hey bob-

Like Shrieve, I have to disagree with you on at least one count about the dearth of singer/songwriters out there.  In general, it’s a genre that lends itself to b-minus/c-plus material.  The world is populated with talented guitarists who have gorgeous voices….but it isn’t as amply staffed with songwriters.  On the otherside though…..I think that when there is someone who delivers something truly great….people are more open to it than ever……as long as you can find a way to get them to hear it.

As my evidence I offer a young kid I recently started working with named Joe Pug.  We self-released his debut EP in May, mainly just intending to shop it.  In the six months since then, however….he has proceeded to sell out his first two headlining shows in Chicago, pick up a major booking agent (Monterey International), taped a set for NPR’s Mountain Stage, picked up radio play on Morning Becomes Eclectic, XM, Sirus and NPR, sold over 2000 copies of the EP, toured with Susan Tedeschi, Rhett Miller, Joe Ely, Robert Randolph and featured in Paste with a slot on their CD sampler.  (one of the rare unpaid slots, at that)

Obviously there is the standard issue PR push, but I think the real success we’ve had with Joe came from something completely unique that we did.  I started with the knowledge (or, some might say, assumption) that with Joe’s songs….especially the "single" Hymn #101, if people heard it, they would love it.  There are so few great songs being written that I knew people would connect immediately.  So how to cut through the white noise?  With no label, no PR firm, and no money to speak of?   

We decided to put an offer up on Joe’s website and myspace.  We told any fan that if they knew anyone who might be interested in Joe’s music that they could send us an email and we send them as many copies of a two-song sampler CD as they wanted.  Free.  We even cover the postage.  To keep costs down, we invested in a cd publishing system that burns and prints them robotically.  Each CD has two songs, contact info, myspace, and a reminder that the full cd was at iTunes.  If someone lived near a place where a show was scheduled, we printed that show info on there as well.  People requested as few as 2 and as many as 50.  We sent all of them. Requests continued to pour in, and the more we sent out the faster the new requests came in.  We’re at the point now where we get about 15 a day.  Joe writes a thank you in each and every one.  And almost instantly, sales took off.  Attendance jumped noticeably and myspace/website action began a steady upward arc.  More importantly, we built an incredible database of his most hardcore fans. And after receiving a mailbox full of cd’s for free, they are  willing to do anything to help forward the cause.  And it is the ultimate in target marketing……you have people who already like your music passing it on to their friends, whose tastes they presumably know.  

To some degree this is contrary to most of my "music 2.0" instincts, but I believe in this case they physical connection is crucial.  A package in the mail, with a handwritten letter from the artist creates a connection that a download never could. It’s not the cheapest avenue on earth, but compared to what a mid-level PR firm charges it’s a goddamn bargain.

In return we treat them like gold.  Whenever there are extra guestlist spots in a city an email goes out to the people in that area who helped pass them out.  We are planning a private house show for those in Chicago who have helped.  

Of course, before I get lost in self-congratulation, I’ll add that this particular formula only works if you truly have songs that connect with people.  In all the marketing speak I think a whole lot of people lose sight of that.  

Anyway, thought that you might find this interesting.  If you want to check out the actual offer it’s on www.nationofheat.com and his myspace is www.myspace.com/thejoepug  

Yrs. long windedly-

don

—
Don Bartlett

No Door Agency
29 E. Madison Suite #1102
Chicago, IL 60602
m.773.793.4434
aim: no door agency
don@nodooragency.com

Representing:

Skybox
www.myspace.com/skybox
www.skyboxmusic.com

Joe Pug
www.myspace.com/thejoepug
www.nationofheat.com

Bob,

Wow! Two mentions of music I played on in one month that seemed to have really moved you!

First "In A Silent Way" from the "Last Days at The Fillmore" and the "Abraxas" album with "Black Magic Woman" It’s nice to hear. I’m never quite sure where your tastes lie, to tell the truth. But whatever it is, you seem to feel strongly about it, and I can relate to that.

I do disagree with you that there are not young talented singer/songwriters out there, though. They are there, you’re just looking in the wrong places. They are not on the charts, many are under the radar, but their fans know them. There really is some real talent out there: but that’s another conversation.

Hmm.."Abraxas" live at the Hollywood Bowl. Interesting idea. There’s not a day that goes by where I don’t get an email about that band and wishes that we perform again. Interesting note about your song selections; "Mother’s Daughter" and "Hope You’re Feeling Better" were both  written by singer and organist Gregg Rolie, who also sang "Black Magic Woman" and by the way, brought that song to the Santana Band. He would constantly play it at sound checks, but everyone pretty much just ignored it until the arrangement stared taking shape. Trust me, if it wasn’t for Gregg Rolie,  Santana would never have played "Black Magic Woman."

Gregg was the ‘Rock" aspect of the band, Carlos was the blues and beautiful melodies, Michael Carabello was the Latin, and I was the jazz part. Hence "In a Silent Way", which by the way was written by the great keyboardist Joe Zawinul, not Miles Davis. Just as you mentioned, "Black Magic Woman" was written by Peter Green from Fleetwood Mac, not Santana. Bill Graham suggested that we play "Oye Como Va".

I thought that the arrangement of "Black Magic Woman" was brilliant as was Gregg’s vocal, and of course Carlos’ guitar is soulful and unforgettable. In fact, I still never get tired of hearing it, nor do I ever get tired of playing it when I sit in with Carlos today.

The whole making  of the album of "Abraxas" was an intense experience. I was 20 years old. In the studio next to us Creedence Clearwater was recording Cosmo’s Factory I believe. Most people don’t realize there were half a dozen instrumental songs on "Abraxas" as well. The band was a smoking band, intense and passionate. Like I always say, when I was an 18 year old kid and came into the group, I soon found out that this was no hippie love thing, this band was like a street gang, but the weapon was music. It was that special chemistry of the individual players; a Mexican, a Nicaraguan, a Puerto Rican, a militant black man, and two white boys from the suburbs that made the groove that fit like a glove.

I always loved the instrumental music of the band. That’s why my new group "Michael Shrieve’s Spellbinder" is an all instrumental group. I have a new CD out that has that instrumental sound. I consider myself a musician, a craftsman, and I want to play the music that makes me happy, that brings the best out of me, and therefore make the audience realize that this is a real breathing group of musicians making magic right before your eyes. Trying to take you somewhere that you’ve forgotten you can go. I play every week in a small club in Seattle with this group and I can see the effect of real passionate music on the audience. And I’m going to take it on the road. But I’m not looking for fame or fortune or to try to be "big" again. I used to tell Mitch Mitchell, rest in peace, that bitterness about being screwed financially will only take you so far. Who does it serve? Not you! Be grateful for what you’ve had, the incredible music you were blessed to be a part of, and don’t ever forget that if you go to the music, not the business, not the labels, not the lawyers, but the music itself, it will never ever let you down.
Ever.

Thanks for listening.

Michael Shrieve

If Van Morrison can play "Astral Weeks" at the Hollywood Bowl can’t the original Santana get together there and perform "Abraxas"?

Hey, it doesn’t even have to be the original players.  Just as long they only perform music from that era.  Not the bogus "Supernatural" crap from the Clive Davis period.  Create new stuff like the old stuff and I’m interested.  Sell out by playing the modern game and you’re no different from that bozo Rod Stewart performing classics his audience hated during his original reign, JT covering tracks you never need to hear again.  We want Carlos’ sustain, played to some Latin-infused rock with Rob Thomas nowhere in sight.

Why do I care?

BECAUSE BLACK MAGIC WOMAN IS MY FAVORITE SONG ON GUITAR HERO!

If you’d asked me a year ago what my favorite cut on "Abraxas" was, I’d have said "Mother’s Daughter".  It’s pure sex.  With that organ intro giving you the power to make your entrance, that distorted guitar representing your erection and then the song goes off into WILD PASSION!

My second favorite was always "Hope You’re Feeling Better".  I love the ATTITUDE!

Still, about a year ago, I became enraptured by "Incident At Neshabur".  That’s what it sounds like, a scurrying about after an incident in the agora.  This isn’t calculated, the band is locked in without thinking about it.  That’s the glory of seeing great musicians in action.  They can do what we can’t.  We admire their ability to transcend the present, to levitate the whole room.

And of course there’s a great take of "Oye Como Va".

But all these years later, when I hear "Black Magic Woman", the hit that I pushed the button on in the seventies, really a Fleetwood Mac track, my blood starts to pulse, I stand up and pay attention, I wait for my turn, to hit those notes and bend that whammy bar!

I’ve switched allegiance to Guitar Hero.  It’s got better songs than Rock Band.  And it’s all about the songs.  The ones you remember, the ones in your DNA, playing them brings you right back to how you felt when they were hits.  But there’s no sense of nostalgia, playing "Sunshine Of Your Love" on Guitar Hero is BETTER than seeing the reunited Cream’s dash for cash.  Because tapping your plastic guitar you’re involved!  It’s not like going to a museum, rather the song truly comes alive, it breathes.

Still, that’s not as much fun as playing "Black Magic Woman".  Because of Carlos’ SUSTAIN!  You’re not only hitting the notes, you’re HOLDING THEM!  Wringing all the power, all the sensuousness out of each.

You crank the music to the max, maybe even bump the play level up a notch, you can’t think about anything else, it’s like skiing, it demands all of your attention, and it delivers an incredible rush.

Then there’s the big finish.  3:45 in.  This is the test.  Can you match Carlos note for note?  You’ve held your own this long.  Ah, the SATISFACTION when you nail it!

You don’t want to play alone.  It’s best with an assembled multitude.  Egging you on, maybe playing along.

And when the song ends and the crowd cheers, you laugh hysterically, through your sweat.

Since "Abraxas" fit no niche in its heyday, it’s still fresh today.

Some people don’t need new hits.  They hit the peaks once, you want to see them reach them again.  It’s best with those focused on playing more than songwriting.  Those who can stretch out and improvise, who can make the songs come alive in a new way today.

I don’t need an exact replication, I just need the volume so loud I can’t talk to the person next to me.  Better yet, let me come with my plastic Gibson and let me play along to the notes on the giant screen!

a compelling case for Guitar Hero and Rock Band

How do you tell someone they’re history?

That’s what they’re discussing on Sirius’ Playboy Channel as I sit here.  They’re playacting.  Whoever gives the best breakup wins a DVD.

Not much of a gift, but when it comes to sex, you don’t have to give away much to get people to play.

Actually, sex was earlier in the day.  They were discussing younger men dating older women.  A guy called in to say he was thirty five and he’d just made it with a sixty four year old!  She’d done her Kegels, she performed oral, he was going to hit it again.

And then the host started saying her mother was the same age.  And spoke about the aging process, the loss of hair.  I couldn’t change the channel, I was learning something.

And when I got back in the car, the Breakup Game had begun.

But there were rules.  You couldn’t use certain terms in rupturing the relationship.  Not the classic "It’s not you, it’s me", not "I need a break", you had to be honest.  How many people are honest?

It was fascinating.  To listen to the women be blindsided.  Hearing the men fumble, being unable to be direct.  No one wants to hear they’re gone, but what’s worse is believing you’ve still got a shot.

Everybody knows you no longer have a shot.  Not only your ex, but his friends, your friends, your parents…  But so many of them are not honest either.  They try to cover up by telling you what an asshole your ex was.  If that doesn’t work, they listen to you tell them how you’re going to change.  It’s like group therapy, how can you rebuild your personality to regain the affection of someone who no longer wants you.

Maybe they’re incapable of wanting you.  Maybe they can’t sustain a relationship.  But you don’t want to believe all this, you want to win them back!

You go to the gym, you buy new clothes, you change your look, you just wait for that phone call or e-mail giving you another shot.

And when that doesn’t come, you can’t hold back.  You make contact.  And if there’s any response at all, you replay it in your head ad infinitum, looking for hidden meanings that aren’t there.  They definitely want to get back together, right?

Wrong.

And then sometimes they do.  And then they break up with you all over again.

Why can’t they just tell you they’re done.  And then go their merry way.  Why do they have to come back for sex, needing that hit even though they have no intention of staying. Why do they still call you during personal crises, then lose your number once again.  Worse, why do they never call at all?

You shared your life.  You thought this was the one.  You can’t conceive of being alone this far down the line.  You’re going to will them back.  In this same damn conversation they’re breaking up with you in.

Or they’re truly weasels and send an e-mail.  Or a text.

Who’d want to be involved with someone of such weak character to begin with?

You.  You can’t afford this blow to your self-esteem.  So that’s why you’re gonna crawl your way back, earn your way back.

But it can’t be done.

Why can’t they make it easy and tell you the truth in the beginning?