Sparks from the Fire

Note: The following is my response to a recent customer question.  Occasionally we print these to clarify to all what might be otherwise misunderstood.  The question from customer was, “Why can’t the sampled songs on your website be full songs instead of only part of the song?” The names have been changed to protect the innocent.

Dear Bart,

Your letter came to me this morning from our customer service department.  I’ve asked that these kinds of responses come to me occasionally so that I could help handle them and help clarify confusions.

As CEO of Watchfire Music and one of its composers I would love that you could hear a full sample of my music on the site, but unfortunately we, as well as the rest of the industry, have learned that if we were to put the full sample on the site, then three generations of people would then steal such and never actually purchase it.

Unfortunately I have to eat.  I’m working on overcoming that limitation in life, but I just haven’t gotten there yet.  As it is, we live in a world where now much of what we create as musicians and composers is either free or stolen because of file sharing and hacking.

Your short note came across to all of us here as critical.  We pride ourselves in our giving.  We sell songs that take tens of thousands of dollars to create for 99 cents in a world where music is now even becoming “free” — thereby reducing our much loved occupations to the level of hobbies.

I guess you got me on my soap box here, but when I come across moments like this of such misunderstanding, it usually, these days, puts me right back on that box.

We do offer every possible tool we can think of to help you discover and understand our music.  Perhaps you might rethink this in terms of going to the movies.  Let’s say they were forced to let you see the movie for free and then, if you saw the whole thing and liked it, then, and only then, you would have to pay for it.

It’s a good analogy. (more…)

I was channel surfing the other night on the tube and I came across a rock concert on AXS TV, my new favorite channel on TV’s great wasteland.  It was an AC/DC concert.  For those of you unfamiliar with AC/DC, they are a high voltage rock ‘n’ roll band that has been consistently selling-out concert tours for over 40 years now with global sales totaling more than 200 million albums.

I was surprised to see an audience full of young people following this group because the group looks “old.”  The rock and roll, drug induced, no sleep lifestyle unfortunately does not produce baby faces and ever-young images.

The kids in the audience were having a ball though, and I was glad to see that groups like the Stones, Metallica and AC/DC were still happinin’ and appreciated.  After all, these are the guys that had a large hand in creating rock and roll to begin with.

The stage was replete with today’s necessary light show, fireworks and other pyrotechnic effects, and number after number went by projecting basically the same theme over and over – Hell, fire and brimstone, the devil and all things dark and spitting from the center of the earth.

Probably the typical message of many bands preaching to teenagers revolting from too much parentally enforced Sunday School.

As I watched, enjoying the power of the music, I began to tire of the same theme over and over.  They had given out little red devil’s horns for everyone in the audience to wear and even some of the musicians in the band wore them  — actually rather dopey and goofy looking …

I began to wonder, “What is this really all about?”  Devil worship?  Revolution from the good old straight and narrow?  Even worse, some sort of pagan ritual played out on a Saturday night?

The band, and especially the lead singer, screamed constantly the same message and the stage effects backed it all up, but then I began to look deeper at the whole scene.  The audience was simply having fun.  They were smiling, joyful, singing along, all standing throughout — they in their little red devil horns were one of the happiest groups of 20,000 I’d seen in a long time. (more…)

I’m going to ask each of you to do something personal, something that will cost you, something that you would do selflessly for us, but something that I can almost guarantee will enhance your life on one level or another.  Ready?  Here goes …

Click here and go purchase Julia Wade’s new CD, Silk Road.  If you like, go listen to the samples first, but please don’t stop there – that’s not really fair to either Julia or me.  The samples are meant to be teasers.  Be teased, then buy it.

It’s a CD that we are so very proud of and have worked our tails off completing for this Holiday season.  It is absolutely some of our best work as a team, and actually everything we do – Watchfire Music, Link Recording Studios, Classes that we teach, The Watchfire Music Listening Room productions (I could go on and on) – is centered around the release of new music in CD form.

It’s why we do all the rest, including our very successful WFM Digital Sheet Music division.  We live to produce recorded music.  I know you know that and just want to take this most special moment to re-enforce the purpose of our lives.

What’s the album about?  It’s about a journey that we’re on down an ancient/modern path/highway.

Where are we going?  Forward – into new and previously unexplored territory.

Will it be a totally new Julia?  Yes and no.  It’s an evolution.  It’s a widening of the highway.  It’s an exploration of new ideas while at the same time hammering the old into new shapes and sizes.

As you who read this blog regularly know, I tend to write long.  This time I’m going to keep it short so that you might take that time to go check out and support us in this precious endeavor.

Thanks for reading.  Thanks for following.  Thanks for listening.

We’re now in the final throes of recording and mixing Julia Wade’s new CD, Silk Road – Inspirational Journeys Across Planet Earth.  Some of the material of this new work was actually started nearly two years ago and then the project was tabled when we developed her Solos CD as a farewell gift to the Christian Science community when she finished her tenure as Soloist in Boston.

But we knew we had something really interesting going in Silk Road and we couldn’t wait to get beck to it.

The CD is due to hit the streets in early December and will be our major impetus throughout the holiday season.  She has just two more vocals to complete, all the orchestrations are completed and by the end of this next week I’ll be half way through the mixing.

It’s simply a most special project.  You’ll say, “Aren’t they all?” and I must answer, “Of course, but this one’s, for both of us, particularly transforming.”

Silk Road marks Julia’s arrival at the threshold of a new evolution in her music.  Her departure from her past carries forth her commitment to inspire through song not only on a sacred level, but also with an in depth look at the issues of our world at large and the individual human condition.

So it’s an album of songs that will continue to inspire her growing fan base with fresh new looks at spiritual reach through songs like Thinking Made It So and Julie Gold’s When He Walks With Me, but it also ventures into new territory dealing with the issues of our world today.

For the first time she now tries her hand at lyric writing and scores instantly with her own thoughts on What Peace Looks Like from the perspective of three children of the world from Uganda, the Sudan, and the ghettos of Kingston, Jamaica.  The title song, Silk Road, promises a comparison of the ancient Silk Roads spanning China, Tibet and Europe with the modern day impact of the Internet.

And then there are the songs of love … (more…)

Two bro’

Note: The following is Part 3 of a 4 part series written especially for my close family.  It is pretty personal stuff, but, in retrospect, eminently shareable with this readership family

When I had graduated from college, moved to New York City and had some early success in show business, I lived alone, a bachelor.  Every Christmas for 5-6 years I would go spend the holiday season with Jim and his family in St. Louis.  Mom and Dad lived there as well, but it was Jim’s house that I stayed in.  He had three of the sharpest kids I have ever laid eyes on – Cindy, Tina and a little red-headed ball-buster named Travis.  In those years I became the Jim to Travis’s Pete – except that I was about 25 years older than Travis rather than 5.

Jim, Travis, Tina, Pete, Cindy

We had a love/hate relationship that usually ended up with Travis going to his mom crying, but he too just could not turn from the opportunity to try to wallop Unca Pete.  Sometimes he would crawl up on the bed and wake me up with a slug to the nose or the closed eye.  Ouch!  Anyone who has ever raised a 5-year old knows that their punch can really hurt.  Sometimes I would hear him coming and just as he reared back to let one loose, I would wake up and scream “AAAAHHH” and scare him half to death so that he would run crying to Mom.

Those Christmases became the iconic Christmases for me because they were my way of hanging on to my own childhood and playing with those beautiful children that I had fallen so in love with.  Jim and I would stay up till 4 or 5 o’clock every Christmas Eve wrapping presents for the kids and often talking about our own childhood Christmases and the great times we had together as kids.  Whenever we would tell stories of when we were kids to his kids; they would gather around wide-eyed and fully concentrated, excited to hear about when we were like them.  These were their favorite stories and we had to tell them over and over.

Christmas Eve Preparation

For the next 30 years or so, Jim, the accountant, did my taxes for free each year and advised me how to take my proper deductions, organize my business life, steer clear of shady deals and stay on top of my roller coaster financial life in show biz.  One thing you can say about show biz:  It is not financially consistent.  I never had a real consistent  job until Watchfire Music.  I never knew where the next job was coming from, and yet I’m proud to say that I never had to work at any other job besides making music.  That one thing is a success story in itself in this business.  But it is an up and down life – like most entrepreneurs. (more…)

Here at Watchfire Music our customer service staff recently forwarded to me the following email from a most gracious lady.

“Hi.  I appreciate your emails and input, but I have a very large library of solos and do my own research for each Sunday’s solo, and your prices are very high … so, unfortunately, much as I appreciate your work and input, I have been doing the same for myself for 20 years and cannot afford to add the cost of your product … Thank you and God Bless you.”   J.K.

Upon reading I had no objection to the fact that J.K. was not interested in using our Solo Thoughts product, choosing instead to do her own research within her own church library – my wife, Julia, who was the soloist at the Christian Science Mother Church for the past seven years and is the Director of Digital Sheet Music for WFM did not even use the product all the time, preferring also sometimes to work from her own enormous and well organized library of music.  For Julia, Solo Thoughts was a great back up, like a good insurance policy.

To each his/her own.

We certainly get enough praise from grateful soloists and Music Committee chair people all over the world.  The letters seem to pour in nearly every day.  In fact what struck me as odd was that this was the first letter we had ever received from someone telling us that they did NOT use our product.  Why would someone take the time to do that?

Curious …

So upon second reading, I began to look at it from a different angle.  Then it hit me.  This was not a letter telling us that they did not use our product; this was rather a letter complaining that our prices were too high.

Well, that really got me going.

Musicnotes.com. the largest digital sheet music company in the world and consequently the standard setter, sells their music in a range of $5.25 to $5.75 per title.  That’s for one song, one song download.  We sell our titles for $6.95, but that gives the buyer the right to print 2 copies – one for the vocalist and one for the pianist/musician.  That’s actually $3.48 per title.  On the average about $2 less. (more…)

This is Part 3 of a multi-part series of posts.  I suggest that you start with Part 1 if you have the time and really want to appreciate the full effulgence.

The summer before my senior year in college I, on a whim, auditioned for a job in the chorus of the St. Louis Muny Opera, the largest outdoor summer stock musical theater in America.  I don’t know why it was called “Opera”, as far as I know they never did anything other than musicals.

It’s an entirely different story, but, as luck would have it, I got the job.  There I learned about musicals, having the opportunity to play and understudy in 10 shows a summer for two summers.

I sat in between two male dancers in the dressing room in assigned positions for both summers and for the first time in my life, got to know and became fast friends with two gay men – one, Michael Shawn, who later became my choreographer for several shows that I wrote and directed in NYC and at whose bedside I sat as he died of AIDS.  The other, Nicholas Dante, like Mike, went on to be a working Broadway dancer and was always dabbling with playwriting.

One evening, after the show in St. Louis that first summer, Nick invited me to participate in a reading of one of his plays.  I gladly accepted, knowing that I would be attending the Neighborhood Playhouse School of the Theater that next fall in NYC and I thought that I might get a little more experience under my belt.

I don’t remember much about the reading – the play was OK and the food was much better.  I do remember that we all got to play actors auditioning for a musical and that’s about it.

Years later, when I was Composer-In-Residence at The Public Theater, Joe Papp asked me to work with the director of a new experimental piece that was work-shopping in one of his theaters.  It seemed that the composer was in Hollywood finishing a film-scoring job and would not be able to attend auditions, so Joe asked me if I would help the director run auditions and sit in for the composer.  Of course I agreed.

The day of auditioning started and just before we saw our first victim, in walks my old pal Nicholas Dante.  I said, “Hey Nicky, what are you doing here?”  He answered, “Oh, this is my play – you know, the one we did the reading of that night back at the Muny in St. Louis.”  He had actually gotten that show on and now was work-shopping it at the most powerful developmental theater in America.  I was so happy for him to have such a lucky break.

In the ensuing years I was to become even happier for my old pal Nick, for the director of that workshop was Michael Bennett, the composer who I subbed for was Marvin Hamlisch, and the show was A Chorus Line. (more…)

A Younger Peter Link

I have to blame my father.  He got me started on the drums at the age of 6.  It was my passion as a youth and I never had to be told to go practice.  So I grew up inside the rhythm.  A solid start.

And then there was Jack Eyerly, my first real mentor and our chorus director at Principia Upper School.  He grabbed me up and taught me, stimulated me, believed in me.  And he pushed me, though he never had to push hard.  He mostly helped me see that I could do it – that I had real talent.

And then there was Sanford Meisner, my acting teacher, my life teacher, the man who taught me how to be a creator, how to get inside the character, how to stimulate the emotions, how to concretize the moments, how to hook on to the muse.  He was the best teacher I ever had – besides life.

And finally I was thrust out into the world – age 23, green, naïve, … extremely lucky.

I wrote, with a partner, named C.C. Courtney, an Off-Broadway musical called Salvation.  He wrote book and lyrics and I wrote the music.  We both starred in the show.  It was in the heyday of Off-Broadway when the real action was in the small theaters and Broadway was stale and confused.  Hair was pretty much the only thing happenin’ and the rock musical was very unrealized.  Salvation was an 8-character rock musical that was what one might call “anti-religious”.  Anti organized religion really.

The show was meant to be revolutionary, to slap the audience in the face following in the footsteps of Hair.  It did, and the audience and the critics loved it.  Looking back, it was definitely sophomoric and not a piece that I’m proud of.  But it was Off-Broadway’s biggest hit and ran for 2 years and played in 11 different countries.  Out of the show came a song that was a million-selling hit and #1 on the Billboard Pop charts in the summer of 1970.  It’s ridiculously long title broke all the rules, but also gathered a strange kind of attention – If You Let Me Make Love To You Then Why Can’t I Touch You?

It gave me my start.  It set me up immediately as a NY composer for the theater.  Suddenly I was a Broadway composer and I probably had not seen more than 10 musicals in my life.  I thought, “Boy, this is easy!  Write some songs, be a star, make lots of money.”

Then came the fall.  With my same partner I wrote another musical called Earl Of Ruston.  My partner and I disagreed throughout the experience and actually broke up before opening night, this time on Broadway.  I hated the show and walked away from it.  He was the star and the director, the book writer and the lyricist and held the power this time.  I wanted no part of what I thought was a mess.  The critics agreed.  It flopped and ran for just 4 performances.

My career looked to be short lived. (more…)