He was a chicken.  I don’t mean he was afraid to do things; I mean he was really a chicken.  Well, not in all actuality, but he was acting a chicken.

Let me explain.

I was performing at the Waldorf Astoria Hotel Ballroom in some unremembered benefit back in the days when I did such things, and after I had finished my act, the stage manager asked me if I’d like to see the rest of the show.  I said that I would and during the blackout and set change for the next act I was quickly led to a front row table right smack at the stage proscenium.  I was so close to the next act that the comedian could have stepped on my head if he wasn’t careful.

I was not, this time, literally ‘in the wings’, but I was so up close and personal that it felt like it.

I do not remember the comic’s name, but I will never forget his act.  It was hilarious and he kept the audience howling with hysterical laughter for a full ten minutes.

Like I said, he was a chicken.  He was totally committed to being a chicken and, of course, he had to be.  His act was so ‘out there’ that he would have bombed horribly if he had not been so committed.  In it, he chicken-scratched, he rooster-strutted, he hen-squawked, he flapped his wings, he clucked, he gave us the best “cockadoodledoo” I’ve ever heard and he chickened about the stage in a total frenzy for the full ten minutes.  What’s more, he wore no chicken costume at all.  Just a man in his pants and shirt, but he impersonated a chicken before our very eyes.  (Or perhaps he imchickenated a person when he finished his act.)

About the only thing he did that was un-chicken-like was that he sweated.  Oh my god did he sweat.  This comic was workin’ the house and was chickening so deeply that he must have lost ten pounds in ten minutes.  The sweat flew off him like he was in the shower and any number of times flew right on me as I sat, fascinated and wet.  I’ve seen men do this in the last frantic minutes of an overtime basketball game, but never such a constant shower on stage – and I’ve never had, before or since, the ‘privilege’ of taking part in anything resembling that shower of activity.

I don’t remember ever laughing.  I remember thinking that he was really funny, and being aware of the audience roaring almost continuously, but laugh myself?  Not.  I was too fascinated with the caloric burn, the intense mad workout and the tsunami-like proportion of his effort as the sweat flew off him like feathers.

I remember thinking that I was glad that I had never chosen to be a comic.  For such a funny thing, it’s just hard work!  He was a big man, which made his particular chicken character even funnier, of course.  He was so committed that I wondered how long, when he finally got off stage, it would take him to transform back into a human being.  Perhaps they had a big bowl of chicken feed and water waiting for him back in his dressing room.

After the show, as I too was a cast member, I was hanging out back stage, and had to go see him and thank him for his wondrous performance.  He took one look at me and snarled, “Oh, you’re the guy sitting in the front row who never laughed!  Wha’ja think this was, Othello?

A comic to the end.

The stage is an amazing thing.  It gives permission – permission to the performer to be the center of attention in the room.  It contains within itself the power of focus.  It says all by itself even when empty, “Here I am.  Watch me.”

And yet, get too close and sometimes you can cross the line of demarcation from audience to performer unknowingly.  When that happens, life changes dramatically and suddenly you’re on the other side.  You’ve moved from a very safe place of being entertained, to a very dangerous place indeed – if you don’t know what you’re doing.  It’s a whole other world up there and very few except the elite really understand it and can exist comfortably therein or thereon.  I’ve learned to respect it deeply and also respect the great talent, experience and know-how it takes to fill that space with magic.

Many who perform never really get it and it defeats them eventually.  Few truly succeed.  It’s one of the wonders of life on Planet Earth – the stage.  I learned early in life what it takes to be a great performer.  I often stood in the wings and watched them, the great ones, and tried to figure out just how they did it.  The best one-word answer I can come up with is ‘commitment’.  The best are totally committed to that moment in time – to the doing of that moment fully in imaginary circumstances.  It ain’t easy.  And for those who can actually get the job done, I take off my hat – and watch from the wings.

My most recent experience standing in the wings has been the longest.  For the past seven years I have stood in the wings watching my wife, Julia Wade  (affectionately known here as ‘The Missus’) change the face of music in the Christian Science Church performing as Soloist every Sunday at its world headquarters in Boston.  When she was offered the job seven long years ago she was given the direction by the Board of Directors to lead the music of that church into the 21^st century.

We used to joke that she would take it from the 19^th century leapfrogging over the 20^th and into the 21^st the music was so behind the times.

It was not an easy job.  There were many against change of any sort.  In the beginning, even some of those closest to her position were against change and fought her in subtle and not so subtle ways.  But she persisted with the loving support of the Board of Directors and though she often came under fire for her 21^st century choices of style, sound, instrumentation, techniques of performance and especially choices of material, she was a strong world leader in the movement and won over, by example, most of those who were afraid to change in the beginning.  She also, again by example, showed Christian Science churches around the world musically what they could do and how they could do it in their own churches.

The first 3-4 years were especially tough on her.  Often there was great resistance and some turmoil, but through a very high sense of prayerful integrity she led the movement of change – sensitively and definitely.

Now, seven years later, music in this church is seen and heard in a whole different landscape.  She has been able to hold on to the greatness of the past while expanding the range of music so that all would be attracted to the teachings of the church on a musical level.

Along the way also I have witnessed many who did not appreciate a more modern music in the beginning learn to first accept it and then understand and love it in the end.  Not only was she able to make the changes required, but also she was also able to educate as well – education being the panacea for revolution.

And now her time is coming to an end.  At the end of April, 2012 she will complete her job as soloist and move on to a wider sphere of audience and peoples.  Focusing more on her recording career and international concert career, she will continue to be an inspirational communicator through music and I see her taking the experience of seven years of leadership and performance to an expanded world.

These past seven years I’ve had the great privilege of being the unofficial “man behind the curtain” in this endeavor.  As her principal composer and record producer I’ve been able to watch and consult from a bit of a distance and sometimes help her through the shallows and depths of the experience.  I’ve stood in the wings and watched, fascinated, as she encountered obstacle after obstacle and moved gracefully forward.

I’ve been grateful and relieved to be able to stay behind that curtain and not have to step out on that stage with her.  She’s always been the point man (woman) and taken the heat (and gotten the applause) and I’m fine with that.  I’ve learned that standing behind the curtain is where I belong in life.  I’m good there.  It’s a comfortable place for me and it’s where I’m at my best.

The next four months, as she moves towards her time of closure, I shall stay behind that curtain and continue to encourage, suggest and yes, take notes on how she might do it better.  In the meantime, I’m still fascinated in watching greatness evolve from this up close and personal position.

I get to continue to study talent and investigate and explore the amazing craft of performance from my dark protected corner of the stage, there in those wings in the safety of my thoughts and observances.

Many people aspire to the stage.  I learned early on in my career that it’s just not my place and I’m good with that.  I’m happy to watch and learn and I’ve been very fortunate to stand in those wings.

After all, I’ve had the best seat in the house.

Even More Inspiration

• Even Now
• Spiritual Scientist
• Wonderful
• Phoenix Rising
• Chanting/Enchanting
• My Body

Back then, LPs were large enough – approximately 12”x12” – so that the cardboard cover they came in could have all kinds of information about the music and the artist.  I remember to this day literally paragraphs of my Ellington At Newport (Jazz Festival) that I played and read until the grooves wore out.

Back then they even gave a Grammy for “Best Liner Notes” each year.

Then the medium began to shrink – first to the size of a CD and now to nothing more than a digital download of the cover and the names of the songs if you’re lucky.  Lost along the way were other pictures besides the cover, lyrics and especially my beloved liner notes.

Several years back when I started producing CDs regularly I tried to keep the time-honored traditions by releasing CDs with 8 to 24 page booklet inserts.  Inspirational music depends a lot on its lyrical content and I always felt it necessary to include those lyrics and especially give credit to all the musicians, singers, designers, etc. who worked to complete the project.  But the cost of the booklet became prohibitive.

Today a 4 panel booklet CD will cost $1.14 per unit from the manufacturer if I buy at least 1000.  Take that booklet to 18-24 pages and the cost soars to over $3.00 per unit.  There go the profits.

So Watchfire Music and a few other artists turned to the Digi-Book.  What is a Digi-Book?  “A Digi-Book is an electronic version of an album’s liner notes and vital information.  This downloadable digital booklet contains photos, lyrics, and notes written by the artists and producers of the album as well as all sorts of information pertinent to the experience.”

Better yet, go look for yourself!  WFM’s latest is a gorgeous journey of nearly 40 full screen pages of pictures, lyrics, quotes, artist insights and credit material with bios that is visually stunning and completely informative regarding the experience of making the CD and other vital information.

Designed by WFM’s leading designer, Sara Gray, who also did Julia Wade’s Every Day gem of a booklet, this digital package looks fabulous on your computer screen and can actually be printed as well.  If you print, we suggest using Glossy Photo Paper for a beautiful treasured keepsake of the album experience.

But you don’t have to print it to enjoy it.  Backlit from your computer screen, it’s a colorful experience that is sure to delight anyone who is into the music on the album.

Best of all, it’s FREE!  You can download it and send it to a friend in just a click or two.

We even created a new section of the site just for Digi-Books!  Just go to the far right of the Nav Bar and click on Digi-Books.

I’m not going to write much more about it because that would be redundant to the experience, so take a moment or two right now to follow this link and experience it for yourself.

Oh yes, while you’re at it, Buy The Goin’ Home CD!  The whole package is worth far more than the price of admission.  That’s a promise.

We did a soft release last Thanksgiving Day and already, in one week, Goin’ Home is our best selling CD of the year.  I can’t tell you how excited we all are here at WFM at the promise that this CD and Digi-Book holds for the coming months.  We thank so many of you, literally hundreds of people who have already been so supportive of this project.

The package is finished. It’s available now.  We promised it for Christmas and delivered.  It’s a wondrous Christmas gift idea and with WFM’s Send To A Friend capability, it’s the easiest of shopping ventures – all from your easy chair in front of your computer.  Give the gift of music and a perspicacious look at the road to eternal life.

Don’t forget the Digi-Book!

Even More Inspiration

• Even Now
• Kickstarter.com Campaign – I
• WFM Listening Room — Series II Opener
• The Changing Scene
• Gabriel, Come Blow Your Horn
• My Body

Previous to this month I had only ever written one Christmas song – a song recorded by the Jenny Burton Experience called Christmas In My Soul.  They say, in the music business, that the month of June is the month to write and begin one’s Christmas album, the preparation of such to be around 5-6 months.  Who can write Christmas songs in June?  What a silly notion.

This year the Missus has come up short in her search for the perfect Christmas song for her Christmas Day performance in church.  She had decided to employ a terrific Boston harpist and together with her organist, Bryan Ashley, keep it small and delicate in accordance with the spiritual implications of the morning.  Last year she used a brass quintet plus the church four manual pipe organ and blew the roof off, so this year she wanted to do something completely different.

But no song came to mind to fit the criteria.

While watching her go through her turmoil, I happened to mention one day several weeks ago that perhaps I could write one for her.  This was said in a fit of compassion for her plight while I was in the middle of the mad dash of the final throes of my own CD, Goin’ Home.

Seeing a light at the end of the tunnel, she grabbed at the offer and signed me up.  At first I thought, “Oh no, what have I gotten myself into?”  Where would I ever find the time to do this?

Then she came up with the notion that not only should I write it and arrange it for harp and keyboard, but that we should also record it and sell it for Christmas.  Then she came up with the idea that we should also do the sheet music for it and sell that too and let others use it in their churches for their Christmas services as well.  Then she came up with the idea that as long as we were going to do all that, she may as well use the song for her musical Christmas Presence lecture that she does around the country with lecturer, Chet Manchester.  This only moved the deadline for all this up by about 2 ½ weeks!  “Egads,” thought I.  “What have I done?”

So I did it.  In the next 3 days Julia will record the lead vocal to the orchestrated track, Craig Wagner, the designer, will design all the packaging, I’ll mix the song, the WFM staff will manufacture about a hundred singles to start with and by Thursday we’ll be selling this song that will receive it’s first performance in St. Louis on this coming Sunday.  Whew!

Will we make it?  With God’s help, we shall.

It’s a new world.  Things like this can be accomplished in a matter of weeks, a matter of days now.  The power of computers – the power of Mind.

The writing was fun and accomplished in a matter of 48 hours.  Once that was done, I knew we’d be OK.  The rest was just a matter of getting’ it done.

Julia directed me to the Bible for my text and chose the tried and true – think Handel.

“And his name shall be called Wonderful,
Counsellor,
The Mighty God,
The Everlasting Father,
The Prince of Peace
Yes his name shall be called Wonderful”

But I also wanted to shed some new light on the subject – not just rehash George Fredric.  Julia suggested that I combine the Bible text with some of the text of Mary Baker Eddy and her thoughts on the life of Jesus.  Julia and her big ideas!  Using text (non-lyrics) always makes good songwriting very difficult in that text is not metered and has a way of not particularly sounding very musical much less poetic.  On top of that the text of Mary Baker Eddy cannot be changed by even the alteration of a comma.

However the text she gave me was poetic to a certain extent so I thought I’d give it a go.  I had a great deal more content than I needed to begin with.  Julia can have her long-winded moments, so I had to do some clever editing.  Always easier to cut than to add.  While fooling around with several lyrical directions the line struck me like a lightening bolt — “And his name shall be called Wonderful,”

“What a great idea,” thought I.  Call the song Wonderful!

And so I did.

I was on my way…

Here is the finished lyric.  In another magical musical week you’ll be able to hear, sing, play, perform, buy and listen to the whole thing through the wonderful world of MIDI, LOGIC, the INTERNET and God’s gift of inspiration.

Hot off the presses!

Wonderful

Text by Mary Baker Eddy
Lyrics adapted from the Book of John
Music by Peter Link

The wakeful shepherd beholds
The first faint morning beams,
Ere cometh the full radiance
Of a risen day.

So shone the pale star
To the prophet-shepherds;
Yet it traversed the night, and came
Where, in cradled obscurity, lay
The Bethlehem babe,
And his name shall be called Wonderful,
Wonderful

The people that walked in darkness
Have seen a very great light:
For unto us a child is born,
And a son is given:
And the government shall be upon his shoulder:

And his name shall be called Wonderful,
Counsellor,
The Mighty God,
The Everlasting Father,
The Prince of Peace
Yes his name shall be called Wonderful

Now the Son of man is glorified,
Yes and God is glorified in him.
Verily, he says unto you,
“He that believeth on me,
The works that I do shall he do also;
And greater works than these shall he do;

If ye love me, keep my commandments.
And I will pray the Father,
And he shall give you another Comforter”

The prophet of today
Beholds in the mental horizon
The signs of these times,
The reappearance of the Christianity
Which heals the sick
And destroys error,
And no other sign shall be given.

When a new spiritual idea is borne to earth,
The prophetic Scripture of Isaiah is renewedly fulfilled:
Saying “Unto us a child is born, . . .”
“Unto us a child is born, . . .”

And his name shall be called Wonderful.”
Counsellor,
The Mighty God,
The Everlasting Father,
The Prince of Peace
Yes his name shall be called Wonderful
Wonderful
Yes he is wonderful
Wonderful!

Even More Inspiration

• Even Now
• Love Is The Reason For Living
• The Decline of Lyrical Craftsmanship – Part 1
• Nothing
• You Must Remember This!
• My Body

During this time we invented a company, Watchfire Music, to sell our product and to be the machinery behind all of our musical efforts.  It has been just that for us, and so we continue to try to make it all work during these historically toughest of times.

My approach has been to try new things to see if they would work, to stay creative and turn out good and great product and to sometimes pause and simply watch where the world, and especially our industry, is going next.

If we were a rich organization, if there were an endless financial stream of support, we could be leaders in the industry – we certainly know and understand the technology and keep up to date on the evolution of music and the Internet – but we don’t have that deep well of cash.

Many companies have tried to lead and gone down trying.  We have survived because we have stayed small and nimble, watching for the technology to evolve to a point where the industry would settle into a music delivery system that would make sense during this collapse and ever-changing time.

To a certain extent, it has worked.  We’ve not spent millions of investor money.  We have a powerful and well-developed ecommerce website that is pretty automated, easy to manage and graceful to change.  And we have gone from a start-up company to more than a breakeven company in these 5 years of both success and failure.

Have we failed?  You bet.  I could name 20 great ideas that have come and gone and now only exist in the depths of one of my hard drives.  Have we had our share of successes?  Another “You bet”.  After all, we’re still here.

Will we change things again?  A third YOU BET.

It seems now that with the success of Spotify and Pandora, music is now a streaming medium.  For the average Joe with their smart phones and iPods and iPads and whatever new fandangled thing is just over the next horizon, music is available to be searched and found, listened to at any time and collected in organized fashion – all for free.

This puts a serious dent in the ability to maintain a company that sells recorded music.  Oh yes, I know, there are still people who want to actually own their favorite music, still people who want to play their music on their CD players and hear the music at its quality best, but unfortunately they are a rapidly dwindling few.

Case in point:  We have one lovely man and wife set of “customers” who absolutely love WFM Radio and are often found writing us and suggesting new programming, updating of our channels and new ideas for better radio.  They are devoted listeners to our free radio.  They have never bought a single download.  They’re happy with what we give them, but do not buy.

I look at all this and wonder…

Where do we go from here?

Over the next months we will continue to watch, listen, work and pray.

This Christmas I have a new CD, Goin’ Home, coming out that is presently the hope of our company.  We’re going to do new things in new ways that we’ve never done before.  We’re going to try to do everything in our power and imagination to reach people with this life-changing and life-supporting idea.  We’re going to spend more money than ever before on promotion and packaging and quality.

My favorite quote from music blogger Bob Lefsetz sits before me here on my desk.  “But can you build something so good people will be drawn to you?” It’s all I think about these days.  I will tell you this:

We’re gonna give it a shot.

Even More Inspiration

• Spiritual Scientist
• By The Numbers?
• Phoenix Rising
• Gabriel, Come Blow Your Horn
• Light At The End Of The Tunnel
• Even Now

Periodically I watched Steve’s addresses to his company touting his company’s new ideas and features with religious anticipation regarding what improvements he would bring to my life and work.  My life centered around the Mac computer both in the studio and at home.  I’m on the computer so much that I’ve learned to mouse equally with both hands – a left-handed mouser in the studio and a right-handed mouser in my home office.

Steve, with his clever wit, cool demeanor and sparkling eyes, was always three steps ahead of the game and out front of the pack.  I didn’t always agree with his choices, but I used them and grew to deeply respect his individuality.  He was the rare combination of artist, inventor and businessman and hugely successful at each — a true American hero.

Recently I read his sister’s eulogy, given at his memorial, and found him again to be leading me in yet another one of life’s endeavors.

As most of you know, I’m pretty consumed with my Goin’ Home – On Heaven And Beyond CD project these days.  In short, it’s about the transition we all face going from this world to the next and the meeting of it head on with open eyes and wonder. It’s about the eternality of life and its various preparations and speculations on the hereafter.

Right in the middle of the climactic phase of the project, my hero up and takes the journey himself.

His sister speaks about his last days in her eulogy:

His tone, his sister said, was “like someone whose luggage was already strapped onto the vehicle, who was already on the beginning of his journey, even as he was sorry, truly deeply sorry, to be leaving us.”

“Even as he struggled physically in his last hours”, she said, “there was also sweet Steve’s capacity for wonderment, the artist’s belief in the ideal, the still more beautiful later.”

“He was working at this, too. Death didn’t happen to Steve, he achieved it.”

With his family surrounding him, his sister said, Jobs’ last words were: “Oh wow. Oh wow. Oh wow.”

When I read this on my iPad, I just leaned back in my chair, closed my eyes and smiled at his boyish wonder and anticipation of adventure.  Once again, even after leaving us, my hero showed us the way to live – and the way to die.

I realized that I loved this man though I never met him.  I loved his creative mind and I loved his wonder for life and, most importantly to me at this moment, I loved his open-minded excitement about moving on.

Goin’ home
Goin’ home
I’m a goin’ home
Quiet like
Some still day
I’m jes’ goin’ home

It’s not far
Jes’ close by
Through an open door
Work all done
Care laid by
Goin’ to fear no more

From Goin’ Home
Music and Lyrics by Antonin Dvorák & V.Labenske

Even More Inspiration

• Even Now
• Nothing
• Spiritual Scientist
• How To Handle A Liar
• Words Of Wisdom
• The Center and Circumference of Pain

Dmitri Shostakovich

I spent last evening with the Missus in what has now become my favorite place to be on the planet – Carnegie Hall.  Inspirational music rose to another high point with a visit from the Philadelphia Orchestra to our fair city.  The Missus and I were given gift tickets (better n’ Christmas) and though we sat up in the nose-bleed section, 4^th Tier and no place for vertigo sufferers, I was amazed once again by the acoustics of this wondrous concert hall.

When I first came to NYC back in my early twenties to study acting at the Neighborhood Playhouse School of the Theater, I got a job at night selling orange drink in the tiers of Carnegie Hall and then eventually bar tending in its intermission café.  Though I made decent money in pay and tips, the real payment for me was the fact that for two years I got to see every concert presented in the main hall during that time.

I could fill a book with the stories and memories of those evenings and matinees.  It was certainly a huge and unexpected part of my education as an artist.  I had a place where I would stand in the back of the main floor and knew all the ushers who dubbed that spot, “Pete’s Place”.  In those two years I saw and heard a lifetime of great performances.

Since then I have had the great fortune to visit this hallowed hall many times and often had great seats.  Last night was, in fact, the first time I’ve ever watched a performance from the 4^th Tier.  But I must say I loved it.  There you sit above the orchestra looking down on the body of players and instruments and can watch the bowings of the strings and the bassoonists prepping their reeds and the timpanist tuning his kettle drums and the bass bassoonist endlessly counting bars of rests waiting for her big moment.

And the acoustics are simply magnificent.  No sound in the human hearing spectrum suffers from distance to the stage in either volume or clarity.  The high end of the 9’ Steinway Concert Grand sparkled and danced through my delighted eardrums during Lang Lang’s magical encore of Franz Liszt’s La Campanella.  The double basses and cello section both roared and warmed the walls and the piccolos cut through the distance like a knife.

Gabriel Faure

And the music!  Oh my goodness, the music.  I was not particularly familiar with Gabriel

Fauré’s Pavane in F-sharp Minor, Op. 50, but I am now.  It’s melody still soars through my brain and the way he harmonizes that melody in his orchestration was simply genius originality.

Lang Lang’s glorious performance of Ludwig Van Beethoven’s Piano Concerto No. 2 in B-flat Major, Op. 19 was like soft hands smoothing silk sheets.  This piano concerto, written when Beethoven was a teenager and in his early twenties is certainly portent for things to come from the master, but was not my particular cup of tea when it came to Beethoven.  It struck me as far too derivative and never really grabbed my ear and imagination except in the beginning of the second movement.  But who am I to complain about Ludwig – the man was a teeny-bopper when he wrote it.  Pretty amazing…

Ludwig Himself

It was the Dmitri Shostakovich Symphony No. 10 in E Minor, Op. 93 that I was really up for, however.  During it, I literally sat on the edge of my seat throughout in rapt amazement of the way he handled his orchestra.  I felt I was in a master class of orchestration as he spun out his themes evoking Russia at the time of Stalin’s death.  In the music was the war and the heartbreak and the devastation and the tonality of the Russian mind all captured in the double basses and cellos.  I would never need to travel back in time to experience that difficult period in history.  I was there last night in his music.

I was swept up by the beauty of his composition throughout the first half of the symphony and then, strangely enough, I found myself getting bored and asking, “Where are we going with all this?”  It seemed like themes would begin to be developed and then rejected as new ideas sprang forth.  I began to lose continuity and the end of the symphony seemed like a list of unrelated ideas tied together with only the sadness of a lost soul.  I was always swept up by the pure orchestration mastery of both the Philly and Dmitri’s sound, but I’ll have to admit that he lost me a bit compositionally.

I found myself thinking, “Well, he’s no Stravinsky” though he was a contemporary of Stravinsky’s.  If I sound critical, well perhaps I am a bit, but nit-picking the masters is legal, I suppose.  It’s a bit like booing the multi-million dollar baseball star at a ball game.

Then later I read the following in my program regarding Shostakovich’s work:

The personal meaning of the Allegretto is encoded in the music. This was one of several pieces from the latter part of Shostakovich’s career in which he spelled out his name musically. D[mitri] SCH[ostakowitsch], as it is spelled in German, corresponds to the pitches D, E-flat, C, and B-natural in German. (Other composers have done similar things since as far back as the Middle Ages, Bach most notably.) Shostakovich’s initials appear at first in the upper woodwinds near the start of the movement. The motto is later taken up by the cellos and basses, which leads to a forte solo horn theme that encrypts Nazirova’s (his girlfriend) name: The pitches are E-A-E-D-A (corresponding to E-L(a)-Mi-R(e)-A). The two motifs are combined at the end of the movement.

I guess I’m just not a fan of this kind of intellectual approach to musical composition.  I deeply believe in emotional story-telling, in the depth of the soul and height of the spirit and clarity of the beauty of the moment.  To write as a puzzle maker puzzles me and in the end, loses me.

I want to be moved, not intellectually challenged.  Who cares how his name is spelled and how that relates to music?  I don’t.

And looking back, that’s what lost me in the performance of his symphony.  I lost his connection to the Russian soul because he was off playing with word puzzles while Stalin was dying and the world was recovering from the most tragic war in its history.  Rather he had stuck to his brilliance and written about that instead of his name’s initials.

My rant for the day…

Did this ruin the evening for me?  Not at all.  I am blessed to live down the street from this magnificent music room.  I am blessed for the opportunity to hear and study this wondrous orchestra.  I am blessed to sit in the nose-bleed section and float off on the wings of the masters and their music.

I am blessed to work in the industry and play a part in the grand scheme of music.

Even More Inspiration

• I Stood In The Wings… Part 3
• I Stood In The Wings… Part 2
• The Changing Scene
• Gabriel, Come Blow Your Horn
• Even Now
• The Logic of Logic II

Note: The following is a compilation of several posts and some new updates intended for newer readers of this blog.  Much has been written about our new project, Goin’ Home.  If you’ve been following all along, you may find some redundancies here; however, if you’re somewhat new to the project, you’ll find here a summary of events and thoughts that will bring you somewhat up to date.

What if today you could go over to your neighborhood grocery, grab that cart and shop for anything your little ol’ heart desired, then, instead of getting into the checkout line, skip that and just head home with your groceries – steak, shrimp, Haagen Daz, throw in a little Kobe Beef, some chocolate truffles and perchance a tin or two of Almas Caviar.

When you got outside with your overflowing shopping cart, the police would be there, but would just look the other way as you passed by chuckling gleefully, licking your chops.

What a great idea!  Why don’t we do this?  Food should be free!  I think most of us would agree that life would be a lot easier if food were free.

Trouble is, after very little time, maybe the next time we went back to the supermarket, the aisles would be empty, the shelves bare.  “Hey, all the food is gone!” you might cry.  “Well, let’s go back to the farmers and get more,” the store manager would say.

So we’d go to the farmers and say, “Hey farmers, make more food!”  They would respond like this:  “Without getting paid, it’s just too hard.  Sorry, but there’s just no more food.  We’re gonna go do something else.”

Well, essentially that’s what just happened to the music business – except for one problem.  Of course the farmers equal the artists in this little analogy and the artists, who love to make music, are still saying, “Oh cool, you like my music? You actually want to listen to my music?  OK, I’ll give it to you for free!”

So it’s gonna take a little time before this situation is righted.  Give the starving artists a chance to really starve.   Then they won’t be able to make any more music no matter how much they love to do it.  Cuz we all gotta eat!

We are, today, living in that era of empty aisles and starving artists.  The music business has collapsed under the weight of horrible leadership. (The four majors ignored the power of the Internet for so long that now they’ve missed the boat.) File sharing and outright stealing have become the norm for millions of young people.

The unfair treatment of artists by the companies has long been legendary (the companies themselves would always make back all their investment before the artists ever saw a cent of their royalties), and now development money has completely dried up as both the major record labels and the indies struggle for survival.  Where would the pharmaceutical industry be without research and development?  Nowhere.

That’s the old record business.

But all is not lost.  Never before in the history of the world has music been more proliferate.  Everywhere we turn, there is music.  “The day the music died” is a virtual impossibility.  Music is simply that much a part of the human consciousness.

So, as part of the natural order of things, a new world emerges.  Out of the ashes of the old one rise new ideas, a more fair treatment of the artists by now paying royalties on first dollar earned, and a cutting edge approach to new ways of approaching fans and customers.

It is a renaissance time in which the artist is now asked to be both business person and artist.  Not only must he be able to play his guitar, but he must also be able to understand the constantly changing evolution of the Internet and its powers.

In most cases today, the artist must be his or her own investor, marketing department, graphics designer, videographer, accounting department and retail store.  Selling from their own websites, many artists have almost been able to accomplish the near impossible.  Where most fail is on the all-important level of promotion.  By the time the new music is finished, mastered and manufactured, there usually just isn’t enough money left to promote the product.

So the music sells to a few friends and family and sits quietly on a website among millions of other sites that perhaps receives a hundred hits a month, if they’re lucky.  And the music languishes on a virtual shelf.

One thing we know for sure: Acts who tour, sell.  Acts who don’t, don’t.  So we must tour.  Touring is expensive, however, and the money is gone.  Often, many artists don’t even get to this point, running out of money before the CD is actually completed.  It’s a frustrating scenario.

However, now there is the hope of companies like Kickstarter.com and Indiegogo.com, on-line companies where artists and entrepreneurs with creative projects can raise money through crowd-funding from leagues of possible friends and supporters from around the world.

We are exploring this very real possibility right now with a new CD, Goin’ Home – On Heaven and Beyond to be released in November of 2011 and promises to be an in-depth look at a subject that many of us spend most of our lives avoiding.  Here is a joyful, sometimes funny, sometimes poignant, exploration of the transition from this world to the next.  It’s really a celebration of eternal life.

The CD’s purpose is to open our eyes to the timelessness of our future.  The vision is to take an open-eyed look at an eventuality we all will face one day and face it head on.

The music is drawn from both original compositions, and also from the rich tradition of beloved Spiritual songs and Gospel lyrics from the past hundred years of the American songbook.

Great traditional songs like In Dat Great Gittin’ Up Mornin’, When The Saints Go Marchin In, the title song, Goin’ Home, with Antonín Dvo?ák’s timeless melody, and even Spiritual classics, I Ain’t Gonna Grieve My Lord No More and I Got A Robe all receive new fresh approaches and orchestrations and tremendous performances by a powerful cast of New York session vocalists and guest artists.

The choir alone is worth the price of purchase.  Led by double gold album R&B/Gospel vocalist, Jenny Burton, it’s performers comprise an ‘A’ list of world-class back-up singers who have sung with just about every major star in the music business – from Celine Dion to Stevie Wonder, Michael Jackson, Madonna, Sting, Bobby McFerrin and even Luciano Pavarotti.  The list goes on and on.

They are flawlessly organized by vocal arranger, Margaret Dorn, (Bette Midler, Jennifer Lopez, Carly Simon, Michael McDonald, Garth Brooks, Diana Ross) and together create a sound that blends with both a rich meticulous warmth and also can get up and shout down the rafters when needed.  They are: Angela Clemmons, Keith Fluitt, John James, Kevin Osborne, Catherine Russell, Vaneese Thomas and Darryl Tookes.

Guest artists joining this gathering of superb talent include: Julia Wade, who with seven Inspirational solo CDs under her belt is Watchfire Music’s best-selling recording artist, Tom Tipton, who served for 29 years as a soloist at Reverend Robert H. Schuler’s internationally famous Crystal Cathedral and has sung for four U.S. Presidents, Barry Danielian, one of New York City’s most in-demand session players recording with such pop notables as Celine Dion, Paul Simon, Bon Jovi, Ricky Martin, and James Taylor, and AHMIR, the #1 most popular R&B group on YouTube with over 50 million views.

We also close the CD with a new song recently penned by Grammy award winning songwriter, Julie Gold, best known for Bette Midler’s version of her song From A Distance which won the Grammy for Song of the Year in 1991.  Come To Me As A Bird is a heartbreakingly beautiful new song that is sure to capture the imagination of millions.

Watchfire Music, www.watchfiremusic.com , an Inspirational music company and on-line store, will release this CD and be the machinery behind the product.  Without the machinery, it’s pretty much a dead end road no matter how talented you are.  That machinery is almost in place.  The company is now in the black and running off earnings and no longer investor monies.

However, we’re not a rich organization.  We have to find special funding for special projects.  This new Kickstarter concept is most interesting to us because we have such a loyal and appreciative customer base.  We receive letters every day from people around the world expressing their gratitude.

With the projected Kickstarter money we will hire an Internet publicist, who knows these new and far less expensive ropes very well.  We have little overhead.  We run our company from virtual offices in four cities across the country over Skype, the Internet and email with a little telephone thrown in.”

It’s a different world, but I truly believe we’re on the cutting edge of it.  The Internet is the new way and we’re using it and understanding it.  It’s an exciting new Phoenix rising that fascinates me every day.”

So, once again we mount another CD, another show, but with a stronger machinery behind us.  With the success of Watchfire Music over these past 6 years during the roughest period in the history of the music business, we have been able to put together a strong on-line presence, a smoothly working delivery system to tens of thousands of loyal customers and have an Inspirational record company and on-line store to back this project.

Let’s be honest here, however.  The future of the music business, with all the file sharing and “free music” concepts, is a very tough road ahead.  The Internet is the new Tower Records and the hope is that this new and challenging world will provide a new start and a better way.

We’re small, but nimble – perhaps not yet a supermarket, but rather an elegant deli finding it’s way through this new world.

A three-city tour and subsequent Internet webcasts of the live performances are in the planning stages for 2012.

To find out more go to:

http://kck.st/o9vUvR

Even More Inspiration

• Light At The End Of The Tunnel
• Spiritual Scientist
• Love Is The Reason For Living
• Looking Back on 2010
• I Stood In The Wings… Part 4
• The Changing Scene

Consequently we have begun a 30 day Kickstarter.com campaign to raise money to complete and promote a CD project that I’ve been working on now for over a year and a half.

It’s the making of new CD called “Goin’ Home” and a subsequent National Tour around this CD.  It involves an inspiring blend of great tradition and cutting-edge new music and deals with a very important aspect of each of our lives.

It deals with the experience at the end of our lives that we each face eventually that I like to call “transition”.

In the words of Jenny Burton, one of the project’s stars, “It’s a subject that, at first, we walk away from, but will walk towards one day, so why not walk towards it informed and without fear.”

I, personally, would like to go through that experience, when it comes, fully aware and alert, expectant joyful, and filled with spiritual curiosity.  When it comes to that transition, we Americans tend to look the other way and pretend that it doesn’t exist.  I don’t want to be like that.

What better way to prepare than to write about it.

So Goin’ Home is about Heaven and beyond.  I’ve thought from childhood that the much of the world’s perception of Heaven, though certainly idyllic, was really rather like a fairy tale or a Santa Claus story.  In a song entitled Heaven on the CD I write the following:

I don’t believe in Heaven
As a place up in the sky
A place where all the angels sit
As the clouds go passin by

I don’t believe in Heaven
Dressed in white and gold
A city in a world upstairs
Where all of our wings unfold
And a God sits upon his throne

I see it more as a state of mind
Since my body gets left behind
I see it more
As an open door
To a life of another kind

I don’t believe in Heaven
As a place this side of Hell
A place where all the good folks go
A place where the spirits dwell
An’ ol’ Peter a-rings dem bells

I see it more as a holy space
A place to pause
A spiritual base
I see it more as an open door
To a kind of a quiet grace

And when all is said and done
I think that Heaven
Like earth
Is what we make it
It’s a moment in the sun
It’s a cleansing time
In a state of grace
It’s a place where laughter reigns

Oh it’s Heaven
Heaven
It’s Heaven
Oh it’s Heaven

So this CD and eventual concert tour explores the eventuality that we all face at one time or another.

But it’s also an experience about music and great songs, and uplifting and joyful singing.  It’s fun, it’s funny, it’s rich in its depth and it definitely rocks the house.

Goin’ Home is written as a Gospel Cantata.  A cantata is simply short for “a musical composition for voices and orchestra based on a spiritual text.”

It’s performed by a mostly African American cast of top New York Session singers – great friends that I’ve worked with many years now.  In future posts I’ll tell you much more about this amazingly talented group of artists.

“So what is Kickstarter.com” you must ask.

Kickstarter is the largest funding platform for creative projects in the world. Every week, tens of thousands of amazing people pledge millions of dollars to projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields.

A new form of commerce and patronage. This is not about investment or lending. Project creators keep 100% ownership and control over their work. Instead, they offer products and experiences that are unique to each project.

All or nothing funding. On Kickstarter, a project must reach its funding goal before time runs out or no money changes hands. Why? It protects everyone involved. Creators aren’t expected to develop their project without necessary funds, and it allows anyone to test concepts without risk.

We’re giving ourselves 30 days to raise the necessary $9500 of funding.  Those 30 days started October 3, 2011 and will end November 2, 2011.  I urge you to participate in this drive to not only support Inspirational music, but also Watchfire Music, the CD’s record company and on-line place of purchase.  Most of all, I ask you to support the uplifting idea behind the project.  Its purpose is to open our eyes to the timelessness of our future.

Your contribution, whether large or small, is critically important to the success of this endeavor.  Every dollar counts.  If each person on our mailing list just gave one dollar, we’d get there and beyond.

We’d love you to be a part of this very special event.

To learn much more about this endeavor please go to http://www.kickstarter.com/projects/174116135/peter-link-goin-home-cd-and-concert-tour

Even More Inspiration

• Even Now
• My Body
• WFM Listening Room — Series II Opener
• What Is A Cantata?
• Gabriel, Come Blow Your Horn
• Light At The End Of The Tunnel