Neues Album von Andi Thon

THONAndi Thon – THON (Isarwelle)
Der Bayer Andi Thon macht Mundart-Pop-Rock mit viel Gefühl, ohne dabei leise zu sein. Auf dem neuen Album THON bleibt er seinen bisherigen Themen treu: Weggehen, Ankommen, Fern- und Heimweh, die Aufforderung, sich dem Leben zu stellen, das Beste draus zu machen, und die Liebe zu jemanden und irgendetwas, das diese Liebe verdient. Die emotionsgeladene Packung bekommt man sehr fein abgestimmt, getragen von wunderbaren Melodien und Gitarrenriffs, die ins Ohr gehen und sich schnurstracks ihren Weg ins Herz bahnen. Die Titel auf THON klingen authentisch und kommen ohne regionalen Berg-See-Idyllen-Kitsch aus, was man oftmals mit in Mundart-interpretierten Songs verbindet. Nicht zuletzt trägt gerade diese bayerische Mundart dazu bei, weil Andi Thon sich hiermit am allerbesten ausdrücken und verständlich machen kann; seine Landschaften sind in seinem Kopf gezeichnet, und er transportiert diese geschickt in sein Umfeld – letztendlich in seine Musik. Hinzu kommen durchdachte Arrangements bezüglich des Gesamtaufbaus der Songs, die jedoch so gezügelt sind, dass sie nicht über- oder durchkonstruiert klingen. Eine Balance, die der Bayer sehr gut meistert.

Meine Anspiel-Tipps des Albums sind das erfrischend schöne, von einer Funky Guitar getriebene „I wart auf di“, das sehr eingängige und hitverdächtige „Mia san frei“, der Track „Du und i“, der als wunderschöne Hommage an die Liebe verstanden werden kann, sowie der Titel „Süßer Schmerz“ , in dem man leicht Erinnerungen an Selbsterlebtest findet. Dass die wunderbarsten Dinge ein Ende finden, obwohl man es sich wohl kaum vorstellen mochte – das beschreibt Andi Thon in dem ergreifenden „Ois vorbei“. Ein ruhiger Titel, dessen Thema von einem sich gleichermaßen vor Wut und Verzweiflung aufbäumenden Gitarrensolo unterstrichen wird.

Die Texte von THON, in denen man sich oft selbst wieder findet, werden von wunderbar arrangierten Melodien durch ein Album getragen, das sich durch die beeindruckende Virtuosität des Musikers und seiner Band auszeichnet. Mit den Worten von Andi Thon: I brauch mehr, no mehr davo.

Die aktuelle Playlist der BMT-Radiosendung September

Playliste BMT-Radio
Ausgabe No 25 2014_09 (September 2014)

Ab sofort bei des Sendern des Radionetzwerkes zu hören – Info zu Sendezeiten und Sender auf Facebook unter :

01. Hot Mama – Your Way
02. hackmonocut – virgin suicide bomber
03. Fuzzy Disaster – Zwischen Tag und Nacht
04. FoxVille – Needle to my Eye
05. Foiernacht – Reggae hit the Town
06. Fippies – Still
07. Electric Colors – The Wind Cries Mary
08. Drachenfelz – Fright Nights (Live)
09. Dorrn – I Dont Fit
10. Die Rabenbrüder – Rabenballade
11.  Crown Of Things – Innocent
12. Daya Rouge – Succeed

13. Hella Donna – Not the cure (Sway K RMX)
14. Hella Donna – Interview vom 2014_08_28 (Teil 1)
15. Hella Donna – Gimme Lights Camera Action (Radio Mix)
16. Hella Donna – Interview vom 2014_08_28 (Teil 2)
17. Hella Donna – Block by Block (Radio Version)

18. Rebentisch – Sommertraum (Classic Trance Full Mix)
19. Crown Of Things – Innocent
20. EZ Livin – Thats How He Rocks
21. Das K-Element – Lass sie reden
22. Coulord Rain – My Friend the Blues






ZED MIZAR – the times they are a-changin’


the times they are a-changin’

what is the purpose of music? what does it do, why is it important? ever ask yourself that question? different people give different answers to that & the way you answer determines your approach to music, whether you are a musician or a listener.

the most common answer is that the purpose of music is to express emotion, create a mood or set an emotional tone. music has the power to communicate emotions, that’s why a motion picture would not be half as effective without the musical soundtrack to manipulate how you feel. you bring your special friend home after a date, light some candles & put on some sexy music. you throw a party & put on some dance music, which has the power to move your emotions to the point where your body starts to move in time with the beat. major chords sound happy, minor chords sound sad, major 7th chords sound ethereal, diminished & augmented chords sound suspenseful & anxious. heavy metal sounds powerful & brutal, hiphop sounds streetwise & sly, funk sounds earthy & pungent, punk rock sounds rebellious & often goofy. musicians who think music is for expressing emotion generally go for the simpler, more folky forms of music: blues, 3-chord rock, country-western, etc. they aren’t interested in the musical elements of chords, scales, time signatures, rhythm, harmony & melody, they can squeeze plenty of emotion out of one chord or two notes & that’s all that matters. generally they aren’t trained musicians, don’t know much about it, don’t listen to the more technical forms of music & don’t really respect trained musicians who know more than they do because that doesn’t matter to them. these kinds of musicians are doing therapy when they play because it is therapeutic to get your emotions out. they are there for themselves, not the audience, but if they think about it they say that the value of that for the audience, besides the entertainment value of watching a person do therapy in public, is to show the audience how to do their own therapy. i recently heard maynard james keenan of tool, perfect circle & pucifer give this exact point of view on a podcast interview. he said that what he had been doing with tool was basically just screaming, which was healing for him to do. he was getting his demons out in the only way he knew how. he felt that he was setting a good example for his audience. well, you would have to decide for yourself if that is a healthy place for an audience to be.

another opinion about the purpose of music is that it is there to present a point of view, teach, preach, sell a product, or otherwise influence the audience. religious music is selling religion, commercial jingles are selling soap & deodorant. to a widget manufacturer, good music is whatever sells a lot of widgets. a lot of composers & songwriters are presenting information or a philosophical or political point of view. that is where censorship comes in & certain kinds of people become intolerant of music that expresses a point of view that they don’t like. joseph stalin, a thug murderer, told genius composers like prokofiev & shostakovich how to compose because he turned everything into propaganda. so did hitler, who liked the grandiose pagan mythology of richard wagner & persecuted modern artists. both stalin & hitler hated modern art, which should tell you something about the nature of people who resist change in the arts & who actually want to destroy creative progress. a lot of the art that is around, funded by propagandists, is really this kind of political brainwash. a lot of pop music is really just corporate & religious brainwashing. most of the big mind-controlled american pop stars that came out of the disney stable are illuminati satanists doing kabbalistic rituals on stage. there are clubs in town where you have to go before a council of communists & justify your politics before them to get a gig there. hollywood is like that too, you have to be a leftist to get anywhere. when the propagandists move in, conformity is enforced & the quality of music goes down the drain. there is no artistic freedom with people like this, they enforce mediocrity & persecute creativity.

the german government has found another use for music: they play loud classical music when they meet to make it hard for the NSA to listen in.

there is another point of view about the purpose of music that is different from the previous ones. it blew me away when i first read it, because most of us just take it for granted that music is done for the reasons discussed previously. it came from igor stravinsky, composer of “le sacre du printemps”, probably the greatest work of music of the 20th century. what stravinsky said was that music is not there to express emotion, tell a story or convince you of something, music does not stand for anything but itself. music is to be taken on its own terms, not as the representation of some feeling or ideology. you see, the other approaches to music have it standing for or representing an emotion or an idea, & having value only in what it represents or is associated with, but not as what music is, which is organized sound. this is the approach that is put down as “art for art’s sake” by the propagandist & emotional schools. what, make music just because it sounds good & not because you are trying to brainwash somebody or make them dance or make them happy or appeal to their sexuality? to creatively explore new sounds & new ways to organize those sounds while trying to be as pleasing as possible? to express one’s individual uniqueness? it sounds very high-falutin’ & airy-fairy, but actually is very basic. it is music as sound rather than music as emotion or propaganda, it is the most basic physical approach to music. it is “coming to your senses”–the sense of hearing, in every sense of the word. they who have ears, let them hear.

sound waves effect people physically. sound waves change things. if you put sand on a drum skin & put sound thru it the sand will dance into geometric patterns. the reason that old guitars sound better than new ones is that the sound waves going thru the guitar actually re-arrange the molecules of the wood over time so that it conducts sound better. in my experience, there is music that will make you sick & music that will heal you, music that will hypnotize you & music that will stimulate your thinking. that is the effect of the organized sound itself. there has been times in concerts when i felt as if my molecules were being re-arranged. i think that’s why i go to concerts, ha ha. so ask yourself–who do you want re-arranging your molecules?

when i hear a beautiful orchestral chord, i appreciate it as amazing sound that pleases me, not because it reminds me of a movie i saw that had the music in it or that it represents the sea or a forest or takes me back to childhood when i first heard it. when i hear an electric guitar chord, i listen to the quality of the sound, wonder what kind of guitar thru what kind of amp it was because every guitar sounds different & every amp sounds different, & isn’t that amazing? there is infinite variety in guitar-amp-stompbox combinations & variety is the spice of life. if i am listening to a folk singer, whether that person is cryin’ in their beer, emotionally depressed or in love, or what political cause they are associated with, does not matter to me as much as how the music actually sounds. if the emotion in the singer’s voice makes it sound better, then i like it. if it makes it sound in a way that irritates me or gets on my nerves, then it isn’t so good. emotional expression in itself is a good thing, a musician has to be passionate about music & put that passion into their work for it to be convincing, but not all emotional expression is pleasing. an infant throwing a fit, crying @ the top of its lungs is certainly expressive but i don’t want to listen to a recording of it. a lot of punk music is like that–an infant throwing a fit. i am more interested in this–can you make cool sounds? are they organized in interesting ways, or is it the same old banal stuff that sounds like everything else? is it tight or sloppy? when you learn to delight in sound itself, then new sounds are often the most delightful. if you love sound, then how can you limit yourself to just one sound like an acoustic guitar & reject all other sounds? that’s like never eating anything but carrots–they’re good, but you won’t be healthy that way.

back to igor stravinsky. “le sacre du printemps” totally rocked the world. sure, it caused riots, but those people were the ones who resisted it, not the ones who got it. it is associated with a story of a pagan sacrifice, but really it is an adventure in pure sound. hearing it played live by a great orchestra is an amazing, powerful experience. yes, it is emotionally moving, but music like this takes you to emotional places that have no name. it’s about surprising new sounds, new ways to combine sounds, new ways to use instruments, new ways to unleash power, new strange ways to feel. i recommend the DVD of simon rattle & the berlin philharmonic doing it, it’s great. crank it up LOUD.

i decided that i wanted to play guitar as a kid when i heard the first fuzztones of jeff beck. now that was a new sound. the acoustic strummers & the twangy guitars of the pre-psychedelic days were ok but nothing exciting. then hendrix came along with the feedback & wammy bar & pedals & stompboxes & i saw the way. then i saw king crimson in the early 80s, with robert fripp playing a guitar synthesizer & adrian belew playing thru a rig that was a stack of rack-mount gear instead of the usual amp. both of them were making sounds that nobody had ever heard before. wow, totally exciting music. the acoustic guitar makes one sound, the electric guitar makes a few sounds but the electronic guitar makes thousands of sounds. i could never understand why anybody would want to limit themselves to just listening to or playing an acoustic guitar that makes only one sound, unless you wanted to go out in the woods where there was no electricity. actually, i have had to do that, we showed up for a gig in the california mountains one evening to find out that a storm had taken out the electricity & the people were drinking by candle light. the club owner told us to keep the people in the club in any way we could while they went to get a portable generator so we could play. somebody went & got me an acoustic guitar & i had to go from table to table taking requests & singing songs. i was glad to have that acoustic guitar that night & it was a very special, intimate experience going around that club singing beatles & tom petty songs & stuff like that by candle light, i will never forget it. but then they showed up with the generator & we got up & ROCKED that joint & it was even better. electricity is a wonderful thing.

in 1965 bob dylan went electric @ the newport folk festival after previously being only an acoustic solo, causing a huge controversy. it was a milestone in the history of pop music. he actually did it on a whim, making the decision the day before to play with an electric band because he was irritated by the narrow-mindedness & condescension of the folkie purist festival people, who looked down on electric musicians. he is reported to have said “well, fuck them if they think they can keep electricity out of here, i’ll do it.” a lot of the acoustic purists threw a fit, including some famous folk singers. pete seeger wanted the band to turn down because it was upsetting his old father who needed a hearing aid. WHAT? dylan must have realized that this was not the cool music people & he just blew them off & never looked back. i think a lot of these old hippie folkies who never forgave dylan for going electric became teachers who passed on their prejudices to their students, because the folkie purists in this town are mostly college kids. if you go into these folkie cafes you discover that the people are talking very loud & not paying much attention to the music, they are checking their phones & consuming food & drink & going in & out to smoke so it seems to me that what these people really hate is music that interrupts their conversations & phone-checking & food-drink ordering. it’s really a culture where music isn’t important, it’s just somebody going on in the background while you discuss politics or gossip or whatever. loud music that demands your attention is not something that they like because they aren’t there to listen to music much, except during a lull in the conversation.

well, that’s cool, ambient music is valid. if people are interested in other things that’s their business. but–what if somebody there actually wanted to listen to the music? the musician would probably prefer that people actually pay attention. i usually can’t hear the music very well in these places because the talking is so loud & you can’t really see too well for all the people getting up to smoke all the time. compare this scene with the berlin philharmonic, where people go to actually listen to music. you turn your phone off when you go in & if you take a call during a concert you will be kicked out. if you talk, make body noises, move around or otherwise distract people from the music they will stare daggers @ you. people go there to listen to music, not to hear you run your mouth, so shut up. if you have a cough, stay home. don’t ruin it for everyone else. there is no getting up to smoke & if you get there late after the music has started, they won’t let you in until there is a break in the music. these people respect music (more important, they respect the people who are there to listen to the music) & therefore the listening experience is amazing. organized sound can actually change your state of being & take you to places you have never been before if we ever stop to actually listen. that’s why i play LOUD. i am not there to be drowned out by gossip. there will always be people more interested in smoking their cigarettes & yakking on the phone but i try to play loud & clear enough where those people can’t ruin the music for everybody else the way they do in the acoustic cafes.

back to “art for art’s sake”. my approach to creating music is that creativity is its own message. when somebody is presented with something that is fresh & unique while being sonically pleasing, it will stimulate creativity in their own minds & souls & bodies. creativity is contagious. so is joy, & if you are doing what you truly love that joy will be there. now there are political & philosophical & psychological points of view in my songs, but i am not trying to convince anybody. it’s just material–writers look around them & use what is going on as material in their work. it is natural for me to talk about what is going on in my songs, but i am not trying to change anybody’s mind. i walked out on robyn hitchcock because he started to lecture the audience about politics. elvis costello is boring like that too. so is roger waters. save me from propagandists & their lectures, i don’t listen to music for that. my communication is in the sound waves themselves & the words are just part of that. i am first of all exploring new ways to make cool beats & sounds, new ways to combine styles into new styles, even new ways to play the same old songs while obviously respecting the original. uniqueness is a principle of nature, no two of anything are the same, so my music must naturally be unique. yours should be too. that inspires other people to be themselves too, no matter what anybody else says. some people won’t like it when you are being yourself. well, screw them to the pit! that’s the true rebellion & punk attitude, baby. be yourself & up theirs if they don’t like it. that’s creativity. but, @ the same time you want to please people, you aren’t trying to drive them away. i am doing music to please other people–the ones who get it–& to give them a special experience. i don’t want to take a punk attitude as far as, say, sid vicious, who comes out in that video & machine-guns the audience, mowing them all down in a bloody massacre. that’s going too far with the punk attitude, ha ha. i not only want to make music that sounds good, that is pleasing to the ear & to the body, but i want to make music that is surprising & interesting enough & satisfying enough to be worth listening to. above all, music must sound good! duh.

creativity brings change. new kinds of music bring excitement. people find their lost enthusiasm for music when a new scene erupts, blowing away the stale, moldy old scene. i saw that happen in LA with the new wave explosion of the early 80s. suddenly there was an alternative to corporate hair-farmer metal & people like me started going out to clubs again & hanging out. ahhh, the motels & oingo boingo @ madame wongs. . . then the red hot chili peppers appeared with their outrageous madness & completely rocked the town again. those guys were acquaintances on the hollywood scene & they inspired me a lot by just being completely unleashed & wild, but very good musicians who listened to everything. they just exploded onto the stage when they came on. when i first met anthony they were doing a rap version of a hank williams tune, completely off-the-wall. fishbone was like that too, taking tremendous risks on stage, flying this way & that. these people create electrifying excitement. a happening scene creates prosperity for everybody because more people are spending their money on musical entertainment. creativity brings prosperity. mediocrity & mind control bring poverty & boredom. we need places to hang out @ night, hear music & interact. let’s all embrace change & encourage exciting new music, while always honoring our musical ancestors.

if you want to get on my mailing list to find out about some cool live music coming up, contact me thru BMT. more about those sizzling, zapping electronic sounds next time.

Gewinne ein 4er-CD-Paket von REBENTISCH

… einfach “gefällt mir” bei Bestmusictalent klicken und schon ist man dabei – wenn 2222 Likes erreicht sind verlosen BMT und REBENTISCH unter allen bisherigen Teilnehmern das CD-Paket.

Wir freuen uns auf Eure Teilnahme.

Dabei die CD – Charisma | 2014 .. und 3 weitere CDs:

Herz zerrissen – Unter der Stadt – Empathie

Rebentisch ist ein reines Wave-Projekt.
Dieses Alleinstellungsmerkmal hat der Berliner Band um Mastermind Sven Rebentisch in Windeseile eine wachsende Fangemeinde beschert und sie zum Geheimtipp der Szene gemacht. Rebentisch’s Songs sind für viele Fans zwischen Tanzfläche und Terrasse im Mondschein musikalischer Begleiter in allen Lebenslagen. 

Mittlerweile ist der komplette Backkatalog der Band vergriffen. Glücklich ist deshalb, wer die kunstvollen Klangreisen vergangener Veröffentlichungen im Plattenregal stehen hat. Glücklich wird aber auch der wartende Waver. 

weitere Informationen:


BESTMUSICTALENT AWARD “Beste Live-Band” startet am 15. August

Bewerbungszeitraum bis 29. September 2014 

Bewerbungen an:

Stellt Euch mit einem tollen Video dem Publikum – mit einem Profil im Talentclub, dem Video in den Video-Charts und der Werbung auf unserer Homepage und Facebookseite.

Am 30. September geben wir die Teilnehmer bekannt.

Die Abstimmung beginnt am 1. Oktober und läuft per Email an unsere Bandbetreuung ( bis 15. November ) – unsere Jury entscheidet dann über den Sieger. Unserer fachkundigen Jury gehört diesmal als Gast-Juror auch Hans Ziller (Bonfire/EzLivin) an. Der Sieger und die Platzierten werden im Dezember bekannt gegeben.

Etwa 3000 Teilnehmer haben an der Abstimmung beim letzten Award teilgenommen – eine fachkundige Jury dann den Sieger ermittelt. Eine tolle Möglichkeit für Musiker sich einem breitem Publikum vorzustellen.

Voraussetzungen für die Teilnahme:

Ein aktuelles LIVE-Video in den BMT-Video-Charts und ein STAGELINE oder STAGELINE + Account. Informationen unter: – “über BMT”

Der Award-Sieger bekommt neben dem BMT-Award einen tollen Preis eines unserer Premium-Partner .. außerdem planen wir mit den besten 3 LIVE-Bands eigene Veranstaltungen.


Neuer Partner im Radionetzwerk: SKYLIUM-RADIO

Bestmusictalent Radio-Partner Radio SKYLIUM am Start : 

Die große Eröffnungsfeier im Radio.

Ab dem 7. September 2014 startet Deutschlands erstes Newcomer-Radio mit tollen Künstlern. Mit dabei unter anderem Hella Donna, Volver, Kuult …. sowie weitere Überraschungsgäste.

Alles Neue zur Eröffnungsfeier und wer noch dabei ist, erfahrt ihr auf unserer Facebook Seite.

Mit dem Slogan “Be different. ” hebt man sich von üblichen Formaten im Bereich Radio ab und stellt die Bands und Einzelkünstler/innen in den Vordergrund. Neben CD-Besprechungen, Interviews und einem 5-Punkte Bewertungsplan einer CD, versteht sich Skylium Radio als Bindeglied, Vermittlungspartner und gleichzeitig Förderportal für Newcomer. Slogan “Be different. ” hebt man sich von üblichen Formaten im Bereich Radio ab und stellt die Bands und Einzelkünstler/innen in den Vordergrund. Neben CD-Besprechungen, Interviews und einem 5-Punkte Bewertungsplan einer CD, versteht sich Skylium Radio als Bindeglied, Vermittlungspartner und gleichzeitig Förderportal für Newcomer.


BMT-Radioshow August 2014 – Playlist

Playlist BMT-Radioshow
Ausgabe Nr. 24 (August 2014)

01. Toxigen – Wir sind bereit
02. Odeville – Heimat
03. Nia all inclusive – Not as bad
04. MoFlow – Bis mich jemand hört
05. Mind Control – Out of my Window
06. Memo – Du wirst vermisst
07. Lösekes Blues Gang – Vatican Blues
08. Living Tones – With You Beside
09. Lichtscheu – Rabenherz
10. kon.kret – Snoutbleed
11. Julian Thome – Being Alone
12. Prairie Lizards – Arizona
13. Prairie Lizards – Interview vom 2014_07_18 (Teil 1)
14. Prairie Lizards – Desert Sands
15. Prairie Lizards – Interview vom 2014_07_18 (Teil 2)
16. Prairie Lizards – Hellhound On My Trail
17. RIBISLS – Frei sein
18. aMira – Dont rush
19. Sergeant Pluck himself – This City
20. zed mizar – police snake
21. Inside Company – You Never Give a Damn On Me

ZED MIZAR – passing the hat


passing the hat

i was watching a great guitarist in a small club recently & i noticed he had large biceps (not common with guitarists, ha ha). i wondered what he had to do for a living because the band was just passing the hat. he looked like a delivery driver or something. i thought about what a shame it is for such a talented musician to have to do something else for a living when what he was doing with that guitar should be more than enough to make his way in the world. do you want to play until one or two in the morning & then have to get up @ 6am to go to some day job because they don’t pay you much to play music? i don’t.

why don’t people value the work of musicians & other artists? a lot of people say they love music, but do they spend money on it, will they pay people to do it? if you only like something when it is free, you don’t really value it. sure, a lot of businessmen get off on screwing other people & driving down their wages, it makes them feel big & powerful when really they are petty & small-time, but that doesn’t tell you why they don’t value the work of an artist, only what they do because they don’t value it. a musician spends 100 hours working @ home for every minute you spend working in public & most of us aren’t looking to get paid for our rehearsal time, but that makes our public time even more valuable. i will let you think about this question & then i will tell you my ideas about what the answers are down @ the bottom. a lot of it is simple greed & exploitation, of course, but there is more to it than that.

no, the sad truth is that the music business is sort of like the olympics–a huge scam where everybody is making money but the people who are actually doing it. the reason is simple–so many of us are willing to do it for nothing, like in the olympics. why would this club owner pay me to play when he can get this other guy for free & keep all the money for himself? greed wins out, they take advantage of you. my music may be better, but if they keep all the good music down then nobody will know the difference. that guy who says he has all the big connections & he will make you a star–he will end up taking your money, not making any for you. like these so-called “artist management” people who approach me online & want to “bring me aboard” their roster of touring artists. all they are really doing is selling services which may or may not be real. legitimate artist management does a number of things for the artist like booking their gigs, arranging their tours (planes, hotels, other acts on the tour, etc.) for a percentage of the artist’s income. if the artist doesn’t make money, neither do they. it’s the same with legitimate booking agents. but, these scammers want their money up front, a lot of it, & they say the artist will make money later if they pay them now. like this guy calling himself “artist management” who will sell you a list of booking agents for a lot of money but doesn’t book anybody himself. oh really? i am supposed to give this guy a lot of money just because he says if i do i can make money later by doing the work myself, & he displays some certificates from unknown people on his website? give me a break.

almost all of the music business is set up to victimize the want-to-be artist. for example, if somebody wanted to charge me money to apply for a day job, i would know that it isn’t legitimate, but reverbnation wants to charge me to apply for any gig they have or submit my songs to the radio. oh really? all you would have to do is make up some phony gig & collect all the application fees, like these bogus “poetry contests” that charge you 25 to submit a poem. people do dishonest stuff like this all the time. internet businesses approach me often selling fake plays on any of my websites, which is why popularity rankings of how many times your video or song has been played on any website are meaningless. these people with lots of “plays” are often paying for fake plays, which calls everybody into question. how much did you spend to make that “promotional” video? you give it to youtube & they use it to draw people to their site & sell them advertising & spy on them so they can sell the data. youtube makes money but you don’t, you are out for the cost of the video. facebook makes money off you by spying on you & selling the data but you don’t get any of it. itunes & amazon charges you to sell your music there if you aren’t a label. all that money you spent on videos & “promotion” & all that–how much money have you made from all that? what have you got but a bunch of meaningless “likes” & fake rankings? big deal. (the one site that i think is fair to pro musicians is bandcamp, but if you don’t have pro-quality audio you can’t get on there. if you think mp3s sound as good as CDs & can’t come up with good audio quailty they won’t accept your stuff).

if you want to be a pro musician, in my opinion, you should get down to the basics of what you have to offer–entertainment so people can dance, loosen up, party & have a good time. you have a professional service to offer, you are there for the people, they aren’t there for you. you are there to play them music they like, but it has to be the kind of music that you play well & like to play. the more kinds of music that you are able to play & like, the more likely you are to find an audience that likes what you do. learn how to be an entertainer, how to make people happy. try to please them so that they have fun. communicate with them, joke around, don’t just stare @ your shoes. reach out to them, try to get them going. people need to loosen up & have a good time & if you can help them do that they will like you & value what you do. when i was playing bars our job was to get the people to dance. it was up to us to know what worked for that & how to do that. if they didn’t dance to this one song we quit playing it. if they all got up & danced to this song then we played it twice as long & improvised.

a pro musician needs to know a lot of songs. if all you want to play is your own songs, get used to that day job (you will need it to pay for all those promotional videos so youtube can make money off of you). a pro musician needs to know the entire history of pop music. i would often get gigs to fill in with a band where we would have no time to rehearse & we would just discuss what we would do right before the gig: “do you know ‘money for nothing’ in G? i can sing the high harmony if you can sing the lead. good, how about ‘addicted to love’ in A? i take an extended solo @ the end. how about “spoonman” or “karma police” or ‘feel good inc.’ in the record key of E flat minor?” sometimes we would get a request for a song we had never played before & if i sort of knew it we would fake it. you get a lot of tips that way. good players can follow along, especially if you give them a nod of the head when the changes come. being a pro means faking it so well that nobody realizes you just totally screwed up & played the wrong part. i saw paul mccartney’s band do that when he went back & played the cavern club several years ago with an all-star band that included david gilmour. they blew the chorus to the song & paul just led them back into it without missing a beat & they nailed it the second time.

when i was playing in cover bands in bars my friends who had original material bands playing the showcase circuit (for free, sometimes paying to play) would look down @ us; they thought they were better because they didn’t play “copy music”. maybe they were rich kids with daddy’s money who didn’t have to make a living. well, most of them couldn’t have done what we were doing if they had wanted to because learning a lot of songs quickly off of records by ear & being able to nail them on stage with very little rehearsal is not easy. now i am a prolific songwriter & recording artist in my own right & nobody accuses me of sounding like anybody else, so my ability to play songs written by other songwriters has not hurt my originality, creativity or unique style & it won’t hurt yours either.

thom yorke was listening to the beatles’ “happiness is a warm gun” when radiohead wrote “paranoid android”. the songs sound nothing alike but the idea is to put together very different sections into one song, with different tempos & everything. i was thinking about “paranoid android” when i did my long version of “kiss of chaos” from my “spiral city sky” album. again, the idea was to put together very different sections into one long song, with fast parts & slow parts. nobody has ever said “kiss of chaos” sounds like “paranoid android” because what i took was that particular concept & song form, not the song itself. see how that works?

i think that learning songs off of records by ear is about the best way for you to learn pop music. if there is a song you really like, learn to play it. learn the words & sing it. put it in another key if you have to. you know who i learned songwriting from? john lennon, jim morrison, todd rundgren, bowie, david byrne, prince, portishead, beck, damon albairn, thom yorke, etc. you know who i learned guitar from? jimi hendrix, jeff beck, robert fripp, steve howe, adrian belew, etc. i had to cop their licks note for note. a good record is a free songwriting lesson & for me, a free guitar lesson. guitarists–try learning that guitar riff from “every breath you take” by the police. you have to stretch your fingers over 4 frets to do it. if you can do these things you can make money in music because people will pay you if you can play them the songs they want to hear. yes, i know we all want to play our own songs, we would always play our originals mixed in with our cover sets even when we were playing bars, but the reason that our songs were good enough to play with all these other major artists was because we knew a lot of songs & knew how to write good ones. we learned all the tricks in the book that way.

it’s all about ear training, “playing by ear”. you get to where you can listen to a song & tell what the chord changes are just by listening to it. you get to know keys & scales & what different kinds of chords sound like. i can always tell a major 7th chord or a diminished chord when i hear one; i may not know if it is a D diminished or an F sharp diminished, but that isn’t hard to figure out. you just listen to the bass line, which is usually playing the root of the chord. when you learn a song, you listen to it like you never listened to it before, you hear the players doing things you hadn’t noticed before. that’s ear training. learn to hear it when you don’t quite have the chord changes right to the song–sure, sometimes you change a song when you cover it, but if you play different chords than the ones people are used to hearing they won’t think you are being creative, they will just think that you don’t know what you are doing. get it right, struggle with it, work hard, that’s how you get to be a good musician. one of my favorite albums from the 70s is “faithful” by todd rundgren, which is half original songs & half covers of songs by the people who inspired todd: the beatles, the yardbirds, the beach boys, bob dylan, jimi hendrix. his versions are as good as the originals & he stays very close to them–he even plays note-for-note the jimmy page & jeff beck guitar solos from the yardbirds’ “happenings ten years time ago.” there is nothing uncreative or unhip about playing cover tunes if they are great tunes, all good musicians do it. i saw a video the other day of jarvis cocker jumping on stage with the strokes & faking their way through a cover of the cars’ “just what i needed”–he really screws it up badly but it’s great anyway. reminds me of all the times i screwed up in front of a lot of people & just grinned my way through it. if you haven’t been involved in a train wreck onstage in front of a large audience, you haven’t lived, ha ha.

once you know what all the great players did on all these great records–which is a never-ending process & takes years–you are ready to make records yourself. you’ve heard the old saying that “he who doesn’t know history is doomed to repeat it”–that means that knowing what has already been done makes you more creative, not less creative. i know musicians who brag that they never listen to anybody else’s music. mostly they are still playing in an outdated style that hasn’t changed in years. creative people are constantly changing & updating their music, keeping up with the times. i remember rock bands who used to brag that they didn’t use those newfangled synthesizers–their music was too pure for that. what a lame pose.

one of the things i learned playing covers was that most of the great guitar solos i had to learn were obviously composed, they were not improvised. i learned a lot about how to put together guitar parts for my own songs & for other people’s songs. people started asking me to play on their recordings. there is nothing like recording to really polish & sharpen up your playing. i have one good tip for beginning players about recording–learn to play with a click track. you have to have perfect timing to play on recordings & it’s much easier to put recordings together if you play to a click track. people who don’t practice with a metronome or a drum machine or play with click tracks on recordings usually have terrible timing that constantly speeds up & slows down & is almost impossible to play with. you don’t even notice how bad your timing is until you try to play along with a steady clock. once you start really listening to recordings you will realize what hard work making good records is.

if you do get that big phone call one day from a pro touring band offering you an audition or a gig, guess what they will tell you? get our records, learn these songs, & show up @ this time & place ready to play. know the songs when you show up, do your homework. i always hated it when i had to hire a musician & told them what songs to know, sometimes i would even give them a disc or a tape, but they would often show up for rehearsal not knowing the song & depending on me to teach it to them. that is a huge waste of my time, i would fire those people. i have had to learn 30 or 40 songs in a few days to fill in or join a band quickly because of gigs. that’s one reason why i can make money; i can do that & not many people can. there were some train wrecks there, ha ha, but the more you get used to learning songs from recordings by ear the easier it will be for you when you do get that big opportunity.

those of us who were born to be musicians & can’t really do anything else might have our 15 minutes of fame @ some point in our lives, but sometimes you’re hot & sometimes you’re not. sometimes the kind of thing you do is popular & sometimes it isn’t & you can’t really do anything about that. it’s not a matter of how good you are, it’s just a matter of what is popular @ the time. when times are tough we can still drag our guitar & amp or our keyboards or drums or whatever down to the bar & play for 20 or 50 people, because that is what we do. there will always be parties to play, there will always be a need for entertainment.

so, getting back to the question i asked @ the beginning–what do you think the reason is that a lot of people don’t value the work of musicians & other artists? i think it is mainly for two reasons. the first is the philosophy of materialism. materialists only value solid objects. music is not material in the usual sense–it is sound waves in the air, which are physical, but you cant hold it in your hand, you can’t weigh it or measure it. it is gone as soon as it happens. you can record it onto a solid object but the music itself is all mathematics, numbers, information. any song can be reduced to just numbers & stored on a computer. in other words, music is ethereal & spiritual, not solid & material. music even exists apart from sound waves because when i compose a song, i hear it in my head (my imagination) first, before i ever turn it into sound waves. music exists apart from sound waves, in the world of ideas. any composer will tell you that. materialists don’t see the value of that, they think that sausages & beer are real & valuable but mathmatical ratios & sound waves in the air aren’t. they think music is just an ornament, a decoration, & not something vital that you really need. an artist is somebody who contradicts that, who says that culture IS valuable, just as valuable as solid objects, & that the mind & soul needs the nourishment of good culture just like the body needs solid food. a person who has no soul doesn’t understand this. remember, equations like E=MC2 can rock the world even though it is just an idea, just mathematical ratios. ideas are real & they are powerful.

i think the other reason is that a lot of the business world is based on getting people to do things they hate for money. in order to get people to do something they hate, you have to discourage them from doing what they love. your parents have to be able to say “don’t be a musician, you will never make a living @ that & raise a bunch of kids & pay off your mortgage to the bank. be an insurance salesman or a car mechanic, that’s a REAL job”. of course the prophecy that “you will never make a living @ that” is self-fulfilling, they will make sure of that. drive a delivery truck & play music on the side–if you have any time & energy left. pass the hat. that’s the deal.

some musicians like busking on the street for handouts & some musicians will pass the hat in a club. if you have a day job or are on welfare & want to do that then more power to you, but i don’t want to do that. i don’t want to be put in the position of being a beggar. we need to really overcome this scam. once music business people get more professional & start paying pro musicians a decent wage, then soon the rest who are still using what they can get for free will be driven out of business because they don’t have the good talent. that’s how the scene improves. we need honorable business men in music who like musicians & aren’t into exploiting & taking advantage of us. we need to have a decent business here where hard work & real talent are recognized & rewarded & mediocrity is discouraged. great music will come out of a scene like that & rock the world.

Bewerbung zum Award “Beste LIVE-BAND 2014″ startet 15. August 2014

Bald geht es los … schon jetzt vormerken … am 15. August 2014 beginnt der Anmeldezeitraum für den nächsten Bestmusictalent-Award “Beste LIVE-BAND 2014″

Nachdem uns beim letzten Newcomer-Award über 3.000 Freunde und Fans bei der Auswahl der Gewinner geholfen haben rechnen wir auch jetzt wieder mit grosser Resonanz.

Die Gewinner des Newcomer-Awards 2014 – FYNN FAIBLE – wir berichten demnächst noch einmal ausführlich über die Band – wünschen allen Teilnehmern viel Erfolg.

Bestmusictalent wird die Teilnehmer vorstellen, sie in die Radio-Promotion ein beziehen und den Bands die Möglichkeit sich Eigenwerbung geben.

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ZED MIZAR – the live music experience

Zedzone-Teaseri used to enjoy going to clubs & concerts a lot in LA before the police state came in, but no more. the last show we went to @ the hollywood palladium it was crawling with armed rent-a-cops who searched you like a criminal under arrest @ the door (feeling your crotch while you have your hands over your head), took your ID & had the city cops that were there run it for warrants so that if you hadn’t paid your traffic tickets they could take you off to jail right there. all night these rent-a-cops keep coming up to me saying “you can’t stand there, get behind the line, go stand over there”. when the third sucky opening act bored everybody, a bunch of us went into the lounge to wait it out but the cops came in & kicked us out & closed the room. i guess it was making the guy who booked the third opening act look bad that we all made for the exits so we weren’t going to be allowed to avoid this performance. this is not the way to have a good time, but then a police state isn’t there so you can have fun.

going to concerts here in germany is a different kind of experience i am happy to say. it’s not always easy to find a good venue in the summer–this outdoor festival thing is not for me (when american bands are booked to tour europe in the summer they call it “the muddy field circuit”). big outdoor concerts have terrible sound & getting rained on is no way to enjoy music for me, although a lot of people seem to like it. no, i prefer a small arena or a club with a second level so you can get above the crowd & see the stage. standing on the floor trying to look over the heads of a lot of tall people is not the way i like to experience live music. so, when i saw that one of my favorite bands, massive attack, was playing the tempodrom in berlin we had to see it.

it was a great concert. massive attack is @ the top of their game after 25 years together & many million-selling albums. their music, while usually categorized as triphop, combines electronica, reggae, dub, hiphop, r&b & psychedelic rock. the touring band includes two drummers, guitar, bass, a number of synthesizer workstations occupied by various people & 3 vocalists. they are also touring with an incredible LED light wall behind them made up of 9 or 12 (i can’t remember which) large rectangular sections that could tilt backwards & forwards independently, revealing banks of lasers behind them. the entire show was backlit with this LED wall & the lasers, there was almost no overhead lighting, so that along with a lot of smoke it gave the band a mysterious silhouette effect. there was a workstation @ the extreme side of the stage where the lighting artists coordinated with the live music. the choice of lighting effects was interesting–although the LED screens were capable of showing detailed graphic images, they chose instead to use mainly words & numbers that flashed quickly or rolled across the screen, giving it an old-time monochromatic IBM number cruncher look. it was very matrix-cyberpunk. in this version the words were mostly in german & dutch with a little english, so there must be other versions. they flashed the names of pharmaceutical drugs for one song & nothing but corporate logos on another. sometimes they would just run rapid streams of zeros & ones in monochrome while the screens tilted & the lasers behind them came on. whatever was on the screen related to the song, sometimes news items from when the song was recorded, & loud notes were accompanied by dazzling light flashes. it was a very effective integration of sound & visuals & they used the screens to do their talking for them. a lot of it was anti-american foreign policy & it would be safe to say that the entire show was an anti-american statement as well as a questioning of the entire corporate globalist agenda.

their sound is powerful & crystal clear, although the electronics occasionally overwhelm the vocals. they have two female lead vocalists touring with them this time singing the hit songs recorded by other female vocalist collaborators, songs like “safe from harm” & “unfinished sympathy” originally sung by shara nelson, “teardrop” by elizabeth fraser & “paradise circus” by hope sandoval. they alternated the vocals with band members so that every song had a different vocalist than the one before it. since they have been on tour for awhile their show is extremely tight & the lights are perfectly coordinated with the music to produce a complete multimedia experience.

i like the tempodrom, a fairly intimate arena holding 3000 or so with interesting architecture & good acoustics once it fills up. no armed cops of any kind were there, very few concert staff were visible, there was no search @ the door except to look in people’s bags who brought them. nobody laid a finger on me, very different from an american concert & much better in every way. the only problems i had with the tempodrom were the uncomfortable heat that particular night & the hard seat, next time i will bring a pillow, but overall it was an outstanding concert experience & a great night of music that still has the synapses sparking in my brain.

we also caught the david bowie exhibition @ the gropius in berlin. i can’t give you a definitive review because i didn’t wear the headphones & hear that part of it (i have been doing too much recording & have an aversion to headphones lately) but most of what was said there was also written on placards in both german & english so i feel that i got most of it. i would recommend it to anybody who has even a mild interest in bowie, but if you are a fan you will really dig it & if you are a musician you need to be aware of the impact this very important artist has had on our culture. there are many rooms of stuff to see, much in the way of multimedia presentations to take in. my favorite parts were the costumes–many of the real stage clothes, which are amazing, especially the ziggy stardust jumpsuits. i really liked seeing the original suitcase synthesizer that bowie & eno used on the berlin albums. there are a lot of video walls of historic live & TV performances. there are song lyrics & other stuff in his own hand. a very cool experience, check it while you can.

i have bad-mouthed some of the clubs in hamburg in the past, which gave me very bad experiences in exchange for a lot of money, but i am happy to say that the newly-reopened mojo club @ one reeperbahn more than answers my call for better clubs in hamburg (i very much like the kampnagel also, especially the theater where we saw efterklang). as you probably know, the historic mojo club, which helped pioneer electronic music in germany as well as a lot of other cool stuff, closed in 2003 & later was torn down. the new club is completely underground, you enter @ street level & go down a long flight of stairs to the top level of the club, where there are actually second level seats like a small arena. you continue down the stairs to the floor level, which is very large & has a great line of sight to the high stage from about everywhere, including the large bar. the sound & acoustics are outstanding. we caught the hamburg electronica band hundreds there & they had a large, enthusiastic hometown audience to cheer them on. i like their sound a lot, upbeat euro classically-based dance electronica in the same zone as hooverphonic, lamb, bjork & groove armada but uniquely german (although vocals are in english). i am very encouraged to see great german electronica bands like hundreds coming out, playing very electronica-friendly clubs like the mojo. i am sure i will visit the mojo many times in the future, it is not only a world-class music club–it is the best. check it.