BAILA - Amy Keys Interview

Amy Keys Bio

An Interview with Amy Keys - Singer & Songwriter

Concept & Production

How and why did you get involved in this album?
Well, Terry (Wollman) and I have been writing partners for some time and he approached me because he and Sam (Turcotte) where discussing the possibility of doing this project and getting together to writing some music for it. Initially, we hadn't talked about who was going to sing anything - I just came in as a writer. As we went along, I started singing a lot of the demos - finally, they just approached me and asked if I'd be willing to be the lead vocalist on it and I said, "sure". (The songs on the album) were my babies, my songs, and I already knew them inside and out - I thought it'd be a hoot, plus it was so totally different from anything I'd done. I 'd never worked on a dance project before - It was a nice departure.

Describe in detail your involvement from concept to finished CD for the Baila project. What did you contribute to Baila?
Gosh, I think I was in there from when it was just a twinkle in Sam (Turcotte)'s eye. I came in from the ground-floor up, writing things, singing stuff, and suggesting things - then it just kind of mushroomed into something else, and I ended becoming the lead-vocalist.

How would you describe the overall concept of the Baila album - Would you say the concept is realized more by the lyrics, beats, or a combination of the two?
A combination of the two, because there's some songs that are more beat-oriented and have less going on lyrically, and vice-versa.

What are your thoughts on the whole album/Baila project? What do you see the results as being?
It's almost surreal the way this thing is moving. When you're in the studio, it's like you're in the lab and you're trying to develop something - then, one day it happens and you're like, "wow!, what do I do now?". You really have to re-vamp your thinking, because it's like a totally different thing (now) - before (the album's release), I was behind the scenes and now we're out-there, and the project's going to be out there. I think it's going to be successful - there's some pretty catchy stuff on there. It was kind of overwhelming when I got the call that we got record distribution. This will be a good time (for the album's release) - it's right in the middle of spring-time and everybody just wants to have a good time, and that's what this record is.

Songs

What's your favorite Baila song?
I think it would have to be between A Little More Love, Rush, and Determination. A Little More Love was the first song that Terry (Wollman) and I ever wrote together. I had almost forgotten about that song, and then when I listened to it again I was like, "this is a pretty cool piece". Rush kind of just came to me - (Sam Turcotte and Terry Wollman) were playing me some tracks from a tune, and the hook just came to me. That song is just totally fun - a "let the music move you, get on the dance floor" kind of song. Rush comes from playing in the clubs back at home, and when I first came out here - that's how I paid the bills in vocal competitions. Determination was just so much fun to sing. I really love singing that tune, and it's such a driving song - it just keeps getting bigger, and bigger. So, I like each of those (Baila songs) for different reasons.

Tell me what you think about the following Baila songs:
Rush:
I like Rush a lot. That 's one of the songs I wrote lyrics for and it's just fun. I took that straight-up from just performing in clubs where the people just let go when they hit the dance floor - it's like something else just takes over. I think that's probably the "free-est" (song), message-wise on the whole album.

Baila:
Baila is just fun. I had such a ball singing it - I got to sing like a kid.

A Little More Love:
I'm kind of close to this one - mainly, because it was Terry (Wollman) and I's first tune. I like the smooth melody of it, and enjoyed the fact we were able to resurrect and re-tool it as possibly a lead song (on the Baila album).

Fascination:
Coming-up with those lines brought up "my ethereal period" - that was my sci-fi background coming through. Terry (Wollman) had come-up with these bizarre loops, and I jumped on the opportunity to take on a song that was out of left-field - it was kind of an experimentation.

Stayin' Alive:
The word for that tune was intimidating. When Terry (Wollman) played the rhythm that I was going to be spitting those words over... I really just had to relax and concentrate, but it was fun once I got past the whole intimidation factor of not being able to sing that fast.

What was it like singing such a variety of songs with such different musical styles?
I liked it, though it would get a little difficult sometimes with all the change ups. I'd have to come up with the proper approach to try and make it a cohesive project, and not change individual songs beyond that too much. Once I got into it and started to playing around with the tunes, it started to run a little bit smoother - but it did seem a little daunting at first.

Music Industry

What's your favorite 70s disco song?
I think it'd have to be Le Freak by Sheik.

What do you really hate about the music industry?
Nothing will piss me off more than some money-grubbing person who's got a nice, thick bank account, but is greedy enough to want to make it thicker by utilizing and riding on the back of some young, starry-eyed talent who's only fault is they don't know "the bottom-line" in this business. Seeing somebody used like that is my biggest pet-peeve - it sickens me.

Who are the biggest jerks in the business: record execs, producers, musicians, or chick singers?
(laughs) I have the perfect answer! The biggest jerks are the people who bust their butts during their "seed stage" and get some people to support them, gaining a solid fan base that stands behind them and sticks with them through all the crazy promotion things - then all of a sudden, they "make it", and that's when the really nice person who would talk to you (like I'm talking to you now) has to talk to you with sunglasses on (even in the middle of the night), or you have to speak with the publicist first, and blah, blah, blah.... Those are the biggest jerks - the ones that forget their fans and forget that if it wasn't for them, they wouldn't be where they are. Two years later they've got a VH1 Behind the Music saying, "please come see me, please come ask for my autograph!".

What is the biggest lie of the record business that you've been told?
That it's all about the creativity, because it's NOT - it is a business. My attorney who is one of my closest and best friends, basically schooled me in that. During my first entrances into the music business, I was all starry-eyed and I bought the hype that it was all about the artist and the creativity and the song. The bottom-line is - that this is 'the business of music', and as soon as you realize this, then you're O.K. I've found that the business really needs to be solidified and taken care of first, so you can get it the heck out of the way, and then you can be creative as you want from that point on."

How do you think technology is changing music today? For the better or worse?
In the right hands - for the better, because it allows a truly creative person who's committed to music to get through little points that used to take forever to get done. (It allows you) to get beyond all the mechanics, so that you can get to the real creative stuff. But it's also just a "quick fix" for a lot of people who are only in it for the cash - just for the bottom-line. I think (technology)'s a double-edged sword, but in the right hands - a wonderful tool.

Personal

What's type of music do you listen to at home?
As long as it's good music - I'll listen to it. I listen to everything from Shakah-khan to Soundgarden to Vertical Horizon. I really listen to a "mixed-bag" - anything from country music, to alternative music. Growing-up, I was exposed to a lot of different styles of music because my older brother and sister had completely opposite tastes in music - my sister was into Motown, while my brother turned me onto The Beatles and The Rolling Stones. One of the people I really love is Steve Perry, and I'll admit it - I've stolen some of his licks, (but Steve) actually needs to give props to Sam Cook for some of his stuff!

What is your musical training? How did your musical career start, and how did you get to where you are today?
I mainly started-out just imitating other people - I never really had any vocal lessons till recently. I actually trained my ear when listening to different records and different vocalists, and just imitated each of the things I liked about their voices - which was really cool, because I probably would not have developed the range that I have. I can sing really high, but I can also sing really low - I really love male-vocalists' voices. I just developed my voice imitating men like Steve Perry, but also women like Patty Austin;.and of course, Shakha-Khan and Aretha Franklin. I guess my voice just developed from studying all these different combinations of people, and then studying all these different harmonies especially in country music - this also helped my writing, and I developed my ear for harmonizing. I (then) started working with bands and that helped me develop being out in the front. I think I really lucked out, and just did some stuff correctly - but, now I work with an excellent vocal instructor named Nolan Vanway. This keeps me healthy and strengthen my vocals on both ends of the register - the upper and the lower. He's (Nolan Vanway) been able to take me to the next step - it's like I've already gotten the basics on my own, and (Nolan's) given me more tools to work with.

What are the challenges when you are writing dance-oriented pop music?
Mainly, being able to tread that fine-line between saying something that'll actually hook people and mean something to them, but not get too preach-y, or too intricate and in-depth. It Has say something, but still stay with that beat - it's kind of hard.

Do you think lyrics are important or do people respond solely to the beat?
I think lyrics are important in dance tunes, but I've noticed that people really don't pay too much attention to what's going on in the verses - the main thing is that the hook needs to be something that people can chant and something that really uses the beat to its advantage - it's like a cheer. The lyrics have to be basic enough for you to grab hold of, but also have some meaning too - that's probably the most difficult part. You have to be able to tread that fine line between being meaningful, yet simple enough to sing and sweat to.

How long does it take you to write the average song?
It depends... I remember one-time I was working with one of my writing partners, and he was just jamming on the piano, and I literally wrote the song in 5 or 10 minutes - and it's one of the best songs we've written. Then, there will be times when it'll take weeks to come-up with one line to complete a verse - you'll get a block and it'll be a pain.

What will you do, or, how far will you really go to get a song cut? How far have you gone?
Nothing stupid, but as far as I have to go. My sentiment is that I'll have plenty of time to rest when I'm gone, so I'll do whatever route it takes (while I'm here) - I'll keep pushing, and working, and singing to get it out-there. Sometimes I wish it was easier, but I think about whether or not the victory would be as sweet.

What's the greatest dance song ever written?
Gonna Make You Sweat - that "everybody dance now" tune by C+C Music Factory. You put that song on, and people leap out of their chairs to get to the dance floor - you play it anywhere and people know it.

Is there anybody you'd really love to sing a duo with; Or a particular band you'd like to sing with that you already haven't?
I would love to sing a duo with Michael McDonald - specifically, the two of us in the studio at the same time. I'd also love to sing with Sting and Eric Clapton.

Who would you love to write songs with, if you could write with anyone, living or dead?
I would love to have Shakha-khan or Celine Dion scream one of my tunes - that would be killer. To hear Phil (Collins) sing one of my tunes - I would die! His voice is so unique - I would love to hear him sing a ballad of mine.

What do you think it takes to make a great vocal performance on a dance song?
A whole lot of wind - holding notes and screaming. Being really into the tune is a necessity, because on a dance song, you can really tell if somebody just went into the studio and went through the motions. I think that's why a lot of tunes don't happen, because when you put it on, there's nothing coming off of it - there's no feeling. You have to go in and have as much pure, unadulterated fun as possible - that's what it takes, sincere excitement."

What's your range?
I've sung everything from doubling Phil (Collins) and singing below him, to belting 1st soprano-parts on the high-harmony above Michael Bolton.

What instrument would best describe your voice?
I guess it'd probably have to be a combination of a keyboard and a bass. I have a really strong low registrar, so most people that might hear me may think I sound like a bass. But, I also have all those whistle-type notes up top, and the keyboard takes care of all of that.

When you sing in front of the band, which instrument do you hear the most (do you follow a particular one)?
I have to say the bass and the drums, because that's the bottom - that's the heartbeat of the song. If the groove's not right, then the whole song is just not happing. But, If I'm with them (bass & drums), then everything's okay - when me, the drummer, and the bass player are locked (in-synch), the song can just goes to a whole other place.

Do you ever feel that the musicians are looking at you lustily?
When I initially moved to LA there was kind of a stigma about "the girl singer", and to an extent some girl-singers have helped perpetuate this stereotype. The one thing that I think gained me respect, especially as the only female singer with Phil's band, was that when I come in, I don't want to be put above or below anybody - I'm just one of the guys, I'm in the band. If they're schlepping stuff, I'm schlepping stuff. If something's happening to the band, it's happening to me. I also try to be on top of things, musically, as I much as I possibly can, and I think that's where I gain respect - so it's not like I'm a "girl-singer". If I'm brand new on a gig, it still happens to an extent, until they get to know me - then they know there is no "pre-Madonna" here, I don't use "Diva" behind my name - I hate that. I just want to be part of the band; I want to be a member, not set apart.

When is the best time of day for you to record?
Evening to late-night - I have never been, and never will be a morning person...ever. If you want me to sing till 6 in the morning - I'll be up, but don't ask me to get-up at 6; that's a whole other party and I can't do it.

What makes your creative juices flow? What motivates you?
Anything musical - I tried the "regular route", because I was really good at biology and I was going to go into medicine, but nothing gives me more joy than to hear music being created. Hearing other people getting involved in music and sitting-in on jam-sessions really inspired me - (I realized) that I've got to write, I've got to get involved.

What was your most challenging gig?
Definitely Phil Collins - Phil is a stickler, but he doesn't demand any more from anyone in his band, than he doesn't demand upon himself. But, the thing about that, is he demands a hell of a lot from himself. The shortest show we've ever done was 2 hours and 45 minutes long, and as singers we're up there for 90% of it. So, you're running around, singing the whole time, not to mention the fact I'm singing with Phil Collins.

To date, what has been the highlight or best experience in your career so far?
I've had some really great high-points, (like) standing on stage, singing with Phil Collins in front of 100,000 people in Berlin - it was really spiritually intense. We performed on the grounds between the Olympic Stadium where Jessie Owens ran and the tower where Hitler used to make his speeches. And here I am on stage with this pop icon, Phil Collins, singing a duet. There were people as far as the eye could see - It still gives me chills and it was just the most amazing thing. We also just did the half-time show during the Super Bowl - it was unbelievable.

What changes would you like to make in your musical career?
I'd like to develop myself more as a producer and a writer. I think performance-wise, I'm headed in the right direction, and I work on that everyday - but, I'd really like to push myself and develop myself as a producer and writer. I've also started working with this wonderful keyboard player, named Don Novello, and he's going to teach me piano. And Lori Barth, of all people, (from the Baila project) is going to be my guitar teacher. I really just want to get off my butt and start pushing myself in that direction - it's really easy to say, "I can sing", but it's kind of scary territory to pick-up an instrument that you sound like crap on (laughs) and push yourself to get past that point, so you can really make some music to play in front of people.

Who is the biggest artist to record your material?
I did the background arrangements on one of the tunes for Phil Collin's Dancing to the Light album - the song's called Oughta' Know by Now.

Besides the people you've worked with, who's your favorite artist(s) or band(s)?
I like Vertical Horizon, and I love Soundgarden (though) they're now defunct - they were one of the few rock bands that was so musical, and I was so bummed when I heard they were no-more. I still love Aerosmith - they're like the war-horses. Everybody laughs at this, but I love Metallica - that last thing that they did with the orchestra, Oh my God! And I'll even admit it, I do listen to some of the Backstreet Boys. Oh course, I can't forget Shakah-Khan. And Michael McDonald.

Besides the albums you've worked on, what are some of your favorite albums?
Soundgarden The A-Sides; Seal's album with the song Kiss from a Rose on it; Shakah-khan's album done with Prince; and I also like the latest Vertical Horizon album.

Out of the albums you have worked on, what's your favorite? Why?
Oh, I should say Baila, huh? Actually it's been a while, but one of my favorite albums that I got the opportunity to sing on was The Jungle Fever soundtrack, especially because I got to sing with Stevie Wonder - that was unbelievable! That (experience) was also my first taste of the other side of music, not doing the clubs - that was the upper-etiolate.

What are your next projects?
I've actually got something going on right now - I do the theme song and the music cues for the TV show City of Angles, each week. I'm also starting to write and do some things with Mike Post; and I'm also writing and working on some songs with Larry Kline, who's played with everybody from Shawn Colvin, to Tracy Chapman, and Joni Mitchell. So, I'm basically concentrating on doing some stuff of my own - getting my own projects happening.

What is your main goal in life?
To do what I love to do and get paid for it - If you do what you love to do, then you'll never work a day in your life. That's what I want to do - I can't do something that I don't love."

What are some of your Hobbies or passions (beyond music)?
I love to draw and paint. I love sports of all kinds - I especially love watching football and college basketball. I also love riding and jogging - just being outside.

What's your favorite breakfast cereal?
It's a toss-up between Rice Krispies and Raisin Bran.

How much were you influenced by KISS when you decided to get into the business?
If anything ever described KISS its over-the-top - they were just "balls-to-the-wall". They had everything, but kitchen sink on stage - the flames, fire, costumes. I love their stuff, so the influence that they would have on me was how they just wanted to put on the biggest, most amazing show for their audience. That would be what I take from them. KISS - give you a show, but leave you wanted more!

Amy Keys Bio

Zukor Records
info@zukor.com