By Chuck Dauphin

Age, it is only a number. If there really was a cut-off point to living and creating, then we would be missing the stories of such notables as former Oakland Raiders star player George Blanda, who played almost into his fifties. Or television stars like Will Geer, who battled blacklisting in the 1950s only to gain his brightest moment of celebrity in his seventies playing ‘Grandpa Walton’ on the classic series The Waltons. In the middle of those personalities is Blues/American Roots artist Marty Grebb.

At age 66, Grebb isn’t your run-of-the-mill pretty boy. But, he has a way of doing what he does, and he does it exceedingly well – and that is playing and singing the Blues.

Bonnie Raitt, who has collaborated with Grebb on several occasions, had this to say about the Chicago native: “Marty has always been one of the most talented, soulful and versatile artists I know. From our years playing together in my band, to his broad history playing on his own and with many of the greats, Marty is one of the very few musicians who can nail singing, keyboards, saxophone, guitar, bass, drums, songwriting and arranging with equal passion and authenticity.”

Somehow, one gets the idea that an artist with the stature of Raitt doesn’t utter those words about just anyone. And, when you listen to his music – particularly his latest disc High Steppin – you realize pretty quickly that Marty Grebb isn’t just anyone. He sings it, he produced it, and he also wrote it and played all the instruments on the album. So yeah, he’s 66 years old. But, with those years come a wave of experience that makes those lyrics and riffs take on a new meaning. After all, shouldn’t you have lived it if you’re going to sing about it?

Luna Chica Records COO Brenda Cline agrees with that assessment, saying, "These are questions that I ask my peers. Why, as an industry, do we substitute image for talent that is derived from experience? I understand the importance of image. At one time I worked in the modeling business. I get it. Image is important to a younger demographic and music that appeals to a younger demographic, some feel, is more profitable. But, what I don't understand is why the music industry as a whole alienates artists the moment they reach a certain age even though they write songs from a perspective that could have only been gained from living life much longer."

Grebb’s perspective stems from a career that he started developing before he was ten years old. As a teenager, he was playing in a band with future Chicago lead singer Peter Cetera. At age 16 he signed his first recording contract. Along the way, his musical resume includes a stint in the group the Buckinghams, whose hits included “Don’t You Care” and “Mercy, Mercy, Mercy.”

With all of this going on, Grebb also made appearances on some of the top TV programs of the day, including The Tonight Show with Johnny Carson, The Merv Griffin, and the most popular network variety program of all time, CBS’s The Ed Sullivan Show.

After that, his career took him to stages that he would share with artists such as John Lennon and Joe Walsh. His session work also became very much in-demand over this period, as he became introduced to Raitt with her 1972 sophomore album project.

And, he didn’t stop there. Grebb added to his portfolio success with songwriting, and even a stint performing comedy with such geniuses as Richard Pryor and George Carlin.

But, it’s the music that has always led the way with Grebb. That’s what others have picked up on over the years.

Leon Russell, who co-wrote Grebb’s current single “Heartbreaker,” said this about him and High Steppin’: “I had the pleasure of playing with Marty in my band in the old days. I hired him to play sax, but he ended up playing sax, Hammond, and guitar. He is astonishing on all these instruments. Also, he has the soul of an angel in his singing voice. This is his second solo album, and I’m quite sure you will love it so much as I do. This is a premiere event for your listening pleasure. Enjoy yourself.”

Radio is also buzzing about High Steppin’. Steve King of WGN in Chicago said, “This is the best album I have heard in over a decade, period.” Michael Dubois of CBKL-FM in Quebec City said, “Ray Charles lives again!!”

In Grebb’s words, he describes High Steppin’ as a reflection of his influences throughout his career: "I feel this album is a reflection of real American musical art forms that occurred historically and chronologically and represents music that I have come to love over a long career. Even though there are some slight modernizations here or there in the recordings, you can play them next to music recorded in that era and I believe they will hold up in terms of authenticity. Of the numerous labels I approached, Luna Chica Records was the only one that really got that, and relished it. They also were not afraid of my age, or that you wouldn’t be seeing me on American Idol or some such anytime soon. Good music really IS timeless. I still love to listen to Jazz of the 20s through the 60s, as well as spiritual, Blues, and R&B of that same time period. Long live American music!”

Garth Hudson describes the multiple influences he hears coming through Marty’s music and his playing on High Steppin’: "Marty Grebb has a fine voice that speaks as an old friend. Every instrument on High Steppin' is crafted in a natural, dedicated, fashionable manner. The styles presented here are all "official" and the charts are excellent. Marty speaks the language of the saxophone eloquently as did the great soloists through the past seventeen decades. Listening to his alto fills and solos I hear a contemporary player and a "now" sound. Listening to his tenor fills, solos, and compositions I hear messages from Ben, Coleman, Lester, Illinois J., Bud, Louis J., Cleanhead, Thin Man, Big Jay, Red P., Arnett, Joe H., Gatortail, Lockjaw, Maxwell, Sam The Man, Big Al, Fathead, Earl B., Sil, Lee, and Clifford. Imagine David Sanborn, David Koz, Grover Cleveland, Lenny Pickett, and Marty Grebb sitting with all of the above at a big round table."

The words of praise are not lost on Grebb’s label head. “The caliber of artists that Marty has performed and toured with stands on its own merits,” says Cline. “We are talking legends like Eric Clapton, Leon Russell, Bonnie Raitt, Stevie Nicks, and BB King. Not too many artists, if any, can boast that around here."
In essence, the music of Marty Grebb is something that Cline feels has disappeared from much of today’s music scene, and that word is real - regardless of the age factor. “We are so missing it. In a time when every cent in music sales counts, and we desperately need it, we are ignoring a huge demographic (45 and older) that would buy music if we gave them something they like. I hear it all the time. They don't want to buy music that is all about fairytales - they want real life experiences. They want to hear songs that make them smile, shed a tear, and think back on what they have experienced in life. But they don't want a 20 something year old singing it. That isn't real. Thank God for Americana music, which is now helping to fill that gap,” she says.
After all, when you look at a list of acts that Grebb has worked with, one name that pops out is Willie Nelson. Though he moved to Music City in his late twenties, he didn’t hit his stride until “Blue Eyes Crying In The Rain” in 1975 – as he was closing in on his mid-forties. What if he had decided to give up because of what some in the business might have considered “advanced age?”
Marty Grebb is one of those artists who will make you a believer, and with High Steppin – that time is now!

www.LunaChicaRecords.com

Grebb’s latest CD, High Steppin’, is a loving tribute to the blues and soul music he grew up with in Chicago. The album has already gotten the attention of peers such as Leon Russell and Garth Hudson. Bonnie Raitt commented about it: “Marty has always been one of the most soulful, and versatile artists I know. From our years playing together in my band, to his broad history playing on his own and with many of the greats, Marty is one of the very few musicians who can nail singing, keyboards, saxophone, guitar, bass, drums, songwriting, and arranging with equal passion and authenticity. He’s made another great, funky record in High Steppin’. Terrific all the way around.”

Long before joining The Buckinghams in 1967, Grebb was signed to Vee Jay records with the Exceptions when he was 16 years old. During that time, he met Muddy Waters, Buddy Guy, Jimmy Reed, John Lee Hooker, and Etta James, all of whom helped to shape his deeply sincere, blues-based sound, and most of whom Grebb would end up working with throughout his career.

On High Steppin’, Grebb plays every instrument: piano, Hammond organs, electric and upright bass, drums, vocals guitar, resonator guitar, and has written all the horn arrangements.

“Heartbreaker” and “Can’t Get You Out Of My Mind” (both co-written with Leon Russell) are low-down, minor key blues that have Grebb playing down and dirty Otis Rush-style Chicago blues guitar leads with tightly punctuated horn hooks. Grebb’s vocals are exceptionally soulful. There’s a hint of Ray Charles and Bobby “Blue” Bland” at first, but he eventually departs from the obvious influences and demonstrates a totally unique sound. His alto sax solo on “Heartbreaker” is brilliantly melodic.

Clifford’s Mood is an instrumental dedication to Bill Doggett’s original tenor sax master, the late Clifford Scott. Grebb’s tenor work has sparks of Scott’s style, but he again departs into his own bag of tricks. This takes the listener back to those classic Doggett sides on King records of the mid ‘50’s. Grebb also serves up a smooth and funky guitar solo that is true to the style and era. This is one of the most daring recordings laid down in a long time.

“Dem Dat Know” and the title track, “High Steppin’,” have a true Mardi Gras New Orleans feel. Here we get a taste of both Grebb’s rollicking piano and slick tenor-sax playing with more great, sincere vocals. Grebb actually co-wrote “Dem Dat Know” with the late Cajun/country legend Bobby Charles.

Grebb’s slowed down, funky rendition of Rufus Thomas’s “Walkin’ The Dog” is one of the greatest and most original readings of this Memphis classic ever recorded. Grebb’s stinging lead guitar solo is pure, with a delicious blend of Johnny “Guitar” Watson and Albert King without sounding derivative. Grebb’s churning keyboard work in the background and passionate vocals make this worth the purchase of the CD alone.

“Treat Your Daddy Mean” (dedicated to Muddy Waters) is the kind of pure blues not recorded in a long time and one of the album’s most inspired recordings. Along with some terrific blues harp and acoustic guitar playing, Grebb’s vocals on this number put him in the ranks with some of the all time great blues singers. It’s hard to believe this track was recorded in this day and age. The same could be said about “One Night” and “Let A Butterfly Cross The Road” — slow Ray Charles blues numbers that not only pay tribute to the “Father Of Soul” but give the late master a run for his money, with Grebb’s pleading and mournful vocals and soft, dynamic piano playing.

“Never Gonna Let You Go” may be the most commercial sounding track on the album, with its Motown- esque vocal hooks and reverb laden horn lines. But it doesn’t, for one moment, take away from the power and genius of High Steppin’.

High Steppin’ is a powerful statement that real blues and soul presented with authenticity still exists. Coming from a man some might have overlooked as a session player over the years, Marty Grebb comes out swinging, playing every instrument at a jaw-dropping level of brilliance and devotion.

To read more reviews and posts by Devon Wendell click HERE.

It was an evening of music with the writers performing in an intimate, comfortable setting of oversized sofas and soft lighting that created the ambience of a living room house-show instead of an office or venue.

“One of our goals for 2011 was to create an incredible writers’ series in an atmosphere that allows performers to connect and interact with the audience in an up-close and personal level,” said Brenda Cline, Luna Chica Records’ Chief Operating Officer.

Kirsti Manna, who co-penned Blake Shelton’s six-week #1 smash, “Austin,” kicked off the night of music. In addition to “Austin,” Kirsti sang her rockin’ piano version of “Loud,” recorded by Big and Rich, and then contrasted it with an easy-listening jazz number. Kirsti also sang “Me and Brenda,” a humorous song co-written with Jackie Bradshaw and LCR’s own Brenda Cline. As a seasoned entertainer, Kirsti kept the audience laughing and engaged with both her music and comedic banter in between songs.

Artist/songwriter Julie Forester joined Kirsti during the first set of the night. Julie performed songs from her new EP, Julie Forester’s plus 6 LIVE. As a dynamic performer who has traveled around the world, Julie’s soulful and expressive vocals drew the audience right into her performance with the sinfully seductive “Let Me Be Your Lover” and the transparently honest “You Always Love Me When I’m Leaving.”

Luna Chica Records’ newly signed artists Christi Bauerlee and Tarryn Smith took to the stage for the second half of the musical evening with their mix of thought-provoking story-telling songs and rockin’ country sing-a-longs.

Christi commanded immediate attention with a mix of her charming yet confident presence on stage and the intense, passionate vocals through which she sang her songs. Christi’s honesty about her life and the story behind the intense ballad, “In Bed With A Stranger,” created an immediate and personal connection with the audience. The light-hearted “Hillbilly Honey” conjured up an image for the ladies, but it was her heartfelt, personal rendition of Bonnie Raitt’s “Love Me Like A Man” that was a crowd favorite. Christi’s’ new CD, Show Me Who You Are, will be released next month on Luna Chica Records.

Tarryn Smith, also a new artist on Luna Chica Records, took the stage with Christi and could easily be described as a “songbird” with her angelic voice and sensitive, inspiring songs. Tarryn’s music added the perfect balance to the evening. Tarryn played several songs off her new self-titled EP available from Luna Chica Records, along with the optimistic “Expecting Good Things,” which is the title cut on the Grammy-nominated album by Jeff and Sheri Easter and can also be found on Majesty, the newest release from the Gaither Gospel Series.

There was a great deal of positive feedback from the artists about the atmosphere and the audience.

“I feel at home with Luna Chica Records, so it was like playing in my living room for a bunch of friends. And it sounded better than some clubs I’ve played,” Christi said. “The crowd was amazing and the talent, well, that was top notch! I’m looking forward to more in the future.”

“It was so much fun to play alongside three fabulously talented gals at Luna Chica Records’ Chick Night,” said Tarryn. “It’s an honor to be working with a label like Luna Chica Records that is creating new opportunities for independent artists.”

The event was also used as a platform to raise awareness about Colby’s Army and their Operation Backpack - an initiative of the nonprofit 501(c)(3) to provide new and gently used and fully stocked backpacks for the homeless. Luna Chica Records is a current drop-off location for anyone who wants to contribute to Colby’s Army. For more information, please visit www.colbysarmy.org.

For more information about Christi Bauerlee, Tarryn Smith or Luna Chica Records, please visit www.LunaChicaRecords.com

About Luna Chica Records International: 

Luna Chica Records International (LCR) is a Nashville-based independent record label. Its service-driven business model provides new ways for independent artists to promote, market, distribute and sell their music. It also allows artists access to top industry professionals in all areas of the business. The non-conventional model of LCR includes online sales and distribution, a network of strategic partners who offer a multitude of consultation and artist development services and new media marketing. For more information, visit www.LunaChicaRecords.com.

WWII-Themed Video Deemed A Bit Too ‘Risqué’ For Mainstream

Jesse and Noah Bellamy, sons of legendary country crooner David Bellamy of the Bellamy Brothers, haven’t strayed far from their family’s musical roots. The second-generation musicians recently released their Luna Chica Records’ debut album, Landfall. Recently, the brothers debuted their new video for their upcoming single, “Dirty With A Southern Drawl.”
 
Appropriately released on Pearl Harbor Day, Jesse and Noah Bellamy offer a stunning new World War II-themed video featuring authentic props and vehicles from the 1940s. The video, filmed in retro-comic book style, pays tribute to the pop culture of the Greatest Generation and is set to Jesse and Noah’s country-rock homage to Southern women: “Dirty With A Southern Drawl.”
 
Originally, Jesse and Noah traveled to Memphis, Tenn. in search of one of the video’s potential stars, the Memphis Belle, the WWII B-17F Flying Fortress made famous for its wartime heroics and pin-up nose art. However, the brothers quickly learned that the historic aircraft was no longer stationed in the city, forcing them to modify the casting and direction of the video. The brothers found appropriate substitutions with the Memphis Belle Burlesque troupe to provide pin-ups and the Mid-South Military museum to supply WWII props.
 
The video has already been deemed a bit too ‘risqué’ for mainstream pickup. However, Jesse and Noah feel that a viral hit is not out of reach, considering the elements of the video. 
 
“The components of this video give it the potential to become a major viral hit,” said Jesse Bellamy. “It’s beautifully directed by Memphis-based indie director Mike McCarthy, tells a really cool story, has some amazing visuals and is chock-full of sexy women. What more do we need?”
 
Noah adds, “In an age where reality TV dominates music video networks, we are happy to release our video on YouTube and other similar sites as we believe they are becoming the launching pads for ‘the people’s’ music’.” Further, Noah explains that he has watched artists in other genres bring their careers to new plateaus by producing creative quality videos for online viewers.
 
The “Dirty With A Southern Drawl” single will be released to radio January 17.

Video synopsis:
 
April and Cookiee are WACs (Women’s Army Corps) during the final days or the war. April dreams up a plan to win the war for the Allies once and for all. She confides in her friend Cookiee, but soon makes a disturbing discovery involving the vicious Dragon-Lady. Meanwhile, Jesse and Noah are on patrol when they too make a shocking discovery - which could mean their doom.
 
To watch the video, visit: http://www.lunachicarecords.com/video.html.

Luna Chica Records International (LCR) is unlike any other record label. Its unique, technology and service-driven business model paves a new way for independent artists to promote, market, distribute, and sell their music. It also allows the artist access to top industry professionals in all areas of the business.

The company was founded in 2002 by Boulder businessman, Paige Cofrin, who serves as CEO and president. Cofrin has a degree in business from the University of, Colorado and an interest in the entertainment business that has led him to roles in everything from radio to music production.

In 2005 Cofrin recruited long-time music industry veteran Brenda Cline to consult with Luna Chica Records and the management of their only signed act at that time, Burrito Deluxe.
Burrito Deluxe is a country rock super-group that included an incredible group of Rock and Roll Hall of Fame and legendary greats, some of whom were instrumental in the emergence of the country rock genre.

The band included legendary “Sneaky” Pete Kleinow (an original member of the Flying Burrito Brothers), Carlton Moody (of the multiple Grammy nominated Moody Brothers), Garth Hudson (The Band), Jeff Stick Davis (the Amazing Rhythm Aces), Richard Bell (The Band, Janis Joplin, Bob Dylan), Walter Egan (million-selling single “Magnet and Steel”) and various other legendary guests.

When Cline came on board, Burrito Deluxe had already released two CDs: The Whole Enchilada and Georgia Peach. Cofrin hired Cline because she wasn’t stuck in the traditional mindset of most industry veterans, and because she had the reputation of being a relentless advocate for acts she believed in. Cline had no problem going out on a limb and not following industry blueprints. Kudos to Cofrin, too, for having the courage to break out of the usual mindset from the way the music industry normally conducts business.

Together, Cofrin and Cline decided to record a third Burrito Deluxe CD titled Disciples of the Truth. Here, Cline oversaw the entire A&R process and Cofrin served as executive producer. This album garnered much critical acclaim, but even with that and endless effort, they were not able to break it at radio. It was a defining moment for Cline, who continued to question the way the business of music was typically conducted.

While still a consultant for LCR, Cline independently continued to develop acts outside the country genre, working with acts in pop/rock, hip hop and contemporary Christian. She admits that was without a doubt one of the smartest business moves she ever made.

“I thought I knew a lot about the music business,” she said, “but I learned a new, fresh approach about how acts promote, market, and sell their music without a dependency on radio.” At the same time, Cline paid close attention to her music loving, teen kids and their friends––and how they were buying music. “They were downloading it, period!” she said. “On the rare occasion they did buy a CD, they burned it, downloaded it to their iPod and threw away the packaging. It was a surprising eye opener!”

Cline started researching Indie artists on MySpace; and attended music festivals, conferences, and showcases. She spoke with many artists, listened to their music, and asked a lot of questions. “I was blown away by the incredible amount of music made by these exceptionally talented ‘undiscovered’ acts”, said Cline. “These were artists who were self promoting, had street teams, produced their own music, and most importantly, leaned on the Internet instead of radio––and they were selling records.”

The only thing that wasn’t going right, according to Cline, was that the music industry had turned a blind eye to these artists because they weren’t “mainstream” and didn’t fit a certain image. “I thought, what is wrong with us?” she said. “Most of us are in this business because we love music; it runs through our veins. Yet we have lost our way. For many, it quit being about the music a long time ago and that’s not what I signed up for.”

It never stopped being about music for Paige Cofrin either, and that’s why he got into the business, too. That’s why he encouraged retired pedal steel icon Sneaky Pete Kleinow to come out of retirement and start another band at the age of seventy-two, and why he was the driving force behind Burrito Deluxe.

Cline’s experiences led her to envision LCR as a multi-genre record label where the decision to sign an act was based on the quality of music alone. Not age, not genre, and certainly not whether the music was mainstream. She presented to Cofrin a new media business plan that was progressive and Internet driven. It wasn’t difficult for him to make the decision to transition the label, and he made it very quickly. Brenda now heads up day-to-day operations at Luna Chica Records as general manager and director of A&R. For over a year, Cline has kept a low profile while putting into motion the revamped business model by hiring staff and technical advisors, and marketing and promotion people. Now, the search for great, diverse talent is on.

Cofrin and Cline share an entrepreneurial and pioneering spirit, and are risk takers. They see the Internet as an exciting, huge, untapped opportunity and welcome change in the music business. It is this teamwork, leadership, knowledge, and vision that drives the company and will open minds to a new way of doing business.

The non-conventional model of LCR includes online sales and distribution, a network of strategic partners who offer a multitude of consultation and artist development services, and impressive new media technology driven toward marketing. This team of experts and the LCR staff are equally important to the artists the label signs. “The energy and excitement at LCR is high,” said Cline. “We are now ready to scout and sign incredible talent. Let the games begin!”