Onze laatste liverecensie.
Onze laatste albumrecensie.
Ons laatste interview.
Onze laatste video.
The uniqueness of Barbara Manning is reflected in the very way we conducted this interview. This isn't your standard person-to-person or phone interview. It wasn't even done via the Internet. Instead, in response to some personal questions posed, Barbara wrote an extensive hand-written letter. That she wanted to take the time to write an organized communication over several days, and then proof-read the typed draft, is indicative of the organizational skills necessary to pull off the sort of "spontaneous" existence she's living. She doesn't want to be narrowly defined or put in a box. That goes double for her music where she genre jumps with impunity, yet retains an astounding accessibility and performs with disarming ease. There's something about Barbara Manning that pulls you into her story, and makes you look forward to the next chapter. It seems the more you learn about her, the more you hope she succeeds in life, love and music.
With her band, The Go-Luckys!, putting out their first album, now seems like the perfect time to get the latest installment on our indie rock troubadour.
You appeal to the wanderlust in all of us, so there's a certain precarious pleasure your fans get in learning of your sojourns. You had lived and worked in the Sierras, Chico, and then San Francisco throughout much of the 80s and most of the 90s, with a slew of band mates - World of Pooh, 28th Day, SF Seals and as a solo artist. After a prolific several months in 1996/97, where you recorded and released the great 1212 you threw caution to the wind and took off for New Zealand. In New Zealand you recorded with many of the country's best indie artists, some of this music was released on your EP, simply titled, New Zealand. Tell us about it.
"My two adventures to New Zealand were monumental to my creative spirit, my love of nature and my heart. All in all, I spent 4 1/2 months there during the late New Zealand summers of 1997 & 1998. I am still so deeply affected by my impressions of New Zealand; particularly it's landscape, that I am constantly reminded of it in simple daily observances. I feel that I can recall the smells, sounds, warmth of air, sights I experienced without having to dig deep in my recollections. New Zealand is still very much an obsession for me. I know I will have to go back there and get some of my longing for the country out of my system.
The recording sessions from 1997 were challenging and extremely rewarding. Each separate recording session had its individual creative motivation, with the common link of my persuasive abilities."
The tune "Your Pies," which you recorded with Chris Knox of the Tall Dwarfs, is my favorite on the New Zealand EP. What's he like?
""Your Pies" I did with Chris Knox. He is an amazing presence even at home. I was camping in a tent in his backyard for a week in Auckland. I got to see his 4-track room & desk where he draws his weekly cartoon published in the Auckland newspaper. I watched cricket TV with Chris & Graeme Downes and I helped Chris' partner, Barbara (a sculptress), make fabulous vegetarian "teas." Chris has two teenage kids, Leisha & John who are as creative as their parents. Watching Chris help his kids with their homework melted my heart.
Chris & I recorded "Your Pies" during the day and then Chris recorded Graeme & me for "Patience is Gone" the same evening!"
So back in the USA and come 1998, and a landlord change, you've lost your apartment in San Francisco. The cost of living in the Bay Area must be killing the local music scene. Do you miss San Francisco?
"I miss San Francisco very much. I miss my friends; I miss the good restaurants, the live music scene, the cinema, and the beauty. I do think that the cost of living there will inhibit the cultural & creative diversity of the city. I'm lucky to be able to visit frequently (I visit my sister Terri who lives there) and I can always find my way around town after living there for twelve years. If I had heaps & heaps of money, I could imagine living in San Francisco again, but for that kind of income I could live like a Queen in Dunedin, New Zealand. How do creative people survive in an expensive environment? For years, I had cheap rent that enabled me to travel and work part time at record stores. Now I live rent free in a trailer, and I'm still having trouble keeping up with those monthly bills. (Health insurance "kills" me!)"
After San Francisco you hit the road looking for a possible city to live in, you didn't really find the right place so you again took bold action and moved to Germany; where you started a band --The Go-Luckys! -- with two brothers (Fabrizio and Flavio Steinbach) affiliated with a German club you had performed at. Was it your love of Krautrock that somehow inspired this move to Germany? How long did you stay there and how long have you been back in the US?
"I went to Germany, not because of my love for Krautrock, but because of the deep friendships I have there. I was invited by one of my best friends to move into her house and live with her family, helping to take care of her 3-year-old daughter.
I ended up moving around to different areas in Germany, but I spent most of my time in the south of Germany in the home of my bandmates. I spent nearly a year in Europe: eight months in Germany, one month in Denmark, six weeks in London, and one month in Italy. Not all of it was musically related. I never had my own money except from various shows I performed on a regular basis. I briefly had a DJ job at a hip cafe. Basically I survived from the generosity of my bandmates & friends, my credit card and the help from my best friend back in San Francisco, Seymour Glass, who kept up my health insurance for me for six months not to forget some other random bills he collected for me from the Tedium House mail box. I lived an adventure with a safety net weaved together by the caring of my friends. I have been very lucky. But after nearly a year, I felt my "work ethic" and "need to be responsible for myself" calling loudly to me. I was living in such a safe & cozy nest amongst my band members' family. My bandmates, twin brothers Flavio and Fabrizio live with their parents, Rosaria and Frieder, in a gorgeously communicative and serene family household. I wasn't raised in this kind of environment, and I took to it like an adopted puppy.
I left, amid tears & promises of a quick return March 2000--a year ago. My re-adaptation to America was gradual, made easier by the three-month visit by the twins last summer for their first USA trip. We played ten shows, all west coast and Tucson to see our pals there. Then during the Christmas break from school, I went back to Germany to live a blissful and busy thirty days at our band's happy home again. We recorded seven songs for the album and played a handful of shows in southern Germany. In thirty days, I had my guitar in my hands on fifteen nights.
The next plan is for the twins to fly to America for a summer 2001 tour of the USA. I haven't been across America since 1998 and the twins haven't been farther east than Tucson. It will be an adventure. Our new album, "You should know by now", will be released in late May and will precede us on our journey. (I have totally lost track of the original question and hopefully have answered a few in the process!)"
And now, early in 2001, the latest of fascinating turns in your life, you're somewhere in the Sierras studying to be a Park Ranger or something? What led to this decision?
"I am not studying to be a Park Ranger, although when I decided to return to college last year, I picked Forestry as a major. Now I am seriously considering soil science as a major field to focus on. Why? It appears that I need a career to fall back on since my music has little effect on my financial situation. The usual starving artist routine. I hated math and science when I was younger, but I am stimulated by those subjects now. Soil science appears to have some outdoors work time, I think I could work anywhere in the country/world as a soil scientist. So for now, it's my long-range plan. Either that or be a rich rock star."
How are you making ends meet?
"How am I making ends meet? Well........ I am leaping from one stone in the creek to the next. Basically my modest school grants enable me to pay off my health insurance, car insurance etc. I have a work-study grant which landed me an office job at the college part time at seven dollars an hour. That job pays for the gasoline I need to drive the hour trip to and from school. The irony of living rent free in my trailer is that it's so far from town, it costs me ten dollars each time I drive into town to do anything: groceries, laundry, school and work. So my work-study job paycheck goes straight into the gas tank. But I don't want this to sound like I'm complaining! While I was in Germany, I was overwhelmed by the steps it would take to get me settled into my own room again. Now, a year later, I am living hand-to-mouth, but I am settled and I have a working plan. Every person goes through this phase in life. My "transition period" seems to be perpetual, but I'll become self-sufficient if I stay focused and keep productive and never ever give up!! (There have been so many times I felt like giving up.)"
Where exactly are you? Isn't this the place where you grew up?
"I am living in a place that is a few miles away from where I lived as a ten to thirteen year old. I don't feel like this is a hometown for me. I am a stranger, an outsider. I mostly keep to myself when I'm not in school! But it's a wonderful place to be. I am in the Sierra Nevada mountain foothills on a ridge overlooking the Yuba River. I live in a small trailer near my mom's homestead. I don't have electricity except some solar power. I use propane lamps for light and heat. We haul our own drinking water. Our bathtub is outside! So is our kitchen. It's primitive and simple and satisfying. It's a great place for me to write and read and think."
Do you like it? You don't even have electricity; doesn't that make it hard to plug in? This is going to affect your ability to pick up and tour isn't it?
"Yes I like it, but I feel it's only a transitory settlement. My trailer is truly mine and it's a safe place to always come home to, but I see myself in a grander scenario, with a man and kids and a pretty little house of my own and a pretty little place that I feel I fit in. Life without electricity is easy!! There are many ways to have a quality life without being dependent on the utility companies. You know, I also don't have my own phone-and it's wonderful. When I am in my trailer, there is nothing to break my concentration except the geese and the frogs. I have a battery powered when the propane lamp doesn't illuminate as well as I need it. My ability to pick up and tour comes CD player, and I can play guitar happily without an amp. The only thing I miss is more light. There are times from the situation of living so cheaply and going to school. If affords me the freedom of leaving during the long school breaks that a normal job wouldn't allow."
One of the things I've always admired about you, is you know how life-enhancing music can be - both playing it and listening to others - yet, you've never pretended that that is all you'll ever need. You've got your music, but you've said that you eventually wanted more permanence, and that you'd possibly even leave music eventually? You're clearly in some state of transition right now. Are you re-connecting with childhood friends and/or romances? Is performing music still going to be a big part of your life?
"I will always use music as a release, as a therapy, to help me through my troubled mind. I am also trying to control my troubled mind by re-evaluating my thought processes and patterns so that I won't repeatedly go through the heart wrenching periods that produce such great songs! But I have music in me, it's a part of the fiber of my personality and I will always keep music in my life. Will I always struggle just to produce an album? Will I always throw caution to the wind, jump in my car and tour clubs trying to win over audiences so that they will buy my album? I have the power to do it now. That's all I can predict for the near future. I really, really love to play my guitar. I pick it up more than ever before. I also love to perform. It's a privilege to have the chance to play in front of people who choose to see me. But how much power it takes to live a lifestyle that is flexible enough to let me do it! (Back to the starving artist routine.)"
I started this section with saying that you appeal to the wanderlust in all of us; yet, you also crave permanence. I don't believe this is contradictory. In some ways, you're living a well-planned life; in that your bold moves will leave you with few regrets, and some great memories. For example, you love the wilderness but also great urban cities like San Francisco. Was living in the big city, more of a life experience for you that was great and all, but now you're ready for a calmer life in the country?
"San Francisco is an unusual city. It is absolutely full of everything an artistically inclined person could want (sans the affordable housing.) When I left San Francisco, I craved the woods. Now I crave San Francisco! But I don't crave to live in any other city (except Dunedin) and I hope to keep my environment aesthetically beautiful and stressless. I am not ready for total calmness. I go crazy some nights up here in the woods because I don't have a lot of stimulus except from books I read. I'm hoping to get involved with other creative people and set up "happenings" but I'm not ready to reach out yet. I do love to travel and I'm good on the move. That wanderlust feeling is very strong in me and causes me to invent wild plans for myself. I definitely believe in following your dreams even if it risks all the foundations you stand on. My bold moves have often been out of desperation and not carefully thought out, but I have had a lot of great adventures. I also have regrets. Mostly about how I've acted or reacted or treated my friends. I cannot thoroughly be proud of my life choices. I have lost a few friends from my actions, when apologizing wasn't enough to repair the damage. Self-examination is a wilderness that every person should enter for day trips, and bring a basket of food cause it's a difficult hike, but don't set up camp there because the creatures in the wilderness will eat you alive if given a chance. I was absolutely lost in that wilderness in 1998-1999. If I hadn't hooked up with The Go-Luckys! I don't know if I would have come out of it alive. I felt so terribly useless and alone before the band started. The Go Luckys! have been a life-line to my spirit. Is it permanent? Is anything?"
You've had two recent releases late last year (2000). A six-song EP, Homeless Where the Heart Is, recorded with The Go-Luckys!; and, Under One Roof: Singles and Oddities. Tell us about Homeless Where the Heart Is, the title alone is both peaceful and unsettling.
"The title Homeless Where the Heart Is came to me during the summer of '98 while I was working at Amoeba Records in San Francisco. My lover had just broken with me, I was being evicted from my home and I realized I had nowhere, no plan, no money, no place to rest my heart and feel safe again. My heart is still in hibernation. I reached a level of being in love that felt so secure and serene only to have (once again) another female enter from the sidelines. Now I've lost trust in myself to pick the right partner. It's better to be alone than go through the let downs of a relationship. I hate writing this. I sound so bitter and I'm not - but I reached a blissful point of love only to see it fall apart like stale cookies. I'm living in a place where romance would be unlikely considering I am alone most of the time. It's my time to focus on writing and school."
Thank you for making Under One Roof so liberal in length, 18 songs and 60 minutes, and for the extensive liner notes. Did you have had fun putting this together? Why now to pull all these old singles and oddities together?
"Having Under One Roof compiled is like a major spring cleaning. I am so glad to have it all organized in one place. Pat Thomas motivated the entire process, but the idea to do a singles comp has been brought up many times by many close friends. It always seemed so hard to do--but then it turned out to be quick to make it happen. Pat deserves credit for never giving up on me even when I pushed him away. He is somehow connected to my music in a way that used to disturb me. Now I appreciate his enthusiasm for my music because I see myself as a fan of music and obsessing on certain persons songs in the same ways, being an avid fan of music brings you closer to the music than the person that wrote it in twenty minutes."
The amazing and melodic tune "I Can't Watch You Play Drums," (on Under One Roof) has such a beautiful melody. You couldn't have improvised the lyrics and melody at the moment? Did you guys run through the number a couple of times first; surely you had a rehearsal first? Also, why can't you watch him play drums?
"It's too bad this is a handwritten interview, because if it was a talking interview I could go on and on and tell you about how, one late morning in Nimegen Holland I was in the kitchen sipping my first espresso when James McNew (of the band Dump) who was recording and album there and the other guys from Bettie Seervert picked up some instruments and James yelled to me, "What chord should we start with?" and I yelled, "Cm" and the song spilled out. The words probably became more cohesive over the run throughs of the development, sure. It wasn't done at the very moment it was recorded like, say the song "Aramoana" was, but "I Can't Watch You Play Drums" was written immediately. The words were inspired from the night before at the Fast Forward Festival while I squirmed watching any drummer because I was heart sore over my estranged relationship with a multi-talented, but particularly gorgeous drummer. To be honest, I tend to watch drummers most!"
Was it a kick when you saw that the Spin Alternative Record Guide listed your first solo album Lately I Keep the Scissors (1988) album in their top 100 list of the best alternative albums? I mean I know people who have made it a mission to buy the albums on that list.
"It was an amazing kick/thrill/wonderful feeling when Byron Coley (Forced Exposure) originally listed me as one of the top 100 records of the 1980's in his too short lived underground column in the year end issue of Spin in 1989. I was merely amazed that Spin picked me in their Top 100 for their music book. I don't mean to sound begrudging to Spin, but after they gave my 1994 album a near perfect nine out of ten, and then picked my 1995 album as eighth best of the year (the only indie one too) they never reviewed another thing by me. Not even a negative review, nothing. So why pick me in a top 100? To have credibility? Sorry, don't mean to sound bitter."
As great as these new releases are, you haven't put out a full length CD since your classic 1212 (1997), are we going to see a full length collection of new songs anytime soon?
"The new Go Luckys! record, ten song--all originals, will be available May 22, 2001 on Innerstate records, on CD and Gatefold LP with 180 vinyl!"
Your sister is also a talented musician that has played with you on occasion. Are you two still close? Is your Mom still alive and if so are you close to her?
"Yes, my sister is enormously talented. She appears on the new Go Luckys! album as well. Are we close? But of course. In fact I will see her tomorrow. My mom is very much alive although she is suffering from Lyme Disease which has seriously harmed her. I live across the dirt road from her and we are closer than ever."
You should be a big star, at least the size of a Melissa Etheridge! What is going on? I know your music is eclectic, but you're still very much a rock/pop singer with the voice of an angel. Were you ever tempted to get a pushy agent or manager and put on those silly clothes and do the photo shoots, magazine covers and Spin interviews? Do you ever regret not compromising more?
"I have had a tiny bit of experience with assistance such as managers, agents, plus I've had one or two fancy photo shoots where my hair and make up were done for me, but I was partly unwilling and the record label was partly unwilling to sell me hard. It wasn't the right thing to do for me at the time. I also wasn't being offered magazine covers, so I didn't have to decide how glamorous and sexy I would be willing to go. I don't have looks that sell magazines. I did turn down a serious promotional opportunity from..... Well I can't remember it's name but it's a "BIG" (as in large sized paper) glossy fashion magazine started by Andy Warhol. Anyway, the idea was to have a photo of me (without the band) dressed in what they picked (Banana Republic happened to be what they had in mind for me) and the text would be a paragraph describing quickly who I was and what I was wearing. I said no because I wanted the San Francisco Seals to be promoted, not just me, and I had no desire to sell clothes.
Meanwhile I didn't sell my CDs and Matador lost the passion to promote me. However Matador did support numerous tours. I promote myself in person, it seems. Matador even funded my 1996 cross-country trip of only playing in college radio stations live. That was something I really wanted to do and Matador enabled me to do it. But I think they didn't feel that buying Tower Record window spots for me would have changed my lack of sales. Personally I think it would help. People don't buy records unless they are reminded to buy them.
If I suddenly had a flood of money to promote myself but still made my music as I always have, I am positive I would make the promotional expenses back through record sales. I write great songs, I have a great band and a special, beautiful voice- Yes, so why not? I would be willing."
Another group you don't like to be "lumped in with" is the gender-centered, "cry-in-their-beer" type female singers. Moreover, I think a few writers, out of expediency, define you as a confessional singer-songwriter type. This always strikes me as odd, since, even though you have some wonderfully personal songs, you just as often write rockers that have nothing to do with "you." Does the music industry or the press's inability to "peg" you or lump you into a genre somehow hurt you commercially?
"Well, hell yes!, I am sick of being defined as a confessional singer/songwriter folkie, and it definitely makes me wonder if the journalist only is re-writing a previously written review written about me rather than listening to my records. But to be fair, every album I make sounds different from the last one. I don't make the same record twice. So maybe I am too difficult to describe so that I am defaulted back to singer-songwriter folkie. Throughout all of my records I have really rocking songs mixed in with quieter numbers, but somehow they all sound different. Perhaps it's also due to the changing band members. My new band The Go Luckys! are very full of energy. We Rock!"
I must say, I lost a lot of respect for the Matador label for dropping you after 1212. That album may not have sold a lot, but the critical respect you received for it was outstanding. I would have thought they'd have kept you around for the prestige and credibility, if anything. Also, you showed tremendous class afterwards, by not saying a bad word about Matador and being so understanding about it all.
"Let's see, according to them, I sold about 3,000 records worldwide and I owe them somewhere around $80,000. Obviously I can make a record cheaply (and usually do) and I would have gone on with Matador even without nice advances and tour support and video budget etc. But I think they had to throw out their dead weight in order to rise to their next level.
Of course I'm not dead weight! I am an artist of legendary proportions who will be loved decades to come. I think I add prestige to anyone's roster. But I respect Matador and I wasn't surprised when Gerard told me that he was dropping me. That really was ok. The only aspect I am bitter about is that Matador seems to have trouble reconciling their feelings of friendship after the business relationship ends. I guess it's uncomfortable to be close friends to an artist after you drop the artist? I used to feel very, very close to Gerard. I hope he still likes my music, but I don't know."
On the Arsonist Story, the "Our Son" segment of the third piece, not only has one of the most clever plays on words (Arson/our son) but the hook is amazing. Who's singing back up on the "I Saw it on the TV" part?
"On the Arsonist Story, I am singing back ups although Joey Burns does some and also I am playing all guitars. (I'm very proud of that)"
You're not just a musician, but also a music nut; having worked in many of the Bay Area's best record stores and at one time owning a sizeable record collection. Your choice of artists to work with demonstrates your broad understanding of great rock musicians. I guess the question is, has this broad exposure to the really good stuff encouraged you to raise your own bar?
"I wonder about this question myself when I listen to some of the great songwriters that I like. Just today I was wondering what Stephen Duffy, an amazing songwriter from the UK, listens to at home. Discovering great songs is a joy. Knowing that there is always more music to discover gives me comfort. Music motivates me. Not just my music, but also the music I get attached to."
Did you ever sell a Barbara Manning album at one of the stores to someone who didn't know it was you? Or they didn't realize it until the moment you were ringing them up?
"Working at a record store creates many interesting and funny stories. A record store ought to be the location for a TV sitcom. I met one of my closest friends, a woman from Germany named Silvana, because she asked my co-worker if there were any Barbara Manning records for sale while I was standing right next to her. She was very surprised to have me instantly help her!
Another coincidence happened when a very serious faced man bought some tickets for an event at our record store and as I gave him his change he asked me if I had ever been told that I looked like Barbara Manning. I couldn't see a hint of humor in his voice; he clearly did not think I was she. So I said that I had never been told that I look like her before.
On my various travels, often while in Europe, I am told that someone once bought a record at Reckless Records on Haight Street from me but they didn't say anything to me then. Typically I was rarely recognized, but it always gives me a thrill when I am."
Maybe you can explain an age-old mystery; why is it we get more rock star attitude from some record store clerks than we do from some rock stars?
"When you see music as a job, it changes your attitude dealing with it. That's a lame excuse for rude record store clerks (and most are darlings) but it's hard selling records to the average American buying public. It's like driving a city bus. You get cranky along with everyone else. I needed to separate my love of records from my day-to-day job."
I'd like to get your impression of some musicians and bands:
Can - Tago Mago is my very favorite LP by them. I love their groove, a danceable experimental rock band. No wonder why they were popular in the UK!
Tall Dwarfs- My friends, Alec and Chris. Sharp, edgy organic music with great lyrics and fabulous artwork by both men.
Replacements - Played with them in 1984 in Chico while I was under-aged and in 28th Day. They were great to us and asked for a record to be sent once we had one out.
Throwing Muses - Scared me.
Fugazi- Familiar with Minor Threat, heard Fugazi during record store hours and respected, liked the music, but don't own records.
The Clean - One of my top most important influences.
Matthew Sweet- Did not like what I heard.
Tortoise - Enjoy to some extent in certain moods, but have not heard everything and don't own any records.
Sonic Youth - An extremely big influence on me from 1985 to Daydream Nation. Haven't been following closely since then, but I still respect them and consider them stars.
Pavement- I remember how much I loved the cassette I owned of Slanted and Enchanted before its release. Listening to Pavement brings me back to some good times, just like listening to Teenage Fanclub's Catholic Education. I loved that era. Pavement was a big influence on alternative rock, but the "sound" became mimicked to a redundancy. Ironic that Mark E. Smith would criticize Pavement for ripping off the Fall when Pavement had hundreds of sound-alike bands imitating them.
You also have low patience for star trips put on by low talent commercial recording artists don't you? Is it because it brings up a lot of emotions, when you know your level of talent, and you have to struggle?
"I am amazed by how precarious my situation gets because of my struggling to remain an artist. I feel like I'm always on the verge of having to give up recording and touring. I really need a break to happen soon. I definitely deserve it and my music is worthwhile. The only sales and promotion that I regularly get are from word-of-mouth. People who make a point to find out if I have a record out or who will be standing close to the stage during an empty turnout while I am on tour. I get very depressed and discouraged until I realize that the good songs keep coming to me and in every town I play there is always one person who passionately loves my songs. So I keep plugging away. But I still hope and wish for a financial break."
It's probably hard to answer, since you enjoy so many types of music, but can you identify some of your biggest influences and some of your current favorites musicians?
"It is telling that some of my favorite artists are fairly obscure recording artists who never sustained themselves financially.
Some examples:
All of my New Zealand favorites: Clean, Bats, Verlaines, 3Ds, Jean Paul Sartre Experience, Able Tasmans, Tall Dwarfs, Alaistar Galbraith, all of these artist have to financially sustain themselves via non-musical jobs.
Townes Van Zant, Nick Drake, Epic Soundtracks died from despair. Most of the albums in my collection are records that are out of print now because they sold so poorly when they were originally released.
Robyn Hitchcock is a huge star, and a genius to me and many others- but he isn't really famous in the sense of being financially secure.
Yo La Tengo have major success in my eyes, but they are also still struggling to stay productive and popular outside of the alternative rock buying public. Huge arena rock show's success must take a lot of record sales, promoted by a lot of well-paid agents. Otherwise most of my favorite artists should be rich by now. If it was based on talent alone......."
Barbara, I speak for a lot of your fans when I say, I hope you are in a good space right now?
"Finally the last question, and my favorite of all. Am I in a good space right now? At this very moment I am sitting in the sunshine outside of my little trailer.
Musically I want to keep on performing and recording. I wish I could do this full time and play in big festivals and at county fairs and on Letterman. I wish my album would have a summer hit on mainstream radio and sell millions and win a Grammy and I could stop worrying how the hell I'm going to release and promo the next batch of new songs. I have never wanted to be successful more than I want it now, but I see how different a person I am to those who get mainstream attention. My life continues to be an adventure, and that may be all the success I will live to see. I think I am not alone as a struggling artist. Still, I am not quite ready to resign myself to perpetual poverty.
How those who enjoy my music can help me would be to encourage folks to buy the records (not just copy them or get the songs from Napster etc.) and even more critical would be to go see me play during my shoestring tours. I always wonder if each tour will be my last when the promoters get harder and harder to convince to book me. I am currently booking myself for a summer 2001 USA tour and I am hoping to bring out every Barbara Manning fan alive. So see you there!!"
http://www.kindamuzik.net/achtergrond/barbara-manning/barbara-manning/507/
Meer Barbara Manning op KindaMuzik: http://www.kindamuzik.net/artiest/barbara-manning
Deel dit artikel: