The Dan Workman Studio Log

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2010-03-08T07:28:00.001-06:00

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Live From SugarHill Season 2 in OiH

2010-01-27T08:59:00.002-06:00

The following article originally appeared on the Only in Houston website. I'm reprinting it here because it is probably the best overview of the show that's been written so far, (thanks Ross, Merideth, Gina, and Jarrod).

With episode 13, Live From SugarHill Studios launches its second season and big plans are in the works.

Live from SugarHill features regional artists recorded in their natural habitat: 69-year-old Studio A at SugarHill Recording Studios. Over the decades Studio A has played host to a broad variety of artists from The Rolling Stones to Lightning Hopkins, The Big Bopper to Willie Nelson, Archie Bell and the Drells to Freddy Fender, Destiny's Child, Beyonc� and many more. The "hill" is a veritable "House of Hits" as described by Andy Bradley's new book coming out this spring.

Today SugarHill Studios is the Texas nexus for new and established audiences from an eclectic array of genres.... The Houston Sound.

Each episode features performances by two recording artists or bands and in-depth interviews with hosts Rosa Guerrero and award-winning record producer Dan Workman. The show is broadcast live on internet radio by OutboundMusic.com as it happens. The HD Video version of the show is mixed by SugarHill, Edited by Zenfilm and released on iTunes, YouTube, Vimeo and more than two dozen other sites within 3 or 4 days of the broadcast.�

The show aired its pilot episode in December 2008 which featured recording artists Benjamin Wesley, Robert Ellis and Grandfather Child & Sad Gorilla. When the show began it was well received but very few people knew about it.
�

The third episode saw the implementation of the "Audience of One": one studio audience member that represented a larger online community. On episode 3, the first audience of one was Lou Congelio from Only in Houston. Audience of one participants have represented a variety of online communities and publications connecting LFSH to a larger audience with each new episode.�

One year, 25 recording artists...and a ton of social media marketing later, Live From SugarHill has a growing monthly audience of thousands of and is syndicated on video sites around the world.�The new year holds many surprises, more national acts, twice as many episodes, a 1st season DVD and much more.

Perhaps it is the "if walls could talk" phenomenon in practice as the septuagenarian studio tells its tales. Studio A has witnessed the recording of many #1 hits since its inception. World-class studio engineering, digital cinematography and photography and internet delivery are helping spread those stories to the world. Whatever the reason, the show has a burgeoning audience and is being noticed by recording artists and the recording industry, helping to focus some much-deserved attention on Houston's incredible music scene.

Last month the Live From SugarHill Studios website was launched. The site contains free downloads of all episodes, links to artists, video channels, audience of one members, a store that sells music featured on the show and many other features.
Season Two, Episode One features and incredible mix of jazz masters and modern indie rock genius.... watch it now on livefromsugarhill.tv.

Season Two, Episode One: Jazz Trio Paul English, Dennis Dotson & Brennan Nase as well as experimental indie rockers Peekaboo Theory are the musical guests. Community guest and �audience of one� � a 17 year veteran of creative direction and design whose work covers print, web design, video, photography and writing is Henry �Von Wolffe� Davis, who also acts as the Live Music Examiner for�Examiner.com.

The program includes short sets and candid interviews with Rosa Guerrero and award-winning record producer, Dan Workman. Live from SugarHill Studios is a collaborative effort between Zenfilm, OutboundMusic.com and SugarHill Recording Studios.

Paul English�is an established composer, producer and educator, is known to Texas audiences as a jazz pianist who has performed and recorded with such greats as Dizzy Gillespie, Arnett Cobb, David Liebman, Mark O?Connor and Kirk Whalum. As a studio musician, he has appeared on over 350 recordings of various genres and has produced a number of mostly jazz and classical recordings including arrangements and orchestrations for country music legends, Willie Nelson, Johnny Bush and Ray Price.

Peekaboo Theory�has been serving refreshing audible treats, slaughtering boundaries and stereotypes linked to their sound. The band has gained loyalty, respect and critical acclaim of fans and media alike with raw talent in the national music scene, boasting a resume of live shows everywhere from Albuquerque to Los Angeles to New York City.

Grammy Week, 2010

2010-01-26T21:21:00.002-06:00

I'm sitting at my window on the eighth floor of the Millenium Biltmore Hotel in downtown Los Angeles. This is my second year to actually attend the Grammy telecast. I showed up well before the weekend in order to participate in many of the parties and tributes that take place before the big day of the show--which is Sunday. Tomorrow, I'll get a chance to have breakfast with Glenn Lorbecki, Treasurer of the Board of Trustees of NARAS. He and I never seem to spend enough time together at these events, but tomorrow may change that. One of the more unusual things that I will do this week is to follow up on potential music business opportunities that may arise as our country's Foriegn Policy changes. Similar opportunities may take me to Dubai in May! It feels weird--and somehow right, all at the same time--to be swimming in international waters this year.

While I'm here, I'm shopping for a record deal for one client, and looking for publishing for another. The way that is done is to hang out in the Biltmore Lobby/Bar. Tough work, but somebody has to do it. I may have the opportunity to see a rehearsal of the Grammy telecast. THAT would be quite cool! I might learn something that we could use in Live From SugarHill.

Finally, Steve Christensen's record for Steve Earl is up for a Grammy in the Best Contemporary Folk category. My cousin, Charles Workman, sang tenor in an opera recording that is nominated as well. I have a lot if cheering to do this year. Oh yeah, Beyonce' is nominated for, I think, 10 awards! Crazy!

Snow at SugarHill

2009-12-04T10:18:00.003-06:00

Well, snow doesn't happen very often in Houston, Texas, and when it does, we generally freak out and celebrate while indulging in an inflated sense of driving danger. I mean, we'll bring in our plants and wrap our pipes at the tiniest dip towards 32 degrees.

Since I'm here, I'll mention that we had an amazing Live at SugarHill Episode 12 show last night. Winter Wallace and Tody Castillo. Check out our new site here. The show is gaining a lot of momentum.

Off to make a snowman in the barrio.

Two Star Rehearsal

2009-12-02T07:18:00.002-06:00

I had a composition session with Two Star Symphony in my office last night. The pictures on the floor are prints of Wayne Gilbert's paintings. We're going to do a dual art/music performance and are composing music to compliment the imagery. Think "soundtrack to evocative static and powerful paintings", and you'll be right on the money.

I played SK-1 and a bit of acoustic guitar. Since I'm a big fan of the band, I'm having a ball. More about this as it occurs.

Jeff Walton and I are starting work on another song for Craig Squires. We're leaving Halloween and headed out to the solar system for the them of this song. Jeff has already made a lot of headway on this tune.

SugarHill Book Drop Date, April 1st, 2010

2009-11-23T15:01:00.005-06:00

The publishing date for my partner, Andy Bradley's book, with co-author, Roger Wood, is April 1st 2010. THAT IS NOT AN EARLY APRIL FOOLS! Check out the title link to the University of Texas Press web-blurb on the book. The book is titled:

House of Hits: The Story of Houston's Gold Star/SugarHill Recording Studios

Andy has worked constantly and furiously on that book for 10 years. Rock producer legend, Mike Clink and financier, Chuck Jenness, urged us to write it, and write it they did. Also check out the pre-sale on Amazon.com.

As for what I've been up to. Well, I'm so far behind in my commitment to you, constant reader, (note the singular) that I am shamed into not writing. Like not at all. Here's the list of danstuff that has not been reported:

Went to Peru.
Worked for the Recording Academy in New York.
Worked for the Recording Academy in LA.
Wound up work on an album for Jake Dalton.
Finished an amazing Halloween song by Craig Squires (in time for Halloween)!
Began working on a big project with Kareem Salama.
Continued, and expanded my work with Cari Quoyeser.
Worked with Jeff Walton for commercials for TSO, Delta Downs, and Texas Children's Hospital.
Started new songs with The Southern Backtones.
Done four more episodes of Live From SugarHill.
Road my 1977 motorcycle to see my Dad in Kerrville, Texas.
Played SK-1 onstage with Eric Jarvis, Matt Johnson, and Max Dyer in support of the band Crossing Togo.
Just met with Ken Sheppard and Scott Ayers about getting involved in their music.

Will I fill in the blanks in future posts? Even I do not know! I've been all busy being me and have not stopped to comment.

Back to work.
D

Owen and Lilly

2009-10-31T07:52:00.002-05:00

(before we get to Owen and Lilly--start rant)

Ok. I've been suffering from 'the laundry problem'. It goes like this: You don't do your laundry. Your dirty clothes pile up. You need to do your laundry,... in fact you want to do your laundry. But you don't. So your laundry problem continues to grow. Soon, you have one honkin' big wad of laundry to do. It's going to take a whole day to do. That growing mound of clothes shames you right through the wall time and time again throughout the week,... then every day. You realize that you are totally dysfunctional when, instead of washing the 15 pound stone henge of underwear and socks at home, you find yourself buying new underwear and socks at Target. Again.

Finally. Finally! you make the time to wash the damn laundry. As you re-acquaint yourself with those shirts and pants that you really like, and can't wait to wear again, you realize for the umpteenth time how much you very much hate doing the wash.

So, what's happened is that instead of doing a painless 30 minutes of clothes washing every few days, you put off doing the laundry--BECAUSE YOU HAVE TAUGHT YOURSELF TO HATE DOING THE LAUNDRY. And that fear of the amazing hassle of that day of drudge work keeps you from simply hitting the machine every three or four days for an effortless few moments.

Replace the phrase, "write in my blog" with "laundry" and you will get my point. Get out the wet noodles and help me start lashing.

(end rant)

Yesterday I had lunch with the amazing songwriting and production team of Owen and Lilly. They hale from the UK, but have lived in LA for the past few years. They are as nice, as cool, as they are talented. I've had the honor of mixing some of their work in the past, and hope that we maintain the connection. Yesterday, we sat in the car and listened to demos of a 15 year old chanteuse they are developing back home in Britain.

On another note, I met with artist and friend, Wayne Gilbert and the members of Two Star Symphony last night to discuss doing a show together. Wayne and I have done performance art pieces over the years, and I have always wanted to work with Two Star. My inner school girl is squealing with excitement.

I've been to Peru, New York and LA within the last 8 weeks. That's the pile of laundry I still need to blog about. Soon.....

Behind the Scenes--Chase Hamblin on Live From SugarHill Episode 8

2009-09-11T07:45:00.005-05:00

We broadcast Episode 8 of Live From SugarHill last night. Our guests were the amazing Two Star Symphony and the equally amazing, Chase Hamblin.

I think it was our best show yet. Ross Wells from Zenfilm was there to shoot the video for the podcast which he will edit and make available in about 10 days on iTunes/Live From SugarHill Episode 8. Everett Taasevigen, was crawling around working his magic on the still photography. Al and Courtney Delaney of Outbound Music.com manned the internet uplink along with their new intern (and notable music attorney about town), Mary Jane Hancock.

While I was watching Chase perform, it occurred to me that I have this new iPhone 3G S that takes video and that I should try to film a bit of the show. It looks OK,.. you can see Ross and Everett getting the shots. The band was certainly awesome, but ironically, the part that I thought was going to be only so-so, the audio, sounds darn good for just recording in the control room.

This show really came together great. My co-host, Rosa Guerro, and I found our flow and I feel like we did good interviews with the bands. Our senior staff engineers, Chris Longwood, Josh Applebee, Steve Christensen, and Chris Longwood, engineered and mixed the best live audio to date. Our intern, Jesse Emmerson, went way above and beyond to help us out. Finally, our producer and SHRS studio manager Gina Miller made the logistics effortless. I can't wait to see the video podcast.

On another note, I'm off to Peru this afternoon to set up an ambient music concert and performance art piece in Trujillo for January '10. I'm super excited about that, and I'll be posting pictures when I get home. While I'm there, I'm going to visit Manchu Pichu--the lost city of the Inca's high in the Andes mountains. Cool!

Checking In

2009-08-12T08:00:00.002-05:00

The absolute best time to write in your blog is when you have something else to do. The bigger the procrastination, the better.

*I have a meeting scheduled with a prospective client tonight. This morning I received a multi-page, non-disclose agreement to sign before the meeting. Unusual, but not unheard of.

*I met with Cari Quoyeser yesterday about producing some solo songs with her. Interesting and talented chica. Rich Whiting is on board to do some pre-production next week. More will be revealed.

*I'm finishing a fantastic second song with David Enriquez, Frente. I'm thinking about having Steve Christensen mix the darn thing because I am running so short of time. The bridge still KILLS me every time I hear it. David is a really amazing artist, and I'm honored to be working with him and manager Rolando Cuellar.

*I was recently appointed to the Recording Academy, Producer & Engineer's Steering Committee. I'm fighting feelings of unworthiness while at the same time honored to be working with the best of the best in the business. My fellow members include Sylvia Massey, Phil Ramone, Chuck Ainley, Ed Cherney, Mike Clink, and Nathanial Kunkle--names so heavy that google searches simply crash the entire internet backbone for the US.

From a previous blog:

Maybe.
Just maybe, the whole idea that record labels ever supported and grew
'baby acts' into 'amazing bands' is just so much revisionist history.
Maybe the REAL deal is that in the old days, bands actually had to be
incredible performer/players in order to get any attention. What looked
like a patient investment to us now, is in fact, the naturally slower
pace of a pre-internet,pre-personal computer,world.

Memorial to Wm. T. Murry II

2009-07-24T07:35:00.003-05:00

(l-r) My cousin, Dave Murry, me, and my Uncle Tom Murry

My mom's brother, my uncle Tom Murry, passed away yesterday. Uncle Tom was a dentist by trade, but he was always an active jazz cornet player. As a kid, I was fascinated by Uncle Tom. He was a natural comedian. He always had time for us kids, loved to take us fishing, and talked constantly about music. He was the first person that I ever identified as having the same love of music that I did, and his constant references to this artist, or that recording or show, gave me permission & encouragement to make music a big part in my life. There is a good chance that I would not be writing this had things been different.

He was always interested in my bands, and when I quit graduate school to pursue matters musical, he was the only greater family member that I remember being immediately supportive rather than perplexed or disappointed. Uncle Tom and my Aunt Charlotte were the most 'in love' couple that I have ever known. They seemed to wear life easily when they were together, and it was immediately obvious to everyone that they liked each others' company and were deeply and passionately devoted to each other. They modeled the marriage that I now have, miraculously, with my wife Christi.

I'm still having a lot of sadness over his passing, but his generous and unique spirit will live on and ripple down the generations through many, many people. I will never really be without him. So, here's to Wm. T. Murry, II. I'll miss you Uncle Tom, but I know that you will be with us as long as we are here to remember.

Winter Wallace in print

2009-06-17T14:08:00.003-05:00

Notwithstanding the preponderance of dan-gush, this is a great article about a very very deserving young lady with whom I have had the amazing pleasure of working--Winter Wallace.

Winter's music began my intense collaboration with Recording the Beatles co-author, Kevin Ryan, and has continued through the current band lineup led by the amazing Nolan Burke. Check out the article, here.

Sometimes You Just Need To Talk

2009-06-15T07:07:00.004-05:00

The Blue Door

Weird. I've started to consider this blog simply a more producerboy-specific version of my Facebook Wall or Twitter post. The world is changing. Again.

Notes:

I went to Maui to attend a Grammy (NARAS) Board of Trustees meeting. Upon my return I found that lightning had hit our power transformer, taking out a bunch of computers and gear, most notably our Neotek Elite console in Studio A. My partner and the studio's designer, Rodney Meyers, pulled it off last night. We got the console up and running on newly delivered power supplies. I have to fix a few of the I/O modules, and a meter driver IC, but that's doable. I was totally out of my depth in battling the Great Power Supply Demon. All hail Rodney!

As a nice counterbalance to that drama swirl, I finished Girl Friday's songs. We mastered with Allen Corneau last Friday (yes,... very apt), and the songs turned out fantastic. Check out Dorothy here. That is the song that caught my imagination the first time I heard it. I unashamedly played all over it, and have no problem reporting to you, dear anonymous reader, that I loved the results.

Equally cool is the fact that I finished mixing Debbie Forrest's song, I'm Still Here, right before Rodney and I went in to do battle with the console. Max Dyer played cello, and Josh Moore played piano. Their performances magically support an impressive and inspired vocal performance by Debbie. I'll be posting that song (always with the artist's permission, I may add) later in the day.

I first heard the song when Debbie was playing around on the piano while we were tracking vocals for another song, You Picked Me. The second I heard it, I hoped that I would have a chance to record it. The song, and Debbie's performance, were already fantastic, and I immediately had a pretty good idea of the presentation and vibe that we should go for. I wanted to set up the tune with the right parts and players, and get the heck out of the way, and I feel like it went well. The gestation time was a bit longer than I thought it would be (we explored putting rock drums and acoustic guitar on it, and it took me FOREVER to mix it), but it was worth the wait.

Now, off to mix Three Kisses, prepare for a cool Halloween novelty song by Craig Squires, and post songs for a session with Trigger (Mike Trigg). Happy Monday, indeed.

Playing with Jandek

2009-05-11T14:33:00.002-05:00

I got to check off one of those 'life list' to do's last week. I played a show with Houston-Mysterioso-Avant-Garde legend, Jandek. You can click on the link for the review.

That's me, on the right side of the gigantic 'guy in front of the camera' head.

When you play with Jandek, you have to sign a contract saying that, in essence, it never happened. No credit, no royalty. You are listed as a 'technical advisor' for the show. It was one of the coolest things I have ever done, and it makes me miss playing in experimental/noise bands.

Here's a reprint of Creg Lovett's review from the most excellent Space City Rock website:

Live: Jandek at DiverseWorks

by Creg Lovett

(l to r) Jandek, Craig Hauschildt, & Angela Reed. Photo by Creg Lovett.

DIVERSEWORKS -- 5/3/2009: Jandek surfaced at DiverseWorks last Sunday for an hour and five minutes of improv chamber music. This was as unlike any of his other music as his other music is to everyone else's music. There were no vocals. Jandek remained seated throughout, and may never have looked in the direction of the audience. He sparsely played an electric five-string bass guitar with a pick and slide. To his left was Craig Hauschildt playing gongs using props ranging from buckets of water to brushes and rubber bands. When he removed and serenely threw a cymbal across the room, nobody acted surprised.

At center stage, and featured, was Angela Reed seated with a huge bass clarinet that often dominated the performance. Behind her, James Metcalfe operated several dozen wind chimes, most notably using a Big Gulp-type plastic cup full of water, in which he submerged chimes as he struck them.

(l to r) Craig Hauschildt, Angela Reed, & Dan Workman. Photo by Creg Lovett.

A highlight was the accessible guitar work of Dan Workman, who was seated, wearing all black, with an electric guitar, a very small Casio SK1 keyboard, and a laptop with which he interfaced constantly during the show. Most of the concert was the musical equivalent of a Jackson Pollock painting, but the guitar was often a very familiar shredding that reminded me of one of the 1980s Zappa disciples. It was weird, but not Jandek weird.

The mere sight of Jandek himself is a shock. Honestly, he looks like a star. The players sat below the audience in folding chairs on the floor, while we were on risers. Several large stage lights flooded the band in blue moonlight tones without shadow. This made Jandek, and Jandek only, appear ethereal. Like a gentleman ghost in fine bluesman clothing. END

Live From SugarHill Episode 5, John Ramirez and Los Skarnales

2009-05-09T09:28:00.001-05:00

Live From SugarHill Studios - Episode 5 from W. Ross Wells on Vimeo.

"No Photos--Please"

2009-04-09T07:23:00.003-05:00

Random:

I drove to Austin yesterday to attend a meeting of the Texas Board of Governors for the Recording Academy. That's a long drive for a mouth full of a meeting. The day was really beautiful, the meeting went well and a few smaller meetings parked around the main meeting were really excellent. I'm preparing for my second Board of Trustees meeting in Hawaii (Maui) in a couple of weeks. The thrill of being in Hawaii is somewhat offset by the weighty nature of being on the national B.o.T.o.t.R.Academy (another keyboard-full). I think I'm as prepared as I'm going to be.

Right before I left town, I met with Heather Wagner (Juice Consulting) and Joe Stallone (Bracewell & Giuliani) about forming a new company to provide production, promotion and legal services to artists--filling the hole left by the major labels in their race to extinction. Heather is at the top of her game having served as Beyonce's product manager for 4 years, and Joe is a sharp, honest attorney with a big heart. Quite a combination. I already have worked with them both. Joe is doing legal for Ross Wells' and my non-profit, The Houston Sound. This could be very cool. More Will Be Revealed on that front.

I was just in Austin for South By Southwest a few weeks ago. This year the weather was the best I can remember for the festival. The highlight for me was the Tape Op party, sitting at the table with Maureen Droney, George Massenburg, Ed Chereney, John Spencer, and Bob Ludwig. I won't even bother to hyperlink these gods and goddess of the industry. You either already know them, or you will be fine taking my word for it. These are the folks occupying the headiest realms in pro audio, and I was squealing like a schoolgirl inside as George, Ed, Maureen, John, and Bob called me by my first name and mentioned SugarHill.

Time to go to work. I will be playing guitar parts on Lisa Serice's project, and working on an arrangement for David Enriquez, and starting to mix 3 songs for 3 Kisses (or their side project, Six Mules for Sister Sarah).

Ok, maybe one photo: The Kaitlyn Knippers Production Team, Tyson Sheth (drums), Kaitlyn, Rich Whiting, Chris Longwood, and moi, producerboy. Not pictured: JJ Worthen.

Girl Friday

2009-03-28T16:44:00.006-05:00

Yesterday I cut basic tracks in SugarHill's Studio A for Girl Friday. The session was incredibly fun and worth an update. GF brought food which included an astonishingly good chocolate chip cookie (one of the giant pizza pan sized ones). It was amazing because it was cooked just right--about one minute past the raw cookie dough stage (danger!), but before the next chewy cook stage. She also brought each of us a chocolate easter bunny... along with Perrier, wine, banannas, veg tray, chips, picante' sauce,....

We did do more than eat. We got basics for two great songs, Storm, and Dorthy . Eric Jarvis played bass, Falcon Valdez was on the drums and percussion, and Josh Moore played piano and accordion. Steve Christensen engineered, and SugarHill Uber Intern Kevin assisted. This was the first time I worked with Josh, and I was suitably impressed. It was also the first time for me to work with this particular cutting crew. Eric, Steve and I have tons of hours logged in the studio together, and Falcon and Josh fit right in. As a matter of fact, the vibe on this session may have been one of the sweetest I have ever experienced, even though we were put to the test before the session even started. Andy Bradley's emergency mix session did not end until a few minutes after our slated start time. That was no problem at all for us as we all sat around the 'horn o' plenty' of snacks in the break room table. Way to go Girl Friday!

The highlight of the session was Falcon coming up with some great arrangement and percussion ideas. No. Wait a sec,... the highlight of the session was GF going into an unabashed girl-cry during the first take of the first song we tracked. She had warned me that it would happen, and U.I. Kevin was ready with the tissues. She was just so pumped to hear her song being realized by such generous and talented guys. I actually had some contact-cry emotions when I saw her break down. She was experiencing the joy that motivated us to work in the studio in the first place. It's always an honor to lead someone through the rite of passage of their first session working with magical players. The music was great, the vibe was beautiful, and the fellowship was wonderful. A really good day at the office. Now I get to play my parts!

Southern Backtones new video: Slumber Party

2009-03-06T13:11:00.002-06:00

The Southern Backtones (no strangers to this blog), just released their second video, Slumber Party. This is another mad collaboration between zenfilm's braintrust, Ross Wells, and SBT's lead singer, Hank Schyma.

The song was engineered and mixed by Steve Christensen, and I produced, sang backing vocals and played mucho SK-1. The song is a psycho-ballad about,... well,... sex. Ok. I know that this probably comes as a great surprise, and I apologize in advance for the subject matter.

The video is PG-13, however, and features a few fleeting glimpses of moi, producerboy, hammering it out on the SK-1.

Ross and Hank have made their (now usual) genius moves. I think that you will enjoy.

Southern Backtones "Slumber Party" Music Video from W. Ross Wells on Vimeo.

Bob Ezrin responds to Bob Lefsetz

2009-01-25T09:09:00.003-06:00

Bob Lefsetz writes a music industry newsletter that is regarded by many to be the one fresh breeze of rationality in the s***storm that is the current state of the business of music. One of the reasons that people read his blog, is that he often posts the responses of those that disagree with him, or elaborate on his points in a significant way.

Bob Ezrin is an ascended jedi master record producer who has a perspective on creating music, and achieving success in the business, that I agree with and could not articulate as well. You can read a reprint from Bob L's newsletter below. (Click on the title link of this blog to go to the archives).

I am often asked about how to make a song attractive to a certain market, or more often, what 'Radio', 'The Labels', 'A&R', managers, etc., are looking for. I've tried to counsel those who ask to create music for their 'inner fan' first and foremost. While I'm sure that there are musicians that create, very successfully, for a certain music market, I firmly believe that they are the exceptions that prove the rule.

The playing field has become fairly level, at least at the present time. The tools to make a great sounding recording are ubiquitous and relatively inexpensive. The traditional means of marketing and distribution are in a shambles, and our newfound ability to share digital music, (legally or not), has left the experts scratching their heads as to how to make money on the fruits of our recording efforts.

I have been preaching the gospel that Bob E. outlines below: 1) If your music is good enough, then an ever-increasing fan base will give you their money--even when they don't have to. 2) It's easy to tell if you are that good: more and more people come to see you live each time you play. They will call their friends and insist they come to your show (or buy your CD) with a passion that no clever marketing scheme could ever generate. If you even have to wonder if your performance or your music is that good, then you still have work to do.

If you are like me, then the work is it's own reward. I love music, and consider it to be the highest, and most ubiquitous and accessible art form. I am invigorated and excited by the challenge of writing, arranging, recording, and performing the next song--always reaching deeper inside the creative process to extract the purest version of the tune. My goal is to create something that transcends genre, and will connect with as many listeners as possible, hopefully fulfilling a longing that they never knew that they had for your musical story, while at the same time igniting their craving for the next installment.

Enough of my thoughts. Check out what Bob Ezrin has to say below. If you are like me, you'll be excited by his challenge to create excellence!

*****

(To) Bob (Lefsetz),

I usually sit on the sidelines and eat my popcorn as I enjoy the theater that is you and this wonderful newsletter. You're better than most movies and just about any music that's out there right now for entertainment. And even when I think you're being a stick in the mud, you do it so artfully and passionately that it's ok and I enjoy the performance for its own sake.

But this one has to be answered - with affection and the deepest respect of course. You start this with the word "Quality" and then you proceed to counsel struggling musicians to contort themselves and what they do to fit the market so that they can "make it in this business". But here's the true bottom line: This business of exploiting art and entertainment is built from it's very inception on creativity and quality, on special things made by special people that touch, inform, elevate, divert, soothe, numb, challenge or sometimes even drive other people enough so that they are drawn to it and want it to be a part of their lives - either for the moment or for a very long time. When they want it, they sometimes pay for it in one way or another and this special stuff sometimes accrues a value beyond the ephemeral and actual makes money for its creator and for the folks who help to support and market it. Sometimes it becomes more valuable than gold and stars are born.

But unless it is especially touching in some way (even if it's in a juvenile or prurient way), nobody will care and it will end up having no value at all. Which then goes to your title "Quality". If a thing lacks quality of some sort, it will not touch anyone. It will simply be a not so special thing in a world of not so special things. It will blend in and disappear. But if a work or performance is of high quality and special, then it has at least a shot at becoming valuable to someone - and the person who creates it has a shot at being appreciated and rewarded for it. If I were talking to "struggling musicians" I would say:

First, be special. Make something of such high quality that anyone would care. And that's not as easy as it sounds. Just because you can use a sequencer and play an instrument doesn't make you an artist. You have to create something that is special - unique and capable of moving others in a meaningful way. Once you are truly special, truly great at what you do, you may have a chance at finding an audience willing to reward you for your specialness. More than likely you will not, because special - by definition - belongs to the very few. But if you do, then someone somewhere might recognize that and show up to help you to take your creativity out to a wider audience.

How do you get recognized in the first place? Play to people as much as you can. They will let you know if and when you are truly special because they will either begin to pay you to do this, to be able to be close to you - or they will ignore you. Play: in your town; at your school; in the next town over; on the web (but that's a whole other and longer discussion); at parties - anywhere you can. If you have created something truly special someone will recognize this and the ball will start rolling.

But whatever you do, DO NOT pick a market and try to create for it. You may decide to do that later in life when you become so good at your craft that you can aim your creativity wherever you wish, even when it doesn't please you. But you cannot start there. No one is born a hack. Hacks are failed or jaded artists, each and every one. First you must be able to create for yourself and find the way in which you may be special, and then you have to work on becoming really great at that. Create from your heart and from your will. Your will is what you use to keep you practicing and trying and trying to get better at what you do. Your heart is where the inspiration comes from to use that ability to make something really truly special. But above all DO NOT listen to critics, pundits or "experts" who try to bend you to what is happening now. By the time you get there, now will be long gone.

Dedicate yourself to quality, to being the very best at what you do and then use that quality to create or be something truly great. Then you may have a shot at "making it". But whether you become a star or not, you will have become and will forever be someone very special. And others will know you for that.

End of lecture.

Thanks

Bob (Ezrin)

Live From SugarHill available on iTunes

2009-01-12T07:12:00.004-06:00

Live From SugarHill is now available as a subscription podcast on iTunes. It's also available on Vimeo.

And Crackle.

We're refining the show, and look forward to our next broadcast. We are going to incorporate some fun components into the show, as well as tweak the flow of the proceedings. The word from ecsLIVE is that login for the show should be GREATLY improved. We're still going to be audio-only for the February 5 broadcast, but the next show should be a full audio/video stream. For now, the video edit should be up in the week after the show.

By the way, ALL of what you are hearing about LFSH is being generated and orchestrated by Ross Wells of zenfilm. This is no small task. Ross playes the web like a fine instrument. We could not have a better webmeister than Ross. "Thank you" doesn't cut it, but Thank YOU, Ross' does get us started.

Live from SugarHill featuring Robert Ellis

2008-12-30T10:38:00.003-06:00

Live from SugarHill: Robert Ellis from Dan Workman on Vimeo.

We've started a new radio/television show, broadcast live on the internet from SugarHill's legendary Studio A. The show is built around how actual recording sessions are run, but with a live performance imperative. We had our first show last month. Here's a clip of Robert Ellis performing. Our next live broadcast will be on Feb. 5th. I'll post the link and times later in January.

Jennifer Grassman Video Release

2008-12-19T08:01:00.002-06:00

Many of you already know about Jennifer Grassman. She's my friend as well as one of the artists that I produce for TLM Productions. Ross Wells of Zenfilm, became interested in her song, Pretty Girls, after I started singing her praises. Mike Thompson of Ivory Tower Productions produced the song, and TLMP released the CD on which it appears: At the Back of the North Wind.

A legion of my friends and colleagues worked to make this happen. This includes Jennifer's family who sewed costumes, made props, and played parts in the film. There is a complete list of credits on the vimeo.com site that hosts the video. Major props to Jennifer for writing and performing such a compelling song, and to Ross who's vision and persistence brought the project to light.

Jennifer Grassman "Pretty Girls" Music Video from W. Ross Wells on Vimeo.

The Blue Hit & Debbie Forrest & The Southern Backtones

2008-12-15T13:47:00.005-06:00

I finally got to record The Blue Hit! We did a week in Studio B here at SugarHill. This was a long time coming. The band was brought to my attention by Brian Trafton of Wounded Rabbit Productions about a year and a half ago. We started talking, and we went through two different scenarios, but couldn't find a way to make it work. Fast forward to October 2008, and, BAM, we made it happen.

Grace Roland, Demo Moss, and John McGee joined me and engineer John Griffin in a cool, week-long, trip through their songs. Chris Couri assisted and provided for our every need--including an autoharp and a killer set of Musser vibes. The band's sound is minimal and delicate (voice, acoustic guitar, and cello), and yet has a finely modulated power behind it. John Griffin hooked us up with some amazing sounds, and the band's performances were generous, and magical. The photos below were taken by Demo's brother, Manny Moss.

John McGee, Dan Workman, Grace Rowland, Chris Couri, John Griffin and Demo Moss

Demo, John, Demo's brother and photographer Manny, and Grace

Now it's up to me to edit and mix. I hope that John Griffin will be helping on those chores as well. I'll probably report as the mixes progress over the holiday.

Another project that is finishing up right now is singer song writers, Debbie Forrest and Alex Anderson. Debbie and I began talks about a year ago. (Just change the names in paragraph one above, and you will get the picture on the time line quite nicely). I had the pleasure of working with Debbie and Alex on their song, You Picked Me. Debbie has strong country and bluegrass roots, but we took the song in more of a 'very modern pop song with folk tendencies'. This is my description and is not officially endorsed by the artists. Anyway, the mix is up for approval, and we are poised to master this week.

I spent last Saturday with Hank Schyma recording vocals for The Southern Backtone's next CD. Hank got himself a laptop with some recording software, and came in totally prepared. He just kept nailing part after part, and his arrangement ideas were cogent and well rehearsed. While we were working I suddenly realized that I had not been giving him any feedback or direction. Like none. At all. He didn't need it. So I got to stay in 'engineer mode' much more than usual. I had a blast, and so did he. Now I just have to edit, record some strings and horns, and pass the project along to Steve Christensen to mix. BTW: Steve is in Nashville as I type working with Steve Earl on his new record. Way to go, Steve!

More Blue Hit photos by Manny Moss:

Hurricane Ike Books Time at SugarHill

2008-09-17T11:58:00.004-05:00

First and foremost, all of the SugarHill family are ok. Each of us suffered some damage at our homes, but nothing that can't be repaired. Jimmy Jaymes got the worst of it with some roof and wall damage. While I have power restored at my house, SugarHill Studios is not yet on line.

SugarHill lost many of the beautiful trees surrounding the buildings, and one huge ash (?) that marked the entrance to our warehouse. Sadly, that tree did not survive the windy maelstrom , and fell in a mighty arc that took down all of our power lines, and ripped our electrical service from the building. (See detailed photos, below)

We had a bit of water damage in the hallway in front of Studio B, and in one of our famous reverb chambers. We will be replacing the roof over the hallway and reparing the fences that got crushed by the trees.

All in all, we were VERY lucky: none of the studios, instruments, microphones, other gear were harmed, and all of the tapes and data are dry and secure!!! We have to rebuild the electrical service, but as soon as that gets done, and the city gets power to our neighborhood, then we will be back at full operational capacity. Our best estimate on when that will be is sometime early next week (9/23-24).

Gina is manning the phones and email, offsite: (713 926 4431, gina@sugarhillstudios.com). Check out the pictures below, and marvel that we are standing to start year #68 having weathered one of the most powerful hurricanes to hit the Texas coast in over 25 years.

Limbs and branches down in the SugarHill park:

The Big Tree. " Tiiimmmbbeerr"

Tree 1, Fence 0:

When the wires came down, so did our electrical service:

A few spashes in the Studio A reverb chamber:

Gina Miller and Chris Longwood pull the saturated carpet out of the Studio B hall:

Just a bit of damage on the Studio A roof:

As you can tell from the photos

Sweet Surprise

2008-07-15T16:20:00.004-05:00

I'm mixing the second half of Sarah Sharp's CD, 'Flight or Flight', at The Treehouse with Steve Christensen. Sarah, and Buffalo Speedway show up, along with Alistair Sharp. So along with assistant, Stephen Davis, the gang is all here.

We're working on the songs, enjoying the company, and Sarah checks her email. Bam. The news comes in: Sarah's first half of the record (released in EP form for SXSW, 2008), is reviewed on NPR's All Songs Considered.

How very, very cool. The nice thing is that the review articulates just how I feel about our work. So strange that The Universe would be kind enough to send some validation our way right when the affirmation can do the most good.

Some days are sweet like that. Good for Sarah. Good for all of us at the Treehouse.

Getting Out of the House

2008-07-08T15:03:00.007-05:00

I'm working from the Caroline Collective today. Presently, I have set up my pro tools rig and keyboard at the table we are sponsoring at this amazing co-workspace. If you don't know what that is, hit the link above. CC reminds me of the energy of the mid 1980's (yes,... I was there with the dinosaurs), when all of the artists in Houston busted out of their studios and built spaces into the Commerce Street Warehouses.

I'm having my picture taken Jessica Grieves right now. I'm actually getting a TON of work done. Gina Miller just showed up from the studio leaving Stephen Davis in charge back at the shop. I feel like I'm getting away with something naughty by being here.....

I ducked out of the main work room to talk to Christi Chaos on the phone in the 'library'. I love checking out what books are on the shelves wherever I go, and the library of the Caroline Collective did not disappoint. Check out the Boyscout Handbook!