[Jim Price]

MILLENNIUM MUSIC CONFERENCE RECAP 6/29/04 (PART 2)

DAY THREE, SATURDAY 6/26/04

During the previous day at the Millennium trade show, we at the Pennsylvania Musician table had noticed that, adjacent to our table and in the corner of the trade show room, a small stage had been set up. Two microphones and chairs were set up, and a table was sitting on the stage. We didn’t know what this stage was for; with the table present, we thought perhaps some guest speakers would utilize the stage to address the trade show. The stage went unused on Friday, except for an occasional technician stopping by to check and see that everything was working. Finally, on Saturday, we asked one of the technicians what the stage was set up for. His reply – the Acoustic Stage! Yes, the acoustic stage had been sitting there quietly in a corner all weekend, not being used because nobody knew that it was the acoustic stage.

Fortunately, half of the Boston-based group Mocean 8 were standing at the Pennsylvania Musician table when we asked about the stage, and with their instruments upstairs in their hotel room, they decided to put the stage to use. Since Mocean 8 has already played their official showcase performance the night before, this would give us another opportunity to see the group perform, as an acoustic duo. Dan McQueen and Justin Corcoran quickly retrieved a guitar and a conga from upstairs, set up and performed. The duo did a nearly half-hour set, featuring a number of songs from Mocean 8’s 7-song self-titled EP. Dan and Justin’s sound was lightly funky and pop-geared, comparable at times to the Dave Matthews Band. The songs were upbeat and melodic, and were well-received by the trade show observers. The group also set a stack of free copies of the EP on the stage for interested passers-by to pick up while they performed.

Justin Corcoran and Dan McQueen of Mocean 8.

We had noticed an interesting-looking individual standing outside the trade show in the main hall area, a guy clad in a shiny red outfit, headband and shades. He had this kind of “rock star” look to him, which made him stand out from the crowd. As Mocean 8 performed, this person made his way towards the acoustic stage, along with another person rolling in a piano. A number of people flashed puzzled looks – just what were these two all about?

Mocean 8 wrapped up their set, and we found out… The man in red was another Bostonian performer, Robby Roadsteamer. Robby took the stage and began his spiel, and quickly had everybody laughing. Depicting the egotistical rock star, Robby attempted several songs from his vast repertoire; only to be constantly foiled by his inept piano-playing sidekick, Nick. The song titles were hilarious! “I Am Sorry My Cat Has A** Cancer,” “Meg Ryan’s Getting Her Old Lady Face Going,” “Diarrhea,” “Will You Still Love Me When They Lock Me in the Sexy Boys’ Home,” “The Ladies Come When the Sex Whistle Blows” and more. In between songs, Robby heckled the audience and passers-by, even Millennium main man John Harris! Robby Roadsteamer definitely broke up the relative tranquil quiet of the trade show area, and added some levity to the afternoon.

Robby Roadsteamer in action.

Heckling his piano-playing sidekick, Nick, Robby Roadsteamer.

Once again, Robby Roadsteamer.

Soon I was off to check out more panels and seminars. The first one I took in this day was “Music Business – Back to Basics,” presented by the American Federation of Musicians (AFM). Panelists included Dick Gabriel and Pat Varriale of the AFM, Greg Seneff of Seneff Law Offices, Jim McGrath of Discmakers, and Joe Trojack of Progressive Enterprises. The discussion centered around business basics and legal issues faced by musicians, and how to get things on paper to avoid some of these issues down the road. The discussion first touched on songwriting credits; Dick established that early on in the process, bands should establish who in the band actually wrote the song, and who gets the royalties from that song. Unless you distinguish who actually wrote the lyrics, contributed the bass line to the song, etc., the law assumes that everybody in the band has an equal share in the creation of the song. The advice given was that bands and musicians should ask these hard questions up front, rather than deal with legal issues later on (such as when members split off of the band and then claim they wrote a song that later became a hit, etc.). Also discussed were copyrights, and the difference between having a copyright and registering a copyright. Legally, the copyright itself is already formed when the song is completed; registering the copyright is the process of legally protecting your copyright from infringement. Affiliating with ASCAP, BMI and CESAC was also discussed, as was the topic of publishing your music. Registering your songs with a publishing company is important, so usage of your music can be tracked and you can be paid royalties for that usage. Recording studio basics were discusses, such as the importance of pre-production and planning your studio experience (including the aforementioned establishing of songwriting credits). Use of music in commercials and film was also discussed, including the particulars of how musicians are credited and/or reimbursed for those particular usages of their creations. And Sound Exchange was mentioned, along with the topic of being reimbursed for getting internet airplay.

The “Music Business – Back to Basics” panel.

The other panel I sat in on was “Who’s Getting Signed By Majors!,” which looked at the current state of the major record labels, who they are and aren’t signing, other issues concerning the major labels these days, and how aspiring bands/artists should proceed if they still want to get signed by a major label. Panelists here included David Hooper of Kathode Ray Music (the third panel I saw him on, he must have been the house panelist!), Dr. Gene Foley of Foley Entertainment, Mike Galaxy (the Friday keynote speaker) of Indy Hits and Band Promote, 105.7 “The X” music director Nixon, and George Stein, Esq. The report on the current state of major labels was not encouraging. As labels continue to consolidate, cut costs and anticipate the future wave of digital distribution of music through mp3’s, they are not signing and investing in many bands these days, so opportunities for bands to get picked up by a major label are fewer and further between. Because of this, the mantras of going the indie label route and doing it yourself were again suggested to bands and artists. The panel suggested that bands put themselves in the position where labels want to talk to them instead of vice-versa; that is accomplished by developing a “buzz” through CD sales and constant touring. As far as what is getting signed, bands who do want a deal need to determine if their music is viable to the current musical climate. Record companies are most interested in bands that have a fresh perspective, but who “fit in” with the current synergy of what is going on in music and radio. According to Nixon, active rock radio is ripe for something different; a partial reason why The Darkness has been such a success story recently. The panel suggested that if bands want to establish a career, to be themselves and not try to fabricate a sound to try to get signed. At present, the label’s emphasis is signing songs and artists with potential for heavy radio airplay. The new iPod technology was discussed, and its effect on what major labels are doing and will do. There was also discussion about the relationships between record labels and radio, and how record company A&R people learn about up-and-coming bands. More and more, the internet plays a role; again emphasizing the importance of bands and musicians knowing how to get their names and music out on the internet.

The “Who’s Getting Signed By the Majors!” panel.

While this panel was taking place, another panel was happening in the room next door, “Hit or Miss? Demo Derby!” In this panel, bands and musicians were invited to drop off an unlabeled CD/CDR containing one of their songs in a box outside the door prior to the panel. Several music industry people – record company A&R people, producers, and radio program/music directors – listened to the CD’s and critiqued each based on its potential to become a hit. Although I was in the next room, I clearly recognized the song “Friend Zone” by Vs. the Earth as one of the songs being critiqued. After both panels had concluded, I ran into Vs. the Earth’s manager, Gary Hutson, in the hall, and asked him how the song fared with the panel. He said it went over well, and he was even approached by a radio disc jockey from the Cleveland area who wanted a copy of the song. Cool!

Action at the Millennium Trade Show.

More action at the Millennium Trade Show.

Yours truly, with Shel Hoachlander of Black Thorn Entertainment.

Yours truly, staffing the “Backyard Rocker” drop box at the Pennsylvania Musician table at the Millennium Trade Show (photographed by surprise by Shel).

Yours truly, hanging with Spitshine outside the Millennium Trade Show.

The next order of business was the Saturday keynote address, presented by Bill McGathy. Bill founded McGathy Promotions, one of the biggest promotion companies in the music business, and he has overseen the careers of some of the biggest names currently happening in music – Creed, Puddle Of Mudd, 3 Doors Down, Chevelle and more. Bill encouraged bands and musicians to keep trying, and working to put themselves in a position to “get to the next at-bat,” because any band is just one hit song away from “making it.” Bill reported that things are rough for the major recording industry right now; several weeks prior to the conference, Atlantic Records fired 50% of their staff, while Elektra fired 70% of its staff, before the two labels consolidated into one label. So people working for these major labels aren’t just dealing with issues of scoring hits and dealing with the future wave of digital distribution of music, these folks are also wary about their own job futures! Bill predicted that the major label situation will leave the door open for a number of young, entrepreneurial types to form their own successful smaller labels, and that indie labels and artists could see a boom period soon.

Bill told the story of three bands and their respective success stories: Creed, 3 Doors Down and Chevelle. In each story, the band had a song that mattered, combined with radio support; and Bill took each of the three bands under his wing to help them achieve the next level in the music biz. In Creed’s case, the song was “My Own Prison,” which floored Bill the first time he heard it. After helping Creed achieve breakthrough success on radio stations in their home state of Florida, 15 record companies were invited to see Creed showcase in New York – all 15 labels passed on them. Since then, Creed has issued three albums and sold 20 million CD’s prior to their recent breakup. (Bill reported he had seen Scott Stapp recently, and that he wasn’t in very good shape.)

For 3 Doors Down: A radio station in Biloxi, Mississippi had raved to Bill about a song called “Kryptonite,” which was getting heavy phone response. Bill soon gave the song a listen, signed 3 Doors Down, and the rest was history. But although the group had sold 6 million copies of their debut album, The Better Life, Universal Records didn’t believe the group could continue that success on a second album, and Bill had to renegotiate their record deal with a back-end incentive plan where the group was rewarded for levels of CD sales. According to Bill, the group achieved all three levels of sales, 2 million, 3 million, and recently, 4 million copies of Away from the Sun.

Bill’s third story was Chevelle. Bill had signed the group after seeing them perform live at a McGathy promotional party. They had initially signed a record deal with a Christian label, Squint Records, who had acquired Chevelle’s publishing rights. Bill rook the reins of their career, and signed them to Epic when Squint didn’t pick up the option on their contract. Of course, Chevelle has become one of the hottest names at present, and is presently working on their third release.

Bill ended his address by offering important advice to bands and musicians. In negotiating any record deal, Bill told bands not to relinquish their three most important sources of revenue from their music – touring, merchandise and publishing. Bill again suggested that bands go the indie route. He told bands to make sure to get good management, and management that is either located in New York or Los Angeles, with offices in either city that can accept calls. And he advised musicians to hire a good attorney to look over contracts so they do not sign something they shouldn’t (like Chevelle did). Lastly, he told bands to keep writing songs and KEEP BELIEVING.

Millennium Music Conference main man, John Harris, kicking off the keynote ceremonies.

Millennium keynote speaker, Bill McGathy.

Thus wrapped up the business end of Millennium. The sight of the conference area at the end of this day was interesting; with countertops and shelves covered with flyers advertising the evening’s showcases, plus several free demo CD’s (The McGuffin, Stryk-9 and Shamra left numerous CD’s for people to pick up; a good souvenir to remember these bands by, especially for those like me who didn’t attend their showcases), magazines and more. I retreated to the hotel room briefly, and plotted out my itinerary for the final night of Millennium showcases.



I began my evening by heading to the Appalachian Brewing Company. As the name indicates, this is an actual microbrewery that houses a restaurant and upstairs bar/outdoor deck, where the bands and solo artists were performing. I ordered up a draft of the Appalachian Brewing Company’s Mountain Lager, and took up position at a table to check out the evening’s first band, Mehlt.

A six-piece band from Pottsville, Mehlt was a jam-styled band that blended together elements of funk, rock, blues and jazz into improvisational grooves. I didn’t catch song titles, but Mehlt’s first composition took on a funk and zydeco flavor. Another song had more of a Latin vibe. A third song displayed a bluesier texture reminiscent of Screamin’ Cheetah Wheelies or Blues Traveler. This band was skilled on their instruments; I enjoyed the tastefulness and balance demonstrated between keyboardist/singer Justin Motuk and guitarists Steve Smith and Tony K. While the songs were jam-geared and emphasized improvisation, the grooves were focused and didn’t indulge themselves any longer than needed. The group and soundman battled feedback problems early on, but eventually cleared up the gremlins in the system so Mehlt could build some momentum through the remainder of their set. Overall, it was a good introduction to Mehlt, and according to Justin, this band plans to test the waters in the State College area soon.

Mehlt kicks things off at the Appalachian Brewing Company.

Although the crowd was relatively light early on, more people filed into the Appalachian Brewing Company upstairs room as Mehlt performed, and a healthy crowd was on hand by the time Mehlt’s set ended. Not situated directly in downtown Harrisburg, it was good to see the bands in this room was getting some decent attendance.

Next on the bill was a band from eastern Kentucky called The Whitefields. Before they even began, this band lookedinteresting, with bearded band founder and ringleader Robert Lee Whitefield decked in full psychedelic late 60’s regalia; strongly suggesting that this four-piece band could be in the jam vein as well. They were, at least in part. Robert Lee Whitefield introduced the band’s set by announcing that they would begin things in a blues vein, and then performed three blues songs – “I’ve Got The Blues,” a second song I didn’t recognize, and “Ice Cream Blues.” Robert immediately demonstrated a strong bluesy vocal growl, and this man could shred on the guitar frets, scorching off some fiery and inspired solowork! As the group hunkered down over the first three songs, they began to start their improvisational journeys and instrumentally began stretching out. The next number showed more of a late 60’s influence, suggesting more of a Cream and early Pink Floyd edge. This set was getting interesting; I didn’t want to leave.

Robert Lee Whitefield of Kentucky’s The Whitefields.

The Whitefields show Pennsylvania what they’re all about at the Appalachian Brewing Company.

But I forced myself to, because there were other performers I wanted to see. One of the main reasons I had showed up at the Appalachian Brewing Company this night was to see one of the outdoor deck acoustic performers, K8 (“Kate”). Altoona area fans might remember K8 as a member of latter-day Clove prior to their break-up; she also teamed with Clove frontlady Jennifer Cerreta in the acoustic duo Mighty Aphrodite. These days, K8 is a solo performer, who sings, writes songs and plays guitar. And she just completed work on her debut solo EP, Something Out of Nothing, recorded at the Badlees’ Saturation Acres studio. I watched as K8 performed four of the EP’s five songs; “Pieces Of You,” “Wake Up,” “Without Me” and “Orion;” along with other songs such as “2 Know U,” “Watch It Burn” and “Why.” The songs were personal, dealing with the up and down sides of relationships. K8 sold these songs with a clear and strong voice, and her delivery was convincingly passionate and sincere. It was a near perfect atmosphere to view K8’s set, with the combination of her cordial, heartfelt performance set against the backdrop of a pristine Harrisburg summer evening; it made for a memorable, pleasant set.

K8, entertaining outside on the deck at the Appalachian Brewing Company.

Once again, K8, singing on a tranquil Harrisburg evening during Millennium.

After watching K8 for about a half-hour, I was off to another showcase I wanted to attend. I had been purposely avoiding using the Harrisburg interstate highway system all weekend (I think next to I-95 in Florida, Harrisburg interstates are some of the most vicious roads I have ridden on, so I avoid them if I can), but I finally surrendered, hopped onto I-83, and one wrong turn later (I missed that left curve that keeps me on I-83, and almost wound up on Route 322 headed to Hershey) found my next destination, J.T. Croc N Berry’s, to check in with Orlando, Florida’s Lucid Fly.

One of the bands I remembered most from last year’s Millenium, I was curious to see how Lucid Fly had progressed in the 16 months since. I was disappointed to find only a light turn-out at Croc N Berry’s when I arrived, but the bar audience was paying attention to Lucid Fly as they rocked with new songs from their forthcoming CD, due out later this summer. Singer Nikki Layne, guitarist Doug Mecca, bassist Jamie and drummer Derrick demonstrated a slightly more streamlined sound than last year’s Lucid Fly model; their brand of technically-geared heavy rock was more direct and to the point. While their base sound last year was closer to Tool, their current sound has a more melodic base similar to Evanescence. Their song melodies were more immediately accessible; and while the group could still generate some impressive technical instrumental firepower, it served to augment the melodies rather than compete with them. Nikki’s voice was in fine form again, as she demonstrated ample range and power. I didn’t catch specific song titles, but what I witnessed I liked, and the Croc N Berry’s crowd cheered Lucid Fly’s efforts as well.

Orlando, Florida’s Lucid Fly, rocking J.T. Croc N Berry’s for the second year in a row.

Don Mecca of Lucid Fly.

Nikki Layne of Lucid Fly.

Once again, Lucid Fly.

Once again, Don Mecca of Lucid Fly.

Having not eaten all day, I ordered up some food from Croc N Berry’s kitchen after Lucid Fly’s set, and soon realized I had ordered the same exact thing I ordered at Croc N Berry’s last year – buffalo wings and a southwestern eat-a-bowl salad! Hey, it was good last year, and it was good this night! (And unlike last year, I made it through the whole thing and didn’t need a doggy bag!) While I awaited the next band, I spoke with Black Thorn Entertainment main lady Shel Hoachlander, and also met Fith lead singer Adam.

Soon the next performer was ready to go, New York’s Jennie Arnau and her band. A South Carolina native now living in the Big Apple, Jennie and her band performed a fusion of rock, blues and folk; showcasing songs with a rural flavor set against a muscular rock backdrop. Jennie was clearly the focal point, as the diminutive frontlady belted out a tremendous and heartfelt voice on her song selection, including a number of tunes from her latest CD, Superman Won’t Take the Call. My favorite song was Jennie’s closer, “Tallulah Falls,” a powerful ode to feeling confined in a small town; the song’style suggested a fusion of Linda Ronstadt and Sheryl Crow. Other standout tunes for me included “Ain’t No Friend” and the ballad “Without It.” As a singer, Jennie sang each song with ample passion and emotion; you could tell her heart and soul were firmly invested in these songs. Her instrumental sidemen were solid as well, with guitarist Adam Lerner showing some fluid leadwork and nice slide guitar as well. Jennie Arnau and her band drew more attention as their set progressed, and they received a good response from the Croc N Berry’s audience.

Jennie Arnau and her band at J.T. Croc N Berry’s.

Jennie Arnau.

I decided to stick around to catch at least part of the set from the next band, Screamapillar. I had seen Screamapillar over a year-and-a-half before at the now defunct Sanbar near Mill Creek. The group was early in their career at that point, and while solid, was primarily performing cover songs. A few membership changes and months later I was about to see, this band had definitely changed since that first time I saw them. The biggest transformation was lead singer Jackieraye, clad in a black dress and sporting a fancy hairdo; as Screamapillar’s performance unfolded, it became quickly apparent that she has evolved into a confident, charged frontwoman whose style is rooted somewhere between Madonna and Gwen Stefani. Screamapillar performed a focused, fun set of perky modern rock originals, including songs from their Users and Abusers CD such as the barroom anthem “The Tequila Song,” and “Why Haven’t You Called Me,” also new songs such as the current single “Boy, “Janeane Garafolo” and more. Jackieraye’s voice demonstrated energy, range and a touch of vinegar; while the rest of Screamapillar – guitarist Jason Greenwood, bassist Justin Boyd and drummer Ryan Waltemyer – kept it playfully rowdy and uptempo, augmenting Jackieraye’s sassy presentation. I was quite impressed by how this band has come along; here’s hoping they make a return visit to our neck of the woods sometime soon.

Jackieraye of Screamapillar.

Late in Screamapillar’s set, I left J.T. Croc N Berry’s, and headed back to the Crowne Plaza Hotel to watch my final band of this Millennium. I had heard a lot of buzz over the past year or so about The Underwater, and I had to satisfy my curiosity about what this band was all about, and if they were worthy of all the hype. Clearly The Underwater has built a fan base, as a huge crowd was gathered at stagefront to witness the group’s set, already underway as I arrived. The Underwater’s base sound was hard-hitting, guitar-fueled, muscular and melodic. The most distinguishing variable of this group’s attack was frontman Dan Thomas. Atop Matt Holmes’ and Brandon Deroche’s full-sounding wall of hard-hitting guitars and the rumbling and booming underscore of bassist Aaron Hodgdon and drummer Dale Dixon, Dan’s voice soared and explored on songs that combined melody, passion and muscle; such as “Everyone,” “Silver,” “To Find You,” “Bring Me You,” the new song “Sunset,” the set-closing version of Alice In Chains’ “Them Bones” and more. This audience seemed to hang on every note, and cheered this band’s efforts every step of the way. Instrumentally the group was on target and powerful, and judging by this set, The Underwater seem to have forged a distinctive style and approach. A lot of the buzz surrounding The Underwater forecasts that this could be the next Pennsylvania band to go national; based on what I saw here, I won’t dispute that this band does have that kind of potential. Good stuff!

The Underwater, rocking the crowd at Crowne Plaza.

Dan Thomas of The Underwater.

Once again, The Underwater.

Dan Thomas of The Underwater.

Once again, The Underwater.



MILLENNIUM POSTLOGUE

The book thus closed on another Millennium Music Conference. With the change in time of year and venue that this event was held, there were questions on just how this year’s conference would unfold.

Attendance did seem to be down this year over past years. Some of it was likely due to the aforementioned time of year factor, as summer offers a lot of competition, including vacations and outdoor events. I also think some of it was due to repetition and “been there and done that.” Outside of the networking and showcases, there wasn’t really a lot new at this year’s Conference to appeal to people who have already done it all before. The third day of panels, seminars and mentoring offered a few new panel discussions, but a lot of it was the same as in previous years. Arguably, the always-changing climate of the music industry itself should offer enough fresh material to lure musicians here to learn what is going on. But for musicians who have sat through the marketing, producers, legal and other panels, there wasn’t enough new information to draw them back.

One idea to attract more regional musicians to attend the actual conference itself might be to borrow a page from NAMM, and devote part of the conference to instruments, gear and technology. Possibilities could include having instrument clinics, either at the conference, trade show or via special hospitality parties/clinics at area music stores. I still would like to see a Millennium jam session, where showcasing musicians could instrumentally “network” with each other on a stage, kick back and have fun playing alongside musicians they have never played with before. Another suggestion might be to devote some panel discussions to issues on the local/regional level, such as how to deal with certain show scenarios and problems that arise from night to night gigging. There also might be a forum to deal with legal issues impacting the local music industry, such as how to tackle PLCB issues that impact local music, noise ordinances, and other situations. Since a lot of regional musicians are struggling to keep their art and expression alive in areas not always supportive of original music, perhaps some discussions offering tips for basic band survival could be offered.

Ultimately, though, any event has its growing pains, especially when changes are involved, and I’m sure John Harris and the conference organizers are studying their notes to see how to make the 9th Millennium Music Conference better next year. A big hats off to John and his staff for putting this event together every year; despite the new venue and other changes, things overall seemed to run very smoothly over the period I was there. I also offer a tip of the hat to the sound and production people, who had their work cut out for them all weekend – imagine having to run sound for four or five bands/artists a night, most if not all of them you have never worked with before, and each with different onstage requirements and needs! And some of it in rooms that weren’t designed with live music in mind!

Overall, it was a productive three days for me personally, as I learned more about the current state of the music industry, met lots of new people and musicians, and saw some very impressive and memorable performances. This is still a very worthwhile event, and the biggest gathering of musicians, music-minded people and businesses in our region every year. Definitely I look forward to returning to Millennium again next year, regardless of what time of year they decide to hold it!

These painted cows are getting udderly ridiculous, aren’t they? AAAUUURRRGGGHHH!!!
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