Post by TheWallsScreamedPoetry on Feb 10, 2005 10:57:48 GMT
Is There Life After Rock Guitar Godhead?
THis article from Musician Magazine in 1994 features Robby
ALVIN LEE HAD reached the pinnacle of rock guitardom. Of course, by the time Woodstock was over, his "I'm Going Home... by helicopter" histrionics would have been overshadowed b Jimi Hendrix's climactic 'Star Spangled Banner', but for that moment, all flying sweat and flashing fingers, the 24-year-old Nottingham lad emblazoned himself on the national consciousness, thanks, in large part, to the subsequent movie of the event. Overnight, Ten Years After burst onto the American rock scene, turning its fiery focal point into a full-fledged rock star. And making him absolutely miserable in the process.
"I'm a musician who started out playing in clubs," says Lee. "That's where I'm happiest. Some of the best gigs I've ever done have come in small, sweaty bars. I've been playing for some 37 years now and the motivation to keep going has to come from the enjoyment of what you're doing. The last thing I ever wanted to be was some cardboard cut-out of a rock star."
By 1974, Lee had disbanded the group and embarked on a solo career that included collaborations with George Harrison, Steve Winwood and Ron Wood. Like many musicians of his generation, he has been largely abandoned by the mainstream record industry and is now back to the world of independent and even self-run labels.
Lee puts out records on his own IHH imprint in Europe, which recently released his I Hear You Rockin' album, distributed in the States by one-stop confederation Alliance Entertainment through Viceroy Music, a specialty classic blues-rock imprint whose roster includes such veterans as Blodwyn Pig guitarist Mick Abrahams and Savoy Brown's Kim Simmonds. Shrapnel, previously known for releasing young metal bands through the Relativity(RED) distribution network (partially owned by Sony), has launched a roots-rock division called Blues Bureau, which boasts Leslie West and Mountain as well as Rick Derringer, Pat Travers and Greg Howe. Former Procol Harum guitarist Robin Trower and Scorpions/UFO veteran Michael Schenker have both launched their own labels, along with the likes of Martin Barre and Ronnie Montrose, while Santana/Journey axe slinger Neil Schon just recorded a solo album for new age label Higher Octave Music.
Lee, whose albums with Ten Years After lodged in the Top40 of the U.S. album charts at the group's peak, is now content to sell what an average Viceroy Record aims for in the U.S. -- anywhere between20,000 and 30,000 copies. "I'm much happier these days," says Lee. "The major labels are fine if you can get all the departments agreeing what to do. The trouble is, they know very little about music and most of 'em need second opinions and accountants to justify their every move. And you have to play the media game."
Being in the public eye and the subject of nosey journalists also bothers Savoy Brown guitarist Kim Simmonds, who has kept the band together on a variety of labels since forming the group in London almost 30 years ago. "I'd just as soon no one called, to tell the truth," he chuckles from his home in Syracuse, N.Y., where he married a local girl and has a year-old child. Savoy Brown, which was probably better known for sending its alumni to such acts as Yes (Bill Bruford) and Foghat , built up a loyal stateside following for its "workmanlike" take on the blues and even though Simmonds is the only original member in the current line-up, he insists his guitar-playing "provides the continuity." In fact, the new album,Bring It Home, features several players from the western New York area as well as cameo appearances by the likes of former band mate, Foghat's Lonesome Dave Peverett, in its return to Kim's true blues roots.
"All my better records feature the interplay between the singer and the guitarist," he says. "In blues-rock, if you get the right blend, like I think I have now, it's a spark that's irresistible to the ear. The right guitar sound with the right vocal has been the essence of Savoy Brown's music from the beginning."
And while Triple-A formats and bands like Hootie & the Blowfish, Dave Matthews Band and Blues Traveler -- as well as neoclassicists such as Lenny Kravitz and Popa Chubby -- signal a return to the classic blues-rock of the '60s and '70s, today's major labels are more interested in new, young, fresh talent than old war horses, no matter how large a drink tab their A&R execs run up at the House of Blues.
"In their inverted commas 'infinite wisdom,' the major labels think we're all fried out," says Blodwyn Pig founder Mick Abrahams, who has been battling the music biz wars since he split Jethro Tull rather than fight Ian Anderson's ever-expanding ego way back in 1969. "But that's not the impression I get from the audiences I play to or the people I talk to. Blodwyn Pig was literally playing in front of 25,000 at the Fairport Convention festival in England last year and we literally tore the arse out of 'em. They loved it. So where were the major labels?"
His latest Pig record, Lies, came out last year on Viceroy, whose president Arnie Goodman is an old friend of his, and includes ex-Tull-mate, drummer Clive Bunker. "The thing is, the indie labels are more interested in listening to what you're actually doing musically," says Mick. "They offer constructive criticism, but at least they're on your side."
Many musicians choose independent labels precisely so they don't have to deal with outside influences in the way of pressure to be more commercial... or at least what the record company thinks would be more commercial.
Doors guitarist Robby Krieger, who has recorded for indie labels his entire solo career, including his latest, RKO Live!, for the Albany, N.Y.-based One Way Records, hears all about the pitfalls of today's multinational conglomerate record companies from his son, a member of the band Bloodline, signed to EMI.
"It's unbelievable the way the record company tells them what to do," says Robby. "Who to write with, which songs to do, who the producer should be... it's ridiculous. We never would have stood for that in the '60s. It's totally a business now. Everything's for the money and the artist suffers."
Guitarist Robin Trower, who has formed his own V-12 Records label with former Chrysalis President Derek Sutton to release his latest album, 20thCentury Blues, agrees his own 1974 critical and commercial breakthrough, Bridge of Sighs, seemed to succeed with audiences because of the fact its psychedelic Hendrixian blues-rock ignored the dictates of the marketplace. In recent years, Trower proved his integrity was more important than cashing in when he turned down a chance to tour with a reformed Procol Harum on the BMG-distributed Zoo label because "there wasn't enough of myself in it."
Trower insists there was a lot more artistic integrity in the '70s. "Back then, you could get exposure with practically any kind of music. The channels have closed down so much over the last 10-15 years. It's very hard to get heard by the public unless you stick to one of the mainstream categories."
Which is why guitar heroes like Robin Trower, Alvin Lee and Kim Simmonds have found themselves drawn to independent labels run by people who are fans of the music... not lawyers, accountants, promotionmen or even A&R weasels.
"If you're making a record without pandering to the marketplace, then you've got to be prepared to basically start on the bottom rung," says Trower. "That's what you give up to be able to make the music you want without any commercial considerations whatsoever."
"We're the kind of musicians who play what we want to play," insists Lee. "All these pop stars and fashion kings sit down and ask themselves what the public wants. And then decide what they think they want and do that. To me, that's bullshit. If it doesn't come from inside so you have to tear it out, it's all a big sham. I've never followed trends. I play the music I enjoy. I try to make the records I'd like to hear. And if other people happen to like them, that's even more rewarding. And if they don't, at least you don't feel like a rip-off, like you've sold out. One of the worst things you can do is make a commercial record and not sell any. That must be the pits!"
"The main thing I've had throughout my career is complete artistic freedom," says Kim. "I've never been able to become a pop star, even when I tried to. And I'm glad my limitations got in the way or I probably would've lost my credibility with the fan base I have now."
It is the indies' goal to find and maximize that fan base. Robin Trower's manager Derek Sutton says: "In order to maintain a classic artist, you have to find their audience and each act has to do that for themselves. It's my job to keep Robin alive while radio is not playing his music... so that when radio finally does discover this music, we have the distribution apparatus already in place."
THis article from Musician Magazine in 1994 features Robby
ALVIN LEE HAD reached the pinnacle of rock guitardom. Of course, by the time Woodstock was over, his "I'm Going Home... by helicopter" histrionics would have been overshadowed b Jimi Hendrix's climactic 'Star Spangled Banner', but for that moment, all flying sweat and flashing fingers, the 24-year-old Nottingham lad emblazoned himself on the national consciousness, thanks, in large part, to the subsequent movie of the event. Overnight, Ten Years After burst onto the American rock scene, turning its fiery focal point into a full-fledged rock star. And making him absolutely miserable in the process.
"I'm a musician who started out playing in clubs," says Lee. "That's where I'm happiest. Some of the best gigs I've ever done have come in small, sweaty bars. I've been playing for some 37 years now and the motivation to keep going has to come from the enjoyment of what you're doing. The last thing I ever wanted to be was some cardboard cut-out of a rock star."
By 1974, Lee had disbanded the group and embarked on a solo career that included collaborations with George Harrison, Steve Winwood and Ron Wood. Like many musicians of his generation, he has been largely abandoned by the mainstream record industry and is now back to the world of independent and even self-run labels.
Lee puts out records on his own IHH imprint in Europe, which recently released his I Hear You Rockin' album, distributed in the States by one-stop confederation Alliance Entertainment through Viceroy Music, a specialty classic blues-rock imprint whose roster includes such veterans as Blodwyn Pig guitarist Mick Abrahams and Savoy Brown's Kim Simmonds. Shrapnel, previously known for releasing young metal bands through the Relativity(RED) distribution network (partially owned by Sony), has launched a roots-rock division called Blues Bureau, which boasts Leslie West and Mountain as well as Rick Derringer, Pat Travers and Greg Howe. Former Procol Harum guitarist Robin Trower and Scorpions/UFO veteran Michael Schenker have both launched their own labels, along with the likes of Martin Barre and Ronnie Montrose, while Santana/Journey axe slinger Neil Schon just recorded a solo album for new age label Higher Octave Music.
Lee, whose albums with Ten Years After lodged in the Top40 of the U.S. album charts at the group's peak, is now content to sell what an average Viceroy Record aims for in the U.S. -- anywhere between20,000 and 30,000 copies. "I'm much happier these days," says Lee. "The major labels are fine if you can get all the departments agreeing what to do. The trouble is, they know very little about music and most of 'em need second opinions and accountants to justify their every move. And you have to play the media game."
Being in the public eye and the subject of nosey journalists also bothers Savoy Brown guitarist Kim Simmonds, who has kept the band together on a variety of labels since forming the group in London almost 30 years ago. "I'd just as soon no one called, to tell the truth," he chuckles from his home in Syracuse, N.Y., where he married a local girl and has a year-old child. Savoy Brown, which was probably better known for sending its alumni to such acts as Yes (Bill Bruford) and Foghat , built up a loyal stateside following for its "workmanlike" take on the blues and even though Simmonds is the only original member in the current line-up, he insists his guitar-playing "provides the continuity." In fact, the new album,Bring It Home, features several players from the western New York area as well as cameo appearances by the likes of former band mate, Foghat's Lonesome Dave Peverett, in its return to Kim's true blues roots.
"All my better records feature the interplay between the singer and the guitarist," he says. "In blues-rock, if you get the right blend, like I think I have now, it's a spark that's irresistible to the ear. The right guitar sound with the right vocal has been the essence of Savoy Brown's music from the beginning."
And while Triple-A formats and bands like Hootie & the Blowfish, Dave Matthews Band and Blues Traveler -- as well as neoclassicists such as Lenny Kravitz and Popa Chubby -- signal a return to the classic blues-rock of the '60s and '70s, today's major labels are more interested in new, young, fresh talent than old war horses, no matter how large a drink tab their A&R execs run up at the House of Blues.
"In their inverted commas 'infinite wisdom,' the major labels think we're all fried out," says Blodwyn Pig founder Mick Abrahams, who has been battling the music biz wars since he split Jethro Tull rather than fight Ian Anderson's ever-expanding ego way back in 1969. "But that's not the impression I get from the audiences I play to or the people I talk to. Blodwyn Pig was literally playing in front of 25,000 at the Fairport Convention festival in England last year and we literally tore the arse out of 'em. They loved it. So where were the major labels?"
His latest Pig record, Lies, came out last year on Viceroy, whose president Arnie Goodman is an old friend of his, and includes ex-Tull-mate, drummer Clive Bunker. "The thing is, the indie labels are more interested in listening to what you're actually doing musically," says Mick. "They offer constructive criticism, but at least they're on your side."
Many musicians choose independent labels precisely so they don't have to deal with outside influences in the way of pressure to be more commercial... or at least what the record company thinks would be more commercial.
Doors guitarist Robby Krieger, who has recorded for indie labels his entire solo career, including his latest, RKO Live!, for the Albany, N.Y.-based One Way Records, hears all about the pitfalls of today's multinational conglomerate record companies from his son, a member of the band Bloodline, signed to EMI.
"It's unbelievable the way the record company tells them what to do," says Robby. "Who to write with, which songs to do, who the producer should be... it's ridiculous. We never would have stood for that in the '60s. It's totally a business now. Everything's for the money and the artist suffers."
Guitarist Robin Trower, who has formed his own V-12 Records label with former Chrysalis President Derek Sutton to release his latest album, 20thCentury Blues, agrees his own 1974 critical and commercial breakthrough, Bridge of Sighs, seemed to succeed with audiences because of the fact its psychedelic Hendrixian blues-rock ignored the dictates of the marketplace. In recent years, Trower proved his integrity was more important than cashing in when he turned down a chance to tour with a reformed Procol Harum on the BMG-distributed Zoo label because "there wasn't enough of myself in it."
Trower insists there was a lot more artistic integrity in the '70s. "Back then, you could get exposure with practically any kind of music. The channels have closed down so much over the last 10-15 years. It's very hard to get heard by the public unless you stick to one of the mainstream categories."
Which is why guitar heroes like Robin Trower, Alvin Lee and Kim Simmonds have found themselves drawn to independent labels run by people who are fans of the music... not lawyers, accountants, promotionmen or even A&R weasels.
"If you're making a record without pandering to the marketplace, then you've got to be prepared to basically start on the bottom rung," says Trower. "That's what you give up to be able to make the music you want without any commercial considerations whatsoever."
"We're the kind of musicians who play what we want to play," insists Lee. "All these pop stars and fashion kings sit down and ask themselves what the public wants. And then decide what they think they want and do that. To me, that's bullshit. If it doesn't come from inside so you have to tear it out, it's all a big sham. I've never followed trends. I play the music I enjoy. I try to make the records I'd like to hear. And if other people happen to like them, that's even more rewarding. And if they don't, at least you don't feel like a rip-off, like you've sold out. One of the worst things you can do is make a commercial record and not sell any. That must be the pits!"
"The main thing I've had throughout my career is complete artistic freedom," says Kim. "I've never been able to become a pop star, even when I tried to. And I'm glad my limitations got in the way or I probably would've lost my credibility with the fan base I have now."
It is the indies' goal to find and maximize that fan base. Robin Trower's manager Derek Sutton says: "In order to maintain a classic artist, you have to find their audience and each act has to do that for themselves. It's my job to keep Robin alive while radio is not playing his music... so that when radio finally does discover this music, we have the distribution apparatus already in place."