How Do You Define…. and why does it matter?

…singer-songwriter

puzzled emotoconYou ever stop and think about how you perceive and personally define styles or genres of music?  What does AAA mean?  Americana?  Rock?  Pop?  Can you articulate the difference between Rhythm & Blues and contemporary R&B?  Neither can most people – even those we’d think might or should know …such as event talent buyers.

So, I’m on the phone this week – doing what I do – consulting on matters related to music in Colorado, and I get asked “how do you define singer-songwriter?”  My immediate off the cuff answer was “everyone in music is a singer songwriter if they sing songs they write.”  That’s true.  If you sing songs you write you are in fact a singer-songwriter.  But the definition goes well beyond that.

The question came about because the person I was consulting had gotten push back from event buyers for being a singer-songwriter.  For many people in the scene – event buyers especially – the term brings a less than likable meaning – that of solo (or duo) act that sings soft wimpy ballady acoustic “folk” type songs – the type you hear in coffee shops and many brew pubs regionally today.

folk singerAccording to Allmusic.com,  “…the term Singer/Songwriter refers to the legions of performers that followed Bob Dylan in the late 60s and early 70s. Most of the original singer/songwriters performed alone with an acoustic guitar or a piano but some had small groups for backing. Their lyrics were personal, although they were often veiled by layers of metaphors and obscure imagery. Singer/songwriters drew primarily from folk and country, although certain writers like Randy Newman and Carole King incorporated the song-craft of Tin Pan Alley pop. The main concern for any singer/songwriter was the song itself, not necessarily the performance.”

Examples of singer songwriters also include:  Simon & Garfunkle, Billy Joel, Elton John, John Lennon, Van Morrison, and James Taylor from the 70’s and from the more contemporary listings, Elvis Costello, Norah Jones, Sheryl Crow, and Sara Bareilles to name a few.

This point is worth repeating; “The main concern for any singer/songwriter was the song itself, not necessarily the performance.”

So why does it matter?  It is the performance issue that drives many buyers away from so called singer-songwriters.  Many buyers don’t see the singer-songwriter as a performer – as an ENTERTAINER (despite the Billy Joels and Elton Johns, who few think of as singer-songwriters, but rather pop and/or rock acts).

I made a few calls to verify that my thinking was in line with realities on the ground.  I wondered why “singer-songwriters” need not apply in most cases.  The answer was “energy.”  What I took from that was not “energy” but FAMILIARITY.  Bring an Elton John or Bob Dylan tribute band to the party and you’re in.  Bring in Bob Dylan performing solo songs on an acoustic guitar that no one has yet become familiar with and he’s out.  Why?  FAMILIARITY = ENERGY and ENERGY = FAMILIARITY.

It’s not that folks expect to hire cover bands …and tribute bands fall into a different role in the scene – accepted as something more than a cover band.  It’s that folks who put on events desire music that the average attendee can “move along to” (read:  “sing along to”) even if they’ve never heard the song before.

If you avoid using the term singer-songwriter, as an artist what do you say you do musically?  Americana?  What’s that?  What’s different between pop and rock?  Is country “country” if it doesn’t sound like what’s on commercial country radio – or is that even country to begin with and when is it “too country?”  How bout the differences between Rhythm & Blues (R&B) in the classic context, and R&B in the contemporary context?

One event buyer/planner this week asked me to find them “Colorado sounding” acts.  When pressed, I came away with an answer that what was meant was acts in the bluegrass, jam-grass, jamband, reggae. jamband oriented funk and hip-hop, and “Americana” (read: non Nashville sounding country) styles of music.  At no time was I asked for singer-songwriter, folk, rock, pop, blues, soul, jazz, or country.

My best advice?  Leave the genres to those who care (uh … hello?)  and define based on comparatives, on “if you like so and so you’ll like _____________”  … choose “__________ compliments so and so in a mix,”  NOT “_________ sounds like so and so.

And even if you are, don’t call yourself a singer-songwriter … most singer songwriters I know can do solo, duo, trio, quartet, or even orchestra shows – and are not simply a gal or guy with a guitar …or Bob Dylan without a band …a “folk” singer.

When we think of great Colorado singer-songwriters, here are a few I think are definitely worth mentioning …we do love singer-songwriters in Colorado.  Turns out they’re among our most revered treasures.

#coloradorocks #coloradovideos #colordaosingersongwriters #leaderofthepack #localmusicmatters

HELP WANTED – Exec Dir – KAFM Grand Junction

KAFM Community Radio

Grand Valley Public Radio Company, Inc.

1310 Ute Avenue

Grand Junction, CO  81501

970-241-8801

 

POSITION:           Executive Director

KAFM seeks an energetic and highly motivated Executive Director to oversee the overall health, growth, and long-term viability of the station.  The ED manages a creative and collaborative environment that focuses on energizing and informing internal and external audiences regarding KAFM Community Radio.

KAFM is an FCC licensed 501c(3) corporation, non-profit public radio station with 300 watts of power serving Western Colorado at 88.1 mhz. KAFM also maintains a web presence and streams music and community programming live 24 hours a day, 7 days a week at www.kafmradio.org.  KAFM is member-supported and primarily volunteer-run.

 

KEY JOB DUTIES

  • Reports to the Board of Directors and works with them to establish KAFM’s strategic direction and goals.
  • Responsible for the financial management and health of the organization including setting and managing the station’s operating budget and financials; and growing the station’s revenue stream through fundraising, membership drives, underwriting, grant writing, and other means.
  • Manage day-to-day operations and oversee special event activities
  • Manages, directly or through subordinates, a staff of seven full- and part-time employees and a large number of volunteers, including recruitment, training, performance management, and disciplinary action when required.
  • Ensures the creation and oversight of programs and services that promote the station and positively engage the listening community.  Oversees public relations activities. Fosters long-term relationships with various constituencies including members of the community, media, partner organizations, etc.
  • Works with the Station Manager regarding the technical and legal operation of the station, ensuring compliance with all applicable FCC regulations and other federal, state, and local laws.

QUALIFICATIONS :

The successful candidate will have:

  • A minimum of a bachelor’s degree in business, communications, journalism, or a related field with at least five years of increasingly responsible experience in broadcast media, a related field, or equivalent experience. Previous experience working in a nonprofit environment and working with a board of directors is highly desirable.
  • Strong financial management skills.  Proficiency at fundraising, capital campaigns, and real estate management. Grant writing experience is highly desirable.
  • Strong leadership skills, with the ability to articulate a vision and inspire others to achieve it.  A minimum of five years’ experience managing employees.  Previous experience managing volunteers is also desired.
  • Strong interpersonal and community relations skills, with the ability to build strong working relationships and interact professionally at all levels, including with KAFM Board, staff, volunteers, underwriters, members, outside suppliers, listeners, and the community at large.
  • Advanced communication skills (written, verbal, and presentation).The ability to negotiate, influence and persuade.  Knowledge of and experience with social media desired.  A high level of confidence, integrity, and critical and creative thinking, both at the strategic and operational levels.  Solid computer skills.

HOURS & COMPENSATION:

This is a 40-hour per week position, with the need to attend evening or weekend events periodically.  KAFM offers a starting salary of $35K – $40K annually (commensurate with experience), two weeks paid vacation and nine paid holidays per year.

 

This description does not list all job duties in detail.  KAFM’s Board of Directors reserves the right to revise this description as needed.

The Colorado Sound S8 EP17 May 2014

I sure do hope you’ve been catching the recent episodes of the show, as I’ve featured tracks from one of Colorado’s “lost” recordings – Zepyr’s “Heartbeat” (1982).  I added a couple of cuts from the “Heartbeat” (1982) to the morning mix at The Colorado Sound Live365.  Coming up in May I’ll also have remastered versions of Zephyr’s 1969 debut, the “Rainbow In the Bathtub.”

The Colorado Sound Live365 – Updated May 5.

A couple of new releases came in too late to get on for this week’s show.
Matt Fuller Group, featuring Ron Miles – Waiting for Violet – jazz
Grant FarmPlowing Time – jamband

Video Pick of the Week

Lovin’ this stripped down version … wtg you guys .. nicely done 🙂

PLAYLIST S8 EP17 May 2014

(N) Zephyr “Don’t Come Back” from Heartbeat (1982)
Joe Walsh “Rocky Mountain Way” from The Smoker You Drink, The Player You Get (1972)
Poco “When It All Began” from The Essential Poco (2005)
String Cheese Incident “Song In My Head” from Song In My Head (2014)
Bad Brad & the Fat Cats “Other Side” from Take A Walk With Me (2014)
(N) Ivory Circle “We Will Run” from Equilateral (2014) 
Katie Herzig “Summer” from Walk Through Walls (2014)
Euforquestra “The Price is Right” from Fire (2014)
Zach Heckendorf “Invisible Ink” from The Cool Down (2012)
Places “The Fire” from No More Wasted Days (2012)
H2 Big Band “Blue Brews” from You’re It! (2011)
(N) Zephyr “Love Comes Runnin’” from Heartbeat (1982)
Tommy Bolin “Savannah Woman” from Teaser (1975)
Chris Daniels & the Kings “Congo Square” from Live Wired! (1995)
(N) Von Stomper “Train Train” from Von Stomper (2014) 
Leftover Salmon “Up On the Hill Where We Do the Boogie” from The Nashville Sessions (1999)
Branded Bandits “Hang Me High” from Branded Bandits (2013)
the Railbenders “Sweet Caroline” from Segundo (2003)
Musketeer Gripweed “A Train” from Floods and Fires (2014)
My Body Sings Electric “Keep It Simple” from Part 1: the Night Ends (2014)
Monroe Monroe “Engines Will Come” from Engines Will Come (2011)
Monocle Band “Can’t Get By” from Monocle Band (2013)
The Samples “Boulder” from America (2014)
Rich Lamb “Deja Blues” from Music Along the Way (2008)