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RARADIO
(Click here)
"On to the
Next One" by
Jacqueline Van Bierk
"I See You
Tiger" by Via Tania
"Lost the
Plot" by Amoureux"
Bright Eyes,
Black Soul" by The Lovers
Key
"Cool Thing"
by Sassparilla
"These Halls I Dwell"
by Michael Butler
"St. Francis"by
Tom Russell & Gretchen Peters, performance by Gretchen
Peters and Barry Walsh;
"Who Do You
Love?"by Elizabeth Kay;
"Rebirth"by
Caterpillars;
"Monica's
Frock" by
Signel-Z;
"Natural
Disasters" by
Corey Landis;
"1,000
Leather Tassels" by
The Blank Tapes;
"We Are All Stone" and "Those
Machines" by Outer
Minds;
"Another Dream" by MMOSS;
"Susannah" by Woolen
Kits;
Jim Morrison, Elvis Presley,
Michael Jackson and other dead celebrities / news by A
SECRET PARTY;
"I Miss the Day" by My
Secret Island,
"Carriers of Light" by Brendan
James;
"The Last Time" by Model
Stranger;
"Last Call" by Jay;
"Darkness" by Leonard
Cohen;
"Sweetbread" by Simian
Mobile Disco and
"Keep You" fromActress off
the Chronicle movie soundtrack;
"Goodbye to
Love" from October
Dawn;
Trouble in
Mind 2011 label
sampler;
Black Box
Revelation Live
on Minnesota Public Radio;
Apteka "Striking
Violet";
Mikal
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and "Get Along";
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ATWOOD - "A Toiler's Weird Odyssey of Deliverance" -AVAILABLE
NOW FOR KINDLE (INCLUDING KINDLE COMPUTER APPS) FROM
AMAZON.COM. Use
this link.
CCJ Publisher Rick Alan Rice dissects
the building of America in a trilogy of novels
collectively calledATWOOD. Book One explores
the development of the American West through the
lens of public policy, land planning, municipal
development, and governance as it played out in one
of the new counties of Kansas in the latter half of
the 19th Century. The novel focuses on the religious
and cultural traditions that imbued the American
Midwest with a special character that continues to
have a profound effect on American politics to this
day. Book One creates an understanding about
America's cultural foundations that is further
explored in books two and three that further trace
the historical-cultural-spiritual development of one
isolated county on the Great Plains that stands as
an icon in the development of a certain brand of
American character. That's the serious stuff viewed
from high altitude. The story itself gets down and
dirty with the supernatural, which in ATWOOD
- A Toiler's Weird Odyssey of Deliveranceis the
outfall of misfires in human interactions, from the
monumental to the sublime. The
book features the epic poem "The
Toiler" as
well as artwork by New Mexico artist Richard
Padilla.
Elmore Leonard
Meets Larry McMurtry
Western Crime
Novel
I am offering another
novel through Amazon's Kindle Direct Publishing service.
Cooksin is the story of a criminal syndicate that sets its
sights on a ranching/farming community in Weld County, Colorado,
1950. The perpetrators of the criminal enterprise steal farm
equipment, slaughter cattle, and rob the personal property of
individuals whose assets have been inventoried in advance and
distributed through a vast system of illegal commerce.
It is a ripping good yarn, filled
with suspense and intrigue. This was designed intentionally to
pay homage to the type of creative works being produced in 1950,
when the story is set. Richard Padilla
has done his usually brilliant work in capturing the look and feel of
a certain type of crime fiction being produced in that era. The
whole thing has the feel of those black & white films you see on
Turner Movie Classics, and the writing will remind you a little
of Elmore Leonard, whose earliest works were westerns.
Use this link.
EXPLORE THE KINDLE
BOOK LIBRARY
If you have not explored the books
available from Amazon.com's Kindle Publishing
division you would do yourself a favor to do so. You
will find classic literature there, as well as tons
of privately published books of every kind. A lot of
it is awful, like a lot of traditionally published
books are awful, but some are truly classics. You
can get the entire collection of Shakespeare's works
for two bucks.
You do not need to buy a Kindle to
take advantage of this low-cost library. Use
this link to go to an Amazon.com page from which you
can download for free a Kindle App for
your computer, tablet, or phone.
Amazon is the largest,
but far from the only digital publisher. You can
find similar treasure troves atNOOK
Press (the
Barnes & Noble site), Lulu,
and others. |
|
|
|
Great Neck to Amsterdam
Michael Butler's
Bridge Crossing
By RAR
Musicians lead
lives of low return on huge personal investments. Among club players, even
immensely talented people often count themselves lucky if they can manage to
book their ways into clubs once per week. Many more may manage only one booking
a month, or just a handful of bookings in a single year. They can almost call it
a career if they happen to land an artist-in-residence type of gig, where they
work at one place for an extended period of time. Even Les Paul and his trio
only booked one night a week, in the hyper-competitive New York City club
environment, and that was on an off night, i.e., not a weekend gig where one
might expect a higher volume of traffic. In that NYC environment,
Michael Butler has been able to book resident
gigs that lasted years, and it is because for the clubs he works he represents a
high return on investment. People like him, even if he is just playing covers of
other artists' material.
I really love this guy. Beyond being an
extraordinary songwriter - after reading his long article below, a listen to his
rough recording of "These Halls I Dwell" will leave you speechless with
admiration - he has that rare artist's insight into everything that has worked
in his life and career, and everything that hasn't. Not to spoil the punch line
to the whole thing, but Michael has been embraced by European audiences whose
take on race relations is completely different from that of U.S. music
listeners, and the Europeans have been far more open to his musical tastes,
which have far more to do with The Beatles than with Earth, Wind & Fire or any
of the Black acts that every cliché might otherwise indicate for a guy born into
the life that Michael Butler was born into. Nothing has come easy to him. He
feels the pain of what he has perceived as errant steps along his own path to
career development, but somehow through it all he has retained a purity of
spirit that I find inspirational. The father of a young daughter, whom he and
his teacher wife raise on the tough streets of NYC, he has gone from playing
hard-edged metal rock to playing children's songs in hospital settings. There
seems to be no bitterness in him. Despite the encouragements and direction of
important influencers like Hilly Kristal,
the proprietor of the legendary club CBGB OMFUG, he has just never gotten the
breaks that he deserves. He put out a brilliant album of original material in
the 1990s that, lacking the backing of topflight management, went nowhere. He
has played cover material to make a living, even while his own composition
skills took a back seat to the mere struggle to survive in a vicious competitive
environment.
Michael is older now, and the horizons for older
musicians in the U.S. tend not to stretch out too far; indeed, tend to shrink
back in their potential for commercial promise. One senses, however, that
Michael Butler, possibly through soundtrack material or some other alternative
musical path, could still rise up and fulfill his vast promise. In a world of
phonies, he feels to me like the real deal, and I am honored by the
extraordinary contribution he has made to the creative and world communities
through his words below. I sincerely hope that someone with the right amount of
pull in the entertainment industry will read this article and see in Michael
Butler the things that I do, which is real genius, heart and soul, and that he
might finally receive the opportunity and acclaim that he so richly deserves.
Q: Can you
talk a little bit about your background, as in where you
grew up and what you recall about your family influences.
Were you a musical kid?
I grew Up in Great Neck Long Island and yes, my earliest
memories are around Family & Music. I was a Beatle Fan at
age 4. My Mother Loves Them so the LP’s were around the
House, me & My Brother Tommy Just Loved em & Would Spend
what seems like Days Listening to These 3 LP’s “Meet The
Beatles”, “Yesterday & Today” & “Magical Mystery Tour’. Me &
Tom from that early age thought We’d have the same success
as they did - talk about “High Hopes” !!! Great Neck…strange
in ways for a Black Person to be from – That is unless you
are Black & Come from there…You know the “Why’s & How’s”
your Peoples Got there etc… But still to this day people
have a “shocked” reaction to hearing that is where I’m from.
What Great Neck did was somewhat shield ya from the Blatant
Racism of America. It had it’s hang ups, but basically being
a Rich Jewish Town, it had it’s Heart in the Right Place.
Pro Education, Pro Equal Rights…From a People who know a
thing or two about being picked on or being a minority. I
DID believe that most White People were Jewish until about
the age of 10 or so…I remember my Mother Sort of Laughing &
explaining it to me.
Great Neck
wasn’t big on Live Music, Bar Life, Fast food/McDonalds or
Rock N Roll, so it was somewhat hard trying to Play out live
Once we hit age 15…nearly impossible, hence why we didn’t
have that “Following” other bands could achieve in other
parts of the Island or Country…It was impossible. We Looked
to the City – me & my Bro really, we felt it was open enough
to us ( wrong we were actually, Open Only if/upon moving
into it, which we didn’t do being good Long Island Boys who
went to College for their parents sake & to avoid growing
up/Real Life ). Plus the rest of Long island seemed a
question mark to us…we really didn’t know anything or enough
about it. We were scared to walk into any “Rock Clubs “ on
Long Island, and when we did we always thought someone was
gonna start a fight with us for being Black…it didn’t happen
much, but man did we cause some Stairs & Confused Looks from
People…we felt like we were the only “Men on the Moon”. In
the City, we’d see Black people in the Bars right away, on
the Street, in the Bands…it was Wonderful. What is so odd
about it now in retrospect is, NOW I know there were parts
of the Island we could have fit in real well…and heck, had
we played covers we could have been driving corvettes,
Renting our own apts & traveling to places like Saint John’s
to play bars…Funny it’s what you don’t know sometimes. The
City required one to be living there in the East Village, we
never made the move, so we never really got started there (
here actually because NYC has been my home for just about 25
years now). But the Island we knew nothing about, it all
seemed like an Ass kicking waiting to happen and believe me,
I did have my share of fights there over Being Black in the
wrong town…but those as well had to do with my “look”…My NYC
Look back in the day was nothing but a “What a Freak…And
He’s Black Too” !!! Another Odd thing is a couple of Great
Neck Guys ( Who Shall Remain Nameless) Found a decent level
of success in NYC – and Quickly too, but they had…well Money
$$. Their Parents either set em up at NYU or with Apts, or
just bankroller their “Artistic kid’s Careers”. Some of them
too came from families that were already in the Industry =
hence the living in Great Neck to begin with…They just never
mentioned it in High School, “Oh my Dad or Uncle or Cousin
is etc…” They never mention it in interviews either, never.
These same dudes laugh at the name of “Blue Fyre” ( My High
School Band ) but they had doors open to them that I never
had.
And Getting back
to the Island, one reason we didn’t know it well enough, was
because our Parents had divorced in 1970, my Father having
the “OK for a Black Dude $$ Job”, and my Mother left with 3
kids in a Great Neck House to pay for. She was Busy working
all the time (Cleaning Houses until she put herself Through
College) and me & my Brother running wild in the woods –
literally. My Sister was off to College Soon & in her High
school years She had a Rich ( To Us anyway) Boyfriend…a Good
guy who took care of her, she ate well & got herself through
College on loans & financial Aid…Never asked anything from My
Father who Did Make a GREAT Weekend Dad for us Boys - Tom &
Me Felt like Kings on Saturday because we ate well & saw a
movie…that Was High Living to us…I actually learned what I
did know about Long Island from going to those various Movie
Theaters !!! The Trouble with the Weekend Dad thing was,
during the week we survived on Poverty level…We didn’t eat
sometimes or barely…It’s funny, the “Hard Brotha’s” Around
here In Harlem (present Day) Feel “ ain’t nothing Harder
then a Project’s N..gga”… But let me tell you, I doubt they
went without eating…they had Food Stamps & we didn’t…Mom
knew nothing about that stuff having been raised on a
farm…and in her part of the South, welfare was looked down
on. My up Bringing was odd, Poor & Black in a Rich Jewish
Town... Although My Father did ease up somewhat in later
High School Years & Help us along “More”…but there was those
earlier years of the Divorce…plus “a break” with extended
Family that lead to very few visits to Cousin’s Houses on
Long Island…and really a lack of knowing the place I grew up
on.
Q: You were
quite a belter in your hard rock days. Did you have musical
training as a singer and musician? How did your talents
develop?
Thanks, now
only if people had moved the songs into my right keys !!! No
formal really…My College singing teacher hated me because
she knew I had little respect for the whole “When to
Breathe, When not to Breathe”. It was on the heels of John
Lennon’s death, so I was really into his vocal style and I
could see he didn’t do any training for that. The “Monster
Zero” band – A Band I should have never stayed in – had me
seek out vocal lessons…The Woman asked me a few questions &
said with a Face of some sort “No No, I won’t be teaching
you”. I was fine with that, I didn’t have the $$ for the
Lessons anyway, and borrowing $$ from “such such” was all
avoided when she said she wouldn’t take me on. That band –
like so many other – kicked me as a vocalist because they
wanted a Black Sebastian Bach or something… They never
considered moving songs into my Range to sing. But the fault
lies with me…Why I stayed in anything that didn’t float my
boat is beyond me now. I should have never tried to be
anything other What I wanted me to be, but instead tried to
be all the things others me wanted to be…All I wanted to do
was Write a song like “Jet”, “Go All The Way” or “ Hot
Blooded” – in my Key !!!
How My Talents
developed…Trying to be like the Beatles is the only real
answer. I did take Guitar lessons at age 11…and my hippy
teacher knew I didn’t want to learn notes etc…So one day he
just said “ I’ll teach you how to Play…without reading Music
”. I Think I later took lessons again at 14 for a bit…That
Teacher’s Wife was actually the first to tell me “No” as far
as vocal lessons… She was a Classical Singing teacher & gave
me the short Interview = Nope…I guess I had more attitude
then I can remember. I was always the song writer in most
bands, or one of them…so my playing stayed as a Rhythm
Guitarist. In 1986, there was a brief period where I was
going to be a “Lead/Only Guitarist” Aka The Edge…I did
ok…Glad there’s some footage
to show for it because it was short lived.
I Met & Decided to work with a
Traditional Guitarist extraordinaire, he had no Idea what
“The Edge” Was nor U2 anything I was about – Yes, another
Mistake – but he was good / Great. From the Clapton,
Hendrix, Jeff Beck School Of Thought…He Convinced me to put
down the Guitar & Just Front = End of My Lead Guitar Playing
Days.
Q: What was
the first musical act that really caught your attention and
influenced you in your own music?
Well The
Beatles… but you mean a Live Concert in front of me ? Don’t
know…Saw The Jackson 5 as my first concert ever 1970/72 ???
But We were already Huge Fans By the Time of the Show. I
remember in 7th Grade, Thinking I was the most fantastic act
on the Planet one could possibly see, but at a School Dance
that year I saw Steven Crawely’s Older Brother’s Band Doing
“Walk This Way” & “Dream On”… It Just Blew me Away…I was
AMAZED at ALL the Sound a full band could make. Up to that
point it had been Tom, Me & Maybe another Guitarist from
time to time. But that night seeing a Full 5 piece band, I
knew I had to improve a Great deal, that’s how I felt
leaving that Gymnasium that Night. Earlier I had seen the
Wedding Band play for my Cousin Debra’s Wedding, but I was
so young at that point, I sort of thought “ Oh you guys
ain’t famous, why should I care” !!! The Bass Player Though,
he stood out and Everyone in My Family Remembers Him to This
Day !!!
Q: Back in
1991, when you were a young dude with the band Monster Zero,
you were quite a front man, very theatrical and showy. Sexy,
too, like James Brown had a baby with Steven Tyler. Can you
talk a little bit about your approach to performing, and
your own evolution as a performer? What do you get out of
performing? And has your perspective changed over time?
Well with that
Band…It was the sort of thing that was going on at the time
– Metal. I thought I could “Up it” a notch with my drawing
back to James Brown/Mick Jagger…Always Like Jagger…That
1970’s Vibe/thing he did…And James, Well the first time I
picked up a stick & pretended it was a Mic, it was James I
was Seeing. Age 4 or so, Me & My Brother Tommy Along with
the Neighbors said Let’s Form a band on the heels of the
American Band Stand show ending… We were off & into the
Backyard doing it…Our Neighbors singing “Hey Hey We’re The
Monkees, Me Doing my Best James Brown – I Feel Good I Guess,
And Tom playing Trumpet I Think…That was the Beginning of
it.
Back to the M
Zero, Truth be told I hated most of the songs, thought they
left much to be desired, so I thought I’d make up for that
in my “Stage man ship”. Plus the Fact that they wouldn’t
move any of the Song Keys into my Range… I didn’t feel my
Vocals were Shinning…So I put on the SHOW… which lead to
fights with the Band. They wouldn’t just come out & say it,
but they felt they were being Up Staged, so they sat me down
& had a talk with me concerning “My Safety”…And that “out of
care” they didn’t want me endangering my self yad yad yad
Bullshit…They just were Wrong wrong wrong for me…as I guess
I was for them.
Q: You have
been around the New York music scene, and beyond, for quite
a long time. What was the New York rock club circuit like
when you were coming up? What is it like in that world for
you now? And how has it changed for you since you first
began? What venues in any of the five Burroughs would you
say are the hottest places these days to play? Where do you
find your audience?
NYC Never
wanted me really…In the 80’s I could dream, but honestly it
never did…and I don’t know why really. But at 31 I got to
Berlin Germany – a Long Story – and I saw EVERYTHING that
had been missing in my career all my life up to that point.
Night & Day really…I didn’t have to do much for people to
“care” over there…to follow me from club to club, to fight
over me (Clubs) on which nights I’d be playing, Woman
fighting over me on who thought they’d have me cornered
later that night…Radio offers to me, Management, TV the list
goes on & on & on…and by that time I was doing only cover
songs to boot !!! The Guy who had talked me into going over
there, another American named Paul, he was pushing his
originals – not very good, but man I can say we caused a
mini Storm. He’s over there to this day…asked me in his
nicest way ( Paul didn’t have much “touchy feely” to him, he
was more Blunt ). “ I think You Should Stay, we could make a
Great Team here”. And he was right, for Whatever reason the
Germans Loved his Brassiness, his gutter mouth & Andy Gibb
Looks…But I was the Real Star of the Duo & what they
Wanted…When Paul Wasn’t around the audience would tell me so
too…and it was obvious. Leaving Europe behind was like
leaving the 2nd Chance at a “Real Career” behind, This I can
know to myself for a Fact…Now as well as not taking
Hilly
Kristal
( CBGB’s) up on his offer to Manage us ( Blue Fyre)
in the 80’s, that was the MAJOR Miss we made…but I don’t
know if we would have managed to crack that “Black Guy Doing
Rock” thing here in NYC or The United States…What I Do know
is I would have been something Major in Europe by now had I
stayed there & not returned to Save my Marriage… and as well
have the Best of both worlds (my Thinking at the time) – at
the Time I was newly living in the City of my choice NYC and
playing a Bar in Times Square where “The Who” ( band) were
Dropping in regularly… I didn’t want to give that up as
well…in the End I missed my last change at being Something,
in a place that is truly Liberal & in Love with Black
Americans – which is something the American Media ain’t
gonna EVER tell ya.
NYC Club
Scene…in a Nut Shell For Michael Butler
1979-85 Tried
hard to fit in the “New Wave Thing” didn’t succeed very much
being a Bridge & Tunnel dude throughout all those
years…Still Fond Memories. CBGB’s The Ritzs, Tramps,
Dancettria, The Peppermint Lounge that’s all I can really
remember…other then RT Firefly’s But That Spot didn’t live
on like them other names did… Steve Steven’s Lived Next Door
to it !!!
1986 -91 Lost &
Looking for a “Scene”, felt New Wave Had gone too far into
Synth Sounds/Dance Music…No Guitar !!! Fell into the Heavy
Metal thing on the advice of FIT Friends “Oh there’s this
band playing the Limelight tonight, Guns & Roses, they’re
supposed to be Good”. Plus I was following The Cult’s Lead
venturing into the Metal/Cat Club Scene looking For Guitar
Driven Music. In the End a Major Mistake & Waste of time for
me, not such fond memories of a scene that if you were Black
you had to be the Drug Dealer or Door Man, or Bartender…All
of those guys when they had a band perform out, the scene
would come out & Support – Good or Bad. Me… among all those
Blonde hair bands, people just looked at me like “ What the
F ck are you here for…You Don’t Sell Me Pot” !!! I couldn’t
get arrested nor Booked. My Wife – then Girlfriend – was
watching my every move so I couldn’t take the banging
“Record Company Executive Secretary’s” Route either… I stood
there a lot trying to look cool…something like 3 years
zipped by of doing nothing… I did record one of the Best
Demos of my career “The Horse Power Demo”…Still couldn’t get
booked. By the Time I joined Monster Zero it was clear
pretty much from the start it wasn’t my band & an Up Hill
battle to get along with the leader of it. The Group did get
to play many a venue, but no decision was made by me & the
stupid choices I just had to go along with like a good
soldier does in boot camp…They where the most high profile
(on a Scene) I had been involved in - in my Metal days but
also the most un-enjoyable as well. I often wonder where the
Hell did Living Colour come out of – meaning “what Scene”. I
saw them a lot at CBGB’s, The Ritz but that was after they
were the “Buzz Word”/ the band to watch. I often wish I had
known where they had hung out, it had to have been a “Better
Place” for Brotha’s wanting to Rock. And the Metal scene did
Come to Them once the Buzz was out…before they were signed,
but I didn’t see them hanging on the Metal thing… They had a
better sense then me I guess…Hilly Kristal ( CBGB’s) had
told me in 1985 to “Hook up” with Vernon Reid…He Showed me a
Newspaper with a picture of Vernon & I thought to myself “NO
WAY, don’t you know Blue Fyre’s Gonna Be FAMOUS MAN…Just
Like You (Hilly) had said once in a 1981 Billboard
interview” - Of which I don’t have a copy of, I only saw it
once while in High School & thought we were well on our way.
But I guess Even Hilly knew we weren’t getting anywhere by
1985 - in order for him to make the Vernon Suggestion. I’ll
Always have a Dear Dear Place in My Heart For Hilly…a Love
of Sorts really. I didn’t meet Vernon until 88 or so.
1990’s Clubs:
The Marquee, Cat Club, Scrap Bar, Limelight & a million
others I can’t bother myself to remember.
Next was
O'Flaherty’s Ale House Between 8th * 9th Ave on 46th Street.
From 1993 -2004 I was the guy belting out Covers in the back
of that bar. A bar “Made by” the Cast Of TOMMY who pick it
as their hang out spot. Next Thing ya know, EVERY Cast came
a calling. Really it was the Stage Hands that got it all
Started. They liked the place, so when Actor’s Asked “Where
do I go etc…” the Doors of O’Flaherty’s Rocked & Rocked…And
I was the Constant Jukebox going on During all those years.
Tourist ( Our biggest Crowd at the end of my tenure there)
would ask me “Where To Go” and I couldn’t answer em…I didn’t
know, I spent every Fri & Sat Playing the Place, and Tues or
Weds ( can’t remember which one now). Plus I Was subbing for
guys who were off & Booking the Bar…it was my life
really…not unusual Me being there 7 days a week…6am
mornings, waking up at 2pm. I know I missed the reassurance
of the Limelight because those were my O’Flaherty years… And
for 11 years I got to play Rock Star every weekend, even if
it was with Covers.
After that it
was Me trying to fit into Wedding Bands ( 4 Years ) Hated
the Bands, the Band Leaders, musicians…the Abuse they did to
the music…the lack of Love & Care of performing it…They
Hated me even more…The White Nigga Vocalist – They didn’t
know what to do with me, so they had me not sing…regardless
if the Bride Pick the band from a video I was singing in, or
a Showcase I did Live singing to them – usually me as a Last
minute Sub – it didn’t matter. The Band had no intention on
letting me sing most - if any – of the stuff because they
were more…Stereotyping then ANYONE I have ever met. “The
Black Guy Sings this or that, and he certainly doesn’t sound
like you” !!! I got paid ( Under paid ) to stand there until
I had had enough. I hung in there for 4 years thinking it
would improve, thinking “If only they could see what I could
do to a crowd etc”…on occasion I had the opportunity to Work
my Magic on a Wedding party, but it didn’t go far. The Band
left as they Arrived, They didn’t care a “What So Ever” what
I had done that night…what Rock song I saved them with by
Knowing, what odd request I knew & played solo… none of it
mattered. They (Black & White Band Leaders) saw me as That
“Odd Black Fella” and that’s the way it stayed.
I Loved my last
night I did with them, I didn’t give a sh t about the band,
& the crowd Loved me, even wanted me to come party with em
in the Hotel (I didn’t, Jack The Agency owner had been good
enough to me that night so I honored that rule ) … But I did
tell the Drummer to Shut the Fuck up & let him know I could
easily take it to Hand to Hand Combat… I had had enough of
his “Walking Dead Rude dismissal of me”. He had nothing over
me that night…what was he gonna do “Tell Jack”… Jack was on
the gig & all could see I wasn’t playing by their rules any
longer. He paid Me right for that show too & asked if I’d
reconsider…My Answer was a Firm “ NO ”.
So No Rock
Scene For Me too from the years 2004 -2008.
At this point I
have no need for it at all…on the Heels of Returning from a
Summer Cover Gig situation in Denmark ( Long Story/ was
looking for original Stages Hookup that didn’t happen/And I
somewhat did my “Cover Gig Retirement” gig while there),
Denmark & Me (Song)
I got another
Midtown gig (Bar 9) that lasted close to 2 years. People
once again asked me “Where do I go after”… It was all I
could do to play the 4 hours, drink too much & Sleep in my
Car for Hours & Hours before driving home…Once Again, I had
no idea of “Where to go” when in NYC.
The Big difference I saw while playing Bar 9 was that in
years earlier at O’Flats, I WAS the Show until closing. At
Bar 9 At Best I was the opening act for the DJ…The Way that
place would fill up around 9:30/10pm…all for the DJ Culture.
That was the biggest difference for me and more then enough
to make me not seek bars any longer. The Acoustic guy is
alive & Well in Europe, maybe the rest of the USA, but in
NYC it’s the DJ’s Town. And at 51 my taste are my Dreams –
Open Fields of Grass & Festival Stages in Europe where I’d
be Liked instantly. It’s too much of a game to obtain such a
stage here in the USA, it’s who you know, label yad yad yad
yad. One Thing I DID GET out of my Naïve 2011 trip to
Denmark Was that I WOULD have those Festival stages with a
Year or 2 Years of staying there- if I relocated there =
translation the Crowd still Loves me over there, nothings
changed since the 90’s. But no, on my last trip/effort I
didn’t even meet one person with the Clout & the “Hook up”
to Put me on such (Euro) Fest Stages, so it’ll remain a
dream.
My Personal
Favor Bar here in NYC ? It’s Jimmy’s Corner in Times Square
http://nymag.com/listings/bar/jimmys_corner/
And You’re not gonna find a “Scene” There Smile
(Rick - Found
this as the Answer too. Didn’t see it, and wrote the above,
so here’s two answering the same question !!! M )
New York New
York…Oddly enough, it never embraced me say like a Place as
Berlin did. You can feel the difference the moment you
strike a chord…I’ve had an odd time here in the City…Played
for Kings & Queens Sort of Speak, but never broke past the
Bullshit that makes up the creative types here. They all
come from Butt fuck somewhere else with Massive Drive…and
they end up becoming some of the biggest Bastards on the
Planet. NYC Started out really good for me with CBGB’s…I
have Nothing but Love For Hilly Kristal… Our Big Mistake –
and perhaps my Career - was forgoing on his offer to Manage
us while we were in High School…Long Story, but that was the
door opening & Shutting all at once. And that was either
1980 or 81. After a long try at being a Bridge & Tunnel
Band, and never really infiltrating the City Thing…Plus
slammed with the Monster Zero thing, I was 28 and washed up.
Found myself ironically then moving into the City in 1991,
bandless, direction less. Lucked into playing a Times Square
bar in 1993 and that was probably the most exciting time of
my life here in NYC. The Long & Short of it, the Stage hands
would bring in the Stars & the Stars would bring in More
Stars etc… For a lot of years I knew & or entertained most
the folks on the Tonys once there after party was over …They
would all head to O’Flahery’s for the Unofficial After
Party…it was unreal. I Still can’t watch TV without seeing
someone who was either a friend or in my Audience once upon
a time. It was all covers & Lasted For 11 years, I’ve always
had a problem with mixing the two – Originals & Cover.
I was a cover
guy from 78 -80, all original from 1981 -91, and Covers from
93 onto today I guess…Although I’m really 2 feet out the
door on all of that.
Q: Your
songs are all nicely crafted pop songs that sound more like
Bon Jovi than inner-city R&B. Do you agree with that? Was it
hard to find guys in your neighborhood who were into that
kind of sound? How did you begin to build a music career on
what some would call “white kid rock”?
Funny You
mention Bon Jovi, I have an issue with him… We’re the Same
Age, came up around the same time, he made it I didn’t.
Other then the 4 Great Songs he has, I can’t see why he’s
still playing arena’s…His writing was never on a Level of a
Pete Townshend or Sting or Jagger. Those Guys Deserve to be
where they are…Bon bons…Well The Ladies Like him…it’s that
simple. And heck I think he’s a Good Good Person…but the
Music ????
Me: The 60’s
Seemed like everybody ( In My Small Black Community ) Loved
the Same things – The Beatles, Motown…There was no issue
early on…I was 3 or 4 When I became a Beatle Fan. By 8 I
started to sense there was a…I was out of step. That Became
obvious by ages of 13/14. I remember showing my sister
something I had written & I thought was R&B, and she
politely said “That sounds like White Music…It’s OK, Stick
with that, it’s what you sound like naturally”. I didn’t
like hearing that then, because the song was to be R&B, But
I look back on it now with the “Beauty” of it, the words she
told me…Just be honest to yourself. Simple…It took me until
the age of 48 to not care at all & just do that. White
people have had that right always…can sound anyway they
choose…it’s a freedom Black People haven’t allowed
themselves much of really…American Music/English/ Modern
music All comes from Black people…we’re a funny bunch when
it comes to this…we create something musically, and then
move on without looking back. We did that from 1900 – 1980
really. Something about Rap Music stopped that process…for
my $$ I wished we had stayed a lot longer with Rock N Roll
!!!! Me & My Brother being the loners of Black RnR in Great
Neck NY, we just took comfort in knowing that Black People
had started it…I studied it for a time in Books & Libraries,
I studied it up & Down & told anyone – Black or White about
it back then. They denied it or just treated me like the
freak I was. It was a lonely place at the end of the
day…fell in love with the Village in NYC when I discovered
it…whether or not the Brothas I saw where into the Same Rock
as I, they Dressed the part & were SO SO SO EVER COOL. I
dreamed of growing up & becoming one of them – Never
Happened.
Keep in Mind me
& Tom Were Willing to play both Rock & Disco…it was the
crowds that got disappointed when we did that – half would
walk out, half walk in etc… And Mostly our own Band Members
hated the R&B/Disco. I Pulled teeth for a year or so, but
gave in when the audiences show us no support. We’d do 30
mins Disco then Rock – or the other way around, and they
would Walk…boo…etc…And this was after having em smiling &
loving what we had done minutes earlier. We decided to go
with Rock because of the Beatles – it was what drove us to
music to begin with. It also made the band members happy &
we didn’t have to start a new band. I’ve often thought about
this…the dropped Soul music wasn’t my plan – it was made by
others. I had to sit back & watch guys like Michael Jackson,
Prince & later Living Colour take what I thought or just
knew was to be mine…The Bringing of Rock Music back to the
Black Audience or just be So Big that they had to like you –
along with Everyone else. I was sure this was to be mine…And
I had to admit defeat one by one… Jackson I had been such a
fan of, it didn’t hurt much…I figured I was next in line.
Prince was like “I Missed the Boat” etc… I did realize these
guys got to where they did by either playing Black music
first or having something “Black” in their Sound that the
audiences could hear, even in their Rock. My approach was, I
came head on with the Rock…and not the Heavy heavy stuff
that Blacks are “OK with” when they do listen to Rock…My
Taste were… “Straight Up Rock” The Cars, The Police,
Foreigner etc… I wondered if I had been in a band or
environment that had not had me make a choice, would I have
made it farther & or to where I had wanted to be (?), Come
in With the Soul Music I’ve always Loved, then hit em with
the Rock N Roll…I’ll never know now. I’ve written about this
in my “Newest” Writings…”Boys In The Band” Part I & II. And
up here on Vacation (August 2014) , I just wrote this one
song “Me As a Kid” ( Lyrics Sitting Around awhile, I paired
it up with some music that had been doing the Same, Presto
New Song !!! ).
https://soundcloud.com/michael-butler-8s/me-as-a-kid
"Me As A Kid"
By Michael
Butler
Verse
An Ocean. Of
Ideas But Wet Behind The
Ears, He’s too Old For His Years, This Is
What I was Told When I Was a Kid
PreC
You Should
Write, The Music That Relates To
Your Peers, You Should Write, Disco Funk
Or One Of Those Gears
Verse
I Don’t Think,
I Listened,
I Don’t Think I was Meant To Do,
What I’m Told, Yeah, Music Is The Core
To Me Soul
Pre C
Out Of Step,
Out Of Step With My
Generation, Out Of Step With The Music Of
My Race, Just Out of Step, All Over The
Place Set To My Own Pace, It Turned Out to
Be A Lonely Place
Verse
An Ocean. Of
Ideas But Wet Behind The
Ears, He’s too Old For His Years, This Is
What I was Told When I Was a Kid
PreC
You Should
Write, The Music That Relates To
Your Peers, Ohhh, You Should Write,
Disco Funk Or One Of Those Gears
Verse
I Don’t Think,
I Listened,
I Don’t Think I Was Meant, To Be Told,
What To Do, What Was The Cost To You,
I Know, Should I Know
I Did What I Did As A Kid
Pre C
Out Of Step,
Out Of Step With My
Generation, Out Of Step With The Music Of
My Race, Ohhh I Was Out of Step All Over
The Place, Set To My Own Pace,
It Turned into A Lonely Place,
Set Up The Dice, And Watched Them Fall
In Front Of My Eyes
Q: The
question above implies that you represent a break from
stereotype. Has that ever been an issue with regard to
marketing your songwriting and other musical talents? Or do
you see cultural biases as even factoring in to your
marketing approach?
I’ve only
started addressing it this year – with stuff written in the
last 2 years by a Publicity guy in Brooklyn. A Dam broke
somewhere in the last few years. I’ve seen the Difference in
how I’ve been treated in Europe & how I’ve been ignored
here. So at this point & age what do I really have to lose ?
…Except speak the Truth. I’ve always known it was a factor
in “the why’s” I didn’t get signed here in The USA…But with
people like Lenny K or Living Colour or Hoodie, it’s
possible…just really hard – Majorly harder than if you’re
White & depends on “who you know” and/or how many people
were showing up at your shows. The last was what I tried to
do, but never got off the ground…NYC is the wrong place to
be to gain a following…an honest “Ground roots” sort of
thing…Unless you’re Rapping or White doing Soul/Black Music
etc… Hoodie & the Blow Fish got signed because everywhere
they went Outside of NY, they would pull in an honest large
audience…Something like that is what I could have done if I
lived in Europe. NYC it’s just too much either networking or
being Animal like – “criminal like” - grabs a crowd…I could
never be what I wasn’t…I’ve always been Beatle Like…exactly
the wrong thing for a Black man from NYC to be…But then
again we did have Lenny K Smile… Who was born into the Buz
by the way.
I don’t need to
harp in the topic, but it has been what kept me out, and the
doors shut. Funny enough what most Black Americans don’t
know about Europe is that they don’t walk around with the
Civil War on their Minds…They have no connection to that
mess we - White AND Black – have created here. In Western
Europe you have a clean Slate, you can be / do all the Soul
music you wish to over there OR play all the Rock Music you
so desire… They feel All Modern Music Comes from the USA
anyway, they don’t have the same Walls as people do
here…Good is Good, end of it. Every African American Should
Travel there & open their eyes to another world, one that is
1000’s of years older and not based on 1865 or 1965…but yet,
we here in the USA elected President Obama…Twice. Americans
are an odd bunch indeed.
Q: What, to
your way of thinking, makes a great song? What elements do
you use in your own song construction to make your melodies
and arrangements work? What songwriters do you admire and
who has influenced your own work?
In the 60’s it
seemed you were in love with a song at first listen…the 70’s
you had to hear a song a few times more ( which can be nice
too) but it got ya as well Loving it. That’s what I’ve
always wanted to do with my music, whatever style, how ever
heavy, I wanted people to instantly Love it. Like “We Will
Rock You/We Are The Champions”, It’s got everything & as far
as I can remember, I loved it from Listen No#1. The Don’t
ever want to make cheap music, like a formula or manufacture
Line…The things that tend to be most popular for the last
20, 30 years or so, that’s what I strive to write. I don’t
brother to write that is so pop…Boy band stuff comes to
mind, I’m saddened when I see such bad writing get so much
praise…. Songs like “Opps I did it again” To “Firework”, I
can’t stand that sort of thing. And once in while a song
like “The Climb” will “fit the Bill” on all levels, I hope I
never over look a Great Song like that just because of who
may have recorded it or who wrote it…but we all know what
cheesy music is, and I want no part. I want to go for songs
like “Hey Delilah” or “The Duke Of Earl”. Good is all I look
for at the End of the day.
Q: In your
songwriting, are you developing any particular themes these
days? (You may not think that way.)
These days it’s
Folk music, and Higher Focus on the Words. I’ve always did
music I thought would be instantly Liked…in the 80’s I wrote
complicated parts in the style of the Band Squeeze ( a
Favorite of mine)… but words were just to “Fill” the Music.
For the last couple of years, maybe ten or so now, It’s the
Words I want to be the Meat of the Song - Thank God For
Bruce !!! And with the slow process it’s been coming to
being “The Folk Guy”, I’ve on a quest to make the Words hit
home…it’s a process always in Action. I am Surprised that
within now having a focus, Knowing Myself & where My own
self imposed Label (Folk/Americana) is, it’s easier then
ever to write/ put together anything other Style of music…a
Techno song, Rock Song, Funk, R& B song etc…They’re all For
the fun of it now…or Older things that deserved to
finished…maybe try to get them to other artist. But the
truth of it, is I’m free now…it’s basically for me anyway,
my music goes one ignored by most, so I might as well just
explore with it…Please myself.
Plus in the
Learning curve of Home Studio Equipment, it makes sense to
start with the more complicated sounds/big arrangements. I’m
not chasing Trends or acceptance anymore. My Folk Music is
Dearest to me, so the other stuff…I just let it roll out as
it pleases …
So I may still very well seem like a contradiction or all
over the place…but I’m more focused then ever, and as
stubborn. I’ll write what I like when I like as I like with
no apologies - Yes there will be more Rap from me recorded
from circa (Written) 1998/99 !!!
Q: You put
out an album back in the ‘90s that was excellent, one track
to the next, and it did not get the acclaim that it
deserved. Can you talk about your experience with the
pursuit of your ambitions in the music business, the highs
and lows of it all?
First off Thank
You, I’m glad you liked my Effort.
Well by 1998 I
already had considered myself “Out of the buzz” - that one
must be signed by age 30 thing. But as “Every Turn” came
about, (due to investing Friends from the Bar O’Flaherty’s )
I did hope some of the music would land itself into Movies,
TV, Movies or Commercials. And Once You add the Europe
factor in, yeah I thought “Something” leading itself to $$
earned was to come. I remember being so excited about the
CD, So many people at the bar had asked me about originals,
and there it was done…I talked about it in conversation or
over the Mic at the bar but all people would hear or ask was
“ Your Gonna Play Freebird next Right”, or “When Are You
Gonna Let me sing my Number (Cover Song)”. So for me, all
their yad yad yad about originals wasn’t Sincere…They know
me as the Cover guy & in their eyes that wasn’t gonna
change. So next step was to try & get into the “Cooler then
Cool” places to play – something I had given up on back in
91. I had some In’s from Some Major Actors like Brian
O’Byrne or Jared Harris, They both tried to get me booked
into this “Cool Spot” called Sine. For some reason it just
didn’t happen…I got the dude on the phone once, my Friends
had told him to expect my call, he acknowledged them/their
Names, but he seemed unimpressed & stand offish to me in our
phone call…I never got the gig. I knew if I could get
overseas anything could happen…but all my efforts didn’t
really work out. I’d get over to Europe here & There, people
would promise the World to me, but once home I wouldn’t hear
back form them – a world pre Internet. I’d write & they
wouldn’t write back. I can only wonder if the Internet had
been in place like it is now, who knows ???? Plus always
something went wrong along with the Euro trips, An Asshole
Boss, Asshole Bartender - Bother to the Owner …So much
potential, but one or two people or things that could stop
you in your tracks just out of…Who knows why. Or My Marriage
coming apart – it didn’t, but it came real close, or
equipment just blowing up every step of the way… Europe
always had it’s “Odd Factors” thrown into the Picture, all
leading to my Music not being heard really. But once again,
if I could have spent 1 year 2 years over there, I’d be
sitting FAT ($$$) by now. I’ve always wrote Great Music…It’s
just been a very hard Struggle to get it heard…All my life
really, even now, now it’s the “Home Studio Blues” that keep
Me in the Mud and at the slowest Turtle Pace on recording
Music…4 years and 2 songs done…30 others in all sorts of
Limbo.
Back to “Every
Turn”, Another thing I remember was that the sound of the CD
didn’t really represent me very well. That Cool Bar “Sine”
Wasn’t a place for 70’s Sounding Rock N Roll, it was more
for Irish Folk/ Americana. Which I had plenty of even then,
but the CD didn’t represent that. When the opportunity came
to record, I ( at the time ) wanted to show the people of
the Bar ( O’Flaherty’s ) that I once had been a “Rocker”,
full band set up, Loud etc… So they were all old songs when
I recorded it…most from 1992, and only New one from at year
was Track #7) “Under My Coat”. So this “Want” sort of
backfired on me…the sound I was pushing back in 1997 Was
Dated & confused a lot of people – for Even More Reasons
then the Usual.
The Last memory
of that time was how the Cast of “Hair”/crowd” kept telling
me that the head of the Euro casting - Frank - could book me
in as a musician in his Home town of Amsterdam Holland. So
when Frank came to NYC, I met with Him & His Gal, They
looked me over ( I had dropped off the CD the day before & I
was excited). So They Said “Yes, You’re In” – HAIR. I was
like…What ? Confused because everything I had said to them
was about playing Bars & Clubs in Amsterdam – Original
Hopefully…They smiled & said “No I have nothing to do with
that but if you want a part in Hair you got it”.
So with Just
finished my Recording My CD, proud of my effort, I’m
supposed to go on tour with a PLAY !!! Singing another
Michael Butler’s (Creator) Songs ? I Politely said no.
My Mother as
Well Had a Life Threatening Thing happen that year, so there
were many things that got in the way of me focusing on that
Recording.
Q: Does it
concern you that music, as it is represented on iTunes and
at the largest festivals every summer, seems more than ever
to belong to really young people, or those gearing their
sounds to that youth demographic (14-25 years)? Is there
music you like particularly well these days? If so, who are
you liking and what are they doing that’s so good? How do
you feel about the widely shared notion that pop music died
years ago and everything today sucks?
Well…That’s
here in USA really. The Euro Festival’s have a taste of
everything – Leonard Cohen IS LOVED over there, and that
goes for ALL AGES. That’s were I focus my thoughts…America
rejected me a long time ago…I’m interested more in what
happens over seas. But at the Same time I know, it’s the
Things Like Jazz, Blues, Americana, Rap – heck even Lana Del
Rey to Pitbull. This is What Drives the Euros Wild – The
American Music(s) & Various Styles. So as I pay more
attention to over there, I try not to lose focus of this.
And I was well into digging deeper into “Roots music” over
here… I’m very proud of Our Contribution to Music. It’s not
lost over in Europe, The early Originals ( Black People) are
seen as The Best/the innovators, and the New Acts are loved
as current music is everywhere…. And Then everything that’s
ever happened in-between is still embraced.
Who I like
these days as recent Acts:
Tina Dico (
Danish Gal) is a new Fav…Always Like her on CD, but after
seeing her ( Sept 2014)…Man I’d love to be her opening
act…have for a while, but now as a Through & Through Fan.
Bruce Springsteen Just Gets Better with Age… A True Genius
who can write Jersey Shore Party Time Music to the Deepest
American Poet Laureate…Bono, incredible…But OK, let me try
to stick to the New Acts…There’s Always Jems… like “Hey
Dalilah”, Mumford & Sons… The “Sweater Weather” Rhiana LOVE
LOVE LOVE Her. Lady Antebellum’s “Need You Now”, The
Passenger’s “Let Her Go”…It Doesn’t get better then These
Songs. I think the Challenge now for these bands is “Can
They Do it again” ? As much as there is no shame in “One Hit
Wonders” – especially the Older one Gets - the Water in the
Past was set by bands like the Stones, or Sly Stone, The
Who… Bands that had a generous Body of music that made them
Legend.
Any How There’s
Always Greatness out there, but on the other hand I am too
old to try & like what I don’t like at first listen… Or care
anymore about the “Most Recent thing”. Ironically, in
playing for Children in Hospitals as I do, My ITunes is
filled with stuff I wouldn’t buy regularly…Stuff I buy to
learn - Most NEVER getting around to, stuff I don’t listen
to nor really want…It just goes along with the Job in trying
to Please the Youth & give em “Some Version” of what they
want to hear.
With Age I find
myself naturally going back to the music of my youth…I’ve
loved so much music during the 90’s early 2000’s…always
keeping up somewhat due to the bar Cover gig. But now I feel
I’ve done my bit in supporting…I feel no guilt in shutting
off at this point. I will buy what I like and no more…Oh
yeah, the Children gig keeps me buying a lot of what I
regularly wouldn’t…but I won’t be doing it for much
longer…in the next year or so I’ll be looking for that
Traditional 9 -5pm…Should they not fire me first !!! I’ll be
giving up music “as a Living $$…it’s never been really “A
Living here in NYC”… it never paid the bills – hence why I’m
in so much dept - NYC= $$ Cash Registers. And I’ll be giving
up the illusion of Making $$ at it. Without those Euro Fest
I can’t pretend Any further…My effort is done here in the
USA.
Remember I’ll
never give up Music as long as I breathe, just the trying to
make a buck at it.
Q: What is
the nicest thing that could possibly happen for you right
now? Do you have any dreams in sight?
This interview
for one, I’ve not been asked much to do such… it’s something
of a dream in it’s self and has only happened a few few
times…Like having my Music Reviewed as well…Rick you’ve been
something of a miracle to Me & My Music, So Thank You From
the Heart, a Really Huge Sincere Thank You.
Europe:
I dream of it opening it’s gates to me…It has shown me it
could while being there on my brief visits, but I need a
connection, a fat Daddy to open it up for me from here in
NYC/USA. Someone to put me on one of them stages…I could
make $$ for the both of us...maybe not Millions or What I
once could have done. But at least $50,000 – which is for me
a lot AND a 20% tab for whoever gets me there…Shit, Cash is
Cash & every bit helps. And to be NOT SO MODEST everything
could happen in Europe for me: TV, Print Ads…I’ll go to my
Grave Believing “Demark & Me”
(My Song http://www.youtube.com/watch?v=O0oH_DxTeCQ ) Could
be an Anthem for Scandinavia - if directed to the Right
Artist, heck maybe my old ass could still make it happen if
allowed the Festival Stages. Any of my critics, had they sat
Through one show of my shows at The Barock Bar on the Harbor
In Denmark, they wouldn’t be critics any longer, they be
investing $$ into me…BUTT as always while there for the
Month of July (2011) I didn’t meet any of the movers Nor
Shakers, just a lot of Great People…A Group of Norwegians
who canceled all their plans While in Copenhagen in order to
see me 3 nights in a row at the bar. I Met one Country
Western DJ who Loved my Stray Cats so much he insisted on my
coming as his guest to the Brain Setzer Show that week -
Couldn’t do it, My room & Board depended on not missing a
gig for anything other then being sick, so I tried online to
get in touch with Brian’s People – one Long Island guy to
another in Denmark {I sit writing this on Jones Beach as the
Sun is Going Down This Very Moment Smile} but they didn’t
bother to contact me back – I could have made the After
Hours Party & who knows what Connections could have been
made !!!
Sitting here
too I watch a Plane bound for Europe... I can’t begin to
tell you the pain in me knowing how much of an impact I
could make over there on the Festival circuit.
Back to The
Barock bar (2011), one Norwegian sat there quietly singing
“Denmark & Me” back to me ON AND WHILE I played it to them
for the first time…This is the sort of Love I get in Europe
From people…she was well into the Lyric before I even played
through the First Chorus…Europe man, I’ve know it since I
was 31, and 20 years later it’s still Remains the same.
Q: Are you
performing these days? Any plans for upcoming recordings?
Yes & No & Yes.
I play everyday for the Starlight Children’s Foundation,
Children Shows in Hospitals etc…can’t invite you or anyone
to them, Nope… And it’s a Lot of Barney & Dora Dora The
Explorer. I have no desire to sit for 4 hours banging out
covers anymore…I’ll do it, and more & more for only the
Right $$, But those days are basically done. Coming home
from Denmark ( There I retired my Cover Bar Gig Thing at my
Last Euphoric Gig ) it was an added Surprise to be back home
& asked to play Bar 9 in The Times Square Area. That gig
proceeded to last almost two years & was a learning curve…or
a purge of what was still left over after Denmark. At Best I
was the Opening act for the DJ unlike in the 90’s where I
WAS THE ACT until closing time…The Placed filled but not for
me, It was for the DJ. Many a Good People I met & Some
extraordinary Nights, but nothing like Denmark…And the age
difference between me & The Staff…Just Worlds Apart at this
stage. The Audiences loved me, but I think the Staff felt
horrified that I was older then their Parents !!! I’m done
on wanting such a gig again…or least not on a Steady
schedule.
45 mins to a Two hour Gigs/sets… in an open air venue Around
Europe – Playing MY SONGS – that’s What Only Appeals to me
now.
I feel the best thing that came out of playing Bar 9 was My
writing “Brazil”… I would have never written something like
that without having the DJ experience Blasting in my Ears
Every Saturday Night.
Recording:
I’ve Been slaving away at trying to record at least 100
songs on my home studio equipment…IMac. I’ve been buying
stuff since 2008, and learning at the Pace of a turtle…I’m
just not a technical person, and it’s painful to say the
least. Yet I solider on with it…I have Great Songs, but can
I record then in anything other then an amateur way ??? This
still has yet to be seen. “ Brazil” is the only thing I’ve
completes – to me at least It get’s it’s point across &
someone with better knowledge can re -record it etc… the
Heart of the song is conveyed – unlike my 2 Acoustic CD’s…I
heard all sorts of violins & Stadium Choir Choruses in my
head to go along with them songs. But without “Fleshing the
Idea out” more, Like a Tracy Chapman song/CD, I’ve found
those 2 CD’s have been basically ignored. Tracy has Strings,
shuttle Drum/ Snare Beat, bass Guitar etc… My Acoustic songs
were JUST Acoustic & people failed to hear the full idea…The
“Every Turn” CD Has always been preferred by people due to
it’s full band sound & Recording… And I’m SO DONE with that
CD… I want the New Songs to be heard…Heard for All They Are,
for all they’re Worth.
Q: Assuming
some reality to the concept of reincarnation, who do you
want to be in your next life?
Oh.... To fix
so much…and get it right the next time. To not answer to
anyone, and BE what I am, and leave behind what doesn’t jell
with that…Be Honest with people & see through My bottom
lines I set…And not be manipulated as I have been in this
life…I’ve made so many mistakes Musically, it’s a wonder I
can live with myself to be honest.
This song tries
to Sum All That up:
“These Halls I Dwell”
Thanks Rick
Sincerely
Michael B
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Pat Thrall produced this
live performance video of Monster Zero
performing "Hunger". The lead singer and songwriter is
Michael Butler. Monster Zero was on the
verge of disbandment when this video was made, but this was pretty solid
rock stuff.
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A Note on the CCJ
Interview Process
For years now, I have been using an
interview technique, born of necessity, that from my point of view has
yielded some truly fascinating dynamics. Lacking the resources to manage
interview processes in the traditional way, I have used an approach in
which interview subjects are provided with a set of written questions,
which they then respond to with written answers. No limitations of any
kind are placed on them. The approach, in effect, turns the feature
space over to the interview subject to make of it what they will. Some
extraordinary people have taken this challenge and done wonderful things
with it, including Pulitzer Prize winning poet
Paul Muldoon, Nashville Hall of Fame Songwriter
Gretchen Peters, L.A. rock legend
Happenin' Harry, and '70s hitmaker
Rick Roberts, among many others. Other
than my own contribution, which is to try to come up with questions that
would encourage the respondents to think hard about how they wish to
respond, the burden is completely on the artists. The format tends to
make these people CCJ correspondents to their own careers. Sometimes
people turn out to be less interesting than one might hope, but more
often than not they tend to be far more than one might initially imagine
they would be.
The Michael
Butler interview on this page is one of the finest we have
ever done, to my way of thinking, because Michael is an extremely
creative and honest individual who took up the challenge and made the
space his own.
I don't really edit these pieces, in the
classical sense, because to me they represent thought streams that would
be disrupted with any sort of intrusive attempt to mold them into
"normal" interview formats. Artists tend to capitalize words in odd ways
and use shorthand sentences, all of which personalize the pieces in ways
that, at least to my mind, offer real insight into the inner workings of
their thought processes. The format's limitation is that there is no
give-and-take, no reacting to what is said, and there tends to be rehash
in some instances wherein similar questions have been asked in different
ways. Even that shortcoming in the process yields fascinating
discoveries, as respondents grapple with what they have said and how
they might wish to expand further on their thoughts, as Michael Butler
has done beautifully with this long feature article.
- RAR |