HOME | FEATURE | Initialize | DISCovery  | Events 
DownLoad | GIGs | PROfile | Transmission | R.A.M. | View

KATHY FLEISCHMANN
Queen of the Long Island Music Scene
By The Mike Ferrari

AF: How did you first get involve with making music? What inspires you to make music?

Singing was always something that could move me so much. I was lucky that my parents were listening to exceptional bands at that time like, Simon and Garfunkel, The Mamas and the Papas and The Beatles instead of The Archie’s or Peter Lemongello. My Mother was a huge Streisand fan so I grew up constantly hearing her early recordings. Say what you will about her but her vocal gymnastics and range combined with her ability to truly make a song her own is beyond what I’ve heard most vocalists do.

I don’t know what inspires me. I think it’s something that never goes away like breathing or herpes.

AF: Who or What are your musical influences? How have they influenced your music writing?

You’d go broke printing this issue if I were to name all of them – First and foremost, The Beatles followed by Joni Mitchell, Dylan, Leonard Cohen, Robbie Robertson, Billie Holiday, Rory Block, George and Ira Gershwin, Judy Garland, Aretha Franklin, Nina Simone……

AF: How do you typically write one of your songs? What's the process for you?

The lyrics come first and they almost always generate from a phrase that gets stuck in my head that I’ve either heard or read or just pieced together. “Eyes like Natalie Wood” was a line someone used on me (which worked at the time- the fucking bastard), “Speaking Guillotine” was something I came up with when I was describing how people can slice you up with words. The music/melody always comes after.

AF: How did you develop your sound? Are you happy with the direction it has taken?

It’s just something that eventually came into it’s own after years of playing gigs. I’m not a very good guitar player and I hate playing with a pick because I always end up dropping them so I think I get kind of a different sound because I like to use the guitar also as a percussive instrument.

I’m never happy. I’m a musician.

AF: You spent some years fronting a band in Florida, what was that scene like?

The scene started out great. All of a sudden, in the early 90’s there were clubs coming out of the woodwork that wanted indie music. All kinds- acoustic, rock, grunge, metal, blues…. We thought it would be the next Seattle. I have some theories as to why it never exploded the way it could have but if you don’t know the people I’m talking about, the entire story would make me sound more paranoid than I already am. Anyhow, there’s still a scene there but how good or bad it is is something I can’t tell you- I haven’t been down there in years.

AF: Why & when did you decide to go it as a solo artist? How did that affect the music you were creating?

When I was in Florida, I had been in three very bad band situations. The first one was destroyed by a pervert who pretended to be our manager; the second was ruined by a band member who liked to play head games and bass at the same time. He also didn’t believe in the power of deodorant, which when you’re all in one small warehouse with no AC in Miami and it’s August can be extremely traumatizing. The third situation started out as fun and just got weird. When those bands broke up, it was ugly. Actually it was more like blowing up than breaking up. It was shortly after that that I decided I would either try my luck with another band or go it alone. The first year of doing the solo gigs was terrifying. But I really learned to appreciate it when I realized I didn’t have to check with people first before I booked a gig. I also didn’t have to worry about someone not showing up. I was the only asshole I had to deal with and I’m used to that. It greatly affected my music because from that point on, every song could be played however the fuck I felt like playing it that day.

AF: Recently you have been performing with a full band again, how and why did that come about?

At the last AF Anniversary party, I was talking to Marco (Conelli) and out of the blue, he said, “you need a band”. I’ll play drums for you. Kevin McLeod was standing close by and he asked him if he wanted to play lead guitar in this band and agreed. I figured Kevin said yes because he’s very polite. I thought Marco had made the suggestion because he had had a few too many Guinness’s and would wake up the next morning with a hangover wondering if he really suggested the whole band thing. But he ended up emailing myself and Kevin about two weeks later. The three of us met a couple of times and played some songs in the attic of Marco’s house, where his rehearsal room is set up and within 3 weeks, he recruited Tommy Demeco to play bass. It’s been one of the most enjoyable experiences I’ve ever had - only one other group of musicians in Fla comes close to the amount of fun I have in this project. There’s no egos in the way - no cocaine – no one demanding to get paid at every gig – no one not showing up at practice and they enjoy playing my music. Plus we get to watch a “Family Guy” episode after every rehearsal. I couldn’t ask for a better situation.

AF: Do you prefer the control of the studio or the spontaneity of a live performance?

Both - sometimes a live performance can be really helpful because it tends to make you improvise, which, if it goes the right way can either be exhilarating or a complete embarrassing mess. I usually don’t like what comes out of a studio. And I don’t say that to fault the engineers or producers - I just can’t listen to anything I’ve recorded more than a couple of times. I start to hear all of these horrible sounds that once resembled my voice. Recording in a studio is advantageous because it allows you more time to get it right and experiment but that can also work against you as it begins to sound more like a song singing you than you singing the song.

AF: When was your first ever live performance? How did it go?

My first live performance (not counting recitals when I was in college studying voice – those were horrendous) was in 1986 at an open mike at a bar called “Durty Kurty’s”. I know it sounds like a tittie bar, but it was your average run of the mill bar. If you watch the Cape Fear remake that Scorcese made, they shot the scene where Robert DeNiro meets Illeana Douglas at that place. I was half of an acoustic duo then and we had practiced three songs for the occasion. That afternoon I threw up from a bad case of nerves anticipating the evening. When we actually went on, my knees and hands were shaking and sweating so much, that it was almost impossible to play. Obviously, it affected my breathing, which is 90% of singing, so I wouldn’t say it was one of my better performances. But I lived through it!

AF: What are some of you favorite places to play these days? Either with the band or as a solo artist?

There’s a place in Keyport, NJ called Espresso Joes that I truly love. It’s a quirky little place with a truly lovely and attentive clientele who just want to hear music. I’ve been playing there about 4 times a year for the past three years. I have yet to leave at the end of a gig there cursing under my breath and swearing to never go back. I’ve also always liked Pisces Café and I loved it when it was the Zen Den.

AF: If you could record or tour with anyone, who would it be and why?

George Martin. How great would it be to record with George Martin??? There’s no one even close to his talent and creativity, in my opinion.

AF: How many CD's do you have and are they all still available to the public?

I have four CD’s, in order of release, Speaking Guillotine, Sympathetic Coffee, 10 Doors Down and Unresolved. Unresolved is still available and there are some copies of 10 Doors Down, depending on where you buy them. The first two are not available on line but I can certainly make copies if you’re just dying to get a hold of them.

AF: Do you think it's any different being a woman in the music industry than it is for men?

I believe it’s different for a woman in any industry and in all aspects of every day life. I’m not trying to make a feminist statement - I think it’s just a fact.

AF: Do you think there are any advantages to being a woman in the music industry? Disadvantages?

I think if you are dealing with someone in a position of power who happens to be male (and drunk) and you happen to be female (and not drunk), you could probably get what you’re bargaining without much sweat and the ball’s (or balls) are in your court, free for you to dribble or throw. Or you’re on the other side and you have to put up with some fat fuck who promises the world on a string along with a record deal as long as you sign the contract in his pants.

Another disadvantage is, I can’t pee and write my name in the snow.

AF: What are some of the challenges of being an independent artist for you?

Trying to get a name – trying to get a following – trying to get airplay- and how to be in the right place at the right time is something I have yet to figure out.

AF: What do you like about being a musician or playing Long Island? What don't you like?

It’s a love/hate thing. I’ve met some really wonderful musicians that I consider myself very lucky to know. I’ve also met some tremendous assholes and I’m sure there’s a large list that‘s continually growing that would say the same about me. I like the fact that there are people who are trying to push the indie scene and that there are gigs out there. It still is coverbandland but what place in the world isn’t?

AF: What changes do you think lies ahead for the music industry? How do you think that will affect your music career?

Just the fact that Governor Spitzer when he was AG, managed to get Sony BMG, Warner Music Group and Universal Music Group to cough up millions in fines and agree to stop giving money and hookers to radio stations and their employees in return for airplay for crappy music is both impressive and depressing at the same time. Impressive because this situation is being addressed and depressing because since Alan Freed was busted in the late 50’s, it still is a situation that has to be addressed. I don’t think it will ever stop, so the chances of a musician who is over 18 and female who writes their own music and can’t dance will never be made available to the public through mainstream radio. However, indie radio and indie self promotion has come leaps and bounds in the last 10 years. There are so many ways options and avenues one can take to get heard so you’re not just restricted to trying to get on the Top 10 list anymore.

AF: What goals do you have for your music career and how to you plan to accomplish them?

Well, right now I’m doing a combination of both solo and band gigs. Recently, the band has been recording some songs of mine that I haven’t released as of yet and I am looking at getting a new CD released eventually. We’re also looking to gig more, particularly in the city.

AF: Anything else you want to share with AURAL FIX readers?

Just to keep reading Aural Fix and try and take out an ad so that the magazine can survive and we’re not stuck with the same old shit.

AF: How do we get in touch with you?

Contrary to what some might tell you, my number is not on the stall of every men’s room in Nassau County. You can reach me via cell - 516-551-7667 for gigs, not for a good time. You can also go to:

www.kathyfleischmann.com
www.myspace.com/kfleischmann
and very shortly,
www.myspace.com/thekathyfleischmannband!