#The Lowry Agency

Live From Music City Interview with Neal Morse

NealMorse

Note: This interview was originally filmed to be a live in studio video but due to complications we can only bring you the audio. Stay tuned for a video of the song “Momentum” as we were able to retrieve that. Sorry for any inconvenience this may have caused Neal’s and our fans.

Click the link here to listen the to interview:  Live From Music City w/Neal Morse Interview

Progressive rock legend Neal Morse dropped by Live From Music City to talk about the upcoming “Live Momentum” tour, the music business and his other projects.

NEAL MORSE BIO

As a young musician, Neal’s dream was like many others—to find success in the pop music world. But after years of struggling in the Los Angeles singer-songwriter scene, he realized that this dream would not materialize. Rejecting conventional wisdom, Morse took a courageous step: He about-faced and devoted himself to progressive rock, the music truly in his heart. The obscure and fiercely competitive genre held little chance of commercial success.

Undaunted, he formed the quirkily-named Spock’s Beard with his brother, Alan. They recorded The Light with what money they could scrape together. Against all odds, it was a breakout success, sending shockwaves through the small genre’s community.

Over the next 10 years, Spock’s Beard released 10 critically acclaimed CDs and 2 DVDs, ascending to the top of the prog world. Neal also released 6 CDs and 3 DVDs with Transatlantic, the heralded prog supergroup comprised of the genre’s best musicians.

The proverbial wayward son, Neal had finally found the success he sought. On the outside he seemed to have it all. On the inside, however, something was missing.

Morse came to realize that for him, embracing the Christian faith was the fulfillment of his spiritual quest. His walk was at once gradual and sudden—and as with so many, completely unexpected. As he continued, his path increasingly revealed more of what his heart had sought all along. Yet he also began to find his career growing at odds  with his faith. The rising spiritual tension and increasing commercial success finally came to a head with the release of Snow (2002), the group’s magnum opus…and swan song with Morse.

The extraordinary 2-CD rock opera, composed by Morse, was widely acclaimed as the group’s finest. But it was the end of the era. Neal felt God calling him out of his former musical life and into the unknown. He made the agonizing decision to leave both Spock’s Beard and Transatlantic. Despite having finally achieved the success he had long sought, Morse had to begin all over again; musically, emotionally and spiritually.

Neal then embarked upon the most ambitious musical project of his career. Entitled Testimony (2003), it chronicles his spiritual and musical journey in words and music.  The 2 CD set spans over two hours as one continuous piece of music. In genre, it ranges from a gospel choir to hard rock; from symphony orchestra to contemporary pop. Testimony was also Neal’s first of many albums with drummer Mike Portnoy (Dream Theater). A deftly woven musical tapestry, Testimony takes the listener on a fascinating journey as unique as the man behind it.

The ensuing world tour was captured on one unforgettable night for the 2-DVD set, Testimony Live (2004). Morse was recognized as a remarkably passionate and engaging performer by Britain’s Classic Rock Magazine, who included him in their “100 Greatest Frontmen of Rock” listing. The tour was awarded “Best Rock Tour” from the popular Dutch website, DPRP, besting nominees Peter Gabriel, Radiohead, RUSH and others.

Morse’s next studio album was a conceptual, progressive rock album entitled One. Mike Portnoy returned to perform on drums (in what is regarded as perhaps his finest performance), with up-and-coming bassist Randy George. They were joined by legendary guitarist Phil Keaggy. The result was a band-focused sound, harkening back to Neal’s Transatlantic work. Continuing in the tradition of Snow and Testimony, One proved epic in scope and sublime in nature.

For Morse’s third progressive rock album, he took a new approach, artistically. On Question (2005), Morse weaves a compelling storyline that owes as much to C.S. Lewis as Indiana Jones. His journey is a timeless quest—to find the biblical dwelling place of God. Joining Neal are more of prog’s brightest stars, including Mike Portnoy and Jordan Rudess (Dream Theater), Roine Stolt (Flower Kings, Transatlantic) and Steve Hackett (Genesis).

Bringing Question to the stage required an outstanding tour band. Fusing technical wizardry with musical nuance, a young band of unknowns proved themselves in the fire of Question’s musical roller-coaster. The audience responded with energy and passion, with the experience captured on CD. Unrestrained, raw, and magnificent, the resulting 2 CD set Question: Live (2007) was fitting as Neal’s first live album.

Neal’s next prog epic was his most daring, stirring passions and controversy. On Sola Scriptura (2007), Morse tells a compelling and sometimes macabre tale of the darkness that inevitably falls when humankind tries to elevate itself to God. Focusing on the Church in the Middle Ages, Morse is unflinching in his description of its abuses. Neal frames the issue as just one example of faith separated from its true foundations. The album closes not with an end but a beginning—for us to consider our world, and feel called to illuminate it.

Question and Sola Scriptura were received as Neal’s best to date, and the ensuing tours were captured on film. The ensuing release, Sola Scriptura & Beyond (2008) was an extraordinary live concert 2-DVD set that brought both albums to life. Also included were generous selections from One and Testimony, a Transatlantic selection, five songs from Spock’s Beard, and an hour of behind-the-scenes tour footage.

Less than three months later, Neal completed Lifeline (2008), his next studio album. Unlike his other releases, Lifeline wasn’t a concept album. Free from this constraint, Neal stretched out in all directions. He revisited early Spock’s Beard, Snow, Transatlantic, his solo releases, and launched into new territory. Joining him once again were Mike Portnoy and Randy George.

A Transatlantic reunion had been the dream of many fans, and after ten years, a seemingly quixotic one. On April 16 of 2009, though, they were surprised to hear of a new album from the prog supergroup. The album began with Neal’s work a 45 minute composition, “The Whirlwind”. As he progressed, Neal, who felt it was taking on the attributes of a Transatlantic piece. He shared it with the band, and they agreed. Each band member brought material to the eight days of writing/recording sessions; by the end, they’d written a completely new album. Retaining Neal’s original title, The Whirlwind went on to be the group’s highest charting album to date.

Meanwhile, Neal had been touring in North America and Europe. Several shows from the end of 2008 were recorded to multitrack, and saved for future release. On November 16, 2010, the 3-CD set So Many Roads was released, presenting an astonishing 3.5 hours of new live music. Featuring 29 tracks spanning Neal’s entire 20 year career, So Many Roads is the definitive live Neal Morse release.

Later in 2010, Transatlantic embarked on their biggest tour yet, with dates in 11 nations across Europe and North America. The London, UK show was immortalized for the double-live DVD, Whirld Tour 2010: Live in London.

Neal begins 2011 with completion of his forthcoming progressive rock studio release, Testimony II. Mike Portnoy and Randy George returned to revisit the trio’s unique and powerful chemistry, and as usual, special guests and surprises await.

Neal’s largest ever tour will follow, over the summer, with his international live band led by Collin Leijenaar. Meanwhile, Neal continues development on his unnamed rock opera and a new collaborative mainstream rock project. In 2012, Neal shines brighter than ever with the next remarkable chapter in his musical and spiritual journey.

http://www.nealmorse.com/

 

 

 

 

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!

Gretchen Menn Joins Live From Music City!

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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

Night Ranger/Trans-Siberian Orchestra Guitarist Joel Hoekstra Joins Us On Live From Music City!

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New York guitarist Joel Hoekstra plays for Night Ranger, the Broadway hit ‘Rock of Ages’ and Trans Siberian Orchestra. Most recently, Joel can be heard on Night Ranger’s new release ’24 Strings & a Drummer (live & acoustic), Jack Blades’ new cd ‘Rock ‘n Roll Ride’, Trans Siberian Orchestra’s new cd ‘Dreams of Fireflies (On a Christmas Night) and Jeff Scott Soto’s release ‘Damage Control’. In 2011, he had the pleasure of filling in for Mick Jones of Foreigner. Joel’s cd’s ‘undefined’, ‘The Moon is Falling’ and ’13 acoustic songs’ have found a strong cult following and critical acclaim. Keep an eye out for Joel in the Warner Bros. movie ‘Rock of Ages’!

Joel has worked on/with the following….

ARTISTS/MUSICANS (LIVE & RECORDING):

Night Ranger

Trans Siberian Orchestra

Foreigner

The Turtles

Big Brother and the Holding Company

Scrap Metal

Dee Snider

Jeff Scott Soto

Eric Martin (Mr Big)

Alan Parsons

Rik Emmett (Triumph)

Tommy Shaw (Styx)

Robin Zander (Cheap Trick)

Wyclef Jean

John Waite

Emily Saliers (Indigo Girls)

Beth Hart

Joe Lynn Turner (Rainbow, Deep Purple)

Ted Nugent

Sebastian Bach

Donnie & Johnny Van Zant

Don Barnes (38 Special)

Kevin Cronin (REO Speedwagon)

Gunnar and Matthew Nelson (Nelson)

Mike Reno (Loverboy)

Jimi Jamison (Survivor)

David Pack (Ambrosia)

Martha Davis (The Motels)

Mickey Thomas (Starship)

Constantine Maroulis (American Idol)

Dave Bickler (Survivor)

Mark Slaughter (Slaughter)

Hugh Jackman

Nuno Bettencourt

Chan Marshall (Kat Power)

Henry Paul (The Outlaws, Blackhawk)

Ray Parker Jr.

Debbie Gibson

Jim Peterik (Ides of March, Survivor)

Tom Keifer (Cinderella)

Kip Winger

THEATRE:

Rock of Ages (Broadway, off-Broadway)

Love, Janis (New York, San Francisco, Phoenix, Cleveland, Louisville, Cincinnati, Tucson, Sag Harbor)

The Boy From Oz (Broadway)

Tarzan (Broadway)

La Cage Aux Folles (Broadway)

It Ain’t Nothin But the Blues (Tucson, Phoenix, Kansas City, Seattle, Chicago*)

A Chorus Line (Broadway Cast Recording 2006)

Lovely Day (off-Broadway)

* nominated for a Joseph Jefferson Award for ‘Best Musical Direction’

TV

The Tonight Show starring Jay Leno

America’s Got Talent

Celebrity Apprentice

Late Night with Conan O’Brien

Bachelor Pad

Last Call with Carson Daly

Live with Regis and Kelly

Tony Awards (2009)

Visa Signature Tony Preview Concert

The Sandra Bernhard Experience (A&E)

M3 Festival (HDNet)

Imus in the Morning (Fox Business)

20/20 (ABC)

Nick Cannon (Nickolodeon)

Rock Star Kitchen (Comcast/NBC)

FOX Morning news (New York, Chicago, Tucson, Kansas City, Atlanta, Louisville, Cincinnati)

WGN Morning News (Chicago)

ABC’s View From the Bay (San Francisco)

The Loose Leaf Report (LA)

WB Morning News (New York)

The New York Today Show

ABC’s New Years Eve Countdown (Chicago)

NBC “Good Company” (Cleveland)

UPN: Live at the Taste (Chicago)

I-90 North (Chicago)

NBC Morning News (Louisville)

Barry Z Show (New York)

Guitar Talk (Chicago)

NBC’s ‘The Bay Area Today’ (San Francisco)

NBC’s ‘Arizona Midday’

NY1

FILM:

Rock of Ages (the movie)

Resurrection Mary

The Last Winter

May the Best Man Win

OTHER:

Played the national anthem for a Knicks game at Madison Square Garden

Guitar Player magazine feature (May ’09 issue)

Guitar World magazine feature (30th anniversary issue-Fall ’09)

Guitar Player magazine article (May ’11 issue)

Guitar World Playlist article (November ’11 issue)

Jeff Scott Soto video – Look Inside You Heart

Dee Snider video – Mack the Knife

ENDORSEMENTS:

Gibson guitars

Suhr amps & guitars

EVH amps

Taylor acoustic guitars

DBZ guitars

Atomic guitars

Nady wireless systems

Ernie Ball strings

Monster Cable

Big Bends Nut Sauce

Seymour Duncan pick-ups

Schecter guitars

Star Access picks

Fernandes Sustainers

Mono Cases

Fractal Audio Systems

Head straps

Morpheus Drop Tune pedal

Tech 21 midi pedals

G7 Capos

www.joelhoekstra.com

CD Review – “A Fool’s Melody” by Phoenix Drive

PhoenixDrive

First of all let me say that I was introduced to Phoenix Drive from their former manager through artist showcases they did around Nashville. Each time I saw the band I was very impressed not only with their very positive attitude but also their have amazing vocals, harmonies, songwriting and playing ability. This band is no joke in any shape of the word. This is probably my favorite country band I have ever seen that didn’t already have a major record deal.

The CD “A Fool’s Melody” is a tour de force of melodic hooks and strong songwriting. The band has two lead singers in Jon Scott and Felicity Combs that have a pure vocal ability and the vocal harmonies all blend superbly together. Every musician is very solid which you expect in Nashville, but live I feel this band executes better as a unit than any other and sonically their tones and EQ are always nearly perfect and that comes through on this effort as everything is crystal clear, full of energy and has “live” feel to it. The CD has nine incredible songs and none of them suffer from lack of attention in my opinion. This is a complete CD with no filler tracks like I hear from a lot of country artists. Each track is melodic and feels like everything is exactly where it is supposed to be. I don’t feel any typical “Nashville” sound emanating from this CD in either its songwriting or production, which separates it from so many other releases.

The bright spots on the CD are hard for me to pick out as all the songs are really that good, but that being said “High Time, Trouble Down, She Ain’t Coming Home and A Fool’s Melody” are the strongest singles in my estimation. This CD in no way feels like a debut CD to me. It’s mature, well thought out and knows exactly when to lay back or let it all hang out.

“High Time” is an upbeat ditty that opens with a catchy acoustic riff and then into big vocals that remind me of Alabama’s greatness. Jon Scott provides a soulful vocal quality and with Felicity providing delightful drop of singing and their harmonies shine through in a big way. The energy in this song is infectious and you will be tapping your toes all the way through.

“Trouble Down” is Felicity’s time to shine. She has a gorgeous voice that makes you want to melt. This song is a sultry tune that gives a back woods feel with the pacing and instrumentation. The impact this song has live especially when the chorus kicks in is magical and it comes through here as well. This is one of my favorite songs of 2012 by far.

“She Ain’t Coming Home” is a mid tempo song that features Jon’s lead vocals again and the verse beautifully sets up the chorus. I love how they layered Jon’s and Felicity’s vocals through out the verse sections. The chorus is a great hook that grabs you and won’t let go.

“A Fool’s Melody” features a cool guitar intro and let me tell you guitarist Chris Combs can play. Combs is definitely one of my favorite undiscovered guitar players in any genre. The drums are played with brushes with a laid back vocal from Jon and Felicity but yet the tempo is upbeat with a great guitar line underneath to separate the vocal sections.

The band rounds out with Brian Powers on bass and background vocals who is a very capable player and singer in his own right and recent addition David Rollins on drums with adds the backbone and pocket needed. David is a veteran player with great chops and presence.

This is what a modern country CD should be. It gives a nod to its classic country roots but is modern with a fresh feel and not a pop CD like Taylor Swift or what so many people have gone for to get radio success. There is no doubt this is a country band but with a strong cross over appeal. Any of the four tracks I mentioned could, should and would be radio hits if the funding was behind it. A well done musical effort that should be on every country fans iPod.

5 out of 5 stars.

You can find out more about Phoenix Drive here: www.phoenixdrive.net

Prog Rock Legend Neal Morse Drops by Live From Music City!

NealMorse

Progressive rock legend Neal Morse will be dropping by Live From Music City to talk about the upcoming “Live Momentum” tour, the music business and his other projects. Stay tuned!

NEAL MORSE BIO

As a young musician, Neal’s dream was like many others—to find success in the pop music world. But after years of struggling in the Los Angeles singer-songwriter scene, he realized that this dream would not materialize. Rejecting conventional wisdom, Morse took a courageous step: He about-faced and devoted himself to progressive rock, the music truly in his heart. The obscure and fiercely competitive genre held little chance of commercial success.

Undaunted, he formed the quirkily-named Spock’s Beard with his brother, Alan. They recorded The Light with what money they could scrape together. Against all odds, it was a breakout success, sending shockwaves through the small genre’s community.

Over the next 10 years, Spock’s Beard released 10 critically acclaimed CDs and 2 DVDs, ascending to the top of the prog world. Neal also released 6 CDs and 3 DVDs with Transatlantic, the heralded prog supergroup comprised of the genre’s best musicians.

The proverbial wayward son, Neal had finally found the success he sought. On the outside he seemed to have it all. On the inside, however, something was missing.

Morse came to realize that for him, embracing the Christian faith was the fulfillment of his spiritual quest. His walk was at once gradual and sudden—and as with so many, completely unexpected. As he continued, his path increasingly revealed more of what his heart had sought all along. Yet he also began to find his career growing at odds  with his faith. The rising spiritual tension and increasing commercial success finally came to a head with the release of Snow (2002), the group’s magnum opus…and swan song with Morse.

The extraordinary 2-CD rock opera, composed by Morse, was widely acclaimed as the group’s finest. But it was the end of the era. Neal felt God calling him out of his former musical life and into the unknown. He made the agonizing decision to leave both Spock’s Beard and Transatlantic. Despite having finally achieved the success he had long sought, Morse had to begin all over again; musically, emotionally and spiritually.

Neal then embarked upon the most ambitious musical project of his career. Entitled Testimony (2003), it chronicles his spiritual and musical journey in words and music.  The 2 CD set spans over two hours as one continuous piece of music. In genre, it ranges from a gospel choir to hard rock; from symphony orchestra to contemporary pop. Testimony was also Neal’s first of many albums with drummer Mike Portnoy (Dream Theater). A deftly woven musical tapestry, Testimony takes the listener on a fascinating journey as unique as the man behind it.

The ensuing world tour was captured on one unforgettable night for the 2-DVD set, Testimony Live (2004). Morse was recognized as a remarkably passionate and engaging performer by Britain’s Classic Rock Magazine, who included him in their “100 Greatest Frontmen of Rock” listing. The tour was awarded “Best Rock Tour” from the popular Dutch website, DPRP, besting nominees Peter Gabriel, Radiohead, RUSH and others.

Morse’s next studio album was a conceptual, progressive rock album entitled One. Mike Portnoy returned to perform on drums (in what is regarded as perhaps his finest performance), with up-and-coming bassist Randy George. They were joined by legendary guitarist Phil Keaggy. The result was a band-focused sound, harkening back to Neal’s Transatlantic work. Continuing in the tradition of Snow and Testimony, One proved epic in scope and sublime in nature.

For Morse’s third progressive rock album, he took a new approach, artistically. On Question (2005), Morse weaves a compelling storyline that owes as much to C.S. Lewis as Indiana Jones. His journey is a timeless quest—to find the biblical dwelling place of God. Joining Neal are more of prog’s brightest stars, including Mike Portnoy and Jordan Rudess (Dream Theater), Roine Stolt (Flower Kings, Transatlantic) and Steve Hackett (Genesis).

Bringing Question to the stage required an outstanding tour band. Fusing technical wizardry with musical nuance, a young band of unknowns proved themselves in the fire of Question’s musical roller-coaster. The audience responded with energy and passion, with the experience captured on CD. Unrestrained, raw, and magnificent, the resulting 2 CD set Question: Live (2007) was fitting as Neal’s first live album.

Neal’s next prog epic was his most daring, stirring passions and controversy. On Sola Scriptura (2007), Morse tells a compelling and sometimes macabre tale of the darkness that inevitably falls when humankind tries to elevate itself to God. Focusing on the Church in the Middle Ages, Morse is unflinching in his description of its abuses. Neal frames the issue as just one example of faith separated from its true foundations. The album closes not with an end but a beginning—for us to consider our world, and feel called to illuminate it.

Question and Sola Scriptura were received as Neal’s best to date, and the ensuing tours were captured on film. The ensuing release, Sola Scriptura & Beyond (2008) was an extraordinary live concert 2-DVD set that brought both albums to life. Also included were generous selections from One and Testimony, a Transatlantic selection, five songs from Spock’s Beard, and an hour of behind-the-scenes tour footage.

Less than three months later, Neal completed Lifeline (2008), his next studio album. Unlike his other releases, Lifeline wasn’t a concept album. Free from this constraint, Neal stretched out in all directions. He revisited early Spock’s Beard, Snow, Transatlantic, his solo releases, and launched into new territory. Joining him once again were Mike Portnoy and Randy George.

A Transatlantic reunion had been the dream of many fans, and after ten years, a seemingly quixotic one. On April 16 of 2009, though, they were surprised to hear of a new album from the prog supergroup. The album began with Neal’s work a 45 minute composition, “The Whirlwind”. As he progressed, Neal, who felt it was taking on the attributes of a Transatlantic piece. He shared it with the band, and they agreed. Each band member brought material to the eight days of writing/recording sessions; by the end, they’d written a completely new album. Retaining Neal’s original title, The Whirlwind went on to be the group’s highest charting album to date.

Meanwhile, Neal had been touring in North America and Europe. Several shows from the end of 2008 were recorded to multitrack, and saved for future release. On November 16, 2010, the 3-CD set So Many Roads was released, presenting an astonishing 3.5 hours of new live music. Featuring 29 tracks spanning Neal’s entire 20 year career, So Many Roads is the definitive live Neal Morse release.

Later in 2010, Transatlantic embarked on their biggest tour yet, with dates in 11 nations across Europe and North America. The London, UK show was immortalized for the double-live DVD, Whirld Tour 2010: Live in London.

Neal begins 2011 with completion of his forthcoming progressive rock studio release, Testimony II. Mike Portnoy and Randy George returned to revisit the trio’s unique and powerful chemistry, and as usual, special guests and surprises await.

Neal’s largest ever tour will follow, over the summer, with his international live band led by Collin Leijenaar. Meanwhile, Neal continues development on his unnamed rock opera and a new collaborative mainstream rock project. In 2012, Neal shines brighter than ever with the next remarkable chapter in his musical and spiritual journey.

http://www.nealmorse.com/

 

Live From Music City with Scott Rockenfield of Queensryche

scott-213x300

Live From Music City talks with Scott Rockenfield of Queensryche about music business topics, their upcoming show in Nashville on March 12th, 2013, his other business ventures, the state of the chain drum cage and the outpouring of fan support as Queensryche moves forward with new music and a new singer. Join us and hear the classic Queensryche tracks “The Lady Wore Black, Walk in the Shadows and Eyes of a Stranger.”

Click the link here to listen to the interview: LFMCScottRockenfield020713

Scott was raised and has lived in the Seattle, Washington area for his entire life. He started music and drum lessons at the age of 11 and focused his studies on music and film classes throughout his high school years. In 1981, at the age of 17, he founded the now multi-platinum rock band Queensryche. Since the band’s inception thirty years ago, they’ve sold over 20 million albums worldwide and have toured around the world, encompassing 45 countries.
Scott first started composing music for film and television in the late 80’s during his time spent with “The Maestro” Michael Kamen. During that time, Kamen asked Scott to work on some additional drums and percussion for the 1993 film, Last Action Hero, starring Arnold Schwarzenegger. Michael continued working and mentoring Scott in all aspects of film music and compostion for many years to come, until his unfortunate passing in 2003. This began Scott’s exciting new journey scoring music for film and television. After only a few years in the specialty, Scott received a coveted Grammy Award nomination for Best Original Music for the animated feature film Televoid in 1998.
Scott has done a variety of projects since then including the recently completed additional music and all LIVE drums for the immensely popular video game, Call of Duty: Black Ops. Released in November 2010, the game set a new five-day sales record with an estimated take of approximately $650 million worldwide. Just prior to his involvement with Call of Duty: Black Ops, Scott did the orchestrated and electronic score for the horror flick, Albino Farm, released in September of 2009.
In 2003, Scott Launched his own custom drum company called RockenWraps, which specializes in custom graphic laminated wraps for drums and musical instruments. Working with artists such as Lady Gaga, SlipKnot, Beyonce, Rod Stewart, Rob Zombie, Megadeth, WASP, Metallica, Tesla, 30 Seconds to Mars, Snoop Dog and many many, more, RockenWraps has had a chance to design some of the most memorable drum and stage graphics ever to be available.
Scott also has his own music company, Hollywood Loops, that specializes in Sound FX for film, television and video game composing. Distributed around the world, Hollywood Loops products have now been used in video games such as Call Of Duty: Black Ops and also in numerous film and television trailers.
Scott now has dozens of film, television and multimedia projects to his credit and owns his own state-of-the-art recording studio.
He lives in Seattle with his wife and three kids.

http://www.scottrockenfield.net

http://www.scottrockenfield.com

www.twitter.com/scottrockenfiel

www.queensrycheofficial.com

www.twitter.com/queensryche

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

 

Live From Music City Interview with Scott Rockenfield of Queensryche Coming Soon!

scott-213x300

Scott was raised and has lived in the Seattle, Washington area for his entire life. He started music and drum lessons at the age of 11 and focused his studies on music and film classes throughout his high school years. In 1981, at the age of 17, he founded the now multi-platinum rock band Queensryche. Since the band’s inception thirty years ago, they’ve sold over 20 million albums worldwide and have toured around the world, encompassing 45 countries.
Scott first started composing music for film and television in the late 80’s during his time spent with “The Maestro” Michael Kamen. During that time, Kamen asked Scott to work on some additional drums and percussion for the 1993 film, Last Action Hero, starring Arnold Schwarzenegger. Michael continued working and mentoring Scott in all aspects of film music and compostion for many years to come, until his unfortunate passing in 2003. This began Scott’s exciting new journey scoring music for film and television. After only a few years in the specialty, Scott received a coveted Grammy Award nomination for Best Original Music for the animated feature film Televoid in 1998.
Scott has done a variety of projects since then including the recently completed additional music and all LIVE drums for the immensely popular video game, Call of Duty: Black Ops. Released in November 2010, the game set a new five-day sales record with an estimated take of approximately $650 million worldwide. Just prior to his involvement with Call of Duty: Black Ops, Scott did the orchestrated and electronic score for the horror flick, Albino Farm, released in September of 2009.
In 2003, Scott Launched his own custom drum company called RockenWraps, which specializes in custom graphic laminated wraps for drums and musical instruments. Working with artists such as Lady Gaga, SlipKnot, Beyonce, Rod Stewart, Rob Zombie, Megadeth, WASP, Metallica, Tesla, 30 Seconds to Mars, Snoop Dog and many many, more, RockenWraps has had a chance to design some of the most memorable drum and stage graphics ever to be available.
Scott also has his own music company, Hollywood Loops, that specializes in Sound FX for film, television and video game composing. Distributed around the world, Hollywood Loops products have now been used in video games such as Call Of Duty: Black Ops and also in numerous film and television trailers.
Scott now has dozens of film, television and multimedia projects to his credit and owns his own state-of-the-art recording studio.
He lives in Seattle with his wife and three kids.

www.scottrockenfield.net

www.scottrockenfield.com

Live From Music City with Tommy Kessler of Blondie, Rock of Ages and the Blue Man Group

TommyKessler

Tommy Kessler is an American guitarist currently in the new wave/rock band, Blondie.[1] He joined the band in April 2010, replacing guitarist Paul Carbonara who had left Blondie to pursue other projects. When not touring with Blondie, he performs as a guitarist in the fictional 1980’s Rock Band Arsenal in the Broadway musical, Rock of Ages.[2] He has been with Rock of Ages since it opened off Broadway in 2008. He has worked with Kristin Chenoweth playing guitar during her performances on Good Morning America[3] and The View.[4] He has also been part of the band in the New York City performance of Blue Man Group since 2006. He currently uses Jason Z. Schroeder handmade guitars[5] as well as Taylor Guitars. The Taylor models he uses are 854ce and 810e in Rock of Ages, the K14ce and SolidBody Classic with Tremolo in Blondie, and GA3-12ea and NS74ce in studio. Tommy is also currently using a custom handmade JZ Guitars model TK-1 on tour with Blondie.

This interview was recorded in October but due to health and technical issues, it is being posted now. Our apologies to all who were waiting for this.

Click the link to hear the interview  LFMCTommyKessler

For more info on Tommy Kessler click on these links:

http://www.tommykessler.com/#!

http://twitter.com/TheRealTommyK

https://www.facebook.com/home.php#!/tommy.kessler.75?fref=ts

http://www.youtube.com/user/tommykesslermusic

The Disconnect Between Musicians and Promoters Part 1

You hear it all the time from musicians. “Why won’t they book me for an opening act?” “How come they got the spot and we didn’t?”, or “the promoter didn’t do his job” even “the promoter screwed me or didn’t know what they were doing.” etc…. This is obviously a one sided opinion, and from my experience one that is very, very misleading. Many artists have little or no experience in promoting a show, or have an idea what it costs; they just want to blame someone for things not going right, without ever looking at what they bring or don’t bring to the table.

Granted there are instances where maybe a promoter didn’t know what they were doing or maybe there were a small company with very little cash flow to do an amazing job of advertising the show, but that is a risk we all take and like all bands, promotion companies have to start somewhere and grow as well. This is why working as a team is incredibly important and any acts associated with a bill, should be doing everything in their power to work with the promoter and make the show as successful as possible.

I find this can be very frustrating, knowing how much work and money it takes to put on one single show. For a 1,500 seat venue, this can become extremely time consuming and expensive for the risk involved, and a marginal profitable return on the investment. To have a small time musician/band say that the promoter didn’t do their job is completely asinine. First of all, the musician/band probably has no idea what it really takes to make one of these shows happen, and secondly, what an opportunity it is for the band to even get a spot on this when someone else is paying for your opportunity and the big media. Most opening bands should realize by now that their job is to put butts in seats or they have no business opening a show for anyone. They should be able to bring in at least 40 to 50 people to each opening or they shouldn’t complain at all.

To put on a show of this size can run from $50,000 up to over $100,000 depending on the type of venue, marketing, guarantee etc… It takes at least 60 – 90 days worth of work, negotiations, planning and so forth to get these things going. When a band is given an opportunity to open a show, many times they don’t deliver and don’t work the opportunity for all it’s worth.

Promoting the show is so important. I am not talking about Facebook posts or the other white noise that you are putting out. I am talking about getting promotional materials, getting off your butt, and doing your job. You should be out on the streets consistently promoting and showing everyone that you are the band to hire for opening spots. Getting the promoter, venue and others to notice you is as important as performing on stage. Doing everything you can to get your fans to purchase tickets to come see you at this event, and then deliver the best show you can that night no matter what the circumstances is the ultimate goal.

Remember, the promoter doesn’t owe you anything. They gave you a shot and if you don’t deliver, it’s no ones fault but your own. Once you do the show, if you happen to deliver and get butts in the seat, then you need to learn to turn that into other opportunities.

In the next blog we will talk about ideas you can do to not only get the opening spots but to also get people to the show but also how to possibly get more out of the show than just exposing your music to a new audience.

Good luck!

You can also read this and some of my other articles at www.metalholic.com. http://metalholic.com/the-disconnect-between-musicians-and-promoters-part-1/