#Rock Music

28 Mar 2013
comments
4
Share

Originality… What Does Elvira Have To Do With It.

Elvira

When you look back at people who have made a very successful career at entertainment and are still going strong decades after launching it’s hard to think of many still around especially one that is still a marketing dream come true. This is where Elvira (aka) Cassandra Peterson excels. Elvira was launched in 1981 by Cassandra and to this day is one of the most iconic characters in entertainment. She has created a brand that encompasses 400+ product licenses, the most sold Halloween costume ever, music CD’s, books, pinball machines, guitars and the list goes on. Finding truly iconic characters these days is hard work. Most are known for their personal problems not their originality. Tell me the last time you heard anything negative about Elvira? Her success is due to her originality, extremely well defined character and marketing.

Why do I bring this up? Because it could be you. You could be the next Elvira, Kiss, Alice Cooper, or whomever you can think of that are still around 30+ years later even after their hay day. Sometimes these things happen by accident. Cassandra probably wasn’t thinking that Elvira would turn into this iconic character, but she did and Cassandra took full advantage of it. Now I have never interviewed Cassandra. I did know her sister back in Colorado Springs however. She hung out a bar called “The Gardens” that I worked back in the early 90’s. I remember talking with her. How proud she was of Cassandra and all she had accomplished. Cassandra hit a gold mine with her character, probably had a decent team behind her to capitalize on her character and today Elvira is as big as ever and her cult legacy lives on. She is all over Facebook, Pinterest and anything Halloween.

Sometimes as entertainers we take ourselves to seriously. I read on Facebook the other day a band posting about how they were “real” and they didn’t care about image etc… So just shoot yourself in the foot why don’t you. This is a lame excuse for people to not put in the work for thinking outside the box, finding something original and running with it. You can do this and still maintain your sense of you or who you are without sacrficing your “realness,” whatever the hell that means.

Everyday people say, “if people would just get behind me, invest in me then I would prove that I am worth it.” So what exactly are they getting behind? What are they selling? Are you sellable the way you are now? Why would anyone want to invest in your brand if you don’t really have one? What is going to make you stand out from the millions of other entertainers looking to get noticed? We are looking for stars, not our next door neighbors.

Now I am not saying you have to go get “gothed” up to be noticed. I am saying that you need to be original, marketable and dedicated to working you butt off. If you want longevity in this industry, which from what you all say about how you wish you could do it full time and that it’s all you want to do, then you need to be willing to put in some development, take some risks and forget what every other lame ass next to you is saying because they will only tear you down especially once you start having success.

Be bold, be brave, be energetic and works twice as hard as you think you need to. You see, you need to be ready to move on to the big time like Cassandra was. Elvira was born out of a need for a character for a classic horror “B” movie TV show that was being brought back to life. Cassandra had one character already and merged it with the “Elvira” concept to fill the TV show need. Once the opportunity knocks, you need to able to act on it. Cassandra did and look what happened. This couldn’t have happened without Cassandra’s creativity to come up with the original character. Once you get there, it only get’s harder and busier. You think you are busy now? Just wait…. Take the time to “develop” yourself into something the public will purchase. Don’t you think Cassandra thought it was worth it?

Good luck!

Find out more about Elvira here: www.elvira.com

Elvira (@TheRealElvira)
@lowryagency Great post! XX

 

27 Mar 2013
comments
2
Share

Work Ethic…. An Example

SammyCortino

 

Every once in a while I like to recognize at least what I consider someone who is doing everything they can to achieve their dream. Someone who I see constantly striving to be the best they can be and pushing new limits for themselves. This time I am recognizing illusionist Sammy Cortino. Now to be fair, this is only about work ethic. I am not talking about his show as I haven’t seen it other than a few video clips and the one illusion Sammy did for a show of mine last year. This is purely based on how hard I have watched Sammy work over the last four years.

I found out about Sammy Cortino on twitter four years ago and we became social media friends. Since then, Sammy has moved to Nashville, TN and is carving out his niche as a master illusionist around the country. Rarely have I seen someone give so much of themselves to their dream and try so many things to see what worked and what didn’t. Most just stay the same, never trying anything new, not listening to advice and wonder why over the last few years nothing gets any better. It becomes everyone’s fault but their own and the reality it is simply the world didn’t want to buy what you had to offer, at least not in the way it was presented by you. Sammy is becoming so good at learning to change things up and re-branding his image when necessary. He sinks his money back into his career, most importantly in the things he actually needs, not necessarily wants. For those entertainers that complain about travel and how much they have to take, try being an illusionist. Set up and tear down time is much longer and usually 1 – 3 people doing it not 4 – 5 like in a band.

Sammy tries to fusion things that have rarely been done before or are original, another trait lost on many. Keeping a show fresh and something you can sell over and over again to the appropriate talent buyers or promoters is incredibly important and Sammy seems to understand this. This isn’t to say Sammy has figured it all out or is always gigging. He hasn’t and he isn’t, but he is working harder than just about anyone I have ever worked with by far. Sammy is always coming up with new photography, videos, illusions and tons of other content to try and keep himself fresh in the worlds mind. Sammy also understand that image is everything. You can decry it all you like, but it’s the truth. It’s the first thing people see and it determines whether or not they will click anything to check you out.

Whatever you may think of Sammy Cortino’s show or talent is up to you, but what you should take away from this is no matter how talented you are, if you are not working as hard as someone like Sammy is, they will take your spot on the bill or the stage just based on their work ethic alone.

Well done Sammy Cortino. I wish you all the best in your endeavors and success in what ever way you deem it.

http://www.youtube.com/watch?v=FO_BcBQz7UE

Note: The Lowry Agency is in no way affiliated with Sammy Cortino.

26 Mar 2013
comments
2
Share

Blues Great Chris Duarte on Live From Music City!

ChrisDuarte

Blues Great and underground guitar legend Chris Duarte will be on Live From Music City on May 19th with a live interview, 3 song full band performance and a meet and greet to start 6:30pm.

Date: May 19th, 8:00pm Meet & Greet

Location: Bitchstraps Studio, 172 2nd Ave. S., 3rd Floor, Nashville, TN 37201

For more information please contact Live From Music City through this site.

 

BIO

An artist’s lifetime is sometimes dictated by the heights they reach, the reaction they register or the body of work compiled during their working years. Chris Duarte is certainly making a case for his body of work he’s producing, this being number eleven of releases, but is he achieving the right reaction for his efforts? With the release of Chris Duarte’s latest opus, ‘My Soul Alone’, Chris Duarte is still reaching for new ground while also throwing out some of his best blues work to date. The maturity in the phrasing and melodic statements are a far cry from the early raw days of his first few releases. This could only be achieved through relentless roadwork that allows Chris to ply his trade and to work and rework melodic ideas. “I can practice all day in my basement but it’s a totally different ballgame when I get on stage. More of a physical dynamic is the currency I trade in when I’m playing live.” Even though Chris is in the studio, I can hear him getting more physical while there.

The album starts off with a swinging type of blues with a vocal more akin to 40’s big band style. The rough and course voice is still there rather than a crooner’s touch but he’s swinging the lines. The guitar solos are full bodied with just a touch of frenetic moments that Chris is known for. ‘Show Me That You Want It’ sets a good tone for the opening salvo.

Next up is another example of Chris taking clues from his early years growing up and mixing it with these pseudo county leanings on the guitar. ‘Yes It’s You’ is a nod towards the Beatles and other ‘Pop’ efforts Chris has been penning and with each release I can hear the improvement. Time will only tell if this song is a winner but it makes me hopeful that one day that hit will come. It will be long overdue.

‘Take Me Now’ is more of the ‘naff’ pop Chris is exploring like his previous release of ‘Summer’s Child’. “I keep hearing these retro-like grooves with a Steely Dan like vocal line over it. I’m probably going to go to my grave taking chances like this song.” Jazzy guitar work over a bluesy mode wins out on this song. This one always perks my ears up for new things every time I hear it.

Almost every album that Chris has put out with Mike Varney, there’s always been a minor blues and a slow major blues on the album. Normally I would really grow tired of the repetition but Chris challenges himself to tweak and twist the songs arrangement so that no two are going to sound like the last. His latest minor offering, “A Dollar Down and Feeling Low’, stays low and evocative with what I think is his best minor work to date. The phrasing is more moving and flowing with its subtle nuances achingly played. Chris’s touch on the guitar is definitely much improved and the notes actually touch the inner core. Then on the flip-side there’s ‘Lazy Afternoon’ with its true reach at a crooner standard style. The lyrics are lyrical and time dated and the guitar work is first rate jazzy with a touch of BB here and there. If we were to stop here with the album I would consider it a success.

We can’t deny Hendrix is a big muse for Chris and it’s plainly stated in this album. ‘Outta My Way’ is a spot on Hendrixian nod but obviously with Chris’s style thrown in the mix. Starting off with a hard driving riff but then it opens up with the patented Hendrix 7th chord accents that propel this rocket of a song on its way. The guitar accents are vocal like and at times a frenzy. The quirky lead in to the middle solo is typical of the twists and turns for originality and lends to it that ‘turn-on-a-dime’ wildness that should be present in songs like this; Hendrixian. The next Jimi offering is ‘Can’t Shut Me Out’. First the riff at the top and in comes the effects drenched guitar. With an almost vocal like quality to the guitar the phrasing is no doubt from Jimi and the driving rhythm underneath enables all the elements to come together when the vocals start. The interlude at the top of the chorus is the only departure from the Hendrix mode but it plays well with the chorus hook shouted out. Another adrenalin driving guitar vehicle and I wouldn’t expect anything less on this album. This is the CDG we’ve come to know and love.

Jumping back on the blues side of the album, because if there’s one thing that put Chris Duarte on the international stage; it is his blues playing. ‘Being known and referred to as a blues player is not a hindrance to me. If there’s anything that makes it easier for people to relate to me or if it’s easier to gain access to me than it’s all for the better’, Chris remarks. “I don’t shrink behind it or cringe from it because I love playing the blues.” I agree. It’s Chris’s prowess and originality in the blues field that has always made him an interest to me. So when I heard ‘Sweet Little Girl’ I knew Chris was drawing from one of his favorite blues masters; Howling Wolf. Back in the day when Chris was just a sideman in Bobby Mack and Night Train, Howling for My Darling was in every day rotation with the band when they played. It’s no surprise that the infectious rhythm and drive the song has would be inspiration down the years in his career. Written for his daughter, the vocal phrasing isn’t the same as Wolf but the ‘sweet’ sentiments he gives to his little girl is heartwarming. Then Chris quickly takes over when the solo romps and rolls along this jumping number. “Keeping this rhythm going isn’t as easy as it sounds” quips Duarte, “You always find out your studio limitations when you’ve got to track your rhythm tracks.” On the heels of Sweet Little Girl you’ve also got the Party swing song, ‘Bucked It Up’. “The male anthem for some of us” as Duarte claims as he has not been without his foibles in life. Why not poke fun with it and put your troubles in song. This song is just classic with the Hubert Summlin like tone on the lead and the rhythm guitar borrowing from piano phrasing and horn section kicks on the chorus. Later the solo tone turns towards a Buddy Guy styling and this party just rocks and rolls. Not to be forgotten is the ‘Stripper’ like tom-tom beats on the verses. Really like this song.

The title cut, ‘Leave My Soul Alone’ is Chris giving a nod towards the Black Keys. “I was first exposed to those guys when I did the Romp album.” “Our producer at the time, Dennis Herring, brought that song in, the Romp that is, and it was the Black Keys version of it.” It definitely has that stripped down sound with the classic vocal and guitar unison lines in it. With the verse rolling along like a tire with a bump on it, the song then blows wide open with the chorus and a rock and roll scream to “Leave My Soul Alone!” The guitars thicken up and the drums pound out the booms and the solo is an all-out assault on the instrument itself. Bending and twisting through sonic blasts and high vertical bends it settles back for another verse and then blows up again. Emotionally stirring this song deserves to be the title cut for its shear ferocity that it wields.

The last two cuts are more experimental and artistic reaches. “I just wanted to tell a story in one of the songs and this western motif I settled on was a lot of fun.” Telling the story of a young man that takes up and life of crime to feed his family is scattered among this country’s western lore. “I just wish I could write like Dylan” The guitar is playing this almost hypnotic folk type melody and the solo comes in mirroring the vocal line and then soaring on high as if it’s flying in the vast open Big Sky of the Midwestern plains. This song kind of hung with me after it was over. Then we have the most different of all the songs; Carelessness. “This is the name of a lodge that I met the violin player at during a jam we did in Northern California; Careless. The first song we jammed on was Freedom Jazz Dance and it was a blast.” Then when Mike Varney thought the collaboration between the two; violin and guitar, could yield some potential fireworks, Mike wanted to get Madz Tolling on one song with the upcoming album. So it was up to Chris to write one for the occasion and with that he drew on their first time together as inspiration. “Since it was Freedom Jazz Dance that brought us together then why not come up with a melody that’s angular and quirky like Jazz Dance.” Add a bit more spice with the solo section being in 7/8 time and then give a nod to one of Chris’s favorites John McGlaughlin and you’ve got the vehicle for a fusion tour de force. Madz violin just soars throughout the song with the agility and ease of a master conjuring up the voice of Jean Luc Ponty. Chris then answers in his unbounded energetic style that you can’t help but bop your head and smile while the drums lay down a furious barrage and the bass acts as the glue that brings it all together. One of the most adventurous songs Chris has put down so far in his career. I hope there are more like this one in the future

My opinion is that this is a level up in Chris’s all around skills. His songwriting is getting better, vocals phrasing and lyrics are better and his tone is still a marvel at how dexterous he can be with the varying styles he continues to display time and time again. Watching Chris grow has not been meteoric but it’s been steady and he’s still getting better on the guitar. In a time when most of our legends have been content to rest on their laurels and continue to mine familiar ground, it’s both a pleasure and refreshing to see that Chris always wants to expand and grow even after over 20 years of being on the road. Not many have the energy in them to do that and not many have the soul to pull it off.

For more info about Chris Duarte please visit: http://www.thechrisduartegroup.com/home.html

26 Mar 2013
comments
4
Share

Finding the Courage…

For anyone trying to make it in the entertainment business or professional sports, you are constantly under barrage from people telling you that you can’t do it. You are aren’t good enough, you don’t have what it takes or there is no money in it so go get a real job (like there is any security in that anymore anyway). You deal people who let you down, who don’t do anything at all after the big long speech of how good they are, how hard they work or what they can do for you.

You have haters and trolls on the internet, other people in your genre constantly tearing you doing or taking jabs at you. It get’s lonely, harder and often times you feel like giving up. Well you can’t. No matter what anyone says or does to you, only you can keep pushing, proving them wrong and only you know who you really are. Anyone who would tear you down is the insecure one, the one who if full of it, the jealous one who really has no idea what they are doing. You can’t let them affect you or stop you.

No matter what life throws at you, you have to keep pushing on with your dream. In today’s entertainment scene you have more control than ever and more often than not, that means you are doing it on your own because now the money is gone. You can’t afford to pay for professional help and you are facing this wave of overwhelming obstacles and people who have no life so they try and tear you down.

So let me offer this to you for some inspiration. No matter what you are facing in life, business or if you are someone who is trying to help someone you care about get through something, do it with the strength and focus that Garrett shows in this video. If he can over come what he is going through, we can over come what we are going through.

 

I wish you all the best and the strength to get through it.

Good luck!

 

13 Mar 2013
comments
3
Share

The Disconnect Between Musicians and Promoters Part 2

Let’s break it down a little bit so that maybe I can shed some light on what promoters are looking for in booking an opening act. First and foremost, this is definitely a “who do you know?” business. If you have the right connections or relationships, this will certainly be a lot easier for you. Some times it seems unfair but people will use people they like and trust before people they don’t. It’s your job to development this relationship and get your foot in the door.

Unfortunately most bands and artist just send an email and wait for a response and leave it at that. This shows no “real” interest in developing a relationship with a promoter or talent buyer and is pretty rote at this point in the game. Business people are looking for persistence, reliability, creativity and hard work. This is a very speculative business and so promoters are looking for artists that will make sure they deliver and help make sure the show doesn’t operate at a loss.

To get in good with a promoter, you need to try some creative ways to get noticed and get the gigs. They need to feel a sense of trust with you. Try setting up some social media campaigns early that get your fan base used to interacting with you in different types of promotional contests (These are things the promoters will see when checking you out). Then apply that to getting opening gigs. Especially when you have a opening spot already in line. Make sure you explain to your participants the seriousness of what you are asking them to do.

Let’s say you are opening for a band in your hometown. Supply the box office with a sheet of paper (with your band name on it and numbered already) and get all your fans to make sure they report to the box office they are there to see you and wouldn’t have bought tickets if you weren’t on the bill. After the show, get that paper and show it to the promoter, talent buyer or in house manager (take a pic first in case they keep it). It is essential you start building up your rep for hard work and bringing people out.

Another idea is prep your fans before the show by saying after you perform, you will be at your merch booth and want all your fans to come and bring their tickets stubs. Have them initial the front of them and take a pic of all them together. Obviously these are things you can email to promoters, put on social media (be prepared for every other band to copy you) and start building your street cred as the band to hire for the gig. This is also a great way for your fans to participate in your success and make sure they know that appreciate their help and support. You can’t do this with out them. This also helps people decide which show they want to spend their money on. One with a serious band they like where they can help or just another show where the band will show up, play, and act like they are the stars and probably bail before the concert is over.

This will also help people at the show who were on the fence about you or are maybe just showing up decide to check out your booth. Having all the people around you and the excitement they see going on while you are gathering ticket stubs will help you to get these “undecided’s” to the booth and hopefully by your CD or spend time talking to you. You are now developing new fans. You see, your time on stage isn’t the only time you are developing new fans. You job the whole time you are there is to development new fans and maximize every opportunity in front of you to do so.

As you can see, none of this is hard. It may be a bit time consuming having to interact on social media but you are supposed to be having original content to post anyway and this helps fill that hole. The idea is to be creative and PROVE you are the band to bring on board. This may take prep work as described above but this is business. You are a business. You need to start acting like one.

Good Luck!

You can also read this and some of my other articles at www.metalholic.com.

David Lowry is the President of The Lowry Agency, a full service artist management agency that works with musicians, speakers, entertainers, actors and models based in Nashville, TN. The Lowry Agency’s roster includes Mike Martin, Rob Balducci, Neil Zaza and Jon Finn. For more information please contact The Lowry Agency at http://www.thelowryagency.com.

 

 

 

 

 

 

11 Mar 2013
comments
2
Share

CD Review – “Tapped In” by Don Lappin

TappedIn

I came to find Don Lappin through facebook and even though I follow guitar players, I wasn’t aware of Don’s playing until recently although being a fan of Michael Sweets (Stryper) I had probably heard Don before and didn’t realize it. Don is currently an Assistant Professor at the Berklee School of Music specializing in rock techniques for the guitar. Don has also played with musical greats such as Jon Finn, Chad Wackerman, Guthrie Govan and Jonathon Mover to tell you how talented he is. Don’s approach to the guitar incorporates a lot of tapping and 4 note-per-string playing which is slightly out of the norm and about as technical as I am going to get for this blog. This about the music and not his technique. You can contact Don for more information on that for you guitar nerds.

“Tapped In” is Don’s second solo release and it is full of stellar guitar work by this modern day guitar virtuoso. From the intro straight in the first song “Lappin it Up,” you know you are in for something very different for a guitar instrumental CD. I have done a few reviews of guitar instrumental CD’s and having listened to hundreds if not thousands of these guitar players, it is very hard to find one with their own distinct voice. The kind that once you hear them anywhere on any CD you know it’s them. Don has that unique voice. His playing is extremely fluid partially due to his tapping technique but also his mastery of his instrument of choice. Don is very melodic and his vamps are not your the tired typical power chord vamps that guitar players love to play over. After being sent so many bad CD’s to review, you almost dread getting another wanna be guitar shredder CD in the mail. Thankfully this is NOT one of those CD’s. There is a lot of creativity in every part of the songwriting on “Tapped In”.

The highlights on “Tapped In” for me are the songs “Lappin it Up, Captain’s Lady and A Song for Robert.” The first song “Lappin it Up” could possibly be the most original sounding guitar song I have heard in a long time, especially during the verses. It’s a fast paced groove with a different sonic texture then you’d expect and moves into some nice melodic lines and an uplifting chorus that is hooky. Laden with some tension coming out of the chorus to bring you back to earth, Don creates melodic passes that always keep the song fresh and interesting.

“Captain’s Lady” is a “pretty” song in the way Don constructs the melody from the opening. Although it’s a rock song, it has a light quality that brings you to a feeling of taking off in the chorus. One of the great things about artists like Don is you never know where the song is going to take you because they have so many tools in their arsenal. This keeps the songs fresh and invigorated which is great for longer instrumentals and can really show you that you don’t always have to have a typical ABABBABB type song to have a listener friendly tune. Great songwriters will keep you engaged at all times and Don does this very well.

“A Song for Robert” is a slow song that reminds me of the feeling I get when listening to an Eric Johnson composition. Don and Eric are completely different players and writers, but here Don achieves that same ability to create a musical picture that takes you away and creates that sonic landscape you can picture in your mind’s eye. It’s a beautiful song that will pass without you realizing it’s 9:29 long. That is effective songwriting when you get lost in the music and forget about time altogether.

“Tapped In” being Don’s first full length CD is an amazing effort with a great sense of melody phrasing and songwriting ability that is already very strong and I am sure will only get better as he puts out more CD’s. For fans of instrumental music, “Tapped In” should appeal to those that like listener friendly songs and tunes with a slight fusion feel for lack of a better term. You never really get thrown by anything here even though there are parts that shine with sparks of jazz influenced lead lines that drift from the main melody motif which again is another sign of solid songwriting.

I give “Tapped In” a solid 4 out of 5 stars. The only thing missing is that break out “Cliff’s of Dover” type song that just amazes your ears but also knocks you on your ass like nothing you have heard before.

You can purchase “Tapped In” here: http://donlappin.bandcamp.com/

You can find out more about Don Lappin here:

http://www.donlappinmusic.com/fr_home.cfm

https://twitter.com/DonLappinMusic

http://www.facebook.com/tappinlappin

http://www.youtube.com/user/TappinLappin?feature=mhee

08 Mar 2013
comments
0
Share

Guitar Goddess Gretchen Menn joins Live From Music City!

GretchenMenn

Photo by Max Crace

 

Guitar Goddess Gretchen Menn joined Live From Music City to talk about the music business, her CD “Hale Souls” and her other projects. Listen in as she talks about image, haters and the struggles of being an instrumental artist.

Interview here: Live From Music City with Guest Gretchen Menn

 

BIO

Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn’t fully surface until her early teenage years. It was under the tutelage of classical guitarist Phillip de Fremery, a student of Andrés Segovia, that Gretchen began her path on the instrument. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar.

While earning a degree in music at Smith College, Gretchen’s adventurous approach to her education would foreshadow her approach to the guitar. She convinced a professor to allow her to launch a special studies project on the intricate and unclassifiable music of Frank Zappa. Her analyses of “The Sheik Yerbouti Tango” and “The Girl in the Magnesium Dress” showed a love for epic, melodic, genre-shattering rock and roll composition that would manifest later in her original instrumentals.

After college, Gretchen began heavily incorporating her love of rock guitar into her daily regime, the only hitch being that the music of her rock gods, Steve Morse, Eric Johnson, and Frank Zappa, wasn’t exactly Guitar 101. She also began considering her career path, and how she might prevent a situation she sought to avoid: tainting her love of music with the necessity of paying rent.

The solution? She went directly from college to flight school, and two years later was flying regional jets for the airlines. Yet Gretchen was never without her guitar.

After a year in the jet, with the life of an airline pilot being more than a little incompatible with a career in music, Gretchen relinquished her position with the airlines, knowing that there was a pilot out there somewhere who would appreciate the opportunity. She decided to take a more direct approach to realizing her musical dreams.

Playing with tireless passion and constantly seeking out new challenges, Gretchen’s projects have spanned the genres of jazz, funk, rock, progressive, and metal. In 2003, she donned a schoolboy uniform and joined AC/DShe as “Agnes Young.” In 2005, she joined forces with drummer, Clementine, to form Zepparella, currently with singer Noelle Doughty and bassist Angeline Saris. In 2007, Gretchen formed Sticks and Stones, the high-energy, instrumental “bassless power trio” with guitarist Mickael Tremel and drummer Sam Adato. In 2010, she played in Lapdance Armageddon, an aggressive acoustic duo with Jude Gold. In 2011 she wrote, produced, and recorded her first solo album, Hale Souls, which features bassist Stu Hamm, drummer John Mader, violinist Emily Palen, and guest artists Angeline Saris (bass on “Scrap Metal”), Jude Gold (second acoustic guitar on “Fast Crowd”), and Gretchen’s sister, Kirsten Menn (soprano on “Fading.”) Gretchen’s solo project, a trio with Angeline Saris on bass and Thomas Perry on drums, played their first shows in November of 2011, and will be starting to tour more in 2012.

Discography:

GRETCHEN MENN

Hale Souls (Mach Zero Records, 2011)

LAPDANCE ARMAGEDDON

Lapdance Armageddon (self-released, 2010)

FRANCIS BAKIN

Conversation with Francis Bakin (self-released, 2009)

STICKS AND STONES

Unbreakable Strings (self-released, 2007)

THE HOUSE OF MORE

The House of More (self-released, 2006)

ZEPPARELLA

Live at 19 Broadway (Bonny Boy Records, 2005)

A Pleasing Pounding (What Are Records?, 2008)

www.gretchenmenn.com

https://www.facebook.com/#!/GretchenMennGuitar?fref=ts

https://twitter.com/gretchenmenn

http://www.youtube.com/gretchenmenn

 

21 Feb 2013
comments
1
Share

Stepping Over the Process…. is it Realistic?

First let me just say this blog is in response to what keeps coming across my email or phone conversations. This isn’t an attempt to come down on artists but an attempt at maybe setting some realistic expectations. I have been receiving a lot of phone calls from artists either out of frustration with other band members or from artists that think they can just step over the process of touring and building/rebuilding a fan base. I guess anything is possible but it’s not likely to happen even if you have had success in the past. This is not the same industry many of us grew up with and we can’t keep assuming that because 20 years ago the artists had a hit or toured the world with so and so band that people have any interest in us or care about our music at all. Artists call with no budget, no new music, no website or one that has been “in development” for years expecting that they can just go on the road and make thousands per show because 20 or more years ago they had a minor hit or two. It’s not going to happen. Current artists with hits on the radio are making $2,000 guarantees a lot of times and yet artists that haven’t had a hit since 1992 that want $8,000 or more a show. You better be a legacy act with huge hits from the past that are still played on the radio to demand that kind of money or more. I know how expensive touring is, but the money isn’t there for touring with artists with no active history or fan base that will support the necessary tour numbers for there to actually be a profit. This is when a band or artist has to suck it up and either rebuild for little money, try something completely different or maybe decide this isn’t for them anymore and do something in music that doesn’t require touring for small dollars.

For example, the first thing I am asked by anyone in a position of helping is “What do they have going on?” Many times the answer is nothing (note that when artists come to us or anyone else for help they have this notion that 3 months is an expected amount of time to make things happen), they have no new music, no tour dates, outdated photos and websites. How do you expect anyone to help you if this is your state of business and you don’t take the time to get it right before approaching anyone? The second thing is “Do they have a budget?” The answer is almost always no and people understand if times have been rough on the career but it’s amazing how many artists are not willing to put money into their own career but expect others to. If the artist doesn’t  have a budget then almost no one is willing to help and people can’t giving away their services for free. Video EPK’s cost money, photography costs money, etc… but artists are always hoping people will help them for free and then expect that things happen in a short time period. For the person that is connected like Irving Azoff and has his resources this is possible, for the rest of the “real” music world it probably isn’t. Music is a very speculative business to begin with and no one is looking to lose money on an artist no matter how much success he or she may have had in the past. As much as people love some of these artists, he or she needs to get paid as well and they can’t work for free or spend time with unrealistic artists that can’t or won’t rebuild career realistically if there is no interest in them at all.

Just because an artist may have had success in the past doesn’t mean they get a free pass of touring the bar circuit again and starting over. Yes that means rebuilding your fan base and getting paid very little most of the time. If you can’t do that then maybe playing isn’t for you anymore. I know we all have bills to pay but money is in short supply and investors want a return on investment. They don’t want to support an artist that hasn’t been on tour in 10 or more years and won’t draw 150+ people to a show. You as an artist are in the position you are in because you let yourself get there. You chose to not tour, you chose to not listen to your team or possibly choosing the wrong team. It could be a lot of different reasons for your situation and many of those may not be your fault, but it’s still your job to be realistic and make things happen with today’s current landscape, not what was possible 20 years ago when people were throwing money around like it was water.

Don’t pigeonhole yourself with unrealistic expectations. For example, if you think a major label is going to sign you, fund your tour and you’re a prog rock band, think again. No label is going to fund that tour unless you already have a huge fan base and more than likely you will just get shelved as prog rock probably isn’t there thing at this label. Most prog rock bands aren’t huge and most likely never will be. If you get a label interested in your music, at least entertain the idea and not shoot it down because you think a major is going to offer you something when you won’t even play shows because you don’t make any money on them. Do you know why you don’t make any money? Because you have absolutely NO FAN BASE at all. Who is going to fund a tour for a band with no fan base these days? Please tell me so I can call them up.

There are no shortcuts normally in this business. Take Mike Portnoy for example. One of the most popular and talented drummers in the world, who has a large fan base from his history as a musician and still he and his current project “Adrenaline Mob” are playing clubs to a couple hundred people a show. He knows he has to build this band no matter who he is and he is willing to put his money and time into it. Even someone as relevant as Mike has to work it the hard way sometimes.

If you are a musician reading this, please consider where you are at in your career. If you are in a band but won’t tour because your “cover gig” is paying more money, than back out of the band and let the band find someone hungry enough to make it happen. If you are an artist with a past but currently not where you were a long time ago, then ask yourself “how bad do I want this?” If you won’t play for smaller guarantees then you need to book yourself and stop making people’s lives difficult who are trying to help your career because you can’t be bothered with playing for smaller amounts of money. You are only as big as your last gig or chart success in the current times, not 20 years ago.

There is a process almost everyone has to go through. You are more than likely going to have to go through it as well. If you can’t or won’t, get out of the way for those that will and let your band move on with people who want it bad enough to put up with the crap of the road and bar tours.

Good luck!

18 Feb 2013
comments
0
Share

Gretchen Menn Joins Live From Music City!

GM_BW-full

Photo: Mark Manion

 

Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn’t fully surface until her early teenage years. It was under the tutelage of classical guitarist Phillip de Fremery, a student of Andrés Segovia, that Gretchen began her path on the instrument. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar.

While earning a degree in music at Smith College, Gretchen’s adventurous approach to her education would foreshadow her approach to the guitar. She convinced a professor to allow her to launch a special studies project on the intricate and unclassifiable music of Frank Zappa. Her analyses of “The Sheik Yerbouti Tango” and “The Girl in the Magnesium Dress” showed a love for epic, melodic, genre-shattering rock and roll composition that would manifest later in her original instrumentals.

After college, Gretchen began heavily incorporating her love of rock guitar into her daily regime, the only hitch being that the music of her rock gods, Steve Morse, Eric Johnson, and Frank Zappa, wasn’t exactly Guitar 101. She also began considering her career path, and how she might prevent a situation she sought to avoid: tainting her love of music with the necessity of paying rent.

The solution? She went directly from college to flight school, and two years later was flying regional jets for the airlines. Yet Gretchen was never without her guitar.

After a year in the jet, with the life of an airline pilot being more than a little incompatible with a career in music, Gretchen relinquished her position with the airlines, knowing that there was a pilot out there somewhere who would appreciate the opportunity. She decided to take a more direct approach to realizing her musical dreams.

Playing with tireless passion and constantly seeking out new challenges, Gretchen’s projects have spanned the genres of jazz, funk, rock, progressive, and metal. In 2003, she donned a schoolboy uniform and joined AC/DShe as “Agnes Young.” In 2005, she joined forces with drummer, Clementine, to form Zepparella, currently with singer Noelle Doughty and bassist Angeline Saris. In 2007, Gretchen formed Sticks and Stones, the high-energy, instrumental “bassless power trio” with guitarist Mickael Tremel and drummer Sam Adato. In 2010, she played in Lapdance Armageddon, an aggressive acoustic duo with Jude Gold. In 2011 she wrote, produced, and recorded her first solo album, Hale Souls, which features bassist Stu Hamm, drummer John Mader, violinist Emily Palen, and guest artists Angeline Saris (bass on “Scrap Metal”), Jude Gold (second acoustic guitar on “Fast Crowd”), and Gretchen’s sister, Kirsten Menn (soprano on “Fading.”) Gretchen’s solo project, a trio with Angeline Saris on bass and Thomas Perry on drums, played their first shows in November of 2011, and will be starting to tour more in 2012.

Discography:

GRETCHEN MENN

Hale Souls (Mach Zero Records, 2011)

LAPDANCE ARMAGEDDON

Lapdance Armageddon (self-released, 2010)

FRANCIS BAKIN

Conversation with Francis Bakin (self-released, 2009)

STICKS AND STONES

Unbreakable Strings (self-released, 2007)

THE HOUSE OF MORE

The House of More (self-released, 2006)

ZEPPARELLA

Live at 19 Broadway (Bonny Boy Records, 2005)

A Pleasing Pounding (What Are Records?, 2008)

www.gretchenmenn.com