Musicians have stories. Much like every other profession, strange things happen.
I've been run out of a bar because i didn't play the type of country the regulars wanted to hear.
I've been shorted by bar owners, and had my gear stolen.
I even had a night where a woman requested a song... She didn't know any of the words and the way she described it, no one in the bar could understand a bit of it.( "It goes.....'something, something, something......NA NA NA' ".........That's exactly what she said. ) NO ONE was more surprised than me when I guessed the song she was talking about, and played it.....having never even considered playing it before.
We've all had nights where we leave shrugging our shoulders and shaking our heads.....
but one night in particular has bewildered me for years.....
I used to invite people to come out and jam with me…..For a few years, NO ONE ever did, So I would continue to invite anyone (who said they owned an instrument) to sit in. I don’t do that anymore.
This one night, playing at the Rookery for my wife’s Birthday Party, EVERYBODY showed up.
I had 3 electric guitar players,2 acoustic players plus me, (one of them didn’t even have a pickup in his acoustic and wanted to play REAL close to my vocal mic so it could get through the PA.) . I had a bass player, 2 more singers, NO Drums, and a guy who sat right up front with a harmonica……yes. One harmonica.
I was much nicer back then, so things got out of hand quick. Also, at that time, I didn’t use a drum machine…..you can just imagine how bad it was.
After every song, I would ask the harmonica guy to ‘sit this one out’. I told him over and over that I wasn’t used to a harmonica player and him playing SO CLOSE to me and SO LOUD that I was very distracted. Not only was he playing out of key, but LOUD.
At one point, a person came up from the crowd and asked (beginning very politely, and increasing volume as he leaned toward the harmonica players ear.)…
”Hey. Can your harmonica player play in the key of shut the f &% k up?!!?!?!” I laughed until I couldn’t breathe.
It was complete chaos. Fortunately, this gob of ‘talent’ allowed me to decide the songs and the tempo for each song. It was so chaotic and thrown together that the door guy changed the name on the sign from “Chris Pope and Friends” to “The Chris Pope Train Wreck”.
When it was over, I thanked everyone and started packing up, completely disgusted.
Chris Wolfe (he now plays for EchoSpeed) was in the crowd that night and decided, based on that performance, to play lead guitar for me in a two piece we called "the Window Liquors".
I got two business cards from women who wanted to book me for a private party. They both worked at Aveda and said they had the best time ever.
To this day it blows my mind.
Monday
LSD Crescent Moon Dogs
I wasn't expecting to go out on Friday, February 2, but fate pulled me to Friends On the Hill where I found Steven strumming his guitar and singing, as he was in a Lenny Kravitz hair fashion. I enjoyed the music as I found out that Steven was warming up the crowd for a bigger show to come, gaining word that Lance Rodriquez and Dustin were there as well.
The crowd anticipated.
To set the mood of what was to come, center stage was a bison skull, atopped with an inscent aglow and setting the scene with a vibrant fragrance. After much anticipation, Steven returned to the stage on guitar, bringing Lance to the drums, and Dustin on bass and lead vocals for most songs. Jokes broke out on stage and were woven between songs. The crowd jammed out to rock, hard rock, and metal songs performed through the night as LSD Crescent Moon Dog performed originals and additional cover songs, which are a rarity from this predominently original band.
This show was a treat for fans as a prequel and fundraiser for the new EP that LSD Crescent Moon Dogs will hopefully be releasing this upcoming March. Keep an eye out for these guys!
The crowd anticipated.
To set the mood of what was to come, center stage was a bison skull, atopped with an inscent aglow and setting the scene with a vibrant fragrance. After much anticipation, Steven returned to the stage on guitar, bringing Lance to the drums, and Dustin on bass and lead vocals for most songs. Jokes broke out on stage and were woven between songs. The crowd jammed out to rock, hard rock, and metal songs performed through the night as LSD Crescent Moon Dog performed originals and additional cover songs, which are a rarity from this predominently original band.
This show was a treat for fans as a prequel and fundraiser for the new EP that LSD Crescent Moon Dogs will hopefully be releasing this upcoming March. Keep an eye out for these guys!
Saturday
Promoting yourself
We all use Facebook as a way of advertising our shows, but we are missing out on MANY opportunities.This site was built to help us in a variety of ways, and if we will collectively take advantage of it's benefits, we can see even more people supporting live music!
Now before I go any further, let me point out, that at present, I have GROSSED approximately 4 dollars per month with this site. If I take my yearly domain fee out of that, I have made about 40 dollars for 2012. In June, I plan to take my wife to Outback for a plate of celebratory cheese fries with my earnings. Assuming of course, that the money keeps rolling in.
In other words, my constant attempt at promoting MidGaLive.com, has nothing to do with profit, and everything to do with promoting the music scene in Middle Ga. I would like for all of us to take part in it.
What if you could get other musicians to promote your show at the same time they promote their show? It would increase the visibilty of both ads and almost guarantee you all will have a bigger draw. A good example of this was seen recently!
This is where Lance Rodriguez has a show at Shenanigan's on the same day FailTrain is playing at Friends On The Hill. Lance will post something like.....
"Come to Shenaningan's tonight starting at 7 so that I can get you geared up for hearing FailTrain at Friends on the Hill starting at 10! Get drunk, get crunk, and experience the funk!- Lance "
It's been happening alot lately, and it should continue .......
When you list your show on the MidGaLive Music Schedule, you are promoting live music as a whole. You are drawing people to one place so that they can see the wide variety of music that is being performed. If you are on that schedule, they will, of course see your band as well.
By having your band profile on MidGaLive.com, you get the chance to promote yourself, and at the same time the Live Music Schedule will appear at the bottom of the page.You can post the article I have written for your band, as your advertisement. At the bottom of the screen, the Live Music Schedule shows all of the activity going on. Nothing attracts a crowd, like a crowd.
If you promote ALL live music, you promote the entire scene....This brings more people out to support it, which opens up more opportunities to play.
By using the color codes people will find it easier to seek out the type of music they are interested in....Which means you are making it easier for potential fans to find you.
Win/Win.
You can encourage venues to use the MidGaLive Music Schedule to promote shows as well. This gives them a chance to read about all the bands in the area, and possibly open doors for you in playing new and different clubs, which opens the doors to new and different fans. If they can see what is working for another venue, and maybe they'll try that as well.
The Eleventh Hour has been helpful to a lot of people. Many bands have a loyalty to the Eleventh Hour which makes them hesitant to promote or utilize MidGaLive.com .
Personally, the notion that MidGaLive.com is somehow competition is funny to me. There is simply no comparison. I think the Eleventh Hour does show support for the music scene, but it supports many other things also. They have done well, but they can't focus specifically on every single act while simultaneously selling advertisements for every restaurant, art studio, and massage parlor in Middle Ga.. We coexist and I believe both the Eleventh Hour and MidGaLive.com have a purpose, and we serve it well.
Use every resource you can find to promote yourself. The Eleventh Hour is a great resource too; and I wouldn't discourage anyone from using it.
Let's work together. Promote each other and we will ALL win.
That should be everyone's goal.....Shouldn't it?
Monday
A Beginner’s Guide to Stage Sound – Part 2: Setting up your PA
So now you’ve got all of your equipment and you’re ready to test it out. That’s right… test it out. Hook everything up and run through the numbers. Don’t tell me that you just wanted to get on stage and see how it sounds. It’s very important to thoroughly familiarize yourself with your equipment before it’s time to hit the stage. Let’s start with simply getting everything in place and hooking everything up.
Inputs
Once your mixer is in place, it’s time to run your inputs. I like to start with my vocal mics then progress across the channel list until everything is hooked up. At this point, nothing is powered on, and all faders and volume knobs are bottomed out. As you position your microphones, consider your stands. Make sure they are stable and non-intrusive. Make sure your cables are long enough to comfortably reach your mixing board (Or snake) and provide some slack for adjustments if needed. Make sure your stands won’t be tripped over or bumped into during those more enthusiastic ballads.
A good Vocal microphone is cardioid, which means that they have to be sung into directly. When positioning your microphone, consider what sound sources will be aiming at the front of that mic when the singer moves his/her head. Since monitors are generally placed on the floor in front of the singer, it is a good practice to angle the microphone so it aims almost directly away from the monitors. This will be a great step to preventing feedback. And remember never to position your FOH speakers behind your microphones. If you have a guitar cabinet behind you, try getting it, or your mic, positioned in a manner where the speakers don’t aim at the front of the mic. One of the best ways is to angle the mics upward slightly. If the mic almost pointing at your mouth from below it not only blocks less of your face to the audience, but provides better cardiod isolation from your back line.
Instrument mics are also cardioid, but often more so than vocal microphones. If you are placing a microphone in front of a speaker cabinet, place the mic as close to the protective screen as possible, and aim it directly at the sound cone of one of the speakers (Not the center of the speaker). Boom stands and short instrument microphone stands are helpful for this application, but be mindful of cable routing and positioning to avoid snags and trips. Isolation from other instruments is important, so if you have the drums next to you, pick the speaker furthest from the drums. If you’re right next to another cabinet or the bass amp, try to get some isolation (space) between their amps and your microphone if possible.
Equalization
Now that our inputs are in place, we need to push that signal out for processing and amplification. Run the outputs from the mixer to your 2 –channel equalizer. One mono channel will be dedicated to your Mains (FOH) and the other will go to your monitors. If you plan on using multiple monitor mixes, more equalizers should be considered. Equalizers can be your best tool for accenting or brightening certain frequency ranges while suppressing others. On your monitor channel, it will be a great tool for finding feedback frequencies and suppressing them.
Though equalization takes place later, during sound check, we will discuss it a bit here. Equalizing a signal can be a lengthy process, and sometimes needs to be repeated when you visit a venue with different acoustics. Taking notes of your EQ settings can save a lot of time. (Photos using your camera phone can be a great way to archive your settings for future visits.) My favorite method is the basic sweep method. Hook up an MP3 player and play some music that matches the tone and style you want to equalize. Start with all faders centered. Starting with your lowest frequency, slowly sweep the knob up and down while listening to the effect it has on your sound. Find the spot that sounds the best and move on to the next fader. After going all the way to the highest fader, work back through from High to Low.
To use an equalizer to eliminate feedback, you need to find your “invasive frequencies.” There are some specialized pieces of hardware available that specifically help to find and suppress invasive frequencies, but these can be expensive additions to your PA. There are also some great equalizers that will have a light on the fader to indicate which frequency is causing your feedback. But I’ve found that I can gain similar results with a simple, free iPhone application called “Feedback Detector.” Simply hold your phone near the speaker feeding back and it will tell you the approximate frequency of the intrusive signal. Lower the corresponding faders on your EQ and you will be suppressing the likelihood of feedback.
Fighting feedback sometimes means deliberately causing feedback. Whenever you are doing feedback testing, be extremely careful not to overdrive your FOH speakers or monitors. Keep someone at the faders so they can mute the channels if the feedback gets too hot. If you do this in a club, let the club owners know what you are going to be doing so they don’t get concerned. Fortunately, if you don’t change your equipment, you can take note of your dangerous frequencies and apply what you’ve learned at most similar venues. You don’t necessarily need to do this every time. Once you’re pleased with your equalization, the signal can be split and amplified.
Crossovers
Crossovers take the single FOH sound signal and split it up into multiple signals. The two popular uses are called Bi-amp and Tri-amp setups. Bi-Amp setups will split the signal into a low signal and a Mid/High signal. Tri-Amp setups split it into a Low, mid, and high range. I find that many decent FOH speakers include a basic internal crossover that will split your Mid and high signals for you, so in many cases, Bi-Amping is sufficient. You can even get away with a single signal for some venue, but I am a big fan of subs, so I will advocate the added expense.
Crossovers will have dials which allow you to manipulate where in the frequency spectrum the split will occur, and how much of each frequency will be able to fade into or overlap into the other channel. This is another place where experimentation will be helpful. Find a cutoff frequency for your low signal (I set my PA around 20-30 Hz) and simply see how your subs perform. If you think your subs can handle more, dial it up a bit, or if you just want hard hitting lows, dial it back. I find 20-30 Hz to be a nice compromise. This is a setting that you will likely only need to do once over the life of the PA. Once you’ve found the “sweet spot,” you shouldn’t need to adjust it again, barring a major change in your band’s sound. Now your signal is ready to be amplified.
Amplifiers
Amplifiers will boost your signal so that it can drive your speakers. Some amplifiers are built right into the speakers creating “Powered” or “Active” speakers. Other amplifiers are separate from the speakers, making the speakers “Passive”. Active speakers are great for novices because the internal amplifiers are perfectly rated for the speakers they are attached to. The downside is that you will need to plug each speaker into its own power source and they also tend to be more expensive than passive speakers.
Amplifiers will have an output power and an impedance rating for each amplifier channel that should be carefully noted. It is very important that your amplifier is compatible with your speakers. A mismatch could result in an overdrive or frequent clipping, both of which can cause permanent damage to your equipment. There are numerous arguments about how to properly match power rating to the speakers peak and optimal RMS. I’m going to take a stab at explaining it.
Pairing Speakers and Amplifiers
Amps are rated for output power (Watts) at a certain impedance (Ohms). Simply stating that you have a 1000 watt amp may not be accurate, since the “power” will not always necessarily be consistent. As the impedance (number of Ohms)of a line changes, the power to each speaker will change with it. For example, a fairly popular amplifier, the Peavey CS-2000, delivers 1075 watts (rms) per channel @ 2 ohms, 750 watts @ 4 ohms, and 495 watts @ 8 ohms.
Speakers have an impedance rating in ohms, and an optimal (program) and peak power rating. The Peavey PR-15 is an 8 ohm speaker that handles 400 watts program and 800 watts of peak power. When speakers are “daisy chained” off of a single amplifier channel, the line impedance changes. How it changes depends on if the speakers are in series or parallel. If you have 2 speakers in a parallel chain (I would never advise chaining more than 2 for common applications), then your impedance is divided by 2. If they are in series, the impedances are added together. Peavey PR-15’s are connected in parallel (this information is usually labeled on the connector plate.), so the line impedance will now be 4 ohms.
As we can see above, the CS-2000 amplifier provides 750 watts at 4 ohms. This means that 750 watts will need to be divided amongst all of the speakers in that chain. In this case, each speaker will get 375 Watts of peak power. In this case, it falls under our program power, and not even close to our peak power. Though I’ve seen this application work, it is not healthy for the equipment. I would recommend getting a slightly more powerful amplifier. The pros say that the Amplifier should be able provide roughly 2/3 (66%) peak power to each speaker. If we have a pair of PR-15’s, we will be looking for an amplifier that can provide 66% of 800 watts, or approximately 528 Watts at 8 Ohms. Since we are hoping to use them in parallel, then we need double that, or 1056 Watts at 4 Ohms.
At first glance, it looked like the Peavey CS-2000 was a good pairing for our PR-15, but after we calculated what the output power would be, it fell short. Now, if we decided to only hook up one speaker per channel, the impedance would be 8 Ohms. So each speaker would receive 1075 Watts of peak power. This is higher than the speaker’s peak power rating. Fortunately, the CS-2000 has a dial to reduce the peak power output. A user could simply dial the knob back to the center mark, and each channel would receive half of that 1075 watts (approximately 537 Watts). This will put the peak output power almost perfectly at our 66% range.
What have we learned? Do your homework before deciding how to connect your speakers to your amplifier. Matching power isn’t always as straight forward as it looks.
Note about wiring – Always keep your load above 2 ohms and below 16 Ohms .Most amplifiers are not designed to handle anything more than that.
~Now that we are hooked up and ready to go, In the next article we will discuss performing a sound check.~
Thursday
A Beginner’s Guide to Stage Sound – Part 1: The Equipment
The first article by our resident sound man-
Tim Burris: Lead singer of the local supergroup 'FailTrain'
IntroductionSo your band has been working hard to build enough material to get out gigging. You’ve finally polished off a nice set list and booked a gig at the local bar. But the bar doesn’t have a PA or sound man, so you’ve got to acquire, set up, and configure your own PA. This is an opportunity to make or break your band’s reputation since all the practice in the world won’t improve the sound of feedback or a bad mix. Great bands have stumbled due to the lack of a quality sound system or trained sound man.
PA equipment can be a relatively simple set-up or a logistical nightmare. So to keep it simple, I am going to highlight 2 basic set-ups: An all-in-one PA and a traditional mixing board and Amplifier modular PA system. We will touch on 'powered' (also known as 'active') speakers in another article.
when you see speakers referenced in this article, we are referring to 'passive' speakers.
An all-in-one system will have your mixer, equalizer, effects, and amplifier in one convenient, easy to use, piece of hardware. You simply plug your microphones into the inputs, plug your speakers into the outputs, and voila, you’ve got sound. Well, it’s not exactly that easy, but that’s the general idea. A modular PA will require a lot more individual equipment, but it allows for versatility, flexibility, and growth.
Microphones
For vocal microphones, you should start by finding a microphone that is “Dynamic”, and “Cardioid.” Dynamic refers to the fact that the microphone doesn’t require any external power and that the microphone responds well to varying volumes. Cardioid is another word for unidirectional which means that it will pick up sound that is directed primarily at the front of the microphone. This is an important thing to note when we get to talking about feedback. (A couple quality vocal microphones include the Shure SM-58 and EV N/D267A.)
Instrument microphones should be dynamic and either Super-cardioid or Ultra-cardioid. This will help prevent the microphone from boosting any other sounds from the stage. How often are your guitar cabinets within just a few feet of the drums? A good instrument mic will prevent sound from bleeding over, and give the sound man good control of what is being amplified. (A quality instrument microphone is the Shure SM-57 or the Sennheiser e609)
Microphone Cables
Microphones will need cables to plug into the mixer. Here, you should get low impedance XLR microphone cables with quality connectors. I cannot stress the importance of quality connectors enough. Many great musicians have had headaches during their sound checks due to bad cable connectors. A good rule of thumb is “You get what you pay for.” Another good rule of thumb - If the XLR connector doesn’t say ‘Neutrik’ on it, don’t’ buy it. (Yes, I’m biased)
Mixer Inputs
Next, the microphones will plug into a mixer. Each microphone will be designated a channel. It is important to note, at the mixer, which microphone belongs to which channel. I like to group my vocals next to each other (1-4), and then instruments (5-6), and then drums (7-12), labeling each on a piece of masking tape. These labels will greatly assist the sound tech while they are making adjustments during your performance.
Mixer Outputs (All-In-One Mixer/Amplifier) All-in-one mixers include everything you need in one box. They are portable, easy to set-up, and generally less expensive than traditional modular set-ups. If your mixer is an all-in-one unit, then you simply need to connect your mixer/amplifier outputs to your speakers. In this case, you will have two groups of outputs: Mains and Monitors. For simplicity sake, we will have a “Mono” output and daisy-chain our mains and daisy-chain our monitors. When considering what kind of cable to use, consider both the output type of the Mixer/amplifier and the input type of the speaker. Some use 1/4 inch connectors, while newer models are using locking “Speakon” connectors. Make sure your cables are long enough to allow you to position your mixer in a safe, comfortable position while allowing for flexibility in positioning your main speaker and monitors.
Speakers should always be inspected to make sure that they are compatible with the impedance (4 Ohm or 8 Ohm) and output power (x Watts) of the amplifier. Incompatible hardware could result in damage to your speakers or amplifier.
 Traditional Modular Mixer Amplifier Set-ups
Modular set-ups require a lot more equipment than all-in-one units, but allow for greater flexibility and growth. To get a good sound quality, reduce feedback, and protect your equipment, the following hardware will be needed: Mixer, Effects Processor, 2 channel equalizer for mains and monitors, Crossover, Amplifier for mains, subs and Monitors.
The mixer will send an auxillary signal to the effects processor. This is usually sent over a ¼ inch cable. The effects processor can modify the sound by adding chorus or reverb effects, then send them back to the mixer. Most mixers let you manipulate which channels get sent to the aux and which bypass it. So you may want effects on your vocal channels, but not your instruments.
Equalizer
The equalizer lets you help dial in your sound, and also eliminate any frequencies that are feeding back. Configuring the equalizer is a time consuming process that will require a lot of experimentation, but the benefits are well worth it. The mixer’s outbound signal will go to the equalizer. The equalizer will then send the modified signal to the crossover to be split.
Crossover
The crossover will separate your signal into High frequencies and Low frequencies. This is primarily used to send the low frequencies to their own subwoofers, while sending the high frequencies to speakers and horns. By separating the signals, you take a lot of strain off of your speakers and gain greater control over how each element of your sound is presented. If you don’t plan on using a subwoofer, a crossover is not necessary, but bear in mind that your mains will have to process a lot of sound. The crossover generally receives the signal from the equalizer and passes it to the amplifiers.
Amplifiers
The amplifiers will boost the “cold” signal into a powerful, amplified signal ready to go to the speakers. This is one of the most dangerous elements of the set-up, as misconfigured or mis-wired amplifiers can result in permanent damage to your equipment. Make sure your output impedance and wattage match what your speakers are capable of handling.
Speakers - Mains (FOH)
The most important speakers in your set-up will be your mains. This is what delivers your final mix to the audience. They are also referred to as FOH (Front of House) Speakers. A rule of thumb – Never place your FOH speakers behind your performers and their mics. This is a recipe for feedback.
Speakers - Monitors
These speakers are placed on the stage and aimed at the performers so that you can hear yourself. Many All-In-One PA systems will only allow for one monitor signal. This means that you get to create a single mix of instruments and vocals and play them back to the performers. More advanced set-ups will allow for separate monitor mixes. So the guitarists can have more guitar and singer can have more vocals.
Speakers – Subs
Most All-in-one units don’t’ allow for the additional of subwoofers without some creative engineering. So these will generally be used more with modular PA systems. They will produce your deep low sounds, and when used in coordination with a good crossover, will remove the low sounds from your main FOH speakers, giving them more clear and crisp highs.
More on Cables
You will need microphone cables, speaker cables, power cables, connectors to bridge equipment, and extension cords. It is important to inspect your cables regularly and take good care of them as a single cable can be the difference between a great sounding show and a night of headaches. In general, you get what you pay for, so if there’s one place to avoid the bargain shopping, it’s on your cables.
…In our next article we’ll talk about how to use this equipment together and configure it before a performance to help control and enhance your sound.
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Wednesday
Playing in your underwear
I guess what I'm saying, is that open mics are a resource that we aren't really taking advantage of. For amateurs this is an invaluable resource to get 'plugged in' to the local music scene. 'Open Mic Nights' give amateurs access to professional grade equipment and guidance from seasoned veterans in the art of playing out in public.
For professionals, in playing open mics (and doing well), we can give the audience, a "commercial"; showing what we do, and how we do it.
It helps us build our fan base, and gives us more possible customers for our cd sales, Tshirts sales, or just more attendance at our shows.
It gives us the opportunity to learn from each other, teach each other, and engage in good, old fashioned fellowship.
As awesome as Facebook is~ It doesn't REPLACE the benefits of actual face to face interaction with our peers. It augments things for sure...and when I simply can't make it out of the house, it allows me to maintain contact with my fellow musicians.
But laying here in my underwear and creating storylines involving humorous misunderstandings and chilling revelations of angry Alpaca's, won't help me to be a better performer. I really hope to meet more of my Facebook friends in person. I want to learn from all of you.
....And to any amateur musicians sitting at home and wondering if you could be good at playing music in public.....Sure you could. Attending an open mic night could change your life.
It changed mine.
Lance Rodriguez
Lance Rodriguez is the hardest working musician in Middle Ga. these days. He plays bass for American Lesion, drums and vocals for Holocaustion, and for Crescent Moon Dogs AND he performs solo acoustic as Tooley Deviljuice.One glance at him and you know you're looking at the real deal. In 5 minutes of conversation, you find a humble friendly man with the mind of a poet and the heart of a lion.
His music ranges from heavy metal, to soulful acoustic. He delivers it all with the conviction and passion of a world class performer.
The first time I saw him perform, I was hosting an 'Open Mic Night' at a nice little upscale restaurant in Warner Robins. He signed up to perform a few songs with Tom Harbs; another of the great talents in Middle Ga.
I was immediately nervous.
I didn't know what to expect. I knew that they were both in a heavy metal band called "Holocaustion" which was known for heavy guitar and screaming vocals. Tom shaves his head and Lance hasn't seen a pair of scissors in years. Lance appears to be the offspring of Rob Zombie and Prince. I was so afraid that they were going to rip into some death metal and screaming....I thought I would have to cut their performance short.
Tom grabbed the microphone, and Lance started playing his acoustic....and they BLEW ME AWAY.
Tom's vocals were beautiful, and passionate. Lance's guitar playing was intricate and nice and ....You can't say this about every acoustic player out there;....His playing was musical by it's own merit. They played country/ irish folk songs, and when they finished, I went looking for the original versions of those songs online. Now I know, not to judge a book by it's cover.
Whoever he is performing with, Lance makes the audience take note and his bandmates sound better. He takes the time to promote and push the local music scene like no one else does....
With all this in mind, I consider Lance Rodriguez to be MidGa's Most Valuable Player.
Lance on facebook
Or contact Lance by email~ The138Records@yahoo.com
And Check him out on Reverbnation
Tuesday
Session Road
The two men who make up the vocal powerhouse of Session Road, Lee and Chad, have been singing and writing songs together for a couple years now.
They have played together in other bands, have recorded in Nashville together, and have decided it was time to get serious about the one thing they love most - MUSIC! With the help of some friends and fellow musicians, they were able to put together a full band and demo to showcase their vocal talents and are working on getting their first full length country CD recorded.
There is no mistaking them once you hear them and the feeling is sure to stay with you. These guys are a national act, they just don' know it yet. Go check them out the next chance you get! They won't be around here long!!
Their website~
Myspace
They have played together in other bands, have recorded in Nashville together, and have decided it was time to get serious about the one thing they love most - MUSIC! With the help of some friends and fellow musicians, they were able to put together a full band and demo to showcase their vocal talents and are working on getting their first full length country CD recorded.
There is no mistaking them once you hear them and the feeling is sure to stay with you. These guys are a national act, they just don' know it yet. Go check them out the next chance you get! They won't be around here long!!
Their website~
Myspace
Friday
Keeping it Short and Sweet
My cool Friday night started at The Opening Act as I caught Andy Johnson playing acoustically for the first time. Andy is quite crafty with his guitar picking, vocals are smooth. He was well rounded in his choices of music he played, which included cover songs from Elvis Presley, Tom Petty, Bob Dylan, Black Crows, John Lennon, and more. Andy sang an Alice In Chains song in tribute of the ten year anniversary of the death of Alice In Chains lead singer. Andy maintained every strum and vocal melody while keeping an attentive eye on his young son, whom was onstage with him.
I spoke briefly with Andy and he shared that his band will be performing at The Opening Act next Saturday night. I plan to be there to take in more of this musician's brilliance and hear the full effect.
As I strolled from Cherry to Second Street, I caught a hip hop team, each member wearing matching t-shirts bearing Free Style E.N.T. on them. This group of young artists used their impressive talent to rap out positive hip hop cover songs in relation to their art.
Just around the corner at Roasted Cafe, I caught a music birthday celebration for John Charles Griffin on the stage. John Charles Griffin and Will Dockery took part in this performance setting the tone for their performance with Shadowville All-stars.
At 9, Shadowville All-stars took the stage with their music varying from rock, blues to country, cover songs in the mix. Multi instrumentalist, James Wolf was playing among the many musicians on stage. I feel this All-star performance should have been on a larger stage, in a larger venue to really do the band justice.
I spoke briefly with Andy and he shared that his band will be performing at The Opening Act next Saturday night. I plan to be there to take in more of this musician's brilliance and hear the full effect.
As I strolled from Cherry to Second Street, I caught a hip hop team, each member wearing matching t-shirts bearing Free Style E.N.T. on them. This group of young artists used their impressive talent to rap out positive hip hop cover songs in relation to their art.
Just around the corner at Roasted Cafe, I caught a music birthday celebration for John Charles Griffin on the stage. John Charles Griffin and Will Dockery took part in this performance setting the tone for their performance with Shadowville All-stars.
At 9, Shadowville All-stars took the stage with their music varying from rock, blues to country, cover songs in the mix. Multi instrumentalist, James Wolf was playing among the many musicians on stage. I feel this All-star performance should have been on a larger stage, in a larger venue to really do the band justice.
Monday
theory?
Let's jump into some BASIC Music Theory.
MANY of the musicians in this area, know the chords they are supposed to play, when playing along to their favorite songs; but they don't know why, OR they don't know how to transpose the song into the key that would better suit their voice.
Here's a great example- Assuming you are in standard tuning- If I want to play "Toes" by ZBB, I could just play "Brown-Eyed Girl" and change the words. ZBB plays it in the key of "A"- (so that means putting a capo on the second fret) but it's basically the same song. (BTW-There are literally thousands of these.)
To understand what I'm getting at, let's dive in to some very basic music theory. Don't be skeered~ It's not going to hurt.
First there are only 12 notes in music. They are:
C C# D D# E F F# G G# A A# B and then repeats forever...
The # means 'sharp'. I will not be using it here, but that position would also be called 'flat' for the next note. For example...
C sharp is the same as D flat, G sharp is the same as A flat and so on.....
Now, there is a step pattern you need to know....
W W H W W W H
This means whole, whole, half, whole,whole,whole,half
A whole step is 2 notes, and of course, a half step is 1
So if I start this step pattern with the A note, and write down each note I land on, I will get...
C C# D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# BA B C# D E F# G#
These are all the notes in the key of A.
Everything in the key of A is done with combinations or manipulations of these notes. To make it easier to understand let's number them...
A B C# D E F# G#
1 2 3 4 5 6 7
One very popular chord progression is referred to as 1 4 5. Sometimes it is written as... I IV V.
For the key of A, that chord progression will be ...A D E. You are just using combinations of the first chord, the 4th chord and then the 5th chord of that particular key.
Try to divide the other keys as well. Seriously- sit down with a sheet of paper and write them down. ~KEEP IT NEAT!~ I suggest you begin with C.
Which will look like...
C D E F G A B
1 2 3 4 5 6 7
and then the next key you should do will be the one numbered '5'.
Which will be ...
G A B C D E F#
1 2 3 4 5 6 7
and next would start with D... and so on. Play around with this, and we will add to this in future posts. Go through all 12 keys until you get back to C. You will notice a really cool couple of patterns.
If you are a beginner at this whole music thing, you could certainly use some helpful tricks of the trade.
The greatest 'trick' a guitar player has in his arsenal is the lowly capo.
The capo changes the pitch of the guitar. It acts the same way the "nut" does, in that it is the point where the string stops.
If you have a guitar in standard tuning, and you play an E minor chord you will be playing something commonly drawn like this....
O 2 2 OOO The O means 'open'.
If you place the capo on the first fret, you will effectively be changing the pitch of the guitar. Play an E minor RELATIVE TO THE CAPO it will BE this...
1 3 3 1 1 1
But Look like this...O 2 2 O O O
You'll notice that it is similar to a 'barre chord'; But, you don't have to 'barre'. The capo does that for you. And you are playing an ' Fminor' without having to learn a new chord.
What makes the capo such a wonderful trick; is that with it, you can play one chord progression in many different keys without having to learn new chords! This makes some songs easier to sing, or it may make a song sound a little different. The capo has the ability to inspire creativity, or encourage growth in your set list.
If the capo is on the 2nd fret, but your hand plays a "G" chord...you'll be playing an "A" to the rest of the worlds ear.
If the capo is on the 4th fret, but your hand plays a "G" ....you're playing a "B" to the rest of the worlds ear.
By learning theory, you will open yourself up to a ton of songs that you didn't know you could play. It will also help you put "your flavor" on old classics, or to play songs in a key that you can sing with comfortably.
I hope this helps somebody.
MANY of the musicians in this area, know the chords they are supposed to play, when playing along to their favorite songs; but they don't know why, OR they don't know how to transpose the song into the key that would better suit their voice.
Here's a great example- Assuming you are in standard tuning- If I want to play "Toes" by ZBB, I could just play "Brown-Eyed Girl" and change the words. ZBB plays it in the key of "A"- (so that means putting a capo on the second fret) but it's basically the same song. (BTW-There are literally thousands of these.)
To understand what I'm getting at, let's dive in to some very basic music theory. Don't be skeered~ It's not going to hurt.
First there are only 12 notes in music. They are:
C C# D D# E F F# G G# A A# B and then repeats forever...
The # means 'sharp'. I will not be using it here, but that position would also be called 'flat' for the next note. For example...
C sharp is the same as D flat, G sharp is the same as A flat and so on.....
Now, there is a step pattern you need to know....
W W H W W W H
This means whole, whole, half, whole,whole,whole,half
A whole step is 2 notes, and of course, a half step is 1
So if I start this step pattern with the A note, and write down each note I land on, I will get...
C C# D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# BA B C# D E F# G#
These are all the notes in the key of A.
Everything in the key of A is done with combinations or manipulations of these notes. To make it easier to understand let's number them...
A B C# D E F# G#
1 2 3 4 5 6 7
One very popular chord progression is referred to as 1 4 5. Sometimes it is written as... I IV V.
For the key of A, that chord progression will be ...A D E. You are just using combinations of the first chord, the 4th chord and then the 5th chord of that particular key.
Try to divide the other keys as well. Seriously- sit down with a sheet of paper and write them down. ~KEEP IT NEAT!~ I suggest you begin with C.
Which will look like...
C D E F G A B
1 2 3 4 5 6 7
and then the next key you should do will be the one numbered '5'.
Which will be ...
G A B C D E F#
1 2 3 4 5 6 7
and next would start with D... and so on. Play around with this, and we will add to this in future posts. Go through all 12 keys until you get back to C. You will notice a really cool couple of patterns.
If you are a beginner at this whole music thing, you could certainly use some helpful tricks of the trade.
The greatest 'trick' a guitar player has in his arsenal is the lowly capo.
The capo changes the pitch of the guitar. It acts the same way the "nut" does, in that it is the point where the string stops.
If you have a guitar in standard tuning, and you play an E minor chord you will be playing something commonly drawn like this....
O 2 2 OOO The O means 'open'.
If you place the capo on the first fret, you will effectively be changing the pitch of the guitar. Play an E minor RELATIVE TO THE CAPO it will BE this...
1 3 3 1 1 1
But Look like this...O 2 2 O O O
You'll notice that it is similar to a 'barre chord'; But, you don't have to 'barre'. The capo does that for you. And you are playing an ' Fminor' without having to learn a new chord.
What makes the capo such a wonderful trick; is that with it, you can play one chord progression in many different keys without having to learn new chords! This makes some songs easier to sing, or it may make a song sound a little different. The capo has the ability to inspire creativity, or encourage growth in your set list.
If the capo is on the 2nd fret, but your hand plays a "G" chord...you'll be playing an "A" to the rest of the worlds ear.
If the capo is on the 4th fret, but your hand plays a "G" ....you're playing a "B" to the rest of the worlds ear.
By learning theory, you will open yourself up to a ton of songs that you didn't know you could play. It will also help you put "your flavor" on old classics, or to play songs in a key that you can sing with comfortably.
I hope this helps somebody.
Wednesday
The Evolution of The Outlet
I first heard the tremendous talent from this rock band with an expressive jazz, funk style band self introduced as FreeJay, featuring Big Mountain Little Everest, coming from the Coca~Cola stage at the Cherry Blossom Festival on March 22, 2012! I was impressed as two band mates "flipped the script" with the lead singer and the drummer switching out during their high energy performance. I introduced myself and passed my contact information to FreeJay band manager, Jessica, before the band departed the stage in hopes of gaining an interview with the band members.
Jessica contacted me and I was invited to interview the guys of FreeJay before their band practice on March 25. I was stoked to sit down with Jessica and the band mates to get a lesson in their music!
FreeJay was initially comprised in 2006 of front man Jeff "FreeJay" Warren and evolved with time to become the current band, FreeJay & $2 Fortys, which has been playing together for a month and a half at the time of our interview, although most of the material is previous. In speaking with Jeff, he will mesmerize you with entertaining conversation filled with stories and jokes. After taking part in definitively making forty six CDs through alternate projects, Jeff was determined he would make his own album, "and just find cats that just want to go play." Jeff is very talented as a lead vocalist, song writer, guitarist, drummer, and pianist. Jeff enthusiastically admits he has always written the same type of music, but the music as played "can range from simple to an eleven piece band with strings and horns and everything else, either way, it just sounds great." Jeff is in tune with his song writing style as he writes what comes, he says to sit down and think to write just didn't work for him, but to just sit down and let go, allow emotions to flow and "bam there it is." Jeff describes, "people say I hate my bad life, no - I'm learning to embrace it because it is the fuel to the fire. If I would just be content with what God has given me, it would be beautiful and that is where I am at." He will have you wondering where does the talent end, a better question is where does the talent begin?
Jeff met Michael "Mike" Roark in 2004 as Jeff played drums for another band. Michael charmingly joked, "they just threw a bass at me and I picked it up and started playing." In actuality, Michael is as multifaceted as his band mates with the ability to play bass, guitar, and drums with plans of performing back up vocals in the future. Michael began playing the first four guitar chords as taught by his older brother, from there picked the rest up on his own. In 2008, Michael graduated the Master Recording Program II (audio recording school) at The Conservatory of Recording Arts & Sciences. Michael is currently attending classes at Macon State College toward a degree in Music Theory and Composition. Michael describes himself as "more conserved, I like to observe then just annoy people with witless banter." Cail describes Michael as, "able to do things on a bass that most people can't do on a regular guitar." During our conversation, Jeff correlated Michael to Beethoven. For inquisitive minds, I found out that Michael owns a Ibanez SR405QM Electric Bass Guitar that he plays in FreeJay & $2 Fortys. Michael owns a pretty serious guitar as well, a Schecter HELLRAISER-C1 Electric Guitar w/Floyd Rose tremolo.
Jeff and Cail "Boxxx" Huggins met in 2005 while Jeff played for "Face Down." Cail, 24, is a vivid artist as he plays drums, sings, writes songs, and plays guitar. Cail expresses "the music is about life, about celebrating." Cail says of Free Jay, "we all three bring something different to the table - like Jeff has his way of playing and singing that is really soulful and really uplifting. Mike brings the funk and groove to it, the mechanics of it all." Cail professed he has only been playing the drums for approximately a year and a half, has "learned finesse from playing with Jeff and Mike."
Cail's music influences include Alice In Chains, 311, Sublime, Red Hot Chili Peppers, Metallica, and New Radicals. These multi-dimensional influences come to light in FreeJay's music.
What is in a name? Jeff explains FreeJay means "Free as a bird...it is a symbolization of who I am, how I was raised, what I have been through, and I believe these guys can relate."
In regards to $2 Fortys, "FreeJay" has a 1940 microphone he was using in rehearsals and jokes came of the other 2 members and Jessica in regards, leading up to the name.
Side Projects:
As if FreeJay & $2 Fortys were not enough to keep Cail "Boxxx" busy, he collaborates with his friend, Famine, on a side project known as High Class and Homeless, a notorious rap duo. Famine stated that the name for this project stems from an incident that occurred about four years ago when he borrowed his Mom's boyfriend's late model Mercedes. While Famine was driving the car, his Mom and her boyfriend broke up, Famine decided to stay out in the car, driving, sleeping and eating in the Mercedes for three days, returning the vehicle upon the make up of his Mom and her boyfriend. "Boxxx" expresses that High class and Homeless is "a clean living band," no drugs and little to no alcohol consumption, although they have a song that pokes fun at drugs, called "Bobby Bouche'." "Boxxx" addressed his concern of bands lacking the support of others, he feels that bands should collectively help one another by "uplifting and boosting one another up," rather than act in each for their own.
FreeJay is also collaborating on a side project compiled of "heavier stuff," called Big Mountain, Little Everest. In fact, the Cherry Blossom Festival performance was a compilation of material from FreeJay & $2 Fortys featuring Big Mountain, Little Everest. Jeff explains the thought behind this project, "Little Everest, for some people, is the pinnacle of climbing up that mountain per say, they have been at the at the top of that pinnacle, they have bigger mountains to climb...I have been through life, I have seen every up and down, that is why I have something to write about. I don't just sit down and write out lyrics, it just comes from the heart. Truth is it has worked, I used to write, think stuff out and it just didn't work for me. I sit down and let go and bam there it is, it is surreal sometimes, but at the same time I realize we can get somewhere, because the people are going to make the music, per say."
With that, Jeff recited these lyrics from "Notion":
Little Charlotte is on the corner
doing what her mama taught her
selling her body for some drugs
but if she'd look deep inside,
she'd see things that she hides,
and all that is missing is love
but she never knew a notion of fear
behind they lyrics: "the world is programmed, and she feels no fear, doesnt realize that she is destorying her life, she going to end up in the same pattern and burden that her mom did."
Cail feels this hits home, "a lot of people see that as just another song, but as I see it, that is a true story." Jeff concurred and added, "at the top of that pinnacle, they have bigger mountians to climb."
Harmonious balance...
Cail shares, "it is really neat we all three bring something different to the table, Jeff has this way of playing and singing that is really soulful and really uplifting. And then he (speaking now of Mike) brings some funk and all the groove to it, I feel like without bass in the band, without a good player like Mike, it would be difficult and different sounding in the band, just in the way he plays and has a certain sound, he brings the mechanics of it all basically. The way they work with each other it really brings out the essence of what each is trying to bring to the table." It is really easy for me to translate it on drums with Jeff also being an amazing drummer, he shows me alot because I really came into all of this not really knowing crap about anything and Jeff said 'Dont worry about it man, just play what you feel and I will teach you here and there, if there is a certain part you've got to learn later we will bang out the details, we will figure it out and we will do it together." Cail continues, "I have been playing drums maybe a year to a year and a half in being serious with it. Working with these guys has done nothing but made me better, learning finesse is probably the hardest thing I have had to do, because I am so heavy handed, emotions is what it is all about behind the drums."
Jeff advices "finesse is everything in music."
Inspiration...
Success comes the hard way for Jeff, "it is just experience the hard way for me" because he has collaborated on 46 Cds (including his own, which is to come out soon), Jeff stresses, "that is just forty six of the bands that were serious enough to get something done, that's not counting the other 700 that never made it out of one days practice, or the garage. It is hard, I think they all have the desire, they lack the drive. To be honest, I'd lack the drive too, but circumstances in life drive me which also gives me the inspiration to write. It's like people say I hate my bad life, well, no I'm learning to embrace it because that feeds the fuel to the fire and I feel like I ought to just be content with what God has given me even if it is bad, it is going to turn out beautiful and that is where I am at. I have nothing to fear, from now on I will be known as FreeJay, that is what my mom calls me, that has always been my nickname and it says alot..and I say why not? It is obviously a path I should have took because it has worked. I like when things work."
mixed tracks...
With debate, 47 albums were worked on in actuality, Jeff states, "we did an album but never played together." Mike clarifies, "I was emailed tracks and I just laid bass down and a couple of song programs I have gotten, - not one practice with that particular band," Mike laughs. Jeff adds, "good material though - could have worked, there you go with that - all the talent and desire but no drive. It is so weird what happened." Mike chimes in, "another guitar player gone bad." Jeff stated, "that is why I like to write my own stuff because this is what I hate, you write all this good music, you have a unique sound and you put your heart and soul, five years later, three albums in and boom they just quit, you're screwed, because if a label was interested, they want the whole package."
A background in music...
Jeff shares personally, "the truth is I met my grandma on my dad's side for the first time after 28 years, I met my dad and that whole side of my family finally. My grandma happened to be a famous R & B singer, Leona Rogers. Jeff expressed excitement, "I was like holy cow, man, wow! And I got to meet her and she said when you learn to use your voice, because I did metal or something and she said when you learn to sing and do soul then you have it right and she said I know it's in you. I said I have thought so for a long time and she said well, you're right. So, Try that on FreeJay. That is what my grandma said to me and it just blew me away." Jeff and his grandmother spoke further in regards to his talent and career and to that, Jeff says, "Almost overnight, two worlds of a difference, like a studio opened up, all these people came, we just filled in the gaps, got in the studio to get this project done, including Mike who recorded on the album as well. The album turned out beautiful, I cannot wait to get it back. Beauty is, it is done now, we can finally establish my grandma was right. Like the other day, we just came to play, we didnt know how it was going to turn out and the response we got out of the crowd, all sorts of ages!"
Networking in Harmony...
Jeff, a Macon native, lived a few years in Tennessee. Of the Tennesse scene, Jeff tells "on the scene the people are super, super supportive at the club, the scene and all the bands are wide open. Starting musicians can play on the street or at ball games and an appreciation comes to them. Down here - I can say this because I have been in the scene, in every aspect of it, even played a street party...In Macon, Georgia, it is much more difficult to find that support". Jeff elaborated that he was in Tennessee, performing at a football game at UT and a patron requested that Jeff put a hat out for tips. Jeff put his drum snare case out and kept on playing. In a matter of about four or five hours he made little over $800. After feeling the support of the scene, Jeff spoke of finding a rare coin in what he recieved in tips that night. He took the coin in and recived $14 for that one quarter. Jeff says "I want to bring that here, now that I have got some real connections in Tennessee, alot with the clubs and radio stations"... Jeff states, "The Hummingbird is connected in that scene, in a sense, they bring in the good groups to the scene. I want to try to talk with the owners and people we know in different clubs and try to do that here because it creates a good network for the bands." Mike stated, "It would be nice to get a good circuit going." Jeff agrees, "that is what's missing, In the nineties, the circuits were everywhere, just get on one and it was amazing, the bands were cool and you played all these cool cities and you knew that every club you were going to was a cool club, good crowd, good people whose supportive of the music." Jeff enthusiastically proclaims, "The Press Club - thats the coolest venue I have ever been to, anywhere, so far - it's small but the crowd, the atmosphere, the bands - its like no other." That is the atmosphere Jeff wishes to bring into Macon.
Mike shared, "something that bothers me about Macon is the fact that it claims to be a music city yet there is hardly any music in it." Mike articulates, "I am not saying the talent wasn't here, I was saying that there are limited places to play." Cail added, "There is so much music, that there is so little opportunity to be heard, for instance, the Power Station requires you to have a press kit." According to Cail, this is a concern as alot of musicians aren't aware as to how to acquire press kit.
Room for Music Growth...
Jeff is a veteran at spreading his love of music, "look, I used to do this in the ninties, and I believe it helped, I used to go and set up in Central City Park, create our own show. It's free, it's not against the law and as long as you're out by ten o'clock, it was perfectly cool. we would get hundreds of people down there and have our own show. Everybody would just set up on the gazebo, play until you're done, another band would set up and just created our own shows. But that created something so unique down there that it carried over onto Cherry Street. In the ninties there were hundreds and hundreds and hundreds of people on Cherry Street. Now there may be a hundred people on Cherry Street." It's starting to grow again, I noticed some little stores opening back up and Mercer getting the Villas, kind of enhancing the college and that helps the city." Jeff elaborated that Mercer (or any independent entity), could start a local radio station, similar to what he witnessed in Tennessee, to help promote local music amongst the big hits, offering local musicians the opportunity to send in their music to the station for potential rotation. Mike warns, "you would have to find out what regulations they have." Jeff shared, "you used to not get the games televised, we are now starting to get the Mercer Bear games televised, people get into that...if Mercer were to get a football team, it would be where it's at!" Jeff used to perform at local college games in Tennessee, so he sees potential for Macon there as well.
Growing Ideas...
Jeff and a friend want to start "The Four Seasons Festival, every season we want to have it in the same location, like a three day weekend event and bring in bands from everywhere, and all these big bands and at the very end of the night have one headliner, don't have the financials now. I actually have the connections to make it happen."
All in good fun...
Jeff broke up the serious talk with an amusing joke in a sombrero.
Mike joked, "It only takes Jeff seven hours to do a two hour interview."
Cail poked fun at Jeff telling nearly his life story, "I am FreeJay", Cail giving a brief break down of events and adding ...."by the way my left hand got cut off in the war." Jokes continued about Jeff's conversational review, Jessica throws in a joke, "he is just excited about seeing actual people." Cail says of Jeff, "we are what you see, we are very comfortable people, man, that is basically how it is. Jeff, he is a goof ball, but at the same time he is as cool as water in a swimming pool." Of course, laughs continue to erupt. Mike jokes about Jeff's sweater, "Next show we do, you got to wear that Cosby sweater, man." Jeff counters, "I will have my pudding pops sitting on the stage."
Influences...
I finally was able to turn my attention to the quieter member of FreeJay & $2 Fortys, inquire about Mike's music background. Mike shared he began playing bass in 2000, Cail chimes in "A.D.," breaking out another laugh amongst us. Michael admits "I was a band geek in school and Captain of my percussion line back in high school." After high school, he decided to learn another instrument and "picked up a bass and started playing Metallica." That was the first influence, Mike adds "let's see if I can play this and I will be all right." Mike was further influenced by Jimi Hendrix, Rush, Red Hot Chili Peppers, and Dead Kennedy's.
Natural talent...
Jeff, aka "FreeJay," began playing a snare drum at the early age of four. Jeff recieved his first set of drums at nine and was a comfortable musician at tweleve. "Drums - my natural talent, I guess," says Jeff. At fourteen, Jeff took up playing acoustic guitar. He learned to play by ear and the talent has grown more so through the years. Jeff confesses, "I always wanted to play guitar, but was too lazy to take lessons, so over the years I learned to play by ear." Jeff admits, "I am very theatrical as well." He has performed in a nun costume with Kiss-style makeup, a performance to this effect actually was included in a video music compilation that Jeff shared.
Word...
Cail has been playing guitar for about 15 years, he elaborates, "I'm not a master solo artist or anything, I try my best to pull a solo out. You either have it or you don't, sometimes you just have to do it like it or not, but the show must go on. I learned by ear, I still do not know how to read music to this day. The drums for me, is a new experience all together, I like to say you got to be schizophrenic a little bit to play the drums, man - everything you have, every appendage is doing something completely different, man". Cail continues, "I am just tapping into my schizophrenia. It is a big world, man, but you got to exist in it man, to come into it at this band, because we do so many different things, not only in FreeJay & $2 Fortys, it has alot of depth to it and it's hard music to understand from a musicality stand point - it is hard to think about what you are playing (yes, Cail was picked on for saying "musicality," so just remember you heard it here first)."
Personal Thoughts Of the Music...
Jessica asked what I thought of FreeJay & $2 Fortys, I stated, "well obviously, I stayed, that says alot." I elaborated further with Jessica, "I think it will really come together for the guys. Jeff's experience is amazing. The talent of all three is unbelieveable! You know I thought a lot of them, because I gave you my contact info."
Cail expressed, "our style of music is something you don't hear every day." Cail describes FreeJay & $2 Fortys' music as "R & B mixed with a little jazz, mixed with a little southern rock, mixed with some funk, mixed with some..." Famine cuts Cail off to share, "it is like Batman riding around in the Batmobile listening to Sublime."
Jessica declares, "what I love about FreeJay & $2 Fortys and their music is that it is so eclectric, it isn't this genre or that genre, they are everything and I think that is what is going to attract alot of people because it is so different. It don't matter what genre you think you like, you can listen to them and like them."
Michael affirms of FreeJay & the $2 Fortys' music, "The harmonies are good, and I like the fact that you can dance or rock out to it."
Jeff "FreeJay" says, "I am for the people, I want to appeal to everyone in the show. I am genuine in my writing, I write for me - I write what makes me happy at the moment. I am enjoying this music, I am enjoying playing it." Jeff adds, "If it doesn't work, I can say I was genuine to me."
Cail closed out my interview and FreeJay & the $2 Fortys' band practice session with a beautiful acoustic original that he wrote, "Meteors."
More to come...
I was able to catch FreeJay & $2 Fortys playing another live gig on Tuesday, March 27 at The Hummingbird Stage and Taproom! Even with an instrument mishap and a missing musician, they never cease to impress! FreeJay & the $2 Fortys can pull off anything in my book! If you ever get the chance to be captivated by this vivacious talent, be there!
Rolling with the changes...
FreeJay & the $2 Fortys underwent band member changes since our interview with an addition of full-time drummer Phillip "Pip" Park, placing Cail "Boxxx" on guitar full time. "Pip" also takes part in another project called Failtrain. Shortly thereafter, Cail "Boxxx" departed when High Class and Homeless signed a contract, requiring "Boxxx's" undivided attention for now. Freejay & the $2 Fortys replaced Cail with local guitarist Cameron Sandoval. Cameron shared that he has been playing guitar for approximately thirteen years.
No matter what comes, keep expecting the unexpected as the energy of Freejay & $2 Fortys remains unchanged for this driven band. Cail added, "All I know is that the unexpected is what you can expect from every aspect of a spectacular group of musicians...and I hope we can meet the expectations of our spectators and special fans." Does this mean Cail may return? He definately has plans to work with the guys of this vivacious band in the future.
With a growing band and fan base, a name change came into play for FreeJay & $2 Fortys. After much deliberation between the band members, the name transformed to The Outlet. Philip Park shared of their name change,"We decided not to go with the $2 Forty's because we didn't want to portray the image of we were all a bunch of 40's drinkin hoodlums. We chose The Outlet because everyone needs an Outlet in life to deal with all the wrong in the world, to escape whats going on around us. Music is probably one of the biggest outlets and we hope that our music can be that outlet for everyone."
If you would like more information and music samples, please visit:
http://www.myspace.com/freejsupreme
http://www.facebook.com/FreeJay
http://www.reverbnation.com/hiho
For upcoming gig information or to book FreeJay & $2 Fortys, please contact Jessica Boone at 478-284-9190.
Jessica contacted me and I was invited to interview the guys of FreeJay before their band practice on March 25. I was stoked to sit down with Jessica and the band mates to get a lesson in their music!
FreeJay was initially comprised in 2006 of front man Jeff "FreeJay" Warren and evolved with time to become the current band, FreeJay & $2 Fortys, which has been playing together for a month and a half at the time of our interview, although most of the material is previous. In speaking with Jeff, he will mesmerize you with entertaining conversation filled with stories and jokes. After taking part in definitively making forty six CDs through alternate projects, Jeff was determined he would make his own album, "and just find cats that just want to go play." Jeff is very talented as a lead vocalist, song writer, guitarist, drummer, and pianist. Jeff enthusiastically admits he has always written the same type of music, but the music as played "can range from simple to an eleven piece band with strings and horns and everything else, either way, it just sounds great." Jeff is in tune with his song writing style as he writes what comes, he says to sit down and think to write just didn't work for him, but to just sit down and let go, allow emotions to flow and "bam there it is." Jeff describes, "people say I hate my bad life, no - I'm learning to embrace it because it is the fuel to the fire. If I would just be content with what God has given me, it would be beautiful and that is where I am at." He will have you wondering where does the talent end, a better question is where does the talent begin?
Jeff met Michael "Mike" Roark in 2004 as Jeff played drums for another band. Michael charmingly joked, "they just threw a bass at me and I picked it up and started playing." In actuality, Michael is as multifaceted as his band mates with the ability to play bass, guitar, and drums with plans of performing back up vocals in the future. Michael began playing the first four guitar chords as taught by his older brother, from there picked the rest up on his own. In 2008, Michael graduated the Master Recording Program II (audio recording school) at The Conservatory of Recording Arts & Sciences. Michael is currently attending classes at Macon State College toward a degree in Music Theory and Composition. Michael describes himself as "more conserved, I like to observe then just annoy people with witless banter." Cail describes Michael as, "able to do things on a bass that most people can't do on a regular guitar." During our conversation, Jeff correlated Michael to Beethoven. For inquisitive minds, I found out that Michael owns a Ibanez SR405QM Electric Bass Guitar that he plays in FreeJay & $2 Fortys. Michael owns a pretty serious guitar as well, a Schecter HELLRAISER-C1 Electric Guitar w/Floyd Rose tremolo.
Jeff and Cail "Boxxx" Huggins met in 2005 while Jeff played for "Face Down." Cail, 24, is a vivid artist as he plays drums, sings, writes songs, and plays guitar. Cail expresses "the music is about life, about celebrating." Cail says of Free Jay, "we all three bring something different to the table - like Jeff has his way of playing and singing that is really soulful and really uplifting. Mike brings the funk and groove to it, the mechanics of it all." Cail professed he has only been playing the drums for approximately a year and a half, has "learned finesse from playing with Jeff and Mike."
Cail's music influences include Alice In Chains, 311, Sublime, Red Hot Chili Peppers, Metallica, and New Radicals. These multi-dimensional influences come to light in FreeJay's music.
What is in a name? Jeff explains FreeJay means "Free as a bird...it is a symbolization of who I am, how I was raised, what I have been through, and I believe these guys can relate."
In regards to $2 Fortys, "FreeJay" has a 1940 microphone he was using in rehearsals and jokes came of the other 2 members and Jessica in regards, leading up to the name.
Side Projects:
As if FreeJay & $2 Fortys were not enough to keep Cail "Boxxx" busy, he collaborates with his friend, Famine, on a side project known as High Class and Homeless, a notorious rap duo. Famine stated that the name for this project stems from an incident that occurred about four years ago when he borrowed his Mom's boyfriend's late model Mercedes. While Famine was driving the car, his Mom and her boyfriend broke up, Famine decided to stay out in the car, driving, sleeping and eating in the Mercedes for three days, returning the vehicle upon the make up of his Mom and her boyfriend. "Boxxx" expresses that High class and Homeless is "a clean living band," no drugs and little to no alcohol consumption, although they have a song that pokes fun at drugs, called "Bobby Bouche'." "Boxxx" addressed his concern of bands lacking the support of others, he feels that bands should collectively help one another by "uplifting and boosting one another up," rather than act in each for their own.
FreeJay is also collaborating on a side project compiled of "heavier stuff," called Big Mountain, Little Everest. In fact, the Cherry Blossom Festival performance was a compilation of material from FreeJay & $2 Fortys featuring Big Mountain, Little Everest. Jeff explains the thought behind this project, "Little Everest, for some people, is the pinnacle of climbing up that mountain per say, they have been at the at the top of that pinnacle, they have bigger mountains to climb...I have been through life, I have seen every up and down, that is why I have something to write about. I don't just sit down and write out lyrics, it just comes from the heart. Truth is it has worked, I used to write, think stuff out and it just didn't work for me. I sit down and let go and bam there it is, it is surreal sometimes, but at the same time I realize we can get somewhere, because the people are going to make the music, per say."
With that, Jeff recited these lyrics from "Notion":
Little Charlotte is on the corner
doing what her mama taught her
selling her body for some drugs
but if she'd look deep inside,
she'd see things that she hides,
and all that is missing is love
but she never knew a notion of fear
behind they lyrics: "the world is programmed, and she feels no fear, doesnt realize that she is destorying her life, she going to end up in the same pattern and burden that her mom did."
Cail feels this hits home, "a lot of people see that as just another song, but as I see it, that is a true story." Jeff concurred and added, "at the top of that pinnacle, they have bigger mountians to climb."
Harmonious balance...
Cail shares, "it is really neat we all three bring something different to the table, Jeff has this way of playing and singing that is really soulful and really uplifting. And then he (speaking now of Mike) brings some funk and all the groove to it, I feel like without bass in the band, without a good player like Mike, it would be difficult and different sounding in the band, just in the way he plays and has a certain sound, he brings the mechanics of it all basically. The way they work with each other it really brings out the essence of what each is trying to bring to the table." It is really easy for me to translate it on drums with Jeff also being an amazing drummer, he shows me alot because I really came into all of this not really knowing crap about anything and Jeff said 'Dont worry about it man, just play what you feel and I will teach you here and there, if there is a certain part you've got to learn later we will bang out the details, we will figure it out and we will do it together." Cail continues, "I have been playing drums maybe a year to a year and a half in being serious with it. Working with these guys has done nothing but made me better, learning finesse is probably the hardest thing I have had to do, because I am so heavy handed, emotions is what it is all about behind the drums."
Jeff advices "finesse is everything in music."
Inspiration...
Success comes the hard way for Jeff, "it is just experience the hard way for me" because he has collaborated on 46 Cds (including his own, which is to come out soon), Jeff stresses, "that is just forty six of the bands that were serious enough to get something done, that's not counting the other 700 that never made it out of one days practice, or the garage. It is hard, I think they all have the desire, they lack the drive. To be honest, I'd lack the drive too, but circumstances in life drive me which also gives me the inspiration to write. It's like people say I hate my bad life, well, no I'm learning to embrace it because that feeds the fuel to the fire and I feel like I ought to just be content with what God has given me even if it is bad, it is going to turn out beautiful and that is where I am at. I have nothing to fear, from now on I will be known as FreeJay, that is what my mom calls me, that has always been my nickname and it says alot..and I say why not? It is obviously a path I should have took because it has worked. I like when things work."
mixed tracks...
With debate, 47 albums were worked on in actuality, Jeff states, "we did an album but never played together." Mike clarifies, "I was emailed tracks and I just laid bass down and a couple of song programs I have gotten, - not one practice with that particular band," Mike laughs. Jeff adds, "good material though - could have worked, there you go with that - all the talent and desire but no drive. It is so weird what happened." Mike chimes in, "another guitar player gone bad." Jeff stated, "that is why I like to write my own stuff because this is what I hate, you write all this good music, you have a unique sound and you put your heart and soul, five years later, three albums in and boom they just quit, you're screwed, because if a label was interested, they want the whole package."
A background in music...
Jeff shares personally, "the truth is I met my grandma on my dad's side for the first time after 28 years, I met my dad and that whole side of my family finally. My grandma happened to be a famous R & B singer, Leona Rogers. Jeff expressed excitement, "I was like holy cow, man, wow! And I got to meet her and she said when you learn to use your voice, because I did metal or something and she said when you learn to sing and do soul then you have it right and she said I know it's in you. I said I have thought so for a long time and she said well, you're right. So, Try that on FreeJay. That is what my grandma said to me and it just blew me away." Jeff and his grandmother spoke further in regards to his talent and career and to that, Jeff says, "Almost overnight, two worlds of a difference, like a studio opened up, all these people came, we just filled in the gaps, got in the studio to get this project done, including Mike who recorded on the album as well. The album turned out beautiful, I cannot wait to get it back. Beauty is, it is done now, we can finally establish my grandma was right. Like the other day, we just came to play, we didnt know how it was going to turn out and the response we got out of the crowd, all sorts of ages!"
Networking in Harmony...
Jeff, a Macon native, lived a few years in Tennessee. Of the Tennesse scene, Jeff tells "on the scene the people are super, super supportive at the club, the scene and all the bands are wide open. Starting musicians can play on the street or at ball games and an appreciation comes to them. Down here - I can say this because I have been in the scene, in every aspect of it, even played a street party...In Macon, Georgia, it is much more difficult to find that support". Jeff elaborated that he was in Tennessee, performing at a football game at UT and a patron requested that Jeff put a hat out for tips. Jeff put his drum snare case out and kept on playing. In a matter of about four or five hours he made little over $800. After feeling the support of the scene, Jeff spoke of finding a rare coin in what he recieved in tips that night. He took the coin in and recived $14 for that one quarter. Jeff says "I want to bring that here, now that I have got some real connections in Tennessee, alot with the clubs and radio stations"... Jeff states, "The Hummingbird is connected in that scene, in a sense, they bring in the good groups to the scene. I want to try to talk with the owners and people we know in different clubs and try to do that here because it creates a good network for the bands." Mike stated, "It would be nice to get a good circuit going." Jeff agrees, "that is what's missing, In the nineties, the circuits were everywhere, just get on one and it was amazing, the bands were cool and you played all these cool cities and you knew that every club you were going to was a cool club, good crowd, good people whose supportive of the music." Jeff enthusiastically proclaims, "The Press Club - thats the coolest venue I have ever been to, anywhere, so far - it's small but the crowd, the atmosphere, the bands - its like no other." That is the atmosphere Jeff wishes to bring into Macon.
Mike shared, "something that bothers me about Macon is the fact that it claims to be a music city yet there is hardly any music in it." Mike articulates, "I am not saying the talent wasn't here, I was saying that there are limited places to play." Cail added, "There is so much music, that there is so little opportunity to be heard, for instance, the Power Station requires you to have a press kit." According to Cail, this is a concern as alot of musicians aren't aware as to how to acquire press kit.
Room for Music Growth...
Jeff is a veteran at spreading his love of music, "look, I used to do this in the ninties, and I believe it helped, I used to go and set up in Central City Park, create our own show. It's free, it's not against the law and as long as you're out by ten o'clock, it was perfectly cool. we would get hundreds of people down there and have our own show. Everybody would just set up on the gazebo, play until you're done, another band would set up and just created our own shows. But that created something so unique down there that it carried over onto Cherry Street. In the ninties there were hundreds and hundreds and hundreds of people on Cherry Street. Now there may be a hundred people on Cherry Street." It's starting to grow again, I noticed some little stores opening back up and Mercer getting the Villas, kind of enhancing the college and that helps the city." Jeff elaborated that Mercer (or any independent entity), could start a local radio station, similar to what he witnessed in Tennessee, to help promote local music amongst the big hits, offering local musicians the opportunity to send in their music to the station for potential rotation. Mike warns, "you would have to find out what regulations they have." Jeff shared, "you used to not get the games televised, we are now starting to get the Mercer Bear games televised, people get into that...if Mercer were to get a football team, it would be where it's at!" Jeff used to perform at local college games in Tennessee, so he sees potential for Macon there as well.
Growing Ideas...
Jeff and a friend want to start "The Four Seasons Festival, every season we want to have it in the same location, like a three day weekend event and bring in bands from everywhere, and all these big bands and at the very end of the night have one headliner, don't have the financials now. I actually have the connections to make it happen."
All in good fun...
Jeff broke up the serious talk with an amusing joke in a sombrero.
Mike joked, "It only takes Jeff seven hours to do a two hour interview."
Cail poked fun at Jeff telling nearly his life story, "I am FreeJay", Cail giving a brief break down of events and adding ...."by the way my left hand got cut off in the war." Jokes continued about Jeff's conversational review, Jessica throws in a joke, "he is just excited about seeing actual people." Cail says of Jeff, "we are what you see, we are very comfortable people, man, that is basically how it is. Jeff, he is a goof ball, but at the same time he is as cool as water in a swimming pool." Of course, laughs continue to erupt. Mike jokes about Jeff's sweater, "Next show we do, you got to wear that Cosby sweater, man." Jeff counters, "I will have my pudding pops sitting on the stage."
Influences...
I finally was able to turn my attention to the quieter member of FreeJay & $2 Fortys, inquire about Mike's music background. Mike shared he began playing bass in 2000, Cail chimes in "A.D.," breaking out another laugh amongst us. Michael admits "I was a band geek in school and Captain of my percussion line back in high school." After high school, he decided to learn another instrument and "picked up a bass and started playing Metallica." That was the first influence, Mike adds "let's see if I can play this and I will be all right." Mike was further influenced by Jimi Hendrix, Rush, Red Hot Chili Peppers, and Dead Kennedy's.
Natural talent...
Jeff, aka "FreeJay," began playing a snare drum at the early age of four. Jeff recieved his first set of drums at nine and was a comfortable musician at tweleve. "Drums - my natural talent, I guess," says Jeff. At fourteen, Jeff took up playing acoustic guitar. He learned to play by ear and the talent has grown more so through the years. Jeff confesses, "I always wanted to play guitar, but was too lazy to take lessons, so over the years I learned to play by ear." Jeff admits, "I am very theatrical as well." He has performed in a nun costume with Kiss-style makeup, a performance to this effect actually was included in a video music compilation that Jeff shared.
Word...
Cail has been playing guitar for about 15 years, he elaborates, "I'm not a master solo artist or anything, I try my best to pull a solo out. You either have it or you don't, sometimes you just have to do it like it or not, but the show must go on. I learned by ear, I still do not know how to read music to this day. The drums for me, is a new experience all together, I like to say you got to be schizophrenic a little bit to play the drums, man - everything you have, every appendage is doing something completely different, man". Cail continues, "I am just tapping into my schizophrenia. It is a big world, man, but you got to exist in it man, to come into it at this band, because we do so many different things, not only in FreeJay & $2 Fortys, it has alot of depth to it and it's hard music to understand from a musicality stand point - it is hard to think about what you are playing (yes, Cail was picked on for saying "musicality," so just remember you heard it here first)."
Personal Thoughts Of the Music...
Jessica asked what I thought of FreeJay & $2 Fortys, I stated, "well obviously, I stayed, that says alot." I elaborated further with Jessica, "I think it will really come together for the guys. Jeff's experience is amazing. The talent of all three is unbelieveable! You know I thought a lot of them, because I gave you my contact info."
Cail expressed, "our style of music is something you don't hear every day." Cail describes FreeJay & $2 Fortys' music as "R & B mixed with a little jazz, mixed with a little southern rock, mixed with some funk, mixed with some..." Famine cuts Cail off to share, "it is like Batman riding around in the Batmobile listening to Sublime."
Jessica declares, "what I love about FreeJay & $2 Fortys and their music is that it is so eclectric, it isn't this genre or that genre, they are everything and I think that is what is going to attract alot of people because it is so different. It don't matter what genre you think you like, you can listen to them and like them."
Michael affirms of FreeJay & the $2 Fortys' music, "The harmonies are good, and I like the fact that you can dance or rock out to it."
Jeff "FreeJay" says, "I am for the people, I want to appeal to everyone in the show. I am genuine in my writing, I write for me - I write what makes me happy at the moment. I am enjoying this music, I am enjoying playing it." Jeff adds, "If it doesn't work, I can say I was genuine to me."
Cail closed out my interview and FreeJay & the $2 Fortys' band practice session with a beautiful acoustic original that he wrote, "Meteors."
More to come...
I was able to catch FreeJay & $2 Fortys playing another live gig on Tuesday, March 27 at The Hummingbird Stage and Taproom! Even with an instrument mishap and a missing musician, they never cease to impress! FreeJay & the $2 Fortys can pull off anything in my book! If you ever get the chance to be captivated by this vivacious talent, be there!
Rolling with the changes...
FreeJay & the $2 Fortys underwent band member changes since our interview with an addition of full-time drummer Phillip "Pip" Park, placing Cail "Boxxx" on guitar full time. "Pip" also takes part in another project called Failtrain. Shortly thereafter, Cail "Boxxx" departed when High Class and Homeless signed a contract, requiring "Boxxx's" undivided attention for now. Freejay & the $2 Fortys replaced Cail with local guitarist Cameron Sandoval. Cameron shared that he has been playing guitar for approximately thirteen years.
No matter what comes, keep expecting the unexpected as the energy of Freejay & $2 Fortys remains unchanged for this driven band. Cail added, "All I know is that the unexpected is what you can expect from every aspect of a spectacular group of musicians...and I hope we can meet the expectations of our spectators and special fans." Does this mean Cail may return? He definately has plans to work with the guys of this vivacious band in the future.
With a growing band and fan base, a name change came into play for FreeJay & $2 Fortys. After much deliberation between the band members, the name transformed to The Outlet. Philip Park shared of their name change,"We decided not to go with the $2 Forty's because we didn't want to portray the image of we were all a bunch of 40's drinkin hoodlums. We chose The Outlet because everyone needs an Outlet in life to deal with all the wrong in the world, to escape whats going on around us. Music is probably one of the biggest outlets and we hope that our music can be that outlet for everyone."
If you would like more information and music samples, please visit:
http://www.myspace.com/freejsupreme
http://www.facebook.com/FreeJay
http://www.reverbnation.com/hiho
For upcoming gig information or to book FreeJay & $2 Fortys, please contact Jessica Boone at 478-284-9190.
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