David Newland began his recording career almost by accident.
During the late 80’s, Newland worked the music scene as a
drummer and sound man from his Ohio home with area bands.
During this period, he grew increasingly frustrated when
seeking out the right mix of musicians to work and perform
with. On a whim, he accepted a position with a “glam” band
that was at the time traveling to the suburban Detroit city of
Warren, Michigan to record at the Recording Institute of
Detroit (RID).
RID teaches about the art, business, and science of music
production and often uses musicians and bands referred by its
students for recording projects. These projects enable the
student body to practice recording, producing, and engineering
live bands. Students, with minimal teacher involvement, handle
any and all aspects of the recording. For the bands involved,
they have an opportunity to get a finished production which
often rivals any professional project on the market. Newland
was totally amazed at what he saw.
“I thought the concept RID had in place was really great”, he
said.
Newland became convinced that the Detroit-area had more to
offer musically than his Ohio town and soon moved up to seek
out the better opportunities. Besides playing drums, Newland
is self-taught on bass, lead, and rhythm guitars, and soon
became a regular fixture at RID, offering these diverse skills
for the students to record.
“I was at RID so much many people thought I was a student”, he
said.
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I was at RID so much many
people thought I was a student |
One such occasion yielded a meeting with Bob Dennis, CEO of
RID. Newland remembered Dennis from the initial session the
“glam” band had done, and struck up a conversation with Dennis
about songwriting and music. This meeting would prove pivotal
to Newland’s career, for Dennis was very impressed with the
nearly 35 songs Newland had painstakingly written and recorded
with the students. This writing process had yielded some great
results, Newland stated to Dennis, although he wished he knew
more about the process to do better.
“Writing for me could be very frustrating. From my own
experience it can drive you crazy trying to figure out the
right set of words for something or making the melody flow
with the music. I would always hear something in my head and I
would basically write the music first then the lyrics. I would
let the music give me the determination of what the words
would be,” he continued,” he said.
One of the songs Dennis heard was “Loveless”, a tune which
convinced Dennis to offer guidance and production help with.
This song would soon find its way on a collection of songs
Newland recorded for a CD entitled “For Sale”.
Over the two years it took to complete “For Sale”, Newland
worked tirelessly in the studio, often learning about some
element of production or recording as he recorded.
“I had in my head songs that I wanted to put on a CD and it
was just a matter of making them sound good enough,” Newland
said.
Since Newland had become so dependable in offering himself to
be recorded, sometimes he was called in to the studio with
little or no preparation. During these times he never let the
students down, but would work out songs, chord progressions,
lyrics and other matters of production while the students set
up microphones or attended to the consoles.
“The students were really good, and I never had one bad
experience or one bad recording working with them. Their help
and the love of music motivated me to keep going, even after
working all day at other jobs”, He said.
To further augment his productions, Newland enlisted the help
of musicians such as Spike Vires on bass; Phil Vires,“Dead
Bob” Wright, Donn Hill, and Mike Detzler on lead guitars;
Russel (Mombo) Lociano on Sax; and Maria Dimitrieski on
background vocals. Phil and Spike Vires also helped with
writing some of the tunes for the CD.
All recording was done by students of RID, with editing,
mixing, and mastering handled by instructors Daniel Dennis and
Frank Giammanco. Newland points out that Daniel Dennis was
especially helpful in achieving the results he wanted for the
project. He also states that Bob Dennis’ steadfast support and
encouragement also helped with the quality and tone of the
work.
Newland had 500 copies of the CD made, of which 75 were given
away for promotional purposes and 25 sold in local stores. For
the remaining 400, Newland sold them at clubs where he and his
band were performing. During these club dates, Newland became
quite innovative in selling the CDs.
“If people told me they didn’t have enough money to buy the
CD, I would give them the CD, tell them to take it home and
listen to it. If they liked it, they could come to another
show and pay me then. I sold about 400 CDs this way, and out
of that 400, only 1 person ever returned the CD”, Newland
said.
When asked how could he be so confident that the customer
would not simply go home and burn themselves a copy of the CD
or simply take the CD and run , he stated that “it’s a good
judge of character” to be able to trust people in such a way.
Reaction to “For Sale” has been overwhelmingly positive with
“Loveless” garnering the most praise. Other standout cuts
include “Home”, “Wish I Knew”, and “Unresolved”. Plans are now
underway for Newland to record even more material, with the
work slated for consideration by a national artist to
re-record.
“[This was] the general idea of [‘For Sale’]. A songwriting
project, to be able to get the material to a producer that
maybe would want to record one of the songs on a major
artist”, Newland said.
For that reason, “For Sale” was never really marketed. All
activity by way of promotion has been done in an “underground”
sort of way. Newland now believes that he should acquire more
help and education about the music industry. Towards that end,
he has completed the Music Business course at RID and plans to
go further still in learning more about production . He looks
back on his “For Sale” project and offers this advice to
anyone wishing to do as he did.
“Independent artists should get help—management, production,
whatever, because one person cannot do it all. Try and get
more input and guidance… (because) that extra opinion on
things—what to do, what not to do, how to make a song
better—really helps”, he said |