Killer Dwarfs - Start @ One and Before . . .

Start @ One is a lost Killer Dwarfs album recorded in 1993 (with the exception of two tracks being written as bonus material) and released in 2013. If you were alive in the 80s, you have to remember Killer Dwarfs. The fantastic, uplifting song Keep the Spirit Alive from the album Stand Tall is still a personal anthem for me. The lyrics are strong, positive, and inspiring. Here's the chorus:

Keep the Spirit Alive

Keep the spirit alive.

Well, you gotta to survive.

And you'll never be the same

When the spark ignites your flame, yeah . . .

The same with a song they later did on the album Dirty Weapons, the stunning power ballad about taking chances and being the best you can be. That song was Doesn't Matter. Check out verse one:

Doesn't Matter

There comes a time in your life, oh yeah.

You've got to stand up and fight.

Get behind what you believe.

Get a grip on what you see.

There's a chance you just might get it right.

The Dwarfs have a history of spreading this positive message. They are a band that can make you feel good about yourself and who you are.

These guys are far too underrated for my taste.

Killer Dwarfs are a Canadian band formed in 1981. Their first album, entitled Killer Dwarfs (1983), included the ass-kicking Gotta Lose to Win and the blistering Heavy Metal Breakdown. Russ Dwarf's distinctive voice (love his tone and range) and the level of playing skill of all the guys in Killer Dwarfs immediately grabs you by the shirt and never lets go.

Other Killer Dwarf albums include Big Deal (1988), Method to the Madness (1992), and the much-appreciated live album Reunion of Scribes (2001).

But we're here to talk about the latest release by Killer Dwarfs, Start @ One. I can tell you this. I bought the album and started listening, and from the moment the opening guitar chords of Lonely Road kicked in, I was hooked. When Russ started singing, the deal was sealed. Killer Dwarfs were back in action. Yeah, with an album recorded some time ago, but still, Killer Dwarfs were back.

Not that I needed this album to prove they were back. To me, they have never gone away. I haven't stopped listening to them since Stand Tall, and the release of the live album was my proof that the Dwarfs had never really gone anywhere. Still, Start @ One was a pleasant treat; a new (old) studio album from Killer Dwarfs. What more could you ask for? Tracks like the opening Lonely Road, the driving force of Down in Hollywood, Adalina, and the beautifully haunting The Crowd make you wonder why this album has only just seen the light of day.

The guys in Killer Dwarfs (Russ Dwarf, Darrell Dwarf, Gerry Dwarf, and John Dwarf) are going on the road and bringing the Dwarf sound to a town near you in 2014. I know I'll be there.

Stay tuned for a blog about a CD I'm really stoked about and only recently realized existed, Wireless, from Russ Dwarf. It's one of my favorite when-the-hell-did-this-come-out-and-why-don't-I-have-it CDs (how's that for a hyphenated adjective?). I'll be doing an overview of Russ' solo stuff and really digging into Wireless with a song by song breakdown in an upcoming blog, plus I'll be doing an interview with Russ that will accompany that post. Be sure to check it out.

While you're at it, grab a copy of Wireless, Reunion of Scibes, and Start @ One here:

http://russdwarf.bandcamp.com/

Shock 'n Y'all

Shock 'n Y'all is the eighth studio album by Toby Keith and the one that really got me hooked on his music. Don't get me wrong, I loved his earlier stuff too. Songs like Should've Been a Cowboy, Dream Walkin', You Shouldn't Kiss Me Like That, Who's Your Daddy, How Do You Like Me Now, Courtesy of the Red, White, and Blue, and, of course, I Wanna Talk About Me, are as catchy and creative and heartfelt as anything on Shock 'n Y'all, but I never really put Toby Keith in the CD player. If he came on the radio or TV, cool, I could sing along, but that was it. I never went out and bought the CDs. I didn't consider myself a Toby Keith fan. Even though I liked the songs I heard, even though I could sing them, even though I recognized the excellent songwriting and the passion in the music, I never considered myself a Toby Keith fan . . .

 . . . Then I heard Beer for My Horses, a song that came out on the album prior to Shock 'n Y'all. The song was a duet with Willie Nelson and it's essentially about kicking ass and putting all the bad people in their place. Anyway, Toby Keith and Willie Nelson are a combination that can't be beat. I heard that song and was blown away. I can listen to it over and over again.

When Shock 'n Y'all came out about a year later, I still had Beer for My Horses on my mind, that's how good that song was, and still is. The three singles from the album, Whiskey Girl, I Love This Bar, and American Soldier are as good as anything Toby has ever done. The hot opening guitar chords of Whiskey Girl caught my attention first. I still can't 't get enough of that song. I Love This Bar demonstrates a keen sense of taking the details of life and transferring them into a killer lyric. Then, of course, there's American Soldier, a patriotic tribute to our soldiers done only the way Toby can do it.

The album also features some humorous bonus material, including a song called The Taliban Song (a patriotic love song, as Toby puts it, and Weed with Willie. These tracks never made it to an album. They're songs Toby performs live only.

If you haven't listened to Toby Keith and want to get a taste of some great country, Shock 'n Y'all is the album I recommend you start with. I am not the biggest country fan in the world, although I do have some country favorites and I'm not opposed to listening to them. Toby Keith is one of my country favorites.

And the legendary Willie too.

The Inside Scoop on Music Lessons with Lisa Smith (for teachers and students)

Music lessons can be one of the most rewarding experiences you ever undertake, whether you are teaching the lessons or receiving the lessons. There can be pitfalls along the way, however, and some thought should be put into what to expect both as a teacher and a student. In my conversation with Lisa Smith, who has been playing and teaching music for more than 30 years, learn what some of these pitfalls are and how you can avoid them to make the most of your experience.

Carl Hose: Thanks for talking with me, Lisa. My goal here is to get some good advice to those who want to teach music as well as to those who are seeking lessons. You've been giving lessons for how long and how did you get started? 

Lisa Smith: I have been teaching off and on for over 30 years. I started teaching right out of college. Took a few short breaks when my living situation didn’t allow me to teach and now am teaching with The Music Room studio. My degree is in music education. Teaching and performing are my passions but I have always had to have another full time job to pay the bills.

CH: What instruments do you teach? Give us a little bit about who you are.

LS: I teach piano, voice, and flute lessons. I also teach classes called Music Discovery, which are kind of like the “mommy and me” classes. I teach one class for babies and one for toddlers. Currently I am also teaching as a “mentor” with a middle school after school program. These classes are 8 weeks long and 45 minutes per week. The topic of the class changes with each session and right now the class I am teaching is called “The Roots of Rhythm.” I stole that from Paul Simon’s song that says, “These are the roots of rhythm and the roots of rhythm remain.” That lyric has always spoken to me. I am really excited about this class. We will learn “cups," do some African drumming, body percussion, and some “Stomp” type playing.

CH: Do you write individual lesson plans and try to teach in a way that is customized to each student, or do you find there's a structured approach that works well with almost every student?

LS: For the very beginners on piano and flute I use a standard method book. When we move from that book to more student directed literature depends on the student - usually after the second book. For voice students we start right at the beginning, with the folk songs I select and a song they select in any genre they choose. I think it is important for students to learn the standard literature for their instrument, but to also have the chance to do the music that speaks to them.

CH: Is there any particular age restriction you feel is too young for someone to begin taking music lessons?

 LS: For piano, no younger than 4, and for flute it depends more on the size of the child and their arm and finger reach, but generally around 7. Serious voice lessons should not begin until the teen years because the vocal chords have not developed and can lead to physical issues, but I will start students as young as 4 or 5 if they and the parent understand that we are not going to try to develop an operatic style or use the full voice until they are much older. Just as a side, no matter what instrument you want to play, or if you want to sing, I try to push for at least 1 year of piano lessons. Chord structure, scales, and modes are much easier to see on a keyboard.

CH: On the other side of the coin, any advice for someone who wants to start giving lessons for a living, or as a side income/ Is there a reasonable fee that should be charged? What criteria goes into what an instructor should charge for lessons?

LS: It is very hard to make a living by teaching alone. Mostly because your teaching time is generally limited to the hours between when school gets out and when the children need to get to bed. Most of my students want lessons between 4PM and 7PM. I do have some adults and home-schooled students who can come during the day, though. I think you have to determine the fee for lessons based on where you live, your level of expertise, education, and your experience. The best way to establish what you will charge is to find out what others in your area charge and how they compare to you in expertise, education, and experience. You want to charge something reasonable compared to others. If you charge too much you won’t get students and if you charge too little you are doing a disservice to yourself.

 CH: What do you think of those ads that say "learn guitar overnight" or "play piano instantly?" You know what I'm talking about.

LS: Can’t be done! Even if you can learn the mechanics of playing an instrument quickly, learning musical styles and nuances takes years. I am still learning to play and sing. There is so much more to playing or singing than just the mechanics. You also need to learn theory, history, sight reading, ear training, and improvisation to really be a musician.

CH: What are some of the red flags someone should look out for when searching for a music teacher? Any steps that can be taken to minimize the risk of wasting money?

LS: First and foremost, always require that you are allowed to sit in on at least one lesson that the teacher is teaching with another student. See how they interact and if they seem to know what they are doing. Ask if a recital is coming up and, if so, go to the recital. If they tell you they have a degree, ask for proof. If they tell you they perform, ask if you can come and hear them perform. If not, ask them to play or sing something for you. I can’t tell you how many times I have heard a teacher sing or play and found that they have the mechanics down but nothing else and sometimes they don’t even have the mechanics down. Finally, if you can sit in while your child is having their lessons do that. If not, pay attention when they are practicing. You will be able to tell if they are learning and improving or not. Of course, if the student doesn’t practice, there will be no improvement.

CH: What are you up to and where can people see you perform? Also, how can you be contacted for music lessons?

LS:I play with a concert band in St. Louis called Band Together and I sing with the band at The Connection Church in St. Louis. I also direct the children’s choir at The Connection. Other than that, my performances are generally weddings and funerals or background music for social event like dinners and fundraisers. I can be contacted at Syrinx0813@yahoo.com.

The Music Room
http://themusicroomstl.com/ 

Dead Rising

I know this is a music blog, but every once in a while I stray off course. We can't live by music alone (I don't think so anyway). Well, we have to eat, which brings me to this post. It's about a ghost pepper sauce. Not just any ghost pepper sauce. This is Dead Rising ghost pepper sauce, based on my novel Dead Rising, which means this sauce is hot enough to wake the dead.

And believe me, it is.

But it isn't just hot. There's a deep, rich flavor that goes along with it. A slightly sweet, mildly smoky flavor that compliments anything you want to make hot.

Made with fresh ghost peppers and a few other ingredients, Dead Rising is a sauce that will give new life to almost anything you put it on. Grab a bottle. You'll be supporting a struggling writer (me) and adding new spice to your culinary adventures as well.

Get a bottle here:

 http://www.insanechicken.com/dead-rising-ghost-pepper-hot-sauce.html

 

Blizzard of Ozz Vs. Diary of a Madman

Which of these Ozzy Osbourne albums is your favorite? This is a tough one for me. Blizzard of Ozz, Ozzy's first album, includes one of the most significant Ozz tunes ever, Crazy Train. The second album, Diary of a Madman, includes my favorite Ozz tune of all, You Can't Kill Rock 'N' Roll and my second favorite Ozz tune, Flying High Again. In addition, it includes Over the Mountain, which is pretty awesome, the title track, Diary of a Madman, and Believer, both of which are great songs.

Besides Crazy Train, Blizzard of Ozz has I Don't Know, which is another phenomenal track, and the beautiful ballad Goodbye to Romance. There's also fan favorites like Suicide Solution and Mr. Crowley, not to mention the underrated Steal Away (The Night).

Both of these epic albums featured the guitar work of the late and great Randy Rhoads. So which it it, folks?

After a bit of internal debate, I have to go with Diary of a Madman.

Workin' on Those Night Moves

Sing it with me, baby. "I woke last night to the sound of thunder. How far off, I sat and wondered. Started hummin' a song from 1962. Ain't it funny how the night moves? When you just don't seem to have as much to lose. Strange how the night moves . . . with Autumn closing in."

The lyrics to the song Night Moves are poetry. The song itself is about the passage of time, the seasons of our lives, and the way Bob changes the meaning of the phrase "night moves" throughout, to match the changes of our lives, is masterful. In the beginning of the song "night moves" refers to the way we play the game when we're younger . . . everything from those night moves we make "in the back rooms, the alleys, or the trusty woods," to (as the song progresses and reaches the point where he sings, "Ain't it funny how the night moves? When you just don't seem to have as much to lose,") and he's using "night moves" to represent the reflective silence of the night where we look back on our lives, the miles behind us and the miles ahead, and we wonder if we've accomplished all we set out to accomplish, if we've lived the way we meant to live.

All that deep shit aside, though, the album Night Moves remains a favorite of mine. Great songs like Rock and Roll Never Forgets, with the cool line, "All Chuck Berry's children are out there playin' his licks. If you need a fix, you can come back, baby, 'cause rock 'n' roll never forgets."

And it doesn't. That's the truth.

Other awesome tunes from this album? There are many. Mainstreet. "I remember standin' on the corner at midnight, tryin' to get my courage up. There was this long, lovely dancer in a little club downtown. Used to love to watch her do her stuff . . ." The song made more poignant by the oh-so-simple guitar lick that was used in the opening of the song and reiterated throughout. If you've forgotten it (and I don't see how that's possible), listen again.

Then the really fun songs, Come to Poppa and Fire Down Below. Other tracks, too, like the storytelling he does in Ship of Fools and the get-even lyric of a man taken advantage of by a woman in Mary Lou.

Night Moves is an album I never tire of.

Bob Seger is timeless.

KISS -- Dressed to Kill

Dressed to Kill has always been a favorite KISS of mine. It's noted for its very short run time (fifteen minutes each side and almost no guitar solos). The cover isn't one of the most attractive I've seen (the guys are wearing business suits and posing on a street corner in New York), but the songs are awesome. Two of them, Love Her All I Can and She are songs from Wicked Lester Days (a band Paul and Gene were in together) and appeared on the Wicked Lester album.

Paul and Gene hated the Wicked Lester album so much they scraped together the money and bought the rights to the album back from the record company, who panned to release it when KISS started hitting, just so the album would never be see the light of day. Happily, they saw fit to use two of the tunes, which turned out excellent on the Dressed to Kill..

Dressed to Kill also features a killer Peter Criss vocal on a song penned by Ace Frehley called Getaway. Two kick ass Gene Simmons tracks, Ladies in Waiting and Two Timer are also present. Paul puts in top notch performances with Anything for My Baby and one of my favorite tracks, Room Service.

The album also features Rock Bottom, C'mon and Love Me (which became a big KISS classic, and, of course, Rock and Roll All Nite (which hit its stride on the Alive album).

The album was rushed because KISS were on tour and being urged to keep the records coming out at the same time, hence the inclusion of a couple tracks already written and the short running time of the songs. What could have been a big mistake turned out, I think, to be one of KISS' jewels.

Quick and Dirty

This is simple. Leave the title of one song in my comment section (or on Facebook or Tweet it) that brings back a memory every time you hear it. It can be a happy memory, a sad memory, it can remind you of a childhood sweetheart, the first time you kissed, the first time you did the backseat boogie . . . whatever. Just leave the title of a song and the memory it evokes.

For me, wow . . . Jim Croce, Long Time Ago. A Jr high romance, quite innocent, but it felt real at the time.

Ten Albums I Never Get Tired of Hearing

I saw a post on Facebook asking me to list ten albums that have stuck with me over the years and then to tag ten friends and re-post. I don't usually do that stuff, but I liked the concept of this one, being music related, so I did it. I then decided what the hell, that seems like something I should put on the Jukebox, so that's what I'm doing. Here are the ten albums I never get tired of hearing (I changed the phrasing up a little bit). I didn't say these are my favorite albums of all time. I'd have to spend a great deal more time shuffling through possibilities to come to a conclusion like that. What I can say, however, is that these albums are pretty damn close. For whatever reason, these albums have had a very strong influence on me musically, and I still find them enjoyable to listen to. Here's that list:

Jailbreak - Thin Lizzy
Live and Dangerous - Thin Lizzy

A Rock and Roll Alternative - Atlanta Rhythm Section
Live Bullet - Bob Seger
Rock and Roll Over - KISS
Alive II - KISS
Foot Loose and Fancy Free - Rod Stewart
John Cougar - John Mellencamp
Scarecrow - John Mellencamp
Nothin' Matters and What If It Did - John Mellencamp

Leave a comment and tell me yours. I think this is a really cool topic and I'd like to see the results.

Interview with Guitarist Joey Metcalf from The Adoring Heirs and Casinos for Madmen

Guitarist Joey Metcalf

Carl Hose: It's great to be able to talk to you, Joey. Our history goes back a ways, to a band called Storm Warning. Not much to say there except we were fresh out of the box and had some fun. What I remember most is jamming all night in the storage shed and then going for killer Mexican breakfast burritos at some dive when the sun came up. That, and our wall decor, of course.

Joey Metcalf: God, so many memories flash when thinking of those days! "Chris The Curious Drummer," the plain old feeling of just playing to have fun and hang with friends till all hours with no thought of time or limitations. The weight of the world felt like a feather in hindsight.

CH: What impressed me most about you then was your ear. Did you ever pursue reading music or have you just continued to develop the ear. You could listen to anything and play it back. That's something I have developed a little over the years, but for you, it never seemed to be someting you had to develop. It was second nature to you.

JM: Yeah, it's still the way I do things. Never pursued learning to read music. It is still something that is second nature that I don't fully appreciate, I suppose, until someone brings it to my attention. It's just something I do that feels as natural as breathing, so it seems like everyone should be able to do it. Now I use my ear more to write or to accompany someone else in the writing process. I rarely sit down to learn a song anymore. Time budgeting and all that good stuff.

CH: Do you remember who some of your earliest musical influences were?

JM: My earliest memories of music are sitting down with my Sesame Street portable record player and playing side A "Hound Dog" and side B "Don't be Cruel" by Elvis and "She's a Lady" by Tom Jones, both of which were 7" 45's! But as I got older, KISS became my cornerstone to the world of music and picking up a guitar to be a "Rockstar"! I may have been quiet and a bit shy, but hand me a guitar and turn it up and that didn't matter. Some things never change . . .

CH: What was the first guitar you ever owned?

JM: My first guitar was a cheap guitar from a local St. Louis pawn shop that was  a 3 pick up Les Paul copy, black with white binding. I had no idea it was a cheap knockoff guitar. All I cared about was that it was nearly identical to Ace Frehley's! I wish I still had that one. I never have sold any other guitars that hold a sentimental value since . . .

CH: What guitars have you played over the years and which is your favorite?

JM: My second guitar was a real deal Ibanez Iceman like Paul Stanley's. This guitar is still with me and I'll never part with it. Over the years I tried Charvel and some homemade guitars. One of my faves was a guitar named "Happiness" because of a sticker that was on it. The sticker read, "Happiness is a . . ." Well, I'll let your imagination fill in the rest because it was pretty raunchy. I have 2 Paul Reed Smiths, 1 24 fret and 1 22 fret, an early 70s Gibson Ripper bass like Gene Simmons, another bass that I can't remember the make and model that I call 444, and my new love, "White Chocolate," my Les Paul Trad Pro II Gold Top, which is the best guitar I've ever owned or played. 

(Carl's NOTE: I remember the Ibanez Iceman because it's what Joey played in Storm Warning)

CH: What have you been involved with since those days when we were young and full of, well, whatever it is you're full of at that age? I know you have a beautiful family that you adore spending time with, but what about musically? What were you doing before you settled down with a family and what about now?

JM: First of all, I have to say that my wife Ashley is so understanding and supportive of all my musical endeavors, which makes things much easier for me and for her. I am much easier to be around when I am playing.

Whew, well, in the early nineties I played in a cover band Flat Stanley, That was a great experience because of the sheer volume of material that we had to learn brought my chops up and expanded my pallet of music. I quit that band and told them that I wanted to pursue being in all an original band and play opening for touring bands and maybe play regional shows, having no clue on where to begin!
  
1993-1995
So one day in 1993, by total chance, I happened to notice a tabbed flier at Vintage Vinyl that caught my attention because of the detail in hand drawn artwork for a band "Sun Region." They were looking for a "second guitarist," not a lead guitarist! That was a cool idea to me so I pulled a tab and gave them a call, set up a jam, and before I knew what was happening, I was in the band, and within weeks was recording in the studio and playing shows with regional, local, and touring bands! WTH!! This was a fateful union because every other band that I have been in since has involved at least one person from Sun Region, whose members were Brian Merry-guitarist, Brian "Badger" Vandegriffe-bassist, Ed Zimmerle-drummer, and Dave Funk-vocalist.
  
1995
After that came a short lived project with Mike Lake on vocals called Six Degree Drop. We recorded a handful of songs that never went anywhere, then we joined forces with singer/songwriter Kristen Cobos to form the band Superfiction, and that band recorded one song, and poof, it was over. We were basically a revolving door of vocalists trying to avoid going to the genre of music that we all loved, hardcore/metal music.
  
1996-2000
Finally we found the right vocalist in Kyle Bova to form FUSE 12. This was the band that was, at the time, the closest I had come to getting on the major record label, Century Media, but many of us were too uninformed and afraid to sign on the dotted line. They wanted all publishing for all future recordings up to like 5 records or something. What we didn't know was that we could sign and renegotiate at a later date if this became successful . . . IDIOT!!! Although for me that ended up being a blessing, because had I signed, I would have been out on the road and missed some quality time with my late wife. In hindsight it was the best choice for me. But there's always a small tick of regret and that "what if "?
  
2005-Now
 Around late 2005, after some time of mourning the loss of some major people in my life, I realized that playing music was the only time that I felt somewhat normal again. So I reached out to Kyle Bova, who was in the band REND, and told him that I was ready to go again, and it just so happened that they needed a bassist. I told him that I had never played bass, but that I wanted to give it a shot. I eventually moved to guitar and still play with THE REND. We went on tour to the West Coast to play the Whiskey, which is a highlight of my music "career." The Rend recently changed our name to Casinos for Madmen due to copyright issues. During this time I was asked by Brian Merry to join him in a band called Murder Happens to be guitarist/vocalist. Again, I had never sung lead or been a front man, so I was like, "bring it!" The things in life that may scare the shit out of you don't seem so scary after going through life changing experiences like losing loved ones.

So, last but not least, in 2013 I caught wind of an opening in a band that Brian Merry is in along with Sir Ian Baird, Rob Wagoner, and Tim O'Saben. Tim was leaving the band The Adoring Heirs! So for the second time in my life, I actually auditioned for a band. I was so jacked to try and get in a band with some of the most talented people that I had been playing alongside/opening for nearly all of my music "career" that I actually was freaking nervous, but I got it! I am proud to say that I have played by, and continue playing alongside, some of my best friends in Casinos for Madmen and The Adoring Heirs. BTW, The Adoring Heirs are releasing a Split 7" 45 record along with a band from the UK, The Microdance, on Boxing Clever Records in 2014

(Carl's NOTE: This last part, the split 7" 45, has happened. Details Below)    

CH: What do you think of the state of the music industry? How have illegal downloads played a part in it, and do you think in the end the climate is better for indie musicians?

JM: I think the state of the music industry is in the toilet. I do, however, think that the opportunities for the inventive or innovative indie artist are much more available, but the effects of illegal downloading are mowing nearly everyone down in its path, from manufacturers to brick and mortar stores. It is such a snowball effect and most people don't realize how much damage is being done. A new/old way for the artist to get music out there is to release collectable vinyl so that the consumer is forced to hand over some $ to the artist. I think at some point artists will revolt or boycott and no longer make music to be released to the public until there is a viable way to sell it.

As far as recording at home, I think it is almost a necessity in this age of file sharing, because going into a studio and paying huge fees to record is nearly impossible. That being said, there is just something about being in a studio that is as appealing to me as going out and buying a record/CD, flipping it in your hands to see the artwork, credits, artwork, smelling that aroma of the cardboard and plastic or vinyl. The look and smell of being in the studio is a large portion of the experience, as well as having access to equipment that most home studios don't offer.
    
CH: Big KISS fan that you are, I have to ask this question. Eddie Trunk rams it home on That Metal Show all the time. His opinions are pretty definite. Do you think it's cool for Eric Singer and Tommy Thayer to wear Peter and Ace's make-up or should they do their own thing? I mean, for me, I was onboard with Eric Carr and Vinnie Vincent because they had their own characters, but this Eric Singer and Tommy Thayer situation is a little off center to me.

JM: Well, as a longtime fan, I wish that they would have been able to introduce new characters into the band, but at this stage of their career, I don't think it makes good business sense. They want the KISS brand to live well beyond their lifespan and they can't do that without leaving the core "characters" in place. I think that the band would be a distant memory if they had tried to keep Ace and Peter. Had they decided to hang it up when they (Ace and Peter) quit, KISS would have only been a band approximately five years. I actually went to see them on their last tour and left the stadium a renewed KISS fan! Paul and Gene have been holding down the fort for 40 years now, and doing a pretty damn good job of it. I can only wish that I could be that active and relevant in my 60s. They get my respect, if for that reason alone . . .

CH: Which of Ace's solo albums is your favorite?

JM: Quick answer, the 1978 KISS solo album!

CH: You got to sit next to Ace, brother. Was it epic?

JM: I have never met any of those guys until that day, and I probably could have at one time or another. I have always just wanted them to stay the way they are in my mind and was fearful that they may be dicks and ruin it for me. So how was it sitting next to Ace? From my perspective, that is the only time in my life that just standing/sitting next to a person that isn't a loved one made me cry, so yes, it was EPIC! He was not a particularly friendly person, but I don't think I would be either if I were trapped in a room with random people coming to view me like an "Anomaly."   

CH: Do you get a chance to write your own material these days? What's your process?

JM: My favorite way to write is with other bandmates, It's more dimensional. When I write on my own it usually ends up being something very personal and would be of no use to any band that I am in unless it is some riffs that would work.

CH: Either of your girls showing signs of taking up the Metcalf musical legacy?

JM: Both of them are very musical. Lucy plays the piano and sings, and Emma has a very pretty voice and loves to play band with me while she plays the drums.

CH: I think I know the answer to this, but I might be wrong. If you could play onstage with one band one time, who would that band be?

JM: This will surprise you, but I would play with Dimebag Darrel in the early 90s version of Pantera! I know, left field right?!?!

(Carl's NOTE: I expected KISS, so this was definitely left field.)

The Adoring Heirs
A little bit indie, a little bit punk, a whole lot of hard rock is The Adoring Heirs’ modus operandi. Sometimes dark and brooding, at times uplifting and poetic, the solid tonal layers and experienced talent that comprise the band will amaze you.

Ian Baird-Drums
Brian Merry-Guitar
Joe Metcalf-Guitar
Rob Wagoner-Vocals and Bass

The Adoring Heirs

Check out their song Deep Red available on vinyl from Boxing Clever Records:

http://www.boxingcleverrecords.com/release5.html

Also available (digital download,) Bluebeam:  

http://theadoringheirs.bandcamp.com/track/bluebeam

Bluebeam is also on Soundcloud
https://soundcloud.com/theadoringheirs/bluebeam-by-the-adoring-heirs

KISS Behind the Mask: The Official Authorized Biography

I've read this book so many times I almost have it memorized. KISS Behind the Mask: The Official Authorized Biography by David Leaf and Ken Sharp is really two books in one, both collected together in to create the ultimate KISS book for KISS fans. The first third of the book (the biography part) was written by David Leaf in 1979, at a time when the original members of the band were still together and the tides of the KISS waves had yet to turn. The narrative takes a pull-no-punches approach and is not just some glossed-over glamorous take on who KISS is. There's a lot to be discovered here, even by the most die-hard KISS fan, and some of it is quite surprising.

The last part of the book (maybe my favorite part) is an album by album, song by song breakdown added by Ken Sharp and augmented with comments from the guys in the band and others involved with KISS at the time of each of the albums. The book covers every record beginning with the Wicked Lester album and going all the way up to Carnival of Souls: the Final Sessions. This part of the book is essential reading not only for KISS fans, but for songwriters in general. The insight into how every song was written, how the albums were made, and what everybody involved thought at the time is just incredible.

For instance, the guys in KISS rate all of the albums on a scale of one to five. It's interesting to read what they think of each album and what they rate them, particularly when they rate each others' solo albums.

I can't stress this enough, if you are a musician or songwriter (and any sort of KISS fan), reading Ken Sharp's portion of this book is essential and you'll find it enjoyable.

There are two covers for this book. The first is the print version. The second is the e-book version. I have a copy of the book in both editions. If you are a KISS fan or a musician/songwriter that likes a real behind-the-scenes look at the process of a band as big as KISS, you have to grab a copy of KISS Behind the Mask: The Official Authorized Biography. You'll read it more than once.

Classic Album Covers

I've decided to do periodic posts showcasing some album covers. Some of these albums can still be purchased at Amazon on CD, eBay on CD or vinyl, iTunes as downloads, or in the rare used record stores that may still exist as brick and mortar stores or online. It is my hope that showing these album covers in small increments will remind you of albums long forgotten. I know I have rediscovered some bands and albums that I forgot about over the years. It's kind of cool to find an out-of-print album somewhere and get a deal on it or to find out something that was out of print is now re-issued and easy to get.

Let's get the party started. Here are some classics.

Highway to Hell

Like AC/DC's music, there's nothing fancy here, just a straight ahead rock 'n' roll album cover. Angus sort of steals the show, doesn't he? This is typically cited as one of their best covers.

Destroyer

Another easily recognizable cover. For the re-issued Destroyer, entitled Destroyer Resurrected, a slightly darker, more apocalyptic version of this painting was used (intended for the original release of Destroyer).

Sgt. Pepper's Lonely Hearts Club Band

How many music fans, whether a Beatles fan or not, do you imagine will recognize this cover? This is maybe the most iconic cover of all time. The Beatles were really on here, along with wax statues of themselves abd cardboard cut outs of everybody from Shirley Temple (twice) to Marlon Brando. Not one of my favorites but certainly a classic.

Slowhand

I've always liked this one. Nothing fancy. Very sparse, with focus on the guitar, Eric playing a G chord. Nice and simple. In the original vinyl edition of this album the full body of the guitar is seen when the record cover is opened up.

Appetite for Destruction

I thought this was one of the coolest covers ever when I first saw it. I didn't even know the band, but I was browsing in a record store one day and grabbed the CD because it looked so neat. Skeletons to represent the guys in the band. Great concept.

Bat out of Hell

This is one of the best. That kick-ass motorcycle busting from a grave (presumably escaping Hell). The drawing was done by Richard Corben. A fitting image for what is still one of my favorite albums.

Their Greatest Hits (1971-1975)
This image is doing double duty tonight. I just did a post about the content of this album. It is also an iconic cover. I think it's beautiful in its simplicity and I've always found the use of the few colors striking. I love the Eagle skull too.

There are so many album covers to choose from. I'll feature a few at a time and try to include some trivia about the ones I find. Maybe I'll even do some posts by category, such as ugliest, most recognizable, most disturbing, most controversial, etc. I think that'll be fun.

Hello, I'm Johnny Cash

Johnny Cash has the rare distinction of being one of the few inducted into the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and the Gospel Music Hall of Fame. Think about that for just a moment. What a remarkable achievement. It speaks volumes on the influence of Johnny Cash in the music world. With nearly 100 albums to his credit, Johnny Cash is one of the most prolific songwriter/performers in music.

Cash was an imposing figure dressed in black. His bass/baritone voice was captivating, even commanding. He was a rebel who was humble and had a kind heart.

A true paradox, both musically and characteristically.

At San Quentin was my first Johnny Cash album. It was actually another of my mom's albums, but I quickly confiscated it and played the hell out of it. The opening verse of the tune San Quentin blew me away:

San Quentin (Johnny Cash)

San Quentin, you've been livin' hell to me.
You've hosted me since nineteen sixty three.
I've seen 'em come and go and I've seen them die.
And long ago I stopped askin' why.

The song that sealed the deal for me, though, was A Boy Named Sue. I couldn't believe such a full story could be told in so little space. That may have been one of my earliest introductions to using the song form as a storytelling medium.

There are many other Johnny Cash tunes that caught my fancy over the years, some written by Johnny Cash and others written by someone else and performed at their best by Johnny. Ring of Fire, Green, Green Grass of Home, Folsom Prison Blues, and I Walk the Line are some fine examples. Give My Love to Rose, originally released on the Sings Hank Williams album in 1960, is another example of telling a complete story in song form.

Johnny Cash is typically considered a country legend, but in truth, he is one of the earliest rockabilly stars, he's an accomplished gospel singer, and he's even covered rock songs, particularly the song Hurt by Trent Reznor of Nine Inch Nails. Absolutely haunting when handled by Cash.

And listen to the 1960 album Ride This Train. This is one of my favorite Johnny Cash albums ever, with spoken parts before each of the songs that tie them together. Basically a concept album before it was cool to do concept albums, and some of the spoken parts showcase elements of rap before rap was a musical term.

The last album Johnny Cash made before he passed away is the fourth album in his American series, American IV: The Man Comes Around. The album features several covers, including Hurt and The Eagles' Desperado. There are some guest backing vocal appearances on the record by several people, including Don Henley. In addition to the covers, there are stripped down re-workings of earlier Cash recordings as well, one of which is Give My Love to Rose. An album worth checking out.

NOTE: March 25th, 2014 a new CD by Johnny Cash is due out. The CD, Out Among the Stars, will feature all new recordings discovered in 2012. Out Among the Stars will be available at Amazon, iTunes, and various other musical outlets.

Johnny Cash was grounded in tradition and ahead of his time; a singer, songwriter, storyteller, and voice that will forever be etched upon our musical landscape.

Eagles: Their Greatest Hits (1971-1975)

I found the record Their Greatest Hits (1971-1975) in my mom's record stash when I was a kid. I was always going through her records and listening, trying to find my own musical tastes and (unknowingly) building the foundation for what would eventually become my own direction in music. Anybody who has ever had Their Greatest Hits (1971-1975) in his hands knows that there isn't a bad song on the record. I, of course, loved what I heard and purchased everything by the Eagles.

If, however, you are one of those people who don't like the deep album cuts and are only concerned with hits and such, this is the Eagles record you want to start with. These songs are essential listening for someone who wants to hear iconic Eagles songs. There's also Eagles Greatest Hits, Vol. 2, which covers later classics and is also a must-have for the "hits" fan, but the focus here is the first collection.

You'll probably recognize these songs immediately, even if you have been living under a rock. There's not a song here that hasn't been played on the radio countless times. Take it Easy, Witchy Woman, Lyin' Eyes, Already Gone, Desperado, One of these Nights, Tequila Sunrise, Take It to the Limit, Peaceful, Easy Feeling, and Best of My Love are all here. Not a bad song in the batch.

Their Greatest Hits (1971-1975) is an essential cruising CD. Keep it in your car, listen to it often. It's good driving music, great sing-along stuff, and all-around feel-good music.

I mentioned there's also Eagles Greatest Hits, Vol. 2, which will also bring you a great deal of listening pleasure, but if you seriously want a great package by the Eagles, you can get both of these collections and a few other singles on The Very Best Of (also known as The Complete Greatest Hits), a two-disc collection that will keep you singing the Eagles on a regular basis.

The Songs of John Mellencamp

I'm going to try to keep this post to a reasonable length, although it will be a challenge. When talking about John Mellencamp and his music, I could probably go on for days. I should write a book, quite frankly, and would in fact enjoy doing that. Something that goes into the songs. Something that fans and musicians alike could sink their teeth into. I actually read a Rolling Stone piece at John Mellencamp's website entitled My Life in 15 Songs, which I thought offered some really good insight into John's mindset where his music is concerned. It's a great read and you can check it out on his website.

Anyway, my wife took me to see Mellencamp in Florida on his tour to support the awesome album No Better Than This. The show was great. We had balcony seats right over the stage and I even made a little trip down to stand at the front of the stage, looking right up at Mellencamp as he belted out his set with the heart of a true music legend -- a performer who, no matter how great he becomes, remains down to earth and true to his roots and his fans. That was one of the best concert experiences of my life, and I've had many. A fantastic show in southern Florida. I have a shirt from the concert that shows all of the names John has used throughout his career crossed out until it finally just says John Mellencamp. Very cool.

My introduction to John Mellencamp came when I was about seventeen. I heard I Need a Lover on the radio. I bought the album John Cougar (that was the name he was using then) and put it on the turntable. It wasn't long before I wore it out. I soon found out that I Need a Lover wasn't the only good track on the album. There was Night Dancin', The Great Midwest, Do You Think That's Fair, Sugar Marie, and a beautiful ballad entitled Taxi Dancer. There were others too, but these are some of my favorite cuts. Being from the Midwest myself, The Great Midwest had lyrics that really resonated with me:

Great Midwest (John Mellencamp)

Everything is slower here, everybody's got a union card.
They get up on Sunday, go to church of their choice,
Come back home, cook out in the backyard.

And they call this the Great Midwest
Where the cornfields grow and flow.
They're all five years ahead of their time
Or twenty-five behind, I just don't know.

Well, from the time I listened to that record, I was a Mellencamp fan and it hasn't slowed down. I immediately bought everything he came out with, first on vinyl, then cassette, then on CD.

The next record, with one of the best titles I've ever heard, Nothin' Matters and What If It Did. is another favorite and only solidified my love for John's music. I wish I knew how he really felt about some of these earlier tracks. You always hear that he hates the stuff. To be honest, I thought there were some damn good songs here. In fact, the whole album was good. In particular, the ballad Make Me Feel, the melancholy ode to a childhood sweetheart, To M.G. (Wherever She May Be), and Cheap Shot, his spit-in-the-face rocker aimed at record companies, Cheap Shot, are outstanding. That doesn't even take into account that This Time and Ain't Even Done with the Night are here as well.

American Fool was next. What can I really say? Hurts So Good, Jack and Diane, Hand to Hold, Danger List, Thundering Hearts . . . hit after hit. The album was a huge success and well earned.

The Uh-Huh album saw John changing his name from John Cougar to John Cougar Mellencamp, easing us all toward his eventual return to his real name, John Mellencamp. The songs on this album included the killer tracks Pink Houses, Crumblin' Down, Authority Song, and Play Guitar. The album also saw John leaning more toward the idea of using his music to highlight some of the issues faced in America. The song Pink Houses was foreshadowing for how John would begin casting a harsh light on serious issues on his future albums, beginning with his next (and maybe my favorite Mellencamp) Scarecrow.

Scarecrow brought attention to the plight of the American farmer. John didn't just sing about it, he did something about it too, organizing Farm Aid with Willie Nelson. Rain on the Scarecrow, with its ominous guitar intro, Minutes to Memories, Between a Laugh and a Tear, Small Town, and Rumbleseat are some of my favorite tracks from this album (and some of my favorite Mellecamp songs period).

The Lonesome Jubilee, another masterpiece. Cherry Bomb, Check It Out, Paper in Fire, the brilliant Hotdogs and Hamburgers, and Hard Times for an Honest Man are some serious highlights. This album also introduced a different sound, with the addition of violin as a regular component of the music.

Big Daddy followed with an extremely poignant tune called Jackie Brown. The songs tugs at my heart every time I hear it. Check out the first verse:

Jackie Brown (John Mellencamp)

Is this your life, Jackie Brown?
Poorly educated and forced to live on the poor side of town.
Is this your daughter, Jackie Brown?
This pretty little girl
In the worn out clothes
That have been hand-me down.
Is this your wife, Jackie Brown?
With sad blue eyes, walking on eggshells so you don't see her frown.
Is this your family, Jackie Brown?

Pop Singer was a big hit from Big Daddy and one that sounds really good live. Another of John's anti-industry tunes, this time aimed at the posers and those who forget what the music is all about.

Whenever We Wanted. I love this album. Songs like Again Tonight, Get a Leg Up (a fun song that harkens back to Mellencamp's earlier days), Love and Happiness, and Now More than Ever, which includes some of the best lyrics I've ever heard.

Now More than Ever (John Mellencamp)

If you believe won't you please raise your hands.

Let's hear your voices, let us know where you stand.
Don't shout from the shadows 'cause it won't mean a damn.
Now more than ever.

I haven't really kept my word about trying to keep this post down. I warned you. In an effort of get back on course, I'll attempt to sum up the rest of John's albums. There have been great tunes from all of them, Human Wheels, Dance Naked, both album titles and song titles. I loved both of these songs and the albums were pretty damn cool too. There was a cover of Van Morrison's Wild Night on Dance Naked done as a duet with Meshell Ndegeocello that sounded as if it could have been original John Mellencamp.

Mr. Happy Go Lucky had some top notch material as well. Key West Intermezzo (I Saw You First), Just Another Day, and The Full Catastrophe are all stand-out tracks. The next album, John Mellencamp, featured some cool songs. I'm Not Running Anymore, Summer of Love, and You're Life Is Now are some of my favorites. The lyrics to Your Life Is Now are powerful and really resonate with me.

Check out this verse from Your Life Is Now.

Your Life Is Now (Mellencamp/Green)

Would you teach your children to tell the truth?
Would you take the high road if you could choose?
Do you believe you're a victim of a great compromise?
'Cause I believe you could change your mind and change our lives.

Rough Harvest was an interesting album where John did some of his tunes in different versions, acoustic and otherwise. I like the version of Key West Intermezzo (I Saw You First) as good or better here than the original. Other songs done in drastically different forms include Between a Laugh and a Tear, Jackie Brown, Rain on the Scarecrow, Human Wheels, and Minutes to Memories.

Cuttin' Heads with the deeply moving Peaceful World and Trouble No More (blues and folk covers) with Teardrops Will Fall came next. Freedom Road produced the massive single Our Country and the haunting Ghostowns Along the Highway.

Life, Death, Love and Freedom. An album full of deep, emotional material. A hard, honest look at life. I don't know how I missed this album, but I didn't catch it when it first came out. When I saw John on the No Better Than This tour he sung Longest Days from Life, Death, Love and Freedom. I was blown away from the moment he introduced the song until the moment he finished it. It was truth on a level like I'd never heard before. I looked at my wife and said, "What was that? What did he just sing?" Amazed. Dumbfounded. Hard to describe exactly what that song did for me. If I could just write one song like that in my whole life and Mellencamp does it all the time. I won't even print a sample of the lyric here. Just get the album, listen to the song, take it in.

No Better Than This was just stunning. Produced by T-Bone Burnett (as was Life, Death, Love and Freedom) and recorded at a number of historical places throughout the US, No Better Than This saw John going back to the basics, recording with minimal equipment and no effects. It was all about the songs. No Better Than This, Thinking About You, No One Cares About Me, and another moving, meaningful word of advice from John, Save Some time to Dream.

A couple of albums I'll mention (stuff prior to John Cougar) because there really is some neat songs on the records and I believe theyy are necessary for the true Mellencamp. These albums have been released in different formats through the years and you can find them all on CD. Chestnut Street Incident, A Biography, and The Kid Inside.

Chestnut Street Incident consists of a lot of cover songs and a couple Mellencamp gems, American Dream and Chestnut Street Incident being two of the latter. John's versions of Pretty Woman and Do You Believe in Magic are also worth a listen.

A Biography is notable because it includes early versions of I Need a Lover and Taxi Dancer from the John Cougar album. There's also a track called Night Slumming that I like.

The Kid Inside was recorded in 1977 but it was released until 1983. Not really sure what John's thoughts are about this album or the legal aspects surrounding it, but I'm happy it saw the light of day. Tracks like Kid Inside, Take What You Want, Cheap Shot (not the song from Nothin' Matters and What If It Did) and American Son make this a must-have for Mellencamp fans.

These are the studio albums. There are a couple of nice compilations, The Best That I could Do 19788- 1988, Words and Music: John Mellencamp's Greatest Hits, and On the rural Route 7609. The first of these three compilations is a good starting point if you've been living under a rock and don't know who John Mellencamp is. The other two are great for collectors because they include a lot of bonus stuff. There's also the new John Mellencamp box set that collects all of his studio releases into one super beautiful package.

As of this writing John Mellencamp is working on a new album to be released in 2014, again produced by T-Bone Burnett. I don't have any specifics because he's still in the writing process. Keep you posted.

Five Great Guitar Players

My five players aren't going to be your five players. You can argue any list I come up with and I can argue anything you come up with. A list like this can be based on personal preference, technical ability of the guitarists in question, or any number of other criteria. In the end, my list is mine and yours is yours, simple as that. Hell, I could create a list now (which I will do) and change my mind tomorrow. My list, you see, is subject to my changing moods.

Keep in mind, I'm talking primarily about rock guitar players here. There are guitarists in other genres of music that are equally important and equally talented.

Right now, putting myself on the spot, I'd have to say:

Scott Gorham (Thin Lizzy)
Rik Emmett (Triumph)
Eddie Van Halen (Van Halen)
Alex Lifeson (Rush)
Jimmy Page (Led Zepplin)

Now let's examine my list in a little more detail. There are some glaring absences I'm sure some of you are already screaming about. Jimi Hendrix is a notable example.

I didn't base this list solely on technical ability. That's part of it, but I also took into account the influence each of these guitarists have had on other players, their creativity and originality, and my personal preferences.

And that's why Scott Gorham is at the top of the list. Thin Lizzy is my all-time favorite band, Scott Gorham has influenced many other guitarists, and he is a tasteful player. Those three points guaranteed him a spot on the list. Is he the most technically adept player around? No. Does that matter? No. To me, Scott is at the top of the list because he knows what to play and when to play it.

Rik Emmett plays with a great combination of technical ability and raw emotion. He's a melodic player who knows when to throw in the chaos, and he can play skillfully in a variety of styles.

Eddie Van Halen has to be included by default. The guitar players he influenced are too numerous to count. What Eddie did when he came on the scene was completely fresh.

Alex Lifeson is here because the guys from Rush are at the top of their game. If this was a list of top five bass players, Geddy Lee would be on it. If this was a list of top five drummers, Neil Peart would be here. The guys in Rush are on every list, simple as that. Alex Lifeson demonstrates his right to be here through sheer technical prowess, creativity, and his major influence on other guitarists.

No need to say much about Jimmy Page. The guy is phenomenal on a technical level, a creative level, and his influence on generations of guitar players just isn't up for debate. I think almost anyone who reads this will agree.

Now, if I had compiled this list with only my personal preferences in mind, I would have listed Ace Frehley instead of Eddie Van Halen. Whether Ace is an equal player to Eddie or not is subject to debate. They are two completely different players. Ace is a more pleasant player to me than Eddie. I like his sound better, his tone better, his note choices better.

And Jimmy Page, guitar god that he is, would've been replaced in favor of Angus Young. Is Angus a better player than Jimmy? Hell no. Not even close. On a technical level, Angus is lower on the totem pole than any of these guys, but he plays with raw emotion and pure instinct. I find that appealing.

NOTE: I added this after the original post, thanks to a guitar playing friend who I will also be interviewing later on. He pointed out that I left off Ted Nugent. Slap my ass silly, I did. And I love Nugent. Sometimes I think the wildman's personality overshadows his playing. Fact is, as Joe Metcalf pointed out, Ted doesn't get the respect he deserves as a guitarist. There were countless kids who grew up in the 70s who cut their teeth on Nugent and picked up the guitar because Uncle Ted showed them the way. He plays his ass off, has a distinctive style, nice note choices, knows how to milk a note for what it's worth, and certainly deserves a spot in this post. Thanks for reminding me, Joe.

There are other guitar players that could (and should) be on lists of great guitar players. Just think of some of the guys that have gone through Ozzy Osbourne's band. Randy Rhoads was off the charts. What would he be doing if he were still alive today? Jake E. Lee is another phenomenal player. What about Zakk Wylde?

You want more? Steve Vai, Stevie Ray Vaughan, Carlos Santana, Joe Satriani, and Eric Clapton. I feel almost ashamed I didn't mention Eric Clapton earlier. His phrasing, versatility, and commitment to the guitar make him one of the greats.

Keith Richards wasn't a great solo player, but is there a better rhythm guitarist anywhere? His sense of timing and his ability to choose the right chord voicing at the right moment are impeccable.

And then there's Chuck Berry and Les Paul, two guys who could be considered foundational in everything that has come after them.

I didn't title this blog post Top Guitar Players for a reason. There are too many top guitar players out there. I called it Five Great Guitar Players. I ended up listing more than that, and truth be told, I could keep going. I won't do that, though. I'll leave it up to you to post your comments. Tell me who you like on a personal level, who you feel should've been on this list, and who you believe I should've disregarded.

KISS Merchandising

KISS have mastered the art of marketing. Their name has been licensed to somewhere around 3000 product categories and has been used in conjunction with everything from lunch boxes to kaskets. Here are some of the coolest and oddest pieces of KISS merchandise available.

KISS Bally Pinball Machine

KISS Kasket

KISS Kondoms

KISS Marvel Comic

KISS Dolls

KISS Lunchboxes

KISS Wine

These are just samples. A book could be published about the products KISS are associated with. There are KISS sex toys, KISS clothing lines, countless KISS dolls, KISS games, a KISS Coffeehouse, KISS coffee, KISS make-up, KISS cologne, KISS Bobbleheads, and lots more.

Old School Meets New -- Digital Multi-track Recorders

I remember my first analog 4-track recorder. I saved forever to buy it. I was in heaven when I finally got it. I could record a voice and three instruments (an extra instrument if I played something while I sang). That was high technology, baby. A songwriter's dream. I was ready to write a song anytime, almost anywhere.

Today, with all the multi-track recording software available for computers and the multi-track recording apps available for tablets, I almost forgot about the physical multi-track recording device. I started looking at them recently and was happy to see how far they've come. The analog multi-track recorder has given way to the digital recorder, and there are many to choose from, depending upon your needs and your price range.

And no tape required.

These new digital multi-track recorders and mixers come in a variety of sizes, ranging from pocket size to full size recording studio consoles, and everything in between.

Start off with the Pocketraks by Yamaha. A handy little device for songwriters on the go. Built in tuner, metronome, external input, the ability to overdub by simply punching a button, marker editing, and recording presets to help get you started. You probably won't use one to record your next CD, but they're great for capturing rough demos and song ideas. For around $150.00, the Pocketrak is an affordable solution for beginning songwriters who happen to be on a budget.

Tascam, of course, makes a full range of digital multi-track recording devices and mixers ranging in price from around $400 to $3000, again depending upon your needs. Check out the Zoom series.

Digital multi-track recording software today comes with built -in loops, effects, and a range of tools that allow you to make recording studio quality music in your own own, from rough mix to finished product.

Guitar Center and Musician's Friend are both great places to shop online and do your research in one place. They both carry a full line of digital multi-track recording devices fro Cakewalk, Tascam, Korg, and Boss.

Whether you prefer to stick with your computer and multi-track software, you'd rather have a physical digital DAW, or you use both, there's something out there to meet your needs and fit your budget.