Jennifer Batten Interview

Jennifer Batten Interview

Note: We are revisiting some of our favorite Old Guys Still Rockin’ Interviews. Here’s one with one of the greatest female (or any gender) guitar players of all time. Enjoy.

‘The buzz on Jennifer Batten rose from the guitar underground, and the guitar magazines promptly began chronicling her savvy musicianship and highly original approach to the electric guitar.

A major turning point came when she was selected from over one hundred guitarists to play in Michael Jackson’s highly skilled band which toured the world for one and a half years playing for over four and a half million people. In 2012 Sony released an exciting live Wembley Stadium show DVD as part of their BAD 25th anniversary package.

Photo: Sam Emerson

Jennifer wasted no time after the” Bad” Tour’s grand finale, diving into work on her debut album with renown producer (and ex-Stevie Wonder guitarist) Michael Sembello. Shortly after the release of “Above, Below, and Beyond,” in the spring of ’92, she was asked again to join Michael Jackson for his upcoming “Dangerous Tour.”

In January ’93, she joined Jackson to perform in Superbowl XXVII’s halftime entertainment, which aired to one and half billion people in 80 nations. It was the largest audience in television history.

Her follow up CD “Momentum,” which was heavily influenced by world music, was released just before she left for Michael Jackson’s final global tour in support of the HIStory CD in 1997.

In the spring of ’98 Jeff Beck asked Jennifer to join his band. They joined forces for 3 years on the CD’s “Who Else” and “You Had It Coming,” which were both supported by world tours. A DVD is available of this collaboration entitled “Jeff Beck Live in Tokyo 1999.”

Jennifer is the author of two music books and has released three solo CD’s venturing from world beat and rock n roll, to electronica. The CD “Whatever” comes with a 90-minute DVD that includes some of the visuals from her one-woman multimedia show where she plays guitar in synch with her self-made projected films, as well as unreleased music videos, and a guitar lesson.

During 2011 she did a guitar residency for the Cirque Du Soleil show “Zumanity” in Las Vegas. In the last few years she joined forces with truefire.com to record instructional DVD’s/ downloads. She currently has a rock soloing course, a rhythm course, and the latest release, “Ultra Intervallic Licks.” Upcoming projects include recording a Truefire DVD in a new artist lick series on Jeff Beck. In August of 2016, she joined Beck on stage at the Hollywood Bowl for a special “50 years of Jeff Beck” concert.

She continues to tour the globe in various formats, from bands, to solos shows, to clinics, and master classes. In Jan 2016 she received the She Rocks “Icon” award and was inducted into Guitar Player Magazine’s “Gallery of the Greats.”

Also in 2016 she toured with Uli Jon Roth and Andy Timmons on “The Ultimate Guitar” tour.

CLICK ON AUDIO PLAYER ABOVE TO HEAR OGSR’S EXCLUSIVE INTERVIEW WITH JENNIFER BATTEN

My Rock “Career” Was Determined by Drawing Straws

My Rock “Career” Was Determined by Drawing Straws

It was early 1964 and I was a freshman in high school. The country was only a few months removed from the Kennedy assassination and people needed some good news. Needed a reason to feel good again.

The Beatles had just exploded on the scene with “I Wanna Hold Your Hand.” The two main fan bases in the U.S. were Beatles fans and Dave Clark Five fans. I had to be different. I was a Rolling Stones fan because I liked the Chuck Berry song (“Come On”) I’d heard on an EP…before “Satisfaction” changed the world in ‘65.

I was a teenager and my hormones were steering me in a new direction. I loved sports, baseball in particular, but there was no doubt that girls were more interested in rock musicians than baseball players.

One afternoon three of my closest friends—John, Chris and Paul—met in Chris’s basement. It was on that day we made a decision that changed our lives: We decided to form a rock band. We were all in the same grade in school, except Paul, who was four years older and in college. This turned out to be extremely important, especially to him, because unlike the rest of the band, he could grow his hair long. High school restrictions prevented the rest of us from doing so. Paul’s “cool quotient” rose from average guy to “that cool long-haired rock and roll dude.”

There was only one impediment in our plan’s path: None of us played an instrument, except Chris, who played piano. Actually, I played violin but that was not much use in a rock band. Not then anyway.

Somehow we must have sensed that this was a momentous decision, because we took the decision-making process seriously. We drew straws. The shortest straw got to learn to play guitar. The middle straw would learn bass, and the longest straw would learn to play drums. John pulled the longest straw, Paul the middle straw and, thank God, I got the “guitar straw.”

That fateful bit of luck quite literally changed my life, and it affects me in a positive way to this very day.

The first thing I did was buy a guitar. I’d never purchased a guitar and I had no idea what to look for. My only prerequisite was that I must be able to afford it. Sadly, even then there weren’t a lot of guitars for under $10. The fret board and strings on the guitar I bought looked a lot like a bow and arrow. Because the strings were so far from the fret board, my fingers actually bled occasionally. My learning curve was steep and painful, but I was undaunted. I taped a flat-faced microphone on the back of the guitar and plugged it into a $10 amplifier, which wasn’t really supposed to accommodate an electric guitar. It was more like a large tabletop radio adapted to be a guitar amplifier.

Our first practice was odd, but memorable and, in retrospect, quite hilarious. Paul appeared with an inexpensive newly purchased Danelectro bass. John showed up with a pair of drumsticks, which he proceeded to bang on an empty Peter Pan album cover. Thankfully, Chris played his piano so at least there was some actual music activity involved.

By the time we had our first gig, I had purchased an entry-level cherry Gibson solid body guitar, on a payment plan, from the local music store, and a Silvertone amplifier from the Sears catalog. You have to be an Old Guy Still Rockin to remember Silvertone amps. But man, at the time, they were really cool.

Within a couple of months we looked like a rock band. Even though we didn’t sound like one. We called ourselves The Caesars. We had publicity photos taken and we dressed alike. We even had a fan club.

Soon we started playing high school dances and other social functions, including a parking lot dance at the local Penny’s. We even got chased down hallways by female fans. Thinking back on it, this probably explains a lot about my personality.

We weren’t very good, but we were first. And we were loud. When other bands arrived on the scene—bands with guys who could play their instruments—our star faded. But it was great while it lasted.

Eventually The Caesars broke up and we all went on to play in other bands and on our own. Chris and I continued to play in bands off and on—though not again with each other—our entire lives.

During the Morning Glory Coffeehouse days.

From 1970-72 I ran The Morning Glory Coffeehouse in Toledo, Ohio. I played guitar with lots of people, including a bunch of famous people who would stop by the coffeehouse. This was because when bands played at the University of Toledo there was literally nothing open after midnight. We were open till 4 am. People like members of Chicago, Badfinger, and many others stopped by and jammed. For free. One night I was in the musicians’ room upstairs jamming with some people, getting ready to go downstairs to the main stage when some guy stuck his head in the room and said, “You got an extra guitar?” It was Country Joe McDonald of Country Joe and the Fish.

My guitar seemed like a passport to another life.

I came to Los Angeles to make it as a rock star. I didn’t, but I played for a couple of years in clubs around town and had brushes with a few “almost-there’s” and soon-to-be-famous rockers. In 1980 I bought an Ovation guitar with part of the advance on my first big novel. In 1989 Garth Hudson, keyboard player with the Rock and Roll Hall of Fame group, The Band (famous for being Bob Dylan’s backup band), played on my album (“Trick of the Light”). In the 90s I put music I wrote in a film I wrote and directed, “Street Crimes” starring Dennis Farina. I recorded a couple of albums since then.

When we moved from LA a few years ago, I started playing guitar with the guy who sold us our house. He and I started a band. We play out regularly now—or at least we did before the Coronavirus—and last month we played a Valentine’s Day dance for 140 people.

I now have my own studio. Over the past couple of years I’ve recorded, mixed and mastered about 50 new songs, some of which you can listen to here. I enjoy getting together with other musicians and playing, as well as occasionally recording other musicians and bands.

The bottom line is that writing and playing music shaped my life in so many ways, and that has never been truer than it is today. In fact, my love of music, playing guitar, and the camaraderie that comes with playing music with others prompted me to start Old Guys Still Rockin.

I don’t think music would have played such a big part in my life had I not drawn the “guitar” straw.

And my life would have been much the poorer for it.

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Cover Bands: BE the Jukebox

Cover Bands: BE the Jukebox

A younger rockin version of myself

When I was about 20 years old, I had just come off a run of playing every week at my own coffee house (The Morning Glory in Toledo, Ohio). It was a perfect environment for a young songwriter: instant feedback; I knew what songs worked and why, as well as what songs didn’t work and why not. For example, one coffee house regular came up to me one night after a performance and said, “Hey man, you know I like your songs and I love the lyrics. But I think you write too much about ‘White Light’.” He was right. Of course, the main benefit of having my own coffee house was a seemingly endless supply of similar-aged hippie girls who, well, loved long-haired singer/songwriters.

But I wasn’t satisfied being a big fish in a small pond. I wanted to branch out and play other venues. One summer I took a gig in a bar I’d never been to. I knew that when I played outside the coffee house I needed to play songs people knew and then toss in a few of originals. I had the typical repertoire: James Taylor; Beatles, Stones, Cat Stevens, Crosby, Stills and Nash.

However, when I arrived at this particular gig I realized that patrons wanted ONLY country songs. The closest thing I had to country was James Taylor’s “Country Road.” I did one set and then the bar owner and I came to a mutual agreement – more mutual on his part than mine – that I should have a beer and call it a night.

On my drive home I had time to think about what had happened. Clearly, if I was going to play out, I needed to know what my audience wanted to hear. At the coffee house, or when I occasionally opened for name bands, I could play originals. But at bars and most other public venues people wanted, essentially, a live jukebox. And it was my job to know the popular selections. This revelation was a blow to my ego, but it was a boon to my pocketbook.

From then on, I realized that I was a “commercial artist” and the audience was my client. I give them what they want, they give me a job. Pretty simply.

But when I started playing out again recently, many years later, I forgot that lesson. At least for a while. Our band plays almost exclusively classic rock. And that usually goes over pretty well. Usually…

“50 Shades of 60”: Stephen Smoke (L), Jay Rockbank (C), Randy Winters (R)

One night we were playing at a club and a group of early-twentyish women came into the club. They were pub-crawling. At one point during a set I noticed two of the girls desperately pounding on the jukebox to get it to work…while we were playing! At the end of our set, one of the girls came up to me and rattled off a number of requests. I told her I knew those songs, but we did not know them as a band. After a moment she said, “What do you know?”

She said, “Okay then, what DO you know?”

I had to laugh. At my age, I don’t take this kind of thing that seriously. In fact, I think she wasn’t trying to be rude. I think she wanted to see our song list so she could choose a song for the girl whose birthday they were celebrating.

Even more recently we played at a Happy Hour at a new venue. Two days before the gig we spoke with the person who booked us. She said their clientele liked classic rock but they also really liked certain country songs, particularly songs they could line dance to. We knew none. However, two nights later we were armed with “Boot Scootin’ Boogie,” “Elvira,” and a waltz (“Take it to the Limit”). The gig started sluggishly. Then we did “Boot Scootin’…” and suddenly we were off to the races. The crowd loved the country songs, as well as our classic rock. In fact, we were asked for, and delivered, two encores. And we’re playing there 3 more times over the next few weeks.

The bottom line is that when you play out, take time to know what your audience wants to hear. Then learn a few new songs and deliver. A gig is always more fun when the crowd likes what it’s hearing. 

Musicians Earplugs

Musicians Earplugs

3 THINGS MUSICIANS NEED TO KNOW ABOUT HEARING LOSS

An Interview with Audiologist, Dr. Julie Glick

By Diana Lucarino-Diekmann

Whether you’re a musician or just someone who loves listening to music, custom-fitted musicians earplugs can help you prevent hearing loss while preserving the quality of your listening experience.

Common signs of hearing loss:

  • Increased difficulty hearing in noise.
  • Preferring the television to be louder than others.
  • Difficulty with clarity of conversation.
  • Speaking louder, typically an indication of needing more volume to hear your own voice.

“Hearing loss can cause people to avoid social situations and feel isolated, even depressed. For musicians it can be devastating. The good news is that you can do something about it,” says Dr. Julie Glick, a Los Angeles-based audiologist specializing in the unique needs of musicians, sound engineers and audiophiles.

When Dr. Glick started practicing audiology 23 years ago, she soon realized that musicians needed an audiologist who understood their unique hearing needs. In 2010 she formed a boutique private practice in New York City. In 2017 she moved her practice to Los Angeles.  Dr. Glick’s inspiration to create Musicians Hearing Solutions® stemmed from her recognition that musicians and audio enthusiasts deserved the opportunity to decide for themselves, along with her expert guidance, what type of sound quality and hearing protection was most appropriate, based on their unique listening needs and preferences. She also worked as an audiologist for two years at Sensaphonics Hearing Conservation in Chicago. (Click here for full bio.)  

Dr. Glick is pleased that there is more awareness of hearing loss and other related issues like tinnitus. She credits high profile musicians like The Who’s Pete Townsend and Roger Daltrey, who have gone public with their hearing problems. Noise-induced hearing loss has affected many famous musicians (Eric Clapton, Huey Lewis, and Brian Setzer, to name just a few). It is estimated that more than 50% of all musicians suffer from some form of tinnitus and/or hearing loss.

If you are a musician or simply someone who likes their music loud, Dr. Glick has these recommendations:

  1. Get your hearing checked annually. Dr. Glick offers a much more extensive diagnostic hearing test than most audiologists who check hearing from 250-8,000 hertz, which is the range most important for speech. Her test, which is tailored to musicians and sound engineers, checks from 250-20,000 hertz. “Noise-induced hearing loss shows up as a specific configuration, between 2500-6,000 hertz, and we can determine if noise has affected your hearing.”
  2. Get GOOD earplugs. “If earplugs don’t fit properly, they slide out or people will just remove them. Most over-the-counter earplugs muffle the sound and that’s why most musicians reject them.” Using silicone impressions, Dr. Glick custom fits earplugs that create a seal in the ear to keep out sound. Each earplug contains a filter that reduces frequencies evenly so it sounds more like turning the sound down instead of muffling it. The tiny filters are interchangeable, and you can pop them in and out of the earplugs easily. There are three filter options: ER-9 filters provide 9 decibels of noise reduction and are good for everyday use. ER-15 filters lower the sound by 15 dB and are good for more intense environments like concerts. ER-25 filters reduce sound by 25 dB and help protect your hearing against prolonged exposure to high noise conditions. (Note: If custom earplugs are too expensive, Dr. Glick recommends ETY-Plugs at around $15. “They are the best over-the-counter plugs you can buy,” she says. “ETY-Plugs are the world’s highest fidelity non-custom earplugs. They reduce most noise to safe levels while preserving clarity of speech and the richness of music.”)
  3. Be aware of sound levels in your environment. Our ears can tolerate 60-80 decibels without injury, but once sound levels reach 85 dBA (A-weighted decibels), our limit is 8 hours without potential hearing damage; at 88 dBA, 4 hours; and at 91 dBA our ears can only handle 2 hours of exposure without potential damage. Rock concerts, music through headphones at maximum volume, and sporting events average 94-110 dBA, making the possibility of damage likely without protection. Decibel meters are inexpensive and available at Amazon, WalMart and many other retailers.

Hearing aid technology has improved dramatically over the past several years. Dr. Glick says, “This is because of discrete enhanced digital signal processing that adapts automatically to different environments. Hearing aids also have improved user control via apps, better reduction of background noise, and Bluetooth connectivity to our cell phones.”

If you have hearing loss or are starting to experience hearing loss, you have so many more options than you did even a few years ago. And if you don’t have hearing loss, but still like your music loud, there are many ways you can prevent hearing loss. With custom earplugs you can enjoy your rock and roll, while reducing exposure to harmful sound levels, thus preserving your precious gift of hearing.

With age come other causes of hearing loss. But by being proactive, having your hearing tested, monitoring loudness levels, and wearing hearing protection when you can’t control the volume, you can do something to prevent environmental causes of hearing loss.

Contact Dr. Julie Glick with any questions or to make an appointment.

Website: www.musicianshearingsolutions.com

Email: info@musicandhearing.com

 

Diana Lucarino-Diekmann, Contributing Writer OGSR

Contact: info@OldGuysStillRockin.com

Tips For Finishing Your Songs

Tips For Finishing Your Songs

(NOTE: This blog is not about how to “technically” finish your song in terms of mixing and mastering. However, my favorite site for mixing and mastering is Graham Cochrane’s Recording Revolution. There you’ll find a LOT of GREAT information, much of which is actually FREE. I may do a blog about what I learned about mixing, mastering and the plugins he recommends. It’s the most helpful mixing and mastering site I’ve ever come across.)

But this blog is about what happens after you’ve mixed and mastered your songs but you just can’t cut them loose.

Even though I’ve played guitar in bands or on my own since I was a teenager, and recorded several albums, my primary vocation has been, and remains, writing novels and screenplays. I never had a problem finishing a novel when a paycheck from a New York publisher was waiting at the finish line. But what about “spec” projects where there’s no guaranteed money? The case with most of us is that no one is waiting for our finished songs. In spite of that we just can’t shake the feeling that we can make our songs a little better before uploading them irretrievably to iTunes.

Tip #1: Don’t fall into the “Perfection Trap.” Perfectionism can be paralyzing. Nothing will ever be perfect. When I write a novel, I go over it several times. I edit, tweak and polish. The truth is, every time I go over a 500-page manuscript I can always find minor things to change. However, there is a point where nothing I change will affect the readers’ experience of the novel. If you upload a song to iTunes, and you get a new plugin or a new guitar or a better guitar player in your band, you could always tell yourself that you should have waited. This type of thinking can be paralyzing. You never finish because you think that some day, in some way you’ll be able to make it better. That might be true, But my personal experience is that it’s better to develop a procedure that allows you to determine when your songs are “ready,” even if they’re not perfect.

TIP #2: Create a DEADLINE You Can’t Blow Off.

  • Organize a Pre-Release or Pre-Mastering Listening Party. Invite people whose opinions you trust, as well as friends and anyone who might be able to help you market and sell your songs. Let everyone know you’re looking for feedback that may or may not be used in your “final-final mix.” Stress that you want people’s honest opinions. Feedback isn’t helpful unless it’s honest. Once the invitations are sent out, the date is difficult to change. Which is good because now you have a real deadline. At the party, allow people the option to submit their notes anonymously. When everyone’s gone, put on some thick skin and make your way through the comments. You don’t have to agree with every comment, but if you receive similar comments, good or bad, about the same song, this can be valuable. There’s no shame in making something better when you agree with a particular criticism. Besides, after the songs are released you get all the credit for the final product. (There a lot of reasons for having a listening party besides feedback. In another blog I will describe those benefits and provide a sample form you can hand out at the party.)
  • Get an Honest Opinion from an Expert. I have a few friends in the music production business. Occasionally, I’ll set a meetings with one of them to give me a song critique. I listen and take notes while they give me feedback. It can be painful, but is it always helpful. They point out issues they hear and how to correct them. Sometimes they’ll walk me through making corrections on the spot, using the same or similar software to what I use at home (Logic Pro X). These appointments are with busy professionals who have made time for me. The appointment is a real deadline and I’ve never cancelled. It’s not uncommon for me to stay up late the night before to be prepared. (Even if you’re not in LA or New York, you usually can find local people who have studios, or musicians with studio experience who are willing to help. Sometimes for a reasonable fee, sometimes free. If you can’t find anyone, check with your local music store, check online or contact OGSR for a referral.)

In both of the examples above, I created a real deadline. That deadline accelerated the creative process considerably and got me to the “release ready” stage.

Ticket to Ride

Ticket to Ride

I looked at the name on my concert ticket: Paul McCartney.

I sat and waited, along with 42,000 other people in Vancouver’s B.C. Stadium, for McCartney to take the stage. I was part of a group of 17 and we had talked about our expectations and the songs we wanted to hear. Every song mentioned was a Beatles song. Every one.

It wasn’t a knock McCartney’s solo career. He had written and recorded lots of good songs since the Beatles. But every person in our group was a Baby Boomer. The ticket got us in to see McCartney. But the ride we really wanted to go on was the Magical Mystery Tour.

The Beatles provided the soundtrack of our youth. Our formative years. The years when emotions, and sometimes youthful arrogance, informed our thoughts and actions. We were carefree and, maybe, even a little careless.

The cultural impact of the Beatles will be debated for as long as there is music, but clearly they influenced the way tens of millions of people dressed, wore their hair, and how they thought: politically, philosophically, about drugs, and many other important aspects of life. I know they didn’t set out to accomplish that, but it happened. That the effects have been so long lasting is astounding. Just a little more astounding than a 77-year-old rock star selling out stadiums around the world.

As McCartney played each Beatles song, memories rewound and played from the middle: From the part where that song helped me get by with a little help from my friends. From the part where love fell apart and I longed for yesterday. From the part where I tried to take a sad song and make it better. Sad, melancholy, happy… Beatles songs made me feel all those things deeply. Not for the first or last time, but in way that I remember every time I hear the music.

When McCartney wrote “When I’m 64,” and when we all heard it back then, 64 seemed as far off as Mars. Yet whenever he sings that song now (although he didn’t tonight), it probably still seems far off to McCartney, even though he now sees it in the review mirror.

But the man looked good. Maybe even better than when he was 64.

McCartney’s voice was not as strong or as smooth as it was back then. Yet for as ragged as it sometimes sounded, we filled in the rough spots with memories of the voice we had heard thousands of times. It was this specific voice that we’ve heard for more than 50 years and will hear every time those songs are played for the rest of our lives. And though other singers might sing them more proficiently, no one will ever sing them better.

As I looked around B.C Stadium, as our group of 17 sang as one, occasionally out of tune, we all looked pretty good too. Didn’t seem quite as old.

People look younger when they smile.

And they feel younger when they sing.