Road Report

2008-06-29T00:43:00.003-06:00

2007-08-24T13:27:00.001-06:00

Onederous You

2007-07-20T23:52:00.001-06:00

Onederous You

Chi-town girl you rock my world
Hot soul on fire
High as a kite on a Champaign Flight
She wants to take me higher.

Well it’s you, Onederous things that you do
When you do, all the things that you do

Who’s got the goods in the neighborhood?
Love to watch you walk
But me and you and that Boom boom boom—
I love your baby talk

Well it’s you, Onederous things that you do
When you do, all the things that you do

And when I’m far away
Rockin’ on a stage
She’s always there for me
She’s like a smoking’ gun
She makes a blues song fun
She loves so sensually

When we Sneak away
Off behind the stage
You know I want to explore
you know you’re such a tease
I beggin’ pretty please
You got me wantin’ more

She’s got some kicks in her book of tricks
Hasn’t used them all
Mojo, black cat, and who knows what?
I’m gonna hit the wall

Well it’s you, Onederous things that you do
When you do, all the things that you do

Copyright © 2005 Gary “g-man” Wesselhoff

For Immediate Release: - Google Docs & Spreadsheets

2007-03-12T22:25:00.000-06:00

For Immediate Release:

Gman Blues to Perform for St. Baldrick Charity Event

(Plainfield IL March 12, 2007). Chicago area Acoustic Solo Artist, Gman Blues will perform at a special charity event to benefit children with Cancer. St. Baldrick Foundation, the world's largest volunteer-driven fundraising program for Childhood Cancer is sponsoring an event on Friday March 16, 2007 at O'Sullivan's Irish Pub located at 706 Lockport Street Plainfield, IL 60544.

Proceeds from the event will benefit Conner Schlitz, age 4, who is currently winning the battle of cancer.

The event features sponsored volunteers who will have their head shaved in order to raise both awareness, and funding for Childhood Cancer. There will be a special auction and raffle for sponsors. Items subject to auction include, Jordan signed jersey, Jenks autographed Ball, four tickets to Sox game, an autographed Blackhawk's stick, Four VIP tickets to Jerry Springer Show, and others.

The raffle has some a large selection of gift certificates to a variety of local restaurants which includes, Home Run Inn Pizza, Red Robin, Solernos and many more. Several beer distributors have donated kegs of beer with the proceeds benefiting St. Baldrick's organization. The Corona Light girls will also be in attendance....

More about St. Baldrick's, Connor, or gman Blues can be found at the following links:

http://www.stbaldricks.org/events/event_info.html?EventID=148

http://www.osullivans-pub.com/

http://www.gmanblues.com

###

Hello everyone, - Google Docs & Spreadsheets

2007-03-12T22:24:00.000-06:00

Hello everyone,

I am performing this Friday March 16^th for a worthy cause. The St. Baldrick's foundation is sponsoring a charity event for children with cancer, specifically a four year old named Connor Schlitz who is winning a battle with cancer. Here is his story:

Age: 4
Diagnosed at age: 3 Years, 6 Months
Diagnosis: Acute Lymphoblastic Leukemia (ALL)
Treated at: Hope Children's Hospital in Oaklawn -- Chemo & Maintenance
Bone Marrow Transplant -- University of Minnesota

After Conner became a big brother began the complaints of his body aches and change in appearance with grey lips & jaundice skin. After multiple doctor visits saying his body aches were from a cold he'd been fighting, the jaundice appearance brought concern and orders to have blood drawn. That afternoon we rushed to OakLawn Children's hospital for the life-changing diagnosis of Leukemia along with the very rare form of Philadelphia Chromosome.

Given the high-risk nature of the Philadelphia Chromsome he began high doses of chemo during week long hospital stays every 3 weeks. After months of research we opted for a bone marrow transplant at University of Minnesota utilizing a donated umbilical cord. Bone Marrow Transplant has a higher cure rate and the results have been amazing. After being away from home for 115 days & living at The Ronald McDonald House we are so thankful to be home.

He is back to a playful, talkative & loving 4 year old. His knowledge of animals is off the charts. He adores his little sister and is anxious to start back up in preschool in the fall. He has handled all the pokes, spinal taps, bone marrow biopsies, daily med's, and clinic visits and hospital stays with an attitude like nothing I've ever seen. He might get worked up but as soon as the event is over he's back to himself and being a kid.

I know that this is last minute, but please consider sending a donation to St. Baldrick's Foundation in Conner's Name. He is only four years old and deserves a chance to begin life.

St. Baldrick Foundation, is the world's largest volunteer-driven fundraising program for Childhood Cancer. Specifics for this event, links to St. Baldrick's Foundation, and O'Sullivan's Irish Pub can be found on my web-page www.gmanblues.com

2006-12-19T08:28:00.000-06:00

Gman Blues - CHICAGO-- Acoustic Rock 'n Blues - NEWS/JOURNAL

End of 2006 Message - December 19, 2006

Dear friends,

Another year has come and gone. What did we do? I'll bet you've gotten lots of Christmas Cards this year- some of which have those notes about Little Bobby growing up, going to Harvard and winning the Nobel Peace Prize and such.

Not me. I burrowed deep into the studio, and pretty much neglected the things that I should have focused on like my family. Didn't get out much on stage this year too. About the only thing that I did consistently was waste time on the internet, and looking back there was so much that could have been done.

I do have my first Album ready for pressing and sale. My procrastinating nature of course along with the laws of laziness, and Murphy's will weigh in on when it is actually out. I'm not going to make excuses; it's my nature to do the same thing over and over and over. I'm never satisfied with what I am doing. I have hundreds of hours of studio tape of songs and literally thousands of tracks--every one of which I think I can do better. Why?

Because I want to take music beyond face value entertainment, and business. I want my music to be part of life--your life. This is not lip service. I want my CD in heavy rotation in your car, and in the bar, and on the radio. I want to give back and have my music be the wonderful soundtrack to life, like it is (and was) for me my whole life with the original rock bands. Music bonded to the human spirit. I can do it.

Are you tired of hearing over-produced, over processed, audience tested and record company stamped-out songs? I am. I'm going back (at least in my mind) to when life offered us "one hit wonders" and record companies took a chances-- some of which paid off big. Back then artists had free reign on their creative urges, and the result was some simply amazing songs, (while others were utter crap!). The point is that anything was possible. Music wasn't tested against the masses before it was released. In today's "market" every song is tested against a huge group of people, the result is dumbed down to the lowest denominator. Why? Because music is not something to take us into a emotional state. It is a business that no one wants to invest a single stinkin' dime into if it doesn't return a huge dividend.

It's a strict formula--rigid format. Lock in and start collecting money from the masses.

We are all smarter than what we are being fed by big music business. That is why independent artists are now in the driver's seat, and people are circumventing the record industry with free downloads and such. It is an underground movement that eventually will redefine the industry. The music underground baby.

I am realizing accelerated growth via the internet. I've seen my web traffic go from a modest 20 visits (not hits) a day, to over 300. Every month now nearly seventy countries visit gman blues. My downloads are in the tens of thousands, and even my MySpace videos are in the thousands. This is wonderful, but I'll tell you that it's not about fame or fortune for me. It's about playing music that you love. Give me a chance and I'll come through on this--no lip service. You will be hard pressed to find someone who wants this more than me.

My best stuff is yet to come. I've gone through personal growth musically and creatively. Next year is going to be really good. I'm going to press harder, focus more, and do the right things by everybody. Next year I'm going the write that song that you can't get out of your mind. And when you go out to have fun, you'll think of taking me with you.

Merry Christmas.

gman
http://www.gmanblues.com

2006-11-30T09:53:00.000-06:00

Gman Blues Logo

2006-11-29T11:39:00.000-06:00

Gman Blues - CHICAGO-- Acoustic Rock 'n Blues - NEWS/JOURNAL

Haunting Dream - November 28, 2006

Ok so I'm driving down the highway. A song pops into my head; the road is where I get most of my ideas for songs. Most of the time I carry a tiny recorder so that I can remember and revisit the idea later. Sometimes I don't have a way to capture the thought and it fades like a dream. I can remember things about the song, but not its essence--the thing that makes it special.

This day though I don't want to remember this particular song. For some unknown reason, a COWBOY song pops into my head--and I like it. It has an infectious, mesmerizing melody. It is rich with tonal colors. It appears to have endless possibilities. But in the end it is a freakin' cowboy song. It won't fit into a gman Blues set, nor will it mesh with anything on G-force. It is a REBEL song defying who I am and what I do. So I take no action--the song will fade like a dream.

Two weeks later up pops that damn cowboy song again! This time it is wealthier in sound, and now I'm singing a melody to the bridge for it. Every time the song popped back into my head it was larger and more evolved. I love this melody, but I've got to find a way to shake this song!

Well as you might guess the song kept coming back--it wouldn't let me go. After a couple of months I came to the unfortunate conclusion that my writing was parked behind that damn cowboy song! Traffic jam of the very spirit! I was going nowhere until I acted on that thing; it quickly beginning to have a life of its own in my creative inner self. Still I tried to resist, knowing that there wasn't a home for it on stage, in the internet, or on store shelves. What was I to do?

I had an idea and a good one. The idea was this. Attempt to put the song into physical form and when I fail (and I will) it will be done with forever. It has to happen--after all I play blues and rock right? What do I know about playing a damn cowboy song? I've GOT to FAIL….

So I got the TAK out, sat down at the kitchen table and started to try and figure out the song but something extremely weird happened--I didn't have to figure it out. I knew instinctively how to play it beginning to end… Like I was born to play this song; like this song has been stalking me for months waiting for me to give it form, taunting me, possessing me. This was a song that I knew extremely well, yet it was the first time that the notes had actually rippled air.

And I loved it. It sounded richer in the world than it did in my mind. I didn't hear the subtle warm tones that the TAK had given the song or the ambience that the room had offered it. It was like visiting a place that you might have seen in a dream and for the first time were able to walk around it and see it in three dimensions--from another angle perhaps. Have you ever done that?

I played it through the first time I tried--it just doesn't happen that way. The song was writing me….

The song had me now and I was a puppet in its grip. I went into the studio to put down a sandbox version. One take later I had it. I added a one take bass, congas (like the clomping of horse hoofs), and the jingling reins of a tambourine. To me the thing just kept getting more real.

In my mind now the song had evolved too. I now heard a polished, compressed, aurally excited, mixed and mastered version. Right now I'm hearing my harp in it too and although I haven't tried to play harp to it I know in my heart that I can play this part as well.

I really want to post this all over the internet. Don't ask me why; I may be the only person that likes the song. The song may even be so out of place that it is comical. I don't know, but I'm resisting the urge right now because I want to present it the way I have dreamt it in my psyche. It's possible.

The final piece to the puzzle of course will be the lyrics. I still have a chance to crash and burn this piece. I do have a pretty good idea however as you might have guessed. I'll just keep that under my hat so to speak for now.

2006-09-14T14:35:00.000-06:00

An Idea Takes Root in the Sky - September 9, 2006
I’m sitting here after listening to the final draft of “Centrifunkal Force”. I am amazed, not at my work, but rather the entire concept. This thing really is performance art; unlike a physical painting, this IDEA exists entirely on this little tiny bit of computer memory. Run it through the right equipment however and you’ve got some wonderful stories set to music. It is truly amazing. A few clicks of a mouse, and the whole thing goes away – like it never even happened.

I mixed “Knee Deep” on a plane coming back from New York. Everyone was reading magazines and looking out the window trying to keep from being bored. Not me, I had about 30 windows open on my laptop and was running wave files through virtual parametric equalizers and compressing data steams!

The whole thing started months ago with a couple of guitars, some drums, and of course a blues harp. It took on a life, and lived in many digital forms, only to be unfolded, shaped, and molded on that jet so high in the sky. The best thing about this project is that really it isn’t gman Blues, who I am, what I do, or even the music. It is an idea that I’ve been blessed to bring to form. One great thing about writing, arranging, producing and playing this “idea” is that I have complete concurrence. I can’t tell you how many times I day-dreamed each track and what was to happen on it. I guess that I am lucky to be able to bring those day dreams to form.

2006-08-10T06:47:00.000-06:00

Gman Discovers the dimension of Karaoke

Suffice it to say that things were not going well in the studio and before long I found myself cruising around town looking for some subliminal distraction when I saw a sign that said “50 cent drafts everyday”. I wondered if this would be the diversion that I was looking for so I hastily pulled in. The place was called “The Brazen Head”. It was a small unassuming place located 135th and Cicero in Crestwood IL. Thinking back now, the only thing that I really remember about the sign was the 50 cent drafts part (all you marquee owners might want to make a mental note about this).

As I walked in I immediately discovered that it was Karaoke night. Now I’ll be upfront about this—I am a rock guy and I used to think that the Karaoke folks were penetrating, pervading, and permeating the rock stages in this great land like Kudzu and I wasn’t very happy about it—that is until I went to Suburban Nitelife’s Best of Burbs last spring and discovered that Karaoke people really don’t eat their young—it’s an urban myth probably created by a hair band in the ‘70’s. I learned at Bart’s shindig that they were regular folks like you and me, and worked and tried as hard as any player; I’ll bet many of them graduated from bands, to families, and finally to Karaoke in later stages of life. Initially however I had two thoughts running through my mind—nice cold juicy draft, and I’m NOT gonna sing.

The bartender was a sweetheart. She greeted me with a warm smile and said “looks like you are having a rough time—how about if I get you something?” That immediately made me welcome. Welcome is good in a first time place—ask anybody.
As I settled in I took in the smoky dim landscape. There was a little feller up now singing Rainy Day Woman by Dylan—he wasn’t reading the monitor but he was somewhat close on the lyrics. Everyone joined in on the refrain Everybody must get Stoned as he gleefully directed this bar choir with arms a flailing. He ended with a bow followed by raucous applause. That really made me take notice. I occurred to me that the people here weren’t alienated; segregated on pub table islands. No everyone seemed aligned and onboard with Rainy Day Woman. I felt a tinge of jealousy.

The guy next to me asked if I was going to sing. “No” I said offering the pathetic excuse “I have a sore tongue”.
“Come on—If I can do it anyone can” he replied through a stream of smoke.
“I don’t know the words” I said
“They’re on the screen”.
“I don’t know what songs are available”
“Here’s a book…”
“I’ve got to leave soon”
“You’ve got time for one…”

This guy was not about to let me go—but darn it—the beer was cold and good. Well…
By now the friendly bartender was wailing out “Respect” by Aretha. She was darned good too. I only wished the song was a bit shorter so that I could get a refill. Once again the group went nuts. She got her respect and then happily refilled me.
I was having trouble reading the book in the dimness. I had forgotten my specs and was drawing the book in and out like a trombone slide. The guy on the other side asked me what I was looking for and tried to help me find a song. Regardless I still wasn’t going to sing.
There were ballads and duets. A hot chick took her boots a walking. Still having trouble with the book I went over to the light to see if there was anything good in it. I found one that didn’t seem too bad—Stevie Ray Vaughn Pride and Joy –if I were to sing (which I wasn’t) it would be this song.

It turns out that the light was next to the host. “We have a newcomer here—rising star state your name!” A microphone was shoved in my face, and for a moment it was like being at the blackboard in third grade (minus the---oh never mind…). I looked out and everyone was waiting for my announcement.

“Gman” I said rather meekly”
“OK Gman what’ll it be?”
(In my mind I was still saying I’m not gonna sing I’m not gonna sing) “Pride and Joy” by Stevie Ray Vaughn.

The next thing you know I’m belting out some Stevie Ray to people hooting, hollering, and whistling. It was great—the trouble was that I wasn’t ready to sing. Actually my next stop after the book was the bathroom. A thought occurred to me. I wonder if I could finish in there? That would be really funny—I could have a big finish with a flush. I decided against it and instead had a bit more wiggle in my chorus. (I was hoping that the ladies didn’t think that I was doing a shoddy Elvis impersonation).

The song ended and everyone was telling me that it was awesome and way to go. I felt exhilarated. A few more songs and soon it was time to leave. I found the distraction that I was looking for and had a really good time doing it.

For those who might have missed it in this story the Brazen Head

Made me feel at home when I walked in.
The people there welcomed me into their community.

There was a beautiful cohesion thing happening there among everybody.
The Beers were 50 cents.

If you (like I was) are not the Karaoke type, you might want to try it. If you decide to, go find a place like this; it is really a different kind of night. You will have lot of fun.

I am Gman Blues; this is my story and I’m sticking with it.

2006-07-21T13:53:00.000-06:00

Note to: Bart Loiacono, Average Golfer and Publisher of The NiteLife Group of Publications -
March 22, 2006

Bart,

I want to thank you for the great time I had last night at the “Best of the Burbs” award ceremony. You know as a first time finalist I was quite excited about the event, I wondered what to expect. A few of my friends asked me about the ceremony and as I discussed this with some of my musician friends I realized that this would be a first for many. I searched through the nitelife.org website and found a list of 2005 winners, and a few letters from contestants of other years, but not much on what the deal was all about. As I recall one guy in a mailbag letter said that “it was like our academy awards.” Oh come on now! I thought, Let’s be a little dramatic! But as I pulled up to the hall I must admit that the excitement built to an unmanageable level. When I saw the complimentary valet service—I knew that I had arrived. Ok so there were no paparazzi flashes firing from all directions, but I and my entourage walked the “red carpet” like the local stars we aspired to be just the same.

Inside, the hall was just how I pictured it to be. We music folks love spotlights, big boomy PA systems, multimedia displays, and echoy halls. We’re like circus folks—we recognize our own. I looked out into a virtual sea of peers—musicians, entertainers, and club owners. I had this realization that we were not like the rest of the population—beached every night in front of the TV set. We are driven by something else. Our world revolves around the “three P’s:” Practice, Performance, and Promotion. It was the first two that got everybody there, and by rights everybody was there for the third.

Well the Miller Light was Ice cold, the wait-staff was attentive, and at three bucks a draw the night got off on a really good foot. Bart you were a dynamic presenter—you kept things moving and interesting. (I imagined that you would be stuffy, but instead discovered that you have a wonderful stage presence).

I do have some suggestions for you however—a lot of the categories—winners like “Dark Side of the Moon” and “The Beatles” could probably have been better presented as Power Point Presentations—perhaps when the band played at the end; people around me commented that they were tedious, and they seemed a bit tedious to you as well. The guy next to me was a Karaoke entertainer. Now as a musician Karaoke seemed taboo—up until last night I thought that the Karaoke clubs were taking bread off the table of us poor starving musicians. Last night I discovered that these entertainers are circus folks too. They try, practice, and work as hard as musicians and I’m betting that they actually perform better than many players as they only have themselves to work with and a can of music in the background. This was a wonderful discovery.

As for circuses, I wish that there was more there. I didn’t expect to walk out with an award, but I think it would have been a win-win marketing opportunity for some printing press company to be out in the lobby running an awards special price on band banners, or tee shirts. It would have been fine with me if I had walked out at the end with a good price on “gman Blues” shot glasses or something. I’ll bet if there was a tattoo guy in the corner writing bands names on peoples arms for thirty bucks, the line would have been endless. You see, not everyone can work a room like I can. People come out to network and promote but don’t know where (or when) to start. It would have been cool to have a business cards exchange table, or an email exchange bulletin board. That’s my kind of circus—Bartman in the center ring and plenty of distraction on the fringes. I go to a lot of shows—auto show, boat show, and of course lots of technical geek shows. I miss all the crap you pick up at these shows. People put this junk out there to get their name out there—I think that all of us were a bit remiss not bringing junk to hand out. I mean I’ve gotten refrigerator magnets from a band doing an open Mike—why not hand them out to this very special group of peers and club owners? My bad too.

Anyway I met lots of folks last night, and will subscribe to a few bands email lists and go out and support them. I met the drummer from Mason Rivers—he was a really nice guy and I will definitely go see them this summer. I said high to my friends at Ballydoyle gang. Phil Cullens was thrilled that his establishment was so recognized. He should be. Although I didn’t win an award, I was thrilled that I came in third in my category. You know at one point there were close to 40 Acoustic Soloists looking for the title. It felt so good to see "gman Blues" up on the screen in front of all those great performers--hey that's me! Last year was my first year back after a thirty-year hiatus and like you said this is a H-U-G-E market. To place third really means something. I wasn’t disappointed at all, in fact I am extremely proud of the accomplishment. The folks did win, won for good reason—they were really good! I felt the excitement for all the other bands, clubs, and entertainers that won. I'll be back next year bigger and better than ever, you BET!

I will have to agree with you—you really know how to throw a party. Thanks again! --

Keep music alive and LIVE!
gman www.gmanblues.com

2006-07-21T13:48:00.000-06:00

Blues News
Much has been happening lately, and friends have been asking and emailing “What’s up with this Hiatus G-man?” No I haven’t beached myself on the couch with my Guinness and Tivo control (as much as I would like too...). I know me and how much I love playing, and I also know that if I start going on stage every weekend the Record will never get finished. So I’ve turned my time and attention to work in the studio, experimenting with sounds, and laying down tracks.

So far I am very pleased with songs and the flow from one piece to another. For those of you who have asked, I have nine songs on tape, 3 of which are complete and two in the “sandbox” - - this is the experimental stage of the song where I try different tempos, tones, and instruments to get the song that I want. I’ve got one in my head that I can’t seem to find time to purge - - it is a blues boogie. Also a number of people have inquired about advanced sales, and this is very encouraging to me. I had planned on initially selling a certain amount units and now it is apparent that I am going to go way beyond my plan. The album is going to be distributed on the Internet, downloadable via iTunes, MSN, and Yahoo, and of course will be available at my shows. Exciting times indeed. I’m already starting to plan a LIVE follow-up album this fall --and I want YOU to be part of it. Plan on it.

Speaking of records, I’ve been working a lot with Dennis Kelly from the Chicago Music Guide (www.chicagomusicguide.com) and Dennis, myself, and his staff are going to release a compilation of local (Chicago) blues songs by upcoming area artists. We are in the planning stages of a promotional blues concert, and an incredible CD release party at landmark blues club (I can’t divulge any details yet—but soon!). Dennis has asked me to submit some “G-force” songs for the Chicago Music Guide web site for people to download, and has asked for a Theme song for the site. I think I’ve got one that will be good.

I am starting to fill in performance dates (but not too soon) I’ve got one up in June, and Ballydoyle has asked me to showcase the “Gman Upbeat Acoustic Rock and Blues Show” next month. I am thinking about bringing my son Andrew to play drums with me.In case you haven't heard, I placed third in the Suburban Nitelife’s Readers Poll “Best of the Burbs” and although one of my goals this year was to win, I still did very, very good (thanks to y’all). One goal complete and three more to go.In addition to that I’ve been authoring articles on my experiences on stage, and in the studio and so far 80 that is E-I-G-H-T-Y (WOW!) e-zines have reprinted my articles including:

chicagomusicguide.com
ituneslinks.com/articles
ezinearticles.com
humour.daily-blah.com
dubelu.com
globalarticle.com
absolutely-free-ebooks.com
anyarticles.com
rich-pickings.com
ezinecrow.com ( and lets not forget)
thecableking.com.

You'll find them in Google Canada, England, and Denmark too.

I didn’t expect my articles to be so popular, but people will "data mine" anything that you put on the Internet and I’m certainly glad they did. If you want the inside story, look me up on Google (http://images.google.com/images?q=%22Gman+Blues%22&lr=active) .

Lastly, my beautiful girls have roles in the Children’s Theater production of Hansel and Gretel. They have recruited me to help build the set, so I happy doing that and bustin’ out with pride when I see my girls singing and dancing in rehearsal.-- Keep music alive and LIVE! gman www.gmanblues.com

2006-07-21T10:29:00.000-06:00

Gman Plays the "Taste of Westmont" - July 17, 2006

Hello Friends.Thanks for coming back. This weekend I played at the Taste of Westmont—it was HOT! Too hot to sit out and listen to music, too hot to eat all the wonderful things at the “Taste”, still many “cool” people came out, and everyone seemed to have a good time. I’ll have to admit that the number of people walking around with water and lemonade way outnumbered the people with beer—that is a first. It was hot.

Yesterday was the first time that I performed any material from G-force. I really hoped that it would be great, and I was quite pleased with the result. Later Rosey came up with me and played harp to all the happy listeners. There was a cook hanging out of the window of the China Chef restaurant by the stage—he smiled and gave Rosey the thumbs up. I don’t think that he ever heard a six-year-old wail some blues before.

This is America. We do stuff like that sometimes. We can eat pizza while walking through K-mart, and watch TV when we drive. That ‘s the way it is.

Well, Buzz Kilman and the Blues Rocket Scientists played the taste at 4:00. I was really glad to finally catch Buzz play. I feel like I know the guy, I’ve been listening to him for over twenty years. They were smokin’ hot. I didn’t know that Buzz sang—he’s got a great voice.

As far as news goes, I’m plugging away at my record. I’ve got songs up on my site, and I’ve put out some PodCasts. Wish I had the time to do more PodCasts; I’d PodCast all day if I could—just me, my instruments, and my multiple personalities. The cool thing about that is you can subscribe to a PodCast, and when a new member is added, you get a notification. There are countless PodCasters out there doing all kinds of interesting things. If you have never checked into this exciting new way of passing information and entertainment—check it out. It is extremely happening.

Anyway I’m getting closer all the time.

High Production High Energy in the Studio

2006-07-13T15:10:00.000-06:00

Chicago Blues Artist Gman Blues give tips and advice on how to find the song within your music

read more | digg story

Laying down Studio Tracks like a pro

2006-07-13T15:07:00.000-06:00

CHICAGO Blues Artist gman Blues give tips on how to get the most out of your studio performance.

read more | digg story

CHICAGO: gman Blues Channel

2006-07-12T14:56:00.001-06:00

CHICAGO - Blues soloist Gary "gman Blues" Wesselhoff has released a preview of his Gforce project due on the shelves this summer. The Podcast contains four songs that will be featured on the album. "It's a great way for people to sample my music" gman said about the pod cast. More information can be found on his site www.gmanblues.com

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New Album From G-man Blues This Summer

2006-07-12T14:56:00.000-06:00

G-man Blues fans eagerly await the arrival of "G-force" due this summer. G-man hasn't issued a release date regarding when it will hit both stores and electronic shelves but says that it will be out in time for summer parties, beer gardens, and beaches.

read more digg story

2005-11-25T11:26:00.000-06:00

The Seven Milestones of G-man Blues.

I can hardly believe that only a year ago I was just getting my toes in the water regarding performing again after a thirty-year hiatus. I had begun a year before that with a single song and quickly adding two others; at the time I was thinking that if I do get to play an open MIC somewhere I would have three songs ready. Small goal indeed; but my first milestone.

I practiced those three songs hundreds of times. Two of the songs were Loudon Wainwright songs. My primary goal was to have an acoustic show with lots of humorous songs built in. I waited and watched my song list grow slowly. I search the internet for funny songs. It took a long time to build my list because I utilized a Zen approach to my performance. I was less concerned about performing an accurate rendition of the covers that I was playing, and more concerned about utilizing my particular skills and talents. I wanted to personalize each piece—but my own spin on them. There is an overabundance of players who can accurately depict and reproduce the songs that we have heard over and over. My plan was to provide a fresh view of these songs.

The song list grew to ten, twenty, then thirty. I was so proud. I kept multiplying the number of my songs times three minutes to attempt to determine how long I could play for. I slowly moved on from my goal of comedy and headed more toward acoustic rock and blues. My goal was fifty songs—I figured that I could play a three hour gig with breaks; milestone number 2.

One year ago I played my first performance, an inconsequential unassuming open MIC at a Potbelly sandwich shop a few blocks from my home. I had made the promise to myself months before that I would start showing up and playing but it seems there always was a good reason for not showing. One day Carla wouldn’t stand for another excuse. She made me go against a wholehearted resistance on my part. I was so glad I did. I showed up with my only piece of musical equipment that I owned—my trusty old Guild D44, now yellowed with age. I borrowed Carla’s tiny practice amp to play through. Small beginnings—yet a huge milestone number 3 for me.

The sandwich shop turns out was a good performance workshop. The clientele changed every twenty minutes or so, so if I wanted to I could work on a song over and over. No one seemed to take notice of me. There was no pressure to do well. Although I still managed to invent reasons why I couldn’t open MIC there, Carla’s stubbornness was unyielding. I kept playing and kept improving they liked me there, let me play all evening. I kept buying equipment.

In the beginning of 2005 Carla took me on a whirlwind tour of Open MICs all over Chicagoland. Seven or eight stages in a two week period. I was in heaven. I was beginning to build confidence as a performer. Carla looked on the internet for “gman blues” no one had the name, and she suggested it. I began to perform under that name. Milestone number 4.

After that first round of open MICs in the competitive world, I continued to open MIC around the city. I played Wednesdays at Ballydoyle Pub, and every third Friday at Sandwich open stage. Ballydoyle had a state-of-the-art Bose sound system, and a professional sound man who recorded the performances. They were a wonderful refinement tool. One of the problems with Ballydoyle however was the excessive number of players. Often I had to wait hours to play. At that time I only drank water because I still was somewhat unsure of myself. One of those times I broke protocol and started drinking “Black and Tans” while waiting for my set. I was feeling pretty good by the time I got on, and asked the house band to play with me. I did some blues songs and I really belted ‘em out. The place went completely nuts. Everyone was rockin’ and yelling out “g-man! Yo da man!” I never felt as good as that moment before onstage. Afterwards everyone was shaking my hand and telling me how good I was. So began the growlin’ thing. I thought that I would never be able to top that moment.

Ballydoyle soundman Rick Sullivan gave me lots of good insight about how and when to back off on the MIC when belting out. He also gave me the suggestion for the Aphex Acoustic Xciter which I wouldn’t’ show up to a gig without. I can’t tell you how many people think that my guitar is the best that they’ve ever heard.

In the spring I had launched my Web Site “gmanblues.com” it was a huge milestone number 5 for me. It was like hanging an “Open for Business” shingle out for me. By now I had a small PA system, MICs, and a home studio. I began to record demo songs. Things really seemed to be happening.

One Saturday I got a last minute email from Ballydoyle requesting me to play that night the regularly scheduled band couldn’t make it. I didn’t think that I was ready, but Carla insisted that I was. Ballydoyle on a Saturday night was a huge first gig for me. I was apprehensive for several reasons, the main one was that Rick Sullivan couldn’t make it and I didn’t know how to run the Bose. But I showed up with my tiny little PA and showed everyone a good time. This was Milestone number 6—paying gig.

I realized that if I could do well there, I could do well anywhere. I began to actively look for gigs. Carla was always there, taking photos, and networking. She was always there to lend a hand, setting up, tearing down, or instantaneously producing a pick when one flew out into the crowd.

It is the end of 2005. There will never be a year like this one for me. I look at all the places I’ve been, and things I’ve done. I look at all this equipment that I have. It’s amazing. Sometimes I think that I’m fooling myself and that there isn’t a point in continuing on, others I think that it’s just too much hassle, but most of the time I get stir crazy if I haven’t performed for a few days. And days like this last Wednesday where I was contracted to play for three hours and couldn’t bring myself to quit a couple of hours after that let me know that I am doing the right thing.
The seventh and last milestone that I wanted to hit this year was to finish my album. I’m not sure I’m going to hit that mark. I’ve got several songs in process, and I really couldn’t tell you what the delay is, but it’s there somewhere. I’ve still got time. It really would be wonderful if I could reach that final milestone so I can begin fresh in 2006 with my festival agenda and not have that slowing me down.

2005-11-16T20:02:00.000-06:00

Give me your lost, your lonely, your Drunk...

They gather in clusters around tiny tables on soaring stools. You find them belly busting at the bar, shoring walls, and idling in the aisle ways—the people who leave the coziness of their living rooms, and head out into the night in search of music and camaraderie: Rock Fans. Sure they have a plethora of website concerts streaming their desktops, and cable channels of rock, hip-hop, and good ol’ country, but they’ll come out in the rain to be a part of a live scene.
Today it’s just me up there on stage, looking out into the smoky lights. I know how many silhouettes are out there. Lot’s of ‘em. It’s my charge to elicit a state change in them, or else their journey is for nothing. I’ve got play that perfect note, to the perfect rhythm; any sound at all that comes forth from this stage must be true, and come from me and only from me; not a cheep imitation of someone else. They can sense that which is authentic—they may not have properly considered this before, but deep down they know. Oh yes they will know.
Time warps. I see shadows moving in slow motion; no one connected with my production is moving fast enough for me. The sound check makes getting anyone’s attention that much more difficult. They are all somewhere else right now. My first task is to round ‘em all back up. Where are they? Somewhere between gender tension, and release of inhibitions I suppose. I want them back as an audience though. And I will have that.
First song fires off and I see people glance up. The sound is weird. It’s not coming from me as much as it is coming from somewhere off to the side. That’s ok. Caught a fleeting glimpse of some bopping heads, and covert toe-tapping in the darkness. They begin to suspect that everyone in the room is part of something bigger than the sum of its players.
My next shot is going to be deadly accurate. I decide upon a Blues Shuffle. My bass string begins with a heartbeat. Bum-pa-bum-pa-bum-pa-bum. I see them looking up now. Heads begin bopping and several women are swinging their hips. Feet tap out seconds on the clock. Good sign indeed. But wait until I start hammering the six string, and ease that blues harp in—you haven’t heard anything yet! And then the harp begins wailing its woes. Telling its tragic tale, while the conversation fades into the darkness. I know they are somewhere out there staring like deer in the headlights. Gonna get you now. Some people rise to their feet when I belt out the growley g-man voice. Boom Boom Boom Boom. Mr. John Lee Hooker knew this.
This was his science lab.
The song builds and people begin to gape. They are in the net now, and many are wriggling like salmon on the deck. Sit back, relax, and let the blues carry you down stream.
Copyright (c) 2005 Gary Wesselhoff
Gary "g-man" Wesselhoff is an acoustic blues writer/performer woking the Chicago Metro area. You can contact him at: gman@gmanblues.com
Please Visit my site: http://www.gmanblues.com

2005-10-12T21:09:00.000-06:00

Made Her Cry - September 24, 2005

I played the Woodstock-Katrina Benefit this weekend. It was a huge weekend. More stuff happened in two days that normally happens in a month. I had a special guest on stage with me, Frank Oxley, renown New Orleans Jazz drummer who is temporarily moored to a shelter bunk in Elgin until he is given the OK to return back home. I had been communicating all week with Frank--wonderful man; outstanding drummer, classy, humble. (Frank doesn’t beat on the skins like the kids do nowadays, but plays with the compassion of a tail-gunner.)

We ended out our set with "Shiver Me Timbers" by Tom Waits. I asked him to do a breaking wave kind of thing with the mallets on the cymbals. The effect was beautifully powerful. I swear that I never heard anything like that in my life.

A few minutes later I was in the crowd. I spoke to a woman ("Gramma") who like Frank was up in Elgin until they gave her the all clear to return to New Orleans. You made her cry—she told me, speaking about another woman she was with. "What was that last song?" the other woman asked. "It made me cry". This song connected the dots on all the emotions that she was feeling, leaving her home and family. Franks symphonic waves were a stirring reminder of the water that had claimed her home. The emotions all came together at that moment in a heartfelt response to the music.

I thank God for the opportunity and ability to make that moment happen. I don't take this lightly, in fact it is the most powerfully humbling thing that I've experienced performing so far. It tells me that I truly am on a path of heart.

Well, you know me, I’ve got to end this road report on a cheerful note, so I’ve got to tell you about another New Orleans Drummer that joined me on the big stage that day. Nine year old Joshua Tailor. Frank met Joshua in Elgin and asked if he could do a song with me. I asked Joshua how long he had been playing. "Since I was two!" he beamed at me. And you could tell that he had been playing drums since before he could ride a bike—he was really good. I brought Rosie up to play harp, and Andrew on tambourine; I almost felt weird being so old up there. The child’uns were rocking the house uh-huh. Some down home baby! I looked out and everyone was beaming.

That’s why we play. To stir up feelings in our listeners, whether it’s to get up and move their feet, scream and shout, or feel something deep down in their very being. That’s what it’s all about.You can read the Northwest Herald's story about this: http://www.nwherald.com/MainSection/298369802456561.php

2005-09-21T11:19:00.000-06:00

Bringing the MOJO back to New Orleans

I was in New Orleans recently (shortly before the Katrina remodeled the city). Walking around Bourbon Street like a portly Clark Griswald with a digital camera around my neck and a Styrofoam cup of 190 proof antifreeze, I saw a sign in the window of a Voodo oshop: Mojos $10 bucks. I always thought that a Mojo was something that Austin Powers did with his booty.

So I went in.

Turns out a Mojo is a little packet of powders, and feathers and other magical stuff to bring you LUCK. There are Mojos to bring you luck at cards, luck at love, success in your new job, there's even one that says "Bitch goes back to her Mom"!

Well anyway New Orleans and all the other coastal towns need their Mojo back. I will be performing this weekend at the Woodstock Katrina Benefit concert and Iwill have a very special guest on stage with me: Frank Oxley of the PreservationHall Jazz band, New Orleans. Frank was stranded in his New Orleans home for days during the initial onslaught of Katrina.

You can read more about Frank in the Daily Herald: http://www.dailyherald.com/search/printstory.asp?id=96294

Please come out and support this most worthy cause. It's two days of music for twenty bucks. A win win for everybody.

A link to the site can be found on my page:
http://www.gmanblues.com

Hope to see you there!

g-man

2005-09-12T19:17:00.000-06:00

Charity and good good vibrations -

The sensational portion of Mississippi Delta region is not the sniper guy running through the empty buildings. Nor is it the Government’s delayed initial response—or exactly who is responsible. Or why.

It’s the reaching out of soul to soul.

If you read between the lines of what a tragedy it it is, you find stories that make the spirit soar. Most folks that I know feel a sense of responsibility toward those whose family, and homes were devastated by Hurricane Katrina. And so it is these days that people look upon the homeless; the hurt and lost with compassion—reaching into their hearts and pocket books in an attempt to help that which can never be truly healed.

At the g-man household all the kids are pitching in—and I really mean it. Little Rosie is attempting to give away her top shelf toys—not the junky-missing-a-piece-or-two-stuff but her very best-and-favorite toys. Not Barney though—no way! No telling what that would cost me on Ebay at 2am with a crying child at my knee!

Kids running boxes down the stairs. The whoosh! of a tape gun. Slamming car doors. We loaded the gman Blues mobile to the roof with boxes and boxes of clothes, toys, furniture, and other necessities and started making drops. The feeling was wonderful! Everyone had this pitch-in gladly attitude. I tell you…

Well originally this road report was going to be about my first time on the radio. This week I played at a bar in the city and a local station unexpectedly showed up to do a live remote. "Play a good one" they told me "you’re on the air!"
It’s a dream that most of us rock guys have—to hear themselves on the radio. I thought that I’d tell the entire world about it the first time it happened to me. But instead I only told my manager. There is a lot more going on than gman on the airwaves right now. I guess I felt good about it, but not nearly as good as I did loading the truck today. Maybe I’ll put off any celebration until we get this humanitarian work done. Maybe I’ll never get back on the radio—but I bet I will!

In a way these are exciting times. I’m really stoked up about the Woodstock Katrina Relief Concert. If you are in that area—you should be as well. It’s going to be big and wonderful. It’s going to help a lot of people—you bet.

Surgical Sound

2005-09-02T19:49:00.000-06:00

Surgical Sound - June 22, 2005

Last week I went down to Wrigleyville to catch one of my favorite bands, American English perform at the Cubby Bear. The night was steeped in history, both Cubs and Beatles. Between sets I walked up to the stage and took a really close look at the Beatle instruments that had created that wonderful music. To me the experience was much like looking at a museum exhibit--antique objects —basic, simple and sturdy. Primitive. It was a wonder that they were able to make so many amazing sounds and songs with this stuff. This period really was the stone age of rock. I wondered about what they might do if they had all the options that were available today.

Ever think about stuff like that?This got me thinking about my own Guild D44. The guild is only a handful of years newer than the Beatle Guitars—she’s over 30!!! The only modernization that I’ve added was a 1994 DiMarzio DP132 sound-hole pickup in 2002. That’s it in over 30 years! I wonder if people watching me perform where thinking that I was playing with a museum exhibit!!!

As it turns out my children and I took a little shopping trip to Guitar Center on Fathers Day (those who know me disregard what I used to say about it being a Hallmark Holiday OK?). We went into the Acoustic room for a long time. The Acoustic room is like a huge cigar humidor, only instead of Cubans, it’s got Martins and such. I started pulling down guitars from the wall and playing. I was looking for 2005.

Technology has invaded all areas of life, even the relatively untouched realm of the acoustic guitar. Many of them had features that I liked but only one had them all. I had found 2005.I took her home and ran her through the show. The plugged in sound was simply amazing ( the D44 still is the worlds best sounding unamplified guitar). But I’ll tell you I was throwin’ down some Hoochie Coochie on my new baby and I was just slapping myself with the sound on those punchy accent chords-POW! Aural light saber, surgical sound. 2005. I can slice peoples ears off with this guitar--gotta be careful...

In case you are wondering, I haven’t really thrown the D44 over though—you’ll still hear her magnificent sound on “Feel Something”, after all she still is the worlds best sounding unamplified guitar. I simply removed the sound hole pickup and returned her back to the way I found her back 1974--pristine, pure. Dare I say even virginal? I'll always love her--no strings attached.

Peace, Love
g-man

Beale Street Blues had a baby

2005-09-02T14:51:00.000-06:00

Beale Street Blues had a baby. - August 13, 2005

Hey everybody… g-man here; just walked in the door from Memphis. I had a blast--wish I could have taken some g-man fans along with me. Wonderful place Memphis is. Good bar-b-q, brews, and blues. It’s a place to lay down some style between the downcast Mississippi Delta, and the smoky Chicago bars that I love so much.

The heart and sole of Memphis is Beale Street--there are no words to describe Beale--you’ve got to play it like a tune. That’s what I did; I played there in a place called Dan McGuinness--it was way cool. Beale Street is a world unto itself--Bourbon Street has nothing on Beale. Nothing. (Ok there are those chicks who've earned their beads but that's it...Ok, Ok, and there's those 190 proof slushy drinks too--but that's it.). There’s every bit as much creativity, craziness, public boozing, and street artisans running tourist scams as Bourbon Street, but Bourbon can’t touch Beale’s Blues. Beale Street even has it’s own (self proclaimed..) Mayor: Rudy Williams--he plays a hellofa horn at that.

Well you know, I went down there looking for the root of blues, but was amazed to find the birth of rock and roll (and I thought it came from those frail guys from across the big pond). Very cool. Born in the USA--we got Jazz, we got Blues, we got Motown, we got Country, and we got ROCK—slam dunk baby! We got game. Who's got the BEST music on the planet? Who's your daddy?

Sun Studio Memphis 1951; a place put on the map by Elvis asserts sole heir to the claim that rock music indeed started in that very spot- - I’m not kidding, there is an electrical tape X on floor where rock started… right… THERE… ROCK STARTED RIGHT… THERE! Rock 'n

Roll's ground zero.

Upstairs at Sun, behind a hand heel smudged glass case is a faded vinyl record by the fictitious band "Jackie Brenston and his Delta Cats". A 1951 tune called "Rocket 88" recorded at Sun. This is the very platter that started rock rolling. The rock history book cites that "In 1991, after a great deal of debate, the Rock and Roll Hall of Fame recognized this as the first Rock and Roll song ever recorded." Right there on that freakin' X! Can you believe it?My tour guide at Sun (a guy named Eldorado) posed an interesting question: "What makes rock, rock? - - I mean why isn’t this song considered blues? It’s attitude and feel. This song was about a car--the Oldsmobile "Rocket 88" just came out and was the fastest car on the road at the time. It was advertised as having a V-8 "Rocket" engine. Fast cars used for chasin’ fast chicks. That’s Rock in a nutshell.

Or perhaps it might help to think of it this way:
The Blues is Depression- - the past
Rock is anxiety- - the future.
Take a valium and you have Pop Music.

It's that simple. Different sides of the same coin--you flip. It's my turn to call it.

2005-07-31T20:20:00.000-06:00

Path of heart - July 31, 2005

Someone near and dear to me saw me playing at a venue recently. She told me that when she saw me she started crying because she knew that I was on the way. She was an older woman who had been through many things--I wondered what it meant.

I began to think about that. I can’t tell you how that affected me--good, but her actions also made me think this thing through. This is what they call a right of passage no doubt--that's what it is allright. And you know what else? There really is no turning back anymore--I am on a path of heart. To those who understand this, those who support me, even those who don’t know me (but have a great time when I perform), to those who help me carry my cases, stands, insturments and bags in and out and in and out, and especially to that special person who cried for me. Thank you. Let's take this to the next level. I'll be there for you.

2005-06-13T20:09:00.000-06:00

Time - June 13, 2005

They say that there really is enough time in the day, and that all the time you have is all you really need. I dunno about that. I keep spinning like a compass that can't find North between the four musical bearings: writing, recording, rehearsal, and road. I just learned "Hoochie Coochie Man" by Mr. Willie Dixon and man! do I love that song! I can Hoochie Coochie all night. Give me a bottle of merlot and a box of "Trader Joe’s Dark Chocolate Covered Espresso Beans" and I’m good to go for hours.

I’ve gotten such a strong reaction to Tom Petty’s "Mary Jane" live (listen to the sound clip on www.gmanblues.com --they were going nuts that night--albeit they were largely Catfish Jenkins people...) that I’ve learned "Breakdown". I hope everyone likes that as well. I get the chance to belt that out. Nothin’ better (OK--the Dark Chocolate Covered Espresso Beans come VERY close though).

As far a time goes, I’ve got the best of intentions, lots ‘n lots of really good ideas, steeled ambition, song bits that have outstanding potential, a team that backs me and keeps me moving forward, and my best fans club--Andrew, Justine, Ginny, Allison, and Rosey--the gmanBlues ankle biters. They say I’ve got the time to make it all real--God I hope so.

I’ll bet you’re no different than me. Too much to see and do, and not enough time. They say the universe, the balance and harmony of nature is perfection itself, and that time is a man made, self imposed concept. There is no time out in outer space you know. There is no day or night; there are no seasons, or years, or times zones. Time is not CONSTANT; even your watch would not run at the same rate in outer space. There really is Only now. Now is forever--figure that one out if you've got the time.

As for me I've got to get back to the Hoochie Coochie man and the espresso beans--I'm starting to slow down!

Peace and Love,

g-man

Small world

2005-06-02T15:02:00.000-06:00

Small World - July 7, 2005

Lookin’ at the stats for gmanblues.com; four percent of my traffic this month comes from Thailand.
(See http://www.gmanblues.com "Scrapbook" /Gman "International" Link). It kinda makes me think that the blues is universal and even in Thailand they get the blues. So I surfed and guess what? They’ve got the blues! They’ve got Creole Samui playing Thai blues at a New Orleans Style bar (except instead of serving Hurricanes, they serve Typhoons), "The Big Buddha Blues Band" (they get down—with purpose no doubt), and also the Soi Dog Blues Band—(and you thought dog was only an entrée)…

Last month the United Kingdom and Hungary took an interest in my site, a few folks from the Netherlands poked around there too. It’s a small world after all. It would be cool to do an MTV type video based on Wallyworld's “It’s a small, small world" ride, where the boat would be sailing down the river, and it would be BLUES PLAYERS from all over the world singin’ their woes in miniature jail cells, unemployment lines, and allyways.

The blues may have started in the Mississippi Delta, but it has spread to all ends of the earth—not the blues proper, but the expression of it. It’s a story that has to be told; Over and Over and Over.

The blues, the whole Blues, and nothin’ but the Blues.

2005-03-12T22:00:00.000-06:00

Chicago Open Mic Tour

Last Week I took a whirlwind tour of the Open Mics in the Chicago Area.

Monday was Uncommon Ground Coffee House. Uncommon Ground was an extremely small (and crowded) room. This was a highly competitive open mic--a competition with contestants competing for glory, recording promises, and prizes such as Shure Microphones. The information we had stated that if I did not sign up early enough I would be too late to play as the sheet fills up early. I got there a couple of hours after the sign-up so didn't bother bringing my guitar with; it turned out that there was time left at the end. I had left my finger picks in the van; had I not, I would have gone up and played a couple of songs. Most of the players were pretentious, self-indulgent, and self serving (but I guess an amount of this in indicated in such a undertaking). Some of the contestants tried so intensely that they were a bit humorous (like the guy who went "Jimi Hendrix" with his guitar on the mic stand...). I had to keep from laughing but inside I was, and thinking "Oh come on now! Give me a freakin' break would ya?". Interesting note that this guy won the nights contest. People eat this shit up. There were a few groups there that were much less showboat and more song oriented (the Hendrix guy's song was extremely complex and had absolutely no flow). The contest was completely subjective to the sounds man's likes and dislikes. He picked out the final six, and then had the audience clap loudest for the best. The Hendrix guy had a guy in the audience bang his glass loudly on the table during his applause section and therefore synching the contests. This night I discovered where my ranking was among the striving wannabees. I walked out of the place thinking "what a bunch of bullshit!"

Tuesday was the Abbey pub. Once again the info indicated that early sign-up was mandatory, unless I wanted to be playing at midnight. This time I got there an hour early and was the first to sign up. I selected the first slot--perhaps a bit daring for who I used to be, but I had no apprehension this night. I got up and played and it was wonderful. I followed the hosts set. He was good in a "Hippie, Carbondale" kind of way (he played these really old songs done by obscure hobo type people--at least in my world...). The sound was fantastic. I was playing through a tube PA and the sound was crisp, wonderfully warm, and nice and loud. I noticed that people got up from the bar and stood behind the tables (in front of the stage). This was a good sign--a very good sign--and excellent sign. Some were staring at me. I did "Down Drinking at the Bar", "Harvey", and "Half Asleep at the Wheel". Typically the allow two songs sometimes three. Since the sign-up sheet was lean (now only six players) the host asked me to do another. I did "Walking my Baby Back Home" and some of the people in the audience were making percussion sounds vocally (congas--and blocks and such!) That was kind of weird. I tried to work on my technique of scanning the audience and trying to draw energy from them, but I felt that my eyes were mostly closed, although I did manage to peek out a few times and scan everyone. When the oral percussion accompaniment started I felt weird looking at people. (I had this underlying feeling that if I saw a guy singing doohm pah doohm pah pah virtual conga I would start cracking up--I can be like that and the people there were being supportive and trying to be a part if the sound so laughter would have been hurtful...). Everyone there was extremely nice and supportive. The players were way more down to earth. (With the possible exception of the guy who did the Indian song--he had a feather in his fedora was doing Native American war whoops--once again I had a difficult time keeping from cracking up--I never knew that acoustic music could be so funny...). Sometimes people walked onto the stage area and contributed to each other's songs. There was a time when a guitar guy was playing and a guy with a fiddle walked up and joined in, and even a really old guy got up with a harmonica and it was magic! A synergistic coming together that was unfolding before everyone. The song was beautiful. I was so happy to be there. I walked out of the place shaking lots of people's hands and feeling that I had made a few new friends. My plan was to do some bar songs in a bar--and make eye contact with the people. (Oh well one out of two is not so bad...). Later swung by Fantasy Club, and Decklans but each had canceled their open mics due to the snow storm.

Thursday I went to play in the 'burbs; a club called "602 North Avenue". True form to the suburbs it was a very large room, with a raised stage that had a full drum set on a raised platform, three or four Marshall stacks, many foot monitors, and lots 'n lots, 'n lots of fresnel lights (computer driven spots, "rotating thingies" and such). The mixing board was absolutely enormous--wonderful thing--the hub of all rock music. Once again I was nearly the first and took the first spot. The place was freezing. I kept my jacket on and was still cold--and I'm almost never cold. I was glad for the warmth of all the spotlights on the stage. I instantly warmed up. Suddenly I found myself in a strange environment. The lights were so bright that I couldn't really see the people to scan them for energy. I could see silhouettes, but that was all. I was also raised up and looking down, and I had all this huge-arse equipment around me. ( I kind of hoped that he would have me plug into a Marshall Stack and feed a foot mic, but I plugged into a DI box). The sound was massive, but it seemed very far away. I had no idea how loud I was--I guess this is the first time that I had ever played with a professional sound man. Thinking back I should have just concentrated on playing my music and let him tailor the sound but it was a new experience for me (even when I played with Woodlind we always did our own sound). I guess inside I wanted to have control of the dynamics and felt that they were out of my control. In spite of all that I did OK, but it wasn't the feel good of the Abbey. People sat far away and applauded; I didn't feel a sense of connection with them--I wasn't playing to them. I was merely pouring out sound into a dark smoky room. To me my music sounded contrived and mechanical. I played harder than I should have trying to control the dynamics and as a result my precision suffered some--probably only noticeably by me though. I was glad to be down off of that petrie dish! I played the blues-Half asleep at the wheel, Down drinking at the bar. I also did "Behind Blue Eyes". I had my eyes closed most of the time. My plan was to experience playing a big room full of indifferent people. The experiment was a success, but it was unfullfilling to say the least.

Friday I played at the Fat Bean. The Fat Bean is a traditional coffee house mostly inhabited by teenagers. I remember places like this from when I was a kid. The go in and out and in and out and in and out. The kids stand on the sidewalk in front of the place, and then come back in for a while. There were many adults as well--I would estimate that there was at least fifty to sixty people in the room at any given second. The Fat Bean had couches in front of the stage area, and the people there were parked for the night. I got there past sign-up (6:30) arriving sometime after seven-thirty. I did get on the list--but I didn't get a chance to play until after 10:30. The first thing that I noticed was that a majority of the "kids" that performed there either could not carry a tune, or perhaps had written material that didn't have a musical form. I know that it sounds like I'm being critical, but I heard at least seven songs that truly had NO melody. Just words punctuated by occasional yelling. Weird. There was a "headliner" for the open mic show. I little guy who was fairly talented (but he wouldn't have held a candle to the folks at Uncommon Ground). He played mostly to himself. I've been reading a lot and one of the things that I learned was that it isn't about me and all the wonderful things that I can do. It's truly about the audience and what I can do for them. I finally got on and I was much more in my element than at Uncommon Ground, or 602. I could see the people's faces and the room was intimate although the crowd had slimmed down considerably since when I first arrived. The intensity was still high. I scanned the audience for energy. I wanted to pull 'em all into my song and keep them captive in the music. I had done this with at least a few people out there. I saw some surprised/pleased looks when I started. They only let me play two numbers. I played Half asleep at the wheel and Duncan; my plan was to throw down some multitasking in the form of picking and playing blues harp, followed by a complicated picking song and something else--modeling what a melody can do for a song.

When I wasn't open mic-ing, I began working on my Demo Album. I purchased a Boss BR864 eight track digital recorder and started laying down tracks. Although I worked in a Recording Studio years ago, it wasn't until I started laying down tracks on my PC last year, that I discovered the secret to power tracking--that is putting down an excellent guide track. I will save you hours and hours and hours. If you have a great guide track, the rest will follow; if you don't you'll flounder--especially if you're going track by track like I have to do. This Demo CD started recording itself. I've done eight songs in eight days... that is out the door finished. A song a day, recording, mix-down, and transfer to the PC. Pretty awesome stuff. I am pleased with the sound of it more that I ever thought possible. I am a full band on many tracks on this disk--two guitar tracks, two vocal tracks, a bass track, harmony tracks, and an occasional harp track. Life is good and I'm extremely pleased.
Here's what I have down on "tape":
Down Drinkin' at the Bar
Harvey
Allison
Half Asleep at the wheel
Last Dance with Mary Jane
Life by the drop
Unrequited to the Nth Degree
Sunny Afternoon
Right now I'm working on "Hey Bartender" but I'm too burned out on recording to finish it today so it will have to wait.

Tuesday Fiztgerald’s. I had the best time playing there. It's very loosely run and spontaneous. Lots of help from the "bar choir". Interesting combinations of genres and sounds people joined one another for a tune or two. Lots of musical history there as well. The people were VERY supportive of me and seemed to really dig "Mary Jane’s Last Dance". I had problems with my volume. Apparently it was loud "out there" but my monitor was low, so I overplayed—strummed very hard and as a result lost a great deal of precision. Live and learn. I guess I have to accept that the folks out there don’t necessarily hear things the way I do. I’ve got to trust that the mix out there is good. Thinking back I had a similar experience at 602 North.
The coolest thing about Fiztgerald’s is the synergy that happens at the end of the night when people come up to jam and it’s freakin’ magic man. Beautiful music. Everyone is engaged—band and bar. It’s like a basement jam, with a wet bar. Nothin’ better.

Thursday I arrived about five minutes late for my start (the muse allows you to call in your time). We had a bit of a problem finding the place. I walked in the door and went right up on stage. That was a first for me—normally I kind of acclimate myself to the room and audience. The sound system was great! My monitor was perfect and I could hear myself so I played with a lot more precision, and confidence. I wasn’t trying to compensate the PA. I must learn to never do that—if it is too quiet, it’s too quiet. Nothing worse than being too quiet and also lacking precision.

Friday fat bean.

2004-09-03T22:14:00.000-06:00

Garageband Evolution

Remember the garage band era? Summer nights in the 60’s, man, you could walk around your neighborhood and always catch a garage band concert—someone belting out "Hey Joe" (the Leaves version of course) or a scratchy vocal rendition of the Yardbirds’ "For your Love". We had a local concert area called "The Wild Goose" in a public park that had "Big Name Bands" like the Buckinghams, Baby Huey and the Babysitters, and the American Breed. Three bucks granted you the privilege of standing inside the fence, we always stood on the outside—that’s were all the action was anyway.

I saw a California band called "The People" (I love you) do a mind-blowing rendition of "I am the Walrus". Very Cool. I saw a young 17-year-old Steve Windwood belting out "Gimme some Loving" with The Spencer Davis Group. Someone said that his mother had to sign the record contract because he was under 18.

Music was everywhere--the car, the beach, and in the garages of America. It was so much more important then. We all knew which songs were in the "Top Ten". We listened to the radio like it was an auditory horse race; watching and waiting for our favorite songs to move up into the lead. Everybody had the dream of getting discovered—maybe even one day becoming a local hero and playing the Wild Goose who knows? In any event square one of that process was the workshop-stage known to our parents as the garage. I was lucky enough to have a garage band next door to me in Oak Lawn called "St. George and the Dragons". They helped create the whole garage band paradigm for me--the petty disputes over costumes, and where people would stand at seemed much more important than the music. Whatever they lacked in musical proficiency, they made up for in volume (when in doubt play louder). They named the band after the bass players guitar—a garage band special—the brand? St. George of course. Never seen a St. George instrument since.

My brother got bitten by the garage band bug and bought a guitar. A two pickup Tiesco Del Ray. He had a plan to form a band with a few of his friends but it never even gelled into a single practice session. I guess the majority of garage band plans make it about this far. Meanwhile I latched onto the Del Ray—life changed after that.

I of course played the garage circuit. My first band was called "The Elements of Tyme". I thought up that snazzy name. (Tyme with a Y for extra coolness--that's what we did in the 60's--the Byrds for example...). One of the guitarists in the band couldn’t play a note, but had to be in because his mom was a best friend of the drummers mom and they laid down the law that the kid stayed in. Period. Garage bands always had plenty of guitar players. Three, four, or even five six-string players was not uncommon. We let one guy in because he had suede "Monkee Boots". Sometimes that’s all you needed to be in.
We quit and joined bands on a daily basis, gaining and loosing vital concert equipment with each change, while continually striving to trade up both players and toys.

I bought my first acoustic a Norma Dreadnought just before I entered high school in 1968. An acoustic gave me the freedom from my tethered amp. I took that old jumbo box with me wherever I went. I hooked up with other acoustic players. One of the guys Ted Camer had written a song called "I’ve been on that train"

I’ve been on that train
Searching for that girl
Searching for that girl that I will never know
And I’m crying
Crying
Crying baby for you.

It’s built upon alternating Cmaj7 and Fmaj7 chords and was hypnotically melodic.

Well if Ted can write songs we all could.

And that’s what we did. We started writing and recording on a reel to reel tape machine that one of the guys had. Soon we had a list of probably 50 or more songs. We called the band Woodlind. I don’t remember how we came up with the name, or why we chose it, but all throughout high school it was Woodlind. We played many small venues throughout those years, and had finally made it out of the garage.

By our senior year we decided to cut a double album of our best songs. We went to another (rich district) high school and got a small string section to orchestrate our songs. It was beautiful man. The songs became more technical and complex in nature. They also became more fun.

The 20th Century Cowboy
His harp in hand he plays the stars a tune
A drunken cowboy laughs beneath the moon,
says "whiskey's good to ease the pain"
been roaming 'round for days in a daze
he doesn't care...

We found a local studio: Pumpkin Studio’s in Palos. Run by local hero Gary Loizzo of the American Breed. We spent many months there laying down track after track on our double album. Pumpkin at that time only had four tracks, but Gary mixed the four down to a stereo left and right, and then we overlaid two more vocal tracks on the now empty tracks three and four. These again were mixed down into stereo left and right. Pumpkin was an excellent "Studio 101" course. We learned both the mechanics and protocols of music at an accelerated pace. Gary Loizzo was a great teacher, role model, and friend. Ted and I got jobs a the Harmony Guitar Factory at 44th and Pulaski to pay for the album. All day long I glued necks onto "Stella's" in order to pay for my work with "Norma"

By the time the album was finished, unfortunately so was the band. Squabbles over time, money, and artistic differences took its toll upon Woodlind. Ted and I did the last couple of songs as single person solo cuts. Both Woodlind and the album faded away.

I was on my own now; moved on newer things like college. There I met Bob May. Bob is an incredibly talented guy, musically, and artistically. He's a phenomenal singer, a skilled craftsman, and an inventor (once he actually tried to build a working set of wings with the intention of flying--no kidding he made a working model with a two foot wingspan where the tips of the "feathers" spread out like a real birds wing--it was a work of art in itself).
Anyway Bob and I hit if off and began writing, playing, and eventually performing. He raised the bar for me on writing and performing. Other people became interested and once again an acoustical group began to form. I played the old Woodlind tape for everyone, and it was unanimous--we would once again play these songs--we would once again call ourselves Woodlind. Only these guys were top gun musicians. The music reached a wonderful level of precision and expression.

I got Ted back in and things were like old times, only much better. The band got Larger, it was now Bob May, Ted Camer, Joey Drada , Jim Williams, Ken Zemanek , myself, and Scott Bonshire on drums. We began gigging fairly regularly. We got tighter and had a following. We even hired a sound technician--Jerry Musika. There's nothing like a competent sound technician to present live material to an audience. If you don't have one, find one--sometimes it's a make or break decision.

Well it's a long story but for one reason or another (I'll just leave it at that). I moved downstate to Carbondale. Within months I lost contact with Woodlind. Bob told me that there had been many disputes after I left, and within a year, once again Woodlind decided to call it quits.

Jerry began a business plan to open a recording studio.
After a few years in Carbondale (read my novel) I returned to Chicago. Got a job with one of the original Woodlind members as a carpenter. Who would have known that after years I still had a cosmic link to Woodlind.
Jerry Musika now had the business capitol to rent space, buy equipment, and build a studio. As fate would have it we bumped into each other just about the time he was ready to begin his venture. We talked and then cut a deal. I was to frame his studio in return for unlimited recording there. What a deal.
So we began. Jerry made me read several texts on the acoustic properties of sound so that I would understand why we were building the studio a certain way. Although technical reading for me at the time, I thoroughly enjoyed finding out about the mechanics of sound waves. I learned a great deal about the physics of space and sound.

We finished the studio (Jerry Called the Studio "Timbre Studios" now it's ARS Studios) and I stayed on as second engineer. For a while I lived in the studio. I learned signal routing, and signal processing. I learned to mike drums. We did all kinds of interesting things, like split the lead guitar into a "DI" box to the board, and have a shotgun mike setup 30 feet from the Lead amp. We would phase shift the two signals so that the delay in the air wouldn't muddy the sound. The result was a crisp (direct) sound that was fully developed (air). Very cool stuff. We mixed and measured sound--did you know that sometimes sound is only electricity until the first time you play it back?

We took the garage bands of South Side of Chicago and made 'em sound like they never had before--powerful, layered, equalized, logically panned, and most of all colored many wonderful sonic colors. I was learning right along with them. Each band had their own individual sonic equations to solve and a sound to "find". My job was to help them find that audio groove. I really loved doing that.

I loved the post session breakfasts. 5:20 am. Denny's. Sometimes chowing with the band while discussing the night's session.
The music industry has changed so much from those garage band days. It's big business today. Nobody will lay out any investment bread on a band until it's been thoroughly market tested. They say that Elvis was just starting out today he probably wouldn't make the cut. I don't know about that, but I know the days of the "One hit wonder" bands are pretty much over.

We live in an age of specialization. We have specialists handle everything. We drink gourmet coffee, and likewise are musical connoisseurs. The listening audience is much more sophisticated these days. They are not content to listen to a song on a two inch speaker at the beach--they want full fidelity, with auditing capabilities. It's all virtual--eighty percent of our music today is born and lives within a microprocessor of some sort. Music like all other information it really isn't music but rather a binary code of 0's and 1's. Just like this page you are reading!

Woodlind had it's 20 year reunion in the mid 1990's.