center stage live august 2012

CMuzeMatic Studios presents August 2012 Vol 2

enterStageLiveCenter Stage withMarc Benno

Live music venues and local artists in the Hill CountryAugust 2012

The Insider onEngineer &Producer,Erik Strickland

August Event CalendarBest Live Venue of the Month!Good Old Friends by Graham Warwick

Center Stage Live is a magazineavailable to at least a 30 mile

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schedules from bands and venuesthat play live music. This magazinecontains musician testimonies and

reviews as well as fan reviews,wanted ads, calendar events,music articles and SO MUCHMORE! Center Stage live is

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Anybody can write a review forCenter Stage Live Magazine; if youwould like to submit a review for a

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deadline for all magazinesubmissions is the 14th of each

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Thank you for picking upCenter Stage Live Magazine brought to you by

MuzeMatic Studios.Table of Contents

Takamine PG 4

Good Old FriendsPG 5

Light or MediumStrings? PG 7

Live Music Venueof the Month PG 9

Center Stage PG 10

2

The Gig ReportPG 12

Interview withErik Strickland

PG 13

Confessions of aDrum Mom PG 16

Mixing Tips PG 17

Wanted PG 19

August 2012 EventCalendar PG 20

Our music store is filled with acoustic, electric, bass,and classical guitars, acoustic and electric drum sets,amplifiers and microphones, as well as accessorieslike guitar strings, violin bows, drum sticks, instrumentparts and care kits. Through Mark Piper with RedentoreGuitars, we are able to accept most guitars That needrepairs. MuzeMatic Studios changes strings andreplaces drum heads. If you don’t see what you needin our stock, feel free to ask us about anyitem MuzeMatic Studios music store has the bestprices in town. Come on by and see our selection.

MuzeMatic Studios offers lessons withprofessional and experienced instructors.We offer guitar lessons, drum lessons, andpiano lessons. If you are interested in takinglessons, contact MuzeMatic Studios andwe will get you all set up with your instructor.

Guitar- Graham WarwickDrum- Mike Gonzales & John Ike WaltonPiano- Daniel Elliot

Our recording studio offers many services atGREAT prices and GREAT quality. Engineer andproducer Erik Strickland can record, mix, master,ANYTHING! Drop off your cassettes at MuzeMaticStudios and we will transfer them to CD’s for youin no time. Songs, commercials, memorableconversations, you name it, he can record it. Erikalso creates beats and instrumentals For any genre.His ear for music has shown to produce greatquality recordings for many artists in the HillCountry. Our recording studio rates start at $40per hour. Call us and schedule a tour Of the studioor to schedule a time to come record.

MuzeMatic Studios 1216 Broadway Kerrville, Texas 78028830-895-5092Store Hours:

Monday-Friday 12PM-6PM Saturday 12PM-4PM Sunday CLOSED

3

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Good Old Friends By Graham Warwick

BORN FOR THE BLUES or FROM THE FRYIN’ PAN INTO THE FIREThe Life and Times of Spot Barnett

– It was a warm dayon the cusp of another hot Texassummer in the sleepy hill countryhamlet of San Marcos. On June21st, 1936 Willie & Aurgurenewelcomed their son Vernon into thetroubled world. The world may have beentroubled, but, it was a good day fora blues player to be born; the greatblues tenor sax man, Clifford Scottwas born the same day exactly 8years previous. Music was not only in Vernon’sstars.... it was in his blood. Hismother’s family was chock full ofmusicians! So it wasn’t odd to seethe blues bug bite him early on.

One of his first recollections ofhis budding interest in music was,while listening to Duke Ellington orEarl Hines on the Radio City MusicHall on the family radio, he heard asaxophone for the first time. Inexcited eagerness, the youngVernon ran to his mother asking,“Mama, Mama!!! What is that?!?!?” The first step of a life long

journey of devotion had beentaken!At the age of nine, Vernon’sinsatiable desire to learn how toplay led him to take a job as a pinsetter at the USO bowling alley tosave money to buy his first sax. Bythe time he turned 12, he hadsaved enough money to buy aspankin’ new tenor sax from Searsand Roebuck at $9 down and $9per month. Vernon also hadacquired a new handle that wouldstick with him for the rest of his life...“Spot” ... but that will have to beanother story. When Spot got his new horn outof layaway, he immediately joinedthe school band. He was tutored byL.D. Harris. Harris was a bandleader who had lost his right handin World War II. Spot would go totheir rehearsal hall after school andHarris would let him play theircharts. Obviously, big band musicand swing and the blues reallyspoke to Spot!!

Unbeknownst to the young Spot,the foundation for the next stepwas soon being laid. In the early 50’s, an Austinbusinessman, Johnny Holmes, had“discovered” a young unknownbluesman stationed with the Armyat Ft. Hood, and hired him to comedown to Austin on the weekends toperform at Holmes’ restaurant, theVictory Grill.Every Friday, after high school, Spotwould catch the bus out ofSanAntonio to Austin to go to theVictory Grill to hear thisextraordinary bluesman. The youngBobby “Blue” Bland soonbefriended this exuberantyoungster, and before long he had

Spot jamming with him. It was afriendship and professionalrelationship that has lasted over 50years and still exists today.

Spot’s journey in the bluesstarted speeding up and the stepswere coming quicker. Bland was discharged from theArmy and returned to Memphis in1954, leaving Spot with the burningcraving for more blues. He hadalready found his way to the TiffanyLounge and the Ebony Lounge inSan Antonio and was playing withthe likes of Jr. Moore and BigWalterPrice. In 1955, barely 19 years old,he was asked to take over thehouse band at the Ebony Lounge. Spot built the Ebony Loungehouse band with the bestmusicians available and soongained respect and the reputationas THE band leader in San Antonio.Every musician in South Texaswould come watch Spot and tohear his bands! They were thatgood! (Years later, when Bland wasin need of a back up band, hecontacted Spot and was surprisedto find out that Spot’s band knewBland’s own material as good as –if not better than – his regular bandback home!) One night, Spot caught a youngskinny white kid named DougSahm that had been sneakingaround behind the Ebony Loungeto catch a glimpse of Spot & hisincredible band performing. At the time, neither of themknew what fate had in store forthem- Sahm would soon find aplace in Spot’s band as his bassplayer before going on to developinto the front man and artistic force

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Good Old Friends by Graham Warwick cont…behind the internationally famousSir Douglas Quintet and later afounding member of the Grammyavailable and soon gained respectand the reputation as THE bandleader in San Antonio. Everymusician in South Texas wouldcome watch Spot and to hear hisbands! They were that good! (Yearslater, when Bland was in need of aback up band, he contacted Spotand was surprised to find out thatSpot’s band knew Bland’s ownmaterial as good as – if not betterthan – his regular band backhome!) One night, Spot caught a youngskinny white kid named DougSahm that had been sneakingaround behind the Ebony Lounge tocatch a glimpse of Spot & hisincredible band performing. At the time, neither of them knewwhat fate had in store for them -Sahm would soon find a place inSpot’s band as his bass playerbefore going on to develop into thefront man and artistic force behindthe internationally famous SirDouglas Quintet and later afounding member of the Grammywinning Texas Tornados! Sahm often credited Spot with“discovering” him. Sahm sorespected Spot that he would oftenrefer to him as the “King of the EastSide" or the "Godfather of SanAntonio Blues". Spot’s abilities as a band leaderwere recognized by national actsas well. Especially those on the“Chittlin’ Circuit “ Over the next 20-ish years, Spottoured the Chittlin’ Circuit andrecorded with Ike & Tina Turner (astheir band leader), Doug Sahm,Bobby “Blue” Bland, Augie Meyersand Flaco Jimenez, and performedon stage with James Brown andRay Charles. “I’ve never been great,but I always got to play with thegreats!!” boasts Barnett.

At one point, around 1985, Spotrealized he needed a break fromthe Bobby “Blue” Bland tour, when,while getting his paperwork inorder, he pulls out a box of roadreceipts.While on tour, they had stayed atHoliday Inns across the nation.There were about 300 – 400 yellowcarbon copy reminders of eachstep of his road tour. He started to arrange themchronologically in order to counthow many miles he had loggedwith Bland‘s band, when herealized something strange: therewere names of places on thereceipts that he didn’t recall visiting!! “We would just check in after agig and fall asleep and wait for thewake-up call in the morning,” heexplained. “There were cities I don’tremember.... never even knew I wasthere! That meant I was burnt!!” So, as a result, he retired frommusic to take a construction job inSouth Bend, Indiana. It was aroundthen that he wrote his yetunpublished book, “Maze ofDestruction”, an autobiography.

To the happiness of blues loverseverywhere, Spot came to hissenses and in the late ‘90’s heretired from retirement to comeback to San Antonio to start hisband anew, and join the Grammy-winning West Side Horns, a SanAntonio super star band featuringArturo "Sauce” Gonzalez, RockyMorales, Al Gomez, Louie Bustos,and Jack Barber. He has sinceperformed and/or recorded withthe West Side Horns, the South SideKings, The North Side Kings, GuitarShorty, Bobby “Blue” Bland (again!),the Texas Tornados, and ”...morepeople than I can remember,” saysthe 72 year old Spot. Spot has recorded his own

material too! "The Ebony Shuffle","Pony Race", "Sweetmeat", "BettyJoe", "20th Century" and “LowdownDresser” are a few of his mostrecognizable. W.C. Clark still plays “20thCentury”. He says of Spot, “I owehim a lot. He gave me a start whennobody else would give me achance! He’s a great man!!”

In 2001 Spot suffered a stroke.When he woke up from his briefcoma, he found he couldn’t playthe sax anymore. But he didn’t letthat slow him down! He DIDremember 53 years of learningand, in return, teaching other youngplayers... so, he just applied thatknowledge to re-teach himself toplay. He claimed that it was hard atfirst, but soon he was able to getthe hang of it. “I just play smarternow,” he says, “instead of harder.” When the obvious question ofhow long did he plan to perform,he shook his head & laughed, “Mydad is still alive... and he’s 95!! Ifigure I at least got another goodtwenty years left!!” It’s hard to get Spot down. Even after his house burneddown on February 3rd, 2007 hesounded hopeful and happy! “That fire burnt up the last 15years of my life!! But, you knowwhat?? My Dad just found a boxhe had full of old pictures of mefrom way back when I was a kid tillI was a young man. You know, Ididn’t lose everything in that fire. I’mstill alive, I’ve got my Dad, and Ihave my music! I’m truly blessed!” So it looks as if Spot’s ride won’tbe over any time soon!! What does Spot say about hislong road through the Chittlin’Circuit of life so far?? “Life is good.... “Life is sweet!!”

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There are so many strings available, sometimes it getsoverwhelming and you wonder, which strings are best for you. If you playacoustic guitar you might be playing With the wrong strings. Choosing theright acoustic strings is easy if you know what to look for. We are goingto take a look into the world of acoustic guitar strings. It really dependson you, your guitar, and your style of playing.

Different Types of acoustic guitars work better with different typesof strings. You need to determine what “body style” you have. Your “bodystyle” is The shape of your guitar. The most popular acoustic body stylesAre dreadnought and grand auditorium. Your body style will need the rightstring size and gauge size for the best Results.

Normally, dreadnoughts are created more for medium gauge strings asgrand auditorium guitars are Created to accommodate lighter gaugedstrings. This isn’t always the case, sometimes they make Dreadnoughtsthat are more favorable to light gauges and medium gauged strings for thegrand auditorium body style. However, If you try to put medium string ona grand auditorium guitar, you might not like the sound. This is becauseThe thicker the strings, the more tension it will put on your head andneck, making your action higher.

Another variable in choosing the right string is your playing style.There are many playing styles practiced. Some include finger picking,heavy hand strumming, blues, light strumming. For an Example, letsuse the finger picker style. Light strings are widely preferred for fingerpickers because of the ease In playing compared to medium strings.Lighter strings are softer and less tough, which is a great choice Ifyou are just beginning to play guitar. Another example would be of a heavystrummer, they are More Likely to use medium strings due to theirhardness. Medium strings can be a little rough on your fingers,so the majority of heavy and light strummers use light strings. If you haveheard of light-medium strings, You have heard of the best ofboth worlds. With light-medium strings, the bottom 3 strings arelight gauged And the top 3 strings have medium gauged. If you arestrumming and finger picking, this might be the string For you.Others prefer this set opposed to others, but some would rather pick thelight or medium.

Bright or low? Which sound do you want to produce with yourstrings? If you are searching for a deeper And bolder sound, mediumstrings are the way to go. Medium strings bring out more bass in yourguitar. If you are looking for a higher, brighter sound then lightstrings might be preferred. The majority of players Enjoy the brassiersound that's why medium strings tend to work well for dreadnoughtguitars. The Dreadnought Shape is much wider than the grand auditoriumstyle.

Medium or Light Strings?Today, one can find Spot performing at venuesall over San Antonio, jamming with the likes ofWill Owen-Gage, the West Side Horns, or AugieMeyers, and performing at many S.A. BluesSociety shows, public functions, and parties.No signs of slowing down.Maybe he does have twenty more years to go!!Spot was inducted to the Austin Music Hall ofFame in April of 2010. Maybe he IS great afterall.Don’t be surprised some night if you walk intosome restaurant and find an incredibly fun saxplayer telling you, “Now, ya’ll don’t worry, Iperform every show as if there are 5000 ormore of you out there! Five, 5000, or 50,000.No matter. You are always gonna get the bestoutta me!”Know that you are lucky, that IS what you willget! The very best of a consummate entertainer!Spot Barnett!

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Elixir Nanoweb Light StringsMartin MSP4100 Light StringsMartin MSP4200 Medium StringsElixir 16052 Phosphor Bronze LightMartin MSP4150 Light-Medium StringsDR Sunbeam RCA-10 Lite StringsJohn Pearse 600L Light Strings

Pat Mitchell

“I Do My Business In A Bar”

“Sight For Sore Eyes”

“Your Keys Don’t Work Here Anymore”

“Texas Hold 'em”

All these songs and more are available forpurchase at Pat Mitchell’s ReverbNationwww.reverbnation.com/patmitchellmusicFind him on Facebookwww.facebook.com/patmitchellmusic

Get your CD atMuzeMatic Studios

Rodeo and Dance HallCrider

’s

6th- Jon Beaumont13th- Cactus Country20th- Dirt Road Gypsies27th- Josh Peek

August

3.5 miles west of Hunt, TXon Hwy 39

Questions? Call 830-238-4441

Four Point O Wine

August Schedule

John Arthur Martinez 3pm-6pm

Bob Cheevers 3pm-6pm

Joel Melton 2pm-6pm

Bob Cheevers 2:30-6pm

Happy Hour w/ Bahama Billy and Renee10354 E. US Highway 290

Fredericksburg, Tx

8

AUGUST

2012

Live Music Venue of the Month

Koyote RanchMedina, Tx

23195 State Highway 16 North

830-589-4695CONGRATULATIONS!

Voted by YOU

Send your nomination for the Best Live Music Venue of the Month to Center Stage Live Magazine.Center Stage will award the highest voted venue, Center Stage Live’s Venue of the Month. To

submit your nomination, email us at [email protected] or call us at 830-895-5092

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9

Center Stage It never hurts to take a little trip into the majestic ambience of the Texas Hill Country especially when you've got a green light to interview Texas blues tornado, Marc Benno. No sooner than my feet hit the pavement, I found myself tracking energetically on Marc's heels at high rates of speed quickly touring through one of Marc's favorite shops which displayed an array of every hot sauce know to mankind. It was the "Scratch n' Sniff" and the "hotter n' Hell" sauce that seemed to grab our attention most as he set the pace for a laid back but intense interview. I found myself sitting right across from the man that recorded with the "Doors" on L.A. Woman, co-wrote and recorded two albums with Leon Russell, played side guitar with Mance Lipscomb and "Lightnin" Hopkins, gave S.R.V. his first ticket to Hollywood and won a Grammy for a Beverly Hills Cop sound track song. Whew! Now I'm totally convinced that most local Austin music fans just aren't aware of the musical legacies that are concealed in small hill country hideaways like Wimberley. I dedicate this interview to you and Texas blues fans everywhere. This continually growing community embraces some of the greatest musicians known in the world today. I hope to inform you of the invaluable musical heritage that surrounds you, and to especially share my afternoon interview with Mr. Marc Benno and his Mecca of music.

RRT: "Where were you raised?"

MB: "Dallas, Texas. When I was 10 years old, they sent me downtown with my brother to work at my uncle's shoe store. Therewas the Orange Inn, where we had chilidogs, and what became Orange Julius. There was this Fun House, where I made myfirst record in a phone booth type gadget that spit the record out like those instant photo booths, except instead of photos it spitout 45's with a little 78-rpm hole in them. On the corner out in front of the store, sat a blind Negro man selling pencils. When heplayed guitar, he drew such a large crowd the cops considered him a menace, so finally, the judge agreed to let him play hisguitar on Elm Street in South Dallas, near the train tracks, under an old oak tree. Here he could play as much as he wanted andpass a hat. This is where I was born. Behind the Forest Theater, in the original Deep Ellum district. There were many Europeanimmigrants who came to Galveston Island, and then settled in Dallas among the blacks, right in the middle of The State Fair ofTexas. This is where I came from. I thought Oak Cliff was out of town somewhere.

RRT: "Who were your influences and who do you listen to now?"

MB: "My first influences were hits on the radio, and the Cats Caravan Show on WRR radio. WRR played all the real good stuff,like Jimmy Reed, Little Richard and Ray Charles. Their theme song was "Night Train." The daytime radio played hits by theCoasters, the Drifters, and a lot of white artists, from Buddy Holly to Elvis, and whoever had a hit record. These hit makerscame to Dallas in 1959, while I was working for my dad in the beer garden at The State Fair Music Hall. He snuck me inbackstage, and my life was never the same. I met Sam Cooks, Paul Anka, and these guys throwing combs out the window toscreaming chick fans. The show-biz bug bit me for good right then. It wasn't until I was 16 that I heard "Lightnin'" Hopkins overat a friend's house, and began to get into the blues. At Cains Ballroom in Oklahoma City is the first time I met him and endedup touring with him as 2nd guitarist. Everybody thought I knew him, but it was really Mance Lipscomb that I knew, and I thoughtMance was Lightnin Hopkins when I first saw him at San Jacks Café in Austin. Mance gave me my license to play the blues."

RRT: "Who do you listen to now?"

MB: "Well, for years I listened to nothing but the blues. As has been said before, all the Kings, Juniors, Bigs and Littles. Lately,it's been nothing but Chet Baker. He is the most no tricks singer I've ever heard. My favorite unknown guitarist is Lenny Breau.My favorite pianist is Bill Evans. And I like Johnny "Guitar" Watson's Bow Wow CD. I've been playing piano a lot lately andlearning classics, like "It Could Happen to You.", "Like Someone in Love', and some contemporarystandards. My guitar playinghas been used mostly writing originals for my new CD. But definitely Lightnin Hopkins, Jimmie Reed, Albert King, Kenny Burrelland Johnny "Guitar" Watson are my biggest influences. And jazz musicians are incredible. They have unlimited chops. Theyknow their instruments. Of course, the classical masters are an inspiration when I'm relaxing.

Austin Blues MonthlyInterview with Marc Benno

Interview by Rob“Ribeye” Thacker

For this interview and more,visit www.marcbenno.com

10

RRT: "What was the name of your first band?"

MB: Marc Benno & The Victors. 1960, we entered the Texaco Talent Contest at The State Fair, and came in 2nd. Not bad for abunch of kids. I joined The Outcasts in high school, and later met, and formed a duo with Leon Russell, called Asylum Choir. Wehad a hit album in the early 70's, which led me to a solo recording contract with A&M. I did four LP's for them and played guitaron the Doors, "L.A. Woman" and also had several artists record my tunes, including Jose Feliciano, Leon Russell and RitaCoolidge. Then in 1986, I had a tune in the movie, "Beverly Hills Cop" which won me a Grammy for songwriting."

RRT: "What was Morrison like?"

MB: "A nice guy who was on a roll. He reminded me of a wild gorilla at the sessions. A hand-held microphone and a telephonebook full of songs. He stopped the sessions, and took me to lunch. He ordered ox tails or something wild and drank Jack Danielsout of the bottle. It was a fun time, and I still can't believe how popular that album is today. Jim had me show Robbie a lick I wasplaying, and we used it on L.A.Woman. From there, it was a straight ahead jam right through the album. We worked the tunesup on the spot, and did very few takes. The Engineer, Bruce Botnik, a friend of mind who got me on the session did a great jobrecording everything! Jim wanted a garage studio atmosphere, and that's exactly what Bruce had built for the recording. Noneof those fancy Hollywood studios. This was an old building on Santa Monica converted into a makeshift studio. The talkbacksystem was a drive-in speaker hanging from the ceiling, and the control room was upstairs. We never saw anyone but eachother, which kept the distractions to a minimum, and also kept Jim from feeling inhibited, which I don't think was a problem forhim, anyway. But he cut loose completely while recording, and the result was a very spontaneous album."

RRT: "When did you meet Stevie Ray Vaughan?"

MB: "I first met Stevie in 1969 at the End of Cole Avenue club in Dallas. He asked if he could sit in with our band, and told me hewas Jimmie's brother. That was all I needed to know, and I offered him my guitar, but he had his own in the car. When he jumpedon stage, it was hypnotizing. He had a style that was his own, and played much like he always would. I recording that jam, andstill have it on cassette. I'd say he was about 13 at the time. I later formed a band called Marc Benno and the Nightcrawlers. Iwas referred to Stevie by his older brother. That night, I went down on Lamar, in Austin, to a club called Mother Earth. The bandwas Blackbird, and Stevie was perfect, dressing in a purple velvet suit playing his ass off. The next thing I knew I was meetinghim at the LAX Airport in Hollywood. This was in '73, and Stevie did the lead guitar playing and Doyle Bramhall was on drumsand vocals. We recorded an album for A&M, which never came out, but did a major tour with Humble Pie and J. Geils. This wasout first taste of rock stardom, limos and the works."

RRT: "Tell me about the new Mance Lipscomb movie you're doing and how all that came about?"

MB: "In the sixties, I played at the Studio Club in Dallas, Boz Scaggs and Steve Miller played down the street, and Felicity, wholater became the Eagles, played there too. I took a trip to Navasota and my bass player, Wally Wilson, told the club owner, LarryLavine that he ought to follow me down there, with his new 16mm color camera, and film some of that stuff. I left for England,but Larry and Wally did finally make it to Navasota. This old footage was just recently discovered by Lavine while he wasunpacking in the new house he got in Dallas. I made the suggestion to contact major artists. The movie has become the ManceLipscomb Story, and features Ry Cooder, Taj Majal, Gatemouth Brown, BBKing, myself and others doing Mance tunes and telling Mance stories abouthis influences and philosophies. But the part I like is all that footage from backin the sixties."

RRT: "So Marc, what's next on the horizon?"

MB: "I'm working on a new cd and appearing with the NEONIGHTCRAWLERS, but the main thing is that things changed from the olddays. Now every day is new for me. I know I'm a lot more mellow than whenI was doing James Brown with my hair dyed white, so I'll just continue to writesongs, and keep creating until I uncover all sides of myself.

Center Stage with Marc Benno Continued…

11

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Sugar and Smoke in Fredericksburg Tx

Well, last week's gig report seemed pretty popular, so maybe another look at a different venue in adifferent town would be useful for musicians out here in the hill country. This time, let's take a look atFredericksburg and Sugar and Smoke.One of the newer eateries in Fredericksburg is Sugar and Smoke, a high-end bakery and barbeque joint.It's a sweet combination and great for getting some foot traffic right off of Main St.You can tell that live music is a pretty big deal to the owners. Their general setup is quite nice. Outsideof a large turn of the century building that houses some inside seating and the kitchen, they have alarge courtyard where patrons sit to enjoy outside dining and drinks. If it were Comfortably full you couldprobably it an audience of 50 -65.In addition to an old water well, this area features a Spacious stage in the corner that is about 2' highand has plenty of space for a five piece band. While there are plenty of electrical outlets around thestage, the stage lighting isn't great, being a single flood placed at a pretty low angle. But you have toadmit that the dim light in the courtyard makes is an intimate venue. All three of the times that we playedthere we ended up using the owner's Fishman pole, which is an all in one PA system similar to a Bosestick PA. I could see how it might run out of gas, but for the groups I was playing with, this would be fine.I've played there three time, the first being a gig with Kent Rylander's “Austin St. Jazz Band”; it was quitea treat as Bill and Sandy Smallwood sat in and we had a good couple of horns. The other couple of gigsthere I played on upright bass with Graham Warwick, and we did quite well in terms of capturing anaudience; there was enough foot traffic that we had an easy time finding folks who want to stop by andlisten. They were an appreciative and well-tipping audience. Still, it seemed like a bit on the small sideas far as audiences go: Sugar and Smoke isn't the most regular in terms of hours, and on the last gig Iplayed we actually showed up before they reopened at 6-- it was sad to have to tell the 10 or so folkswho stopped by off the street that the place wasn't open for the evening.

Pros: Cons: Owners care about music Irregular Hours

Appreciative Audiences Dim Stage Lighting Nice Stage Small In-House PA

Summary:This is would be a good venue forblues/jazz/country or other kinds ofgroups; it probably wouldn't workat all for a more rocking kind ofband. But the owners are musicaficionados who've put together anice venue that makes it easy toperform.

The Gig ReportBy John Reeve

Sugar and Smokehttp://sugarandsmoke.com

Phone: (830)307-305149 East Main Street

Fredericksburg, Texas12

Erik Strickland Engineer & Producer

Erik Strickland has been called “the best engineer and producer I’ve ever worked with” bymany local musicians. He owns MuzeMatic Studios in Kerrville. His magic ears produce greatquality recordings. Being only 23 and having achieved so much so soon in his life, we had to sitdown with Erik and get better acquainted.

CSL: Erik, tell me a little bit about why you moved to Kerrville.

ERIK: Besides it being beautiful and having great people, Kerrville is just like a mini Nashville.There are many big time musicians that live in the area that you wouldn’t expect. There is alsoa lot of hidden talent in the area. The majority of the local bands and musicians here are verytalented. We don’t want the Hill Country’s hidden talent to be hidden anymore So that wouldbe the main reason for our move. We want to use what we can do to help local bands andmusicians go farther.

CSL: Can you give me a little insight on why you became an engineer and producer; whatdrew you to this career?

ERIK: When I was 10 I had gotten a guitar and would record myself a lot on the computer.My dad noticed and bought me a digital recorder. From there I was recording guitar, vocals anddrum beats. I really enjoyed messing around my with digital set up even as I got older. I got tothinking about what I should do as a career and my first thought was to become a producer. Iwent to the Audio Enginearing Institute in San Antonio and studied under legendary producer,Mareus Perron.

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Photo by Phil Houseal

In the studio

with BarbwireMarc Benno

Lead guitarist for the doors

Interview with Erik Strickland cont.

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CSL: As of right now, what is the goal you are trying to accomplish?

ERIK: As I said before, the Hill Country’s talent is hidden. My wife and I would love toopen doors for musicians with inexpensive recordings, CD production, and many more things.I believe that with the talent in the area, why would I do my best to help out? You never knowwho can go far if you never give them the chance.

CSL: You have already recorded and met some great people in your recording studio,can you name a few?

ERIK: I have been recording people like Marc Benno, who played with The Doors and StevieRay Vaughan, Lorne O’Neil who played with Neil McCoy, Don Crider, who has played withReba McEntire and Doug Supernaugh, Johnny Way and John Christopher Way. John IkeWalton, who was the drummerfor the 13th Floor Elevatorsstarted coming in our store somuch that we decided to makehim one of our drum instructors.I am excited to see who else wewill be able to meet.

CSL: As you know, Kerrvilleisn’t just for country music, whatare some different genres ofmusic you have been recordinghere?

ERIK: Well, besides country, of course, I have recorded a little bit of everything so far. I haverecently recorded rock, rap and alternative, just to name off a few. Its been great recordinga variety of genres.

CSL: Besides recording albums and such, what else do you enjoy doing in your studio?

ERIK: I do favor producing over engineering but I really enjoy creating beats. I can sit therefor hours creating instruments. My favorite genre to create instrumentals for is alternative.

CSL: You have already begun toexpand a little bit, where do you planto be, say 10 years from now?

ERIK: I really hope to have my own record label. I also want to expand MuzeMatic Studios toanother town, maybe one that needs it, like Kerrville.

Erik Strickland at Muzematic Studios

T-N-J Engraving204 Cully Dr. Ste 100

Kerrville, Texas 78028(830) 890-5821

So Fast Printing, Inc.229 Schreiner St

Kerrville, TX(830) 257-4101

Kerr Business Services924 Jefferson St.

Kerrville, TX(830) 257-7733

If you would like to be a sponsor for Center Stage Live Magazine along with thesegreat businesses, please contact CSL at 830-895-5092 or email us at [email protected]

A Special Thanks to Our Sponsors

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I confess I know next to nothing about drums but I do know that beingmama to he very first drummer to receive instruction at MuzeMatic Studiosis such an honor as I sincerely believe that this little spot is the beginning ofsomething HUGE! I love going in there. It's like being in a music scene thinktank with no ulterior agenda.

I confess- I've always loved the drums ...they remind me of the ocean- whichhas had me memorized since as far back as I can remember. Something aboutthe rhythm of the beat just always goes straight to my heart and I love it.

Growing up I took piano lessons as well as my brother. He had an ear for itand I had much less of an ear for it.... After several years of practice, I rememberbeing at the Seattle Golf Club with my family when my grandmother stood up inthe dining room and tapping her spoon to her glass asked everyone to join herupstairs in a moment where her grand children would be playing the piano forall to enjoy. Despite being given a heads up and having my music in hand, I didnot enjoy this moment. I played two pieces I knew well with my music in frontof me. My brother went on afterwards to play beautifully for the next hour or so. Clearly talented, to this day hestill loves playing the piano. I confess- I can't remember the last time I played…and I confess this does not makeme sad.

As a mother, I hope to be able to guide my children and give them enough experiences early on so that theymay find what they love. They've loved 'em & left 'em no hard feelings as they searched for that something thatthey not only loved but that would come naturally for them. Without that natural proclivity the practice becomesa chore, no longer a personal endeavor. Since finding that which they truly love, & are so naturally inclined ...thedetermination to improve and take it to the next level now emanates from them. I confess- I don't want to have tokeep reminding them to practice! If they really want excel they will. They may be my children but these are theirlives. Who am I to tell them that this is what they're good at, that this is who they should be when they grow up.I am pretty sure those are questions best answered at the self level. I confess- this topic opens all kinds of theoriesand opinions, etc... To each their own.

I confess- I know far less today than I did 10 years ago. I used to have life all figured out and a great plan forthe way my life out to be & I was headed places to change the world for the better. Life happens & today Irecognize some things needn't be figured out, my plan is irrelevant next to His plan, it's not the places I'm headedbut rather the way in which I've made it through the ones I've been, & the realization that the biggest affect I canhave on the the world is to change myself ...to be the light, to love life, to do His Will brings my focus right intothe now. We just never know what tomorrow will bring. Life is too short to not be grateful for our blessings andway to short to waste time by not living each moment to the fullest. I confess each moment of my life has notbeen lived to the fullest.

Listen to the rhythm in your heart, when you hear it you'll know what to play. Let your kids hear their ownrhythm and help them on their way in their lives if you can. If the scenery is looking really familiar & you don'tseem to know why, OPEN your eyes cause you're missing something important! Look for it & you will see it!

sunshine, love, & happiness~ Sophia Bangart

Confessions of a Drum Mom

Crazy Drum Tips You Might Not Know… Stuff your bass drum with newspaper to get a wet, sort of punchy sound. Put some beeswax, Cello, or bass rosin on the perimeter of the head, apply pressure with your

thumb as you glide it around the head. Your thumb will bounce quickly as it moves. Called a“Tambourine Thumb Roll”

Buy yourself a clip on fan for your drum. You can clip in on a drum stand anywhere and itwill keep you cool during your practice and shows.

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MIXING TIPSThis eq is a great one for tomsTry it on your mix next time toget a nice heavy tom sound

Remember to cut outempty spaces wherenothing is being playedto clean up the mix.

Look Professional

Sound Professional

Try Using an AKG perception P2 kick drummic next time you mic up your next project. Verycheap and unusually great sounding mic for theprice. Wonderful low end, and with a bit of EQyou can pull an awesome punchy sound great forthose hard rock sets. The mic costs around $99not a bad buy for a professional sound withoutthe 100's of dollars that comes along with owninga professional sounding kick drum mic. TheAKG P2 gets an A in my book!

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Album now available on iTunesFor booking: 830-928-1299

www.PhilipNelsonMusic.com

Advertise your band,your venue, Promote your CD

and music, find band members,check out local hot spots,get tips and much more!

Call Center Stage Live MagazineAt 830-895-5092

or email us [email protected]

Americana / Country

For booking contactJohn @ 830-928-4700

Find Barbwire on Facebook18

WANTED

Are you a band looking for a musician?Are you a musician looking for a band?

Are you a band/musician looking for a gig?Are you a live venue looking to book a band?Add your wants to our “Wanted” section by

Calling us at 830-895-5092 or email us [email protected]

Looking for new musicianswho have never played ina band. Any acoustic/electric instruments,bluegrass, and classicalStyle

Call Baylor @830-955-3855

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If you are interested in placing a calendar event in Center Stage Live Magazine on our event calendar,call us at 830-895-5092 or email us at [email protected]

MON TUES WED THUR FRI SAT SUN

1Happy Hourw/ Bahama

Billy &Renee @ 4.0

2John ArthurMartinez @

4.0 Wine3PM-6PM

3Arlis

Cummings @KoyoteRanch

4Bob Cheevers@ 4.0 Wine3PM-6PM

5Bob Cheevers@ 4.0 Wine3PM-6PM

6Jon

Beaumont @Crider’s

7 8Happy Hourw/ Bahama

Billy &Renee @ 4.0

9Philip Nelson

@ QuarryGolf Club,

SAJohn ArthurMartinez @

4.0 Wine3PM-6PM

10Kerr Fest

11Kerr Fest

12Buck SloanOld TimeMusiciansReunionSecondSundaySummer

Serenade @Guad Rvr @

7:30PM13

Buck SloanOld TimeMusiciansReunionCactus

Country @Crider’s

14Buck SloanOld TimeMusiciansReunion


Happy Hourw/ Bahama

Billy &Renee @ 4.0


John ArthurMartinez @

4.0 Wine3PM-6PM



10th AnnualGuadalupe

River Parade


20Dirt RoadGypsies @Crider’s


Billy &Renee @ 4.0


4.0 Wine3PM-6PM

24Joel Melton@ 4.0 Wine2PM-6PM

25Bob Cheevers@ 4.0 Wine

2:30PM-6PM

26Bob Cheevers@ 4.0 Wine

2:30PM-6PM

27Josh Peek @

Crider’s


Billy &Renee @ 4.0


4.0 Wine3PM-6PM

31KerrvilleWine &Music

FestivalBradley

Sherrer @Schertz VFW

Post 8315Schertz, TX

Event CalendarAugust 2012

center stage live august 2012

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