dead sober
patronpoke
vaig March 2013
Worldwide Underground Indie Music Magazine
a decades Worth of experIence and knoWledge
Why rap
MeMorable
and UnIqUe
Bringing Birmingham back into the spotlight
where it belongs and hIp hop?
brIllIant
lyrIcIsM
2 • BWD Magazine • www.bwdradio.com
Features
04 Witta Majick Appeal and Mysterious Air
08 vaig Only The Beginning
09 the skinny Captivating Musical Experience
10 patron poke Turning Heads and Listeners into Fans
16 boogie balagan Harmony and Tantalizing Rhythm
COVer stOrY
12 dead sober Bringing Birmingham back into The Spotlight
LiFestYLe
06 Five tips For recording efficiency The Good, The Bad and The......
14 5 singing tips We Are The Champions
eNtertaiNMeNt
24 bWd records The Independent Music Label of the South
BWD Magazine • www.bwdradio.com • 3
editor in Chief Veralyn Keach, [email protected] associate editorRobert Baker, [email protected]
Lead Contributing WriterRobert Baker, [email protected]
Contributing WriterVeralyn Keach, [email protected]
art directorVeralyn Keach, [email protected]
graphic artistVeralyn Keach, [email protected]
Circulation officerMarilyn Thompson, [email protected]
sales officerMarilyn Thompson, [email protected]
FrOM tHe eDitOrHaving continuously been recognized throughout the music world as a vast movement
with an undeniable force we at BWD Radio are now bringing you the best music and
individuals within their field in a more easily digestible format; with a dedicated online
magazine packed to the rafters with news, reviews, features and phenomenal artists from
across the globe.
Synonymous with breaking new ground and talent, our aim isn’t to deliver you an aggrega-
tor of articles; more like, the BWD Bible of breaking talent and breath taking bands turning
heads and volume dials up to eleven.
In each breaking issue we reveal the winners of the BWD Radio’s Indie Music Featured
Artist Competition, a monthly competition where we invite you to Get On The ‘Visual’
Playlist for your chance to become one of the featured BWD Competition Winners. The
winners are awarded the opportunity of talent exposure across the globe and throughout
the world as part of our aim to prove a good tune isn’t limited to whatever celebrity judge
endorsed single is currently riding high in the iTunes download chart.
In each issue, we also bring you the newest faces in the world of modeling to watch out
for in store windows, on the billboards, and in the high-street, as well as on the catwalks
of Paris and Milan.
Though that may be enough to fill the covers of most magazines, we’ll be taking things
even further with exclusive ‘first-looks’ at the best in indie talent, our unique position
within the world of media affording us the opportunity to bring you the next big hitters
before anyone else and by combining the two enormous forces--presences of BWD Radio
and BWD Magazine into one with the ‘soon to launch’ all-new BWD website there is twice
the promotion to deliver double the impact and even more worldwide exposure to its
featured artists.
All the freshest new faces and hottest new talent in one magazine, BWD Magazine in con-
junction with BWD Radio is committed to setting the standard of what you deserve from a
magazine with constant promotion through the BWD network of contacts and promoters.
Did someone say BWD Promotions? The BWD Triple Threat Trio!
BWD MAGAZINE’S SERVICES: Being in such a unique position affords us the ability to offer
our services at ‘considerably less’ than most others, our network allowing us to expose
your talent in all the right places without needless expense or additional ‘secret costs’ less
scrupulous companies fill their small print and help fill their bank balances with.
Covering all aspects of media promotion (from social media sites through to music video
promotion) we are able to offer the best when it comes to brand awareness and public
recognition of your name or product, without compromising either your impact or finances.
For price and space availability inquiries, please contact us via the contact details to the
right where we can discuss your specific requirements to ensure maximum exposure:
MAGAZINE SPECIFIC SERVICES:
Single Page Feature
Double Page Feature Package (Includes Name “Mentioned” on Cover, Double Page, Review)
Interview Feature (Add On for any Single or Double Feature)
Cover Story Package (Includes Gracing our Cover, Interview and Double Feature Package)
Reviews (Add On for Single Feature or if you want a written review)
Twitter Buzz “Feature Spotlight” Promotions Boost - 30 Days of 4 Daily Mention Tweets
Professionally Written Biography & EPK (Electronic Press Kit) Services are also Available.
bwDraDiO.COM FaCebook.CoM/bWdMagazine
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FaCebook.CoM/bWdradio
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Last issue
4 • BWD Magazine • www.bwdradio.com
When you think Jamaica you feel the warm sun basking your skin as the waves lap
deliciously at your feet where you lay on crisp white sands.
The air is filled with the uplifting beat of music borne of including all within its beat,
the rhythm of reggae almost matching the hearts own beat at times and carrying us
off on the wave of electronic sound and natural emotion you feel guiding your soul.
Capturing the feel and emotion of a never ending swirl of passion and movement
leaves Witta Majick the sage of the seasons, his touch capable of moving the listener to
become part of the heaving mass of bodies pulsating on the dance floor, the beach, the
gathering of strangers united under the sound of friendship and good times.
WItta MajiCk
MajIck’s
‘appeal and
MysterIoUs aIr’
Capturing the feel and emotion of a never ending swirl of passion and movement leaves Witta Majick the sage of the seasons. . . .”
BWD Magazine • www.bwdradio.com • 5
The natural emotion you feel guiding your soul.”
The master of ceremonies himself is forever the iconic image of style and effortless appeal that matches being tall, dark and the epitome of
handsome. With his striking appeal and mysterious air, Witta Majick combines the beauty of the Caribbean with the wonder of a thousand
dusk-filled nights of desire and dreams, the debonair and devilish.
“It came to me as a big surprise,” he announced when informed of his ‘BWD Radio’s Competition’ Win. “I am really grateful for this wonder-
ful gesture.”
With such brooding looks to match such brilliant talent, perhaps it is us who should be thankful for Witta and his pool of inviting talents.
Contact Information:
Email: [email protected]
Twitter: @WITTAmajick
Facebook: witta.di.magician
Photo Credits: All Rights Reserved
6 • BWD Magazine • www.bwdradio.com
When you finally get into the recording room
it’s all too easy to become overwhelmed with
the actual work you will need to do. Sure, a
song you’ve created and been belting out for
six months may be as familiar as that weird
lump you haven’t had checked out by the doc-
tor yet, but once the actual task of recording said beast of beats comes
to the fore it’s not always as simple as ‘playing your part’ when the red
light flashes.
No doubt you will have several pieces you may wish to record, so figure
out which of them are the strongest overall. You don’t want to waste any
time recording parts for a song you alone think is the best in your set if
there are better ones available in your back pocket. Your music is your
calling card, the very thing you will use to make your mark and maybe
some money, and no matter how good a recording or how well arranged
it is, if it doesn’t illicit more than an ‘…’S alright’ in response then clearly
you’ve wasted both your time and money – as will anyone else involved
with the project.
So sit down and really look at the songs you have, find the one people
respond best to; if need be, record a once-through take of all the mate-
rial you think worthy of recording and get some feedback off others
– seeking the opinion of someone outside your group is a good way of
ascertaining which songs are stronger than others, without any qualms
of ego or personal opinion blinding you in choosing which songs will
be most well received. You’ll save time, money, and effort this way, all of
which can be poured into focussing on the ones you are recording into
being the best they can be.
fIve tIps for reCOrDiNg eFFiCieNCY
choosIng the rIght songs
A good album is like a breath of fresh air every time it is
played; conversely, a bad one is the foul stank that just
won’t go away each time it is aired.
So getting it right in the recording room will take more
than a mug of sweet, milky tea and a fifty yard run-up; it
will take planning, preparation, and plenty of patience for
when the bassist just can’t get that damn section right.
With that in mind below we present the Five MadasHell
Tips for utmost recording efficiency*…”
(* queries surrounding the dubious skills players of the
bass guitar may have lied about excluded).
1.
record a base/gUIde track
BWD Magazine • www.bwdradio.com • 7
However you choose to compose your song – be it
band or solo singer- a guide is always useful when
recording. Putting down a take ‘as played’ has several
crucial uses; not only does it give the producer/mixer
on the desk a clear idea of the structure of the song,
who comes in where and how long the guitarist’s
solo goes on for – but it also helps remind you where all the pieces fit together.
Yes, you may be the living embodiment of Rainman made real on a quiz night
down the local, but the pressures of actually being in a recording studio can be
the undoing of the most confident of performers. Like taking an exam in school,
‘brain fade’ can strike at any time, causing the simplest of riffs to become a finger
tangling mess of flubbed notes and broken nails as you try to remember the cor-
rect order those tips must touch strings.
Not everybody has the confidence to admitting they need the others playing to
remember exactly where they are in a song, either – maybe they need to see
the bass player move from the fifth to the third fret as the signal they need to
change chords, or maybe the way the drummer always raises his arms for the
cymbal smash at ‘that bit’ in the song is their cue. You may not even need the
guide track, such mastery as you display; but somebody else in the room might,
and having the entire song ready to be referenced should Muddy Mind hit will
save wasted hours and embarrassed faces when the bassist forgets what he’s
meant to play.
Once you’ve got the basics down and everything
seems pretty much done, go back and listen to what
you’ve done. Not being focused on your performance
will allow you to properly hear what you are playing,
how the song works overall with everything in place
and correct, and whether you managed to nail that
tricky bit the drums usually manage to disguise.
It’ll be pretty bare bones at this stage, meaning no effects or overdubs to dis-
guise or hide poor playing or crappy chords, and can come as a bit of a shock at
first. Don’t worry; no artist in the history of music ever settles for the first listen-
able take. A basic mix to get the levels of everyone coming through crisp and
clear will be sufficient for seeking out where you can improve what you produce.
Be critical; don’t assume any roughness or rubbish can be disguised in the mix-
down. Put ego aside and make notes on where you can improve, what could be
polished, and where the levels can be raised/lowered to create maximum impact
and a more impressive sound overall. You don’t need to be a producer to know
what sounds bad. If you’re anything like most musicians, personal criticism will
ensure the bits you can improve upon will stand out like the proverbial injured
digit in the mixing room; allowing you to concentrate on the areas that need
brushing up.
Never accept the first take as the best take; much
like buyer’s remorse -- it’s too late to change your
mind once the layers have been merged and moneys
been handed over and the Master Take is sitting on
your desktop. Break the song structure down to its
components (Verse, Chorus, Bit Where Bassist Can Be
Heard) and concentrate on recording just those individual parts.
Again.
And again.
It might take five attempts, it may take fifty, but until you have the absolute best
version of the Chorus sitting in the mixing desk’s hard-drive everything else is
just practice.
Technology today means you can spend as much time and money as there are
hours in the day will allow without wasting a single spool of costly tape or tube
of wax. A simple press of a button editing in or cutting out various permutations
of the same piece like a giant musical jigsaw puzzle and having a selection of
takes to listen back to may throw out an unexpected diamond in the rough, or
a particular way you hit the ‘crescendo’ in the solo gave you a better chance at
taking the song to the next level than previous attempts.
All chocolate tastes like chocolate, but only a fool settles for the first bar on the
shelf without perusing the remaining selection.
Well yippee you, but not just yet; before the cover
gets printed and covered with your autograph for
an extra two bucks you need to really listen to what
you’ve produced.
It’s at this stage any mistakes or mis-playing need
to be addressed and ironed out. Auto-tune can be used to enhance a less than
sterling singer, and there’s a multitude of pedals and patches for getting just the
right guitar sound. However, played live the effect will be completely different
from the aural experience you’re offering the listening masses, so these should
be used sparingly. Everybody knows about the robotic-tone Auto-Tune lends to
the lyricists lamentations, turning a chorus to share into a chorus from ‘Cher’.
Unless your music is built specifically around such digital deception, keep the
interference of faux-flavoring down to a minimum. Raising levels and voices to
hit impossible in real life notes will only end up with your performance coming
in well under par when played live. It’s easy to forgive a one-time ‘less than stel-
lar’ performance, though a consistently substandard set - when compared to the
‘original’ version - will result in empty rooms as your crowd and plenty of time to
rue the day you ever heard of level compression.
Iron out the flaws and make nice the plausible; make right the performance and
get the best rendition of the performance as you possibly can. Then leave it for
a week, go back, and repeat step five again. A little distance from the recording
process clears muddy heads made tired from staring at a monitor and hearing
the same song a half billion times in a single day; you will be able to spot the
indiscretions and properly consider the extra delay on the vocals for the heart-
breaker song, and feel in a better position to truly judge what it is you are hear-
ing and whether it works.
In Conclusion: If you’re the kind of person who simply skips to the bottom to see
if they can get a ‘rough round-up’ of the text above then here you it is.
A good album can bring you the kind of attention you truly want, and a bad
album can bring you the kind of attention you truly deserve.4.
2.
5.
3.lIsten... lIsten & lIsten
get the best take
be crItIcal, bUt don’t over prodUce
8 • BWD Magazine • www.bwdradio.com
ike a new life-form emerg-
ing from the carcass of the
old Vaig burst onto the music
scene in 2007 with his debut
album ‘Fall Top Rise’, a hip-
hop hubris that raised hi above this peers
and marked him in the listeners perception
as an artist truly worthy of the emcee title.
Bringing a hypnotic flow and smooth style to
the proceedings his talent lies in being able
to craft music that, though specific in genre,
is universal in appeal. Underlining such lofty
ideals, it seems his ability to grip all who hear
his tracks is proving itself to any who may
doubt his mastery of the craft, as his single
‘Yea Right’ turns up the heat while tearing
up the indie radio charts from PA to San Jose.
Having already achieved number one sta-
tus with previous albums “Marchin’ To The
Top” and “Journey”, it’s clear the Midas touch
lives within Vaig’s musical soul, achieve-
ment breeding success at every turn.
Such triumphs are clearly deserved as his
music is already dubbed as “hot and poignant”
by the legendary Mr. Chuck D. of Public Enemy,
as well as, featuring across a plethora of
noted media sites and radio stations, includ-
ing AllHipHop.com, DJ Booth, RapStation.com,
HipHopSpeakeasy.com, RepPittsburghHipHop.
com, and the UK’s Niji Magazine, Rewind Radio
with BlakkSteel, LD Music Blog, The Bum Rush
Show, MocRadio.com, and BDWRadio.com
alongside various other blogs and magazines.
“I make music to inspire and motivate oth-
ers to do great things,” Vaig revealed when
speaking of his BWD Radio’s Competition win.
“Having fans vote for me means my music is
reaching others and hopefully encouraging
them to live their dreams and do their best. I
appreciate this honor and all of your support.”
With several notable albums to his credit and
his hit singles “Glide” and “Yea Right” currently
available on iTunes and various other digital
outlets for your musical delectation, an enthu-
siastic Vaig quells any fears of resting on his
laurels, assuring us ‘This is only the beginning!’
Contact Information:
Email: [email protected]
Website: theofficialvaig.com
Twitter: @OfficialVaig
Facebook: TheOfficialVaig
Photo Credits: Derek Tull Photography
vaIg
l
“Only The Beginning!’
BWD Magazine • www.bwdradio.com • 9
tHe skiNNYCaptivating Musical Experience.
six minds, twelve eyes,
and one overall view
focused to a finite point
of impossibly infectious
groove and hip-swing-
ing mechanic brings a dawn of petals
laced with the tincture of unity ‘The
Skinny’ modestly refer to as songs.
Michigan based yet worldwide in
appeal The Skinny describe them-
selves as ‘…hard funk hippies that
specialize in stabbing grooves…’, and
bring with them the feel and emotion
of a truly captivating musical experi-
ence.
Not just captivating in the hooks and
riffs that wrap you in their rhythm
and guide your body along, the flow
maintained by Kamm’s conductor-like
hand; nor just the captivating vocals
that glorify the movement through
the impending swarm. It is the experi-
ence of listening and hearing six indi-
viduals create music that manages to
be captivating of the body and soul as
well as the mind, more a call to join
in the party of life than simply a band
playing songs for your aural delight.
‘Being a self-produced indie band,
we owe so much to social media,’ The
Skinny revealed to BWD. ‘Capitalizing
on every opportunity, reaching out to
fans who would otherwise not hear
our music.’
Turning worlds into whirlwinds and
adding some depth to your soul, The
Skinny’s newest single release Dark
Nebula is your invite into their truly
groove-y view, with a full EP to be
released later in the year.
Contact Information:
Email: [email protected]
Twitter: @lesskinny
Facebook: lesskinny
Photo Credits: Tea Rose Photography
Chuck and Carol Eisenhardt with
All Rights Reserved
10 • BWD Magazine • www.bwdradio.com
urning challenges into triumphs at every oppor-
tunity has seen Patron Poke rise above humble
beginnings and slight stumbles on the path of
life to not just become the figure standing tall
in his musical genre, but also soon within the industry empires
themselves.
Raised in the West
Adams area of the City
Of Angels, Patron Poke
witnessed the spiral-
ing lifestyles of those
around him, almost
succumbing to the
same nihilistic ending
many see as the only
way to further their
lot in life.
“I mastered my craft,”
he says simply. “I
always could rap but
then I really honed in on it.”
It is through this determination and dedication to his own
worldview that Patron Poke began turning heads and listen-
ers into fans throughout the LA scene. Showing substance to
his worth he turned such mixed surroundings into masterly
inspiration, his experiences into lyrics, and his life to the world
of music with his mixtape “The Truth”, Bre-Z and Classic on pro-
ducer duties.
Through this he began working with artist such as Sage Classic,
Cartier Jones, Beach Boyz, and Hoodsta Rob, the end-product a
collection of ‘bangers’ as they would later be known to be called.
From there he met
Tycoon Staxx, aka TC
of Freeway Boys of
Freeway Enterprise,
and turned his
hand to the atten-
tion of such artists
as FrancoDaGawd,
BeatNic, and Asha of
GirlBye. Proving him-
self on both sides of
the mixing desk.
A self-styled and
shamelessly assured
‘bully in the industry’ it is his confidence that has brought him to
where he now stands, on the verge of launching a music empire
with the creation of his own independent label. In January 2013
manager & business partner Chris ‘BabyGirl’ Thomas became the
second half of the BullyFace Entertainment Inc business, and
Patron Poke is anticipating Spring of 2013 to be the date the
world has been waiting for.
patrON pOke
t
tUrnIng heads & lIsteners Into fans
“I want the world to hear my music,” he said when informed of his ‘BWD Radio’s Competi-tion’ win. “I love music and my music speaks for itself.”
shoWIng sUbstance to hIs Worth
BWD Magazine • www.bwdradio.com • 11
“I want the world to hear my music,” he said when informed of
his ‘BWD Radio’s Competition’ win. “I love music and my music
speaks for itself.”
If you were to ask Patron Poke, “Why Rap and Hip Hop?” is to
receive the reply, “Cause I’m Great at it.” An answer honest and
direct and unashamedly confident in exactly where they intend
to go, there isn’t much you could find fault with when coming
from the mouth of Patron Poke, an artist holding life firmly by
the reigns and determined to tame the wilds of an industry you
wonder is fully prepared for.
Contact Information:
Email: [email protected]
Website: www.patronpoke.com
Twitter: @PatronPoke
Facebook: PatronPoke
Photo Credits: Various-All Rights Reserved
Why rap and hIp hop?
I mastered my craft,” he
says simply. “I always
could rap but then I
really honed in on it.”
12 • BWD Magazine • www.bwdradio.com
DEAD SOBERbrIngIng bIrMInghaM back Into the
spotlIght, Where It belongs
hen Black Sabbath first strummed out the open-
ing bars of Paranoid an evolution of music was
kick-started into action in the heart of the United
Kingdom. Since then Birmingham and the Midlands
have been responsible for some of the greatest
names and songs ever to have annoyed a generation of parents
– Zepplin, Slade, Wizzard and more have all been born from the
Brummie cloth and go on to conquer the world.
Looking to add to those luminaries past, James Warren and West
Addams are bringing about a new turning of pages in the ledger of
Birmingham’s musical heritage - and much like those bands pre-
viously mentioned, it seems they are creating something equally
memorable and unique.
More commonly known as bass player and frontman in former
band ‘Revenant Dead’, things came to a close as the group disband-
ed, for all intents and purpose to pursue paths outside the musical
world. So when word reached our offices of an amazing new group
soon to be emerging on the scene it was with some interest two
very familiar names appeared to be involved. A few days and a few
dozen inquiring e-mails revealed the full truth of the matter; yes,
it seemed, there was a new band being formed and it did indeed
count frontman West Addams and bassist James Warren within the
mystery new group’s number.
Dedicated to bringing our readers the very cutting edge of exclu-
sive news BWD managed to track the erstwhile musicians down,
and though guarded were more than happy to lay the rumours to
rest and discuss this mysterious new group.
“There’s just so much music out there it’s difficult to pin-down one
thing that inspires what we do,” said Addams - whose vocals have
been described as a mix between Bowie at his finest and Rose at
his most volatile - when asked to describe the new band’s sound. “I
think a fusion of punk-rock sensibilities edged with a blues style
and a heavy groove in the bass is as close to what we do as we’ve
been described as so far.” BWD attempted a little pin-pointing of
their own, stating ‘Rock and Soul, possibly?’ “Ha-ha, yeah; some-
thing like that.”
W
cover story
BWD Magazine • www.bwdradio.com • 13
Having proven their worth in previous outfits
the coming together of the two didn’t seem
as unlikely a scenario as first assumed.” He
replied to an ad we’d placed asking for a bass
player for the old band,” explains Addams.
“So we set a date and time and he rocked on
down with a bass in hand. It wasn’t until after
when we said ‘you’re in’ that he admitted to
only having just bought the bass that day.”
With past experience working together
bringing all key players into the positions
of fellow band members was fairly simple
for the pair. “It was just a case of ‘right time,
right place’, I think. After deciding we wanted
to do something we found Ben (rhythm gui-
tar) first, then Bruce (lead guitar) about a day
or so later. Bruce used to be in a band called
Oak, and he and I had actually been working
on some tracks as a sort of side-project to
our respective bands, so bringing him in just
seemed a logical step. Then came Andy from
the band ‘SixDaySober’ on drums and every-
thing just fell into place.”
Having toured extensively with their pre-
vious bands the rigours of the road and
requirements in rehearsal are no strangers
to the new group. With a combined half a
dozen albums to show for their efforts it’s
clear there is dedication and a firm plan in
mind with the band ‘Dead Sober’.
‘’We’re currently putting the final touches
to our first EP,” they reveal, “which will be
released alongside the launch of the website
and social sites like Facebook and Twitter. We
thought it was worth waiting on making an
internet presence until there was something
for people to hear. I’ve seen a few sites
where bands have ‘coming soon’ under the
music tab or player, and it’s like ‘when’? Then
you leave the site and check maybe once,
twice more until you either lose interest
from the constant ‘not yet’, or just give up and
forget altogether. Pictures and a biography
can only go so far, you know? It’s like wanting
to test drive a car but not getting a chance
to get behind the wheel, just given a hand-
ful of leaflets and info and the promise it’s a
great ride.”
When asked to describe what being in ‘Dead
Sober’ is like, rhythm guitarist Ben said “It’s
like a nice cold Guinness; you take one sip
and you just want more.” Suitably tempt-
ed we tried to press for an exact date the
band intend to unveil their EP.
And the answer ‘Soon enough’ delivered with
a wry smile seems all we’re likely to know
for now. “But it’ll be worth the wait,” we’re
promised.
An exclusive listen reveals the wait will
indeed be worth it. Warren and Addams
taking their unique styling’s and vocals in a
whole new direction from that of the metal
route they were previously on, an infectious
blend of rhythm, attitude and excitement
that captivates the listener and delivers
something genuinely ground-breaking in the
world of rock and music as a whole.
Despite repeated requests for a track or
two to review, it will have to be sufficient
to be first-in-line for a copy when the band
releases. Without wishing to resort to undue
hyperbole or create any unwarranted hype I
can assure you, the wait until then will feel
like a long one indeed.
Bringing Birmingham back into the spot-
light where it belongs and firmly stamping
their authority over the musical world, ‘Dead
Sober’ can be reached/written to/bothered
and totally harassed at their band e-mail
[email protected]. Photo Credits:
Various-All Rights Reserved.
It’s like a nice cold
Guinness; you take one sip
and you just want more.”
ben (rhythM gUItar)
brUce (lead gUItar)
jaMes Warren and West addaMs
(bass player and frontMan)
yoU aren’t (*Insert naMe of yoUr favorIte sInger*)
14 • BWD Magazine • www.bwdradio.com
Unless you have the knack of imitation or been
blessed with having an iPod for a larynx. The
sound that comes from your noise box prob-
ably won’t sound like whoever you really, really,
really want it to sound like.
And so it shouldn’t; your uniqueness of voice
and style is your signature, your fingerprint, the thing that is instantly
recognizable as being you and no-one else. Unless you’re looking to be
in a tribute band, your main priority is growing this voice into its own
dynamic sound.
Take a few minutes examining how many Beyonce Knowles or Miles
Kennedy or Brian Johnson’s there are in the charts and you might see
something quite surprising; there is exactly only ONE of each who sound
like they do, in the ‘voice, they sing. Yes, there may be some inspired art-
ists or similar sounding singers hanging around the fanboy frippery of
Singer X, but the iconic are resplendent in their singularity.
Another way to explain it is that they sound like them and only them
and no-one else and that’s why they’re where they are and the sounds-
similars aren’t. You don’t have to give up belting out Sinead in the
shower or Cobain in the car; just think about the number of different and
unique artists currently fighting over their share of the cost to download
their music from iTunes, and don’t expect anyone to put up with your
delusional nonsense about sounding like Rod Stewart unless you’re in a
karaoke bar and it’s your turn to murder, ‘We Are Sailing’.
In a nutshell;
Unless you think the world is crying out for another sound-alike of your
favorite singer, there’s no other voice better than your own for singing in.
Nobody can tell you it’s not a good voice because whoever they compare
it with will not sound like you; they will sound like whoever they are.
Just like every other great singer that has ever ‘t-t-t-talked about their
generation’.
5 siNgiNg tIps
We are
the chaMpIons
Whatever it was that inspired to you to sing - be it
wanting to follow in the footsteps of an idol or a Final
Destination-like series of events involving pigeons and
plumbers and a bag of dry roasted nuts – there will be
someone somewhere who thinks your voice is the aural
equivalent of a pitbull licking his own effluence off a
thistle and there is ABSOLUTELY NOTHING YOU CAN DO
TO MAKE THEM THINK OTHERWISE.
That said, even the most contentious of vocalists can
manage to get through a set without oxygen masks or
subtitles for the crowd, so with that in mind (and re-
membering that even Charlotte Church has her haters)
here are five tips to bringing out the best in whatever
noise you find coming out of your mouth when ‘We Are
The Champions’ pops up on the playlist…
1.
BWD Magazine • www.bwdradio.com • 15
If you’ve got this far in life without constantly passing
out from lack of oxygen to the brain then congratula-
tions; you’re halfway through step Two! The other
half comes from where to breathe from and how you
control your breathing.
Think of when you take a deep breath to prepare for
some physical exertion or shouted out loud or even the last time you yawned; in
a relaxed state you take fairly shallow breaths, enough to move your chest up and
down a bit, but for any of those three things you need to increase the amount of
air you have in your body. Your entire diaphragm and mid-rift expands, your whole
front taking on a balloon-like affectation as you fill your body with air.
When it comes to singing you need to have as much air as possible in your
body to help push the notes, carry the tune, and be able to stand longer than half
a minute on stage without needing a bit of a lie down.
To do this, practice expanding your stomach as much as comfortably possible
when breathing in. If you place your hands on your hips and, using your thumbs
as a pivot, swivel your hands forward until you can feel the underside of your
stomach against the index finger on each hand.
Start to slowly inhale as if preparing to shout; you should notice how the
underside of your stomach is pushing your fingers apart and out, allowing more
room for the lungs to inflate and therefore hold more of the good stuff.
When you exhale you want to be able to control the air rushing to escape –if
you don’t it’ll all be gone before you’re even halfway through the first verse.
Purse your lips as if trying to blow something away, pursing them tightly
together. Steadily release the air, counting to ten in your head as you do. Try not to
force the air out, as the amount of air in your body – along with the muscles fight-
ing to get back into place – will make it tempting to let it all come rushing out.
You want to be reaching the ten-mark without feeling too strained or choked,
and may take a few goes to assuage the sensation of uncomfortableness.
The exhalation of air is all important for delivering the best voice you can,
so control is key here. You want to be looking at increasing the amount of time
you can control the release of the air from your lungs, the longer it takes to fully
expunge the O2 the more you will be able to control your voice and the more you
will ultimately be able to hold in your lungs.
In a nutshell;
Replicate the sensation and actions of yawning, controlling the air steadily as it
is released.
So you have big lungs and can get to the end of The
Alphabet Song on one breath? Fair enough; but can
they hear you announce how you know your A-B-C’S
all the way at the back of the room?
If the guitars were playing deadened strings and the
drummer was hitting pillows you’d rightly wonder
what the hell you were watching. Vocal delivery is this exact same weird meta-
phor, but with vowels and consonants replacing pillows and poor playing.
Say the letter A out loud and imagine it coming out from your mouth and
forward, out towards the distance. Projection is important and visually imagining
the word or letter on helps you ‘throw’ your voice further without compromising
clarity. More like throwing a dart at a target on a board than simply throwing
up. Notice how your mouth and throat feel and move, where the vibrations are
strongest and which bits rattle. You’re building up the muscles in your throat,
making them stronger and able to handle sending your voice out to the back of
the room without breaking or squeaking or causing pain – both to your throat
and the audience’s ears.
You aren’t trying to shout; you’re trying to use all that air inside your lungs
as a way of growing the sound coming from your mouth, rather than just add-
ing thickness to the noise. When you shout you’re usually looking to get all the
words out as fast as possible, so not worrying about dropping things like ‘T’s or
‘G’s in words means fewer muscles have to move and you can deliver your mes-
sage that bit much quicker in the least amount of breath as it takes to win and
get to the gloating.
Look at someone arguing on television for a real-life example; notice how
their red-faced, breathing heavy, loud but not necessarily coherent. Their words
carry across the studio but they’re not very clear, and though you could argue that
the anger they’re in may have a hand in this stumbling of words it’s a fool who
ignores the amount of words you do hear clearly before the man on the button
starts making them say *Bleep*.
In a nutshell:
Like your temper, if you can control yourself you will ultimately win. Here, the ‘win’
is in having the guy in the back row able to hear what you’re singing as clearly as
the stage hand trying to fix the monitors in front of you.
You’re not stupid so lets get this over quick; the
better shape you are in the better you will sound
when you sing. Good breathing is helped by regu-
lar exercise, and having a fine set of pipes under-
neath your teeth pays dividends behind the mic.
So get off your arse and do something that gets
you exercising them lungs and maybe toning up the old flesh suit, too.
In a nutshell:
Seriously? It’s like…six lines of writing, and you skipped to this bit to save
having to read it? Irony and a face palm for you.
There’s an old saying that goes ‘practice makes
perfect’. Mind you, there’s another one that says
‘you never forget how to ride a bike’, so instead
of putting any stock in old sayings search for the
arm wrestling scene on the internet from the
‘80’s remake “The Fly” starring Jeff Goldblum.
Now imagine that happening to the inside of your throat, with arm wres-
tling being replaced by singing and the bone protruding through the
guy’s forearm -- your larynx bursting through your throat when the pres-
sure you’re expecting them to handle (embodying Mr Jeff in this analogy)
decides they’re in the way of the words (…um…Geena Davis, maybe?) it’s
trying to force out.
In a nutshell:
You don’t rehearse the song just to remember the words; it’s how you
learn the best way for you to project your voice and control the tone and
really bring the best out of each and every word and yourself throughout.
You don’t have to make every word a perfect enunciation of English
grammar, simply make them clear enough to hear. The more you practice
singing the better you will become, the easier it will be to bring yourself
up to the state of readiness you usually feel three songs in. It also releases
endorphins in the brain, so if nothing else convinces you to breathe right,
control your flow, and really focus on bringing out the best in your perfor-
mance each and every time, there’s always that.
4.
2.
5.
3.
breathIng
projectIon
exercIse
practIce
16 • BWD Magazine • www.bwdradio.com
hen mankind discovered fire he took light into the
shadows but more importantly took away the fear
that dwelt within the unseen darkness beyond.
Imagination put the nightmares into the
shadows and it was only through facing the fear and con-
fronting the imagination of our mind did we learn and
understand what we feared was without ground, the
unveiled scenery – though sometimes different – was as
familiar and comforting as any we had previously known.
Likewise within the world of music and its many corners of
genre and styles, the unknown can be a formidable land-
scape of daunting effort and uncertain gains from adventure.
So it is on Boogie Balagan’s shoulders the task of turning
these darkened recesses into inviting oasis of welcoming
vistas for all to enjoy falls, their fusion of both genres and
sounds an edifying indulgence impossible to ignore or refuse.
To describe Boogie Balagan is to begin to lose yourself in the won-
derful world they create; a world based on a bedrock foundation of
Blues and described through the sounds of the souls of music, the
essence of what attracts us in the temptation of something new.
A self-described French Palestlsraeli duo Boogie Balagan is
expressive and expansive. Taking the Hebrew word ‘Balagan’
(meaning mess ) to form part of their name and speaking in
many languages throughout they bring a multifaceted and
eclectic mix of musical styles; English, French, Arabic,
Greek, many are the tongues frontman Gabri uses to emote
yet universal is the understanding within each song.
bOOgiebaLagaN
donkey shottes
W
MUltIfaceted & eclectIc MIx of MUsIcal styles
an teMptIng harMony and tantalIzIng rhythM
BWD Magazine • www.bwdradio.com • 17
Human understanding and the reunion of
ourselves is the underlying message through-
out Boogie Balagan’s music, segregation and
separation through borders or belief a chasm
they intend to build walkways across, forged
with the emotive strings of melody that bind
us all together under the banner of humanity.
The style and sound Boogie Balagan rep-
resents is a cornucopia of delight burgeon-
ing with tempting harmony and tantalizing
rhythm that speak to the core of your being in
an enjoining brace of camaraderie and kinship.
“We nickname ourselves ‘Donkey Shottes’
because sometimes we feel like a small indie
project drifting on an endless ocean,” said
the band when talking to BWD Magazine.
“and we have to fight against perceived foes.”
Having started 2013 and already winning
BWD Radio’s Competition, it is clear the battle
they are facing is one Boogie Balagan have
more than enough weapons in their arsenal to
defeat, bringing peace through music to us all.
Contact Information:
Email: [email protected]
Twitter: @BoogieBalagan
Facebook: AzriGabriFonkyDonkeyz
Photo Credits: Copyrights Reserved We nickname ourselves the Donkey Shottes because sometimes, we feel like a small indie project drifting on an endless ocean.”
BWD Records, LLC ‘The Independent Music
Label of the South’. Taking over a decade’s
worth of industry knowledge and experience .
BWD Records, LLC - ‘The Independent Music
Label Of The South’ - is the culmination of
BWD’s vast expertise in the field of music and
artist promotion; not content with simply
waiting to see what single or artist reaches
number one BWD Radio took their position
of being known globally as the leaders in
discovering new indie acts and on the 26th
of October 2012 launched their own record
label, BWD Records. Dedicated to finding the
best as-yet unknown talent out there BWD
doesn’t limit itself to one specific genre;
rather it extends its horizons to include all
genres such as rock, metal, hip hop and dance
amongst others. A smorgasbord of scintillat-
ing new acts are presented under the BWD
mantle, representing the best of the best and
most unique in their field, such as you have
come to expect from one of the industry’s top
media professionals.
Owing to their unique position within the
world of music BWD were able to snap up
and sign Florida based artist 5 M.I.C-Z to their
new label, an artist that brings with himself
a level of credibility that owes everything to
musical talent and dedication and nothing
to a cynical self-styled back-story and whose
first release on the label – ‘Head Turna’ – has
firmly established the label as serious com-
petition to the established status quo.
Continuing to set the standard for others to
follow BWD Radio has proven again the need
to change and adapt in this never static land-
scape of media and music is key to continued
growth and success. Pushing where others
are content to stagnate is the secret behind
where BWD Radio currently find themselves
today, and with the launch of their own label
in BWD Records it gives you some idea of just
how far BWD Radio are aiming to go.
– BWD Records, LLC
‘The Independent Music Label of the South’
bwD reCOrDs, LLCi n d e p e n d e n t m u s i c l a b e l o f t h e s o u t h
v i s i t w w w . b W d r e c o r d s . c o m o r w w w . F a c e b o o k . c o m / b W d r e c o r d s . l l c
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