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Volume 1-2016

MUSIC    BOOKS    FINE ARTS   FILM   THE WORLD

ARTIST NEWS    THIS EDITION   ABOUT   MUSIC   MUSIC REVIEWS  BOOKS  CINEMA   FASHION   FINE ARTS  FEATURES   SERIES  MEDIA  ESSAY  RESOURCES  WRITTEN ARTS POETRY  CONTACT  ARCHIVES  MUSIC LINKS

                                 

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ABOUT RAR: For those of you new to this site, "RAR" is Rick Alan Rice, the publisher of the RARWRITER Publishing Group websites. Use this link to visit the RAR music page, which features original music compositions and other.

Use this link to visit Rick Alan Rice's publications page, which features excerpts from novels and other.

RARADIO

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Currently on RARadio:

"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 Cronin's "Apathy" and "Get Along";

Dana deChaby's progressive rock

 

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Rick Alan Rice (RAR) Literature Page

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

 

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.

   

 

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

   

 

 

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