Toblins.com

David Hooper asked:


It’s like a job interview, but so much more. A band member isn’t just doing a job-they are joining your creative family. You want to be sure of their technical ability, and you also want to be sure they will blend with the rest of the band. Success for your group depends on a synergistic blend of personalities. Here are ten questions you can ask a potential band member to ensure they will be exactly what you need to take your band to the next level.

1. Why do you want to join?

Watch the response to this question. Do they have to really think about it? If so, you need to clarify whether or not they have a good reason to commit to your band. You’re not trying to make it difficult for them to join, but this first question is the single most important one for them to answer well because it is a true reflection of how they feel about your band and your music. Don’t prompt them for the answer you want. Simply ask, and let them answer-no matter how long it takes or how much they struggle for the right words.

2. What do you think you can contribute?

The answer to this question will let you know if they are a well-rounded band mate. If their answer is just about their musical abilities, that should be a red flag. What you’re looking for is someone who can tell you about their musical skill, but also be willing to contribute time, energy, money, contacts, and other important resources. Someone who has experience is also a big plus. Look for a person who has their eye on the overall activity involved with making your band succeed.

3. Who were your biggest musical influences?

This question is designed to find out who your potential band member emulates musically and in every other aspect of their lives. If your band is Rolling Stones and your interviewee is Jim Croce, you might want to take that in to consideration. An ideal candidate will talk about the types of musicians that inspire you and the rest of the band.

4. How much time do you have to devote to practice?

This is serious. Practice is the heart of your band and if someone has an inflexible schedule or can’t practice every single week, they aren’t a good prospect. All the talent in the world won’t matter if they aren’t able to make it to rehearsals with the rest of the band. Everyone should agree on the time commitment that is acceptable and insist that any new member be able to commit to it before you agree to bring them on board.

5. Do you have any other skills you can contribute?

Sure they can play the drums-but find out what else they have in their arsenal. Even if it is something that seems totally unrelated, it may turn out to be useful in promoting or managing the band. A degree in accounting? Great! Ask them to help you make a budget! Internet freak? Super! Have them manage the band’s website. Find out what’s in their whole skill set and find ways to utilize that to your advantage.

6. Are you dependable?

The answer of course should be “yes”, but as a follow up to this, ask them to provide you with examples of their dependability. If they can’t come up with a concrete example immediately, you should be worried.

7. Why did you leave your last band?

Just like a job-people can voluntarily leave their band-or they can be fired. They can leave for personal reasons or because of conflicts. Find out what the real reason the interviewee left their band, and remember to keep a skeptical mind. There are two sides to every story.

8. Where would you like to see yourself in five years?

You’re not proposing marriage to the person, but you do want to know that they are going to commit to working with you long enough that it will be worth hiring them. Constant changes in a band are unsettling and cause disruption. It takes time to gel with a new member and reach an optimal level of creativity. You don’t want someone who is going to run off in six months after you’ve invested that much time into making them a part of your sound.

9. How do you define “team player”?

Everyone has different perspectives, so make sure you ask them find out exactly what they think it means to be on a team. Ask for examples of how they’ve contributed to a team before. Ask them about their best and worst experience working in a team environment. It might be about their little league baseball team, their science group in high school, or their competitive race car driving experience-but listen carefully at the words they use to describe these situations. Watch their face as they describe both the good and bad scenarios for clues about how well they handled these situations.

10. What do you want from the band?

Every relationship is give-and-take. Find out what this person expects from the band in order for them to be happy and remain creative. An honest and mature person will be able to tell you what they need in order to stay involved. Do they require honest feedback? They may need to feel that their suggestions are taken seriously, or that they have freedom to try new things. Whatever it is, weigh their answer with the rest of the band and make sure it is something you feel you can do in order to keep your commitment to your newest member.

When you sit down with your potential band member, try to make it informal and easy for them to tell you what they really think. If you are having this conversation it means you have already heard them play and like their abilities; a face-to-face interview like this should be a final step in the decision making process and every member of the band should be there. Make sure you tell them a specific date that you’ll let them know your final decision and then stick to it. They’ll appreciate your professionalism regardless of whether or not you hire them.

Noe Pacheco asked:


Nashville, Tenn.’s, Matthew Ryan, has had a prolific journey as an independent musician who has kept moving forward. Ryan’s latest release, Matthew Ryan vs. The Silver State, received rave reviews.

 

Recently, the indie musician released his single, Some Streets Lead Nowhere, and is preparing for a tour in Italy. I had a chance to ask Ryan about his tour and projects moving forward…

 

GH: You’re working on a new album, right. How is that goin’?

 

MR: Well, right now, I’m writing and recording as I go. I want this next record to be dealing in an almost nuclear intimacy. Probably a bit rawer. I have a lot on my mind lately. So far it’s a beautifully apocalyptic collection of love songs. I’ve always liked Everyday Is Like Sunday by Morrissey. So, on some level, that song is the measure for these next songs.

 

GH: Is this a self-funded album?

 

MR: I’ve decided that labels don’t have the best interests of art in mind. So, my manager and are are completely dismantling our “label” relationships in the US. However, we’ll probably stay with One Little Indian in the UK. They’re a great bunch of people, and I think because of Bjork’s involvement, they continue to stand by artists and their work.

 

GH: Do you have a certain “sound” you are going for on this new album? 

 

MR: I want the next record to sound like this picture.

 



Not because it’s a picture of me, but because it could be a vivid conversation with anyone.

 

GH: What’s the songwriting process like for you? Do you incorporate any ideas from the band during the process?

 

MR: This next record will be a solo record, a complete expression of myself and how I see the world, love and the politics and weather between men, women and their dreams.

 

GH: Do you think “Some Streets Lead Nowhere” will make the album, or just will it just be kept a single?

 

MR: Some Streets will more than likely be on the next record, because it’s the birth mark of this next record. I’m think 10 or 11 songs. I want this record to move like a beautiful movie.

 

GH: So you just released the single, “Some Streets Lead Nowhere.” What was the inspiration for the song?

 

MR: Reclamation was what I had in mind with this song. My thought was, that living can bring a fog or sense of distance between what we want and want we’re doing. Love is always the perfect metaphor for these things that can inspire and destroy us. This song is about a woman. And how familiarity can lead to blindness. It’s something we should struggle against.

 

GH: Was the song completely finished before you saw the episode? 

 

MR: Yes.

 

GH: The song was the theme for the score of an episode of “One Tree Hill.” How was it to score your second project?

 

MR: It was great. We moved at a quick pace. The story lead me to some pretty ambient and emotional stuff. I found it liberating to get out of my own story or theme for a week.

 

GH: Did you feel the burden of any expectations going into score the episode?

 

MR: I did. Scoring is hard work. Like songwriting, it’s riddled with potential cliches. I just tried to be as honest as I could.

 

GH: Do you find scoring a project difficult?

 

MR: It was challenging.

 

GH: Any plans to score any more projects in the near future?

 

MR: I would like to score more. I’m currently up for scoring a Christina Ricci movie called The Girl Who Invented Kissing.

 

GH: You had a list of shows on the east coast coming up. What types of venues are you playing at this time around?

 

MR: Hmmmm. It’s a little frustrating. I’ve worn a path through these rooms. I’d love to graduate to small theaters. But more and more people are coming out. So, we’re getting there. I love these rooms, good people run these venues. But it’s starting to feeling like I should be in college and I’m still roaming the halls of my high school. Graduation day is coming though.

 

GH: Do you have any plans to tour across the country before your next album is finished?

 

MR: There will be some dates here and there. I’m going to Italy in November. That should be wonderful.

 

GH: Your newest release, “Matthew Ryan vs. the Silver State,” has received incredible reviews. What has your reaction been having such a great response to your artwork?

 

MR: I always appreciate recognition. But more important to me is when my music becomes part of people’s lives. That’s my goal. We’re all moving through this together. Music has the ability to comfort and inspire. That’s all I want to do.

 

Fan Questions

 

He has been so prolific and has written non stop for the past 10 years, what chances do we have of seeing a box set of his work?

 I don’t know if the modern business allows for such retrospectives. I would love to do it one day though. I recorded about 100 songs before my first record came out. I would love for it all to be put in one place to be found. My feeling has always been that I was writing one very long book or movie. It would be interesting to see the arc of the story from the beginning to the present. Sadly, my career has been one without much consistency as far as labels go. So, logistically, it makes such a thing tough. I’ve owned all my publishing for the last few records starting with Regret Over The Wires. So, we’ll see. Something can always be done.

 

I’ve loved his collaborations w/ Strays Don’t Sleep and Kate York. Who is on his list to collaborate with?

 I’ve had a few new collaborations in mind. We’ll see. Right now though, I’m focused on my solo work.

 

What are your favorite cities to visit during a tour?

 I love a lot of places for different reasons. But off the top of my head Glasgow, Scotland; Chicago, IL; Minneapolis, MN; Austin, TX and Manchester, England.

Clive Calvin asked:


While many musicians have a Myspace page devoted to their band and their music, most of those musicians do not use it to its full potential. Granted, Myspace is a great place to connect with friends and fans, upload songs, sell merchandise, and a host of other really terrific services and capabilities, but the main point of Myspace that many overlook is promotion beyond the internet.

The best way to gain attention offline is the same as you would online, by using play counts. Play counts are a ranking system used to rank the popular musicians whether they are Unsigned, Indie, or on a major record label.

These music charts are first organized by genre and then overall for the entire site. The higher the total Myspace play counts, the higher up the ranks your group or band will reach. Many musicians, including those on major record labels, are turning more and more to promotional tools to aid their rise in the music charts.

In light of just how important these total play counts really are, make sure you select a service or software that has been proven and was developed with the aim of helping musicians reach the desired play counts in a natural manner which produces terrific results.

These results do not only garner the attention of fans, peers, and even important executives in the music industry, they can be used to promote your band through magazines, television, radio, and other forms of media.

Most of the larger cities, and even the smaller towns, have a local newspaper or magazine. These print media are always looking for stories about local people who are doing something of interest. While starting at the bottom and not going straight for Rolling Stone may seem a waste of time, it really is the best way possible to gain attention at this stage, at least before Rolling Stone magazine notices your band.

With an impressive Play Count, your local magazine and newspaper will surely be more than happy to interview you and your band. Getting your band in print, and circulating among tens of thousands of people, is only the first step.

Word of mouth will take hold from there and continue to spread news of your music. More likely than not, if you were to show up to the local magazine or newspaper office without an impressive play count, the editors will only ask you to leave. However, with high play counts and a spot in the Myspace music charts, preferably a higher spot than the bottom three, you will gain the editors attention and interest.

It is even possible to use high play counts to get jobs other than the one at the small bar on the outskirts of town. Bars, pubs, and other venues, especially ones that primarily deal with local and underground bands, book their talent by how popular they are. This way, you’ll ensure that there will be a decent crowd and a decent chance of doubling and tripling their nightly profit.

Keep this in mind as you approach a venue in which you would like to perform. Show them your play count and guarantee that you are popular and worth their time. Again, this can only be done if you have a high play count number. The higher this number, the more likely the venue will agree to let you play. These venues will be an important step to your bands future and gaining fans.

Now, these are just two examples of how Myspace can help you beyond the internet. Myspace is an important tool in elevating your status and popularity in the music world and while it is certainly possible to gain recognition and a record deal through Myspace, it is best to not just wait around for that possibility.

Local media and venues will be more than happy to spread the word about your band when it is popular, so use this fact to your advantage as well. Simply because you are on Myspace does not mean that anyone will take you seriously, you have to have the play counts to back up your boasts.

Use your imagination when promoting your band and use your popularity on Myspace as a guarantee of your skill and capabilities. Along with the site, these offline attempts will help boost your popularity and the number of your fans.

dresscloth asked:


Niandra Lades and Usually Just a T-Shirt is the debut solo album by John Frusciante released on March 8, 1994 on American Recordings. Frusciante released the album after encouragement from several friends, who told him that there was “no good music around anymore”.[1]

http://www.himfr.com/buy-Angora_Socks/”>Angora SocksNiandra Lades and Usually Just a T-Shirt combines avant-garde and stream-of-consciousness styles, with guitar, piano and various effects and synthesizers on a four-track recorder. The album’s first half, Niandra Lades, was recorded before Frusciante left the Red Hot Chili Peppers in 1992; after the recording of Blood Sugar Sex Magik. The second half, Usually Just a T-Shirt, was recorded while the band was on tour in the months leading up to Frusciante’s departure. Niandra Lades and Usually Just a T-Shirt sold poorly upon its release in 1994, and was taken off the market, only to be re-released in 1999.

 

 

Frusciante joined the Red Hot Chili Peppers in 1988, at the age of 18, and released his first album with the group, Mother’s Milk the following year. The follow-up album, Blood Sugar Sex Magik, was recorded in an empty mansion that the band decided to live in for the duration of recording.[2] Frusciante adapted well to the environment, and often spent his time alone painting, listening to music, and recording songs that would eventually make up the first half of the album, Niandra Lades.[2]Blood Sugar Sex Magik was released on September 24, 1991 and was an instant success. The album peaked at #3 in the U.S. and went on to sell over 12 million copies worldwide.[3][4][5] Soon after the album’s release, Frusciante developed a dislike of the band’s newfound popularity. He felt that the band was too famous, and wished they were still playing small nightclubs like they were before he joined the group.[6] By his own admission, the band’s rise to popularity took Frusciante by surprise, and he could not cope with it.[7] During Blood Sugar Sex Magik’s promotional tour, Frusciante began using heroin and cocaine heavily.[8] He and vocalist Anthony Kiedis often argued zealously before and after performances. Frusciante began purposely sabotaging shows by playing intro for a song, or playing out of key.[9] His relationship with the band had become progressively more strained, and he abruptly quit during the Japanese leg of their world tour in 1992.[10]

After leaving the Red Hot Chili Peppers, Frusciante continued to write and record solo material. He had been doing so since the age of nine, but had never considered releasing his material to the public.[11] That was until several of his friends—including Johnny Depp, Perry Farrell, Gibby Haynes and former Red Hot Chili Peppers band mate Flea—encouraged him to release the material he wrote in his spare time during the Blood Sugar Sex Magik sessions.[11][12] Frusciante began recording final cuts of the songs he had been writing since his departure, and producing them at his home in mid 1992. The production process, however, became hampered by his increasingly severe addiction to heroin. Usually Just a T-Shirt was recorded in the order it appears, with the final tracks being recorded shortly prior to Frusciante’s departure from the Chili Peppers. The effect his drug use had on album is exemplified on the album’s second song, “My Smile is a Rifle”.[1] Frusciante’s use of heroin and cocaine became more extreme during the final stages of recording in late 1993; he began viewing drugs as the only way to “make sure you stay in touch with beauty instead of letting the ugliness of the world corrupt your soul.”

During a 1994 interview, a visibly intoxicated Frusciante noted that he wrote the album in order to create “interesting music”, which he felt no longer existed. He felt contemporary artists were not writing material he deemed worth listening to and the mainstream population were settling for mediocrity.[11] Drugs were another significant topic Frusciante based Niandra Lades and Usually Just a T-Shirt on.[13] He increased his drug use to cope with worsening depression that was caused by leaving the Red Hot Chili Peppers, and his subsequent isolation. Several songs on the album deal with his dislike for the Chili Pepper’s success, such the album’s eleventh track, “Blood on My Neck From Success”.

Niandra Lades and Usually Just a T-Shirt incorporated Frusciante’s avant-garde style of song composition, with his stream-of-consciousness methodology. He recorded, mixed, produced and mastered the entire record by himself, and released it on Rick Rubin’s label, American Recordings.[1] Warner Bros., the Chili Peppers’ label, originally held the rights to the album because of the leaving-artist clause in Frusciante’s Chili Peppers contract. Because he was living as a recluse, however, the label gladly handed the rights over to Rubin, who released the album under his label.

Niandra Lades and Usually Just a T-Shirt was initially previewed by Billboard magazine, who said that “Chili Peppers fans might be daunted by the album’s elusive experimentalism.” A representative of American Recordings did not foresee the album as being viable in any mainstream music stores, and some retailers went as far as to ban it from being sold.After the album was released, Frusciante played three small performances, and participated in a few magazine interviews to promote the album; explaining in one interview that people would only be able to understand his work if “their heads are capable of tripping out”. At one point shortly after release, Frusciante began searching for a string quartet to play the album with him on tour. The idea was eventually discarded when he could not find a band that “understands why Ringo Starr is such a great drummer, can play Stravinsky, and also smokes pot.” The concept of a tour was ultimately abandoned as well, due to Frusciante’s diminishing health.

Niandra Lades and Usually Just a T-Shirt was not widely reviewed, but yielded a generally positive response from critics. Steve Huey of Allmusic, who rated the album four out of five stars, said that “[the album was] an intriguing and unexpected departure from Frusciante’s work with the Chili Peppers”, and that “the sparse arrangements of the first half help set the stage for the gossamer guitar work later on.”He went on to say that Usually Just a T-Shirt—the latter half of the album—contained “pleasant psychedelic instrumentals with plenty of backward-guitar effects.” Ned Raggett, also of Allmusic, noted that “there’s nothing quite so stunning as [Frusciante's] magnificent remake of Bad Brains’ ‘The Big Takeover’.” Adam Williams of PopMatters said the album “fall[s] somewhere between madness and brilliance”. He went on to compare Frusciante to Syd Barrett, and felt it was a “hint at a deeply cerebral artist looking within for inspiration and creativity.” The album received its share of negative criticism as well. Rolling Stone’s Christian Hoard, felt “Frusciante’s eccentricities run seriously amok”, and that ” [the album] sounds like a string of four-track demos. The first part of the album is slightly more tuneful than the more ambient, experimental second section[...] Mostly what you get are Frusciante’s acoustic-guitar scratchings and stream-of-conscious ramblings.”[16] The first Rolling Stone review of the record, however, was positive: “All in all, [the album is] a mess - but definitely a fascinating, often lovely mess. As one might expect of an album titled Niandra Lades and Usually Just a T-shirt this is twisted, cool stuff.”[22] The Boston Herald said that while the album was “a stark display of Frusciante’s acoustic guitar virtuosity” and “…eerily beautiful”, the singing was “terrible; his high notes will drive the neighborhood dogs into a frenzy.”

Frusciante’s drug addiction worsened as the years progressed. An article published by the New Times LA described him as “a skeleton covered in thin skin”.[18] He participated in an interview with Dutch public broadcast station VPRO—the first media appearance he made since leaving the Chili Peppers.[11] In the interview Frusciante speaks of the positive effects drugs have had on his mind and proudly admits to being a “junkie”. He went on to confess addictions to heroin and crack cocaine, but ultimately described himself as being in the best health of his life.[11] In 1997, Frusciante released his second solo album Smile From the Streets You Hold, primarily for drug money.Niandra Lades and Usually Just a T-Shirt was estimated to have sold only 45,000 copies when Frusciante ordered it out of print in 1998—when Frusciante rehabilitated and rejoined the Chili Peppers.[1]Smile From the Streets You Hold was withdrawn from the market a year later.[24][25] In 1999 Niandra Lades and Usually Just a T-Shirt was re-released on American Recordings.[1] Frusciante has said he plans to re-release Smile From the Streets You Hold sometime in the future, but has not given any indication as to when.

Eric de Fontenay asked:


New site features gear reviews, factory tours, and interviews with industry experts

Intended as a one-stop shop for all things guitar, www.guitarfixation.com officially launched this month. Soon to be the first and only stop for new and seasoned guitar players alike, the site features gear reviews, factory tours, shop spotlights and interviews with industry-leading guitar makers.

The site’s publisher, Paul Zoskey, says the idea for the Guitarfixation.com was a result of frustration with the existing resources for musicians, “I had long been looking for a single guitar related resource for the latest news/reviews and info, a Gizmodo for Guitars if you will. The problem was I was never able to find it; so I decided why not make the site I’ve always been looking for myself?”

The contributors for guitarfixation.com come from a cross-section of the music industry, including: San Francisco-based audio engineer and musician Phil Manley (Trans Am, the Fucking Champs, Golden, Oneida and Jonas Reinhardt); vintage guitar dealer for Jay Rosen Music and owner of Classic Bar Music Erin McDermott (Guitar Magazine, Top Ten); San Diego-based musician and owner of Louder Records Tim Soete (The Event, the Fucking Champs); and from Oakland musician Dan Brubaker (Long Thaw, Generalissimo). The site’s editor is Nikkole Stone of Toronto band First Person Shooter, and Zoskey, himself an avid guitarist based in San Francisco, is most known for his work at Dolby.

Current featured articles on the site include a tour of Rudy’s Music Stop in NYC, a venerated Mecca for musicians of all stripes, as well as an in-depth interview with Santa Cruz Guitars founder and champion, Richard Hoover. Hoover gave guitarfixation.com unprecedented access to his work-bench style factory and speaks candidly about the challenges facing boutique-type companies like Santa Cruz as well as the thrills associated with creating some of the finest crafted acoustic guitars on the market.

An extensive array of stompbox and guitar reviews are already on the site, with more being added daily. Upcoming features include an interview and shop tour with Dot on Shaft guitars founder/CEO Mike Carparelli, and complete coverage and reviews from the LA Amp Show.

For all things guitar visit http://www.guitarfixation.com

Ankit Talwar asked:


Blink 182 (pronounced “blink one eighty two”) is a punk band from San Diego, California, U.S. formed in 1992 by Mark Hoppus, Tom DeLonge, and Scott Raynor in the northern San Diego suburb of Poway. Travis Barker replaced Raynor on drums in 1998, midway through blink-182’s US tour. The group went on “indefinite hiatus” in 2005. In 2006, Mark Hoppus & Travis Barker conducted an interview with MTV and confirmed that the group is officially broken up.

The group was known for their catchy melodies, as well as for satirical, and sometimes profanity-laden, toilet humor. Musically, the band played up-tempo songs with prominent major-chord harmonies, often digitally mixed, to provide a much cleaner sound than typical punk/rock recordings, which generally exhibit distortion and analogue mixes to achieve the opposite effect. However, their last album showed a significant departure from their previous works and helped exhibit their more mature musical prowess while showcasing some advancement in the sophistication of their lyrical themes. The lyrical content of their songs, prior to their last album, was usually humorous and light hearted. blink-182 fans were predominantly teenagers; however, they managed to establish a more mature following with their latest offering.

Although the band is labeled as Blink 182 on albums prior to Raynor’s departure, the official rendering of the band’s name is blink-182. The numbers 182 were added to the band’s name to prevent a trademark conflict with the Irish pop group Blink. However, fans frequently refer to the band informally as ‘Blink’.

History:

Early career (1992-1995)

The beginnings of the band can be traced back to the early ’90s when DeLonge was reportedly expelled from Poway High School during junior year after being caught drunk at a school basketball game. After he transferred to another school, he met Anne Hoppus, sister of Mark Hoppus, who introduced DeLonge to her brother. The day the two future bandmates met, they were skateboarding with friends in a plaza parking lot and to impress DeLonge, Hoppus climbed a lamp post and jumped from the top, cracking both heels. The two hit it off and eventually came up with the name “Duck Tape” for the name of new band. Duck Tape soon transformed into Blink. In need of a drummer, DeLonge recruited 14-year-old Scott Raynor, whom he had seen playing at a “Battle of the Bands”.

In May 1993, Blink released a demo tape entitled Flyswatter, recorded in drummer Scott Raynor’s bedroom. It was their first album and a 4-track was used to record the material, resulting in poor sound quality and according to Hoppus, only around fifty copies were produced. Their first real show took place at a bar and since they were underage, they were only allowed to enter when it was time for their set. They bought 50 tickets to sell, but no one came to see them. After only one song Blink was kicked off the stage and out of the bar. Before the end of the year, the band released another demo tape known as Buddha. Around 1,000 copies were produced by Filter Records (owned by Hoppus’ boss).

In early 1994, the success of the Buddha demo lead to Blink being signed with Cargo Records. Blink recorded their debut full-length album, Cheshire Cat in just three days. The album contained a number of updated versions of songs that had appeared on the Buddha demo.

Shortly after the release of Cheshire Cat, Blink was threatened with legal action by a techno band in Ireland of the same name. In order to avoid a lengthy lawsuit, Blink appended “-182″ to the end of their name. There are several rumours as to why these numbers were ultimately chosen, such as their correspondence to the number of times Al Pacino utters the word “Fuck” in Scarface, the 1985 Timothy Hutton film, Turk 182!, their representation of Hoppus’s ideal weight, or that they represent the position in the alphabet of the letters ‘R’ and ‘B,’ referring to the northern San Diego suburb of Rancho Bernardo. However, the band members have dismissed such claims and maintain that the numbers were picked at random. However, in one interview, Barker stated that the “182″ was the U.S. radio code meaning ‘homicide’ (apparently confusing “182,” the radio code for conspiracy, with “187″). During the pop punk boom of the 1990s, blink-182 was signed by MCA in 1996 which later became Geffen Records

Ankit Talwar - Web Designer

Naqi Khan asked:


Skills for the Listening Module

Skills for the Reading Module

Skills for the Writing Module

Skills for the Speaking Module



The following study hints will help you in the weeks leading up to the IELTS.



Become familiar with the test as early as possible. The skills being tested in the IELTS take a period of time to build up. Cramming is not an effective study technique for IELTS.

Use your study time efficiently. Study when you are fresh and, after you have planned a timetable, make sure that you keep to it. Set goals and ensure that you have adequate breaks. In the IELTS test, each of the four Band Modules — Listening, Reading, Writing and Speaking — carries the same weight. Study each skill carefully and spend more time on the skills in which you feel you are weak.

Be aware of the exact procedure for the test. Be very clear on the order of each section, its length and the specific question types. There are many resources available to help you practice these skills.

Having a study partner or a study group is an excellent idea. Other students may raise issues that you may not have considered.

Seek help from teachers, friends and native English speakers.



Countdown to the test

Days before the test

This is not a time for intensive study. It is a time to review skills and your test technique. It is important to exercise, eat, rest and sleep well during the week in which you will take the test.

Leave nothing to chance. If you do not know how to get to the test centre, try going there at a similar time one or two weeks before the real test.

The night before the test

You must have a good dinner and go to bed at your normal time — not too early and not too late, as you do not want to disrupt your sleep pattern if possible.

Have everything ready that you need to take with you to the test so you can simply pick it up in the morning, for example, the test registration form, passport, test number, pens, pencils, erasers, etc. A pen that runs dry or a pencil that breaks can take several minutes to replace. Check before the exam exactly what articles you need. Set your alarm clock the night before or arrange a wake-up call.

On the morning of the test

Eat a good breakfast. You will have several hours of concentration ahead of you and you will need food and drink in the morning. You may even want to bring more food or a snack with you, especially if your speaking test is at a later time that day. You cannot, however, take food or drink into the exam room. If possible, wear a watch in case you cannot see the clock in the exam room. It is essential that you keep track of time.

Give yourself plenty of time to get to the test centre. You will be required to complete a registration form and to show your passport before you enter the examination room so you must arrive at the time specified by your test centre. If you are early, you could go for a walk. If you are late, you will not be allowed to enter. Avoid the added tension of having to rush.

During the test

Most students at the test will feel nervous. This is quite normal. In fact, it can actually be quite helpful in terms of motivation. It may make you alert and help you to focus. The aim is for you to try to perform at your optimum level.

In contrast, high levels of anxiety can affect a student’s performance. However, much of this anxiety can be overcome by good preparation, familiarity with test details and a positive attitude.

The examination room should be suitable for testing, that is, the lighting, ventilation and temperature should be appropriate. If you are uncomfortable because of any of these factors or if there is some other problem, such as not being able to hear the recording of the Listening Module, make sure you ask the person in charge to do something about it. For example, you may ask to change seats.

Examination technique

By using good examination technique you could help to improve your overall score for the IELTS test.

Remember that every section is marked independently. Do not jeopardise your performance in one section just because you believe that you have done badly in another. Do not underestimate or try to predict your outcome. You may, in fact, have done better than you imagined.

Focus on what you know rather than on what you don’t know while you are doing the test.

Ensure that you adhere to the times suggested as they usually correspond to the number of marks given for a particular question.

In the Listening and Reading Modules, it is a good idea to write down an answer, even if you are not sure of it, before moving on to the next question. Many students intend to return to the answers they have omitted at the end of the test but do not have enough time to do so. Furthermore, by writing your best answer at the actual time of reading the question, you save the time you  need to spend again on re-reading the question and re-acquainting yourself with the subject matter. If you are not confident about your answer, mark it in some way and return to it at the end.

Do not leave any answers blank.You are not penalised for incorrect answers, so ‘guess’ wisely.

 

Skills for the Listening Module

In the IELTS Listening Module, the recording is played once only. You must, therefore, use a number of strategies to help you listen closely. There are a few main skills you will need to do well in the IELTS Listening Module:

Understanding the instructions

Instructions are both written on the question paper and spoken on the tape. Read and listen to every word in the instructions very carefully. Ensure that you follow them exactly and answer in the correct way.

Previewing and predicting

An announcer will briefly outline:



the topic

who is talking

the situation.



Try to listen carefully as this will help you to preview the questions.

Before the recording begins for each section, you will be given up to 30 seconds to read and become familiar with the questions. Use this time efficiently so that you can prepare yourself to listen for the information you need.

Here are some hints for previewing and prdicting:



Study the question carefully and try to predict what type of answer is required. For example, will it be a date, a name or maybe a number?

Check the differences between similar-looking pictures or diagrams.

Look for minor details such as different numbers or omissions.



In addition to the 30 seconds before each section, you will also be given 30 seconds after each section to look over your answers. If you are satisfied with your answers in the section you have just finished, move on to the next section and use the full 60 seconds for previewing.

Listening for specific information

Use of previewing and predicting skills will help you listen for the specific information you need to answer the questions in the Listening Module. Listening for key words and common connective words often helps to signal the specific information that you need in order to answer the question. Make sure that, while you are actually writing your answers, you continue to listen to the information given in the recordings as there will not be a second opportunity to hear it.

Checking and rewriting

You are given about 30 seconds after each section to check your answers. Check that all your answers correspond with the given instructions.

Make sure that you have answered every question. Marks are not deducted for incorrect answers so, if you are unsure of a particular answer, you should guess by writing down what you think is the most likely answer.

Check that you have included only what is necessary in the answer.

At the end of the Listening Module, you are given about 10 minutes to transfer your answers from the question paper onto the answer sheet. Scan your answers to ensure that you have transferred them correctly so that the number on the question paper corresponds with the number on the answer sheet. Be especially careful when transferring answers from tables as sometimes the items are not linearly ordered.

 

Skills for the Reading Module

One of the main difficulties experienced by students doing the Reading Module is not having enough time to complete the test. It is, therefore, essential to read both efficiently and effectively.

There are a few main skills that you will need in order to do well in the IELTS Reading Module. It is useful to use the following procedure for each text that is given.

Previewing (about 2 minutes for each passage)

(a) Study the passage by noting:



titles

headings

illustrations

diagrams

any print in bold type or italics.



(b) Study key parts of the passage by skimming. Read the first paragraph which often focuses on the main idea. The first sentence of each paragraph usually expresses the key points of the paragraph. Generally, the concluding paragraph provides a summary of the given passage. You may wish to highlight these with a pen.

Interpreting the instructions and questions (about 2 minutes)

Read each word in the instructions carefully and ensure that you understand exactly what is required and in what form. For example, the instructions may say, ‘Choose no more than three words from the passage for each answer’. In this situation, it would not be acceptable to write four or more words. Often students find the right answer but present it in the wrong form and, unfortunately, do not score any marks for that answer. Understanding what is required, therefore, is just as important as finding the right answer in the passage.

When you are looking at the questions, you need to recognise:



what type of question you have to answer (is it gap-filling, multiple choice, matching information, etc?)

whether or not the question requires a specific or general answer

what form the answer should take (is it a number, date, reason, etc?)



Scanning the text for specific answers (about 1 minute per question)

Use your time wisely. Spend no longer than one minute on finding each answer. Only look in the given text, table, diagram or graph for the answer required. Locate key words in the question and find them, or synonyms for them, in the text. The sentences around these words are most likely to contain the answers you need.

If you are still unsure of the answer after you have spent approximately one minute on the question, make a sensible guess in the appropriate form. You may wish to mark the answers you are unsure of in some way so that, if you do have time at the end of the Reading Module, you can check these answers again.

Checking your answers (about 3 minutes)

After you have completed your answers for each section, you need to check them. Check that you have followed the instructions exactly. If you have time, return to the answers you marked because you were unsure and see if the answers you have given are the best ones.

Do not leave any answers blank as you do not lose marks for incorrect answers.

Helpful hints for the Practice Reading Module



There may be some words in the passage with which you are unfamiliar. Use the strategies explained in the section, ‘Working out unfamiliar vocabulary’ to help you work out the meanings of these words.

Be aware of the use of connective words. These will help you with the general meaning of the text. If you are unsure of any answers, check the table of common connective words.

Note if there is a glossary accompanying the passage.

Follow the instructions carefully. A correct response will be marked wrong if it is written in the wrong form.



Working out unfamiliar vocabulary

When reading a passage in the IELTS test, it is most likely that you will come across words with which you are unfamiliar. Be prepared for this. You may not need to understand the exact meaning of an unknown word, unless there is a question directly related to it.

If you do need to know the meaning of an unfamiliar word, don’t panic. There are various strategies that you can use to work out the meaning of the unknown words.

Check the context

Are there any clues in the surrounding words or phrases? Look particularly at the words just before and just after the unfamiliar words.

Look for a definition

Sometimes the writers realise that the word is an uncommon one so they define, restate, explain or give an example of it. Words that signal meaning often include ‘is’, ‘means’, ‘refers to’, ‘that is’, ‘consists of’. For example, ‘Snoring is a noise generated by vibrations of the soft parts of the throat during sleep.’ The word ‘is’ signals a definition.

Remember, too, to check if there is a glossary.

Identify the word’s place and purpose

Is it a noun, adjective, verb or adverb in the sentence? Are there any punctuation clues, for example, semicolons or question marks?

Look for connective words

They are often near the unknown words and will usually help to identify the general direction of the argument which will help to give some understanding of the unknown word.

Break the word down into syllables

Sometimes knowledge of common roots, affixes and possible similarity of words in your own language can help you to identify the meaning.

Treat the unknown word as an algebraic entity ‘X’

Observe the relationship of the unknown word,‘X’, to other words and concepts with which you are more familiar. Often this is enough to answer questions that include‘X’.

 

Skills for the Writing Module

TASK ONE

In Task 1 of the Writing Module, you are given about 20 minutes to write a minimum of 150 words.You are asked to look at a diagram, table, graph or short piece of text and describe the information in your own words. There are three important steps you should follow: preparation, writing and editing. These steps will help you to write a coherent and well organised essay in the time given.

Preparation (about 2 minutes)

You need to spend 2-3 minutes working out exactly what you are going to do. You should pay attention to the following points:



Study the question carefully. Most Task 1 writing involves writing a report which describes some information given. You may wish to note the instructions with a high-lighting pen.

Think carefully about the topic. Outline some pertinent points.

Ensure that your ideas are arranged logically.



Writing (about 15 minutes)

When writing a Task 1 report, include:



introductory sentence

body paragraphs (1-3)

concluding sentence (optional)



Introductory sentence

The introductory sentence explains what you are describing, for example:

‘The table compares the population growth and interstate migration in each Australian state for 12 months to the end of 1994.’

‘The graph shows the growth of computers in Australia between 1975 and 1995.’

‘The pie chart represents the proportion of gases contained in natural gas.’

 

Body paragraphs

When discussing the date presented in the task, identify significant trends and give examples that relate directly to the given information to support your statements. If you are explaining a process or an object and how it works, you need to group your information so that it follows a definite logical order.

Remember that the use of verbs expressed in the present passive voice is often appropriate when giving a description of a process or procedure, for example:

‘Coffee beans are pulped to remove their casing. They are then soaked in water, rinsed thoroughly and dried. After the beans are sorted, they are roasted in a kiln and blended. Next, they are packed and dispatched to shops and supermarkets.’

 

Concluding sentence (optional)

A simple concluding statement could include any of the following, where relevant:



significant comments

a potential solution

an overall summary of the ideas

future implications.



Editing (about 2 minutes)

Make sure that you have followed the instructions carefully. Be sure that you have written what you intended and that no important ideas are missing.

In the last few minutes, check for obvious errors, such as spelling or grammatical errors.

 

TASK TWO

All too often students begin planning or even writing their answers in the IELTS Writing Module before they understand what is actually expected of them. Following the steps below will help you to plan a well-structured and coherent essay or report that addresses the given task.

 

Preparation

You may wish to spend about 5-7 minutes working out exactly what you are going to do. There are five steps to consider.



Study the question carefully. Most task statements or questions have a key instructional word or words telling you what to do. Note these words with a highlighting pen.



There are also key topic words which point to the most important parts of the question. Underline those words too. Ask yourself how the key words relate to the given instruction.



Think carefully about the topic. How do you feel about it?

Establish a point of view and list some points for development. The answer normally takes the form of a short essay. The word ‘essay’ comes from an old French word essai which meant ‘to attempt or try out’, or ‘to test’. In an IELTS Writing Module Task 2 answer, your purpose is to develop your point of view in a convincing way.

Decide which points will be written as topic sentences. Think about how they will develop into paragraphs.

Ensure that your points are arranged in a logical order.



Writing

When you are writing a Task 2 answer, a structure based on the following elements could be used (summarised in the flow chart opposite).

 

Introductory paragraph

The introduction of a Task 2 answer should begin with a general statement or idea of your own that takes into account the key topic words or their synonyms. The last sentence of the introduction should include a thesis statement which shows the point of  view or direction that will be taken in the answer.

 

Body paragraphs

Body paragraphs each consist of several sentences that are arranged in a logical way to develop a main idea. You can expect to write about 2-4 body paragraphs for a Task 2 answer. Each of these contains an appropriate connective word to ensure a smooth transition between paragraphs. This connective is then put in a topic sentence which is the main point of the paragraph clearly stated in a sentence. Every sentence in the paragraph must be directly related to it. Try to develop every paragraph adequately. This may be done through the use of examples, explanations, detail, logical inference, cause and effect or making comparisons or contrasts. There are many different ways to organise your ideas for body paragraphs. Be confident of the ideas you choose.

 

The conclusion

A good conclusion serves several purposes:



It indicates the end of your essay.

It gives your final thoughts and assessments on the essay subject.

It weighs up the points in your essay and should strengthen your thesis statement.

Do not simply repeat your opening paragraph. This appears too mechanical and superficial.



INTRODUCTION



General statement

Thesis statement



BODY PARAGRAPH 1



Topic sentence including connective word

First supporting sentence

Second supporting sentence

Third supporting sentence



BODY PARAGRAPH 2

BODY PARAGRAPH 3

FURTHER BODY PARAGRAPHS

CONCLUSION



Final assessment with concluding connective



Editing (about 3-5 minutes)

In the last few minutes, you should check for obvious errors, such as spelling or grammatical errors. Be sure you have written what you intended and that there are no important ideas missing.

Study the checklist for editing. It lists points to think about when checking your essay. Become familiar with the list so that you will know what to check for in the actual IELTS Writing Module.

Checklist for editing

1. — I have used accurate grammatical structures, for example, consistent verb tenses, subject-verb agreement, accurate word formation (especially of nouns, verb and adjectives) and appropriate use of ‘a’ and ‘the’ as well as prepositions.

2. — I have used a range of sentence structures.

3. — I have used appropriate vocabulary.

4. — I have used accurate spelling.

5. — I have stated the main idea for each paragraph in a topic sentence and all the points are related to this topic.

6. — I have used connective words effectively to link ideas so that the thoughts move logically and clearly from sentence to sentence and paragraph to paragraph.

7. — I have developed each paragraph adequately.

8. — I have supplied enough detailed information and sufficient examples or facts.

9. — I have developed a definite point of view.

10.— Every paragraph that I have written has definitely helped to address the task.

Skills for the Speaking Module

Before the test begins, the examiner will check your identification. For security reasons you will be asked to bring your passport or some other photographic identification. You will be asked to sign your name, which will be matched up with the photograph and signature on your IELTS application form.

The test will then be conducted in five phases, which we will now describe in turn.

Phase 1: Introduction

In Phase 1, the examiner will first introduce himself or herself and will invite you to do the same. You may be asked some general questions about your background, family, home or personal interests.

SKILL Greeting the interviewer and introducing yourself.

Phrases you could use:



‘Good afternoon. My name is (name) .

‘Hello. My name is  (name) but most of my friends call me (shortened version of name/nickname) .



Think about questions that the examiner might ask about the personal information you provided on the application form. With a partner, take turns interviewing each other with questions based on this information. Try to give full and comprehensive answers to each question.

Phase 2: Extended discourse

In phase 2, the interviewer will encourage you to speak for a longer period of time on a familiar topic. You may be asked to speak on topics related to your country, such as customs or lifestyle, and your personal involvement with these. The aim of Phase 2 is to show the interviewer that you can describe something, tell a story, give information or directions or express your opinion without relying on the interviewer to help you through the task.

The idea is for you to talk and give as much information as you can. Do not simply answer ‘yes’ or ‘no’. Remember, the interview should be like a conversation. Do not memorise responses. If you appear to be reciting from memory, the examiner will interrupt  and ask a different question.

Before you begin preparing for Phase 2, you may wish to make a list of topics related to your country, culture, lifestyle, personal interests, etc. Once you have completed such a list, form questions that relate to each of the skills for this phase. Think about possible questions that could be asked.

With a speaking partner, practise interviewing and being interviewed. Try to give full and comprehensive answers to each question.

SKILL Providing general factual information.

Questions you may be asked:



‘What are some important festivals in your country?’

‘What kind of climate does your country have?’

‘What are some of the main industries in your country?’



SKILL Expressing your opinions and attitudes.

Questions you may be asked:



What do you enjoy about the traditional music of your country?

‘What do you think are positive and negative aspects of your country’s education system?’

‘Would you prefer to live in the city or in the countryside and why?



SKILL Describing a place, event or situation.

Questions you may be asked:



‘Could you describe the village/town/city in which you grew up’?

‘What happens during (cultural event, such as Chinese New Year/Christmas) in your country’?

‘Could you tell me how you like to spend your leisure time?’



SKILL Comparing places, events or situations.

Questions you may be asked:



‘How is (city where candidate is studying) different from (candidate’s home city)?’

‘What is the difference between shopping in (city where candidate is studying) and shopping in (candidate’s home city)?’

‘What do you like most about living in (country where candidate is studying)? How does that compare with (candidate’s home country)?’



SKILL You should be able to give directions and instructions.

Questions you may be asked:



‘Could you tell me, in detail, how you got from your home to the test centre this morning?’

‘If I had to catch a train or bus in (candidate’s home city) what would I do?’

‘If I were to meet (an important older person) in your culture, how should I greet them to be polite and show respect?’



SKILL You should be able to re-tell a story or a sequence of events.

Questions you may be asked:



‘What happens in (an important festival) in your country?’

‘What is the most embarrassing thing that’s ever happened to you?’

‘What did you do when you were preparing to leave (candidate’s home country) to come to (country of study)?’



SKILL Explaining how or why something is done.

Questions you may be asked:



‘Why do people do what?’(referring to something just mentioned)

‘Could you tell me more about the procedure involved in (the topic under discussion)’

‘How do people celebrate the New Year in (candidate’s country)?’



Phase 3: Elicitation

In Phase 3, the interviewer wants to ascertain how competent you are at gaining information on a given topic.

You will be given a card. On this card will be written a brief outline of a particular situation. The card will state your role and the role of the interviewer. You need to ask questions to find out more information. The card will suggest things for you to ask but these are only given to you as a guide. Do not feel compelled to follow these suggestions if you have ideas of your own.

You are responsible for starting the conversation and, to some degree, developing and directing the flow of dialogue.

To prepare for Phase 3, select one of the exercises from the Practice work cards below. Practise asking questions with a partner.

Phase 4: Speculation and attitudes

In Phase 4, the interviewer will converse with you in greater depth on a particular topic. Topics that may be discussed include your plans for the immediate and long-term future and the impact that these may have on you and your family. Your opinion about, attitude towards and reasons for your particular future plans may also be discussed.

The interviewer may not understand or agree with some of your responses. You may be asked to expand or elaborate on some point that you have made, so be prepared for such a response. Being prepared, however, never means memorising set responses.

During Phase 4, the interviewer will allow the discussion to become more complex. He or she may refer to other comments you have previously made so you may have to defend your opinion or give a more detailed explanation of an idea you have already mentioned.

Before you begin preparing for Phase 4, you may wish to make a list of your future plans under the headings of academic, professional, personal and possible conse-quences of these plans. Also, make a list of topics that relate to your personal interests in life as well as a wider rangs of topics relating to your country, profession and specific area of study.

SKILL Discussing your future plans.

Questions you may be asked:



‘Tell me what you plan to do when you finish your undergraduate studies.’

‘Have you thought about which university you would like to study at and why?’

‘How did you come to choose (a chosen area of study)?’

‘Would you ever like to have your own business? Why or why not?’



Here are some key phrases you could use:

In the future

I hope to

I would like to

successfully

complete

a foundation course.

a master’s degree.

In a few years

I intend to

I’m planning to

graduate from

study at

the University of Sydney.

Astoria College.

In two years

what I have in mind is to

major in

study

explore the area of

Psychology.

International Trade.

Marketing.

Within three years

I imagine I will

receive

complete

a BA.

an MA.

an MBA.

a PhD.

SKILL Expressing your feelings, opinions and attitudes.

Questions you may be asked:



‘What are your thoughts about (controversial issue)?’

‘How would you feel if (a controversial issue) were to happen in the next three or four years?’

‘You seem to support (a controversial viewpoint). Why is this?’

‘Have you ever had to choose between (X) and (Y)? How did you make this decision? How did you feel as a result of your choice?’



SKILL Explaining why you made certain decisions in the past and giving reasons for your plans for the future.

Questions you may be asked:



‘How did you know that you wanted to become a (candidate’s choice of profession)?’

‘When did you decide to study overseas? What influenced you to make this decision?’

‘Why have you decided to study (candidate’s choice of study)? How will this help your future career?’



SKILL Expressing agreement and disagreement.

Questions you may be asked:



‘I agree with you to a point on this matter, but could you expand on it a little more, please?’

‘I’m not quite convinced by what you are saying. Could you develop your idea more for me, please?’

‘I’m sorry I don’t quite understand what you are trying to say. Could you put it another way, please?’



Phrases you could use when agreeing:



‘Well, of course … Naturally … I couldn’t agree more …’



Phrases you could use when disagreeing:



‘I’m sorry. I can’t agree with you … I don’t really think so …’

‘That may be so but … Unfortunately, I have a different point of view …’



SKILL Discussing hypothetical situations and speculating on future events.

Questions you may be asked:



‘How do you think having a degree from an overseas university is going to help your job prospects when you return to (candidate’s home country)?’

‘Do you think that the time spent studying in a foreign country is going to benefit you personally? If so, in what ways?’

‘How do you think your country benefits when students return from studying abroad?’



SKILL Following and responding to changes in tone and direction in the interview.

Questions you may be asked:



‘Do you have any regrets about choosing (candidate’s choice of profession) or (candidate’s choice of country in which to study)?’

‘If you could repeat the year of your life, what would you do differently?’

‘What advice would you give other students planning on (studying overseas)?’



Phase 5: Conclusion

This is the final section of the assessment and will naturally follow on from Phase 4. The interviewer will let you know that the interview has come to an end, wish you good luck and say goodbye.

You can prepare yourself for this phase by becoming familiar with common expressions of leave-taking, noting them and practising responses to them.

SKILLS Noting that the interview is finishing and saying thank you (with a smile!).

Phrases you could use:



‘Thank you very much.’

‘Goodbye.’

‘See you.’



Coping with the interview

There may be times in the interview when you may not understand what the examiner is saying because he or she may be speaking too softly or too quickly. Perhaps the examiner may be using words or phrases you do not know. At these times, do not be afraid to assert yourself. Ask the examiner to speak more loudly, more slowly or to use other words. Also, do not hesitate to ask the examiner to repeat his or her words at any time.

Phrases you could use:



‘Could I ask you to speak more loudly please?’

‘Sorry but I didn’t catch that. Would you please repeat what you just said?’

‘I’m not quite sure what you mean. Could you explain it to me?

Macie asked:


Grammy Award-winning George Ivan Morrison OBE or better known as Van Morrison - born on August 31, 1945 in Bloomfield, Belfast, Northern Ireland - is an Irish singer, lyricist, author, poet and multi-instrumentalist, who has been in this profession since the late 1950s. He is gifted with various talents in music and can play a selection of instruments, counting the guitar, harmonica, keyboards, drums, and saxophone. Featuring his characteristic growl an inimitable blend of folk, blues, Irish, scat, and Celtic influences Morrison is extensively thought to be one of the most remarkable and significant vocalists in the history of rock and roll. According to Critic Greil Marcus, though sounding a bit racial, as commented that “no white man sings like Van Morrison.”

Recognized as “Van the Man” by his fans, Morrison first achieved fame as the lead singer of the Northern Irish band Them, with their formative 1964 hit “Gloria”. After a few years with the band, Morrison departed, pursuing for a solo career which consequently, turned more flourishing and booming.

Morrison has followed an eccentric musical course. Much of his music revolves around the pivotal trends of American soul and R&B, for example the popular singles “Brown Eyed Girl”, “Moondance”, “Domino” and “Wild Night”. An equal part of his collection comprises of lengthy, loosely connected, morally enthused musical journeys which possess the influence of Celtic tradition, jazz, and stream-of-consciousness description, such as his classic album Astral Weeks and less popular works such as Veedon Fleece and Common One. The two strains together are every now and then called as “Celtic Soul”.

George Ivan (Van) Morrison grew up as the only child of George Morrison, a shipyard employee and Violet Stitt Morrison, a singer and tap dancer in her youth. Van became interested in music from an early age, as his father, having spent time working in Detroit, Michigan collected American jazz, country and western, and blues albums. He developed in him the same taste as his father’s in terms of music and he grew up listening to artists such as Jelly Roll Morton, Ray Charles, Lead Belly and Solomon Burke. In a 2005 Rolling Stone article he exclaimed, “Those guys were the inspiration that got me going. If it wasn’t for that kind of music, I couldn’t do what I’m doing now.”

In a recorded interview taken in 1969, his mother told that he was listening to recordings from the age of two, and he was so fond of it that he would tug at her apron strings insisting her to play more records. His grandmother used to come up and take turns, because he’d have you play them morning, noon and night. There were sing-songs in the house on Saturday nights with family and friends and, although shy, the young Morrison would always sing upon request. He gave his first performance as a child in his own version of Lead Belly’s “Goodnight Irene”. Years later, he performed this same song with another of his boyhood idols, Lonnie Donegan, on his album, The Skiffle Sessions - Live in Belfast 1998.

At seventeen, Morrison left home to tour Europe with the group the Monarchs together with his boyhood friend, George Jones, who later established the show band Clubsound. On his return to East Belfast, the Monarchs broke up. Morrison once more associated with Geordie Sproule and played with him in the Manhattan Showband in company with guitarist Herbie Armstrong. When Armstrong auditioned to play with Brian Rossi and the Golden Eagles, Morrison went along and both were hired. He had obtained his first position as a blues singer as the band was not in need of a saxophonist, but he soon left to form an R&B Club at the Maritime Hotel. Wanting a proper band to perform with there, he joined up with the members of The Gamblers. In April 1964, prior to the first opening night at the Maritime, the group changed their name to Them taking the idea from a Fifties horror movie.

In 1970, Morrison then shifted to Woodstock, New York, and released his next album, Moondance. Moondance reached #29 on the Billboard charts. The genre of this album was in great distinction to that of Astral Weeks. While Astral Weeks was a mournful and vulnerable album, Moondance was a much more buoyant and cheerful one! The title track, though not released in the US as a single until 1977, was played extensively on-air. The evocative song “Into the Mystic” has also attained a huge fan base all this time. The single released was “Come Running”, which reached the US Top 40. Moondance was both well received and achieved critical acclaim. Lester Bangs and Greil Marcus both had a mutual full page review in Rolling Stone Magazine, stating that Morrison now had “the striking imagination of a consciousness that is visionary in the strongest sense of the word

With his subsequent album, the new decade saw Morrison following his own reflection into unexplored territory and harsh reviews. In 1980, he took a group of musicians with him to Super Bear, a studio in the French Alps, on the location of a previous abbey, to record his “most daring and unclassifiable” album since Astral Weeks. The album, Common One, comprised of only six songs of varying lengths. The longest, “Summertime in England” was fifteen and one-half minutes long and ended with the words,Can you feel the silence?” NME magazine’s, Graham Locke, named the album “colossally smug and cosmically dull; an interminable, vacuous and drearily egotistical stab at spirituality.” Even Greil Marcus, who had previously supported Morrison, said: “It’s Van acting the part of the ‘mystic poet’ he thinks he’s supposed to be.” Morrison persevered that the album was never “meant to be a commercial album;” but, perhaps stung by the harsh reviews, Clinton Heylin concludes: “he would not attempt anything so ambitious again.” Afterwards the critics reconsidered the album more positively with the success of “Summertime in England” and other tracks that seem to take on new meaning in live performance. Lester Bangs wrote in 1982, “Van was making holy music even though he thought he was, and us (sic) rock critics had made our usual mistake of paying too much attention to the lyrics.”

In the 2000s, Van Morrison carried on with his journey of recording and touring, giving performances twice or thrice a week. Playing less of his renowned songs in concert than almost any other artist from his era, Morrison refuses to be referred into a reminiscence act.

In contradiction of the days when he was left at the clemency of the music industry, he now has his own independent label, Exile Productions Ltd., and has complete production power of each album he records; which he then delivers as a finished product to the recording label that he chooses, for marketing and distributing.

In November 2006, according to CNN’s list of The All-TIME 100 Greatest Albums, two of Van Morrison’s albums, 1968’s Astral Weeks and 1970’s Moondance, were also included.. His continuing popularity with music fans was evident when he was voted as #13 on the list of WXPNs 885 All Time Greatest Artists in 2006.

On February 22, 2007, Van Morrison was given accolade at the Second Annual Oscar Wilde: Honouring Irish Writing in Film Pre-Academy Awards Party, in Los Angeles, California, for his contribution to over fifty films and was awarded by Al Pacino. Van Morrison at the Movies - Soundtrack Hits, a new nineteen song album, was released by Morrison’s record label, Exile Productions Ltd. under license to Manhattan EMI, on February 12, 2007, to overlap with this event.

On the first evening on April 27, He appeared at the New Orleans Jazz & Heritage Festival 2007 as the headline act where his longtime collaborator and friend, Dr. John joined him for one set on stage. Morrison also attracted the largest crowd ever (35,000) on July 4, 2007 at the Ottawa Bluesfest. On May 08, 2007 Van Morrison was entitled the Best International Male Singer of 2007 by the first ever International Awards at the prominent Ronnie Scott’s Jazz Club in London England.

Morrison’s influence is evident in the music of many major artists, counting U2 in much of The Unforgettable Fire; Bruce Springsteen in “Spirit in the Night”, “4th of July Sandy”, “Backstreets”; John Mellencamp in “A Little Night Dancin’”, a cover of Morrison’s “Wild Night”; Jim Morrison, Joan Armatrading, Rickie Lee Jones, Rod Stewart, Tom Petty, Patti Smith in her poetic-proto-punk most explicit “Gloria”; Elvis Costello who later toured with Morrison; Graham Parker, Daryl Hall, Thin Lizzy, Bob Seger; Dexys Midnight Runners, Jimi Hendrix in “Gloria”; Jeff Buckley in “The Way Young Lovers Do”, “Sweet Thing”; and several others, together with Counting Crows in the “sha-la-la” sequence in Mr Jones, was infact in honor of Morrison.

For more information about Van Morrison Tickets visit:

http://www.ticketluck.com/concert-tickets/Van-Morrison/index.php

James asked:


Some of the BEST speaker-marketing ideas for making BIG MONEY as a public speaker come from outside of the speaking industry. This is a lesson many speakers miss.

I’ve never listened to one KISS song, wouldn’t have a clue of any KISS song titles and couldn’t name one band member other than Gene Simmons. Here’s why I know Gene Simmons and study him.

As I was channel surfing on the television late one evening several years ago, I came across KISS band leader Gene Simmons being interviewed on a business show. That intrigued me as I thought why is band-guy on this business show? This ought to be humorous. So I thought I’d watch for a few minutes and get a good laugh. As I listened, I quickly realized Gene Simmons was nothing short of brilliant.

The host asked Gene why KISS sold so many albums and continues to earn mega-millions each year while many other talented artists never seem to make it?

Gene’s answer was profound and made me an instant fan. He said, ‘That’s easy. Most artists just don’t get it. While they’re all out spending an enormous amount of time and money trying to craft their songs, vocals and lyrics, I was crafting a business by creating uniqueness, brand and other revenue streams!’

WOW! Talk about a person who gets it!

If you didn’t catch-the-message then you’re missing one of the most important speaker marketing lessons that can sky-rocket your speaking business and income to incredible levels. What Gene was talking about was that he didn’t focus the majority of his time on the craft of being a musician. He focused the majority of his time on the marketing and business side.

So what does this have to do with you as a public speaker? It has everything to do with you and your public speaking business. I’m always preaching to new and experienced speakers that I teach in my boot camps and in my coaching programs that…

You’re NOT in the speaking business.

You’re in the business of marketing your public speaking services!

I don’t care what your message is about or how good of a speaker you are, if you’re not focusing 90% of your time and energy on positioning and marketing yourself and your uniqueness while creating multiple streams of speaking income, then you will make mediocre money.

My friend Alexandria Brown (aka, The E-Zine Queen) always says, ‘The marketing is more important than the mastery!’ How true that is. It doesn’t matter how great you are at the craft, in this case delivering a presentation. If you can’t effectively market yourself to close bookings and get event coordinators to give you money, then you will experience frustration as a public speaker.

From this moment forward, always focus the majority of your time and energy on the marketing, not the craft and watch your public speaking business soar to new heights you dreamed of reaching!

Sheena Metal asked:


Building a music career is hard work. Every day, month and year you repeat the same grind: build the band, write the songs, record the songs, rehearse the songs, perform the songs, promote the band, advertise the band, solicit industry, publicize to the press, build the website, create the message boards, forums, and chat rooms, assemble the street team…it goes on and on until you think your head will surely explode from the mountains of menial tasks that face you, the unsigned artist, each day.

Still, after putting in all of that work a band will hit dry spells, slow times and glass ceilings. Some days, your already slow move forward, seems to retard even further. Sometimes it feels as though you’ve peaked and will never advance. There are even days you want to blow off all of this tedious monotony, get a job in the electronics department at Target, and call it a day!

But even as your face is smushed up against the glass ceiling of a never-changing cycle of music business grunt work, hope is just over the horizon. See, there is something that you never stopped to think about all the while you were chasing the elusive brass ring of music stardom…all of this time, you were in control. If opportunities have stopped coming your way, then make your own. If you want to be a rockstar, develop a situation you can star in and rock. You have the power and the ability to be anything and everything you have ever wanted to be if you learn to simply create your own buzz.

The following are a few tips that may help you to get started creating your own buzz in order to push past the obstacles and keeping moving down the Yellow Brick Road of musical superstardom:

1.) Create Your Own Gigs—Tired of whining that you never get the gigs you want? You know: good clubs, weekend shows, prime slots, longer sets, decent pay, good bands on the bill, press attending, industry confirming and most importantly, your band headlining. It’s ridiculous to waste time complaining, when you could be booking, planning, promoting and playing your dreams gigs right now. Sure it will be a lot of time invested and it may mean putting smaller gigs on hold for awhile in order to promote one giant show, but the payoffs will inevitably outweigh the work…and the best part is, it’s all about you. You are the promoter. You are the stars of the night. You pick the date, the times, the bands. You invite the press and the industry. Within a month or two, you could be playing the types of gigs you have always wanted, and all the while getting press, making money, collecting names for your mailing list and building hype for your band that even the stodgiest industry can take notice of.

2.) Join The Ranks Of The Press And/Or The Industry—You know what they say…if you can’t beat them, join them. If you want to get industry or press to notice you and your band, what better way than to become a member of the industry or press. Pick up a gig writing for a local magazine and review your friends’ bands and the shows you promote. Intern at a record label and meet friends in the industry to invite to your gigs. Start a management/promotion company and book your band and your friends’ bands to become better acquainted with clubs and their booking agents. You’ll find it will be much easier to deal with industry people when they consider you more of a peer and not just another band asking for help.

3.) Numbers, Numbers, Numbers—It may sound ridiculous but in the entertainment industry (as in any business), your perceived worth is tracked by your numbers. Web posters, gig patrons and listeners of your music all translate to numbers and the big ones impress fans and industry alike. If you want club bookers, managers, magazine editors and A&R to notice you then make sure your numbers are up. Web hits, fan group members, online community friends and people on your personal mailing list all add up to your bankability as a band so keep driving those numbers up and watch the doors swing open wide for you.

4.) Teach, Volunteer, Take Classes, Join Groups—If you want to meet new people, gain different opportunities, and find fresh ways to obtain your goals, then get out where people are doing what you seek and mingle. If you play and instrument, start teaching and get to know the bands of your students. If you see big events happening in your town, volunteer to work them and get to know the management, talent and audience alike. Take classes and join music organizations not only to learn but to network. There is a whole world of entertainment people out there. Get to know some of them and make those folks a part of your band’s promotional circle.

By following these tips and others soon you will find that your band is enjoying the opportunities and buzz you were only dreaming of before. Best of all, you’re now in charge of your own career and musical destiny; creating profitable situations for yourself. You are playing good shows and coming home with money in your pocket. You are selling your own product to pay for band expenses. You are filling your press kit with reviews, interviews and mentions of your band. You are meeting people and building your mailing list. You are establishing your reputation as an important member of the artistic community. No longer waiting to be thrown a chance by some industry member, you have taken command of your musical destiny and cast yourself as the star of your own show. Now, don’t you feel better?