You can click here to hear the full interview with Adiel of Everyday Kosher Cooking on Nachum Segal earlier this week. It's an interesting interview about a really fun DVD. You can purchase the DVD here and watch the preview here.

We've been getting a lot of emails and phone calls at Sameach recently about what goes into creating an a cappella album. Many people are wondering how the background vocals sound so much like the real thing. Many people are asking if this type of music is even appropriate for Sefirah. Some people are just curious about the history behind Jewish a cappella and why this style became so popular in Jewish music.

To answer these and other questions, I e-mailed Mr. Jordan B. Gorfinkel and asked him to come online and have a discussion about these topics via Instant Message. We recorded it for everyone else to read and hopefully you will learn a few new things. Jordan, or as we call him, Gorf, has produced and/or sung in many of the most popular a cappella albums out today.

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SrulyMeyer: This is Sruly from the Sameach Music Podcast and I have with me on the other end of this AIM chat Mr. Jordan B. Gorfinkel.

SM: Welcome Jordan, how are you doing?
Jordan B. Gorfinkel: Thank the One Above, I'm doing well. Busy with many creative projects and a wonderful family.

 
SM: Baruch Hashem, so - have you ever done an AIM INTERVIEW before?
GORF: Yes, back when I was a comic book editor, many times.

 
SM: And here I thought we were breaking new ground.
GORF: In Jewish Music, we are!

 
SM: Which albums have you produced and/or been a part of?
GORF: Beat'achon: Jewish A Cappella (the first professional Jewish A Cappella CD, way back in 1993� and it's still selling, B"H), Beat'achon: Soul Food/Ochel Nefesh, Beat'achon: West Side Z'mirot, Kol Zimra: Kulanu B'yachad, Kol Zimra 2: The Music Of Abie Rotenberg, A Cappella Treasury: Shabbos (made between Purim and Pesach and I remain so proud of it!), Voices For Israel Volume 1: Chazak Amenu�We Stand As One, Voices For Israel Volume 2: Keeping the Faith and most recently BOJAC: The Best Of Jewish A Cappella� and advising, singing backup or simply cheering on many others from Shlock Rock to Blue Fringe.

SM: When did you first get into Acappella?
GORF: As a frustrated keyboard player, I've always relied on my voice as my instrument of choice. You could argue that from the tenderest young age, when I would finish up at shul with Anim Z'miros, I was already into the idea of unaccompanied vocal harmony. Which I guess makes us ALL a cappella aficionados!

 
SM: Well, some people would suggest that the earliest forms of Jewish Acappella was just people singing Zmiros around the Shabbos table.
GORF: I'm with them!

 
SM: Well, you would  know something about the earliest forms of Jewish Acappella. Tell us a little about Beat'achon.
GORF: Singing around the Shabbat/Shabbos table is the genesis of Beat'achon. We were six guys, all transplanted from the Midwest to Manhattan, who'd grown up singing with our families and particularly in camp. The opportunity to perform in our UWS shul's talent show led to the formation of the group which, to this day, still performs as six guys singing together around one microphone.

SM: What year did the first Beat'achon album come out?
GORF:Beat'achon formed in the early 1990s. At the time, every producer we approached told us that this �a cappella� thing will never fly; back yourselves with a band, then we'll talk. We didn't want to. We loved singing in harmony -- the purity of the voices was what we enjoyed! There was no marketing motive, only a love of expressing our Yiddishkeit with rich singing. As it happened, there was a demand for sefira-appropriate music and for the entire decade, Beat'achon filled that need exclusively. But first and foremost, we made vocal music because that was our vehicle of expression.

GORF: Beat'achon recorded two more CDs that are strong sellers to this day, and we perform live when our growing families and schedules allow. The over 20 members of Beat'achon over the past 15 years + are all active in multiple musical pursuits. Naturally, we look forward to recording another CD, but it's going to take a monumental coordination level. Of course, the Beat'achon method of performing and recording a cappella, i.e. rehearsing as a group, is rare these days. The advance of technology has opened up new and interesting methods of creating vocal music. With Beat'achon, what you hear on the CD is what we did -- and do! -- live, in person.

 
SM: Let's talk about that a little now. Many people have started questioning the very real sounds from some of today�s a cappella music.
GORF: The part of the evolution of a cappella to which you refer is the story of the evolution of computers. As in all endeavors, the result is only as good as the creator, not the tool. Computers are a marvelous tool. They abet the process of communication and creativity, whether in business, politics or music, tremendously, thanks to the speed and clarity they offer. The trick is to not let the tool run the show. For example, just because you know how to use Photoshop doesn't mean you know how to take a good picture. It's like that in music these days, the danger of the tools creating style, but little substance. And in JEWISH Music, substance is critical. After all, think about what we're singing about!

 
SM: Even though no actual musical instruments are being used, what is the process in which voices end up sounding like real drums or other instruments?  
GORF: Contemporary a cappella music is recorded as follows:

First, individual voices are recorded on separate tracks into the computer. It is exceedingly rare that any vocals are sung in an ensemble group. Practically speaking, this is to ensure the clarity of each part. Human imperfection is tolerated less and less in this computer-saturated world -- I'm not judging, just observing. Thus, it's important for an engineer to have clean tracks, recorded "in the clear," to maximize the ability to blend, or mix, them later.

Second, once all the voice parts are collected -- today, it's possible for one person to sing multiple parts, a process called "overdubbing" -- they are assembled in the computer and layered. It's possible to manipulate the voice in the computer in pitch, tone, volume, frequency� in just about any way. It's a blessing because, to take just one example, I can't tell you how many times I've had to trash an amazing take because of a flat note. With a computer, you don't have to lose the magic because of an error, you can correct it.

GORF: A cappella is most popular on college campuses. I've just produced BOJAC: THE BEST OF JEWISH A CAPPELLA, which is the first compilation to include collegiate Jewish groups. It's a topic for another time, but college groups serve to not only perform Jewish Music, they also introduce Jewish Music to students� and often introduce students to Judaism! This brings us full circle to the beginning of our conversation, how singing around the Shabbos table introduced all of us to a cappella. The collegiate group just has a larger "table" LOL :-)

SM: So we know that no actual instruments are used in the making of these albums. Yet the background effects have become so amazing today. What do you say to people that worry that the result is too good. Is it appropriate for Sefirah?
GORF: Collegiate a cappella groups draw most of their repertoire from popular music. The trend is to arrange versions of what's on the radio, and groups challenge themselves to mimic the original song as close as possible with their voices. Over time, computers have come more and more into play, to manipulate the original singing technologically to, say, sound like a drum or a guitar. I once heard an organ -- that was impressive� technologically. It's really cool! That said, creatively, I don't personally see the point. One man's opinion, but if you want a guitar sound, play a guitar.

 
GORF:To the people who ask about a cappella music sounding like instrument-accompanied music, I say a few things. First, the groups with which I'm associated (which granted, are a lot!) record a cappella because we love vocal music. We hope our audience will listen all year long. I've heard from many a fan who thank us for creating music that isn't too noisy and that emphasizes the Jewish values they share. Sefira (and the Three Weeks) has become a time to highlight a cappella, and we'll get to that soon. Foremost, a cappella is enjoyable all year round!
 

GORF: Second, I do appreciate that the majority of music is made with instruments. I�m in a wedding band myself! So at a time of year, like sefira, when there are customs not to listen to instruments, people like to fulfill the "letter of the law" as they understand it, by listening to a cappella music that approaches the style of music to which they're accustomed, with a strong backbeat and kickin' rhythm section. Which leads to the most important and third point:

The Jewish religion is commendable for being founded on the principle of learning. It's incumbent on everyone to educate themselves about the minhagim of sefira. In short, consult your Rav. I've done my own learning about Jewish Music issues -- not just sefira, but Kol Isha, musical ethics, and more. I've been surprised by my own ignorance!

 
SM: That�s great advice and that is exactly what I've been telling people who e-mail me with this question.
GORF: Perhaps it would be helpful to illuminate the modern history of "sefira" music. In the early to mid 20th century, the custom as I understand it was that, in the period of mourning between Passover and Shvuos, upbeat music was eschewed. Instead, people listened to music that was reflective of this period, and of Jewish learning. As such, sefira was a huge season for cantorial concerts. On the Upper West Side alone, in the very shul where Beat'achon was born -- Ohab Zedek -- the great Yossele Rosenblatt presided over sell-out crowds.

GORF: Jewish A Cappella is our generation's cantorial music. (Which is not to say that cantorial music has faded; "ad'rabbah," it's seen a tremendous surge in the past few years!)

Like any Jewish Music, however, it can be substantive or it can be all style. My personal model is Reb Abie Rotenberg. On a recent JM in the AM interview, one that is mandatory listening for Jewish Music fans, he noted that the words we're singing are holy and the music must be spiritual, or it's not truly Jewish Music. He made the point so eloquently and I'm not -- which is why he's Abie Rotenberg and I'm not! Rabbi Shlomo Carlebach, I'm told, used to blanche at people applying different words to his melodies. His "L'shana Haba'a," for example, is applied to a melody from a completely different song. The reason he cited is that he didn't write the songs. They're "min hashamayim," from heaven. He's just the vessel to deliver them. This, to me, is true Jewish Music. But it may not be for everyone. Each Jew is responsible to learn and decide on her and his own!

GORF: The question about certain a cappella being appropriate for sefira is really a subset of a larger question: how "appropriate" are words of Torah set to disco music? The answer is, Jewish composers have been adapting popular music styles for centuries. The most common Adon Olam melody was originally a German beer song or some such.

My answer is this: certainly there are immutable lines. But overall, if we can create music that bring our kids, teens, families and elders closer to Yiddishkeit, is this such a bad thing?

GORF: Can anyone who's ever danced to Yidden be wrong? LOL :-)

SM: I think that people out there who think that maybe this style of music isn't right for them during Sefirah -- they should buy an a cappella album after sefirah so that they can appreciate it for the style of music it is, as opposed to it just being filler for Sefirah.

GORF: That would be great! But music is purchased to be enjoyed, not to be appreciated. (That�s the error of too many a cappella recordings, that you can appreciate the technology that created them but can�t dance to them, so to speak.) Anyway, the reality is that the "noise" of instrumental music drowns out a cappella the rest of the year. After Pesach, I appreciate having a platform for highlighting a cappella music. As with music of any other kind, at any other time of year, it's incumbent on the consumer to be educated. A cappella music became the music of choice during sefira for a reason: because there was, and is, a genuine custom not to listen to certain types of music and a cappella filled the void. That style of less computer processed, more purely vocal a cappella music is widely available, if that�s your desire. You know, just because a CD didn't come out in the last five minutes doesn't mean it isn't excellent.

 

SM: I was just listening to A Cappella Treasury this morning and that is a great CD. It has a wonderful collection of songs from all the different groups popular on the scene.
GORF: Thanks! I design my CD productions to be first and foremost enjoyable and user-friendly. This goes back to my Beat'achon days. "West Side Z'mirot" features the incomparably excellent NCSY "bencher" as its booklet. This way, anyone who wants to learn the songs has the words written out in English, Hebrew and transliteration. Likewise, the songs are arranged to emphasize the simple melodies in the beginning, with more and more harmonies added in as the songs progress.
 

GORF: If you're uncertain about which CDs, from the growing a cappella catalogue, to buy, check out (like you just said) A CAPPELLA TREASURY: SHABBOS from Sameach and the newly released BOJAC: THE BEST OF JEWISH A CAPPELLA. Both are superior compilations of most of the groups out there and include more information about the participating artists in their booklets. That way, if you like one of the group's songs, you can easily seek out their full CDs!

Plus, both CDs include songs not available anywhere else, so they're unique in their own rights. For example, if you love the Carlebach havdallah, you'll LOOOOVE the havdallah on A CAPELLA TREASURY.

 

SM: Before I let you go, is there anything we can look forward to in the realm of a cappella?
GORF: I'm personally looking forward to producing a second volume of A Cappella Treasury. I have a fantastic theme and no shortage of amazing talent I want to work with. Of course, if Izzy Taubenfeld, maestro of Sameach, were in on this conversation, he'd be saying, Gorf, first finish the rest of the projects you owe me! LOL :-)

Really, there's little reason to look forward when right now, the store shelves are stocked with great product, from the recently released Six 13 Volume 2 (which I affectionately refer to as "Six 14"), to the many great volumes released in years past. And if anyone has any questions, you can email me and I'll direct you the best I can.

SM: Whats the best way for people to contact you or any of the groups you are a part of?
GORF: gorf@gorfy.com

SM: Thank you very much for taking the time to do this. We look forward to having you again either via Instant Message or on the Sameach Music Podcast.

This week we plan on uploading a Sampler clip from Yacov Young's new album, Yogati Motzasi. I have just heard a few of the tracks and from what I've heard so far I think people will be impressed. We plan on debuting at least one song on this week's podcast. You can see the cover art here.

Until then, if you'd like to get to know Yacov a little. Our friend Aryeh Steiner has an interview with Yacov which you can read in full at his website.

JE caught up with the famous Abie Rotenberg to “talk some music�.

 

JE: So Mr. Rotenberg, what was the first album your songs were used on?

AR: The album was called Klei Zemer

 

JE: What instruments do you play?

AR: I play piano and guitar

 

JE: When did you start playing?

AR: As a child I took piano lessons, and guitar I just picked up myself.

 

JE: Lots of people take piano lessons but that doesn’t necessarily mean that they play when the lessons are over.

AR: Actually, I stopped playing at the age of 10. But I always enjoyed zemiros and songs, plus I can carry a tune and do harmony.

 

JE: So how did you get involved in Jewish music now that you can play and sing?

AR: Well I grew up with people who eventually put out albums. Eli Teitelbaum who put out the first Pirchei Boys Choir was a friend. Additionally, I was in the same yeshiva as Rabbi Boruch Chait and Leibel Scharfman. You also have to keep in mind that Jewish music wasn’t as big as it is today. There were singers like Carlbach and R’ Benzion Shenker, Neginah was getting started, and there were not too many bands either. The fact that there was so little out there at that time meant that if you could play an instrument, carry a tune, and sing harmony, you were Jewish music.

 

JE: What was the first song you ever used?

AR: That would be Ki Lecha on Klei Zemer

 

JE: So how does one go from D’veikus, Journeys, Pirchei etc. to making The Marvelous Middos Machine?

AR: Well, when you have children in the house to inspire you and a concept comes into your head, you expand it. Those songs, that were all original, raised awareness of different traits inherent in each child. It was a very educative tool. I enjoyed making them.

 

JE: So why did The Marvelous Middos Machine Series stop at Volume 3?

AR: Well, my kids grew up and of course there aren’t 613 middos, so we pretty much covered all the main category of middos.

 

JE: So is there a possible 4^th in the future?

AR: I honestly don’t know. There might be. I have no plans to make a fourth. But, I didn’t envision putting out 3 from the beginning. There might be a fourth that will look like it continued from the third, where you won’t know that there was a 20-year gap.

 

JE: So as a child, where did you grow up?

AR: I grew up in Queens.

 

JE: There were many years between Journeys 3 and 4. Did the inspiration for the album take you all that time or were you busy composing songs for other albums during that time?

AR: Well to be honest, music is not my main parnossah. B�H I have a job that keeps me busy at times. When inspiration comes to me, I work with it. For instance, on Journeys 4, I had all 9 songs and was waiting for the 10^th, when I came up with Mama Rachel. It could have been any other song, but that’s how it turned out.

 

JE: So what would you say is harder, composing a tune or writing lyrics to a song?

AR:  For me personally? Writing lyrics is more difficult. Music is an open field. You can string together a few notes and have a nice tune. On the other hand, getting words that have meaning is very complex, because even though the music speaks to you, it’s the words that inspire you.

 

JE: Some examples would include: Mama Rachel, The Man From Vilna and Shema Yisroel?

AR: Exactly. Those tunes are meaningful and mournful. They pull at the heart. The words, on the other hand, make them so much more than a story, a feeling.

 

JE: What is your opinion of Jewish music now, in the year 2005?

AR: We are in galus and music is being influenced by the music of the nations. The style now is more “poppy�, with less of the Yiddish taam that it used to have; yet it still inspires. Music is first and foremost to inspire Yidden. It can also be entertaining, but it should be meaningful.

 

JE: Do you still sell songs or are you just working mainly on your own projects?

AR: Well, I still have some songs floating around that I give to people. However, the best songs I really like to keep for myself (chuckles).

 

JE: Once you sell a song, do you have a say in how it’s put together, in the arrangements?

AR: A lot of the songs that are being bought are original, so I am involved.  For example, Kol Zimra had a lot of my old songs, along with some new. Usually, you have to hope for the best and see if they want your opinion.

 

JE:  What is your view on music and dancing at weddings today?

AR: The music is for sure more sophisticated. I mean just look at the cords that the guitar player is using. The bochurim and parents dance better too. I don’t know if it’s from the music, but times change and so do the dance moves. Twenty years back it was popular to dance in a circle and the horas were not so complicated. Nowadays they are. I think that back then when we were mesameach a chaver at a wedding, we danced our hardest and best. The same holds true today.

 

JE: Do you sing by weddings?

AR: Yes. I have sung by many weddings, though never for pay and never by the chupah. I like to watch the chupah. It’s a very special moment and I would rather be an observer. I only sing for friends and family.

 

JE: So do people ask you to write songs for their wedding?

AR: Yes, they do, and some of the songs end up becoming famous. Mi Adir was written for my daughter’s wedding, and Yehi Shalom was written for a friend.

 

JE: In your singing career have you traveled a lot because of your singing career?

AR: Yes. I have been to London, Los Angeles, the West Coast, Dallas, and Eretz Yisroel amongst a few. You have to sing different songs to cater to different crowds, but in the end Jews are Jews and they get inspired through music.
 

Thank you for your time. It was really nice being able to speak to someone who has been in the industry a while, whose singing is soul-ly to be mesameach others with his beautiful and heartfelt niggunim.

Many thanks to Yossi Zweig of the Jewish Entertainment Magazine for supplying the Sameach Music Podcast with this interview. To read more interviews like this with Lev Tahor, Shalsheles and many many other Jewish artists, you can e-mail Yossi at JEMAGAZINE@gmail.com

There are singers and there are singers. And then there's Lipa! A true original, Lipa is in a class all his own. JE Magazine met with the artist to discuss his life, his views and his brand new hit album, Keinehora. "I sing partly for parnassah and partly for my neshama" Lipa says. And that, in a nutshell, epitomizes Lipa. A cross between practicality and soulfulness, between humor and sincerity, between droll wit and genuine heartz.  Read on for the inside scoop.

 
JE: Hello, Rabbi Lipa. It's a thrill to meet with you, and we're sure our readers will be just as excited. So, Lipa, you've become one of the most popular sensations in the Jewish Music world. How long is it since you started singing?

 
Lipa: I was in the sixth grade when I officially started singing. I guess that means I was about 9-10 years old.

 
JE: On how many albums have you sung so far?

 
Lipa: Well, I sang as a child on Shofer Shel Moshiach, my brother, Zishe's, album, and on some Aleph-bais tapes. Then in my yeshivishe yuren (years), I did some more. Later, I started composing. Michoel Schnitzler was the first one to take a song from me, and I'm grateful to him to this day.  Then one day, I heard that Mordechai Ben David wants a song from me. I couldnt believe it. I drove down to Seagate; it was the biggest thing for me. Since then, on each of his albums, I have the zechieh to do a Yiddish song for him.

 
JE: So you're pretty prolific. Composing, singing, producing?

 
Lipa: Thanks. Hashem gave me amazing hatzluche. Boruch Hashem I can spread my talents that Hashem gave me. Right after my wedding I started doing badchunes, and people used to tell me, Lipa, you have to decide. Either you do grammen or you sing. People will get confused. But I said, I'm going to do both. People will get to know me and see what I'm all about."

 
JE: Which number album is Keinehora?

 
Lipa: I started with a little-known album called Nor B'simcha, then I did Shema with JJ Fried. Next, I did Gam Zi Letovah completely on my own. I decided that I want to have the final say on everything. But, I didn't have the money to produce it on my own. I ended up borrowing money, and it took me four years to pay it back. It was most definitely worth it. Everything came out the way I wanted it.

After that, I did Lipa Baderech, then Leilu Uleilu, which I did strictly for the ruchnius aspect. I did it for my neshama. When I sing, I do it half for my parnossah and half for my neshama. And finally, I made Keinehora.

 

JE: Lipa, you've been doing a video for the HASC concerts the last number of years. Can you tell us what this year's video will be about?

 
Lipa: Actually, I'm not doing one this year. I also need a break once in a while.

 
JE: Do you have a certain style for your albums?

 
Lipa: I can say that all the albums I did till now, and I hope to do in the future, are totally different.

 
JE: What was your deciding factor in becoming a heimishe singer, as they say?

 
Lipa: It's very funny. I never decided that I'm going to become a singer. I was always dreaming about singing, but I never made a decision to become a singer. When I was a chosson, I started to sing at weddings for free. Then someone gave me $100 to sing at a wedding. I grammed by my first mitzvah tanz when I was still a bochur. My brother-in-law  asked me to gram at his brother's wedding. Then I started singing unofficially.

 
JE: What do you mean "unofficially"?

 
Lipa: I was working for a butcher in New Square.

 
JE: As a shochet?

 
Lipa: No, I schlepped chicken. I delivered chicken and fish in New Square. That's right, I'm not embarrassed.

 
JE: An honest living, huh?

 
Lipa: Yes, an honest living. I was doing it part time, and I was in kollel part time. But I was singing wherever and whenever I was called. One night I stayed up till 4am and I couldn't wake up in time for my job. My boss called me. "Where are you? People are waiting for their chicken." But I was too tired. So he told me, I think you better just sing and forget about this job.  And the rest is history.

 
JE: Tell us about the songs on the album.

Lipa:  The first song, Rabosei, I composed because when I sing at a wedding, the mechatunim come to me and tell me they want to bentch already. At the same time, the bochurim tell me to continue singing because they still want to dance. So, I made a song Rabosei. The mechatunim hear it and they're happy cuz they think we'e starting to bentch, and the bochurim are happy cuz I'm still singing.

 And Sheli Sheluch. My tape is catered to all types of yidden. People from all over the place listen to it: Boro Park, Lakewood, Baltimore, Florida, L.A, Israel, Europe and more¦ There are Chassidim all over. Sometimes a chussid is with a shtreimel and sometimes he's a chussid at heart. This is whatI'm saying, sheli sheluch. I try to put some mussar in my songs.

JE: Hashiveinu?

Lipa: Hashiveinu is a song that means a lot to me. Its a song about R' Zishe. R' Zishe used to go to the mezuzah every night and say, "Hashem, from now on, I'll be good. I know I said it yesterday, but now I really mean it. I know that yesterday I also said I really mean it, but now I really, really mean it." Now if R' Zishe says it, shouldn't we say it?

 Then there's Galgal Hachozer. I know it's tough for someone who doesn't know Yiddish to understand it. What I'm saying is that the world is like a wheel. Sometimes you're up, sometimes you're down. It keeps on changing. So we ask Hashem that we should always be on top.

 Chalom Calomti When I was a child and I had a bad dream, my father used to say to me, Chalomos shuv yedabeiri (dreams are false), but when I had a good dream, he'd say, "Chalomos shuv yedabeiri?" with a question mark, which makes all of the difference.

 JE: Hut Bitachon is an inspiring song.

 Lipa: Yes. I went to the Skeverer Rebbe, zul zein gezunt, and told him that I had a problem.  He said to me, Hut bitachon vet ales zein git (Trust in Hashem and all will be well) I thought that was a great message and made bumper stickers that said "Hut Bitachon, vet ales zein git" Then, I made the song. Lots of people put the bumper stickers on their cars and are finding it very encouraging.

 Nisht in Shabbos Geredt, the next song, was supposed to be mainly mussar not to speak about vochen'dige (weekday) things on Shabbos.

 Asooreh Harigei Hamalchus. I mamash had a nes that this song got onto the tape. It almost didn't make it, and now it's one of the biggest hits. It's very warm and very heartzig.

 Tizku Lemitzvhas. I feel that I have a zechieh to work for a lot of organizations and do a lot of mitzvahs. The song is for every person. People don't need to work for an organization, they can do mitzvahs on their own.

 Zechor was composed by a great friend of mine after his mother passed away, and it's a beautiful song.

 JE: And Keinehora, the title track?

 Lipa: I just think that people shouldn't be so makpid and worry that others have a bad eye. Don't worry and Hashem will help.

 Shivati was composed by P. Weber and is a really easy song to sing. People like it a lot.

 I finished the album with Al Tadin. I figured that whoever listens to the tape and hears the mussar will start to think, "Oh, this song fits this guy, this song fits that guy." So I'm saying, Al tadin, be dan l'chaf zechus everyone. It's a more jokey song because I want to give the message that you shouldn't take the lyrics too personally.

 JE: So that covers all the songs on your amazing new album. Lipa, what do you think of the music industry, in general?

 Lipa: The music industry? You can't generalize. It's like a restaurant. It depends who the manager is. If the restaurant has a good manager and it's a good season, then it's great. The same with music, it depends who's managing the album and how the season is. Of course, Hashem is managing all of us.

 JE: What's your message to your fans?

 Lipa: I don't know exactly what "fans" means, but to my listeners, I want to say: "Have simcha's the most important thing in the world. A big mekubal in Eretz Yisroel once told me that I'm lucky because I know why I came down in the world, to be mesamayach yidden. Some people never know what their tafkid is. So this is what I want to say, "Be besimcha! Always. And don't forget: Hut bitachon, vet ales zein git."

 
And a great way to start, dear readers, is by listening to Keinehora. It'll have you tapping your toes, dancing a jig and smiling, smiling, smiling all the way through. It's a surefire recipe for simcha and bitachon.

To purchase Lipa's CD, click here.

 

 

 

 

Yesterday I had the privilege of interviewing Eitan Katz via Instant Message. His new album which he composed, arranged and sings on is called: L'maanacha. We hope you enjoy this first of many future interviews.

Sruly Meyer: Alright, let's get to the basics before anything else. Where do you call home?
Eitan Katz: I live in Silver Spring, MD, I'm in Kollel there at the Yeshiva of Greater Washington, and I've been happily
married for a year. This is my fourth year in the yeshiva though.
SM: Which Silver Spring pizza shop is better, The Nut House or Ben Yehuda's :-)
EK: HaHa... If I say nuthouse has better pizza, they [Ben Yehuda's] might not let me in to the shop anymore... (But nuthouse is better...)
SM: That's a good answer.

SM: What or who has influenced your writing and singing style?
EK: First off, my father has always been a strong influence on me. He's always pushed me to go the distance when it came to music. My older brother Shlomo, with whom I released the CD "Biglal Avos", also had a great influence on me. As far as other music, I would say that the Erlechkeit of D'veikus and R' Shlomo Carlebach turned me onto writing and singing songs which made me closer to Hashem
EK: I am also a big fan of R' Shmuel Brazil's Nigunim.

SM: Ok, What Jewish Music are you listening to today?
EK: I very much enjoy the oldies which I mentioned before, I also like listening to Yaakov Shwekey, and I think he has a magnificent voice.
EK: Ironically, I spend most of the day in yeshiva, so I don't have too much time to listen to music.

SM: Avraham Fried of MBD? ... And you can choose not to answer :-)
EK: They are both great, I enjoy their music very much, and they are also both wonderful people.
SM: Another smart answer :-)

SM: What Nigunim do you listen to outside of today's Jewish Music?
EK: I listen to any Nigunim which make me more in tuned with my Avodas Hashem. A lot of Chabad and other Chasidishe Nigunim really hit the spot. My brother Shlomo also has some really nice Nigunim which I enjoy listening to.

SM: What's your favorite song on your new CD L'maancha?
EK: That's a tough call. Every song talks to me in a different way. The main theme of the CD is its title - L'maancha- everything we do is for Hakadosh Baruch Hu! I don't think I have a favorite song, we'll leave that question for the listeners.
SM: I just wanted to mention that I think the title track - L'maancha has a really great feel to it, my wife who doesn't really enjoy slow songs, has really fallen in love with this one.
EK: Thank you...I think the CD is unique because the composer is the singer, and you can really hear what the composer feels through the way he sings it

SM: That brings me to my next question. What's different about this album than your first two? (Aside that your brother, Shlomo, sang on those also)
EK: Well first of all, like you said, I am the only one featured on this album, I composed the music and did the all the arrangements on my own, my brother and I have a little bit of a different style as well. I can't really describe it (his music is really beautiful)

SM: On Track #1 (Mizmor Shir) towards the end of the song, who is playing that wonderful Guitar solo?
EK: Oh, that is Josh Young, he is a guitarist from LA (now lives in NY), my brother and i recorded our CD by him, he was also in our band back in the day, he is absolutely incredible.

SM: On Friday you mentioned something about a local Choir, what's that all about? Are we going to see The Silver Spring Boys Choir anytime soon?
EK: I run a boys choir here in Silver Spring, the boys are from the local elementary school here, the Torah School, it's a lot of fun, and they are really cute.
SM: That's really nice, and I know someone who was in that choir, so I know that those boy's do enjoy it.

SM: Well, Eitan, that's all I have for you, thanks for your time, would you like to add anything else?
EK: I just want to say that I really feel that my CD's success won't be evaluated based on the amount of CD's sold, but rather on the influence it will iy"h have on the listeners. If one person says a brocha with a little more kavanah after hearing the CD, my mission is accomplished...

EK: Thank you, this was a lot of fun.
SM: Yes it was, again, thank you for your time. Hatalacha on the album and have a great day.

Click here to hear clips from Eitan's New Album L'maancha.