June 2011 - Rick Manwiller
Rick Manwiller is a lifelong musician working all sides of the music business. In addition to being an accomplished songwriter and musician, Rick owns his own studio and has worked the technical aspect of the business with many big name artists over the years. Due to all of his experiences and career choices, he has an encompassing view of the music industry. After a little persuasion, the ever humble Mr. Manwiller agreed to be interviewed by fan and longtime friend, LeeAnn Hively-Insalaco. It was, as always, a pleasure to gain more insight into the wonderfully creative mind of the fabulous Rick Manwiller.
At what age did you pick up your first instrument, and what was it?
I couldn't, it was a piano. But I tried, which may explain the childhood hernia I suffered. : ) I took lessons at 8, for 3-4 years. It was "play out of this book" and boring as hell, but I did learn the fundamentals. What was more momentous though, in terms of my musical creativity, was when my Air Force brothers left their drums and guitars at home when they went back to active duty. I was forbidden to touch them, and of course that meant I just had to make sure they didn't find out I had touched them. I touched them almost as much as a 14 year old touches himself, actually. That gave me a real rootsy appreciation of those instruments, and a feel for what "garage rock" really stood for - the thrill you get the first time it feels like you're playing something worthwhile, and you can't wait to jam with other guys.
How old were you when you joined your first band? What was the genre and influences behind it?
My brothers had a pop-rock band called Chameleon. They needed a drummer, and I had become one after the piano lessons. Mom gave me a year of drums, but that was all I'd needed, I always felt like a drummer, and it came naturally. Initially, they didn't want me in the band, because (a) I was their little punk brother, and (b) the Local 135 wouldn't let me join. But eventually, they caved, and I got a chance. When they heard how high my pre-pubescent voice could sing, I think they realized they had something few bands had - the really high Mormon Grabyourschnackle Choir parts no one over 14 could reach anymore. And from singing in the church choir, I had decent pitch control for my age.
When did you decide you would make the business of music your bonafied career choice?
I never really did. I'd switched to keyboards, and the Manwiller brothers band was called Gaslyte now. I remember getting in from playing a gig at 3am, getting up for school at 7, and playing a baseball game after school on 3 hours sleep. That's when I discovered caffeine. Went to college right out of high school - the same month, and when I was graduated from electronics college with a degree in 1975, it was just in time for the big recession. Jobs were nowhere to be found, so I went back to playing keyboards in weekend rock bands. One of which was a funk-rock band called Mr Quick, based in Pottstown. After that, some local heroes from a band called Uncle Drew were reforming, and I got a shot at that. That eventually lead to Steff and Steph, the latter of which was a real progressive rock extravaganza, with a 9' rotating drum platform and a setup that took us 6 hours the first night we went to play. Also was my first "road crew", wherein I didn't have to totally bust my gut toting gear and setting it all up. After that, I heard that the nationally-known melodic rock band Dakota - from nearby NEPA was looking for a bass player. I called about the bass gig but wound up getting the keyboard slot I didn't even know was open. They'd made 2 major label records that got messed up in music biz politics, and were reforming for another shot. In less than a year with them, we were off to record a "real record" for MCA in Hollywood, and I realized things were getting serious. I did 6 records in all with them, the later ones being European and Japanese labels that still valued high-quality melodic rock.
As far as my later years doing the tech/crew work, it just happened. I was Jimmy Harnen’s piano player back when he had his Top 10 hit “Where Are You Now?”, and when Jimmy went to Nashville to work at labels, I kinda trailed along soon after. I met a lot of artists, and would end up doing their production managing or sound, or both.
Take me through the process you go through when recording/producing a new song from conceptualization to final product.
Everyone does it differently, so all I can give you is my own personal method - not recommended for most people, so you kids be careful out there if you try this. : ) I come up with a germinal idea - a hook or a lyrical concept or even a groove - then I record that section, with pretty close to full production. I want to know if it's going to work as a complete arrangement before I invest a lot more time in the song. Some people would say that's stupid, but it's how I work. I've never done a lot of the Nashville type collaboration, but I have done some, and some of those are some of my best songs, I'll admit. But I prefer to write solo. After I get the idea laid down - in terms of a verse and a chorus that fit together - and it works, then I eventually get around to finishing the song. But I have song snippets to this day that I haven't had time to sit down and finish. The upside is, I have a huge pool of snips to cull new songs from as I start to put a project together.
What is the strangest source of inspiration you can recall? Why was it so odd to you?
There's a cut on my last CD, "Chocolate Detox" called "Rokki the Porn Star." I had met a woman who was an ex-employee of the porn industry, and she gave me some funny inside info on that sector of the entertainment industry (the 'privates sector', I call it). It gave me an idea for the story line, and it's one of my own personal favorite compositions, mostly because the sleaziness of the subject matter took the music in a somewhat Frank Zappa direction - something I'd never even attempted before.
You work on your own music as well as being the super awesome tech guy for big label musicians. What is the biggest difference between the two, what do you enjoy about each aspect that you work with in the musical industry, and what parts would you alter if you could?
I'd always rather play than turn knobs, to be honest. But the music biz had a youth fetish, and Nashville is no exception. I got to play with Darryl Worley a few short years ago, and that's probably going to be my last hurrah on stage, since once you're over 40 (and I'm WAY over 40), you're even too old for country. Unless you're an established artist, which I am not. I only lasted about 3 months with DW, but that was one gig I wished I could have held on to. (Can we stop? I don't want to cry on camera.) Seriously, I really dug that gig, and it was hard to not keep it, I really had a blast. Darryl is a real sweetheart to work for as well.
But lately I've been production managing David Nail, and he has a great band. It's as much fun as I can have not being on stage playing and singing. So I'm now going to try to do my performing on off nights, during the slow months. This town is very clique-ish, and despite the FACT that I'm one of the most accurate, bad-ass backup singers here, I don't get any work. (He said with all due modesty.)
All-time favorite wine?
Hard to say - my tastes have changed. I used to be a total white wine freak, and Pinot Grigio was the choice. But over the past few years I did a boatload of study on nutrition, and it's now common knowledge that the antioxidants in reds are the better way to go. I guess my favorite red would be shiraz, but I'm not that picky. Syrahs, pinot noir, cab, I like them all. There's also a red blend called Menage a Trois I discovered lately, and it's probably my favorite low-budget wine.
You've had the opportunity to play the Opry. So what was that like?
My musical background isn’t as steeped in country as it could (or should) be, I suppose, so it didn’t have quite the magic to it that it would have for other guys. And my parents were never big country music fans at all, so I only saw the Ryman shows a few times on TV. Still, it’s a great venue for shows – I’ve seen Johnny Lang and a few other rock acts there – acoustics are great, and it has a real cool, spooky vibe. But as with any venue, when you’re on the stage looking out, seeing all the flooring imperfections and chunks of 26-year old duct tape, along with the totally 180 degree viewing angle, it tends to become surreal, and you could be playing the tomato festival in Pittston, for as much as your senses can reel in and associate with your surroundings.
It is one of the more demanding shows to do, because of the totally impromptu nature – you literally walk on, plug in or sit down, and hope your monitor mix is at least usable. It usually is, btw. I’m told by some buds who’ve done it often that it’s always a great crew, and rarely a hitch or dead channel.
The Beatles. Elvis. Madonna. Michael Jackson. Dolly Parton. Lady Gaga. Name them in order of importance.
I think you just did. : ) But ‘importance’ is a loaded parameter. I think in terms of influencing later artists, that order looks good. I never cared much for Elvis, to be honest, but he definitely carved his niche and influenced people. Madonna showed us you don’t have to be celibate to make it in the music biz, I guess. Always loved Michael. Dolly is a nice person, and she finally proved that you don’t have to be flat-chested to be a country star. Lady Gag I know thankfully nothing about, although I’m, told she really can sing. I probably should give her a serious listen. I just get turned off by the glitz and hype usually surrounding the newest pop star du jour. Plus I’m old enough now that more than 3 minutes listening to current pop music tends to give me a severe hernia. (coughing)
In the span of years that we've been friends, I've learned about your questioning nature and your refusal to buy something just because the big dogs (ie: big pharma, government, the press) are selling it. You now have two paragraphs or less to give your best arguments to enlighten whomever may be reading this. Go!
I guess it comes down to this – we live in such a highly-managed reality that the average person cannot grasp the concept of higher-ups “planning” to do us evil. They can grasp financial rip-offs, but they can’t imagine the murderous depths to which those in power will go, because they themselves would never be able to do so, and they apply their own morals to those in power. They have no relevance – those at the top of the food chain are often there because they have no moral or ethical boundaries to their behaviors and tactics. And also, it’s often too daunting and/or too frightening to believe even if you do get it. So, any time you try to awaken someone to even the most provable conspiratorial realities, you’re operating from a position of weakness, because they’ve had the phrase “conspiracy theory” bludgeoned into their heads from little on up, even since the well-executed but poorly covered-up JFK hit. Jerold Posner’s ongoing and certainly well-compensated efforts notwithstanding. : )
My barometer has become, sadly – The History Channel. Before one of the world’s biggest defense contractors bought them in the early 90’s, they were one of the BEST sources of alternative views. They showed me “The Men Who Killed Kennedy” and “Sacrifice at Pearl Harbor”, etc. Ever since GE took over, it’s all alien visitations, commercials for the military’s newest kill toys, and lots of anti-conspiratorial mind-frigs disguised as carefully-researched documentaries. If they’re hawking it there, it’s bull. If they’re denying it, it’s most likely for real, ‘und verboten’. I used to think, “Why bother continuing to lie about the JFK op, about 80% of us know the basic truth.” But now I realize, it’s all about the future. We have a whole generation of kids now, 80% of whom probably feel they “know” that the Warren Commission was dead on, because Lee Harvey was “a really good shot.” And a lot of old sheep who are questioning their own previous judgments, because the official voices of the greatest weapon ever developed – television - is contradicting them.
What is your number one guilty pleasure?
Another tough question. I don’t really have any pleasures I feel guilty about, to be honest. I eat a fairly strict diet, I exercise semi-regularly, I drink wine and smoke the occasional cigar. I don’t even feel guilty about any illegalities I’ve committed, as I tend to be anti-authority most of the time. Sorry to be so boring.
You wake up tomorrow, and the world is perfect according to Mr. Manwiller. Describe it for me.
I don’t think I’m the guy to make that determination. I don’t think a world that I see as perfect would necessarily be anyone else’s Utopia. I’d like to see a whole lot less suffering, but that’s mostly because the upper-upper crust of the wealth pyramid continually siphons it upward. Then they take that accurate sentiment – “the rich are screwing the poor” – and make the moderately wealthy Right-Wingers think that it’s directed at THEM, when in reality it’s directed at all the REALLY rich assholes – the non-ideologically aligned, top shelf multi-national corporatists and bankers - who screw both the Left and Right, and have to keep those 2 at each others’ throats over superficial, manufactured crap, for fear they will wake up one day and realize they have a common enemy. I think a perfect world would be one in which that at least begins to happen – that this centuries-old, ongoing global op - one that is now driving all the world’s economies to their knees at an ever increasing pace - is suddenly seen for what it is. Class warfare passed down from generation to generation. Maybe one day the religious extremists will stop passing down their childish, superstitious dogma to their too-young-to-reason-yet little kids, and the middle class will stop passing down the “there are no power elite conspiracies” meme… that would be a great place to start.
Another thing we could do is realize that we are seriously overpopulated now, a sentiment that apparently went away once Big Pharma realized there was much more money to be made from lots of sick people than a lot less #’s of healthier ones. We’re on a path to overpopulating the infrastructure we have in place to deliver the necessities of life to everyone. The Earth can take 10 billion people, but our clean water / food delivery systems can’t support it. I saw an interesting stat the other day, that I assume is correct – we’re approaching 7 billion people now, but if you gave everyone 6 square feet of space, all 7 billion of us could fit inside the borders of Rhode Island. We’re still fairly insignificant on this planetary body, despite what you may think – but because of cultural parameters and unnatural habits, we’re all dependent on our delicate infrastructures and technology. For more information, just ask Japan.
ॐ An Underground Mainstream ॐ
Rick produces, engineers and performs his own tracks, along with help from several top-shelf studio players in his adopted home of Nashville, TN.
http://www.rickmanwiller.com/
http://www.theholyhandgrenade.com/