Rarely, if ever, does a community such as Eastman, Georgia see a national touring act such as Caleb Klauder live in concert. Caleb and his band will be traveling all the way from Portland, Oregon for a night of unique music, with a sound and presentation that is timeless. With family roots in the East Tennessee area, Caleb performs originals and classic tune with a strong musical backing that reminds the listener of the great music of the fifties and sixties. A time when music told a story and the performers were accomplished musicians. Musicians that depended on their own talent to present music that made people want to get on the floor and dance, have a good time and socialize. You will hear, along with Caleb's original work, classics from George Jones, The Louvin Brothers, Dolly Parton and others.
Tuesday, February 3, 2015
Caleb Klauder In Concert
The Caleb Klauder Country Band is a national touring band that has 15 years under their belt (and on the tour bus tires)! In a special concert, The Caleb Klauder Band will take the stage at the Magnolia Theater on February 19th, 2015 at 6:00 PM.
Rarely, if ever, does a community such as Eastman, Georgia see a national touring act such as Caleb Klauder live in concert. Caleb and his band will be traveling all the way from Portland, Oregon for a night of unique music, with a sound and presentation that is timeless. With family roots in the East Tennessee area, Caleb performs originals and classic tune with a strong musical backing that reminds the listener of the great music of the fifties and sixties. A time when music told a story and the performers were accomplished musicians. Musicians that depended on their own talent to present music that made people want to get on the floor and dance, have a good time and socialize. You will hear, along with Caleb's original work, classics from George Jones, The Louvin Brothers, Dolly Parton and others.
A concert that will allow music lovers from Eastman and surrounding counties to experience music in the vein of Hank Williams, The Louvin Brothers, Lefty Frizzell, Merle Haggard, George Jones and many other greats of the greatest era of live music. Music that is alive and driving, while paying homage to the classic sound of yesterday. This is sure to be a night of live music that you will never forget!
Rarely, if ever, does a community such as Eastman, Georgia see a national touring act such as Caleb Klauder live in concert. Caleb and his band will be traveling all the way from Portland, Oregon for a night of unique music, with a sound and presentation that is timeless. With family roots in the East Tennessee area, Caleb performs originals and classic tune with a strong musical backing that reminds the listener of the great music of the fifties and sixties. A time when music told a story and the performers were accomplished musicians. Musicians that depended on their own talent to present music that made people want to get on the floor and dance, have a good time and socialize. You will hear, along with Caleb's original work, classics from George Jones, The Louvin Brothers, Dolly Parton and others.
Saturday, September 13, 2014
Putting On A Show
Recently, we had a meeting of the Magnolia Music & Medicine Show crew. One thing on the agenda was to resurrect the MMMS web presence. For about a year, we have been depending on FaceBook for our web presence. While FaceBook does a pretty good job, we felt that we needed a site of our own with all the information concerning the show With that decision, I decided to start up the blog posts again.
After the meeting, and since we had discussed all of the responsibilities associated with the show, I decided to post an article addressing what it takes to put on a show. Before we start, I would like to say that I think Eastman is very fortunate to have such a rich resource for quality music entertainment. Our local talent offers a rich variety to the mix. Add to that the professional touring act that headline each show insures a night of music that equals any show, anywhere!
So, how does one put on a show of this caliber? First, you have to have a dedicated staff that can follow through with all of the related job responsibilities. You also have to have great communication. This is a tall order considering that all of the volunteers (The Crew) have jobs, families, and other responsibilities. With that said, lets look at the process of putting on a successful show.
First, you have to schedule six dates within the year for the shows. This is not an easy task. You want to insure that the dates do not conflict with local events, personal band schedules, crew schedules, and holidays. Once these dates are set, the people that book the headlining act has to start the process of reviewing possible candidates for the shows. Once the acts are picked, the individual acts agent has to be contacted and an agreement reached on the date in question. Although I have no connection with booking the acts, I do know that this is a huge responsibility, and a lot of things have to be considered before an act will sign on to do a show. Logistics is a big consideration in an act signing on to do a particular show. Naturally they want the MMMS show to be within reasonable traveling distance of their show before and after our show. Consider that this process usually starts six months or more from the show date. Scheduling these shows sometimes begin a year in advance. Once a group signs on to do a show and the date is set, that doesn't end the responsibility of the booking staff. Sometimes groups will have conflicts that occur that will prevent them from performing on the show. It doesn't happen often but it does occur and you have to find another act, sometimes in short order. Why would an act break a contract? Several reasons, for instance, they might be approached by a booking agent about performing on a big concert tour that spans several months. This can mean big money and exposure for an act and you can't blame them. This is their livelihood and it would be hard, if not impossible, to turn down a bigger paycheck! During this process, a date might have to be changed since the headlining act might have an opening near us at a different date. In a case like this the dates will be changed to accommodate this schedule. A change in schedule such as this might be the difference between securing the act and passing on them. A lot of things have to be considered.
Once the act is secured for the show, the crew that handles promotions has to start their job. Show posters have to be designed and printed. Then as the show nears, the posters have to be distributed and displayed. The web presence has to be updated. FaceBook Events have to be created and promoted. Tickets have to be printed. Multimedia resources, such as YouTube videos, will be displayed during the promotion period. We are even starting up a email newsletter to let people know about the acts and show dates. All of these jobs will continue up until a couple of hours before a show. Within a few weeks of a show, members of the MMMS crew will be in contact with the act to insure that they are ready and to guide them to the location in plenty of time for load in and sound check.
Before each show, the theater has to be prepared. The entire theater has to be cleaned. The stage has to be set and decorated as well. Much of this prep has to be completed the day before the show. The day of the show starts early for the sound engineer. He, and his crew, has to start early loading in the massive equipment required for putting on the show. What seems like miles of cable has to be run and connected. The sound board, power amps, effects and monitors have to be placed and tested. Microphones have to be provided for each person on the show. The drum kit requires up to six mics alone. Each amplifier (such as guitar, bass, etc...) is mic'd for the best sound. Other musical gear requires a DI (direct injection) box and line for adequate connection to the mixing board. Each vocalist, Master of Ceremonies and speaker has to have a microphone.
At approximately 12:00 noon on the day of the show, the band members show up and start the process of loading in their equipment. After the equipment is loaded in and setup, all of the mics, DI connections and P. A. gear is tested. If problems are found, the engineer has to troubleshoot the problem and apply a fix. After testing equipment, the band has to do a sound check. During sound check, the sound engineer, has to set individual levels for each performers monitor (or "wedge"). Each performer has a monitor so they can hear the instruments and singers adequately. On the stage, it is hard to hear everything to an acceptable level due to several factors, hence the monitors. This takes a while and several songs will have to be performed in order to get the monitors set properly. For instance, in my wedge, I like a high level of the vocalist, lots of acoustic guitars, lots of kick drum and high-hat. I don't want any of my bass guitar in my wedge, I get that from my amp. I actually don't need any piano or lead guitar in my wedge due to the location of Ronnie and George's amplifier placement. Since their amps project well and are of a higher frequency, I can hear them well. Keep in mind, each performer desires personal wedge/monitor settings in order to do their job to the best of their ability. What we hear on stage is WAY different from what the audience hears. Whereas the audience hears a balanced sound of all of the instruments and singers, managed by the engineer, the performers hears a mix that allows them to hit the queues and marks just right. I set my bass amp in such a way that the drummer, Joe Jackson and keyboards, Ronnie Cadwell can hear it well. And since I set behind Karl and George, they are able to hear it well. It is really interesting on how the monitor mixes are set for each performer. On any given performance, the sound crew could have anywhere between 12 to 15 monitors mixes to keep up with. Not to mention the house sound. You have to hear certain instruments well enough to play the song properly. It is also important on the placement of the amplifiers that are used on stage. They are generally placed to project across the stage or angled so the band members can hear them. After a successful sound check, the band has a couple of hours off before showtime. That gives them time to grab a bite to eat check their equipment and generally prepare for the nights performance.
The sound engineer still has to do a sound check for the local talent and headlining act. The local talent usually shows up before we finish so they can be ready for sound check. The featured act generally shows up around 3:00-3:30 PM. They have to load in and sound check before the show. So, as you can tell, the process continues right up to showtime.
The show crew members usually arrive an hour or two before the show. The theater will have people to handle ticket sales, people to hand out show programs, merchandise folks, and stage hands. The photographers get their cameras ready. The video recorder sets up the video camera and gets ready to record the performance. The person responsible for lighting prepares for the curtain call. Someone makes sure there is plenty of water backstage for the performers. Someone is responsible for lighting. Just before the show, the MC, sound engineer and band leader get together to make sure that everything is ready for the show to begin. Someone will be backstage to direct the different act as to when they are to enter the stage. Someone will be poised at the curtain when the show begins.
The house band positions themselves on stage ready to begin. Last minute tuning and going over intros are discussed. Steve Harrison positions himself just off stage. The sound engineer turns on the monitors, and opens the Master of Ceremonies mic. The lights are taken down. The queue is given to open the curtain. The music begins as Steve Harrison takes the stage. The bandleader starts the beginning song. Another show begins. So much is going on backstage and on stage that the audience, hopefully, is never aware of. Occasionally the band has to work around an equipment malfunction or change in show order and keep the show going. All the while, the cameras are rolling, the music is playing and everyone is having a great time.
For two hours, everyone is focused on doing their job to the best of their ability. After the last song is sung, the process of taking the stage equipment down begins immediately after the group photos are taken. All of the gear has to be disconnected, packed up, loaded up and hauled away. Then photos and video have to be edited, the taped show has to be sent to the local radio station for playback the next day. Then the process starts all over again. The band leader has to choose the set list for the next show. The leadsheets has to be typed up, rehearsals start up for the next show. And all the work that just took place will start all over again.
That is just a portion of the work that takes place to put on a show. During the year you have people working on promotion, preparing show programs, acquiring show sponsorships, making arrangements for the featured acts, bookkeeping, updating the web presence and a number of other duties. In fact, I think we have somewhere close to 25 people that are on 7 committees responsible for putting on the Medicine Shows throughout the year.
All of this happens six times a year. Concluding with the November "Medicine Men & Friends" Show. An annual event showcasing the Medicine Men and all of their musician friends. It's a great show, and a great finale for the year.
Then it starts all over again. Getting ready for the upcoming shows. Meeting to make sure everyone is on the same page and all the bases are being covered. New songs, new shows, new featured guest artist. Six more shows to prepare for in the upcoming year. But then again, it never really ends......
After the meeting, and since we had discussed all of the responsibilities associated with the show, I decided to post an article addressing what it takes to put on a show. Before we start, I would like to say that I think Eastman is very fortunate to have such a rich resource for quality music entertainment. Our local talent offers a rich variety to the mix. Add to that the professional touring act that headline each show insures a night of music that equals any show, anywhere!
So, how does one put on a show of this caliber? First, you have to have a dedicated staff that can follow through with all of the related job responsibilities. You also have to have great communication. This is a tall order considering that all of the volunteers (The Crew) have jobs, families, and other responsibilities. With that said, lets look at the process of putting on a successful show.
First, you have to schedule six dates within the year for the shows. This is not an easy task. You want to insure that the dates do not conflict with local events, personal band schedules, crew schedules, and holidays. Once these dates are set, the people that book the headlining act has to start the process of reviewing possible candidates for the shows. Once the acts are picked, the individual acts agent has to be contacted and an agreement reached on the date in question. Although I have no connection with booking the acts, I do know that this is a huge responsibility, and a lot of things have to be considered before an act will sign on to do a show. Logistics is a big consideration in an act signing on to do a particular show. Naturally they want the MMMS show to be within reasonable traveling distance of their show before and after our show. Consider that this process usually starts six months or more from the show date. Scheduling these shows sometimes begin a year in advance. Once a group signs on to do a show and the date is set, that doesn't end the responsibility of the booking staff. Sometimes groups will have conflicts that occur that will prevent them from performing on the show. It doesn't happen often but it does occur and you have to find another act, sometimes in short order. Why would an act break a contract? Several reasons, for instance, they might be approached by a booking agent about performing on a big concert tour that spans several months. This can mean big money and exposure for an act and you can't blame them. This is their livelihood and it would be hard, if not impossible, to turn down a bigger paycheck! During this process, a date might have to be changed since the headlining act might have an opening near us at a different date. In a case like this the dates will be changed to accommodate this schedule. A change in schedule such as this might be the difference between securing the act and passing on them. A lot of things have to be considered.
Once the act is secured for the show, the crew that handles promotions has to start their job. Show posters have to be designed and printed. Then as the show nears, the posters have to be distributed and displayed. The web presence has to be updated. FaceBook Events have to be created and promoted. Tickets have to be printed. Multimedia resources, such as YouTube videos, will be displayed during the promotion period. We are even starting up a email newsletter to let people know about the acts and show dates. All of these jobs will continue up until a couple of hours before a show. Within a few weeks of a show, members of the MMMS crew will be in contact with the act to insure that they are ready and to guide them to the location in plenty of time for load in and sound check.
Before each show, the theater has to be prepared. The entire theater has to be cleaned. The stage has to be set and decorated as well. Much of this prep has to be completed the day before the show. The day of the show starts early for the sound engineer. He, and his crew, has to start early loading in the massive equipment required for putting on the show. What seems like miles of cable has to be run and connected. The sound board, power amps, effects and monitors have to be placed and tested. Microphones have to be provided for each person on the show. The drum kit requires up to six mics alone. Each amplifier (such as guitar, bass, etc...) is mic'd for the best sound. Other musical gear requires a DI (direct injection) box and line for adequate connection to the mixing board. Each vocalist, Master of Ceremonies and speaker has to have a microphone.
At approximately 12:00 noon on the day of the show, the band members show up and start the process of loading in their equipment. After the equipment is loaded in and setup, all of the mics, DI connections and P. A. gear is tested. If problems are found, the engineer has to troubleshoot the problem and apply a fix. After testing equipment, the band has to do a sound check. During sound check, the sound engineer, has to set individual levels for each performers monitor (or "wedge"). Each performer has a monitor so they can hear the instruments and singers adequately. On the stage, it is hard to hear everything to an acceptable level due to several factors, hence the monitors. This takes a while and several songs will have to be performed in order to get the monitors set properly. For instance, in my wedge, I like a high level of the vocalist, lots of acoustic guitars, lots of kick drum and high-hat. I don't want any of my bass guitar in my wedge, I get that from my amp. I actually don't need any piano or lead guitar in my wedge due to the location of Ronnie and George's amplifier placement. Since their amps project well and are of a higher frequency, I can hear them well. Keep in mind, each performer desires personal wedge/monitor settings in order to do their job to the best of their ability. What we hear on stage is WAY different from what the audience hears. Whereas the audience hears a balanced sound of all of the instruments and singers, managed by the engineer, the performers hears a mix that allows them to hit the queues and marks just right. I set my bass amp in such a way that the drummer, Joe Jackson and keyboards, Ronnie Cadwell can hear it well. And since I set behind Karl and George, they are able to hear it well. It is really interesting on how the monitor mixes are set for each performer. On any given performance, the sound crew could have anywhere between 12 to 15 monitors mixes to keep up with. Not to mention the house sound. You have to hear certain instruments well enough to play the song properly. It is also important on the placement of the amplifiers that are used on stage. They are generally placed to project across the stage or angled so the band members can hear them. After a successful sound check, the band has a couple of hours off before showtime. That gives them time to grab a bite to eat check their equipment and generally prepare for the nights performance.
The sound engineer still has to do a sound check for the local talent and headlining act. The local talent usually shows up before we finish so they can be ready for sound check. The featured act generally shows up around 3:00-3:30 PM. They have to load in and sound check before the show. So, as you can tell, the process continues right up to showtime.
The show crew members usually arrive an hour or two before the show. The theater will have people to handle ticket sales, people to hand out show programs, merchandise folks, and stage hands. The photographers get their cameras ready. The video recorder sets up the video camera and gets ready to record the performance. The person responsible for lighting prepares for the curtain call. Someone makes sure there is plenty of water backstage for the performers. Someone is responsible for lighting. Just before the show, the MC, sound engineer and band leader get together to make sure that everything is ready for the show to begin. Someone will be backstage to direct the different act as to when they are to enter the stage. Someone will be poised at the curtain when the show begins.
The house band positions themselves on stage ready to begin. Last minute tuning and going over intros are discussed. Steve Harrison positions himself just off stage. The sound engineer turns on the monitors, and opens the Master of Ceremonies mic. The lights are taken down. The queue is given to open the curtain. The music begins as Steve Harrison takes the stage. The bandleader starts the beginning song. Another show begins. So much is going on backstage and on stage that the audience, hopefully, is never aware of. Occasionally the band has to work around an equipment malfunction or change in show order and keep the show going. All the while, the cameras are rolling, the music is playing and everyone is having a great time.
For two hours, everyone is focused on doing their job to the best of their ability. After the last song is sung, the process of taking the stage equipment down begins immediately after the group photos are taken. All of the gear has to be disconnected, packed up, loaded up and hauled away. Then photos and video have to be edited, the taped show has to be sent to the local radio station for playback the next day. Then the process starts all over again. The band leader has to choose the set list for the next show. The leadsheets has to be typed up, rehearsals start up for the next show. And all the work that just took place will start all over again.
That is just a portion of the work that takes place to put on a show. During the year you have people working on promotion, preparing show programs, acquiring show sponsorships, making arrangements for the featured acts, bookkeeping, updating the web presence and a number of other duties. In fact, I think we have somewhere close to 25 people that are on 7 committees responsible for putting on the Medicine Shows throughout the year.
All of this happens six times a year. Concluding with the November "Medicine Men & Friends" Show. An annual event showcasing the Medicine Men and all of their musician friends. It's a great show, and a great finale for the year.
Then it starts all over again. Getting ready for the upcoming shows. Meeting to make sure everyone is on the same page and all the bases are being covered. New songs, new shows, new featured guest artist. Six more shows to prepare for in the upcoming year. But then again, it never really ends......
Thursday, August 29, 2013
Double Barrell Band Interview
In this post of the Medicine Men blog, we are interviewing George R. (Ronnie) Smith of the Double Barrell Band.
MM: Ronnie, thanks for taking time to talk with us about the Double Barrell Band.
First, I gotta ask. What’s up with spelling Barrell with two “L’s”?
DBB: I’m not exactly sure when and how that came about. However, the actual name “Double Barrell Band” came about when Randy (I think) was on the phone, trying to book our debut gig at Swampland in Toomsboro. They needed a band name and we didn’t have one. So, I’m pretty sure he just said “The Double Barrell Band” off the top of his head.
As far as the two “L’s” is concerned, I have a DBB concert poster from 1979 and it was spelled correctly, with just one “L”. Somewhere along the way we must’ve thought it’d be cool to change it up. After all, the DBB was formed from the ashes of another band called Variation…except spelled “Varyashun”. So, you can see where our heads were.
I like to say that the two “L’s” are a complimentary nod to the two Lamb brothers Kerry and James….the two musical pillars of the DBB lineup. Despite having to always explain it to people, it actually helps keep our band separated from the other Double Barrel Bands out there. Yep, if you go on Youtube, you can find several other DBBs
MM:I read that the DBB was formed in 1978. What was the inspiration for forming the band?
DBB: As I mentioned, we had formed Varyashun. I was like 17 years old and really just learning to play guitar. Keith Arnold (sax) and myself were in the same grade and were already friends. I met Kerry at school. He was a year ahead of me. He could play guitar like nobody I had ever seen. He was light years ahead of me. Even now, looking back, I am amazed at the stuff he was doing at 17 and 18. He was a huge Elvis fan and could nail all those great James Burton licks. Not many people my age were playing that kind of stuff…at least around here. It just blew me away. So, I just kinda attached myself to him and hung on for dear life. We formed Varyashun and I took the opportunity to learn everything I could steal from him. No doubt about it I learned a lot from him. I really wasn’t good enough to be in a band, but he was too nice to tell me how bad I was. His brother James was the same except he was a Fender bass wizard…an unbelievable player, still to this day. In my opinion, nobody around here could touch what they were doing. James however, wasn’t in Varyashun . He was a little older and in college at Georgia Southern. Well, as luck would have it, about the same time that Varyashun was folding, Kerry’s brother James (and future DBB vocalist, Randy Barlow) were either graduating or out of school on break…not really sure. Either way, it just so happened that they were back in Cochran. I distinctly remember, them stopping by a Varyashun rehearsal. We were practicing to do a set at the Cochran Fair. After practice, we asked them sit in for fun. I was shocked that we nailed 3 or 4 songs in no time flat. So, when Varyashun played the fair gig, we brought James and Randy up as special guest to do those songs. I guess that was very first hint of the DBB. A couple of days later, I got a call from Randy asking me if I wanted to put a band together. So, Keith, Kerry and myself migrated from Varyashun and joined James and Randy to form the not yet named Double Barrell Band. A week or so later, Lacy Royal, who was school friend of James and Randy, was asked to come join us on piano. I didn’t know him at the time, but I vividly remember coming to a practice one day and he was there.
I believe, Terry Lassiter was DBB’s original drummer, but I’ll have to ask the other DBBers to see if he came with us from Varyashun. I just don’t remember.
Greg Berryhill who is still our awesome manager, was our school buddy (and a distant relative of mine). He was the music loving non-player who hung out with the band. We put him to work and he still does an excellent job. Our old sound man Wayne Williams also participated in the reunion but his schedule doesn’t allow him to do it now. As far as inspiration for forming the band? I wish I could say it was something deep, but I think it was really just a bunch of guys that loved music that wanted to play music. Our paths just happened to cross.
MM: What is the band lineup now and how many changes has the band had over the years?
DBB: James Lamb-Bass
Keith Arnold-Saxaphone
Kerry Lamb-Lead Guitar
Lacy Royal-Keyboard/Piano
Randy Barlow- Vocals
Ronnie Smith-Vocals/Rhythm Guitar
Rusty Mullis-Drums
Greg"The Hammer"Berryhill/ roadie/produce/merchandise/p.r.
Amazingly, there is only one change from the original lineup. Rusty Mullis has taken over on drums because Terry had some health issues. Terry did however participate in the reunion. That was such an amazing experience….like stepping into a time capsule. We just picked up right where we left off 30 years prior. There was a period in the early days that we lost James to another band(I think we’ve just about totally forgiven him for that). Anyway, That was a tough slot to fill, but bass duties were taken over by Michael Maddox, who was another excellent player. Also, Jack Morris drummed for us for a while.
MM: What was the average age of the members when the band was formed?
DBB: Well, Keith, Terry and myself were the babies. We were about 17. Kerry was 18 James, Randy, and Lacy were probably about 21 or 22. Ironically, this is about the age Rusty Mullis was when he came onboard for DBB in 2010.
MM: How long did it take for the band to start performing gigs, and what were some of the bands first gigs?
DBB: Not long. We weren’t a bar band. We played Swampland, arts and craft festivals, and opry house type venues, benefits…etc. I also remember us playing at some large talent contest in Macon. I think they did it for a year or so. I forget what it was called. Anyway, we went and played “Folsom Prison Blues”. We were feeling pretty cocky until the act after us…. a 10 piece band that sounded like Earth wind and Fire.
DBB: I had toy instruments as far back as I can remember. You know, plastic guitars, toy drum set. When I was in 2nd grade I lived in Macon. I actually formed a ”band” with my two neighbor buddies. I mean, we couldn’t play a note on those toys, but that didn’t keep us from pretending. We’d strum and bang along to Monkees and Beatles records. The band was called “The Bandits”. It was even written on the bass drum head with a black magic marker. In fact, I recently contacted both of those fellows (they’re brothers) via Facebook and was pleasantly surprised that they are both musicians. We had a little reunion and actually played together again for the first time in 40 years. Amazing feeling.
MM: What was the biggest influence on the DBB when it was first formed?
DBB: Elvis and southern rock. Period
MM: With the band forming in 1978, the members all had to be a bunch of broke kids. Where did the band get financing to equip the band to perform gigs? Did you get a lot of family support?
DBB: Kerry and James had worked and saved their money to by a nice Fender Telecaster and a Fender Precision Bass. Those were the nicest instruments in the band. I wasn’t as patient. I had worked and save enough to buy a no-name Les Paul copy. I mean it literally had no name on it. It didn’t even qualify to be a Harmony or Sivertone. I think I paid 125 bucks for it. I ordered it from an ad in the back of an old Hit Parader magazine. I still have the guitar and the old Kustom amp with the tuck and roll upholstery that I used back then. We had just enough gear to get by. Although, I do remember Terry Lassiter obtaining a bunch of PA gear from a family member at some point. We used that for a while. That came in handy. Family support? You bet. As a matter of fact. Kerry and James folks rarely miss a DBB performance to this day! Plus, their dad, Mr. JR Lamb regularly cooks for the entire band when we rehearse. That’s pretty incredible.
MM: What led to the band originally breaking up or disbanding? Or did you guys just decide to take a break?
DBB: We were so young and each of us were starting to develop other interest. Also, some of the older members were getting jobs…and girlfriends. It just sorta dissolved.
MM: When did the band get back together and what series of events led to the DBB reforming?
DBB: It was through Facebook. Say what you will about it. I’m sure there are good and bad things about Facebook, but it was THE tool that allowed the DBB members to reconnect in 2010. Once we all found out that all of us still lived in middle Georgia, it wasn’t long before we were discussing a reunion. When it happened, it was just so much fun. It was like we had a time machine. We plugged in and started playing the old tunes. Honestly, it was like it was just another DBB rehearsal in 1979. It was however, in reality, the first time we had played together in 30+ years. We had a blast. So, we decided to do it again. Then we said, “Hey, why don’t we do a public performance?” So, we were given a slot at the popular annual “Battle of Guitars” concert in Chester. All our friends and family were there. Everyone was wearing their newly printed black DBB T shirts that we had made. It was so much fun….and kind of surreal even.
Well, after that, more gigs kept popping up. So we just kept on doing it. The plan was/is…we’ll just keep doing it as long as we’re all having a good time. Of course, being in a band requires a certain amount of discipline, but we try to keep ourselves from becoming overly serious about it. If it ever becomes a chore or something that we dread…we’ll stop. So far, that hasn’t happened.
MM: Honestly, is it more fun playing with the band now or back when it was first formed and why?
DBB: For me? Now, because I’m a better player. Of course, that’s not saying much, because I was really terrible back then. I’m still learning, but I’m not hanging by a thread anymore. That wasn’t always the case in the old days. Plus, we’re adults now. We don’t have a whole lot of teen drama these days…….well, we usually don’t.
MM: What does a typical DBB set list look like and how do you all come to an agreement on the set list?
DBB: We are a cover band. We play stuff from the 50s 60s and 70’s and 80’s. However, I don’t think we are totally typical. I personally like it when we steer clear of the cliché’ covers. I mean we have a few. No doubt about it. The dancing audience expects it…and sometimes demand it. But, there are so many forgotten gems out there, that you don’t really HAVE to do Mustang Sally. Our favorite thing to do is to pull out a song that everyone remembers and loves, but they haven’t heard it in 20 years. Glen Campbells’s “Wichita Lineman”, Ringo’s “It Don’t Come Easy”, or Roy Orbison’s “Anything You Want” all come to mind. You just don’t hear them as often as you hear “Brown Eyed Girl”. However, as our manager Greg Berryhill always preaches; “ You gotta give the crowd what they want.”
DBB: Well, besides the fact that it’s a lot harder to fit us all on stage (nothing to do with gear or equipment) I think we are all better players. Plus, I think there’s more attention to detail too. We are definitely more aware of dynamics. We’re just a better band all around.,.,no pun intended.
MM: Does the band have any original material in the set list? If so, what genre would you place it in?
DBB: Not at this time but we have been discussing it.
MM: Modesty aside, how much better is the equipment of the DBB compared to when you first formed?
DBB: Much better. First of all, Kerry already had a nice sound system, but we recently purchased a couple of nice powered subs to give our sound that big bottom end everyone expects these days.
Over the years I have built a decent collection of guitars and amps. This gives me the option of swapping off guitars depending on the sound I need on a particular song. That was never the case way back when. Now, I can be like a utility player. If the song needs acoustic, I play it. We do a few Stones songs that are in open G tuning, so I have a guitar just for those. I have a Fender Strat, a Fender Tele and a couple of Gibson Les Pauls now, so I have no excuses.
Kerry and James both have a nice collection of guitars too. Kerry has a Les Paul and a Tom Anderson Tele fitted with a Roland synth module. That thing is really amazing. He is able to play horn fills with Keith to really thicken the sound. He also recently bought a new Fender Telecaster Select. It really is a beautiful instrument. It sounds amazing and seems to be his current “go to” guitar…for good reason. James has several nice basses including a Lakeland signed by Jerry Scheff (Elvis’ bassist). Let’s see… Lacy bought a new keyboard and amp rig recently. Until then he was using an old Fender Rhodes that belongs to Kerry. Funny story…back in the old days, he had an ancient (even then) Wurlitzer portable piano. It was one of the tan ones with screw in legs. Anyway, he used it with an old Fender amp that someone had painted blue. When we were at that talent show that I mentioned earlier, before we started playing, that amp suddenly start making a sound like a motorboat. At first very slow “putt…..putt…..putt….putt” then it got faster “puttputtputtputt”. It was soo loud! Poor Lacy was over there banging on the top of the amp with his fist. I don’t think it impressed the judges too much. So, yes, we are much better off these days. Plus we are constantly looking to improve our gear.
MM: Now that the members of the DBB are all older, with families and careers, what are the goals of the band?
DBB: We are realistic. We know what we are. We’re a bunch of old guys in a cover band. It’s not likely that we’re gonna get picked up by Warner Brothers and go on tour. I’m pretty sure our goal is to just have a good time doing what we love to do…and hopefully putting smiles on a few faces and helping uninhibited people cut the rug. That’s it. If we happen to make a few bucks for guitar strings, drum sticks and post gig Waffle House visits… that’s all the better.
MM: What are the biggest challenges of the band performing now as opposed to back in the late ‘70’s?
DBB: Getting everyone together on the same day.
MM: What would you say is the biggest highlight of the DBB?
DBB: We really enjoyed sharing the same bill recently with the veteran soul-rock band Wet Willie. We’ve always loved them and they can still rock with the best of them . I’m pretty amazed by them. Jimmy Hall’s vocals are stronger than ever.
We also had a great time recently performing in concert at the Hawkinsville Opera house with our old buddies “The Rocky Creek Band” . Those guys have been together forever. There was a surprisingly strong turnout and the sound in that room was really good.
I think I can speak for the rest of the band though and say that one of the biggest DBB highlights is playing a street dance for a huge hometown crowd at Cochran’s Country Fest. We’ve done it two years in a row and are scheduled to do it again this year(Oct 19). They always have the entire street blocked off and we’re on a flatbed trailer parked in the middle of Second Street. It’s very family friendly event and we have the best time doing it. All our friends and family always come out. We love it.
Lastly, I have to mention the annual “Double Barrell Band New Years Eve Countdown in Cochran concert”. It’s something we started a couple of years ago and hopefully we’ll do again this year. It’s just the “cherry on the cake” after the street party. A super fun way to ring in the new year without a long drive.
MM: Overall, would you say the DBB is a band that is very disciplined and organized as far as rehearsals, performing and preparing for a gig, or is the band seasoned enough to have the liberty to be a little more laid back and easygoing?
DBB: We’re pretty disciplined. At least I think we have a method for making the best out of the time we have available. Since there’s so many of us, it’s sometimes tough to get everyone together for rehearsals. So we basically depend on everyone doing a bit of homework in preparation for those coveted few “band practices”. Via Facebook or maybe at a Huddle House band discussion, we’ll decide which songs we want to attempt. When possible, each of us will learn our respective parts to those songs at home. That way, we sort of know our parts before we ever count off the song. It makes band practice much more productive. It’s a great way to get on top of tough songs that’d otherwise be impossible during one rehearsal.
MM: Who is/are the member[s] that really keep the band focused?
DBB: Greg Berryhill. No doubt about it. He is the only non-player but he is arguably the most valuable member of the DBB. I can’t overstate how important GB is to this little band. We probably would not have gone past the reunion night if not for his hard work and cheerleading. He does all the stuff that musicians are usually terrible at…and then some. He was always our buddy but we are so lucky to have him helping is out. He does it all.
MM: How does the DBB think music has changed over the years?
DBB: I can only speak for myself.
In popular music there seems to be less and less actual instruments being played. There is a lot of technology getting used in new music and it’s all over my head. However, when the technology is used to to make untalented people seem just slightly less untalented, now that’s pretty rough. Personally I don’t hear a lot of soul in popular music, but that’s nothing new. That statement has probably been made for decades.
With that said, there are TONS of great music out there. There is an endless supply of great untapped artists online. It’s all just a few clicks away. Pretty incredible actually.
MM: What drives the DBB to keep performing?
DBB: Not to beat a dead horse, but it’s just the fun of it. We still get a kick out of it.
MM: What is your idea of the perfect gig?
DBB: A concert setting in a 500 seat auditorium with an excellent sound system and a full house of paying DBB ticket holders….oh, and a fully stocked green room catered by Scotts BBQ, La Cabana or El Rancho.
MM: How do you see the importance of local talent such as the DBB in the community?
DBB: I think the local folks like seeing the local talent “show out”. I mean, we’re not on Late Night with David Letterman or anything like that, but I think it’s sort of the same way they might enjoy cheering for their local high school football team. I think people want to be proud of their hometown talent. I love it when our fellow Cochranites tell us how much they enjoyed the show…or even better, when they drive 50 miles to hear us play in Macon. They’re cheering on the hometown team! That means a lot.
MM: Ronnie, in closing, take some time and share your inspiration for performing, what you like best about playing, and what impact you hope your music has on people.
DBB: Again, speaking for myself, I’m not really sure what gave me the music bug. I have had it as long as I can remember. Way before I could play a note I loved music. I used to listen to whatever records we had. I remember listening to this one Mason Williams album we had about a million times. I thought “Crimson and Clover” was the heaviest thing I ever heard when it would come on the radio. Music just spoke to me like nothing else. I have tried my best to perform it for over 30 years. Some of the best times I’ve ever had involved playing music. I don’t hunt, fish or play golf. Music is my thing. Beyond that, there is a special thrill that comes with playing a song well enough that people clap, whistle, cheer,,,or just tell you afterwards that they really enjoyed it. It doesn’t always happen but that’s what you aim for. I think that’s the payoff.
Honestly though, if I never got on a stage, You would most likely still find me in my music room plinking away.
Friday, August 2, 2013
Supporting Local Talent
Local talent, what does that mean? If you stop and think for a minute, you should be able to come up with several people, friends and/or family, that have talent. You probably have certain talents. Many people categorize their talents to hobby status. Sewing, singing, playing a sport, building things with your hands, there are tons of talents that people use everyday. I would like to address musical talent since this is a Music Blog (but we will use other examples as a comparison).
In most communities, you will find a number of people with musical talent. Playing a musical instrument and singing to some degree is shared by many people. Look at your local churches. The praise portion of worship would be in distress if not for the local talent in the form of piano players, singers, guitarist, drummers, and sound engineers. How many churches have full-time employees that fill these slots? Not many. Most people do this as volunteers and out of the goodness of their hearts. Several of the Medicine Men either currently play or have played in the past at their local church. They also consider their talent more of a hobby or gift as opposed to a profession. With that being said, many of these people have an extraordinary talent that inevitability garners them some degree of success. That success may be no more that making a few dollars at local events, or becoming somewhat of a local hero. Most of the time, if money is involved, it usually isn’t enough to even begin to pay for their equipment, not to mention paying for gas to and from the gig. Most people just resign themselves to doing it for fun, a hobby!
But, what about those that aspire to take their talent further? What part does support of local talent play in these peoples lives and quest to become a professional? First, having support (I’m talking real support, not just an occasional encouraging word), can be the difference between “making it” and spinning their wheels. Support of local talent offers an avenue for the talented among us to show off their talent. It allows them to polish their talents, to become a better musician, singer, actor, you name it. Practice makes perfect! It offers them a means to be heard and seen by people in the industry that could make a difference in their professional career. It is a springboard to achieve their dreams. That doesn’t necessarily make it easy, but it does offer a starting point.
We have several examples from right here in our community. Our own Samantha Stephens is a good example. Sam performed at our May 2013 show. She traveled down with her band from Nashville! She is realizing her dream. Whether or not she has made it to the top is a moot point because she is daily involved in the music industry in the Music capitol of the world! Samantha got her start here in Dodge County playing locally, with many of our local musicians. I’m sure she did her share of festivals, church sings, and local events. She got support from her family and friends. People supported local talent and it paid off. It’s great to see Samantha living the life that she dreamed about, and it’s really cool when she comes down and performs at the Magnolia Theatre. But, what if she had not gotten the local support? That is just one example.
We also have many talented musicians, artist, and performers in Dodge County and surrounding areas that need your local support. They are not hoping to “make it big” they just enjoy doing what they do. Most of them just want to share their talent with others. They can’t do it without local support. You see, what it comes down to is; we can’t have local talent without the supporters. The supporters are the most important slice of the pie. Without you, we would be sitting at home playing to a CD or a YouTube video. It is people like you that come out to the shows and encourage your family and friends to join you. Your support allows us to pay the bills so we can keep offering quality entertainment. We have many, many volunteers that make the six yearly Medicine Shows a success. They work tirelessly and give it all they have to insure a great time for everyone. Our pay for all of that work is seeing you (the local supporter) smiling, clapping and enjoying yourselves! If you are happy and enjoy the show, that means we have done our job.
So, next time you see a Facebook post, an ad in the local paper or radio station, or a poster in a local business, please consider attending the show. I guarantee you we will do all we can to make sure you have a great time! Until next time........
Dave
In most communities, you will find a number of people with musical talent. Playing a musical instrument and singing to some degree is shared by many people. Look at your local churches. The praise portion of worship would be in distress if not for the local talent in the form of piano players, singers, guitarist, drummers, and sound engineers. How many churches have full-time employees that fill these slots? Not many. Most people do this as volunteers and out of the goodness of their hearts. Several of the Medicine Men either currently play or have played in the past at their local church. They also consider their talent more of a hobby or gift as opposed to a profession. With that being said, many of these people have an extraordinary talent that inevitability garners them some degree of success. That success may be no more that making a few dollars at local events, or becoming somewhat of a local hero. Most of the time, if money is involved, it usually isn’t enough to even begin to pay for their equipment, not to mention paying for gas to and from the gig. Most people just resign themselves to doing it for fun, a hobby!
But, what about those that aspire to take their talent further? What part does support of local talent play in these peoples lives and quest to become a professional? First, having support (I’m talking real support, not just an occasional encouraging word), can be the difference between “making it” and spinning their wheels. Support of local talent offers an avenue for the talented among us to show off their talent. It allows them to polish their talents, to become a better musician, singer, actor, you name it. Practice makes perfect! It offers them a means to be heard and seen by people in the industry that could make a difference in their professional career. It is a springboard to achieve their dreams. That doesn’t necessarily make it easy, but it does offer a starting point.
We have several examples from right here in our community. Our own Samantha Stephens is a good example. Sam performed at our May 2013 show. She traveled down with her band from Nashville! She is realizing her dream. Whether or not she has made it to the top is a moot point because she is daily involved in the music industry in the Music capitol of the world! Samantha got her start here in Dodge County playing locally, with many of our local musicians. I’m sure she did her share of festivals, church sings, and local events. She got support from her family and friends. People supported local talent and it paid off. It’s great to see Samantha living the life that she dreamed about, and it’s really cool when she comes down and performs at the Magnolia Theatre. But, what if she had not gotten the local support? That is just one example.
We also have many talented musicians, artist, and performers in Dodge County and surrounding areas that need your local support. They are not hoping to “make it big” they just enjoy doing what they do. Most of them just want to share their talent with others. They can’t do it without local support. You see, what it comes down to is; we can’t have local talent without the supporters. The supporters are the most important slice of the pie. Without you, we would be sitting at home playing to a CD or a YouTube video. It is people like you that come out to the shows and encourage your family and friends to join you. Your support allows us to pay the bills so we can keep offering quality entertainment. We have many, many volunteers that make the six yearly Medicine Shows a success. They work tirelessly and give it all they have to insure a great time for everyone. Our pay for all of that work is seeing you (the local supporter) smiling, clapping and enjoying yourselves! If you are happy and enjoy the show, that means we have done our job.
So, next time you see a Facebook post, an ad in the local paper or radio station, or a poster in a local business, please consider attending the show. I guarantee you we will do all we can to make sure you have a great time! Until next time........
Dave
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