Board In The USA!

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By: Michael D. Vogel

© February 1997. Michael D. Vogel.  All Rights Reserved.

 Published in:

Virtually Alternative magazine – February 1997

Gilby rocked anxiously in the checkout line of “Bob’s Ultimate Ski Land”, the largest ski and sport store this side of the Pacific Ridge. When asked about his reasons for getting into snowboarding, the young grunge rocker freely admits `It’s the thing to do!’ It is pretty easy to laugh at this type of response especially for altruistic reasons like the thrill and joy of the ride. But as an “alternative” to skiing, snowboarding has quickly become the norm.

Snowboarding has become winter’s equivalent to extreme warm weather sports like in-line skating and skate boarding. Since 1989, snowboarding has experienced an unprecedented boom in the United States and across the world. During its early stages, there were less then 75,000 snowboarders across the U.S. As an initial estimate this number may seem significant, but it hardly compares to the predicted 12 million at the end of 1996. This group is not entirely made of men either, as females help make up a major part of this growth in participants. In 1989, the ratio was close to 9:1, males to females where as today it is closer to 3:2. There was also a period of time where the ski resorts were worried about the decline in guests and ski-related activities. Things have changed! Snowboarding has been credited with bringing the young and old alike back to the mountains in overwhelming numbers.

As Gilby and I ride the first chair up from the main lodge to the mid chalet, on one of the Sierra’s largest mountains and co-host to many international skiing, snowboarding and even mountain biking competitions, we witness the beginner slopes filled with a plethora of snowboarders. The mass crowds of people resemble an army of ants charging towards a pile of sugar, except all the soldiers are clad in snowboarding gear.  Black baggy pants and dark sweaters, ski caps and thin sunglasses seem to be the clothing of choice. 

Living the alternative life style is not relegated only to the schools, streets and concert halls though. “A radio promotion can attract the active segment of the audience that demands and embraces these type of lifestyle events as well as those looking to explore new things. By involving local retailers and sponsors helps to create a fun and educational event for the listeners as well as a win/win situation for the advertisers, and the radio station” offers Rob Endsley, Promotion Director for KWOD in Sacramento.

The biggest problem seems to be a way to negotiate around the mass throngs of people talking with one another or are simply psyched out by the magnitude of the slope itself. Further down the mountain, those that have successfully navigating through the masses, stop to catch their breath and contemplate the nature of their descent while linking it to the meaning of man’s existence. To those hard-core riders, who feel the ride is like a Zen experience, negotiating through such obstacles is a necessary evil in the high-speed rush to the bottom of the mountain.

It was Gilby’s first day on the mountain. After having spent nearly $1,500 on board, boots and “threads” – a color-coordinated combination of baggy-pants, jacket and gloves in dark colors popular to the younger, “alternative” crowd – he’s now ready to discover if he likes snowboarding. Unfortunately, Gilby seems to be more of the rule then the exception. The vast majority of new riders take to the slopes dressed to the nines without ever trying the sport itself. The “snowboard fashion” industry for the most part has taken the baggy clothes and colors of skate-style, along with the somewhat rebellious image of boarding and adapting it to a more newer, cleaner image of itself.

The business side of the sport is something that is hard to overlook. One side of this that has brought about an unexpected result is the rise in radio involvement around snowboarding events. While preparing for “The End’s” Second Annual Board Stiff, KNDD Promotion Maven Keri Lee offers this advice. “Lifestyle promotions need to be something that is of genuine interest to the listener. In order to better understand your audiences interest – you have to live the lifestyle!” But there is a gentle balance to be maintained. If a promotion is too much, the purpose of the event will be lost, and not enough will lose the interest of the listener. “In all, any lifestyle event can be done successfully through the proper co-ordination, execution and co-operation between `on-air’ and sales staffs.”

Bud Light, a sponsor of snowboarding governing body the U.S. Skiing Federation, has signed on as a title sponsor of both the “American Snowboard Tour” and U.S. Grand Prix” for more then $1,000,000 as well as a series of winter snowboarding/music festivals featuring alternative bands and a cornucopia of snowboard/ski manufacturers and apparel companies. The festivals, sponsored by On Board Entertainment, a music and sports marketing firm, are supported on average by $200,000 in local radio spots and print advertisements based on market size and an average five-week promotion.

“Generally speaking, radio’s focus is on the music so sometimes they miss reaching the audience with lifestyle promotions” states Sarah Haynes, co-owner and promotion guru for O.B.E. “With so many concert tours, radio needs to distinguish their in-house events as something unique – the difference being the addition of a lifestyle element. We help provide a promotion that is the perfect blend of music and sports activities that connect with the interests of the stations listeners.”

“When radio has a limited promotional budget, O.B.E. can bring additional sponsors to the event in exchange for on-air promotion. Events of the magnitude like Board Stiff and Kamp K.O.M.E. bring in sponsors that have different budgets then those who already buy time on the station” continues Sarah. This helps produce an awesome effect for the promotion as well as bringing in additional revenue for the station – additional dollars on top of what the client already invests through direct station advertising.

Lifestyle promotion provides something that is useful to both the sponsors and advertisers as well as the station itself. “Once the goals and objectives of the promotion have been established, then a package can be created to match the needs of both the client and the station.” Most companies who purchase time-buys on alternative radio and MTV are looking to bring an added dimension to their products. “For example,” furthers Sarah, “companies like AirWalk, Sony Playstation and Levi’s 501 Jeans want to connect with their consumers. Lifestyle events like these help to reach that goal.” In addition, the bands involved in the event get to participate in something other then your typical radio sponsored concert promotion, thus helping to establish an identity for the artist outside of concerts and music video’s.

For the best example of how this event can be applied to radio for an over-the-top, completely out-of-control promotion, one need to look no further then Mountain View, CA.

“It is imperative that alternative radio embrace lifestyle events. But to be effective in this type of promotion, the station needs to create a lifestyle balance by defining the important elements within your audience and not letting one particular aspect dominate the event, unless it makes sense for your market. This is a major component in the definition of “alternative,” states Robin Rockwell, promotion goddess for KOME, San Jose.

Following the lead set by Grafix ’95, a snowboard/music festival held in Denver, On Board Entertainment and Levi’s 501 Jeans teamed up with Northern California alternative rocker, 98.5 KOME to transform the grounds of the Shoreline Amphitheater into Kamp K.O.M.E. “We identified snowboarding as an important element to the lifestyle of our audience” continues Robin. “Snowboarding is not just a sport but a lifestyle and that falls into the alternative category.” This was no summer camp by any stretch of the imagination. Some of the camp’s activities included a snowboard ramp complete with forty tons of snow; a half-pipe covered in graffiti art, shared by skateboarders, in-liners, and BMXers. On center stage, a slew of bands, such as No Doubt, 311, Beck, 7 Mary Three and Filter, helped keep the masses occupied while watching the dare-devils and psycho-kamikaze’s. All event proceeds were donated to “The Snowrider Project”, a new division of The Surfrider Foundation. Up next for On Board Entertainment is the North American Snowboard series – on snow sports and music festivals with `The End’s’ Board Stiff, KWOD’s Extremely Board, X96′s Spring Board, WBCN’s Totally Board and KNRK’s Snow Job.

While the music may be going through a transition, as well as the term `alternative’ itself, the `lifestyle’ is the element that will always remain constant. “Radio needs to stay hip to the trends of their audience to create the alternative balance that will ultimately translate into a highly successful  `lifestyle’ promotion”, concludes Robin.

On a more conservative level, WARP Magazine and Airwalk‘s “Board AID 3 For LIFEbeat”, an annual snowboard/skateboard event to help raise money for AIDS service organizations and educational programs. The event included a dream line-up of Bad Religion and Sublime to name a few as well as members of Rage Against The Machine, the Offspring and the Go-Go’s showing up to board and party. During the in-stage presentation, LIFEbeat gave double platinum honors to the event sponsors as well as MTV, which made it possible for Board Aid 3 to reach thousands of viewers by broadcasting the event during the “Alternative Nation” program.

“These types of lifestyle promotions are what our listeners do in their spare time. it is also helpful if there are people on staff that are into these kinds of things as well – it helps bring an extra level of importance to the event itself” offers Cha-Chi Loprete, promotion man extraordinaire for WBCN. “By participating in the event itself, the listener is better able to relate with the station because it promotes common interests between the two.”

At the end of 1995, the International Olympic Committee ratified its decision to have snowboarding included in the next winter Olympic games in Nagano in 1998. One thing is for certain, with the growing international acceptance of snowboarding as a major sports activity as well as a significant cultural event, and radio’s ever increasing creativity in promoting the sport, it seems unlikely that the snow will ever stop falling on boarding anytime soon.

As for Gilby, after trying “Dragon’s Tail,” the double black-diamond run reserved for experts, he spent the rest of the vacation in the hospital with a broken leg, swearing never to return to the mountain again! ^m^

© February 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

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By: Michael D. Vogel

© February 7, 1997. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – February 21, 1997

In spite of all their success as a touring band and at Adult Rock Radio, Widespread Panic has been able to maintain a very down-to-earth philosophy: emphasizing heavy rhythms with often inspiring musicianship. Listening to their music, one can’t help but be swept into a musical sanctuary. “Our songs are like musical getaways. They provide a path for the music to take off by itself,” is how guitarist and vocalist John “J.B.” Bell describes it.

Renowned for their intense live shows before S.R.O. crowds across the country, as well as a back catalog of albums that continue to sell well, Widespread Panic has earned the respect of fans and fellow musicians alike. Their newest offering, Bombs & Butterflies, captures the raw energy that has helped propel them into being one of America’s most compelling live bands. “The studio is very different from a live show. We’re still trying to capture a sense of power” adds J.B., “but it’s more like a polished poem instead of seeing somebody ranting and raving on the street.”

Since forming in Athens, Georgia, in 1986, the group’s forward-progress has continued virtually non-stop. Since then, Widespread Panic has built a steady grassroots fan base through continuous touring, radio airplay and TV appearances. With support from Triple-A and Rock radio, the band is poised to take their music to the next level. “When we play a song live”, says J.B., “we don’t just regurgitate what’s on the album. We try to blow the doors off! That challenge – the desire to elevate the music to a different level – that’s what gets us out of bed each morning.”

The name ‘Widespread Panic’ brings to mind images of chaos, yet the band seems to represent a cohesive unit. Why the paradox? 

John “J.B.” Bell: “Creating a paradox by our choice of the name for the band wasn’t intentional. It seems to be a name that we have somewhat lived up to, though. The music comes out a little bit more cohesive through rhythm and blues. By description though, all of those freaky demons running inside your brain, that is where the `Widespread Panic’ is. Among the band, while we’re playing and communicating with each other, it can get pretty intense. It is because of this energy that we are able to feed off each other and produce some of our best music. But that is pretty much what improvisation is all about; full of craziness and life. That is what the essence of Widespread Panic is all about. We like to add an element of wackiness to our music that becomes very evident in our live shows. But, there is a balance to be achieved. There are some excited, high energy parts and there are also some slower, relaxed parts – again, representing both sides of the musical spectrum.”

How has the band grown and matured over the last 10 years?

JB: “For starters, we have begun playing more three- and four-chord songs. Mentally, we are all still in the same frame of mind. Each album is reminiscent of where we were musically at that time. For example, our most recent record, Bombs & Butterflies, is a songwriting entity in full representation of the creative output. The end result that is recorded on tape is simply how we were communicating in the studio at the time the album was recorded.  

“As far as maturity is concerned, that is a subject that we have been trying to avoid. In this business, maturity is not the essential factor. There is so much luck involved with every aspect of the business, regardless of how good or knowledgeable you are. There have been countless bands that have had the talent and the ability but for some reason never quite caught on. Then, occasionally someone hears them and is in a position to help them out. In the end, one should never count on simply `making it’. Always try and make what you’re doing the most worthwhile.”

How would the ‘Panic of 10 years ago describe the modern sound of the band today? 

“Personally, I’ve been doing a lot of soul-searching recently and found that there is a lot of stuff I forgot. After listening to some old recordings of ours, I was reminded of the good ol’ days. I’m sure that the rest of the band also shares these feelings. In the beginning, as it is today, we are building and growing and developing our own unique sound. By going back and listening to some of old songs, rediscovering forgotten sounds and styles, helps to maintain a certain level of freshness in the music. The song itself may be the same, but the way you approach it is completely different. For example, we have been doing songs like `Wrangler’ for so long that it has been through several changes all on its own.

“Given the amount of people that come to see multiple shows, changing the set list from night to night is the polite thing to do. When it comes right down to it, how much do we really have to do all day? After all, the fans are the ones supporting us, they buy the records and attend the shows. We feel that it’s only right if we actively put forth a little effort not to play the same song four nights in a row. For us, it was a safe guard not to take normal approach so we could sustain some longevity as well as reduced the boredom factor.”

Is there one particular leader of the band?

“Actually, we have six leaders. If one single member of the band were to take the helm, two things would happen. That person would have an incredible amount of responsibility on their shoulders; and that could develop into delusions of grandeur. That’s a lot to take on.

“It’s not a realistic situation if everyone turns to one person for all the answers. We feel that as a group, we should all have shared input about what goes on and what we are doing. Six heads, in this case, are better then just one as long as everyone is speaking from the heart. This type of situation proves to be very beneficial because the discussion will ultimately come to a conclusion.”

How important is it to develop a strong grassroots fan base, as opposed to striving for strictly commercial success?

“The focus needs to be on the music. The grassroots fan base starts when the people hear the music, get some level of satisfaction and come to see our live shows. If they stop buying the records and coming to the shows, then you need to do a little introspection to re-evaluate the situation. You ultimately need to find out where you are musically and how that compares with where the fans are.

“The Internet can also be a great asset in building a grassroots fan base. There is a level of interaction there, between the artist and the fan that was not available when we were growing up. Guest lists for shows are also an important element in keeping in touch with the fan base. It develops a level of concern that the artist is concerned with who they are beyond a faceless body in a sea of people. It really all comes down to keeping the lines of communication up. With the way technology is progressing, communicating with a vast amount of people has become relatively easy. But let’s not lose track of the initial concept of Widespread Panic – we take music very seriously. Everything else is just a byproduct.”

Where did the name of the album, Bombs & Butterflies, come from?

“Usually album titles come pretty easy. But in this case, choosing the right title became very difficult. It wasn’t until we were listening to the new album, while brainstorming for possible titles, that someone suggested Bombs & Butterflies [taken from a line in “Rebirtha”].”

Do you feel the band has taken any chances, musically, on this record?

“If it can’t be done onstage then we aren’t interested. It would really be stupid to spend all that time in the studio if the sound can’t be reproduced in a live setting. Focusing on the industry and doing some self-promotion never really became a top priority on our agenda. But we also realized that we have obligations to the record label to produce good quality, marketable records on a timely basis. This helps get the music out to the people.”

What were the influences that helped develop your own signature style and sound?

“As far as individual influences are concerned, Mike is very much into Yes and Black Sabbath, whereas I tend to listen more to the Todd Rundgren, Cat Stevens, Van Morrison and Santana as well as Led Zeppelin and The Who. It is the culmination of all this that, combined, that makes up the unique `Panic sound.

“It is much easier to improvise on music without words. To be true to an instrument, the player needs to leave the music open to individual interpretation. With the addition of lyrics, the vocalist can interject their own feelings and beliefs, which can ultimately alter the original intention of the song. It was instrumental music, though, that really turned me on. In this realm, bands like Spyro Gyra and Weather Report were also big influences on me.”

Is it hard to capture the same raw energy from a live show when going to the studio?

“Actually, it is a lot easier. There is an element of freshness with each set, simply because the venues change in each city. Just being in the recording studio gives you energy – it permeates through the walls and infects everyone present. Once you get comfortable with where you are and what you’re doing, you tend to slide back into a regular routine. As far as playing goes, the studio is like the big game on television. You’re doing it in a different environment, with a different plan of attack. As far as perfectionism is concerned, it is only in our intentions to be as sonically perfect as possible. Ultimately, what goes down on tape is an effort to put the best collective foot forward.”

As a producer, what does John Keane bring to the record?

“Some producers create a situation where the artist has to conform to the artistic vision of the producer. That, ultimately, puts constraints and limitations on the creative process of the artist. Our mission has always been to find where we are musically and then try and represent that on our albums.

“John helps to bring those things that are buried deep within us to life. We all share the same tastes for sound combinations and tones. John has a good understanding of the things we talk about as well as what we are hearing in our heads. Even if we are very vague or cannot properly describe it, John can translate it into an English description and then transfer it to tape. Overall, we have a lot of respect for him so we try a little harder to do the right things in his presence.”

Why do you think the current climate is conducive for the rise in popularity of Widespread Panic?

“Capricorn has worked very hard for us over the years, and now that diligence is paying off. In addition, for this record, we also had the additional input and support from Mercury Records as well. The two combined have made a pretty formidable team that has helped get us to where we are today. Or maybe it was just all the planets being aligned and the good karma we try to project to those around us.

“Basically, we have held true to our musical sound and style. Widespread Panic is always in a constant state of change and evolution. We are at a point now where our songs aren’t 12 minutes long, which should prove beneficial in getting radio airplay support.”

How has the band dealt with the sudden rush of mainstream popularity?

“It has been a real gradual process on our end; we just like to take each day as it comes. With the increased popularity, it does sometimes get hard to maintain a down-to-earth mentality. When the spotlight shines on you, people put you up on a pedestal. That’s where a certain level of sadness is. We just try and dispel any of the misconceptions that people may have about us. I guess the ideal situation would be to deal with everyone on an individual basis. Unfortunately, that is not always possible.”

What prompted you to do a tribute to Pop Staples?

“The song `Hope In A Hopeless World’ was written by Theil and Roy. The first time we heard it was on the Father Father album by Pop Staples and The Staples Singers. A great song can produce feeling of anxiousness and excitement within the listener. Sometimes the only way to truly experience that level of excitement is to learn the song and play it for yourself. We all liked the song and wanted to add our own personal touch to it. When we approached Pops, he thought we were a gospel group of some sort – the Widespread Panic Choir. In the end, all parties involved were very pleased with our rendition.” ^m^

Photograph credit: Nitin Vadukul

Origin:

Athens, GA

Line-Up:                                                                                    

John “J.B.” Bell – Vocals & Guitar                    Domingo S. Ortiz – Percussion & Vocals

John Herman – Keys & Vocals                        Todd Nance – Drums    

Michael Houser – Guitar & Vocals                    Dave Schools – Bass & Vocals                               

About The Current CD:

This is the fifth album by Widespread Panic, and its sales are already reaching over 20,000. The current single, “Hope In A Hopeless World,” is currently on the Powercuts chart in the Top 20, with an average increase of almost 250 spins per week.

Discography:

Bombs & Butterflies (Capricorn, 1997)            Widespread Panic (Capricorn, 1991)      

Ain’t Life Grand (Capricorn, 1994)                   Space Wrangler (Capricorn, 1988)

Everyday (Capricorn, 1993)              

Produced By:

John Keane

Label:

Capricorn

Website:

www.widespreadpanic.com

© February 7, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

Introducing MusicBiz.com – Point, Click… & Rock!

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By: Michael D. Vogel & Jim Nelson

© December 20, 1996. Michael D. Vogel.  All Rights Reserved.

Published in:   

The Album Network magazine   – January 17, 1997

True or false: the digital revolution is the next big thing? Depends on your perspective, really. If The Clapper offers all the technology you ever needed, then you may be seeing this so-called revolution as a “future” sort of thing. But, if you live for the possibility of a Pentium 6,000, you’re undoubtedly inclined to believe that it’s already happening, and with it, the emergence of a new subculture of interactionists on the quest for the ultimate in truth and knowledge. Multiple choice: which one sounds more like you?

Welcome to www.MusicBiz.com, our informative and groundbreaking new web address.

What’s It All About? 

Now, armed with a browser and your password for www.MusicBiz.com, you can have convenient, round-the-clock access to a near limitless collection of stats and extrapolations about the current music, which is so vital to the growth of our industry. And everything from radio and retail reports to regional comparisons of specific songs are available any ol’ place that has a phone jack. Know which stations added your priority tracks…by format…narrowed down by consultant…according to number of spins…you name it! Know which songs and albums are being played and sold most in each region. And that ain’t all. How would you like to email anyone in the music biz? You can, thanks to our brand new, online Yellow Pages Of Rock. And there’s up-to-the-minute news and rumors about the people who make the biz happen. You can read features and articles from each and every one of our six magazines. Hell, we’ve even included Chucklehead, because we think you should be laughing while you point, click…& rock!

Because the info we feature at www.MusicBiz.com is updated roughly every single minute throughout each week’s reporting period, you get the freshest, most timely data available. Right now! Sure, this type of system is already in place for larger corporate clients who carry our Toolbox (system). In fact, www.MusicBiz.com is actually a grander, more in-depth version of the Toolbox, which has been serving the labels’ national promotion heads for eight years now.

This Toolbox can be defined as a single-user system. That is to say, it requires that we install hundreds of thousands of lines of customized computer codes in our clients’ computers. Via hundreds of dedicated modems, the Toolbox program updates each individual computer from a central communications server out here in LA. Historically, only the most senior executives, in the home offices of major labels, have been able to enjoy access to this service from the Network Magazines Group. Now, anyone with a reasonably new computer and Internet access can be a player in the music business information age. If you have a browser software program (Netscape’s Navigator 3.0) and a personalized account issued by the Network Magazines Group, you possess immediate ad constant access to this data. What was once difficult and expensive to deliver is now far more affordable and accessible for any industry pro…at www.MusicBiz.com.

The Sky’s The Limit! 

So, how does it all work? Well, for starters, www.MusicBiz.com offers the same features that are already familiar to fans of our Toolbox system. But we didn’t think that was enough for our website, so – call us crazy! – we’ve combined that with a healthy smattering of our editorial content and the first-ever online version of our Yellow Pages Of Rock to create a site that we believe will become invaluable to your operation.

At the center of our website is the station-master. Simply stated, this is a comprehensive listing of all the names, numbers and addresses for every station that reports to The Album Network, Urban Network, Network 40 and their sister publications, VirtuallyAlternative, TotallyAdult and Aggro-Active.

Directly correlating to the station-master are the playlists reported to us each week by more than 1,000 contemporary radio outlets across the nation. Among the several unique aspects of this playlist file are the analytical tools that can be used to manhandle numbers represented in these stations playlists. For instance, any two lists can be compared against each other to chart differences and similarities of their current tracks. Did you ever want to know whether Alternative stalwart KROQ/Los Angeles has more currents in common with an Active Rocker, like legendary WXTB/Tampa, FL, or with a Top 40 outlet, such as KDWB/Minneapolis, MN? We can show you on www.MusicBiz.com.

We’ve also included a complete artist-master at www.MusicBiz.com. Here, every song and album (more than 2,500 song titles alone) that are currently a priority for any label is represented with detailed information about the number of spins, phone reaction, PPW spikes, adds, drops and so on and so forth.

In addition to all this, we’ve also created “Action Menus” which contain a wide variety of charts, including airplay, requests and adds at nearly every format that our magazines cover. You can actually watch these charts change as more and more station and retail reports are entered and tabulated by our staff throughout the reporting day.

Catering To The Music Biz! 

To delight the right side of your noggin, www.MusicBiz.com is full of words. For example, our Network News file (conveniently located behind the “News And Rumors” icon of www.MusicBiz.com) is updated as stories unfold. No more waiting until Friday to read about news that happens on Monday. Plus, editorial commentary from Tommy Nast, Charly Prevost, Jonathan L. Rosen and Gerry Cagle are all online at www.MusicBiz.com, along with articles and features from all our magazines.

Another feature of www.MusicBiz.com that you’re going to love is the internal communications network. Through the use of email hot links to thousands of industry types listed in the Yellow Pages Of Rock, you can use www.MusicBiz.com to send out text, statistical information, videos and music samples upstairs, across the country or around the world.

Finally, with www.MusicBiz.com, a whole new method of direct marketing is up for grabs. Since any music fan has access to our new website, labels have the potential to ‘speak’ to an infinitely larger universe than ever before with their ads. 

To infinity – And Beyond! 

Because technology continues forward at a pace faster than any of us can comprehend (remember that digital revolution we mentioned earlier?), we’re dedicated to bringing you the most comprehensive and detailed data available on our computer-bases information system. Our Toolbox, for instance, is evolving into a system predicated on a multi-user client server. Through a windows-based environment, the Toolbox will soon consist of a single database connected to multiple users. This won’t, of course, in any way inhibit our clients from setting their own individual priorities, as they currently do. As for www.MusicBiz.com, though we’re tried anticipate all your needs, we know you’ll find new ways of analyzing the data that we tally up. When that happens, we’ll be right there to provide you with the tools to get it done so that you’ll have the information you need, when you need it – Right now! So, get ready to Point, Click…& Rock! – at www.MusicBiz.com. ^m^

Website:

www.MusicBiz.com

© December 20, 1996. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

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By: Michael D. Vogel

© November 1, 1996. Michael D. Vogel.  All Rights Reserved.

Published in:

The Album Network magazine – November 15, 1996

With all the diverse musical influences and genres that are streaming out of the left coast, down South and back East, growing up in the Midwest can sometimes be a little overwhelming. When it comes right down to it, except for the dynamic music scene prevalent in Chicago, there really hasn’t been an identifiable Midwest rock sound – until now.

“We are just the product of growing up in the Midwest and being bombarded by influences from everywhere,” admits Stir bassist Kevin Gagnepain by phone from his home in St. Charles, Missouri. To this point, Stir has gained a loyal following through their never-ending tour schedule and their debut release on Aware Records.

Stir’s Midwestern work ethic and hard-rocking live shows have quickly won over regional audiences on the band’s never-ending tour. The result is a hodgepodge of 70’s rock nostalgia along side modern rock, mixed with a little down-home country appeal, which has helped the band quickly bridge the gap between indie label success and a wider popular acceptance.

Already receiving significant airplay at Alternative and Active Rock Radio, Stir doesn’t fit squarely into any predetermined niche. These guys simply play straight-ahead, accessible rock & roll. If you’re looking for a comparison, Stir falls somewhere between Bad Company and the Dave Matthews Band.

In a nutshell, what’s the story behind Stir?

Kevin Gagnepain: “Andy and Brad have known each other for quite some time, dating back to when they were in grade school. By the time they had reached high school, they had developed a passion for music and joined the school jazz band. I was introduced to Brad separately, and after discussing the possibilities of starting a band, I was introduced to Andy. We put together a cover band with another singer, performing locally for about a year. We started out as a five-piece, with a woman on keyboards and a frontman for the band. Over time, the lineup was scaled down to just the three of us with the departure of both the keyboardist and the frontman. It was at this time, as well, that we started incorporating more original material into our sets.

“Our first official show as Stir was back in January of 1994. It was all new music, incorporating nothing from the previous lineup. We wanted to separate ourselves from that as best we could. We adopted a ‘road philosophy’ and headed out of town. Being a local celebrity wasn’t that important to us – we wanted to experience what it was like to be on the road as a traveling band. It seems that most bands that play locally – St. Louis, Columbia, Kansas City, etc. – never really go any farther than that. We already had firsthand knowledge of this type of experience with our first band, and we didn’t want to duplicate that kind of lack of productivity again. 

“It was at this point that we decided to aim for the next plateau and wait for everything else to catch up. We recorded a few songs for demo tapes and landed a few showcases at SXSW in 1995. It was there that we met Gregg Latterman. He was very receptive to the demos we had recorded, but felt the quality of the recordings needed some work. We went back into the studio and re-cut some more tracks, one of which was ‘Don’t Understand’ that was included on the Aware II compilation.”

How has growing up in the Midwest helped shape the musical direction of the band?

KG: “Being from the Midwest, you get influences from all around. Music tends to be more linear on the coast, where a song only lasts until another comes to take its place. The Midwest is somewhat different in that music tends to circle around a bit more. Country also plays a major influence on the music from the Midwest, whereas on the coast, things tend to be a bit more down home. For the most part, the Midwest is just a big melting pot of music.”

Bands seem to spend a lot of time thinking of a name, because it’s often the defining point of who and what the band is. Where did Stir come from?

“You’re absolutely right. We had many heated battles as to what we should call the band. We didn’t want anything that sounded too pretentious or was too hard to figure out or even pronounce. After several weeks of pouring through dozens of potential names, the name Stir almost magically appeared. We were at a local club, where once a week local musicians get up on stage together and do this great big jam. On the inspiration of the many different musicians and styles that were present, and after a few rounds of beer, Andy spit out, ‘How about Stir?’ The rest is history.” 

There’s an obvious passion in the music. It seems that there’s something going on that’s beyond being the typical rock band. Was it difficult to capture the energy that’s present in your live shows on the debut record?

“Yes and no. There are times on the record where we hint at it, but, without a doubt, there is a lot more energy in our live shows. There is that connection with the live audience and the visible reactions to the music, something that just isn’t possible during the recording process. While in the studio, distractions need to be kept to a minimum. By making this sacrifice while recording, we cut loose during the live shows and reap the rewards of a rabid audience.

“In all, though, that is very difficult for any artist to achieve. It’s really hard to bring that kind of energy level without having some sort of audience participation. There is a certain energy vibe that is in the air during a live show that is not present while in the studio. It becomes a challenge to the artist him/herself to try and bring that to tape. Personally, I think we succeeded in some places and didn’t in others. But that’s all part of the learning process.

“Our goal, after a little more time in the studio, is an attempt to capture more of a live energy feel for our next record. There are certain sacrifices, energy-wise, that you make when recording an album. On the other hand, there is an element of perfection for a studio album, through sonic width and girth, that is just not obtainable for a live recording. The musician is somewhat like a painter: the studio becomes a virtual pallet where almost any picture can be painted, whereas in the live arena, the musician is simply a vehicle to express the music itself. Basically, they are two completely different animals.

“As far as passion is concerned, there are enough bands out there in the rock and alternative worlds that are doing all the complaining and grieving that needs to be done. It has gotten to the point where it is almost a cliché to be a band that is angry at the world. There was a time when music was a way for people to come together and express their feelings. This is where we aim to be, sharing positive feelings and having a good time.”

Do you feel it’s easier to address issues on the human condition in your music, or in everyday conversations?

“I think we hint at them in our music, but we do it through very light personal situations. We’re not here to preach or be political by any means. That is something we try and keep separate from the band. True insight into the soul is a very personal thing, so we like to save that for our own private conversations with those that we know. As far as imposing our beliefs on what’s going on in the world, we’re not going to do that in our music, that’s not what we want to do. Who is some guy in band to tell me what I think the world should be like? He’s the one in the spotlight and making money. But to be in a band is a completely different lifestyle than the rest of the world. You’re constantly on the road, meeting people and promoting this image of who you are. I can’t say that everybody who does it is wrong because there are some that do it very well and are right on the money. But, I still question whether or not an artist should be pushing that on to the impressionable youth of today, who believe every word that is said.”

Does the band see itself as a potential role model for the kids of today? 

“I don’t think that anybody really wants to be in that kind of situation. It wouldn’t be fair to expect anyone to alter the way they do things in their own life because they are a role model to others. A role model is someone who, through their own natural actions, are looked up to by others. Musicians and athletes, on the other hand, are put up high on this pedestal. It is really just a distorted sense of reality where the audience controls what the artist does. At the same time, anybody who happens to be caught up in a situation like this should recognize what is going on and take some sense of responsibility.

“We would hate to be responsible for somebody else’s thoughts or actions. We see it in other situations and as long as the artist has some sense of responsibility, but at the same time remains true to them selves…otherwise they become more of a tool, creating art for others. We don’t want to preach to anybody.”

The bass line in “Ladybug” reminds me a lot of “Detroit Rock City.” Was Gene Simmons a major influence on you?

“I would be a liar if I said KISS wasn’t the second group in my life to affect me. The first, obviously, was the Beatles, whose extremely radical lyrics and melodies caught my immediate attention. But when KISS broke onto the scene, I was just blown away. The sheer size of their stage productions and the make-up on their faces made them out to be larger than life. At the time, I was a piano player so it was never a conscious decision that I wanted to play bass like Gene Simmons. But, I guess, if you spend that much time listening to any particular artist, they are going to have some sort of profound affect on you and the way you write and play music. In fact, now that you mention it, the bass line in both songs are fairly similar; ‘Detroit Rock City’ is actually ‘Ladybug’ backwards, and a fourth up.”

Why are there no song lyrics in the liner notes?

“We wanted to create a strong bond between ourselves and those who buy our records and come to our shows. By not including the lyrics to each song, the listener is forced to come up with their own interpretation of the music. After all, Salvador Dali doesn’t explain to you what was in his head when he painted a certain picture; the understanding is left up to the participant. The same is true for individual songs. Sure, that particular song has some meaning for the writer, but at the same time, it can have a completely different interpretation to the listener. It all boils down to an audience participation issue.”

Most of the material came from the fallout of your previous band, The Choice. With the constant touring schedule, where and when have you guys been able to write new material?

“We have all been writing individually on our days off. We keep an acoustic guitar and a practice bass in the van so that whenever the whim hits us, we are ready to go. We all have tons of ideas that have been sitting on the back burner for some time. This is the material we need t get down on tape before we go back into the studio. Overall, it is definitely a lot harder, though, trying to write while out on the road.”

Are you incorporating any new material into your live sets?

“We have been playing some very old songs every now and then, that weren’t part of the record. We’ve also thrown in some new ideas, but these are mostly instrumental segues between songs or are meant as a musical introduction to the next song we play. In the end, it is this material that we will explore and develop further when we go back into the recording studio. For the most part, we just are throwing instrumental ideas out to the audience and see what the reaction is.” 

Originally, Stir was signed to Aware Records, but you’ve now moved on to “The Tower.” How has this experience, moving from a small label up to a major like Capitol, changed the band’s perspective on the whole music process?

“The transition was pretty smooth. As far as the amount of time we spend in a day doing other things than playing music, like phone interviews for example, is definitely growing at a rapid rate. So, the transition is far from being over. Every step has been a relatively small one. We have all been planning ahead so that nothing really comes up that we weren’t prepared for. Hopefully, things will keep growing, and as that happens, so will the number of things that we have to do in a day.”

As a power trio, Stir has really been able to create a certain thick, driving rock sound. Does the band feel that three truly is the magic number?

“We all play a variety of instruments and have a variety of ideas on other instruments. We all pretty much play everything, so three is definitely the magic number. We have talked about, down the road, bringing in other musicians, but for right now that is not something that we plan on doing; we are pretty happy with the power trio lineup. After our second album, it may be necessary to bring in another musician on the road with us, but time will tell in that scenario.”  ^m^

Line-Up:                                                                  Origin:

Andy Schmidt – Vocals & Guitar                    St. Charles, MO. (just outside of St. Louis)

Brad Booker – Drums & Vocals

Kevin Gagnepain – Bass & Vocals

About The Current CD:

This is the debut release by Stir. Originally released on Aware Records, it has recently been put out by Capitol Records.

Discography:

Stir (Aware/Capitol, 1996)

Produced By:

Justin Niebank

Label:

Aware/Capitol 

Website:

http://www.stirmusic.net/

© November 1, 1996. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

Welcome To The MusicBiz Mainframe

(click on picture to open file) 

By: Michael D. Vogel

© October 20, 1996. Michael D. Vogel.  All Rights Reserved.

Published in:   

Totally Adult magazine  – November 8, 1996

The digital revolution is being promoted as the next big thing. With it, a new culture has emerged, operating on the presence of an evolving generation; a sub-culture of interactionists on the quest for the ultimate in truth and knowledge. Are you ready for the adventure?

Almost anybody can create a website. The creator, from the home user to the corporate giant, determines the sophistication of the site. With almost any platform application, the user simply needs to point, click and drag – and bingo, a self produced web page. Once the site is created, the user needs to have constant access to the Internet. As the system grows, so must the individual user, and vice versa. The level of sophistication of the Site is ultimately limited only by the imagination of the person who created it and those who utilize it.

The information superhighway is not just about interactive television; it’s more than just the self-contained broadband network that it’s often portrayed as. Instead, the infrastructure is composed of many independent commercial, entities. This helps to create an “open-ended network” facilitated through the integration of independently owned remote hub and node sites. The future does not hold a multiple of “channels” for the user. Instead, the scenario is more likely to be a single channel where the end-user becomes an active participant through the use of their home terminal. This is probably the future of the information superhighway.

The future is unpredictable, though. It’s in a constant state of evolution, where the users define their own pursuits and create a personal meaning of what the Internet means to them. As such, the full potential of the system has yet to be completely realized.

Welcome to www.networkmags.com, the Network Magazines’ Music Biz Mainframe.

There are a virtual plethora of websites available on the Internet, so what does the user do once he/she gets there? It’s not merely enough to post a few average features and then open the doors for business. With the high degree of fragmentation throughout the music industry, niche categories have evolved for virtually everything. Therefore, in order to stand out on the web, the content needs to be above that of the competition, both in timeliness and accuracy, as well as quantifiably and statistically.

First and foremost, the website needs to contain original material which can’t be found elsewhere on the Internet. Within the context of the material presented, a cross context channel is also an important feature. This allows the user the ability to link with other related home pages across the Internet. By giving access to the user with linking capabilities, the site is creating an “Informational Hub.” This helps give access by way of a communication channel from the record labels to radio and retail, as well as radio to the listeners and rabid fans to the labels of their favorite artists. Thus, the user is able to turn a single all-encompassing data system to obtain the requested information.

Originally, the World Wide Web was intended to help serve information to the general public. In addition, it’s also a way for people to communicate with each other. But, with personal use also comes the commercial use of the web. Commercial businesses not only utilize the Internet to serve information and to help establish lines of communication, but also to cultivate the retail spirit within the on-line users. By doing so, they allow the user to engage in commerce without ever having to leave the comfort of the home or office. What the industry would lose in distribution it would gain with the creation of services and products that are available to the on-line users. In the end, normal day-to-day functions can be reduced to a few minutes in front of your computer terminal.

The counter side to this is the private commercial use of the Internet, where companies use their on-line capabilities to network within their own system. The purpose is to be able to extrapolate information that’s already part of the corporate database. It’s in this domain that the Network Magazines’ Mainframe Music database will exist.

What’s It All About? 

The goal, is to be able to provide, for our clients, access to any and all information as it pertains to their artists, That is, the plays per week for each given song and album, as well as those songs dropped from active rotation and the phone requests. Promotion departments tend to live and breath on this information reads. Through this type of information extrapolation, the respective label can judge where their artist is going. Through the use of quantifiable data, they chart which stations and regions are playing the record. At the same time, other areas can be identified in order to help promote greater time efficiency. For example, if a record is working in a certain region, the analytical data presented on our website will allow the user to make comparisons to similar regions.

A major advantage to the information being presented on the Network Magazines’ website is the constant updates. The information won’t be static, so that at any given time, it will change and be updated. The system will constantly access the most current data files, updating automatically. This type of system is already in place for the clients who carry the Network magazines’ Toolbox. In a nutshell, the Network Magazines’ website is a larger representation of the single-user versions.

The Toolbox that’s already being utilized across the music industry can be defined as a single-user system. Each machine updates itself daily, so the information is as current and up-to-date as possible. Portability, though, is a function of the computer hardware the client is using, and not that of the design of the system itself. The Toolbox requires that hundreds of thousands of lines of customized computer codes reside in a “local” Mac or PC. That program, the Toolbox, accesses a database on the local computer, which is then updated via dedicated transmissions from a central server in the Network Magazines’ Burbank offices.

Historically, only the most senior executives in the home offices of major labels have been able to afford access to this kind of analytical service from the Network Magazines. Now, anyone with a reasonably new computer and Internet access can be a player in the music business information age.

The Network Magazines’ MusicBiz Mainframe will be accessible to users without the use of any complicated custom software either. The website gives the user immediate and constant access to information at any time. The user needs only Internet access, a widely available ‘browser’ software program (from Netscape Navigator or Microsoft Internet Explorer) and a password issued by the Network Magazine Group. In the end, the issue is now not portability, but affordability and accessibility.

Toolbox vs. MusicBiz Mainframe. 

Although the website is loosely based on the Toolbox system, it will not replace the current online system. Instead, the two are built as complimentary databases, which will help, feed off each other, delivering various types of information, depending on what the user is looking for. Currently, the user is able to customize the reports generated by the Toolbox. Due to the extreme fragmentation within the industry, the information generated can be very detailed and analytical, allowing the single user to gain access to the system, gather the data, customize the report and then leave the system.

The Toolbox allows the user immediate access to the information for an unlimited amount of time. But, where the Toolbox system plays a vital role in the label offices, the Network Magazines’ Music Mainframe can be accessed by anyone from any place. The local music rep, while on the road, can log into the website, compile the desired information and then move on, thus, helping to promote better time efficiency.

Whereas the information provided on the Toolbox is very specific, the website will be a little more general in nature. Due to the large amounts of people utilizing the Internet, it would be counter-productive to be limiting. Therefore the website will carry data that everyone can utilize and at the same time, promote growth of the artist and the label as the website itself grows.

The site gathers information and puts it on display in a certain way. The user then has the ability to extrapolate the information, create various tables for tracking of airplay and retail information, and, then, generate a specific report. Simply put, the website helps in the management, as well as the transportation of the information from point ‘A’ to point ‘B.’

The Sky’s The Limit! 

So how does it all work? To start with, the Network Magazines’ website will include everything that’s already familiar to the single user of the Toolbox system. The website will be a version of the Toolbox that is web-enabled. The center of the site is the station-master. It’s a complete listing of every station that is part of the reporting panel for the various formats covered in the Network Magazine publications: The Album Network, Urban Network, VirtuallyAlternative, TotallyAdult, Aggro-Active and Network 40.

The direct correlations to the station-master are the playlists reported to the Network Magazine Groups each week. One of the most unique aspects of the playlist file is the analytical tools, which can be employed upon the information provided. Two station playlists can be simultaneously compared against each other to chart the progress of an artist, as well as compared against another similar station.

The other part of the website will be a complete artist-master, which is a compilation of all the artists, and their respective labels, that are involved with the Network Magazine Group. The user will be able to do comparisons of artists. This will enable the user to pinpoint where a record is being played, as well as the station and frequency of plays that particular song is receiving. The system also provides for the user to move easily from the station-master to the artist-master in order to utilize tracking sheets. This type of customized tracking report is a compilation of all the radio stations that are playing a particular record.

Action Menus 

In addition to individual charts for particular artists, there will also be detailed Action Menus to pinpoint specific information. Each week, the user will be able to see which was the ‘Most Added’ song for the week, the ‘Most Requested’ and the songs that received the ‘Most Progress’ for the week. Ultimately, this provides for an indirect form of advertising for the respective record labels and their artists.

This application has been specifically designed for the record labels but is also intended for use as a tool for radio as well. Through these Action Menus radio can analyze raw radio airplay data to determine how another competing station is performing as compared to themselves. In addition, similar stations in different markets can also be compared through playlists and actual song rotations.

Power Tools 

The most feature of the Network Magazines’ MusicBiz Mainframe is the use of the analytical tools. This is a unique and exclusive feature that will break down the information into a more tangible report than simply printing out a bunch of random lists. The goal is to provide the user with as many tools as possible, as well as access to the desired database, with the ability to customize the information.

Discovering The Congo?  

The website user should utilize the information that will help them in their job. As compared to those people who would rather play games or even set out to discover the Congo, the Network Magazines’ Mainframe is intended to maximize time efficiency and productivity.

Catering To The Music Business! 

As the user grows, so do the demands for other features to be included on the website. One of the most significant of these added special features is the Network News. This allows the user to view the top stories in the industry on an up-to-date basis. As the story unfolds, it’s entered into the New File and downloaded onto the website.

Another extra feature of the website is the internal communication capabilities for the record companies. Through the use of encryption, a prototype email system is being developed, allowing the labels to communicate amongst themselves and with each other. They will be able to send text and statistical information, videos and music samples. This will also tie in to our single desktop Toolbox user. Through the desktop software, not acting just as a browser, the user can download information, as well as send messages over the Network email system. The goal is to integrate the application, not only as a content provider, but so that the single Toolbox user will also be able to tie into the information as well. The future is the ability to get the information to everyone the easiest way possible.

There is also the capability of direct marketing on the MusicBiz Mainframe. For example, the Network Magazines can be downloaded to the website, providing a plethora of information through various articles and interviews, as well as charts and advertising. What better way for the clients and users to have additional advertising than on the website? Other users can log onto the website, receive a song sample, read an artist interview, as well as being exposed to various advertisements. With an already established foothold within the industry, the labels can now promote their products through the use of the MusicBiz Mainframe.

What’s In Store For The Future? 

With technology moving at such a rapid pace, the Album Network’s Toolbox system will be slowly moving towards a multi-user client server. Through a windows based environment, the Toolbox will consist of a single database connected to multiple users. The main server is connected to each label’s main communication network, which then transports the data to the various terminals keyed into the network. The system will still allow each user to set their own priorities. This will promote a more streamlined database to the client’s users, helping to eliminate multiple problems within the system itself.

In the end, nothing ever remains the same. As technology progresses, so will the Network Magazines’ Music Mainframe. ^m^

Website:

www.networkmags.com

© October 20, 1996. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.