New Year's brought about what has become an annual trek up to Michigan and Ontario, which we call the Northern Lights Tour. Now, it's a rare occasion when either Brian's or my wife will go along for the ride, but my wife Annie decided to travel the nine hours it takes from Chicago to northern Ontario. I was glad, too, because the Canadians were beginning to think that Annie was a figment of my imagination.
Annie is no stranger to Switchback road trips. When we first met, about 10 years ago, she used to accompany us on lots of road trips. The truth is, going out to a gig usually means getting into the already crammed and questionably hygienic minivan ("Smells like bachelors in here," she used to say), traveling for hours on the road while we practice our vocal exercises, and arriving at the gig to help us unload equipment and watch us work. With 200 shows a year, that can put a dent in one's personal life. But, enticed by the chance to head up to Canada, Annie said yes. Then she asked me if I would dance at least one dance with her on New Year's Eve. "Sure," I said, "No problem." The fact was, it was going to be a challenge. Playing in the band means that I would have to figure a way to get someone to play bass while I dance with Annie. How was I going to figure that out?
Brian and I headed up north first, so Annie didn't have to ride this time in the "bachelor van." We had some great Michigan shows, including a sold-out performance to benefit the Historic Elk Rapids Town Hall. Stephanie O'Dell, a great singer and friend of the band, joined us onstage to sing several holiday songs, including "I'll Be Home for Christmas," which she dedicated to her Navy boyfriend, Brent. It was a tender moment in the show and everyone got a bit misty-eyed.
After another successful concert in Grayling, MI to benefit the local Rotary Club, we headed over the Mackinac Bridge and into the U.P. Finally, it was time to cross the vaunted US-Canadian border. At the border, the Canadian customs guy was friendly-like. "Where are you going?" he asked.
We have learned that to cross easily you don't say, "I am going to see my friends and stay at their cottage on St. Joseph's Island." No, you have to lean slightly out the window, nod your head a bit, and say, "I'm headin' to my friend's camp on St. Joe." If you have a St. Joe cap, that helps even more. Of course, I didn't have my cap on and my long hair always gets a question or two.
"Where did you meet these friends?" he asked, leaning a bit toward me, "At a terrorist convention?" I think he was trying to throw me off a bit. He was successful.
"Um, no, uh, they're fans," I stammered. Should have put the hair in a ponytail.
"And why would anyone live in Iowa?" he asked, looking at our Iowa plates.
That one stopped me for a second. "Uh, he lives in Iowa," I said and pointed at Brian, "And someone has to live there, sir?"
"Go ahead," he said, handing me our passports and waving us out of his life.
Annie came up that night from Chicago with our fan club president Chris Pardee. Of course they had no problem at all crossing the border.
By the time they arrived, we were already set up at Central United Church for the big holiday concert. Another benefit, this concert would help finance a new roof for the church. Central United is a beautiful building. One striking feature is that it boasts one of the largest pipe organs in Canada. The organ, built in Holland, is impressive, with pipes reaching for the ceiling and bristling outwards toward the congregation like a battleship swinging all its guns to port, impressive and beautiful. The real beauty of it was the life that came out of it when Paul Dingle, the musical director, proceeded to play. Meeting Paul was like meeting a brother. He instantly understood what we were trying to do with our music and it was as if he had been part of the band for years.
A great number of our Canadian fans had arrived from different parts of the province. Over four hundred people packed into the church. And there were a lot of folks who had never seen us before. We brought Paul up to the organ to play "Love Won't Run Away" and I got chills as the organ created the deep mood of a dark Irish sea. The audience was thrilled, including some folks who were from County Mayo, Ireland. I introduced Annie to the audience and she smiled and waved with some polite embarrassment. It was nice to finally have our Canadian friends meet her.
New Year's Eve arrived along with the rest of the full band, Paul Russell on fiddle and mandolin and Nick Hirka on percussion. The Colonel came in with his recording equipment and we recorded a new song, "The Measure of the Master," for a sound check. Things were looking good. It was time to head back to our rooms to get ready for the evening. Annie put on a beautiful Chinese silk gown. "You look great," I said.
And like the other concerts, we had a great turnout for the event, another sold out evening. Folks were treated to prime rib, champagne, and of course music. I realized we were surrounded by a wonderful mix of Canadian and American fans who came up to see us play. And for me, the greatest gift was that my wife was there to share the evening with me.
We started our first set at 8 p.m. and proceeded to play as the party horns and hats were passed out in anticipation of 2011. I looked over at Annie and mentally made a note that I would have to pick a time to get out and dance with my wife.
Soon it was 11 p.m. I was getting nervous about how I was going to be able to dance with Annie. I had hit a snag. It seemed impossible to figure out how to pull it off. All the slow songs were sung by me. Perhaps if I could get another band member to take the bass? We were in the middle of the set and I turned to Paul Russell. "Can you play the bass?" I asked. "What?" he asked. At that moment, Brian's guitar went out, leaving Paul holding the melody on the violin. Exasperated, Brian called for a break, we got off the stage, and I sat next to Annie. I could see Fitz fuming on the stage, pulling cables and trying to figure out what had happened to his guitar. It turned out to be one cable that decided not to live to see the New Year. He got it fixed and we took to the stage.
Soon, Neil Caughill, our official St. Joe timekeeper, came up to the stage and showed that it was five minutes to midnight...just one more song in 2010. It was now or never to keep my promise. So, I jumped down from the stage, bass and all, and proceeded to "dance" with Annie -- that is, play my bass and hop around while she put her arms around my neck with the guitar making a wide gap between us -- as we played "Jesse Taylor's Nightmare." Brian jumped from the stage as well and soon everyone in the hall was on the floor dancing. Annie shook her head at me and smiled. It wasn't exactly what either of us had in mind for the last dance of the year, certainly not the romantic slow number that I had envisioned.
Our success in Switchback comes from a great deal of support (and sacrifice) from friends and family. They have helped us through every twist and turn on the trail. Our wives, especially, have been very patient and committed to our dream of being independent musicians. They have celebrated our successes and bolstered our confidence during the low times. It is difficult when we are apart, and sometimes the best we have to offer them is an awkward last minute dance when we are together. But awkward or not, it's a great gift to be able to share your passion with someone who believes in you and sees you for who you are. I can't ask for anything more when I am attempting to dance with my wife with a big acoustic bass between us and she is willing to put her arms around me, smile, and dance the last dance of the year with me.
Happy New Year,
Marty
Follow Switchback as they travel the backroads and byways of the United States, Canada and Europe.
Sunday, January 23, 2011
Wednesday, January 19, 2011
Write on about songwriting!
Switchback is offering its first songwriters weekend to take place April 8-10 at Four Mounds Inn, Dubuque, Iowa. The spring seminar will feature noted songwriter and leader of Lamb's Retreat Songwriting Weekends, John Lamb.
"John has made his weekends fun," says Brian. "He assigns each person a topic that he creates for the weekend. From there, the songwriter has to work in groups, with one of the songwriters and of course on their own to create their work. If they like, then it is played for everyone toward the end of the weekend. It's a no pressure, laid back situation which has everyone learning something about songwriting. We brought him to our weekend to make sure that we have the same sort of good time."
The Four Mounds Inn as a setting will certainly help with any necessary inspiration. Situated on a bluff overlooking the Mississippi River, it is a Dubuque Landmark Site, is listed on the National Register of Historic Places and is a Silos and Smokestacks National Heritage Area affiliate site. The estate consists of nearly 60 acres of bluffs and boasts cultured grounds, historic gardens, woodlands, prairie and rare oak savanna. The site is focused around the historic Grey House, a 1908 Arts & Crafts styled mansion designed by the Chicago architect Lawrence Buck. The cultured grounds were planned out by Chicago landscape architect A. Phelps Wyman.
The staff will offer fantastic prepared meals and accommodations are available at the historic Inn grounds for those outside of the Dubuque area.
"We hope to get about 20 people to sign up as well as some sponsors so that we can make this an annual event," says Marty. "There isn't a songwriting opportunity such as this in central Midwest. We would love to draw people to write at a wonderful place during a wonderful time of the year."
Information and reservations at http://www.waygoodmusic.com/
"So far the biggest question we have received is whether one has to be a songwriter to attend," says Marty. "Not at all! The main reason for the weekend is to offer a place where people can learn about songwriting and hone their songwriting skills. So we are hoping to get all ages and all skills from novice to professional."
Brian and Marty are very excited about John Lamb as their first guest songwriter. Lamb has been a professional musician for over 25 years. His retreats have brought in some of the most talented songwriters on the music scene today and allowed them to work one on one with people. At the same time, these professionals are also given the challenge to write a song over the weekend. Everyone collaborates and the result is a great time with an emphasis on enjoyment.
"John has made his weekends fun," says Brian. "He assigns each person a topic that he creates for the weekend. From there, the songwriter has to work in groups, with one of the songwriters and of course on their own to create their work. If they like, then it is played for everyone toward the end of the weekend. It's a no pressure, laid back situation which has everyone learning something about songwriting. We brought him to our weekend to make sure that we have the same sort of good time."
The Four Mounds Inn as a setting will certainly help with any necessary inspiration. Situated on a bluff overlooking the Mississippi River, it is a Dubuque Landmark Site, is listed on the National Register of Historic Places and is a Silos and Smokestacks National Heritage Area affiliate site. The estate consists of nearly 60 acres of bluffs and boasts cultured grounds, historic gardens, woodlands, prairie and rare oak savanna. The site is focused around the historic Grey House, a 1908 Arts & Crafts styled mansion designed by the Chicago architect Lawrence Buck. The cultured grounds were planned out by Chicago landscape architect A. Phelps Wyman.
The staff will offer fantastic prepared meals and accommodations are available at the historic Inn grounds for those outside of the Dubuque area.
"We hope to get about 20 people to sign up as well as some sponsors so that we can make this an annual event," says Marty. "There isn't a songwriting opportunity such as this in central Midwest. We would love to draw people to write at a wonderful place during a wonderful time of the year."
Information and reservations at http://www.waygoodmusic.com/
Monday, January 17, 2011
Larry Weir, Wish You Were Here
Larry would have loved the latest news from Washington, I think. When I think of independent community radio, I think of Larry Weir. He was a beloved DJ and driving force behind KDHX radio in St. Louis, arguably one of the powerhouses of independent community radio in the Midwest. About a year ago, Larry slipped on ice and suffered a traumatic brain injury that resulted in his death. With his passing the world lost a fantastic advocate for community radio, which is the lifeblood of original, independent music and hopefully soon to be the great leveler of the commercial radio industry.
I am an independent musician and so yes, I am biased in favor of good music that challenges the monolithic music industry. I have a great deal of admiration for community radio all over the world. It has been community-based radio that has helped bring my band to the attention of new fans everywhere. Midwest Radio in County Mayo, Ireland; WEVL in Memphis, and Folkland radio in Germany have had DJs who have dedicated their lives to the pursuit of what I would call “real people music.” Being an independent musician in the great music town of Chicago, I am embarrassed to say we don’t have an equivalent outlet for the variety of musical programming as KDHX. Our closest approximation of it is WDCB, a 5000 watt station in Glen Ellyn that has a broadcast signal which can’t reach the entire city. In comparison, KDHX is a 42,000 watt station. I was happy to find out that WNUR, the Northwestern University station, has a 7200 watt range and one of the most powerful transmitters of any college in the country. Admittedly, I don’t know too much about what is played on WNUR. The only person in commercial radio who seems to care a bit about independent music is Richard Milne, who is given a paltry 30 minutes on Sundays on CBS-owned WXRT to play his show “The Local Anesthetic.” Nevertheless, kudos for the 30 minutes!
WBEZ, our NPR station, gave up on music just as I was starting to get in the business. For a brief moment in time, WABT attempted to showcase Chicago music, but financially it couldn’t keep going. My wife bypasses Chicago stations completely and opts for KCRW on the net to listen to new music.
As I said, Chicago is a great music town. It started country music with its “Barn Dance” show on WLS. It was the town that created the blues that influenced the Rolling Stones. And it is home to a plethora of independent artists ranging from Wilco to Nicholas Tremulis to bands like the Yellowhammers. Yet it does not have one radio voice that represents our current musical diversity. Perhaps that has something to do with Chicago being known as the “City of Neighborhoods.”
That said, there is hope for Chicago and other communities. Congress finally passed the Community Radio Act at the end of last year. In layman’s terms this means that we can have 100 watt stations that can serve various communities with independent political and musical thought. It doesn’t help our situation much in Chicago as far as having one city-wide station. I did find out that even a 100 watt station on a 150 foot high mast can broadcast 50 miles. That could eventually help us here in the Windy City where we are known for some tall buildings which could support such a mast.
How that will actually work is better left to the experts, but there are a couple of golden opportunities here. The most important one is that neighborhoods and communities can support their independent artists and cultivate appreciative listeners. And in turn, indie artists and music fans can be a force in their communities. By streaming on the Internet, it is possible for a small station to garner a large following outside its community. The independent artist community and its fans will have that many more stations to reach out to as well.
If we do see a surge in the number of Low Power FM Stations, that will be an opportunity for musicians to get their music heard, both recorded and live. It will be the closest thing to the day when a musician would travel from station to station to showcase original music. It will also be a chance for music fans to be introduced to music they would not hear otherwise.
As a musician, I can say from experience that being heard and getting played and playing live are necessary for the growth of my career. It was crucial for Switchback to start out playing community and public stations. They provided the outlet for us to be heard. Since we never had the backing of a major label, this and the Internet would be the only media venues available to us.
The Internet didn’t really start “happening” for music until the 90’s. For youngsters that might bring about a yawn, but I can remember giving out my mailing address in America on Irish radio so people could buy our cassettes. A lot has changed quickly.
So what should people do? First, visit the Future of Music Coalition at http://futureofmusic.org/research and get acquainted with what can be done to help keep independent music alive. These people are working to make sure independent musicians keep making music for the masses to hear. Second, support your existing community radio stations, either by donating (which they love and need) or simply sporting their stickers on your car. Or both. I proudly carry KDHX on my bass guitar case.
My guess is that Larry would have loved the passing of the Community Radio Act. If only he could have been around to see this day when the chance of having community radio stations across the country was finally sanctioned by the government. I think he would have been happy to see communities creating low power stations that can enable more artists to create and provide more music for fans to appreciate those artists. And not only music, but drama, civic action, and neighborhood news can be presented as well! It took a long time, but it has finally arrived. Will it correct the past two decades of mainstream radio mismanagement? It’s up to the people to decide.
Martin McCormack
Switchback
http://www.waygoodmusic.com/
I am an independent musician and so yes, I am biased in favor of good music that challenges the monolithic music industry. I have a great deal of admiration for community radio all over the world. It has been community-based radio that has helped bring my band to the attention of new fans everywhere. Midwest Radio in County Mayo, Ireland; WEVL in Memphis, and Folkland radio in Germany have had DJs who have dedicated their lives to the pursuit of what I would call “real people music.” Being an independent musician in the great music town of Chicago, I am embarrassed to say we don’t have an equivalent outlet for the variety of musical programming as KDHX. Our closest approximation of it is WDCB, a 5000 watt station in Glen Ellyn that has a broadcast signal which can’t reach the entire city. In comparison, KDHX is a 42,000 watt station. I was happy to find out that WNUR, the Northwestern University station, has a 7200 watt range and one of the most powerful transmitters of any college in the country. Admittedly, I don’t know too much about what is played on WNUR. The only person in commercial radio who seems to care a bit about independent music is Richard Milne, who is given a paltry 30 minutes on Sundays on CBS-owned WXRT to play his show “The Local Anesthetic.” Nevertheless, kudos for the 30 minutes!
WBEZ, our NPR station, gave up on music just as I was starting to get in the business. For a brief moment in time, WABT attempted to showcase Chicago music, but financially it couldn’t keep going. My wife bypasses Chicago stations completely and opts for KCRW on the net to listen to new music.
As I said, Chicago is a great music town. It started country music with its “Barn Dance” show on WLS. It was the town that created the blues that influenced the Rolling Stones. And it is home to a plethora of independent artists ranging from Wilco to Nicholas Tremulis to bands like the Yellowhammers. Yet it does not have one radio voice that represents our current musical diversity. Perhaps that has something to do with Chicago being known as the “City of Neighborhoods.”
That said, there is hope for Chicago and other communities. Congress finally passed the Community Radio Act at the end of last year. In layman’s terms this means that we can have 100 watt stations that can serve various communities with independent political and musical thought. It doesn’t help our situation much in Chicago as far as having one city-wide station. I did find out that even a 100 watt station on a 150 foot high mast can broadcast 50 miles. That could eventually help us here in the Windy City where we are known for some tall buildings which could support such a mast.
How that will actually work is better left to the experts, but there are a couple of golden opportunities here. The most important one is that neighborhoods and communities can support their independent artists and cultivate appreciative listeners. And in turn, indie artists and music fans can be a force in their communities. By streaming on the Internet, it is possible for a small station to garner a large following outside its community. The independent artist community and its fans will have that many more stations to reach out to as well.
If we do see a surge in the number of Low Power FM Stations, that will be an opportunity for musicians to get their music heard, both recorded and live. It will be the closest thing to the day when a musician would travel from station to station to showcase original music. It will also be a chance for music fans to be introduced to music they would not hear otherwise.
As a musician, I can say from experience that being heard and getting played and playing live are necessary for the growth of my career. It was crucial for Switchback to start out playing community and public stations. They provided the outlet for us to be heard. Since we never had the backing of a major label, this and the Internet would be the only media venues available to us.
The Internet didn’t really start “happening” for music until the 90’s. For youngsters that might bring about a yawn, but I can remember giving out my mailing address in America on Irish radio so people could buy our cassettes. A lot has changed quickly.
So what should people do? First, visit the Future of Music Coalition at http://futureofmusic.org/research and get acquainted with what can be done to help keep independent music alive. These people are working to make sure independent musicians keep making music for the masses to hear. Second, support your existing community radio stations, either by donating (which they love and need) or simply sporting their stickers on your car. Or both. I proudly carry KDHX on my bass guitar case.
My guess is that Larry would have loved the passing of the Community Radio Act. If only he could have been around to see this day when the chance of having community radio stations across the country was finally sanctioned by the government. I think he would have been happy to see communities creating low power stations that can enable more artists to create and provide more music for fans to appreciate those artists. And not only music, but drama, civic action, and neighborhood news can be presented as well! It took a long time, but it has finally arrived. Will it correct the past two decades of mainstream radio mismanagement? It’s up to the people to decide.
Martin McCormack
Switchback
http://www.waygoodmusic.com/
Tuesday, January 4, 2011
Concert Review: Switchback fills Town Hall with holiday spirit
Martin McCormack and Brian FitzGerald have been performing together for a long time, and it shows. Their camaraderie is obvious and their timing, accompaniments and harmonies are impeccable. Also impressive is their sense of mixing up the selection and tempo of the songs they play—a wonderful mix of ballads, rabble-rousing, original and traditional.
I saw them perform in Elk Rapids, Michigan December 28, 2010 (to a full house), a benefit concert for restoration of the venue, the historic town hall. Marty told the audience that he and Brian have an affinity for tradition, which explains some of the music that Switchback performs, but also is the reason they often play in old buildings with a history and, hopefully, a future.
At this particular concert, they threw in a lot of Christmas favorites and sing-a-longs. It was a few days past Christmas, but there was still plenty of Holiday spirit in the crowd, which was remarkably in tune. Sometimes when a band asks the audience to sing, it is fun, but audibly grating. Not the case here. It almost sounded like a practiced choir. Switchback does a great job of including the audience in their musical magic.
I was with my wife and three of my grandchildren (7-8-year-olds). Granddaughter Jenna showed a knack for music reviewing when she noted how amazed she was that Brian could play so many different instruments. She wondered why they played some songs with no words. So that night she learned a new word: instrumental.
The prowess of Brian on guitars and mandolin made my fingers hurt just watching him, and prompted grandson Max to ask “how does he strum so fast?” He also noted that Marty can really kick his legs up high.
Local up-and-comer Stephanie O’Dell joined Switchback at various times on stage, and she was superb. She got understandably emotional when she pointed out her significant other in the audience, who was home for the holidays from the Navy.
Switchback and Stephanie made this more than a concert. It was a true community gathering.
–by Don Weeks, Elk Rapids, Michigan, with help from Jenna & Max
photo by Jim Sundberg. Originally posted on Elk Rapids Live 12-30-10
http://www.waygoodmusic.com/
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