Craig Hallen
Broken Laces - Craig Hallen (Official Video)
updated
View the original demo video here: youtu.be/9M66XC8OVNI
Listen/download via Bandcamp here: http://craighallen.bandcamp.com
FULL ALBUM VIDEO PLAYLIST: youtube.com/playlist?list=PLH4IbwH1wxl1j3sW-VphKNxqGiLH5zcGz
craighallenmusic.com
..BLUE MOON - written by Richard Rogers (1902-1979) and Lorenz Hart (1895-1943); with an upbeat doo-wop version released by The Marcels back in 1961.
(See also links to piano tutorials):
1. 'Blueberry Hill'
2. 'I Hear You Knocking'
3. 'Ain't That A Shame'
4. 'Walking To New Orleans'
5. 'Blue Monday'
6. 'Red Sails In The Sunset'
Fats Domino piano TUTORIALS:
'Blueberry Hill': youtu.be/CGhSU8x_72U
'I Hear You Knocking': youtu.be/JIlvTFE1YNw
'Ain't That A Shame': youtu.be/GTTe1L0YxKA
'Blue Monday': youtu.be/XJmXHwurKT8
00:00 - Intro
02:07 - Unboxing
07:40 - Gator keyboard case description/overview
14:15 - Medeli specifications
14:55 - Connections on rear of keyboard
15:58 - Audio cable for connection to external PA/Mixer
Medeli unboxing 1: youtu.be/EOWVYfoIfao
Medeli demo: youtu.be/Atr-kRQpLhU
SP4200/SP-5600 vs SP201: youtu.be/O0FkwXlwzgg
www.craighallenmusic.com
craighallen.bandcamp.com
Chapters - Part 1 (assembly idea): 00:00 Part 2 (end result): 19:30
Medeli 'disassembly' video: youtu.be/ZZige_wQ4Nw
Original song 'Pigeons' by Craig Hallen: youtu.be/MqdYoiBx-BM
New album 'Nothing Lasts Forever' available on Bandcamp - November 2022. http://craighallen.bandcamp.com craighallenmusic.com/music-releases.html
Piano, keyboard, synth and vocals by Craig Hallen.
Music produced by Craig Hallen and Ian Rushton. Mixed by Ian Rushton.
Video compiled and edited by Craig Hallen.
From the album 'Nothing Lasts Forever' - download song here: craighallen.bandcamp.com
http://www.craighallenmusic.com
FULL ALBUM VIDEO PLAYLIST: youtube.com/playlist?list=PLH4IbwH1wxl1j3sW-VphKNxqGiLH5zcGz
Chapters:
00:00 - Update & Overview:
03:18 - Latest Hearing Test Results
05:25 - Recent Issues/Wax etc
12:50 - In-Ear Monitors/Earplugs
18:50 - Almond Oil Ear Drops
19:37 - Final Thoughts
Westone EAS10 In Ear Monitors: westoneaudio.com/product/eas10-earphones
Local Supplier – Earplugs, IEM’s etc: pacificears.co.nz
Performed here on the Medeli SP201 keyboard, using the Behringer C-1 condenser mic.
‘Rock And Roll Is Here To Stay’ was a 1958 hit single for the American doo-wop quartet - Danny & the Juniors. It was written by member David White, who also co-wrote their earlier hit song ‘At The Hop’. It is noted for being performed by Sha Na Na in the classic film ‘Grease’.
‘At The Hop’ and ‘Rock And Roll Is Here To Stay’, although originally in the key of Ab and G respectively, are musically very similar, featuring an identical chord structure and rhythmic pattern. ‘Rock And Roll Is Here To Stay’ has two interesting modulations towards the end, finishing in the key of A.
Lead singer Danny Rapp, who sadly took his own life back in 1983, was barely 16 years old when the group first came to prominence in 1957 on American Bandstand - hosted by Dick Clark.
While the group is still active today, only one member - Frank Maffei still survives from the original line up.
See how to play 'At The Hop' here, along with some general rock n roll piano technique, the style of which can be applied to 'Rock And Roll Is Here To Stay' also: youtube.com/watch?v=WxFwkBBWuyU
'Sweet Caroline' (Neil Diamond)
'Save The Last Dance For Me' (The Drifters)
'All I have To Do Is Dream' (The Everly Brothers)
'Lucille' (Kenny Rogers)
'Don't Be Cruel' (Elvis Presley)
craighallenmusic.com http://craighallen.bandcamp.com
‘Bus Stop’ was written by Graham Gouldman of 10cc fame, and followed The Hollies’ pervious hit single ‘I Can’t Let Go’ – written by Al Gorgoni and Chip Taylor (brother of actor John Voight), the latter who also wrote The Troggs’ famous song ‘Wild Thing’.
Both ‘Bus Stop’ and ‘I Can’t Let Go’ showcase the Hollies’ brilliant harmonies, featuring the three core singers Allan Clarke (lead vocals), Graham Nash (guitar & vocals) and Tony Hicks (lead guitar & vocals). Of course Nash would go on to further fame in Crosby, Stills, & Nash, but his tenure with The Hollies cannot be diminished. The original recording of ‘I Can’t Let Go’ features a soaring counter tenor by Graham Nash, and of course Allan Clarke cannot be overlooked as one of the great lead vocalists of the time. Clarke retired from the group in the late 90’s, as did Nash 30 years prior, but two core members (Tony Hicks & drummer Bobby Elliot) still remain a part of The Hollies, which still tours to this day - 60 years after its original formation.
Chapters:
00:00 – Cover performance of complete song (with backing track)
02:24 – Lesson introduction & overview
03:59 – Song Intro section
06:11 – Verse section
09:11 – Right hand pattern
09:49 – Left hand pattern
14:19 – Intro & verse demo (with vocals)
15:45 – Bridge section
18:46 – Final verse demo (with vocals)
19:06 – Solo & final bridge demo (no vocals)
20:03 – Outro section
Audio Mixing and Video Production/Editing by Ian Rushton;
Original 'photo wall' video animation by Wendy Schollum;
Lead Guitar and Drum Programming – Ian Rushton;
Piano, Keyboard, Vocals and Rhythm Guitar – Craig Hallen;
Produced and Arranged by Craig Hallen and Ian Rushton
From the album 'Nothing Lasts Forever' - download song here: craighallen.bandcamp.com
http://www.craighallenmusic.com
Photo at the beginning was taken at Sun Studios, Memphis, and shows the actual mic Elvis used.
Chapters:
00:00 – Intro
05:00 – Issue #1; Cracked solder joints
07:48 – Issue #2; Broken keys
10:44 – Issue #3; Rattling speaker grills
12:49 – Issue #4; Broken power switch
14:26 – Issue #5; Faulty power adaptor/cable length
18:18 – Issue #6; USB port noise
20:35 – Issue #7; Dust accumulation internally/Keybed assembly
24:24 – Issue #8; Unclear labelling
25:41 – Issue #9; Jog wheel location
28:40 – Suggested enhancements/additions
Brian Wilson's musical masterpiece from 1966, put out as a single following the release of the Beach Boys' legendary Pet Sounds album a few months earlier. 'Good Vibrations' is a complex composition, starting off in Ebm and transitioning through several different key changes throughout the various sections. This goes well beyond the Verse/Chorus/Bridge structure of a typical pop song, by introducing other elements such as the 'Gotta keep those lovin' good, vibrations a hap-nin' with her' refrain at the end of the 'Bridge'. All of this goes to show how much of a genius Wilson is, who in spite of numerous challenges along the way, has endured and continues to write, record, perform and tour to this day.
Good Vibrations - words & music by Brian Wilson/Mike Love
My cover here is in the key of B, performed on the Medeli SP201 stage piano.
It is one of the most covered songs ever, with the iconic unintelligible vocals in The Kingsmen's version making the song the subject of controversy - owing to the lyrics supposedly being of a lurid nature. This was of course was not the case (I have purposely attempted to re-create that 'garbled' vocal delivery here, obscuring some of the words in the process).
The original cause of this was mostly put down to the positioning of the vocal mic in the studio, which was apparently suspended from a high ceiling, and thus requiring Jack Ely to tilt his head back in order to try and sing in the direction of the mic - hence the 'Lou-way Lou-way' pronunciation etc. The apparent rawness of the sound was also due to the producer's idea to try and capture a 'live-sounding' performance, and as such the first and only take was the one that made it to vinyl. It should be noted that in subsequent live appearances, Jack Ely had been replaced by the band's original drummer Lynn Easton, who would mime the vocals originally sung by Ely. This practice was permanently suspended in the mid 60's following a lawsuit, and there is footage of Easton's own interpretation available to view on YouTube.
‘Whiskey in The Jar’ is a traditional Irish folk song, written circa 17th century, and brought into the mainstream by such bands as The Dubliners, Thin Lizzy and Metallica, who all did their own unique version of the song.
It is the story of a highwayman in Ireland, who is betrayed by his woman, and subsequently caught/captured by the Captain Farrell whom he had robbed earlier.
The ‘rapier’ mentioned in the song is a type of ‘thrusting’ sword which was popular in the 16th and 17th centuries. With its slender, sharp-pointed in design, it was the first true civilian sidearm.
The traditional version of ‘Whiskey’ as performed in this video was popularised by The Dubliners, an Irish group founded in 1962, and who had a US hit with their recording of this song in 1968.
The chords featured are, in order, D, Bm, G & D in the Verse, and A, D, G, D-A-D in the Chorus.
In more modern times the festival is celebrated over a pint (or a few) with friends, and of course the fun, party atmosphere of traditional Irish music.
Many famous bands have come out of Ireland who encapsulated the folk tradition with their recordings and live performances.
One such band is The Dubliners, who were active for 50 years, and known for their renditions of many famous tunes including ‘Whiskey In The Jar’, ‘The Irish Rover’ (with The Pogues), ‘Seven Drunken Nights’, and ‘The Wild Rover’. The band was centered around their two main vocalists – Luke Kelly and Ronnie Drew; as of 2022 the only core member still alive is John Sheahan (born 1939), the ever enthusiastic fiddle player who joined the ground in 1964, 2 years after its inception.
'I guess you guys aren't ready for that yet, but your kids are gonna love it' - Marty McFly in 'Back To The Future'
UPDATE: Full & complete production version here: youtu.be/rz76TFLRkLw
http://craighallen.bandcamp.com
craighallenmusic.com
'I Think We're Alone Now' got a revival in the 80's when American singer Tiffany recorded her version, and it was featured in the 2016 film '10 Cloverfield Lane' (starring John Goodman).
craighallenmusic.com
Originally released on the album 'Fact And Fantasy', and re-recorded for 2022.
Song audio and download: craighallen.bandcamp.com/track/virtual-girl
craighallenmusic.com
Note the famous organ glissando that leads into the song - I have replicated this throughout at the beginning of each Chorus phrase. There are some interesting chord combinations also - for example the Em/C in the first part of the Verse; this is often notated as a Em only, but the C note in the bass gives it a different flavour. This could also be read/played as a CMaj7 chord (which comprises C,E,G & B notes), but since I have omitted the C in the right hand, I am in fact really playing a Em, which comprises E,G & B only. In the case of the organ, I typically voice this with just the G & B notes in the right (with the C in the bass still). Also in the Verse you will see a G/B chord - again this could just as easily be played as a G only, but the B note in the bass provides some added texture. I think interesting bass lines via choice of bass notes/chord voicings can really make a song sound more exciting.
All these chords apply to both the organ and piano, though the rhythmic structure of the piano obviously differs - see the embedded clip in the top right for reference.
You can also keep track on the activation of the fast/slow rotary speaker effect during the song - see the 'FAST/SLOW' light in the centre of the screen that will flash accordingly. I am turning this on and off using the left hand foot switch pedal which you will be able to see at the base of the screen. There are no rules as to where or when this should be used, accept that it always sounds good in a Chorus section by livening the sound up and giving more energy to the organ with the added tremelo-type effect. This of course is designed to mimic the famous Leslie speaker that was used with the equally famous Hammond B3 organ in the 1960's by many great artists and bands of that era.
'Stop! In The Name Of Love' is another Motown classic written by the brilliant trio Holland-Dozier-Holland, and once again brought to life by the equally brilliant Supremes - lead by the classy Diana Ross.
See my other Motown video upload 'You Can't Hurry Love' for chord and piano directions associated with this great tune here: youtu.be/UpF4y6xK4Kc
Hopefully YouTube won't flag this video or prevent it from being viewed as it took a while to put together, and is designed purely for free instruction purposes.
The timing is interesting in this song; the bass/chord transitions in the Verse/Chorus vary within each of these sections - sometimes occurring on the 2nd beat, and sometimes on the 3rd, thus making it more interesting to listen to. If you pay attention to the timing of the lyrics, you will see that it is these (particularly in the verse) that are driving this change. In contrast, if you listen to Phil Collins' later cover of this song, these CORRESPONDING bass/chord transitions occur on beat '3' in the Verse, and on the 2'&' / beat 3 in the Chorus (depending on the line). E.g. In the line 'You can't hurry love, no you just have to wait', this faster transition in the Supremes' version occurs on the word 'TO' (beat 2 of bar 2), whereas in Collins' version, this change occurs on the word 'WAIT' (beat 2'&' of bar 2). This change on beat 2, in the original version, helps push the song along - gives it more drive and, ironically, a sense of urgency. Often people who cover the Supremes' version base their chord changes around Collins' remake; this might feel more natural - and certainly in the Chorus it does make more sense to change on the word 'WAIT', but I think this isn't doing the original the real justice it deserves. In fact, for a great cover of this, see this amazing performance by Foxes and Fossils: youtube.com/watch?v=EJDPhjQft04
'You Can't Hurry Love' was written by the famous songwriting/production team Holland-Dozier-Holland, who were instrumental in the Motown sound of the 1960's. It became a signature song for the Supremes, who with 12 number one singles out of 66 releases, have gone on to be remembered as one of the greatest girl groups, if not the greatest girl group of all time.
See my other Motown video upload 'Stop! In The Name Of Love' for instruction and a demo of how to play this great tune also - upload link: youtu.be/2AqDcbptZdM
Written by Bobby Pickett & Leonard Capizzi, and a popular song choice on All Hallows' Eve, the release of 'Monster Mash' coincided with dance crazes of the 60's including 'The Twist' & 'Mashed Potato', with Bobby Pickett's vocals being directly influenced by the voice of horror film actor Boris Karloff.
For more information, please follow this link:
https://www.ashtonmusic.com.au/products/guitars/acoustic-electrics/ashton-d26eq-aca-dreadnought-eq-guitar
00:00 - Instrumental Demo
01:45 - General Overview
02:40 - Intro Section
04:37 - Verse Section
15:44 - Solo(1) Section
26:45 - Solo(2) Section
31:50 - Outro Section
35:12 - Full Demo (with vocals)
Website: http://www.craighallenmusic.com
My cover of 'Gold' can be viewed here: youtu.be/4maAd4dUFLg
Video demonstrates dismantling procedure and general information on the keyboard, as well as some general comparisons with the the SP4200 / SP-5600. http://www.craighallenmusic.com
Excerpt from the Reader's Digest Country and Western Songbook: 'Stuart Hamblen's 1954 recording of "This Ole House" was a Top Ten country hit, but it was Rosemary Clooney's pop version that became a smash and brought Hamblen international fame as a songwriter. He wrote the song while on a hunting trip in the Sierra Nevada in California, where he stumbled on a remote prospector's shack. The old miner lay dead inside, but his loyal dog, despite the severe weather and near starvation, was still guarding the premises. Hamblen said he wrote "This Ole House" as the old prospector's epitaph'.
New 'lockup' 2021 lyrics written and performed by Craig Hallen; piano, bass, percussion, and drum editing by Craig Hallen;
Original drums performed by Sal D'Amato;
Guitars and mixing by Ian Rushton.
Video production and editing by Craig Hallen. http://www.craighallenmusic.com
I do not own any rights to the original music and do not seek to profit from the version recorded here.
Music, filming and editing by Craig Hallen. http://www.craighallenmusic.com
Lyric credit also to Right Said Fred, and their song 'I'm Too Sexy'.
Based on characters created by Ian Fleming.
Originally released on the album 'Fact And Fantasy', and re-recorded for 2021.
Song audio and download: craighallen.bandcamp.com/track/holding-on
craighallenmusic.com


