Sugar, Sugar? With everyone on stage performing it in a jam session, it was reminiscent of The Band’s Last Waltz or whenever great musicians congregate to perform a colleague’s song. It was an awesome spectacle that was free of any tackiness that can dangerously make such things ghastly to watch.
As I listened, I observed a young punker pass by and look at the stage. She turned and walked away, though not before giving her opinion to no one in particular, ‘This is so cool.’ I thought two things to myself after hearing this. This is exactly how Tony Bennett revived his career when he connected to a crowd outside his genre. Indeed, Andy Kim had the aura of a rock’n roll crooner.
The second thing that came to mind, and probably more important in the larger scheme of things, is that Andy Kim belonged. He did not seem displaced artistically or technically with this group of outstanding musicians. This, in my mind, is the greatest accomplishment of the night. Well, that and the fact that proceeds went to charity.
Sugar, Sugar was the perfect climax for an excellent show. Or was it? Not wanting to call it a night, the performers debated with which song they should continue? They settled on Rock me Gently, the song that began the whole affair.
This was, for those who pay attention to such things, symbolic of Andy Kim’s career, which has come full circle as he connected with a whole new generation of musicians. If anything, he can watch with pride the vibrancy and brilliance of Canadian music he helped spawn.
Anyhow, check out his site - which includes his personal diary - and you may even be moved to purchase some of his music. His impressive latest EP ‘I Forgot to Mention’ includes contribution from Ed Robertson of the Barenaked Ladies, Timothy B. Schmidt of The Eagles and Kenny Aronoff among others.
http://www.friendlymisanthropist.blogspot.com - The Commentator