6 Things You Never Knew About Bassist Philip Bynoe

Philip Bynoe and I have had a long musical friendship. I’ve known Philip for over 16 years. We met during the first G3 tour in ’96, we both moved to LA at the same time, and we have been playing together for over 13 years. Philip played on my 2002 release King Friday. He’s my first call, go-to bassist with a great feel and groove that pushes the music forward. So it was a no-brainer to include him on my new album, Tone Poet. I must say, tracks that he plays on really benefited from his superb bass playing. Philip Bynoe brings to the record both world-class bass playing and experience from years of touring and recording for artists such as Steve Vai, Kevin Eubanks, Slash, and Ring of Fire. I recently caught up with Philip, who is on the road with Steve Vai. We discussed his musical influences, working with Steve again, the new album, and more. You've played with some amazing artists from Steve Vai, Tony McAlpine, to Kevin Eubanks. But who are your musical influences? Do you have a favorite bass player or one that impressed you growing up? As a bassist I have to say my father and older brother were my first big influences. When I was about 14 a friend introduced me to Stanley Clarke and that was a big day. I bought everything he released and learned it and from there to Weather Report and Jaco. Larry Graham was next as I was just listening to everybody. You're back on the road with Steve Vai, how is touring with Steve different now than when you played together in the mid-late 90s? Steve as a band leader and friend has developed his skills in the way he motivates the members of the band, which has us working together and growing musically in ways that none of us expected. The things we focus on are relaxing, being in the moment, phrasing and being musical. All things we did before, but now we work together to support each other, it's wonderful. You tracked a handful of songs on my new album, Tone Poet, and you've been playing with me on and off for about 13 years... what have you noticed is different about my new material compared to say, "King Friday"? As you have matured as a writer, the choices you make in creating music have grown also. Instead of forcing ideas into songs it sounds to me as if you're allowing the music to speak through you. As with all of us you have your signature sound and you have enhanced that. Can you tell readers about the bass(es) and gear used to record your tracks on Tone Poet? For this recording I used my Music Man Bongo 6 string basses, with the double humbucker pick ups. For my direct sound I went through a Digi 003 Black Box pre amp and used my SSL channel strip plug in. For live amp I used a 1200 watt tube amp with a 4/10 cab and a 421 mic on the cabinet. Speaking of gear, what basses, effects, and amps are you touring with now? My live rig and basses are, the a fore mentioned Music Man Bongo basses I have one with 2 humbuckers and the other is a single coil/humbucker set up. A 5 string Bongo fretless and a Kala ukulele bass that sounds like an upright. What advise would you give aspiring bass players who may want to pursue a professional career in music? As I tell the bass students at the LA Music Academy where I teach, it is a long road to be a musician. There are also many ways to be in the music business, if you start out with a plan of where you want to be and allow yourself to find your way, though it might take longer than you think, and your goals and dreams can change as you go along, if you allow that to happen you will find your way. Also don't get hung up in the game of "I wish I was doing that gig", enjoy what you are doing, do your best where you are and don't compare your life to others and you will have more fun and probably be more successful.

Subscribe to Adrian's E-Newsletter and get a FREE MP3!

Adrian Galysh Reveals Story Behind TONE POET, Track by Track

Tone Poet was two years in the making... maybe even longer, but real recording and writing started two years ago. I'd like to take you through each song, share my thoughts on each of them, and give you an idea of what inspired them, how they were written, and what challenges they may have presented. Below is a preview video, giving you samples of each of Tone Poet's 12 tracks.

1. "Resurrectis" - Track 6 ("Luminae") was so much fun to compose and record that I immediately started another classical/choral composition that turned into "Resurrectis". Shorter than "Luminae", I decided this would be the album opener. Something unexpected for some listeners, I'm sure. The last few measures are lush and beautiful and come to an epic crescendo, which sets us up for...

2. "Brick By Brick" - Another track written early on in the project. The riffs, and the arrangement of the demo were intended to be for a vocal song. Believe it or not, as I was writing and recording the rhythm parts for this song, I kept thinking... "what would Reb Beach do?". I like Reb's rhythm playing, and this is my version of some of his heavier style of playing from albums like Pull and IV. The lyrics were my idea, but Mark Boals wrote the majority of them. He'd send me lyrics, I'd send back some re-writes and revisions, then he'd do his final tracking at his home studio, and send me the vocal tracks to dump into my rhythm section tracks. Drums were recorded last, by Charlie Waymire at his studio, Ultimate Rhythm Studios.

3. "When You Fall" - Having a bit of writer's block a couple years ago, I tried to make things interesting by using an open tuning. The open tuning for "When You Fall" is inspired by Devin Townsend, who plays guitars tuned from low to high: C G C G C E. That is what my guitar is tuned to here. Boy, did this work. The song wrote itself in a day or two. Intro, verse, chorus... done. This started out as an instrumental, and somewhere I have "Morning Rain" with lead guitar over the whole track. However, this was a great opportunity to have a vocal ballad, and I asked Mark to include the idea of rain in the lyrics, as the rain and thunder effects were already a part of the arrangement. The unique guitar solo was 16 measures pulled from the original instrumental lead guitar take, and fit really well. The outro features six tracks of Mark's backing vocals, creating a lush background... Again, drums were recorded last by Charlie Waymire.


4. "Flying" - This was the first song written for the album. The main guitar riff, groove, and choral ending was all written as a demo about 4 years ago. At the time I knew this was going to be a vocal track. I refused to record a guitar melody over this, simply because I knew this would be a vocal song, and that vocalist would be Mark Boals. Mark and I worked out the lyrics over a few short days, trading emails, and some demo vocal takes. The most complicated part of the song is the middle guitar solo section. The rhythm of the riff behind the solo is odd, and didn't feel comfortable to play over, as the rhythmic figure comes back in unexpectedly. I ended up combining two solos, that now are heard as these intertwined parts, and it happened to work out well.

5. "Movie In My Mind" - This song was hard to make work. I had 2-3 good parts written, and they seemed to kinda work together, back to back. I wrote the lyrics myself - my first lyrics ever to make it to tape! After Mark tracked his parts, I took liberty to rearrange the song, putting in the piano intro, which is also found in the new middle section break. I rerecorded my rhythm guitar parts, and must have rerecorded the lead guitar parts 6 or 7 times. It wasn't until after the live drum parts were tracked (by Charlie Waymire), and that Philip Bynoe laid down his bass part that it started to really gel. I then tracked what would be the final lead guitar parts you now hear. I think "Movie In My Mind" is a unique song, with interesting production, and a catchy chorus.

6. "Luminae" - This was the first of the three classical pieces, and was exciting to write and record. Somewhat inspired by the classical work of Uli Jon Roth, this pulls inspiration from composers like Arvo Part and Vangelis. As lush and as complicated as it may sound, a great amount of it was done in just 2-3 days. Later on, before mixing, I returned to this piece to really fine tune all the strings, choir, and guitar. I have not heard of anyone else combining electric guitar with this kind of "epic" style choral composition, and I feel like it is really unique.

7. "La Dolce Vita" - Written around the same time as the classical pieces, this takes those elements of choir and strings and puts it to a beat. My thought process here was to alternate between acoustic guitar and electric guitar. The groove was to have a fusiony drum feel, that Todd Sucherman nailed. For me, the song really came together when I added the 2nd electric guitar part (right speaker) that answers the main electric guitar melody. Listen closely during the "choruses" for the very Italian sounding faux-mandolin guitar parts in the background. The most difficult performance of the recording was the middle acoustic guitar/piano double-time unison part. This alternate picked one-note-per-string arpeggio part with a moving melody was near impossible to play in time, and I even retracked this part (again) after the song was mixed! Todd Sucherman really hit this one out of the park - one of my favorite tracks on the album.

8. "Tone Poet" - An all acoustic effort. My attempt at emulating Ukrainian "Bondura", which is a large multi-string instrument kind of like an autoharp meets a dulcimer. Tons of acoustic guitar tracks, doubling each other - both steel string and nylon (I think 4-5 guitars, some in stereo, some recorded in mono). The challenge here was to be able to perform these multi-tracked guitars in time, as the slightest deviation would make such a mess. The background heard underneath the ascending 16th note guitar part is inspired by Arvo Part's Tintinnabuli composition technique, using simple triads, with a rhythmically simple melody played counter to the three individual notes of the triad, but giving no weight to any particular note... How rock and roll, I know?! Again, Todd Sucherman's drums are outstanding here, and really show off a side of his playing that you don't get to hear when he's on the road with Styx. This song's groove felt much stronger after Philip Bynoe tracked his bass parts.

9. "Epoch" - I debated whether or not to include this composition on Tone Poet. There's no guitar! But I felt that it showed another side to me, and is a breakthrough for me in recording quality orchestral music. I thought about trying to track some guitar, but then thought "nahh...". The biggest challenge of this track was getting the various string parts to sound in time, as they tend to drag a bit with a slow attack. I really like the lead melody violin part, which delivers a very emotional performance.

10. "Echoes of El Greco" - This track started out with the simple 16th note rhythm guitar parts against the double bass drums... just messing with programming double bass drums, really. The big electric guitar part is my take on the not nearly asked enough question, "what if John Sykes were to write an instrumental?"...I wanted it to be "Crying in the Rain" - huge, and then schizophrenically switch to a Latin inspired neo-flamenco guitar solo section. This is a high energy, fun track to listen to, and according to Todd, was very taxing to record!

11. "Ur of the Chaldees" - Another track that got its start from Devin Townsend's open guitar tuning, C G C G C E. The song was written starting with the strummed guitar part, then the acoustic guitar melody. Over the coarse of the rest of the composition, it morphs into a middle eastern, world music inspired musical caravan. Layers, and layers of guitar, strings, choir, violin, percussion, and more percussion. The outro trading electric guitar solos are all the same takes from the original demo, they may not be perfect, technically, but they feel good and have the right energy. Not an easy track to mix.

12. "Spring (The Return)" - There are three parts to this song. The intro/verse, the "prechorus" harmony guitars, and the chorus featuring the arpeggiated guitar melody. But as simple as the arrangement is, boy does that chorus melody pay off. This guitar part was me experimenting with a one-note-per-string arpeggio figure with this moving melody line above. The left hand stretch and the right hand picking was a real challenge. So much so that I probably re-tracked this part a couple times, just to make sure the triplet timing was just right. The outro solo is a single take. The benefit of playing guitar more and more on a regular basis is that I find myself liking the first and second takes, and not laboring to "fix" and "punch in" any trouble spots. Listen closely to hear the background soprano vocal harmonies underneath the 2nd chorus and outro solo.  

Subscribe to Adrian's E-Newsletter and get a FREE MP3!

Help promote TONE POET by Adrian Galysh and get stuff!!

I have started this Rocket Hub campaign to help raise funds that will pay for advertising, promotion, PR, and some uber-cool looking Tone Poet T-Shirts. The year ahead will be filled with live performances, music conventions, and a media blitz that will include album reviews, interviews, and ads on both the internet and traditional print media. 

Please have a listen to the Tone Poet Preview video, to hear how fantastic the new album sounds, and to get an idea of the quality I will pursue in promoting this exciting project. I appreciate your support! Campaign ends on December 6th, so take advantage of these great deals now! Click here to support and get rewarded! http://rkthb.co/35387

Click here to support and get rewarded! http://rkthb.co/35387

Styx's Todd Sucherman: Exclusive Interview & Behind the Scenes Studio Footage

Most music fans may know of Todd Sucherman from seeing him play drums on tour with 70s & 80s rock giants, Styx, for the last 17 years. The perennial arena rock favorites perform a healthy schedule of over 150 shows a year. Drummers know of Todd Sucherman from the pages and covers of DRUM! and Modern Drummer Magazine, where he's won multiple reader's poll awards, including #1 Rock Drummer (2009 Modern Drummer).

I’ve known Todd for about 10 years. We were neighbors in Los Angeles before he moved to Austin, Texas. We’ve discussed working together for a long time, but due to his busy tour schedule and the distance (I still live in LA), we weren’t able to do it till now. Todd is a really tasteful drummer, very musical, with a ton of chops - totally in league with the likes of Colaiuta, Smith, and Bozzio. His performance on my new album, Tone Poet, is outstanding, and really shows off a side of his playing that people may not have heard yet. Every time I listen to the his tracks on Tone Poet I hear something new, clever, and musical - and I love that. (note: Tone Poet is available on itunes here)

Below is a recent interview I did with Todd, where I was able to get better insight into what made him the player his is today, as well as discuss his approach to tracking for Tone Poet.

Hi Todd, I assume you are on tour, how are you and where are you?

I am and I'm good.  A little crispy perhaps but good!  I'm on the Oregon coast at the moment but I've been to Europe twice and everywhere in the US from coast to coast in the last few weeks.

Lets start at the beginning. Your father was a jazz drummer, and got you into drumming, as well. What’s your earliest memory of playing the drums, or wanting to play drums?

I was in love with the drums since I was an infant. It's all I ever wanted to do from the beginning.  My father saw that I had an interest and a sense of rhythm early on so he worked with me and got me to the point where I played my first gig (with my older brothers) at age six. 

You got started early! Did you ever take lessons, as a kid?

Yes, starting with my father and because I had two older brothers in the junior high band  (on piano and bass guitar respectively) they paved the way for me to be in the junior high band from first grade on all the way through eighth grade.  Then I went through the high school band program all the while gigging on weekends and really didn't take any proper lessons until I went to Berklee in Boston for one year.

Beier Steel Snare  http://beierdrums.com

Before scoring the gig with STYX, what kind of work and gigging were you doing in Chicago?

When I got back from Berklee I did every gig possible. You name it.  I played tons of weddings and corporate parties, jazz clubs, rock clubs, basically anything and everything I could do. This lead to getting into the recording scene and doing records and a lot of jingles.  Chicago was a giant jingle town back then and that was a very exciting time. I was young and had kits being carted all over the city to different studios.  Those were great times.

That leads me to my next question. You got called to record for Styx when John Panozzo fell ill. Typically musicians get gigs by “knowing somebody”... who’d you know, and do you remember how it felt to get the call to become a “permanent” member of Styx?

Keith Marks, who handled the cartage of my gear from studio sessions recommended me to the guys. That's how it began basically.  Just a session. Then they called me for another session almost a year later. Then they asked me if I had summer plans, and that was for the '96 reunion tour.  I've never been made a "member", I've just sort of hung around for the last 17 years, so to speak!

Styx seems to tour non-stop. Do you still get inspired to practice when you are on a day off or at home? If so, what kind of stuff do you work on?

It helps to have new things and projects to practice for…as opposed to just being alone and thinking, "what shall I do today?" But it does feel good to sit at my little jazz kit and work on different things instead of playing high velocity rock stuff.  I try to let any inspiration hit me which is different than forcing things. If I get "stuck' I'll change some cymbals and grab a different snare drum, that will change the vibe right away.

Lets talk about your participation in my album, TONE POET. The first tracks I sent you were pretty rough. I’m pretty non-committal, and my demos will tend to be the framework of the song, with programmed drums, scratch guitars (except some solos), and a shit load of keyboard programming. What was your reaction when you first heard the tunes?

I'm used to hearing demos in all forms, from rough sketches to almost all final takes.  But I could hear a lot of cool things in what you sent and was keen to add some ideas to the process. I start thinking right away as I listen, then just listen, then think again.  There were some challenging bits musically and physically all the way to having to be ethereal and sensitive.  Music. Diversity.  It was a lot of fun to do!

You did a lot of listening to these demos while on the road. You had one day to record 5 tracks, and they turned out great. How did you prepare for this session? Do you chart things out?

It was exactly that.  Listen on the road, listen on airplanes, and then it's time to see if what I was hearing from the drums worked in the session, which was in fact done in one day.  I'm happy you liked them!

Were any musical parts or songs particularly challenging?

"Echoes of El Greco" was physically taxing.  I'm glad that went down quickly as that's the kind of track that will blow you out doing it over and over and over.

The track “Ur of the Chaldees” has a lot of layers and multiple tracks of percussion, drum set, and orchestral type playing, did you have a clear idea of how those parts were going to go down, or did you go for it and see what fits?

Part of it was predicated on some information from the original demo, and then I went from there. I have a few percussion bits I like to do that are subtle and effective.  I enjoy trying those ideas and seeing what works and what doesn't.  I love when the full kit kicks in for the end ride out. The whole piece is very majestic.  Like taking acid while riding an elephant through an exotic triumphant parade. How's that, huh? 

I'll have to use that quote in the press release, ha! Now that the album is mixed and mastered, is there a favorite track?

No, because there are moments I enjoy on each track.  I like it that way.  I like when I feel that way about a collection of songs.

Can you run through the drums, cymbals, and other gear you used for this session?

Oh man. I used a Pearl Masterworks kit for the drums with a few snare drums, probably 5 different ones.  I seem to remember using a Dunnett Magnesium, a Tempus drum made of hemp, the Sucherman/Stanbridge Empyrean, perhaps the Dunnett Titanium.  There were a whole bunch of Sabian cymbals chosen for each track so that would be impossible to remember. All the microphones were Audix going through Presonus ADL 600, Neve and Focusrite mic pres.

So besides further touring with STYX, what is on the horizon for you musically?

Good question as I'm not sure.  "You're catching me in a transitional phase" so to speak!  I have some ideas and notions but not sure where they will lead.  I'm still enjoying playing with the band for now, so I'm quite content.  I'd like to do my own record at some point but we'll see. There's a lot involved with that, as you know.

Thanks Todd!

For more information, visit www.AdrianGalysh.com

Subscribe to Adrian's E-Newsletter and get a FREE MP3!

"Tone Poet" Album Details Revealed

LOS ANGELES, Calif. (Sept. 25, 2013) –  Melodic instrumental rock guitarist Adrian Galysh will release Tone Poet, on December 3rd, 2013. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences, and sweeping orchestral works. While epic in scope, the album is tied together by Galysh’s tasteful guitar work and compositional style which  is complemented by vocalist Mark Boals (Yngwie Malmsteen, Royal Hunt, Uli Jon Roth), bassist Philip Bynoe (Steve Vai, RIng of Fire), and grooves by world-class drummer, Todd Sucherman (STYX). 

Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three previous solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Dweezil Zappa, Yngwie Malmsteen, Robben Ford, Mike Keneally, George Lynch, Warren DeMartini, and many more.

Galysh confesses, “Tone Poet is my most mature album. I’ve written a very melodic, musical, collection of tunes, that includes my progressive hard rock influences, classical, and world-music influences. Mark Boals’ powerful voice and Todd Sucherman’s tasteful drum playing are right in sync with where I am at, musically.” 

Tone Poet album artwork was illustrated and designed by Kristina Maloney. 

Tone Poet track-listing:

1. Resurrectis  (2:28)

2. Brick By Brick  (5:42)

3. When You Fall  (5:17)

4. Flying  (5:17)

5. Movie in My Mind  (4:25)

6. Luminae  (3:42)

7. La Dolce Vita  (4:47)

8. Tone Poet  (3:44)

9. Epoch  (3:05)

10. Echoes of El Greco  (3:53)

11. Ur of the Chaldees  (6:12)

12. Spring (The Return)  (5:22)

Adrian Galysh: Electric and Acoustic Guitars, Bass, Keyboards, and Programming

Charlie Waymire: Drums on tracks 2, 3, 4, 5

Philip Bynoe: Bass on tracks 4, 5, 8

Todd Sucherman: Drums on tracks 7, 8, 10, 11, 12

Guitars, bass, and keyboards were recorded at Adrian's home studio. Charlie Waymire's drums were recorded by Lizzy Ostro at Ultimate Rhythm Studios in Panorama City, CA; Todd Sucherman's drums were recorded by J.R. Taylor and Todd Sucherman at the Bee Hive in Austin, TX.

Tone Poet was mixed by Jessie Billson, except tracks 1, 6, and 9 mixed by Adrian Galysh. Mastered by Vinnie Simonette at Little Simy, Alexandria, VA. 

Subscribe to Adrian's E-Newsletter and get a FREE MP3!

   

9 Ways to Improve Your Guitar Playing Now

Hello guitar players!

If you are like me and many other guitarists, you love playing guitar. You love practicing guitar. However, sometimes your practice sessions may end up being a little.... boring.

While I like keeping my fingers moving, on occasion I find myself, and my students, falling into a rut, practicing the same routines, scales, songs, etc., and not progressing, musically. So I recently set out to put together a series of lesson videos containing ideas that will take you out of your rut, and help you take your playing to the next level.

You can always visit my Youtube channel at http://www.youtube.com/adriangalysh for all my various video lessons and performance videos, but I wanted to put all my "Rut Buster" videos in one convenient spot for you...

1. "Setting Goals"


2. "Metronomes and Acoustics"


3. "Phrasing"


4. "Syncopated Phrasing"


5. "Playing With Other Musicians"


6. "Get Out of Your Wheelhouse"


7. "Become a "Well-Listened" Guitarist"


8. "Record Yourself"


9. "The Scale That Will Change Your Life"


Keep an eye out here for more in my series of Rut Busters for Guitarists videos...

For more information, visit www.AdrianGalysh.com

Subscribe to Adrian's E-Newsletter and get a FREE MP3!

What does Steve Vai and Adrian Galysh have in common?

LOS ANGELES, Calif. (May 14, 2013) - Rock guitarist Adrian Galysh has enlisted three-time Grammy nominee and Emmy Award-winning bassist, Philip Bynoe, to contribute bass tracks to his new album, Tone Poet. Philip Bynoe brings to the record both world-class bass playing and experience from years of touring and recording for artists such as Steve Vai, Kevin Eubanks, Slash, and Ring of Fire. 

Bynoe and Galysh have had a long musical friendship, having played on Galysh’s 2002 release King Friday. According to Adrian, “I’ve known Philip for over 16 years. We met during the first G3 tour in ’96, we both moved to LA at the same time, and we have been playing together for over 12 years. He’s my first call, go-to bassist with a great feel and groove that pushes the music forward. The tracks that he plays on really benefited from his superb bass playing.”

Philip says, “I've been playing and recording with Adrian for a long time and his newest endeavor, adding a vocalist to his songs, is some of his best songwriting yet. I look forward to the new direction this music will take Adrian career-wise and have high hopes for great success in the years to come.”

Described as “a virtuoso of modern electric and acoustic guitar techniques” by 20th Century Guitar magazine, Galysh has a successful trajectory spanning three solo albums and numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Carl Verheyen, Mike Keneally, George Lynch, Warren DeMartini, and many more.

Galysh is preparing the release of his fourth solo album Tone Poet, due summer 2013. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences, and sweeping orchestral works. His tasteful guitar work and compositional style will be complemented by Mark Boals’ (Yngwie Malmsteen, Royal Hunt) vocals, and grooves by world-class drummer, Todd Sucherman (STYX).

For more information, visit www.AdrianGalysh.com


Subscribe to Adrian's E-Newsletter and get a FREE MP3!

Take Your Guitar Solos to the Next Level in Just Three Free Lessons

Hello!

I wanted to share with you some of the concepts and ideas that I include in my regular practice routine. These video lessons will walk you through some sequential ideas, string skipping, and even a scale that might change your life.

When I am practicing scales, arpeggios, chord shapes, etc., I like to practice them in a musical context. I usually pick a key or two, and work through the scales' positions in that key, or for arpeggios and chords, I'll play through that key's chords (Major, minor, minor, Major, Major (dom), minor, diminished). To make the experience even more musical, I might practice these things over some backing tracks, allowing me to hear them in context with actual music.

This first video walks you through a bit of my Pentatonic scale workout:



This next video lesson, takes a similar approach, but to the diatonic (major/minor) 3-note-per-string scale positions:



This last video is a bit of a Youtube hit, with over 158,000 views, and is sure to make your solos more interesting:



Good luck and keep practicing!
-Adrian

Subscribe to the Adrian Galysh E-Newsletter, and get a FREE MP3 of my song "Ventura Blvd." featuring Mike Keneally and Carl Verheyen!

TONE POET is possible with your support!

Hello friends,

As most of you know, I have been working at completing my 4th CD/album, "Tone Poet". I have written 11 songs that I feel are very strong, and take my style of guitar-centric music to another level both in composition and production. 

The record business has changed drastically since my first CD, Venusian Sunrise, was produced in 1998. Record labels and artists have much smaller budgets, and with the advent of file sharing, some people consider music a free commodity. But, new technologies have emerged allowing artists to get great recordings, as well as new ways of raising capitol and marketing music. 

Today, I have started a crowd funding project in an effort to finance the completion of TONE POET (click here to see it). In exchange for goods like MP3s, CDs, autographed items, online guitar lessons, my book, and even a guitar, supporters can fund the completion of this album. These items can be purchased for yourself or as a gift.

While I will be reaching out to my friends and fans via my 1000+ E-newsletter subscribers, my Facebook page, and my 14,000+ twitter followers, Youtube channel, and blog, I need your help. 

Not only can you support this by purchasing goods, you can let all of your friends, coworkers, and your friends who are music fans, know about it. Tell them by phone, email, facebook, grocery store checkout line... any and all support is appreciated!

Your early support will help create some buzz, and momentum... which encourages my other friends and fans to contribute (some fans simply wait to see 'trust signals' before committing to support something like this).

Anyone in the world can contribute, and unlike other crowd funding services, Rockethub.com lets me keep the funds that I raise (not all or nothing). 

Please visit: http://www.rockethub.com/projects/16951-adrian-galysh-s-tone-poet-is-possible-with-your-support and get rewarded now!

Thanks!

Adrian Galysh