The Wendy Bailey Band has been rockin' San Diego, gaining a steady following, and constantly crafting its unique brand of pop-rock. Wendy Bailey, the band's cheerful and energetic songwriter, sat down to talk about the band's style and direction, and of course, her love of the axe...
Why don’t we just start out with the basic stuff…how did you get in to music?
Well, I’m Wendy Bailey and I'm originally from Colorado, but I moved around – Seattle, Nashville, been here for about six years or so…really been involved with music since I was a kid. I’m the youngest of three and my older sister was very much into music, into piano, singing and violin, and really I kind of followed in her path. I knew I had to play violin...it was pretty much more like the first real instrument. I’ve always been singing, piano came more seriously afterwards, and then I started teaching myself guitar. That was a few years down the line. So really when it comes to guitar, I’ve stuck with it because its very mobile and you can sing and play versus trying to sing with the violin (laughs) and you can’t carry a piano around— at least not a full sized.
So really I’ve been playing guitar for a long time. I should be a way be a way better guitarist for the length of time I’ve been playing!
The current band…its…
Right.
For people who haven’t heard your music before, what would you compare yourself to? I know most artists don’t like to compare themselves to others but…
So the theory is just a rough map for the journey…
Yeah, and sometimes it depends on how I’m writing at the time—I don’t write the same all the time. Sometimes I’ll think of the vocal line first which patterns it out. I like theory, because it often works for pop music…make it more simple and predictable , but sometimes when it comes down to moments of inspiration it’s nice to follow that flow. Overall, I try not to force it …I don’t want to it to be constricted. It really all depends… But it’s very much ok to break rules.
Yes, I've heard its good to learn the theory first and then forget it— then you have so much muscle memory built up that it just comes out….
Yeah, it’s different for everyone. I know some people that are just strict ear people and they tried to study theory and they just cant wrap their heads around it… but I really like theory and messing around with inversions and so on.
If you were to recommend to a beginning guitarist on how much they should concentrate on learning songs and going with that versus sitting down with a metronome and doing the hardcore stuff, what would you advise?
I think it needs to be good combination of both. I had a combination of both…only playing scales or exercises at first can get boring really quick, so accompanying scales/theory with some simple songs helps make it fun. So you need to at least make it fun along with the tedious. Learn to play something and it….
Spurs you on?
Yeah, I think there’s a healthy balance. I’ve been taking lessons with someone in fact…There was a point a couple years ago where I felt I plateaued in my playing and I felt I needed to break through and become more of lead player…At this point its pretty much technique but I’m learning leads/solos in songs as well. Right now I’m concentrating on speed and dexterity, you know. I don’t totally want to be wooooo oooohhh (imitates a shredder). I don’t necessarily want to do that exactly, but if I wanted to throw in elements of it, I want to be able to.
And if you play fast it can help in playing slow…it is more about the dexterity…
Yeah…I did a little recording at a friend’s laying down a few songs recently. And recording just always puts a total microscope or magnifying glass on how you play…your techniques. Live, at least for me when I’m playing, I do fine, I’m a little sloppy, but its ok … it’s loud and I’m having fun and trying to get the crowd into it. But when you’re recording you have to be just really tight. I’d like to be able to able to whip out a bit more of the precision playing. …I’m sorry; I’m so off the main point….
Ha ha it’s ok
Where did we come from? Oh yeah, we were talking about scales theory, technique….
Hmmm… Do you ever think you’d get to the point you’d learn too much theory and it becomes counterproductive? Like I’ve seen all these guitar videos, speed players and whatever and many seem like they know everything inside and out but seems to be missing the heart and soul…whereas you have someone like a Kurt Cobain with some power chords make songs that are just immortal…
Yeah, no doubt, I know what you mean. I don’t think I’ll ever get to the point, or at least I hope not. Some really progressive players I love such as Robert Fripp and Adrian Belew from King Crimson; Adrian Belew is so out there he creates these wonderful like animal sounds with his guitar! I mean like whale sounds and train sounds…whereas Robert Fripp is so very technical-- he’s the guy sitting backstage with the metronome and he’s just spot on. He’s just so sickingly good. However, at least for me, I hear some heart and soul in the technical—I don’t hear anything lost. Last year I saw Rush; they’ve been at this for a long time and they looked like these three kids just having fun playing all this crazy complex stuff…..
Let’s talk about advice you’d give to unsigned artists. There are a lot of local artists, and on the one hand because of the internet there are many avenues they can explore, but at the same time it’s like…there’s only so far you can go without that…that connection….
Yeah, I’d say whatever information you get, clue me in on it too! (Laughs). You know I’ve been doing this on my own for awhile and it has its advantages, but it would be great to have some help. I don’t know if getting signed these days, the way the market is now, is worth it. First of all, not many labels are signing right now because no one’s buying music…it all just one or two tunes or just ripping and sharing you know…
You don’t do that of course, heh heh…
I have a hard time with it… there’s a part of me that’s like ‘yeah just grab it’ or whatever, but there’s another side of me that knows how hard it is for artists, established or trying to get established, to earn enough money to even pay rent. I know so many bands where their label is all excited about them and then the next day the label gets purchased or all their funds get cut and the band is dropped. And then they have these beautiful songs that aren’t going to be able to reach the mass populace. And, it’s not like they’re given a severance package or anything. I hear stories all the time about how these big major labels layoff a ton of people and a radio promotions department which had ten people now has one person…how can an artist/band have a successful career with such limited resources? Even as a signed act? And I gotta think it’s hard for label staff too. I mean what label is hiring these people who have a passion for music and want to work in music and can’t? I’ve heard stories about A&R reps who haven’t been able to work in their field for 2 or 3 years. So it kind of sucks all around—for artists and for those desiring to work in the record business. I ask people who are in the industry: what do you think is going to happen? The industry is scrambling. I don’t think it will ever be like it was before. I have a hard time thinking people are going to be making crazy rockstar money anymore….someone was saying that in about 5 years, all recorded music will be free and the only money that will be made will be from touring…and I was like that’s cool, I’d be up for that. For me that’s most of the kick, playing live. Although that’s expensive especially as gas prices continue to go up… I mean a tour bus? Yeah right.
How about promotion?
I think these days you have to be creative. Do all the stereotypical things, do the Myspace, do the Facebook…but those avenues are getting…
Saturated?
Yes, saturated. Its like, I think you have to be creative…I heard this on NPR actually, and they were talking about the industry and tying in advertising…they were talking about this one singer/songwriter gal in New York who did a lot of house concerts and people seemed to pay pretty well for those. Some major corporation heard about her and was like, if this is what she’s doing, we’ve got a new product that fits the demographic; so we can sponsor her and when she does these house concerts
we’ll have this product that they can try— and that way they can get marketing information— and I thought dang! That’s smart! This artist gets a good draw at these shows and is sponsored---her career and stomach are fed. So these days I say use whatever route works that doesn’t make you starve a whole lot… just keep trying.
Ok, to switch gears, lets get into equipment. Guitars? Effects?
My electric guitars— I’ve got a Fender American Telecaster that I’ve had for years. I also have a Gibson Les Paul Studio which is great. They both have nice sounds they fit me well…but if I had more funds I’d go nuts! I wouldn’t mind Gretsch or a Gibson 335 that wouldn’t suck. But the amps…There’s one amp that I’m using and it’s a tube amp. It’s a Marshall combo JTM60 which has three 10s in it so its kind of a piece to lug around, but I really like the sound. It’s a warmer sound, and I really prefer that….I’m not really digital, I’m more analog…stompboxes, all that.
What is your standard pedal setup?
Tuner, digital delay, a couple types of distortion, a tremolo, a phaser. There’s a little phaser on “Harmless”. There’s only one real thing that I call my secret weapon…more people have it up in Seattle than here… there’s I guy I did some recording with and he makes his own pedals--and they put out a couple of really good gritty distortion. I’ve got a demo model. It has this silver casing and this cool blue light….I’ve got a wah as well and a loop station that I’ve been working with and I need to integrate into what I’m doing because that would be just too fun.
And acoustic?
I’ve got a Taylor that I’ve had for years. It’s a big dreadnought, mahogany. It gives out this beautiful warm sound especially as it has been aging. The sound has been getting nicer and warmer.
When it comes to effects, how do you decide how stripped down you want a song to be or how effects heavy?
It really depends on the song… when playing live, that’s when I kick it up a little…there’s room to go nuts as long as the band is all in sync.
How about string thicknesses and pickup types?
All standard. I purchased my studio used and its funny because I got it from this guy who was a friend of a guy who’s in this really intense punk band, and he was selling his Les Paul and there were a couple modifications, but I got it and found out one of the humbuckers is in there backwards, and I’m like, ‘I should really just go in there and flip it around’, but I’m a little afraid to mess with it…
But it gives it some character…
(Laughs) Yeah, and also at the top of the guitar, I don’t know how it got written in there, but a few years ago, I was in a Heart tribute band and I was like the sister that played guitar, I was the Nancy. And I saw this saying written on the guitar: “This machine kills Fascists” –Arlo Guthrie originally…I thought “That’s awesome!’ Ha ha…
But string thickness…hmm…in terms of my high e, they’re generally 10s, I used to do 11s but now I do more bends, and it’s easier to bend with 10s. D’Addario strings work good…
(Laughs) They should pay you! That’s product placement!
(Laughs)… yeah…I haven’t messed around with the innards of my guitars very much. I like the sounds why mess with it? I’d love to be able to build a guitar. My guitar teacher has done that a little bit and showed me different sites where if you like the feel of the neck of a tele, you can buy the neck of a tele, or if you like the body of a Les Paul or a hollow body or whatever, and you can input whatever innards you want….
One band I like is Muse…another trio, and wicked digital. Matt Bellamy is just an amazingly psycho player. I was reading about his guitar and he gets his custom made and works with a luthier in Exeter to create his guitars and my gosh...he's got digital effects in the guitar...these cool little thinkpads at the base of the bridge where he can manipulate the sound and signal… its crazy. That’s just fun stuff to learn about…so yeah
I wouldn’t mind a Gretsch Duo Jet or a Gibson ES335. Ampwise, there’s part of me that wants a hiwatt because that’s what Pete Townshend uses…and Matchless is pretty matchless… it would be nice to go the orange route and get a little funky… it would be cool.
You talked about your influences before. Can you go into what types of music you listen to? I know some people who listen to say, death metal, also listen to rap. And they may get things in one genre that may come out in another form…so what’s on your iPod?
Well, Black Rebel Motorcycle Club, The Who, Def Leppard, some serious guitar rock. But at the same time I love classical music... there’s also a part of me that can really appreciate country music today. Even though nowadays its more pop and slick, I think I just respect it from a writing standpoint, because that’s a real skill, so I can respect that….so what else….Travis…I cover one of their songs, I think its off The Invisible Band…great writers…and I saw them live at the House of Blues…. their songs were bitchin’… they really melt your heart.
So how do you feel about more ‘manufactured’ music, American Idol and all that?
(Laughs) I don’t watch American idol… well I watch the funny ones…you know it’s a smart business idea…but…hmm, well if I had the opportunity to write a song for someone affiliated with American Idol, its not very indie to say, but I’d jump on it. It might be some good exposure that might lead to other opportunities that might help me in my art…I don’t look at it like selling your soul, especially these days…no wonder bands like ZZ Top go on there….last year when Sanjaya was around…to see Joe Perry up there? That bummed the crap out of me, but it’s a smart idea….it wasn’t right, but it’s more exposure to these kids that may not be familiar with Aerosmith. So yeah, it’s karaoke, but hey, but if they can make a career out of it and they’re happy that’s good…not necessarily for me but….
What’s your favorite song?
Oh geez!
And you have to pick one….
Well I’ll tell you my favorite one right now. Is that cool? The song is by Black Rebel Motorcycle Club. It’s called ‘Berlin’. And its off a fairly recent CD. They’ve put out some B-sides after this but they had a CD which came out called Baby 81 and the song is great because its so driving and the bassline just makes me so happy! It’s so beautiful. I was cranking it up on the way here…and oh yeah, I lost a little steering ability! I was like yay!
So you write all the music. How do you feel about input from the other members? Does it ever cause conflict?
No, I welcome input. Its good to get another perspective and sometimes its like yeah, that would tighten it up more… I want to keep it open for creative input and make it fun for [the other bandmates]. However, I always have the final say…heeheeheehee…
You were talking before about the songwriting process, but how about the inspiration part? How much is drawn from your own life and how much of it is the standard themes...?
A lot of it is drawn from life, but it varies. Like “Harmless’. I remember writing that and I was like ‘I’m not going to think about formulas or anything, I’m just going to freakin’ write. I'm not going to think about lyrics blah blah’, and that’s what came out. “She Walks Groovy” is about a friend of mine in Seattle. We were walking down the university district by the University of Washington. She’s a particular curvy girl and someone was giving her some catcalls…and that’s where that came from. But there’s other songs that haven’t been recorded yet that are really release outlets from frustrations. And that’s where music is my help, it helps me organize those thoughts and I hope it can help others.
Have you had feedback from fans, like if a song affected them?
Yeah there’s a song that’s on my previous EP called “Was It Time”. That one people relate to…just about disappointment in a friend.
Today I was writing a little bit before coming over and there’s a lot of standard music that musicians seem to have as an influence that I never got growing up...For example Bob Dylan. I was in Seattle in a coffee house and I heard a Bob Dylan song. One that Joni Mitchell sings on and I was listening to his strumming pattern and I was like ‘yeah that’s Dylan, that’s his style’ and so I started messing with that strum and I started coming up with something. So I’m finding other avenues and it’s a fun challenge and it keeps it interesting. I think my best songs come out when I’m just relaxed and not thinking so critically.
Yeah it sounds like there’re a bunch of routes to the same source.
Exactly.
Ok…what’s the craziest thing that happened at a show?
(Laughs) I know exactly the story. My band and I were playing in this bar in La Mesa and there were the occasional drunk regulars… but there was this homeless woman and its kind of sad…that they let in and there were like 5 people at the bar making sure ‘homeless woman’ wasn’t getting carried away, but she was dancing on the dance floor, no one else there, full-on flashing us! And my guys were so good. They were so focused on not looking and I was trying to look above her and everyone was like aaaahhhhh! That was one for the books…
Tell me about future plans and upcoming shows.
There are a few fun things going on. We’ll be auditioning a few drummers in the next few weeks and I’ve got a couple acoustic shows coming up. One in east village,
downtown San Diego in Java Jones, another one in a place in Temecula. And at the end of July we’ll be playing in Orange County for something called the International Pop Overthrow Festival. It’s something along the lines of South by Southwest and there’s this guy who organizes these festivals and has all these bands organized…so we’ll be part of that. Looking to do a music video…there’s a videographer in Los Angeles who said I’d like to do this for you for the price of a good burger and I’m like ‘hey I’m right there with you man!’
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1 comments:
That's funny you mentioned having a burger...a Wendy's burger of course :)
cpuppy :)
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