1. In part 1 of Guys interview he talks about writing music, how "battle scars" came to him and how he enjoyed working with rapper "Lupe".

    Guy Sebastian: Tours been awesome. We've done all the metro dates, so we've done all the major cities. We've still got Adelaide to do. I'm going to include that in the major cities category. I grew up in Adelaide. Everyone used to skip us. My last album, it was pretty erratic how I wrote that because I was doing TV at the time on "The X Factor". And then I did a big tour last year as well, and I just didn't have much time. Usually, usually you set out a few months to go out into the studio, you write, you can be creative. But, I was having to write on the plane, just randomly wherever I had ten minutes to write is where I would.

    For example, "Battle Scars" was an idea that was happening in the car. And I could just literally, I was hearing the chords and where it would go in my head. But I had the melody, and I had the words, "Battle Scars," That was literally all it was - "these battle scars" [singing melody]. So I had the melody, and I thought, "Crap, I better go and make some sense of that because I think it could be a really good idea." I knew it was a good chorus that just needed to be teamed up with the right rapper, and Lupe was my number one. I was like, "Imagine getting Lupe," because he's like politically driven and he's like a super deep artist. He's not like rapping about popping champagne in a club and shaking your booty. He's not that guy. So I thought he'd be perfect. I just never thought I'd get him. Like, he was having a massive year, he just released "Lasers" which is real big album around the world. And he came back straight away and he was like, "Dude, I love the song, man. I'm in Sydney in a couple weeks and I'll put something down."

    So I recorded Lupe here. I guess to him I'm just an Aussie artist that he wouldn't have known a lot about but he was cool. He was like, "Dude, produce me, man. It's your song, blah blah blah." So, it was just really cool. Really great, a good team effort and we did it all here. And I remember, he took his headphones off after putting the verse down. I was closely listening to the lyrics. And he's like, "What do you all think," because I had written a whole other version of the song. And I'm like, "Dude, that's just perfect." Like, the flow of the lyrics, it was just perfect. It sent the message perfectly, and that doesn't happen, but that's when I knew it was special.

    I think that's when I knew, when those two things married up, and the message married up and then the video married up. That's when I knew. Yeah, this could be cool. This could go well. Sometimes, I think I think I've written a smash. This is hooky. Great title, blah blah blah. I love the snare. And then no one cares, no one gets it. And it doesn't do anything, and it's a massive flop. So, I don't know. It's weird, this whole industry.

    # vimeo.com/67534906 Uploaded 79 Plays 0 Comments
  2. It is the story of a bold plan that worked out. Founded in 1965 by guitarist Rudolf Schenker, the Scorpion's aim was clear from the beginning: to become one of the greatest rock bands on earth. Consistently, they wrote all their lyrics in English -- and set off to conquer the stages of the world. During the 70s and 80s the Scorpions ac...hieved stardom in Japan, the UK and the U.S. with their energy-laden, riff-heavy, power chord-driven hard rock. In 1991 their power ballad "Wind Of Change" become a worldwide hit. Today, more than 75 million sold recordings, 35 platinum and 98 gold albums leave no doubt: the plan from 1965 has been fulfilled. 2009 the Scorpions were awarded an "Echo" for their lifetime achievement. "The Scorpions are one of the absolute top bands", Echo's Executive Producer, Gerd Gebhardt, commented. "For forty years to this day they have been continously spot-on in meeting the taste of an audience made up of many different cultures. Anyone who has ever experienced the Scorpions in concert knows why: this band always gives you 100 percent. Pure adrenaline and concentrated energy -- rock from Germany for the whole world!"

    # vimeo.com/46066787 Uploaded 411 Plays 0 Comments
  3. Guy Sebastian talks about recording his fourth album in Memphis with music legends such as Steve Cropper and Donald Duck Dunn. Guy also talks about how he is inspired by Sam Cook, The Platters, Otis Redding add Al Green.

    Guy: Yeah, when I was young I found records like Sam Cook and the Platters and stuff like that in my dad's cassette collection. Even back in the day there was the LP's and stuff like that.

    I think it was the first time I heard Sam Cook sing. I've got a picture of him up on the wall, a little painting. Just the confidence and the smoothness of his voice and the sonic quality of how music was captured in those days, I kind of wanted to mimic that a little bit. The sounds of people like Otis Redding and Al Green and all that gritty soul.

    On my fourth album I went over to Memphis and recorded in some really nice old school studios with some really nice old school gear. We recorded all to analog tape, which meant the whole bands in the room. I had Steve Cropper. I had Donald Duck Dunn and a lot of the key Memphis, like Booker T and the MGs. All of those guys. They were kind of my band. It was pretty rad. They were the band in the 60s and 70s for Otis Redding and the Staple Singers. They even played with Elvis and stuff like that. They were serious cats. To have them play as my band and then to bring them out to Australia and tour with them. Not only do the studio thing, but do the live thing with them was pretty awesome.

    They were like 70 years old, those blokes. Didn't miss a beat. One take. Most of that album was like I would talk through the arrangement and talk through a couple of different things that I might have wanted to do. Suddenly we'd go, "OK, cool. Let's give it a go," and it would be that take. We'd get to the end of that take and we'd be like, "Yep. That was pretty good. Have a listen and make sure because it's all to tape."

    They're just pros. They've been doing it for 50 years or something. It's in them. It's pretty cool. When you work with mus-o's [SP] like that, you kind of appreciate how they used to do it. I can sit in here and I play piano and I play guitar and stuff, but I'm not a shredder. I'm not Mozart on the piano, but I can sound great because of the editing and the ability to do 50 million takes. And then after the takes, to post edit and slice stuff up even things like beat detect. I can go and put down some drums and then use software to splice everything perfectly and quantize it. That's just stupid, beyond media doing that with audio as well. There's a lot more room for error nowadays whereas you look at them back in the day, they had full orchestras.

    The Quincy Jones's and all the arrangers. They had full orchestras. The producers of those days had a lot more responsibility because they had to capture everything in one take. They had drum kits where there was a room mic and one spot mic. They'd go around and the engineers would know, "OK. That's the sweet spot. There's enough bottom in there." It was an art.

    I think nowadays people take that for granted a little bit that there was a beauty, an engineering, and a real art to it. I think my musical roots have definitely taught me, don't take technology for granted. You can lose a lot of soul with that.

    # vimeo.com/67547671 Uploaded 62 Plays 0 Comments
  4. Guy Sebastian talks about "The Power of Music"; how positive music can not only inspire, but also lift someone up when they are feeling down.

    Guy: Even the dumbest, happiest, most repetitive songs, I get messages from people. Like I had said in my show, there was a journalist just the other day that said, "I was in the hardest time of my life and 'Don't Worry, Be Happy,' which is a song. I know it's a title of a very famous song, but I also wrote a song with the same title. She said that got her through a time that she thought she wasn't going to get through. I was like, "That's probably the most bubble gum song I've ever written," yet music is powerful.

    What we do is powerful. What you do is powerful because you're part of a vehicle that moves people, that lifts people out of whatever they're going through. It marks the most important time in your life when you met your loved one or the song you had on your first dance or what you played on your son's first birthday, his song.

    Music marks some incredible occasions in our life. It's just something not to be taken for granted. I think when you make your crew aware of that, and you make your band aware of that, that they're a part of something. It's not just a gig. It's not just a job. I guess you feel like you're in it for more than just cash or all of that.

    I think as a song writer, if you don't give yourself space to take in life and absorb life, you've got no content to write about. You're too busy. You can't, first of all, absorb life, let alone comprehend it and then put it on paper. Yes, I'm going to take a bit more time out and absorb life and go fishing, maybe.

    # vimeo.com/67547913 Uploaded 24 Plays 0 Comments
  5. Guy Sebastian talks about Sennheisers rock solid performance on and off stage.

    Anatole: My name is Anatole. Anatole Day. I'm Front Of House and Production Manager for Guy Sebastian. We're currently on tour with his Get Along Tour. We had been touring for about... this will be 14 or 15 years now.

    Guy: I've always been a fan of the Sennheiser stuff. Like I've always - I think it's what - You know when you're in the industry, you use a lot of different gears. Sometimes, at different gigs like there's different background provided. So you sort of get an opportunity to test everything.

    Anatole: If he's comfortable with what he's hearing, then it all just flows naturally. He's not trying to force it.

    Guy: There's certain pieces of gear that I've used for a while that I was having certain issues with, and I've just always known that I've never had issues with Sennheiser.

    Anatole: He's obviously used a lot of Sennheiser on a number of the big TV shows that he's done.

    Guy: I think on a monitoring level it's kind of pretty standard to go with Sennheiser gear.

    Anatole: The first show we had at all together. You could tell that he was moving and talking and dancing and singing in a very comfortable fashion.

    Guy: We've just battled with other pieces of equipment for a while and dealt with distortion issues and frequency issues and things like compression issues. It just sucks to be limited. In this day and age, like when you're monitoring, why be limited. Like why go, "That'll do." In certain times at a show I really need more, but I can't because it's going to distort.

    Anatole: He knows what he's talking about when it comes to gear.

    Guy: I've got a loud voice. My sound guy will be a testament to that. When I belt out I definitely test gear to its limits. And I monitor really loudly which is probably going to send me to deafness in a few years. But I really kind of take the gear to its capacity as far as how clear it's going to be before it clips and we can't clip the Sennheiser gear. We can't clip it, but trust me we've clipped tapes in other gear.

    I've got family who are musical that are super critical. I've never had anyone say, "This sounds really crap, dude." But mostly I've never had anyone say, "I couldn't hear you." I think as a singer you kind of go. . .these songs and these lyrics, if they're not translating vocally, what's the point? If you're not mixing a record when you're doing a live gig, you're wanting to paint pictures and tell stories. And so I'm lucky, I guess. And so I'm going to stick with that.

    # vimeo.com/67548522 Uploaded 98 Plays 0 Comments

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