When you’re trying to figure out who you sound like don’t ask yourself. Don’t rely on your own ear which is being filtered through your ego and your cranial bones. Ask your fans, your audience your wife your brother and even the guy who really dislikes your music. Ultimately it’s the people to whom you are playing that are the judges of what your music and voice remind them of and how they can make the connection. And it’s all about the connection.

At the beginning of the year I asked my mailing list, posted a question on Face Book and even emailed a few close friends to ask them who they thought I sounded like and who my songs reminded them of. Here’s the list I got:

Johnny Cash
Bruce Springsteen
Greg Brown
Steve Earle
John Mellencamp – (one I had never considered, but intrigued me)
Tom Petty (?!?)
Tom Waits (hmm…)
Fred Eaglesmith
The Jayhawks (sound-wise)
John Hiatt

Some of these choices I was aware of and some not so (like the Mellencamp suggestion). This list has come in handy not only in crafting my pitch, but also in the way I interact with my audience and how I use social media. When I play a in new area I will search Twitter for people who are listening to these artists and follow them. I’ve gotten a few (not a lot) people to come to gigs based on this information.

As for the pitch. I figured that my sound is an amalgam of these artists and there are some things they do that I do as well and you can “taste” that in my songs. So I thought about taste and recipe and cooking and I came up with this:

Take a little Mellencamp
Flavor with Springsteen and Earle
Throw in some Cash and a pinch of Hiatt
Cook it up over a hot flame
Sounds like Darryl Gregory
Tasty!

I like it and it’s catchy. I can say it to someone who asks what I sound like and I get a laugh and the beginning of a conversation. But as I was working on the second week of Ariel’s book I decided that I also needed something a bit more to the point and a bit more hook-y. My music leans towards the alt.country side of the dial and when I play with a full band it can be quite swampy. Yet… I have a bunch of songs that are just plain sweet. So I came up with this tag line:

Darryl Gregory
Hard edged country with a soft heart

So Ariel suggests that we commit to the pitch. We should put it on newsletters, Face Book, Twitter, press releases, in fact everything we create that comes in contact with a possible listener (check out the updated header on this blog). This is something that I will put into action and in fact this has inspired me to create a new business card. I already had one for my studio (Blue Cave Studios) but not one for me as a performer. I went to VistaPrint.com and put one together. Here it is:

I like being referred to as a raconteur – a story teller. I didn’t order a lot of these cards, so let me know what you think and if there are any tweaks you would suggest.

~Darryl

 

I’m tired of conflict. I’m tired of hate spewing voices and aggressive acts of mindless violence, discrimination and lack of compassion. So — I’m gonna pick up my guitar and play, just like yesterday. Thanks Pete!

It should be of no surprise, but let me point it out anyway, that the only communal human activity in which it is impossible to interact negatively is in musical performance. Now, let me clarify that statement before some of you start to point out what you think is wrong with my statement. By performing I mean the people/artists actually playing the music via instrument or voice. They are the ones that I specifically recognize as unable to be at odds with the other performers on stage. Impossible. The listening audience may be moshing around and tearing at the seat cushions, but the performers are in sync and are harmonious in their actions.

Think about it. Have you ever witnessed a band, string quartet, percussion ensemble or kazoo octet not getting along as they played their music? Acting and dancing may come in a close second, but it is not he same – there is no sustained byproduct like the vibrations that fill the air from a musical performance. Conflict may arise from a musical performance but it occurs before or after the music is being made or when something or someone disrupts the performance. The music stops, people address the issue, but while the music plays, there is no conflict between them.

When I go to concerts the musicians are usually smiling. Sometimes they may have a stern face because they are concentrating in order to listen and interact. But there is no prejudice, no animosity, no hatred while the music plays. Even if the musician is performing solo there is an inner peace that allows the music to flow out of them. It’s like  the act of creating music dissolves all hostility and soothes the savage breast.

But what about music that has a message? Music that inspires men to go off to war? Music that inspires love? Well that’ something entirely different from what I’m talking about. Performers have no real control over how the listener interprets the sounds. My focus is the performer. The pure artist that engages in music for the sake of creation. And I say that in that creation there can exist no conflict and no hate. As the Sex Pistols played ‘Anarchy in the UK’, the audience may have been bloody, but the boys in the band were in harmony and not in conflict. Until they stopped the music.

OK, so we have to be playing music constantly in order to stay out of trouble. No. But, as in meditation it’s what we carry away from the practice that sustains our ability to be present. So perhaps through consistent performance of music we can carry away feelings of compassion and empathy. Just a thought.

I’m in the middle of budget cuts once again. The school system in which I teach has been cutting away and we all know what gets trimmed: music, art and home economics. It would seem to me that these should be the last subjects to cut. Home Ec teaches us how to eat. Art teaches us appreciation of life, beauty and creation. And music teaches us how to get along – communal non-aggression. That seems like a recipe for the survival of our species if I ever heard one: eating, creation and co-existence. But the people with their hands on the purse strings say otherwise and choose to diminish the role of the arts in our lives. Sounds like a conspiracy to keep us angry, hungry and silent.

Well it seems my only response is to play my guitar like I did yesterday, will today and plan to do tomorrow and then get on my knees and pray I won’t get fooled again.

 

hiding under the covers? –

I have had two successive discussions about doing cover songs recently. The first was with my songwriter’s circle and the second was with myself as I listened to Roseanne Cash talk about her new CD “The List” on NPR’s Fresh Air. Each time I have been confronted with how difficult it is to do a cover song right. There are a lot of bands/performers that cover a song just to have it in their songbook as filler for their second set and then there are artists that cover songs because they want to perform a great song.

The discussion I had with my Songwriter’s Circle was centered around how we can take a cover and transform it. The song that we were tossing about was AC/DC’s “You Shook Me All Night Long”. That hard rockin’ song is difficult to do on acoustic guitar and have it sound like AC/DC. Well then, that’s the point: don’t allow it to sound like AC/DC. So we played it slower and with a bluegrass edge to it and man did it sound great! All of a sudden I started to really hear the lyrics and feel the intent of the song.

The discussion I had with myself as I listened to Roseanne Cash involved honesty and soul. If you’re going to sing classic country songs that everyone knows, then you had better understand your reason for singing it. How are you, the singer, going to make an audience hear this song differently from the way we are used to hearing it? Do you really understand the lyrics and can you convey the meaning to an audience that may understand them a totally different way.

I have a few covers in my working songbook that I take out every once in a while. The latest song I’ve added is “One” by U2 and I am struggling with it. First of all how do I make it mine? How do I change it up with out ruining a beautiful melody and lyric? And how do I make it travel from the first line to the last line like Bono does? And – how do I create atmosphere with my acoustic guitar the way The Edge does with his electric and a lot of delay?

In my head I had a picture of Tom Waits doing this song. What would he do? Slow it down? Be more accusatory in his tone? Speak some of the lines? I tried to approach it from this angle. I also have a lower voice than Bono does so I couldn’t do the vocal calisthenics that he does and that gave me another indication that I should think of Waits.

The more times I sung the lyrics the more I felt the real anger that was hidden between the lines. Even though Bono sings this in a ballad style, I felt that there needed to be some punch to a few of the lines so that the person being sung to (and about) really gets hit in the face with the words.

I’m still working on this One, but check out the video of me and let me know what you think. I take the covers I do very seriously and I try to find a balance between original interpretation and keeping true to the writer’s intent.

Peace

~Darryl

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