Ali Sher is hard at work with Rafaqat Ali Khan for a series of collaborations; the first being 'Ishq'. The song comes at the heels of his third studio album Beetaye Pal, which enjoyed reasonable success with the masses but not enough to be labelled a massive hit.
But this time, Ali is once again giving Rafaqat's next album (Rafaqat is from the Sham Chaurasia Gharana and contributor to soundtracks of Bollywood hits like Krrish) and the first fruit of this labour is the song 'Ishq'. A song composed entirely by Ali, featuring Rafaqat Ali Khan's traditional kafi style of singing.
The track was originally written by Ghulam Farid Khan and heavily influenced and inspired by the Sindhi Bharwain raag. Ali's composition mixes east and west with traditional percussions and contemporary sound as well. The result is a fusion track intertwined with traditional and contemporary instruments, a groovy yet sombre beat - something Ali describes as "dark" - and the free flowing vocals of Rafaqat Ali Khan. The two had been planning a collaboration for quite some time and only recently did they find the time to work on this single.
"I've known him for a long time now and seen him perform numerous times and his command on the raags is truly amazing. I had spoken to Rafaqat bhai about collaboration a while back, and it was just talk but to work on this, both of us had to take out time to put this track down."
And that's not all. Currently Ali and Rafaqat are working hard towards completing at least two more collaborations. It's clear that they are really getting along.
"Totally, he's a very humble and down to earth person to get along with and it just comes naturally," says Ali about working with Rafaqat Ali Khan.
Though he has worked as a composer before (for the likes of Hadiqa Kiyani and others) when does Ali feel most comfortable? As a singer or a composer?
"I find that I'm more comfortable doing both," he says. "If I do one and not too much of the other, I feel that I'm not doing things right. Especially with my own music, I just don't think about anything else and go in on all fronts trying for the best composition and music for myself."
After having been part of the music industry since 1994, how does Ali Sher react to or treat criticism? Ali's last album-although enjoyed by listeners-wasn't too well received with the critics.
"Criticism itself doesn't bother me at all," he says, adding, "however, if it's baseless criticism, putting someone down just for the heck of it, well I don't agree with that." Ali adds that he enjoys hearing from his fans about what they thought of the music and wholeheartedly welcomes creative suggestions.
'Ishq' will be enjoyed by listeners here and abroad. It will enjoy radio airplay in Houston, London and other major cities around the world. Not a bad first step for Ali Sher in 2010 but can we expect giant leaps? Only time will tell.
Showing posts with label Instep. Show all posts
Showing posts with label Instep. Show all posts
13.1.10
Shallum's Solo Sojurn
“The first thing people ask me is whether I’m still with Fuzon.Yes, I am. This is just a solo project.”
– Shallum Xavier
Shallum Xavier has been a staple musician for nearly a decade. It was his guitars and tunes that brought about Fuzon, combined with the singing prowess of Shafqat Amanat Ali and maestro composer Immu. The three of them took the music scene by storm and even though Shafqat might have left, they now have Rameez and are stronger than ever. But where does that leave Shallum’s solo project? A project comprised of a collection of songs composed, co-written, and performed by Shallum along with other local–and even international–musicians. Have Immu and Rameez heard the album? “Yes, they have, ” said Shallum. “And they’re very supportive.”
Shallum takes a moment to reflect on people’s immediate reaction when he mentions he has a solo project. “People fail to realise that musicians don’t limit themselves to one group or one project,” he said. Commenting on the current atmosphere for musicians in Pakistan, Shallum said that it was very suffocating if they don’t get to perform regularly. However, no matter how far he tries to go away from Fuzon, he might not be able to escape the band’s shadow.
“There will be comparisons, of course, I am the same musician that performs with Fuzon and this is my solo effort; yes of course there will be comparisons and I’m okay with that.” There’s also the suggestion that the songs featured in his album are the ones that didn’t make the cut into a Fuzon album. “That’s absolutely not the case,” he said. “When Fuzon starts off to make a record, we start off with, suppose, 12 songs and we record 12 songs, no leftovers.”
The song, called ‘Payam’, features vocals by Zara Madani, the singer featured in Shoab Mansoor’s Khuda Kay Liye. She is also occasionally seen and heard with the Kolachi Quartet, a jazz supergroup which features Gumby, Immu, Khalid and Abbas Premjee. I immediately asked Shallum if there was a big idea behind the song.
“In 2007, I submitted this song to a competition held in Norway, they had asked Pakistani musicians,” he recalled when he first came up with the idea or rough composition of the song. “It was during the shoot of ‘Dewaane’, that I came up with the idea for this. I quickly sorted out the lyrics with songwriter, Jaffer Sadiq Anthony, and although it may sound like a love song, it really isn’t. It’s about hope and how many different meanings it has for many people.”
The video features Zara intertwined with shots of Shallum, performing amidst the backdrop of an elaborate farmhouse. The video is simple, to the point and doesn’t pretend to be anything it’s not. “This was pretty much Nasir’s idea,” Shallum said, about the concept.
“He had heard the song and knew right away what he wanted to do with it.”
Shallum says of the video’s director, Nasir Tehrany. The video also features model Nausheen Shah, lost in thought in the farmhouse. She seems to be seeking hope, in whatever form it may be; a manifestation of the song’s theme, suggested by Shallum.
So now that the video’s been shot, what’s the status of the album? “Well, I’m about to go to Oslo in a couple of weeks. There, I’ll get the album mixed and have a few more unique instruments placed into the songs.”
The instruments Shallum plans on using, he says, haven’t been heard of before in this region. The sound will be familiar but multilayered. He also plans on collaborating with musicians from around the world. But that’s for something else entirely. “I wanted to release ‘Payam’ as more than just an Urdu track,” Shallum said. “I’m also working on a Spanish and an English version of this song.”
But what about the album in question, his first album itself–which will probably be called Payam–when should we expect to hear it? “Soon.” Has he decided on which record label he will go with? “I was approached by Universal in India and I’m in talks with them, let’s see how that turns out.” And what about local record companies? “I haven’t decided anything, just that I’ll go with whichever company will give me the best comprehensive plan and coverage.” He also stated, push comes to shove, he might even release the album through Amazon or iTunes.
Finally, what about Fuzon? What’s in store for the band that brought us Shallum Xavier in the first place?
“We’re back in the studio, we’ve put down a few songs already.” And what’s it like recording an album with Rameez? “It’s terrific, it’s amazing actually,” Shallum speaks only highly of the new Fuzon singer. “I think this recent tour in Bangladesh we did, the two back to back concerts, really stemmed Rameez into the group.” He recalls how the singer wooed the Bangladeshi audience with his performance of a Bengali song sung by Kishore Kumar.
Shallum plans on going to Oslo for his own album, before touring with Fuzon around the U.S. Till then his fans will have to do with ‘Payam’, from his upcoming solo album of the same name.
– Shallum Xavier
Shallum Xavier has been a staple musician for nearly a decade. It was his guitars and tunes that brought about Fuzon, combined with the singing prowess of Shafqat Amanat Ali and maestro composer Immu. The three of them took the music scene by storm and even though Shafqat might have left, they now have Rameez and are stronger than ever. But where does that leave Shallum’s solo project? A project comprised of a collection of songs composed, co-written, and performed by Shallum along with other local–and even international–musicians. Have Immu and Rameez heard the album? “Yes, they have, ” said Shallum. “And they’re very supportive.”
Shallum takes a moment to reflect on people’s immediate reaction when he mentions he has a solo project. “People fail to realise that musicians don’t limit themselves to one group or one project,” he said. Commenting on the current atmosphere for musicians in Pakistan, Shallum said that it was very suffocating if they don’t get to perform regularly. However, no matter how far he tries to go away from Fuzon, he might not be able to escape the band’s shadow.
“There will be comparisons, of course, I am the same musician that performs with Fuzon and this is my solo effort; yes of course there will be comparisons and I’m okay with that.” There’s also the suggestion that the songs featured in his album are the ones that didn’t make the cut into a Fuzon album. “That’s absolutely not the case,” he said. “When Fuzon starts off to make a record, we start off with, suppose, 12 songs and we record 12 songs, no leftovers.”
The song, called ‘Payam’, features vocals by Zara Madani, the singer featured in Shoab Mansoor’s Khuda Kay Liye. She is also occasionally seen and heard with the Kolachi Quartet, a jazz supergroup which features Gumby, Immu, Khalid and Abbas Premjee. I immediately asked Shallum if there was a big idea behind the song.
“In 2007, I submitted this song to a competition held in Norway, they had asked Pakistani musicians,” he recalled when he first came up with the idea or rough composition of the song. “It was during the shoot of ‘Dewaane’, that I came up with the idea for this. I quickly sorted out the lyrics with songwriter, Jaffer Sadiq Anthony, and although it may sound like a love song, it really isn’t. It’s about hope and how many different meanings it has for many people.”
The video features Zara intertwined with shots of Shallum, performing amidst the backdrop of an elaborate farmhouse. The video is simple, to the point and doesn’t pretend to be anything it’s not. “This was pretty much Nasir’s idea,” Shallum said, about the concept.“He had heard the song and knew right away what he wanted to do with it.”
Shallum says of the video’s director, Nasir Tehrany. The video also features model Nausheen Shah, lost in thought in the farmhouse. She seems to be seeking hope, in whatever form it may be; a manifestation of the song’s theme, suggested by Shallum.
So now that the video’s been shot, what’s the status of the album? “Well, I’m about to go to Oslo in a couple of weeks. There, I’ll get the album mixed and have a few more unique instruments placed into the songs.”
The instruments Shallum plans on using, he says, haven’t been heard of before in this region. The sound will be familiar but multilayered. He also plans on collaborating with musicians from around the world. But that’s for something else entirely. “I wanted to release ‘Payam’ as more than just an Urdu track,” Shallum said. “I’m also working on a Spanish and an English version of this song.”
But what about the album in question, his first album itself–which will probably be called Payam–when should we expect to hear it? “Soon.” Has he decided on which record label he will go with? “I was approached by Universal in India and I’m in talks with them, let’s see how that turns out.” And what about local record companies? “I haven’t decided anything, just that I’ll go with whichever company will give me the best comprehensive plan and coverage.” He also stated, push comes to shove, he might even release the album through Amazon or iTunes.
Finally, what about Fuzon? What’s in store for the band that brought us Shallum Xavier in the first place?
“We’re back in the studio, we’ve put down a few songs already.” And what’s it like recording an album with Rameez? “It’s terrific, it’s amazing actually,” Shallum speaks only highly of the new Fuzon singer. “I think this recent tour in Bangladesh we did, the two back to back concerts, really stemmed Rameez into the group.” He recalls how the singer wooed the Bangladeshi audience with his performance of a Bengali song sung by Kishore Kumar.
Shallum plans on going to Oslo for his own album, before touring with Fuzon around the U.S. Till then his fans will have to do with ‘Payam’, from his upcoming solo album of the same name.
27.9.09
Nickelback: Dark Horse
You either really love Nickelback or you really love to hate them, but six albums later, they must be doing something right to have lasted for this long.
That something right could very well probably be one of the most commercial sounds to hit rock n roll (or metal even) since Bob Rock produced The Black Album for Metallica in 1991. The said sound is composed of repetitive chords, monotonous drum beats, and constant mentions to 'paperback novels' in the lyrics. If you don't mind any of the above, you'll be glad to know Dark Horse, the latest offering from the Canadian rock band is more of the same-but taken up a notch.
Produced by legendary superstar producer Robert John "Mutt" Lange - whose previous productions include the albums of Foreigner, AC/DC, Bryan Adams, Def Leppard and Shania Twain - give an almost clear indication that everything on Dark Horse will be radio friendly and as geared to the mainstream as heavy guitar rock gets.
The grizzly sound of post grunge is given a jump start with first track, 'Something in Your Mouth'. The guitars are raw, almost like nails on a chalkboard, with a continuous wail in the background. The riff is interspersed with a groovy middle but the combination seems to be too crammed and you feel like you've listened to two different songs at the same time. 'Burn it to the Ground' was featured on the Transformers: Revenge of the Fallen soundtrack and is characteristic of a Nickelback filler song because it shares the same structure to the track before it, but with just enough tweaks to make it sound slightly different. Unfortunately, this is probably one of the lesser lyrical songs of the band, making it sound more of an anthem for drunkards than anything. The saving grace for the song is the solo which albeit very short is could've been very interesting if explored further.
'Gotta Be Somebody' was the first single released from the album, and features another one of Nickelback's staple songs, the rock ballad. Chad Kroeger, the front man for the band, is at his true element here. After all he also sang the song 'Hero' for the Spiderman soundtrack. 'Hero' and 'Gotta Be Somebody' do share some similarities, but thankfully they aren't that much. This song proves that behind the grunge and behind the melodic rock, Nickelback can do so much better than it already is doing.
'I'd Come for You' is another ballad and the entire pace of the album slows down. The only thing that holds down this song are the cheesy lyrics: "I was blindfolded, but now I'm seeing, my mind was closing, now I'm believing." The song would make a befitting soundtrack to the next cheesy love story Hollywood throws our way.
The band makes it a point to pick up the pace after the previous track and 'Next Go Round' starts to hit the ground running. The harsh guitars and the throbbing drums sound like a freight train charging down at full speed. Again, like the previous songs, there isn't much lyrical substance going around here which is a shame really since the song has a very head banging thing going on for itself.
Just to prove that the band can do songs with proper substance and lyrical matter, 'Just to Get High' is just that. The story of a young man spiraling into a life of drugs and desperation, the tone and motif of the song equally desperate and melancholy. This is probably one of the few tracks on the album that save it.
'Never Gonna Be Alone' is what 'Photograph' was to the last album, the almost obligatory western track that the band feels that they have to do on each and every album. It's the kind of track that you'd expect from Shania Twain or LeAnn Rhimes, but Nickelback? On the plus side, it shows that the band wants to be diverse and not pigeon holed as a rock band.
About ten seconds into 'Shakin' Hands' you find yourself tapping your feet to it. The track sinks you in with its groovy beat but for some reason it never really takes off. The repetitiveness kills it.
The opening riff of 'S.E.X.', like the previous two tracks, are powerful and grab the listener in by the collar and demand to be heard. This is Nickelback's strength and why they're such a radio friendly band. Their music is simple and easy to listen to even if you don't appreciate or like rock music.
'If Today Was Your Last Day' sings the same tune as 'Gotta Be Somebody' or 'I'd come for you' but this one is considerably more feel good than the two. Also, much like 'Just to get high' this track saves the album from what would be a repetitive and monotonous demise.
The album finishes with 'This Afternoon' and it seems that keeping the best for last was probably a good idea for the band. This is a no-nonsense, easy going, feel good track about taking matters as they come and not have a worry in the world. It's almost like Nickleback saying they'll continue to making music the way they want to and won't give in to their critics.
All the Right Reasons was the band's previous release and spawned a plethora of singles, but this seems to be not for all the right reasons. The New York Times wrote about Dark Horse: "Nickelback's real crime isn't one of form. Rather it is that lurking beneath the band's undeniably pretty melodies are literal, wildly unimaginative and often insipid lyrics. Unlike, say, Hinder, which flaunts its brute sensibilities, Nickelback is quietly crass." And that was one of the better reviews they've gotten for Dark Horse.
That said, Nickelback has a very strong fan base, particularly among the listeners of bands like Creed (who are now defunct) or Alter Bridge or even Theory of a Deadman. These bands, along with Nickelback represent the new rock n roll sound, rising from the ashes of grunge and metal of the 90s and making a sound of their own for a generation of their own.
That something right could very well probably be one of the most commercial sounds to hit rock n roll (or metal even) since Bob Rock produced The Black Album for Metallica in 1991. The said sound is composed of repetitive chords, monotonous drum beats, and constant mentions to 'paperback novels' in the lyrics. If you don't mind any of the above, you'll be glad to know Dark Horse, the latest offering from the Canadian rock band is more of the same-but taken up a notch.
Produced by legendary superstar producer Robert John "Mutt" Lange - whose previous productions include the albums of Foreigner, AC/DC, Bryan Adams, Def Leppard and Shania Twain - give an almost clear indication that everything on Dark Horse will be radio friendly and as geared to the mainstream as heavy guitar rock gets.
The grizzly sound of post grunge is given a jump start with first track, 'Something in Your Mouth'. The guitars are raw, almost like nails on a chalkboard, with a continuous wail in the background. The riff is interspersed with a groovy middle but the combination seems to be too crammed and you feel like you've listened to two different songs at the same time. 'Burn it to the Ground' was featured on the Transformers: Revenge of the Fallen soundtrack and is characteristic of a Nickelback filler song because it shares the same structure to the track before it, but with just enough tweaks to make it sound slightly different. Unfortunately, this is probably one of the lesser lyrical songs of the band, making it sound more of an anthem for drunkards than anything. The saving grace for the song is the solo which albeit very short is could've been very interesting if explored further.
'Gotta Be Somebody' was the first single released from the album, and features another one of Nickelback's staple songs, the rock ballad. Chad Kroeger, the front man for the band, is at his true element here. After all he also sang the song 'Hero' for the Spiderman soundtrack. 'Hero' and 'Gotta Be Somebody' do share some similarities, but thankfully they aren't that much. This song proves that behind the grunge and behind the melodic rock, Nickelback can do so much better than it already is doing.
'I'd Come for You' is another ballad and the entire pace of the album slows down. The only thing that holds down this song are the cheesy lyrics: "I was blindfolded, but now I'm seeing, my mind was closing, now I'm believing." The song would make a befitting soundtrack to the next cheesy love story Hollywood throws our way.
The band makes it a point to pick up the pace after the previous track and 'Next Go Round' starts to hit the ground running. The harsh guitars and the throbbing drums sound like a freight train charging down at full speed. Again, like the previous songs, there isn't much lyrical substance going around here which is a shame really since the song has a very head banging thing going on for itself.
Just to prove that the band can do songs with proper substance and lyrical matter, 'Just to Get High' is just that. The story of a young man spiraling into a life of drugs and desperation, the tone and motif of the song equally desperate and melancholy. This is probably one of the few tracks on the album that save it.
'Never Gonna Be Alone' is what 'Photograph' was to the last album, the almost obligatory western track that the band feels that they have to do on each and every album. It's the kind of track that you'd expect from Shania Twain or LeAnn Rhimes, but Nickelback? On the plus side, it shows that the band wants to be diverse and not pigeon holed as a rock band.
About ten seconds into 'Shakin' Hands' you find yourself tapping your feet to it. The track sinks you in with its groovy beat but for some reason it never really takes off. The repetitiveness kills it.
The opening riff of 'S.E.X.', like the previous two tracks, are powerful and grab the listener in by the collar and demand to be heard. This is Nickelback's strength and why they're such a radio friendly band. Their music is simple and easy to listen to even if you don't appreciate or like rock music.
'If Today Was Your Last Day' sings the same tune as 'Gotta Be Somebody' or 'I'd come for you' but this one is considerably more feel good than the two. Also, much like 'Just to get high' this track saves the album from what would be a repetitive and monotonous demise.
The album finishes with 'This Afternoon' and it seems that keeping the best for last was probably a good idea for the band. This is a no-nonsense, easy going, feel good track about taking matters as they come and not have a worry in the world. It's almost like Nickleback saying they'll continue to making music the way they want to and won't give in to their critics.
All the Right Reasons was the band's previous release and spawned a plethora of singles, but this seems to be not for all the right reasons. The New York Times wrote about Dark Horse: "Nickelback's real crime isn't one of form. Rather it is that lurking beneath the band's undeniably pretty melodies are literal, wildly unimaginative and often insipid lyrics. Unlike, say, Hinder, which flaunts its brute sensibilities, Nickelback is quietly crass." And that was one of the better reviews they've gotten for Dark Horse.
That said, Nickelback has a very strong fan base, particularly among the listeners of bands like Creed (who are now defunct) or Alter Bridge or even Theory of a Deadman. These bands, along with Nickelback represent the new rock n roll sound, rising from the ashes of grunge and metal of the 90s and making a sound of their own for a generation of their own.
26.8.09
The people don't give a flying funk… but the band did!
Gumby, Omran, Khalid and Sheldon gather for a raw and wired jam session…
Once upon a time, jam sessions were all the rage. It was when The Munchkins led the pack and gigs happened almost every weekend. Those were quite the days for music. These days jam groups have coalesced and members of each often meet up and have special gigs like this one.
'I don't give a flying funk' was one such special gig held at the PACC Auditorium and featured the iconic Gumby on drums, Omran Shafique on guitars, Khalid Khan on bass and Rachel Viccaji on vocals. The line up also featured a trio of guest vocalists, namely Sheldon Emmanuel, Taimur from Lahore and Karavan's Tanseer Dar.
"I've been having these gigs on and off for about 8 to 10 years now. Every time it's something different and special. This time, after being busy with Coke Studio season two for so long, we had a couple of gigs including the 'Summer Jam' and we wanted to do it at least one more time," said Gumby to Instep.
Gumby then shared the idea with Omran Shafique, the groovy guitar man of Mauj who quickly agreed to the idea.
"All I had to do was to contact the others. Khalid is always around and is eager to jam," recalled Gumby. He also added that gigs like these give musicians like himself a chance to jam with younger musicians and at the same time, gives the young musicians a chance to perform a gig with Gumby, Omran and Khalid. "It's all about giving new people a chance to collaborate with us and if the chemistry's there, then we can collaborate on other stuff too."
Customarily, the gig started an hour late, but the crowd (that arrived late) hardly complained. Everybody was eager to check out the super jam group that was about to perform.
The gig kicked off with a cover of Kings of Leon's 'Sex on Fire'. Omran, Gumby and Khalid immediately settled into their individual instruments like hand in glove. Rachel Viccaji's vocals added an interesting twist to the alternative indie track whereas Omran's crunchy guitar drove the song ahead.
Then came Sheldon Emmanuel on stage, much to the delight of the audience. To be honest, I had only heard of Sheldon before and when I did hear him sing, I could understand what the rage was all about. His ability not to mimic a song but to emulate it is what makes him special.
'Superstitious', originally by Stevie Wonder, is one such song on which Sheldon truly let his vocals shine through.
As soon as the tune finished Omran, Gumby and Khalid steamed onto another crowd favorite, 'Foxy Lady' and Sheldon joined them without missing a single beat. Hendrix covers are very popular at such gigs, but not that many guitar players can do justice to a Hendrix performance and here Omran shows that he is not one of those many.
Sheldon made his exit with Rolling Stones' 'Satisfaction'. The crowd seemed disappointed to see Sheldon go, but he left the stage with reassuring words, "I'll be back."
The band introduced a relatively new singer to Karachi, that is Taimur. He seemed nervous as she shuffled onto the stage, but as soon as the song began, it was pretty clear why Taimur had been given the opportunity to perform along with the band.
'Come Together', a Beatles number, is probably where things slowed down a bit. Perhaps it was the previous three song rollercoaster from before, but the band's energy seemed to wane. As for Taimur's performance, though one song is too little to judge from, his singing clearly shows that the young singer does have a special spark.
The band's next track was a real oldie this time, straight out of a Motown Classic; 'Baby Love' by the Supremes with Rachel on vocals. Rachel's singing continued after with Alanis Morissette's 'Ironic'. The band seemed to pick their pace once again as Rachel channeled Alanis' irony and the crowd had joined in too!
Keeping true to his promise, Sheldon once again came back on stage and once again, the crowd applauded his presence. Sheldon is a rare breed of singer, the kind that sings for the pleasure of singing. With each performance he seems to lose himself in the song and bring out the best from it.
'One Drop' is an old Bob Marley song that Sheldon and the band made their own. A change of pace brings out an all new song altogether, something that Sheldon truly appreciates. "If it's the same song when you sing it, then why bother covering it in the first place?" he asks and rightfully so, what makes a gig like this special is that you hear familiar songs with a breath of fresh air.
Sheldon himself is a practitioner of performing songs in single takes as much as he can, "I do a song once or twice just to get the feel and then just go with the flow." With his talented vocals it's no wonder why, but will we get to hear from him outside of gigs? "I don't think so, unless I get to sing in English, because my Urdu is very weak." It's a shame that a singer has to be limited by the language barrier but here's hoping that Sheldon does get his chance soon.
Continuing with Bob Marley, the band then performed 'Get up, stand up', though more interpretive and less emulative. Having said that, not many cover groups here would perform such songs and getting to hear them being performed is quite a treat unto itself. Hot Chocolate's 'You Sexy Thing' was up next and Sheldon continued to sing to his heart's content. It didn't bother him that there weren't that many people in the crowd to begin with-what seemed to fuel him was the fact that the people that were there were enjoying his singing.
Also on the playing bill was Tanseer Dar as a special guest. While he may have caused much anxiety and ache to the soul of Michael Jackson with his singing of 'Smooth Criminal', his performance of the Foo Fighter song 'Pretender' fared much better with the crowd. Finally, the band ended the show with 'Been a Long Time, a Led Zeppelin classic.
This was probably one of the better shows of the year so far, though it wasn't big as the recent Independence Day gig held at Carlton. But it came with a sense of intimacy and closeness. But that wasn't inviting enough to pull in a crowd. As Gumby said after the gig, "We didn't even break even. Half the people who showed up were on the guest list." Doesn't that show that the price tag for the gig was too steep?
"600 is a reasonable amount to give for a gig like this. I mean, don't people pay that much for a meal? Some people can even afford to pay 10 to 20,000 for a table at a prestigious ball," stated Gumby.
This time people lost a chance to see some great singers and some great musicians perform. But then, knowing Gumby and the others, this wasn't the last time we'll be hearing or seeing them again and perhaps more people will be there too.
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