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upcoming CD's final recording session took place yesterday afternoon.
The last part to be recorded was the male vocal on the duet with Mollie
Busta, and that part was expertly filled by the very talented Betillo Arellano from
La Salle, IL. (Thank you for a job well done, Betillo!)
The song he sang is the one that I've arranged for full orchestra —
strings, brass, wooodwinds and percussion. Over the next few days I'll
be sweetening and embellishing a few spots in the arrangement, and then
the album will move into the mixing and mastering phase. Production is
still right on schedule, so I am expecting a mid-June release.
Some highlights of the new project:
- There are 17 tracks total; twelve
instrumental and five vocal.
- Most of the songs are performed in the
Cleveland/Slovenian style, including three songs with the button box
and two songs in a Yankovic flavor. There's also one Dutchmen-style
polka, a Czech-style waltz, an Oberkrainer-style polka, a
Polish-Slovenian style polka, a waltz backed with a 40-piece string
ensemble, and a fully-orchestrated waltz arranged in a Disney-like
- All of the music and words were written
by yours truly with the exception of the very last song on the CD. The
last song is a bonus track which will be available only to people who
purchase the CD or download the full album online.
Broeniman and Mollie Busta return as guest vocalists on this CD. The
songs they are singing were written and arranged specifically for
quality and attention to detail in the production of this CD is right
on par with my last couple of CDs, and in some ways, sets the bar even
higher. About 325 hours have been invested to date, and there are
a few more hours to go yet. When the album comes out, you'll be able to
compact disc from
either Polka Connection or Mollie B. The music will also be available
on this website and on all the major MP3 download websites and
music subscription services.
- If you
love virtuoso fill accordion work, then David Austin's performance on
this CD is going to leave you speechless. There are some solovox passages in
particular where David had free rein to do his thing, and he shredded out some amazing fill
On a side note, I'd like to offer a few
words of thought for those of us who are third and fourth generation
fans of Polka music.
It's generally been
accepted that we were all born a few decades too late
since we missed the heyday of Polka music. When
we talk about the "Polka
greats" we typically name musicians who thrived in the 50's, 60's
and 70's. The best musicians of that era became household names because
Polka music was so popular at the
time. Although the popularity of Polka music is
just a fraction of what it once was,
there's something that absolutely cannot be overlooked about the time
we're living in now:
Being a music
producer means I get to work one-on-one in the recording studio with
some of the best singers and musicians around. After working once again
with Abby Broeniman, Mollie Busta, and David Austin on the production
of my latest CD, and being privy to
their level of proficiency behind a studio microphone, I am convinced
that while the heyday of Polka and it's biggest names have long passed,
some of the higest-caliber talent in the history of the genre is living
and working in our generation.
We will always
remember and cherish the bands and musicians of the past, and we may
long for the by-gone days of overcrowded Polka clubs on every street
corner, but when we go out to hear some of the bands performing today,
such as Barefoot Becky, Gary Bruggen, Klancnik and Friends, and Steve
Meisner to name a few, we're not just hearing the best polka music
available today; we're hearing polka music as good as it's ever been.
wish we could step back into the 1960's to catch Johnny Pecon or Eddie
Blazonczyk in concert, let's not take for granted that we need only
look to our current generations of musicians and vocalists to find
equivalent greatness. Popularity adheres to a time clock. Talent does
25, 2018 (Updated May 4th)
my experience, just about every bandleader seems to have their own view
of talent/booking agencies. In my personal opinion, I think they
beneficial service. I've never felt them to be a necessity to me
personally, because I
book 95% of my band's jobs myself, but I feel the extra 5% is a win-win
proposition for everyone — my band gets a few extra gigs that I
may not have had otherwise, and the booking agency gets a well deserved
Booking agencies typically have a clause in their contract that states,
in one way or another, that if they bring you into a new venue, and
decides to hire you at a later date without going through the booking
agency, you will continue to owe the agency a commission. Not
everyone likes this clause, but it makes sense to me that if a booking
is responsible for introducing your band to a new venue, it would be
unethical for the band to bypass the agency by booking future jobs
There are three booking agencies that I've been doing business with for
the past several years, and I haven't run into a single hitch working
with any of them... up until now.
first started playing at one particular venue several years ago, the
me directly. A year or so later, the venue hired me through a
booking agency. I don't know why they did that, because it meant
they'd have to pay out 20% more for the same band, but
ultimately their reasons were not my concern. This spring, however, the
venue decided to go back to hiring me directly.
When the booking agency
found out about this, they claimed that I owed them a 20%
commission. I explained to the booking agency that I am grateful for
jobs for which they hired me at that venue, but they are not
for introducing me to that venue. I had already established a direct
relationship with that venue before the booking agency ever became
involved, therefore, no commission was owed.
An employee of the agency made some rather accusatory statements which
I did not appreciate. I supplied him with specific dates clearly
showing how my
business relationship with the venue preceded their intercession, and
therefore superseded their claim to a
commission. I also said that I
was willing to chalk the entire matter up to a misunderstanding
and continue working with the agency.
They never replied.
Just last week, my band was hired to return to a festival that we used
to play years ago. The above booking agency introduced my band to that
festival back in 2005, so I emailed the agency to tell them we were
re-hired, and that I would be sending them a 20% commission check. I
also said I hoped it would allay their misunderstandings about my
character and business practices.
Again, no reply.
Despite the fact they screwed up and are apparently too narcissistic to
admit it, they'll still get their commission check from me, because I
play by the rules. It's just a shame that a "professional" booking
agency would stoop to such childish behavior.
Since this section of my website is a blog and does not provide a means
for others to post rebuttals, I don't think it would be ethical of me
to publicly state the name
of the above booking agency. I can say that it was neither Talent
Associates nor ACA
Entertainment, both of whom I've been pleased to work with over the
years. If you're interested in learning the name of the booking agency
that gave me problems, please email
My point for writing this article is to remind all of my fellow
bandleaders out there to be wary of the contracts you sign.
Understanding when you owe a commission is no less important as
understanding when you don't.
Out Compact Discs
you go to my music page, you'll notice that all of my music is offered
download, and my latest album is available on all of the major music
subscription services. In 2016, music streaming services
finally surpassed CDs to become the most
popular way in which people buy music, but CD sales have been declining
dramatically since the early 2000's.
main reason for the decline, as it pertains to polka music sales, is an aging target market. Whereas
polka music fans used to buy CDs to listen to at home and while
traveling in the car, many of them have now moved into senior
residences and no longer travel. They're not going out and following
bands like they used to, and therefore no longer buying recorded music.
Cookie-cutter, beer-drinking polka CDs still sell to the general public
Oktoberfests, but the discerning polka music market that once thrived
has dwindled to the point where it's no longer
economically viable for most local polka bands to manufacture CDs. Polka music distribution has always
behind the rest of the music industry by about fifteen years, so
compact discs will reign unchallenged in the polka market for
a number of years yet. But the bands that will be making most of the
CD sales are the traveling bands who can spread their points of sale
across multiple festivals around the country. Local bands, who once
relied on a thriving local fan base, are now facing up to a 75%
reduction in compact disc sales compared to just fifteen years ago.
My next recording, which I estimate will be released around the
beginning of June, will likely be my last compact disc release. From
then on, my music will be released via digital distribution only, which
means it will be available through online music streaming services and
nowhere else. There's always a possibility of an unknown factor causing
enough of a local sales bump to have me rethink my position on
manufacturing CDs, but I'm not counting on it. My latest album is being
enjoyed by music service subscribers all over the world, and that suits
me just fine.
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