In the Midst of the Chaos...

I asked my wife to marry me in October of 1992.  She is four years younger than me - a bigger deal when I was 19 and met her at Band Camp (yes, band camp) - then it is now.  One of her favorite stories was about the first concert she ever attended.  It was a late September wholesome family outing.  Mom and Dad drove her and her two older brothers up from LaSalle / Peru, IL (a few hours Southwest of Chicago) to the International Amphitheater on the south side of Chicago to see...KISS.  Ken, my wife's oldest brother was 16 and fully inducted into the KISS army.  Calling Ken a mere follower of Team Gene, Ace, Peter and Paul would almost be a disservice to him.  The Amphitheater in Chicago was a concrete block of a building.  Any rock show was going to shake those walls, but KISS took it to a new level - or so I hear.  The line of the night, as my mother-in-law tells the story, is when my wife (her then eight year old daughter) looked up at her and said, "Mommy - they're playing in my stomach."  But despite the sound level and the "funny smelling smoke," the family marched on into a concert experience that still gets talked about during Thanksgiving dinner.  So, now that I was marrying into this family, how did I get on the good side of my future father and brother-in-law?  I took them to see KISS. 

KISS was on tour (sans make-up) in support of Revenge throughout the majority of 1992.  With supporting acts Great White and Trixter on the bill, they made their way back through the Midwest - with a stop at the UIC Pavilion in Chicago in late November.  Jeff McClusky and Associates, my first job in music promotion, had been hired to work the new Trixter single, "Road of a Thousand Dreams" to see if it could gain some traction at radio.  I reached out to the local MCA Records promotion rep to see if I could get three tickets to the show and some passes to meet the band.  Even though it was a business gesture, my ulterior motives were clearly in place - and I am sure that didn't go unnoticed with this request.  MCA Records came through for me and with tickets and backstage passes in hand, our night was set. 

Bands usually meet fans before or after a concert.  Some have done meet and greets while a support act is on stage, but I have found that to be pretty rare out of respect for their fellow touring brethren.  The tour manager usually scouts out a room backstage or in an adjacent hallway so that fans and winners can be lined up in an orderly fashion to say hello, take pictures and maybe - depending on the guidelines set up by the band and artist management - get something autographed.   For this particular show, the meet and greet was on the main level in a back hallway of the UIC Pavilion prior to the show.  Trixter was scheduled to be on first at 7:30 so we had to get to the venue when doors opened at 6 p.m. to make sure we had time to meet the label rep and say hello to the band.  We joined the already 40 or so fans on the main concourse that were lined up and ready to head downstairs to meet Trixter.  Security identified our meet and greet group by the rectangular, blue backstage passes that were stuck to our shirts.  After short wait, we started down the stairs to the main level.

Exiting the stairwell on the main level backstage was like playing an advanced game of Frogger.  There were so many people walking by the doorway, we weren't sure we would be able to break through the stream of fans.  With my future father-in-law leading the three of us, we were the end of the line as far as our meet and greet group was concerned.  I'm not sure how we missed sticking with the line, but instead of stepping through everyone, we watched as our excited and anxious Trixter meet and greeters disappeared into the crowd - leaving us on our own.  In my 20+ years in the music industry, I have still never experienced a more crowded and chaotic backstage area than that night at the UIC.  We edged out into the back hallway of the arena and stood up against the wall to survey to situation.  I asked a few different guys wearing venue security jackets where we needed to go for the Trixter meet and greet, but all I got was a blank stare from each of them.  I wasn't sure what to do next but I knew it wasn't going to include anything with Trixter.

I spotted the Mercury records rep trying to herd a small group of VIP's through the stream of fans and into a room off of the hallway.  He looked completely frazzled.  After having my share of nights directing meet and greets where you need to make sure the high level VIP's are happy and get the "full treatment," I can look back and sympathize with what he was going through.  We figured we would stay put for a little longer just in case we saw the MCA rep or someone from our group come back looking for us…even thought we knew it was a long shot.  But after a few minutes we decided that a beer and some open space would be the better option.  As we turned to head back into the stairwell, the Mercury rep came back out of the room followed by Gene Simmons and his bodyguard. 

"Sam.  Sam.  Sam!!" I yelled with increasing intensity over the noise.  He spotted me against the wall and held up his finger telling me to wait a minute.  I pointed to my group and then to Gene to see if he would let us say hello.  My brother-in-law Ken, always a cool customer, was just that….but I know his heart jumped and his stomach turned over.  Sam looked back over at me and shook his head "no" and pointed ahead.  I could barely make it out as he mouthed the word "interview."  This just wasn't our night.  Ken was a good sport about it but I could tell he was bummed.  My father-in-law looked a bit disappointed as well.  I think he had told some of his colleagues he was going to the KISS show and this would have made a great story.  Gene was now being recognized by everyone - which caused a rush toward Sam and Gene's bodyguard.  They pushed forward and carved a path through the crowd and into a secured area where Gene was scheduled to do a radio interview.

Ken asked if we could wait to see if Gene would have a chance to say "Hi" on the way back - assuming he was coming back - so we stayed put against our wall.  It was still pretty crowded but the three of us had been able to make our way into a bit of a corner and carve out some space against some backstage equipment and the wall.  We watched and commented on different fans backstage, empathized as Trixter's band crew tried to get through to the stage with equipment and generally amused ourselves while we waited.  Great White must have just finished their meet and greet because a long line of winners were being escorted back upstairs into the pavilion.  As the final few went by, someone in the group either tripped or got pushed from behind, and ended up poking me in the right eye.  I covered my eye but the pain wasn't too bad.  My bigger concern at that point was my contact lens.  I lifted my head and slowly moved my hand from in front of my eye.  I opened it to blurred vision.  I had a lens in my left eye but nothing in my right eye.  I immediately dropped down to one knee and felt around on the concrete floor.  I had a pit in my stomach.  Crowded, hot, busy and no one had seen what had happened.  In the midst of the chaos, as I frantically looked around for any sign of the lens, I heard a voice say "It's near your foot."  I looked and felt around for a second, but I didn't find it.  There wasn't a lot of light and I was now half blind.  "Your right foot - it is right next to your right foot" the voice said again.  I lightly brushed my hand over the floor and it caught my thumb.  Holy Crap - there it is!!  Totally relieved, I stood up - right into the face of Gene Simmons. 

"Holy shit.  I mean, uh, thanks.  How in the hell did you see that?  You must have been six feet away?!" I said to him. 

"I'm not sure - I just did" Gene said back to me.

No one had seen me get poked in the eye or drop to the floor because they were all looking at Gene Simmons coming back down the hall.  I thanked him again and asked if he would take a few quick pictures with us.  Sam, the Mercury Records Rep, who was still with him and the bodyguard, snapped that they weren't taking any pictures and that they just didn't have time.  He was definitely having a bad night.  Gene gave Sam a look like "Don't fuckin' tell me what I can or can't do" and then very politely (almost as if to stick it to Sam) looked back at the three of us and said "I would be happy to."

After a few very quick off-center pictures, Sam, Gene and the bodyguard slipped back into the room down the hallway.  We stood there a bit dumbfounded not really sure what to say.  We had started the night in line to meet Trixter and ended having Gene Simmons save me a couple hundred bucks and assure that I would still be able to (literally) see the show.  After re-telling the story to each other right after it had happened - like none of us had actually been there, we made our way back up the stairs to the concourse to grab a beer.  By this time, Trixter was already on stage and Great white would be up next.  We made our way to our seats and watched the show while waiting for KISS to hit the stage.  They ripped through a massive set list closing out the night with "Love Gun" and the Star Spangled Banner…as the on stage replica of the Statue of Liberty crumbled giving way to a skeleton hand giving the crowd the finger.  I thought the place was going to implode as everyone erupted in approval.  Rock and Roll - KISS style. 

That was the only time I saw KISS in concert but it was a damn memorable one for me.  When the KISS conversation comes up at Thanksgiving, the 1992 concert, failed Trixter meet and greet or the contact lens don't come up…"Mommy, they're playing in my stomach" is always the line that wins the night.  My take-away?  As much fun as we had, nothing beats a wholesome family outing to see KISS.

I'm Pretty Sure I'm Not Coming Back

When promoting a new artist or a new song, record companies set aside marketing dollars to help get the project "off the ground."  One marketing avenue might be to support a radio promotion that ties into the song title, the name of the artist or maybe as part of a larger, overall, station promotion.  In some cases, record labels offer up the artist to perform at a radio or retail event - if it will get the song on the air, help overall exposure and ultimately help get other stations around the country on board.  Sometimes the artist will be offered to multiple stations in the same market (in this case) on the same day.  

Blair MacKichan was fronting the house band for Channel 5's "The Jack Docherty Show," a nightly "chat" show recorded at the Whitehall Theatre in London.  But he also wrote his own music and fronted several of his own bands.  Blair landed a single called "Have Fun., Go Mad" on the soundtrack for the movie "Sliding Doors" - starring Gwyneth Paltrow.  The soundtrack also featured the singles "Turn Back Time" by Aqua and "Thank You" by Dido which was sampled by Eminem in his hit single "Stan."  MCA Records signed Blair to a singles deal, which basically gave MCA the option of signing Blair to a longer contract depending on the success of the single.  Based on some early buzz from music directors around the country and some early radio airplay, MCA Records brought Blair to the U.S. to help promote "Have Fun, Go Mad," try and launch a career and see if the single would catch fire at retail.

"Have Fun, Go Mad" was doing pretty well for me regionally and I had three stations in the Green Bay / Appleton area playing it which also meant that I had three stations requesting Blair to do something on their behalf.  WIXX, the long time heritage Top 40 station in the market requested Blair to perform as a part of a county festival on the Saturday of Memorial Day weekend.  WKSZ, the other Top 40 in the market (whose Program Director was a close friend of mine), requested to have Blair come in and perform at the station for a small group of contest winners.  And then there was WQLH, the Hot AC / Mix station in the market, who wanted Blair to perform on site at an event they had planned with one of their advertising clients.  Oh - and they all requested their performances on the same day…and they all fell between Noon and 7:30 p.m.  In hindsight, I should have pushed back and spread them out over two days, but this is the hand we were dealt and I just kept telling myself that the market exposure and airplay would be worth it.  I made sure to remind my boss that the Green Bay / Appleton market had more airplay than any other market in the country.  If the song wasn't going to "take off" there - then it wasn't going to take off anywhere.

I left Chicago at 6 a.m. that Saturday morning and drove up to Austin Straubel International Airport (which is now up to 2 runways and 12 gates) in Green Bay to pick up Blair who was arriving on a 9:30 a.m. flight from some other market where he had done a radio performance the night before.  I had gotten performance and rider requirements from my record label to make sure he had what he needed at each of our stops, but I certainly didn't realize it was going to be just him when he landed.  I met Blair at the gate (which was still possible at the time) and took him and his (one) duffel bag to the car.

"You want to head to the Radisson hotel first to drop off your stuff?" I asked as we pulled out of the airport parking lot. 

"Neh - but I could use a bite to eat.  Any place we can get some crisps?  Or maybe some fish fingers?"

I thought the accent and some of the terms used in Wisconsin were entertaining…this experience should give me a whole new dictionary of words and definitions. 

Over breakfast at a local diner I gave Blair the run down for the day.  It all sounded good to him…the more to do - the better.  His perspective was that he wasn't sure what would happen with the single, so whatever he could do - and as many places as he could visit - he was game.  "Listen, I know this is a singles deal - and I don't think they will pick up the album, so I get to travel all over America, sing this bloody song over and over and have a blast.  I have nothing to lose."  Blair certainly had the right attitude going into our Saturday event-a-palooza.

On the way to the first station, 96.9 Kiss FM - I had Blair call the radio station request line.  They did a quick on-air interview and he made a big deal about how excited he was to be coming performing and that he would be arriving soon.  When we arrived just after Noon, there were 20 or so people in the conference room.  The station had set up a small mic and DAT machine and had cleared out the conference table and chairs.  He did another on air interview, took questions on the air from the in-house audience, performed a few songs, took pictures and signed autographs.  It went very smoothly and even though the Program Director was not happy we were going to be with two other stations that day, they were playing the single more than anyone and had really done a great job promoting his appearance.  Before we made our way back out to the car, I saw Blair talking to a younger contest winner.  I saw him writing on a piece of paper on her back while she beamed and bounced up and down…making it hard for him to write.  Blair and I were both in our early 30s at the time - so this did not thrill me to say the least.  This wasn't just an autograph he was signing...and I am not sure she was a day older than 16 either.  It really wasn’t my business, but when we got in the car I pointed out how excited the girl was to meet him. 

"Oh yes - she was proper" he said somewhat sarcastically. 

"So you gave her the hotel info?" I had to ask.

"Sure - I wrote down that I was at the Holiday Inn in Green Bay - room 223."

"But you're at the Radisson and you haven't checked in yet" I countered.

"Exactly! What - You think I'm a wanker?"

I breathed.  He laughed.  Point taken.

WQLH was next.  I had directions to the entertainment complex where we needed to be at 3 p.m. up in Green Bay - about a 35 - 40 minute drive.  It was already after 1 p.m. so there wouldn’t be a lot of downtime once we arrived.  This time Blair called WQLH and did another on air interview and made a big deal about how excited he was to be performing for them and that he would be arriving soon.  Sounded familiar.  I pulled into the not-so-full parking lot and parked next to the station van.  I told Blair to hang for a bit while I made sure everything was set up and to make sure he had a place to warm up for his performance.  The Program Director came over and I asked where he was going to be performing.  He pointed behind me.  I looked back over my shoulder and saw batting cages, a putt putt course and a Go-Kart track.  "You want him to sing on a Go-Kart track?!" 

To this day I laugh every time I picture Blair, complete professional that he was, singing his hit song to a group of, maybe, 17 people while dancing around - and even sitting IN - a Go-Kart.  I was hoping it would never end for two reasons:  One - I didn't want to have to face him after what I had just put him through and Two……you just can't make this stuff up!!

Our last stop of the day was for the WIXX festival show.  It was unseasonably warm that weekend and, even with the sun going down soon, it had to be in the lower 70's.  Three bands were performing that night and Blair was opening the show.  It was a massive stage, full lighting rig - the real deal.  Blair called in to WIXX and did a quick on-air interview and made-a-big-deal-about-how-excited-he was-to-be-performing-for-WIXX-and-that-he-would-be-arriving-soon.  (He had this part down solid.)  As we pulled up to the backstage entrance, Blair's eyes lit up.  "Wow - big crowd tonight - this is going to fun." 

Blair got settled in the backstage area while I went to take a look at the set-up and the crowd.  As I looked out front past the backstage barricades, I wondered if we were at the right event.  Tight jeans, belt buckles and cowboy hats flooded the area making me question what was going on. But I looked up and there was the WIXX banner hanging from the stage.  I had heard that the festival had paid something like $50K for the headliner and that WIXX was just sponsoring the event while agreeing to  secure two opening acts.  Maybe I have blocked it out of my memory but I can't recall who headlined the show - though Southern Rock does come to mind.  How was I going to go back and break this to Blair.  Ask him if he knows the words to "Rawhide?"  A British pop song singer in America's heartland opening for a southern rock band on Memorial Weekend.  Yes - Fun!

"So they have you scheduled for 20 minutes.  I will be out at the soundboard and you should be good to go.  Just make the best of it" I said to Blair as he waited at the bottom of the steps leading up to the stage.  As I walked away, I turned my head and said  "Oh - and by the way - this is really more of a rock crowd."  Blair cocked his head to the side like he couldn't hear me…which was fine with me.  I went out front as he started his first song and watched as Blair ran around the stage, reached out to the fans in the front row and did his best to get this crowd going.  But no one knew either of the first few songs and I'm not sure the crowd cared either.  This wasn't a teen crowd, it was more like a 25-54 crowd and It wasn’t until he started to sing "Have Fun, Go Mad" that the crowd even started to buzz.  It was good to see them respond to the song but I think Blair wanted it would be memorable for them.  When I asked him later why he did it, Blair matter-of-factly stated - "I had to do something for myself today.  I am pretty sure I'm not coming back."

Early on in "Have Fun, Go Mad, after his usual stage moves and choreography, Blair started climbing part of the rigging on stage left.  He got about three quarters of the way up and yelled "Are you having fun?!  Are you going mad?!"  Anyone not paying attention - was now.  He climbed a bit higher and the rig started to sway.  He was hanging off the side of the rig like Gene Kelly on the light post in "Singing in the Rain."  The Music Director at the station yelped "What is he doing?!  Security is going to kick his ass…and mine of he doesn't stop that."  But the crowd was totally into it now and you could tell he was feeding off of the energy.  As the song was coming to an end- Blair was almost back down from the rig.  He got a huge roar from the crowd.  He took a bow - from the rig - and  jumped the last 6 feet or so back to the stage.  As the Music Director and I went to meet him at the steps, two uniformed policeman were already waiting for him.  The crowd response was just starting to die down.

"That was just plain stupid" the officer said.

"Officer," I interjected, "He and I are heading straight to his hotel.  He has a flight in the morning and I am sure you have other things you would rather be doing tonight."

"That's probably a good idea" said the officer as a smirk crossed over his face.

I dropped Blair at the airport the next morning and never did get to work with or see him again.  "Have Fun, Go Mad" was never a huge hit - peaking near the Top 10 (but not really driving any sales) and MCA did not pick up his album deal.  But it did well regionally and Green Bay lead the way nationally in sales of the single.  And not to be forgotten is that it was a hit for my daughter's 4th grade soccer team and still gets a spin in the Swanson house when things get a little bit crazy.  Blair is still writing music has had recent credits writing for Will Young and is credited with co-writing Lily Allen's 2007 hit "Shame for You."

To this day, I can't pass a Go-Kart track without thinking of Blair.

$200 and a Flat bed Truck

"What Girls Want" was the debut single from Material Issue's second release, Destination Universe.  This was the follow up release to their 1991 release, International Pop Overthrow, which got noticed with hits "Valerie Loves Me," "Diane" and "Renee Remains the Same."  Their record label, Mercury, was really high on the band and saw a chance to build on the success of Material Issue's debut release by getting them back in the studio and then out on the road. 

Alternative radio, as a music format, didn't really exist yet - Q101 in Chicago had not even made the switch - though it would a bit later in 1992.  So outside of the college radio format, promoting to mainstream radio, whether it be Top 40 or Rock radio, was the way to go. 

When the first single, "What Girls Want," was being serviced to radio stations, I was the Director of Secondary Promotion for Jeff McClusky and Associates - the largest independent record promotion company in the U.S.  I loved Material Issue's first release and was excited to see what this hometown band could do with the follow-up.  I made a pitch to work the single with our list of secondary radio stations and got the green light.  The "Secondary's" were Top 40 radio stations that were either not yet a part of the Radio & Records reporting panel or were stations in smaller markets around the country.  My philosophy was that even though these were not big markets individually, that as a whole, the secondary markets reached almost 11 million people.  So it was like reaching out and adding another Los Angeles or Chicago to the listening arsenal.  These markets ranged from Battle Creek, MI and Wilmington, NC to Mankato, MN, Dodge City, KS and Laredo, TX.

Laredo, TX currently has a population of 188,000 with 180,000 (according to the latest Arbitron ratings) being Hispanic.  It is also an interesting market because even though the U.S. reach is just under 200,000, Laredo radio reaches an additional 500,000 people right across the border in Nuevo Laredo.  KRRG Radio, Energy 98, was one of 175 stations my department talked to on a weekly basis.  I had become pretty good friends with the programming team (Mark and Al) at the station and I had already visited the station once to further build on our relationship.  The first time I got off the plane in Laredo, Mark met me at the airport and with a big smile, an arm-on-the-shoulder handshake and proclaimed "Holy shit, Paul - you just doubled the white population in Laredo!"

Energy 98 was getting ready to celebrate a station birthday and wanted to put on a free show in downtown Laredo.  They had a local band to open their event, but they needed a national band to headline their party.  I asked if they were interested in the Material Issue song because I had heard that the band was available to do some shows  - helping promote the new album.  The station just needed to cover the cost of travel, back line, etc.  Mark and Al talked it over and decided it would be a fun show.

I called Tony Smith at Mercury Records (who had hired me on the project) and told him what we wanted to do.  "Laredo Texas?!  What are they going to do in Laredo Texas?"  But after some discussion, realizing that the station was a strong supporter of a lot of his records, as a favor to me and as a way to show the band that the label was doing everything it could to promote them…he agreed.  Wow, I thought - we just might quadruple the white population in Laredo with this show.

Laredo is a beautiful little city, loaded with incredible architecture, heritage and very friendly people.  I landed in Laredo the day before the show to make sure the station was set, had all of the required back line, items for the food rider and closed off on all of the required details.  Mark, Al and I pulled up to the center of town to look over the progress of the set-up.  I got out of the car and saw a stack of cones, 4 crash barricades, and a flat bed semi. 

"Paul - I know what you're thinking," Mark jumped in.  "Don’t worry.  The sound and back line will be here in first thing tomorrow and we have 4-6 police officers that will be here as well for security." 

Now I don’t think they felt they were unprepared.  I do, however, think that culturally, there was a lot of trust in the audience and how everyone would behave during this concert.  But there was no way I could have the band, who we needed to soon pick up from the airport, feel that the station was unorganized or that they would ever feel like they were any danger with a potentially large crowd.

"Hey Mark - when is that flat bed going to be moved?" I hesitantly asked. 

"Why, do we need the stage to be somewhere else?" Al asked as he tried to envision what the event would look like.

"No - that is where the stage should go - but the flat bed is in the way," I countered.

Mark looked at me with a curious look on his face and stated, "Well we don’t want to move it then - that is the stage."

BOOM!

Knowing we had a few things to figure out in the next 18 hours before show time, we got back in the car and headed to the airport.  Laredo airport in 1992 was not hard to navigate.  It had two gates.  So if your party wasn't at Gate 1 - move 50 feet to your right and they should be at Gate 2.  The band was flying from Chicago through Dallas and connecting on a prop plane to Laredo.  Mark, Al and I waited at the gate for everyone to de-plane.  Everyone got off - except the band.  I ran over to the nearest pay phone and called the record label.  They didn't have any info so I called the travel agent. 

"Oh - they didn’t make the flight.  There was bad weather out of Chicago and they didn’t make the connection in Dallas in time.  Don’t worry - they will be there tomorrow - first flight arrives at 10 a.m." 

CRAP - I have a show that is supposed to start at 2:30 p.m. and I won't even have a band until 10 a.m. - hopefully.  I told the station not to worry (crossing my fingers) and we went back to work at the stage area.  The station arranged for more barricades, set up check points, got security involved to go over a game plan, went shopping for the food and beverages for the rider and made sure t-shirts and other prizes were set for the show.  Now - the stage.  The station called around to see if they could get something brought in to replace the flat bed, but the closest stage was in Brownsville.  Being that it was just under a 4 hour drive from Brownsville to Laredo…this just wasn't going to happen. 

Around Midnight I finally got hold of the tour manager at a hotel in Dallas and filled him in on where we were for the show.  "Sounds like we should be O.K.  Jim, Mike and Ted are good about improvising and will make the best of it."  Deep sigh…I could sleep tonight knowing we should be prepared for tomorrow.

At 10:00 a.m., we met Material Issue at the airport as the station was on the air broadcasting the band's every move.  This was a big deal.  It is possible that Energy 98 learned this "every move programming" from CNN and their coverage of Desert Storm.  We got them over to the hotel around 10:30.  A bit after Noon, Jim Ellison, the lead singer and guitar player, called me in my room and said he wanted to go check out the stage and get a feel for where they were going to play.  He, Ted Ansani and Mike Zelenko were tremendous to work with and were in pretty good moods - under the travel circumstances.  We pulled up to the center of town and immediately Jim asked me what the back line was doing on the back of a flat bed.  I explained the situation and that the tour manager had said that it should be "OK." 

"Nope - can't do it," Jim said without hesitation.  "There is no way we can do a show from a flat bed…it just wouldn't be safe.  I'm not sure we would actually fit up there anyway.  I'm not trying to be a dick, but it just isn't safe."

"Gotcha - I hear what you're saying Jim.  But we have to find a way to do this show - it is supposed to start in two hours."  A crazy thought then popped into my head.  I turned to Jim.  "What if we got a second flat bed?"

"Mark - come pick me up - we have to go find some more stage."  Maybe the local Hertz or Avis locations had something we could rent - or maybe an industrial company outside of town.  Mark and I headed north our of Laredo.  We weren't 4 miles out of town when an empty flat bed passed us going south.  Mark and I looked at each other with that "are you kidding me?" look on our faces.  I think the car was on two wheels as he pulled a 180 to turn around and catch that truck.  We pulled alongside and waved him to pull over.  Mark explained to the driver what was going on and that we just needed the flat bed for about 5 hours.  He wasn't going for it until I pulled some cash out of my pocket.  Money does truly speak an international language.  Mark translated for me as I told him we would pay him $200 if he followed us back into town and parked his flat bed until 6 p.m.  He quickly agreed to the plan.  We got back into downtown Laredo around 1:30 and got the flat bed in position to give the band 16 feet of depth - instead of 8 feet.  The driver took off and as we moved the back line and instruments into place we brainstormed ways to fill in the gap between the two flat beds to make sure it was safe.  Sometime after 2 p.m., Jim, Mike and Ted came to check things out and do a quick sound check.  We already had a few hundred kids out front - but there really wasn't any other choice.  The guys did a few quick monitor checks and ran through parts of a few songs before coming off stage.  The band huddled together side stage with the tour manager - looking concerned.  Jim was a bit animated, pointing over to the stage and gesturing with both arms.  I felt a huge pain in my stomach - I think I was about to get some very bad news.  The opening band was about to start playing (as they had set up in front of the stage at ground level) and there really wasn't anything else I could do.  Mark was asking me if the show was going to happen or if he needed to get his staff out on the flat beds to entertain between band performances.  I ran over to break up this little band meeting.

"Guys.  Sorry to interrupt, but we have to do this show - on this stage.  The station has been all over the single, it is their station birthday concert and they have been on the air talking about for the last month.  I'm sorry about the flat beds.  We'll laugh about this someday - right?"  I was pleading with them.  Jim glared at me for what felt like ten minutes before cracking a smile and giving me a big pat on the back. 

"We get it.  It isn't ideal by any means, but what else do you do when you go to Laredo?  You play a rock show."  OK - record guy freaks out and band gets a good laugh.  They could have put me in a dunk tank - I was just relieved they were going to play.

Because of the logistics, equipment issues and the addition of the second flat bed, Material Issue went on stage about 90 minutes late.  But when they hit the first note of "International Pop Overthrow," I pumped my fist and gave Mark and Al a huge high five.  The band played almost an hour and a half, invited the station staff back to their hotel for an after party and headed back to Chicago - through Dallas - the next day. 

I saw Material Issue 8 - 10 more times in the next 4 years - shows at The Cubby Bear, Oak Theater and other clubs around Chicago.  I would often see Jim Ellison around town at different industry events.  The last time I saw Jim was at the Hard Rock Café in April of 1996 as he was leaving with Rick Nielsen of Cheap Trick.  Jim tragically took his own life on June 20, 1996.  His death hit me harder than I expected and I still miss thinking about "what could have been" for him and for Material Issue.

When my daughter entered first grade in 2005, we headed over to the annual "Back to School" picnic.  I asked her who she had met and who was in her grade.  She listed off several names - none of which I recognized.  "And a boy named Teddy," she added.  "His dad is playing in the band today over on the playground.  I can't pronounce his last name."  Almost 10 years after I had last seen Material Issue in concert, I was reunited with Ted Ansani…on our grade school playground.  I re-introduced myself and we had a nice conversation.  It felt really good to see him after all that time.  And wouldn't you know it, his oldest son, Paul, plays in a band called The Break.  Look them up - they are really good…even recently headlining a concert during the 54th Annual Grammy Awards telecast viewing party presented by the Chicago Chapter of the Recording Academy…and I am sure they didn’t have to play that show on a set of flat bed trucks.

Another Level

I have always felt lucky that the majority of the musicians I have either met or worked with have been respectful, kind and have extended themselves even if they weren't having their best day.  I guess it is to be expected though, right?  Marketing yourself to your fans, to radio, to retail (I know, what retail?!), the press, through social media and even to those who are promoting or working on your behalf should be part of building a career.  - not much different than what any business professional needs to do to continue to learn, grow and get to the next level.  But the process (and in some cases the constant spotlight) has to be tiring.  There have got to be days where any musician just wants to hide and blow it all off.  But there are definitely exceptions - musicians that seem to always be "on."  They have a personality that thrives on other people - on their energy and their presence.  What is even more remarkable though is to encounter a musician that makes everyone around them feel like they are a part of their success.  Leadership books will tell you that strong leaders have strong teams around them. Behind the scenes some musicians may be more demanding than others, some a bit more calculating or protective, but each situation is going to be different and the reasons for each musician will vary.  But at the end of the day, besides talent, the qualities I have seen that keep musicians relevant over time include a mind for marketing, respect in how they treat the people around them, listening skills, common sense and an insatiable appetite for their day (or night) job.

I decided to write about this after someone recently asked me who I most enjoyed working with in the entertainment industry.  I have had a blast working with a lot of good people but the criteria above came to mind because it said more about who they were as a person - not just as a musician and public figure to a (sometimes) massive fan base.  Keith Urban, Andrew McMahon (Jack's Mannequin), Semisonic and Blink 182 come to mind as being near the top of that list, but one person always seems to jump front-of-mind for me.  Sammy Hagar.

The Red Rocker.  Montrose, Van Halen, Chickenfoot, "Where Eagles Fly," "I Can't Drive 55," "Heavy Metal," "Dreams," "Right Now."  The list goes on.  Sammy Hagar - (as I would soon experience) the guy who holds up banners on stage or puts on customized t-shirts that fans bring to the show all while belting out hit after hit.  For the night - it is the biggest rock party in town - and he has invited everyone to come and join in.  If you have ever been to a Sammy Hagar show, you know what I am talking about.  But outside of Van Halen, I had not yet seen Sammy solo.

The week before I joined MCA Records back in August of 1997, my (new) boss asked if I would go to see Sammy Hagar at The Rosemont Theater here outside Chicago.  He was out on the "Marching to Mars" Tour.  And boy did they tour.  As Sammy writes in his book My Uncensored Life in Rock, "I played three thousand-seat theaters and did every city in the country, 142 shows that year and 138 the next year.  We went door-to-door.  Everywhere we went, I was saying, 'I am back.  I am back.'"  I stood around in the hallway back stage before the show.  Having not yet started for MCA, not knowing anyone involved in this production and watching the MCA rep I was replacing pass me by carrying autographed posters and merch, I felt a bit out of place.  After a good 20 minutes, I hooked up the tour manager and he immediately brought me in to meet Sammy.  Even though he was scheduled to be on stage on 20 minutes, he told me to come in, sit down and grab a drink.

Sammy was full of energy and seemed to be moving non-stop.  He dove right in.  Sammy started peppering me with question…about me.  But not like an inquisition, but like he wanted to get a crash course on the new guy.  Where I was from, if I brought anyone to the show and when I was officially starting with MCA Records.  He wanted my opinion on what single I thought should be released next to radio, if I liked the album and which sunglasses he should wear on stage.  He then called in Vic (his lead guitarist) and Mona (his bass player) and introduced me to them.  Vic suggested I watch from side stage and went to find the tour manager to make sure I had a pass.  I was sold.  I had not even worked a day yet for MCA but it made me want get on the phone that evening and call anyone who would listen and tell them that they needed to play "Marching to Mars" more - just…just because.

Early in 1999, MCA was getting ready to release Red Voodoo - the follow-up to Marching to Mars.  The lead single was a track called "Mas Tequila."  Sammy was also getting ready to launch his new brand of tequila, Cabo Wabo, and rock radio was playing "Mas Tequila" all the way to #1 on the rock charts.  MCA scheduled a 14 city promotional tour for the album - which also served as a jumping point for the introduction of Cabo Wabo.  Hard Rock was the partner venue nationally and Chicago was on the schedule.  I set up radio interviews with The Loop (WLUP radio) here in Chicago (they even did a billboard campaign around it) and on the day of the show, Sammy was (as usual) in a great mood.  While he sat in the hotel room doing phone interviews to other stations around the country, I set up bottles of tequila for him to autograph, guitars to sign and CDs to personalize.  After signing all of the items, he asked if there was anyone else I needed him to call.  Believe me, I thought about having him call my mom - because I know he would have - but he already knew she and my dad were coming to the show and I felt like I still needed to keep a line between personal and professional.  Some may argue that is a very blurred line with Sammy - especially after a few shots of Cabo Wabo - but I think that is also what has added to his success.

I went to every Sammy Hagar show I could when he toured through my territory.  I always felt welcome, the band and tour management did everything they could to help me out with last minute requests, and frankly - Sammy made my job easy.  Everyone loved Sammy.  What I didn't realize, was that was still another level with Sammy.  In a business of egos, thin skin and a general feeling of self-entitlement, there are moments that can leave a person dumbfounded and humbled.

On September 9, 1999 Sammy had a show in Indianapolis at the Murat Theater.  Why list the show date?  Because it was my daughter's first birthday.  After discussing it with my wife, I decided to head down to the show.  We decided that my daughter wouldn't remember that I wasn't there and since we were having a big family party in a few days - that she wouldn’t hold it against me.  I also had Q95 presenting the show, the Music Director, Ace Cosby, introducing Sammy and Marie McCallister from WTTS driving in from Bloomington - and she loved Sammy!  Before the show, Marie and I were talking about my daughter's birthday when Sammy came in to do his meet n' greet.  I introduced them and took off to make sure that all the radio winners were set.  30 minutes later, Ace took the stage, Sammy played a killer show and Marie got to watch from the front row - courtesy of Sammy who swapped out her tickets. 

At the end of the night, the band was sitting in a back room when I popped my head in to thank them and tell them I was heading out.  Sammy whispered something to his tour manager and gave me a high five as he headed out the door.  I grabbed some snacks and a water from what was left from the food rider, put on my coat, said goodbye to the band and was walking out when the tour manager stopped me. 

"Sammy wanted to thank you for all of your hard work and for covering this show.  Family is important and he wants you to know this didn't go unnoticed."

He shook my hand and in the same motion slipped something into my hand - three crisply folded $100 bills. 

"No, no, no.  This is totally unnecessary" I told him as I tried to give it back to him.

"That's from Sammy.  Go home and buy your daughter something for her birthday.  We will see you in a few weeks."

Another level.

Never a Dull Moment

Motley Crue.  Global.  Rock Stars.  They were the definition of the word "Party" in the dictionary of rock.  Dr. Feelgood was HUGE when I first got into radio fresh out of Michigan State University.  Every DJ's dream was a song that had a 47 second intro before you had to hit the post.  Tommy Lee and Pam…the video…the stories...and the reputation.  So what was it like to wake up every day as Tommy Lee?  I guess I always felt like he would wake up every day knowing he had more to do than the average person for people to recognize that he was a good guy or at least that he wasn't a complete prick.  Or maybe he was just clueless and he just didn't care.  Well I was about to get my answer.

In 2002 Tommy was kicking off a solo tour to support his solo release, "Never a Dull Moment"  and was scheduled to come through Chicago over the 4th of July weekend.  After a day in the Chicago market visiting radio, Tommy was getting ready for a show at Northern Illinois University on July 3rd before playing in Chicago later in the week.  He seemed like a good guy to me - polite, on time, funny and completely on top of how his record was doing, where he was getting airplay and (believe me) where he wasn't getting airplay.  The morning of the NIU show I got a call from the tour manager.  The production truck got out to the venue for load-in only to find that the equipment and backline wouldn't fit on the stage.  Whoever advanced the show (he blamed the venue / promoter) completely screwed it up.  There would be no show and they had to cancel. 

The Chicago stations wouldn't care because there was still a Chicago show to come.  But for other stations in the area (mainly WXRX in Rockford - just 45 minutes North of NIU), I knew this was going to be a problem.  They had put a lot into promoting the show, had given away tickets, had put together several promotions to give away backstage / Meet N Greet passes and were playing the single, "Hold Me Down."  If they go on the air and announce the show is canceled because the gear wouldn't fit in the venue - I could only imagine how this could snowball.  WXRX was my client and I was representing Tommy.  I felt it was important to make sure Tommy wasn't to blame but to also make sure that this didn't come back to bite WXRX in the ass.  Tommy was obviously on the same page.

"Can he call the station?" I asked the tour manager.

I heard mumbling in the background followed by the receiver dropping on the floor.

"Hey Paul - it's Tommy.  Is the station pissed?  Are they getting calls from fans that had tickets?"

"No one is going to be happy about it but if we set up a call to the station and arrange to get their winners something autographed, that will be a good start" I said.

"Can we go to the station and be on the air live?  I don't want anyone thinking this was a blow-off.  How far is the station?

"I can set up whatever you want Tommy.  It is a 90 minute drive from downtown and traffic coming back will suck with people coming into Chicago for the Fireworks tonight," I explained. 

"Whatever…arrange for a car, call the program director and the three of us will have to make the best of it."

Tommy might not be the brightest guy in the music business or maybe just that he is a bit too much of a child - and maybe that is deserved with his track record - but I give him credit for seeing that actions speak louder than words.  People may forget what you say or do - but they won't forget how you made them feel.  Who knew that Tommy Lee that morning would be channeling Maya Angelo.

I called Jim stone (the program director) at WXRX and told him that I needed him to announce on the air that the show was cancelled.  He wasn't very happy and I am not sure he believed the reason for the cancellation, but there wasn't anything he or I could do about it.  He asked if Tommy would at least call the station.  "It is the least he can do.  It isn't like he has anything else to do today."

I told Jim to make sure he had time for an interview at 2 p.m. 

"Also, Jim? Call every one of the backstage winners and have them come to the studio at 2:30 - Tommy wants to apologize in person." 

"In person?  What?  Tommy is coming here?!  That is a class move." 

Tommy Lee, his tour manager and I drove out to the station and Tommy spent over an hour on the air.  He took calls, talked about the album, Motley Crue and told some road stories…at least those that wouldn't call for an FCC fine.  Each of the winners made it to the station and Tommy spent time talking with each of them in the conference room, took pictures and took care of all of their autograph requests.  Tommy had a blast and not one complaint the while day.  And when he wanted to grab something to eat on the way home and all that was close to the station was an Arby's - that is what we ate…and he bought.  (The look on the guys face at the register was priceless.  I wonder if he still tells that story.)

Tommy Lee made some friends that day and made a fan out of me as well.  Not all bands or musicians recognize an opportunity when it is presented.  Rockford wasn't a Top 20 market, it wasn't Indianapolis, Milwaukee or Minneapolis - it was Rockford - market #158 - population 293,000.  But that didn't matter to him.  I truly believe it was because he didn't like to or want to let anyone down. 

The drive back was brutal - over 2 1/2 hours, but we talked about our kids, the recording of his solo record and the difference between being behind the drum set and being the front man on stage.  I still look back on that day and laugh.  But maybe that's because we stopped to pick up Mayte on the way back to the hotel.