A Muse's Muse Interview with Marc Corey Lee
conducted by: Jodi Krangle
Even in the age of the internet, it's a struggle for new and emerging artists to be heard. Here's an interview with a fellow who's taken matters into his own hands and has seen a great deal of success doing so. Besides being a very talented songwriter, Marc's music also has a very unique sound to it - and industry heavyweights are starting to take notice. It's a long "battle", but here's Marc's "plan of attack".
Question: What are your songwriting influences? Do you have a musical family or is it something you picked up entirely on your own?
I have always been drawn to songwriters that were singer/artists. That genre seemed to reach its zenith in the early-mid 70's. Consequently my strongest songwriting influences come from the period of early 1960's to mid 1970's. Specifically; Roy Orbison, Buck Owens, John Denver, John Prine, Gordon Lightfoot and...the Beatles.
In the case of Orbison, I think nobody to date has ever captured that intense emotion that he created by combining those unusual chord progressions with amazing vocal and melodic twists. his songs need to be listen to in the dark! His melodies were other-worldly. Orbison could condense intense emotion (sadness, longing, lust) into a 3 minute mini-opus with such ease. He is one of my strongest influences.
Buck Owens captured the intensity of a rock band. His songs are a study in 2 1/2 minute perfection. What great phrases, delivery and structure. Clean simplicity. Verse-Chorus was his domain. Nothing fancy. But pure heart and soul. Listen to "Together Again" or "Tiger By The Tail." It's simple genius. His songwriting influenced me as a kid. In the 60's radio was not as regimented or formatted as it is today. So I would hear The Rolling Stones, Dylan and then Buck's music. I didn't care that it was country. It excited me to no end.
Denver is a guy that people laughed at because of his goofy persona. But if you overlook his "super-star" days in the 70's and just listen to the songs he wrote earlier...nobody has had a greater influence on me than John Denver in that period. Listen to "Rhymes and Reasons." That's the stuff nobody knows. It's just purely perfect. People don't realize what a great writer he was. Before the "Rocky Mountain" image thing, he wrote about some deeper things. Things that mattered to me. I heard him in 1971 and was hooked as a kid. It wasn't the "wilderness" thing that drew me. It was his songs about other topics that left me branded forever. Thinks like "Poems, Prayers and Promises." Those types of songs struck a chord with me. The acoustic guitar, the tenor voice, the phrasing.
Prine and Lightfoot were (and to a degree still are) what I call "Song Craftsmen." Truly gifted writers.
The Beatles? What can one say? There will never be another set of writers like that. Why? The melodies and chord structures. They could convey a feeling instantly.
My family was not a musical one. My grandfather played guitar and sang but that was not known to me back when I started playing. No, I was hooked by 1960's radio. I LOVED the Beatles. I came to this country from Costa Rica (in central America) as a 3-year old child. My family listened to Latin music. Things like "cumbias" and "merengues" What today you would call "Salsa." I had not been exposed to the Mexican "Rancheras" music at the time, but I did listen to much Spanish music, being that my relatives were all from Spain. My father worked hard in a factory. Nobody played an instrument.
As I grew up in the U.S. I, of course, heard my dad's AM radio in the car. I fell IN LOVE with country music of the time! Buck Owens, Merle, all of that. The twangier the better! Why? I don't know. I was not a "cowboy", I didn't grow up in the US. I wasn't from the South. That music just connected with me. I LOVED it! As I grew up, I would go to the library and check out vinyl records by obscure folk, country and bluegrass groups and play them all day long. I loved Elvis too, who was really a Rockabilly act in those days. It was those things that excited me and later, spurred me on to start writing and performing my own stuff. But it was definitely these guys who were writers first that I identified with. I wanted to be like them. There was nothing I wanted more than that. So I picked up a guitar in a music store when I was 10. That was it. By next Christmas, I had one of my own and two perplexed parents who knew nothing about music really!
Question: So how did you take those influences and make them into your own songs? How did you get started?
I started writing in high school. My first attempts really closely emulated the writers who influenced me. I guess everyone sort of "copies" their mentors when they begin writing. It's a natural progression; first you imitate, then you assimilate their styles into your experiences and finally you forge a new style that's a combination of your influences and your own emerging skills.
Those first songs were really just exercises in establishing the model; coming up with a decent verse, chorus, bridge and overall mood. I've always been a "mood" writer. When I write, I want to convey a mood. I'm not the kind of guy who can sit in a "writers" room and just churn it out. I have to feel what's going. I remember actually weeping as I wrote some of my songs. I get into it that much. I don't know how those Brill building guys did it...just putting them out like pizzas. That's a real talent. There are still guys like that though, Kostas, Harlan Howard. I'm more of a "one-at-a-time" writer.
I began applying the styles of writing that I was into (Beatles, Orbison, etc.) and putting my own experiences into those structures. Not copying per se, but emulating the feel of those songs.
On the performance end, I had seen another guy in my school walking around with a guitar case. He was the only one besides me! One day after school, I heard him playing a John Denver song and that started a friendship and musical education that continues to this day. He showed me a lot of things and, together, we found the courage to actually go looking for gigs. We were so naive and uneducated in the music business...we'd walk into a restaurant in suits and ask if we could get up and sing a few songs!
On the rare occasion that somebody would let us sing, we'd do the usual acoustic repertoire and then add stuff that we were working on. Things that I was writing. I took what I liked from Orbison and Denver and even the Rolling Stones or Dylan and would make a sort of new "stew" that combined all those influences. I used those same type of chord voicings or melodic twists. Eventually I found myself coming up with my own twists and things that combined so much of what I'd heard growing up. I then discovered that if a song is well-written, people actually RESPOND emotionally. What an epiphany!
I can't remember my very first song, but I do remember that most of them were pretty long and tried to fit too much into them. A little bit dirge-like I'd have to admit. But it was definitely a start. I have always LOVED writing. The process intrigues me and fascinates me. It's so subjective. My favorite quote is Hank Williams Sr, when he was being asked about songwriting and said, "God writes 'em, I just hold the pen..." I love that. I still don't quite know how it works.
Question: When did you decide that you wanted to write songs and perform professionally? And what have you done in order to reach that goal?
I decided to do it professionally very early on. You know, once you get on stage even once...even for one tiny instant, you're hooked! At least I was. I said, "I want to do this for a living." Period. No question.
I love writing songs so much. It's such an outlet. Anybody who writes will tell you that. Songwriting is a very cathartic experience. Especially because you are frequently marrying lyrics AND music. So it's hitting the listener extremely hard. Plain music can do that and so can the written or spoken word. But BOTH is a very powerful combination. I think that's why we, as a society, consider pop(ular) music to be "the soundtrack of our lives..." It is! We denote events by what songs we were listening to at the time. Anybody who's ever spent any time with a WWII veteran will witness the intense emotion that they feel when hearing the songs of that era. Popular songwriting is a very powerful thing that shouldn't be underestimated.
To get back to the subject, I decided once I started writing and performing my own songs - as a teenager - that I wanted to do it for a living. Little did I know then, what a difficult thing that would be/is today.
WHAT HAVE I DONE TO REACH THAT GOAL?
Oh boy. What HAVEN'T I done to reach that goal. Music has consumed me 100% since I began. As I learned more and as I felt I grew as a songwriter, I began to see that paths I needed to take. I always contrast "making it" as a songwriter/performer to being a doctor. If you want to be a doctor, there is a set path. It's very difficult but if you work hard you know that you'll "make it" to being a doctor. Do your 4 years of college, 4 more of graduate/medical school, complete your internship and - voila - you're a doctor. Much more to it than that but you get the picture.
To make it as a songwriter? There is NO WAY to chart that path. It's luck, preparation, woodshedding, trial & error, hardship, education, timing, charisma, innate talent, perseverance. And you can have all these things, work really hard and STILL not make it! It's horrible. How many of us have seen/heard somebody in some tiny hole-in-the-wall somewhere that blew us away with their talent and they're stuck making $40 a night playing for 3 drunks? There is no set way to make it and that is the frustrating thing.
But to get back to the question, I did everything I could to reach my goal! First of all, I wrote a lot. You HAVE TO start with that. I made demos, played in bands, performed solo, sang in convalescent homes, fairs, restaurants, parks - anywhere someone would listen. I worked 2 and sometimes 3 jobs to make the money for demos. I learned about recording, I learned to play my instrument better and better. I studied songs by great writers, I woodshedded for many, many, many hours. I tried things that I wouldn't normally try. I contacted agents, managers, record labels, attorneys. I hung out in Hollywood. I toured old recording studios and poured over magazines for and about music and songwriting. I listened to the great singers of our time and went to countless clubs and concerts.
I did EVERYTHING I could do to eat, breathe, and live music. It's my passion. Songwriting is magical to me. It's therapy, it's art, it's creation at its most basic. I stand in awe of great writers and I feel I pale in comparison. I strive to write better songs and create better music. I think it's a lifelong process and I think few of us get it quite right. Lets face it, even Rodgers and Hammerstein had clunkers. Everyone sucks sometime. So we all look for that tiny window of greatness that we can jump through and catch the limelight for those brief seconds of inspiration. Ahhh, the muse is a crafty and ephemeral mistress.
Question: What have your setbacks and successes been along the way?
There have been many of both. Like many "green" writers, I was taken in at first by people who had the right talk. Lines like "I was Neil Diamond's producer" and "I created the Franki Valli records" and "I worked for Capitol for 26 years." and things like that. I hired these guys to help me produce songs and demos. In each case it was a dismal failure and left me with nothing but a huge debt. I learned from these experiences though. One must.
I think the biggest drawback of being in the music/songwriting business are these sharks. They're one step up from the "send us your lyrics and we'll make a hit song from them..." ads. Come on, if somebody really knew the formula for a hit song, they'd be the richest person on the globe. I learned that if it sounds too good to be true...well you know the rest. I have learned some valuable lessons from my mistakes. I'd love to pass those on to anyone who's had the same experiences.
I learned you can cut a hit in a chicken coop. What does that mean? It means that a great song is a great song. It means you can take a song like Brian Wilson's "Don't Worry Baby" and cut the record in a crappy studio with drums that sound like cardboard boxes and it'll still climb the charts. I learned that a great song is the foundation upon which this whole music industry is built. Lets face it, "Last Train to Clarksville" would have been a hit for anybody who cut it - not just the Monkees. It's just a great song. The song is the key.
I learned to trust your own instincts and that you, as a writer, need to educate yourself in music, recording and production. Only YOU know how your song should sound and only you know what it should feel like when it's put on tape. I don't think you need to be Phil Spector but you should become educated in the process of how a record goes from your head to the radios of America.
I could go on forever. but I'm sure all writers out there have learned similar truths.
My successes have been true blessings, if I can say that without sounding corny. First of all, writing a decent song that other people like is the first break. But also more mundane things like being seen by "the right" people at certain points in my career. Having a great band that has been with me for 7 years. Having a wonderful family that comes to every show and who support me and my music. Being signed to the William Morris Agency was a real big break for me. It has allowed me to play bigger venues to larger and more varied audiences. Finding key people who support what I do is the greatest break of all. There will be many - thousands - who don't "get" what you do. But they don't matter. What matters are the handful of people who believe in you and who really put their hindquarters on the line for you. The ones who come through with what they say. Don't worry about the ones that don't like you. I mean really, there are people who HATE Gordin Lightfoot, or James Taylor or John Prine. Music and songs are a very subjective thing. The key is to stick with your vision and your path. Like Gordon Lightfoot told me in person once, "Never, never, never; Don't EVER give up."
Question: Let's get a little more deeply into your actual writing. What do you start with - music or lyrics? Which do you prefer to start with and why?
I almost always start with music. I pick up my acoustic guitar (sometimes piano, but rarely) and I start to "noodle" around. I usually start with no idea of anything. I always go for the "mood." I want to play what I'm feeling. Tear off all the layers protecting you and cut to the meat of your emotions. I just play and play and sort of hum to whatever chord progression I'm playing. I LOVE weird chord progressions. Not so much difficult chords, but unique voicings of the chord, odd tunings or just strange progressions. Like writing a song that starts with two diminished chords, then goes to an E major. Or a chorus that goes from E to an A-flat. Different but not too terribly out of whack.
If I play for a few hours and nothing comes, then so be it. I try again another time. I'm not a prolific writer. Because I go for a certain feel or mood, I can't "produce" the way some staff writers can. I wish I could.
Anyway, getting back, I always (ok, 98% of the time) write at night. I have to be alone and it has to be late. That's just the way it works for me. I call my music, "East of midnight" songs. That's when the feel of the night envelopes your whole being. The stillness of the nighttime gives one's songs a unique quality. You know Roy Orbison of course. For a great learning experience, put on one of his records late at night. Turn off all the lights and listen in the dark. You'll get a WHOLE new appreciation for his abilities as a songwriter. Those are NIGHT TIME songs, no question. Brian Wilson is all about sunlight and happy daytimes. Orbison is about loneliness, rejection, darkness and midnight. I just LOVE that feeling. I find I can get it only at night. That works for me anyway.
So I noodle, I find an interesting musical progression, I find an appealing melody by literally singing different melodies...always with "nonsense" lyrics that fit the mood. Here's an interesting note: I wrote "Memphis Rain" (the first single from my new album "STARDUST COWBOY") with nonsense lyrics. I just could NOT come up with anything lyrically that satisfied me. NOTHING seemed to work. So for one entire year, I sang that song on stage with differing nonsense lyrics and nobody ever said a word! Either they didn't listen to anything I sang, or the phrases I used fit the mood of the music! Haha. I finally sat down and made myself write lyrics about a year later. I must have written 15 verses and choruses. I gleaned what I felt was the best of those. But boy, did I have a tough time with that one.
Speaking of lyrics, my lyrics usually come last. After the chords and melody are there. Then I try HARD to write lyrics that parallel what the music evokes in me. Again, to use "Memphis Rain," I wanted something moody, ethereal and about love. The phrase "Memphis Rain" came to me (how? I have no idea) suddenly as I played the chords and hummed words for many hours. That was the cement I needed.
I need a hook line to bring it all home. Sometimes entire songs come in minutes...Isn't that always wonderful? But mostly I struggle with words like many other writers. I try to come up with an interesting phrase or idea that hasn't been beaten to death. Strong hook lines stick out like sore thumbs. Look at "Jack & Diane" by John Mellencamp. Or "Rocket Man" by Elton John/Bernie Taupin. Great imagery.
I love imagery. The things I picture in my mind as I write are like a million movies! I love certain things; open roads, motels, night, the notion of being alone in a car traveling across the desert, jukeboxes, diners. I'm intrigued by waitresses at truck stops, the folks you meet at roadside eateries and the idea of westward travel in the 1040's after the war. I'm in love with that era...that period in our history. Those notions are very America-centric. Writing about those things harkens back to a sort of Jack-Kerouac-ish idea of road stories. I love to match strong imagery with a good musical line. An excellent example, of course, is "HOTEL CALIFORNIA" by the Eagles. I bet everyone instantly evokes powerful imagery when that songs plays. Henley has done his job well. Again, the power of the two is unimaginable.
I then marry the two. I like to live with the song for a month or so and let it grow. You'll be amazed at the things you change. I have the luxury of playing new songs with my band and then in front of an audience. The band dynamic changes the whole feel of the song. Many times, musical ideas need to change to fit the band, or lyric lines may need to be shortened or extended to fit the structure with a band. If I'm doing a solo song where it's just me and a guitar - which I do onstage at each show - then I get to stretch out a little more and not worry about fitting it to a band (multi-instrument) situation.
Corny as it may sound, I write from my heart. I want to write something that means a lot to ME; something that has some meat to it.
I mean hey, I like Britney Spears and all. But to tell you the truth, if she weren't a nubile, young, sexy female artist, would we care as much? Do those songs mean anything to anybody or are they designed to appeal to the lowest common denominator in every person (their crotch or feet)? I don't know. Of course, hundreds of great pop artists have done similar things. The crotch and the feet are powerful parts of us!
There is a place for meaningless pop. I'm not against it. But what I'm trying to say is that I try to write something that MEANS something - to me anyway. If other people then enjoy that, then I'm the happiest guy on Earth. Nobody writes just so they can stuff it in their notebook and store it away for nobody to read. EVERYBODY wants an audience. That's why we do this. But each song has a different purpose in mind. I seriously doubt whether Dylan was ever that concerned about whether his album "had a hit" or whether his songs "fit the 3-minute mark" needed by programmers or whether his "dancers" could move to the beat. His end audience was deemed a little more sophisticated. By Dylan himself, anyway. Same thing with the Beatles. Their lightweight pop-y hits gave way to a more mature songwriting style. It meant a lot to millions of people. But even their "lightweight" stuff was miles beyond a lot of the absolutely vacuous stuff we're hearing on radio today. Nothing wrong with fluff, lets just make sure we call it what it is..."fluff." And lets balance it with some substance.
Question: How do you feel about collaborating? Have you ever had any disagreements with collaborators and how did you deal with them?
Oh, I HATE collaborating! I'm sorry, I guess "hate" is a strong word. Ok, I strongly dislike it though. No, I hate it.
I think it's something that either works for you or it doesn't. To me, co-writing is like sharing your wife. You're either open to it or you aren't.
Again, writing is very, intensely personal. For me, I just have to do it alone. I'm revealing deep, emotional secret thoughts here. I'm showing you my deepest frailties as a human here. I don't want someone in the room telling me, "no, you didn't 'weep', you 'cried' instead..." It's like a mother cat having her kittens; she's just gotta crawl under the house and do it alone. That's how it works for me. Songs are very personal. I don't share my underwear, I don't share songwriting.
To be a bit more practical, I will say that I just haven't had any luck with co-writers. Nashville, TN is the capital of co-writing It's like a mantra there. No matter who you see and no matter what the quality of your own songs is, the very first thing they ask as they're shaking your hand to meet you is, "Can you co-write?" or, "Well you know, you have to co-write in this town..."
I have never been able to work with another writer and come up with something decent. Usually I acquiesce on a zillion things and I'm sure the other person does too. So what you end up with is a lousy song with a bunch of cheezy ideas and two guys telling everybody in town how nice the other guy was! Nobody wants to put their foot down because then "it's an ego thing..." So I have not had luck with it.
Having said that, I will say that I would LOVE to try collaboration with someone like Kostas, or Neil Diamond, or Raul Malo (of The Mavericks) or Radney Foster or James House. Talented guys that REALLY are great on their own. Maybe that would work.
The thought, of course, is that you end up with something greater than the sum of its parts. True for Lennon/McCartney. Not true for Bob Dylan. True for Don Henley/Glen Frey. Not true for Roy Orbison. Etc. etc. The debate will rage on forever. I'm open. I would try it again. If Harlan Howard has an spare few hours...
Question: What do you think about Napster, Marc? Are you worried or do you think it's the wave of the future? Any ideas on how songwriters could protect themselves?
Napster is the outcome of the radical need for change in the music industry. You know the saying, "Necessity is the mother of invention..."? Well that is the case with Napster.
The model and paradigm of today's music industry needs to change. CD's don't need to be $14.99-$16.99 and up! What is that? I can order CD's in quantities of 10,000 and get 'em for .60 cents a piece! That's with printing, case, etc. Somebody please tell me CD prices are what they are. So that is problem number 1.
Lets talk about problem number 2. I can't find anything but the most popular stuff on the radio. I mean, sure, I can go and search through the dusty bins at Tower but that takes too much time. I need an outlet to be able to get music that is not necessarily on "normal" public radio.
The final problem is the perception of music as a product and technology's impact on that perception. People are used to getting music "sold" to them as product. Lets face it, maybe using Lennon's "Revolution #9" to advertise Nike shoes was not such a good idea. It's not just that one song. There have been thousands since then. We are programmed to hear music as a product, a commodity. Technology and the Internet in particular, has made products seem very cheap, or free. Lets face it, I can do a little searching and get a copy of just about any software out there, for free on the Internet. I can grab free artwork, free sounds, free fronts, free product samples, free Internet access, free email, free faxing, and on and on. Music is now being perceived as a marketed, traded commodity.
When you combine those three problems, you see that Napster is merely an answer to that need. How do I feel? I- as a songwriter- know how hard it is to write a song. Let alone a good song. Let alone a great song! I invite any of those fuzz-faced technology gurus to try and write one. So obviously, the writer should get compensated. Period. No free music.
On the other hand I am a consumer. And an Internet-savy one at that. So I love the idea of going on the internet and grabbing a free, perfect digital copy of the latest Matchbox 20 single. Sorry but I won't pay $16.99 for something I can get free with some work. It beats shelling out $35 for 2 lousy CD's!
But as Shakespeare wrote, "Here's the rub." Burning a CD with a bunch of MP3 files is, quite frankly, a pain in the you-know-what. It sucks. Plain and simple. You know what I want to do on a beautiful Saturday or after a long day at work? I want to go outside. I want to enjoy my precious little free time. I don't want to burn CDR's with a slew of MP3's on them.
The answer? Here is MY answer to the Napster problem. Lower the price of ALL CD's to $5-7. I will pay $6 bucks for a CD. I'd rather do that than burn it. And I get the cover art, the inserts, the nice wrapping, the photos and I get to have that "high" of opening the case, peeling off the cello-wrap and seeing who played, who wrote everything, how the art looks, etc. But the key is price. It's really a very simple solution.
Record companies need to face the fact that they are becoming dinosaurs. However, I'm not as convinced that we are in the age of zillions of indie artists selling truckloads of CD's via the Internet. I can tell you that my CD is available on the Internet and traditional sales outlets BLOW the internet away. It's still not quite a perfect model. There is much more to it than this interview will allow me to get into. But the bottom line is that a the record company's greed and bloated budgets have brought this problem on.
Napster is the great locust swarm of the 2000's! It's "nature" answering to the wrongs that have been done to it. Napster is basically saying, "I'm a college kid and I HATE paying $17 for a CD and I need the $17 to buy beer and condoms and go to a movie so I'll invent something where I can do all that and STILL listen to current music for free...screw all of you!"
So my feeling is that Napster is wrong because it forces a writer's (or artist's) music to go out to the world for free. All of it. That's not right. Ask your readers how they would feel if they still had to go to work all day but didn't get paid. Ask the woodworker if he'd give away his hand-made maple hutch to somebody for free. I think you'll quickly get a response. Why should writer's be exempt from getting paid? It's not fair.
The artists that are all for it and say that it helps them get exposure where normally they wouldn't, are just poor desperate musicians. I know, I've been there. I'm sure many of your readers have. You write all this music and nobody will even return your phone call. Writers crave an audience. We talked about that earlier. Suddenly you have a "service" that will expose your music to millions of people...you get "punch drunk." You're so darned excited about the possibility that you wave your arms around and say, "Napster is great! Napster is Great..." It's like Chicken little saying the sky is falling. Napster does expose your music to millions but so what? If nobody buys it then you have nothing in return for your work. Remember that people lose respect (subconsciously) for someone who "gives away" their work for absolutely nothing. Woodworkers don't do it. Oil painters don't do it. Ballet dancers don't do it. Conductors don't do it. Pottery makers or glass blowers don't do it. Why should songwriters and musicians? You NEED to get paid for your artistry. It's not a money thing, it's a survival thing.
You know, musicians are already paid paltry sums by modern standards. Can you get a plumber to come to your house for 5 hours and get paid $50 bucks? No.
So yes, Napster exposes your music to millions but loses you respect because you just "gave it away." Please don't give your music away. It's just not right. Charge something for it. Even if it's $1.00 but charge something. Napster is wrong but I can see why - and agree with the reasoning - and how it came about. Lets change the CD prices and see what happens. I guarantee Napster will go away.
And if you want to talk about how record companies can lower their CD prices, that's a WHOLE other conversation. I'll just say this: In today's world you can record, promote and distribute master-quality CD's for under $100,000 for the whole thing. Why are record companies advancing sums of $1,000,000 to artists? Enough said.
Question: What projects are you work on right now? How can people hear more of your music?
I'm getting ready to release my first single to radio on a national scale on July 31. The single is "Memphis Rain." The album is called "Stardust Cowboy." This will mark the very first time that I have actually released a single to radio. I have the luxury of having some support now that I signed with the Sterling Winters company. They're a large talent management firm that handles Dolly Parton, Kenny Loggins and a slew of other celebrities. I'm sort of their "baby project" if I can call it that. This will be their first foray into "breaking" a new musical artist.
My music will be available nationwide at most traditional retailers beginning in mid-August. However you can get the CD online at my "official" web site at http://wso.net/marccoreylee .
You can also find some of my music on MP3. I have been lucky (thus far) to not be in the Napster database. Haha.
I am performing live in several venues with my longtime backup band. I would like to say who they are because they are an CRUCIAL part of my music. Though I write all the songs, their contributions cannot be underestimated. I treasure their loyalty and their talent. They are Dan Gamboa on drums, Dev Torres on bass, Gary Brandin on pedal steel guitar and Phil Vandermost on lead guitar. I sing and play acoustic live. Our tour will depend on the performance of the single, but we are scheduled in California for a date with country artist Jo Dee Messina on Oct 8 and with John Anderson on Oct 10. Information can be gleaned from the "Upcoming Shows" section of my website.
I've already begun writing material for the next album and, depending on the tour, we will begin work on that early next year.
Marc Corey Lee is a singer and songwriter from California. His tenor voice and original songs have drawn comparisons to Roy Orbison and Chris Isaak. Marc has released two CD's independently and his latest CD, "Stardust Cowboy" will be released to radio nationally, in July. He has won numerous awards including the Los Angeles Music Award's "Best New Artist." His official web site is located at http://wso.net/marccoreylee