Artist Has Designs on Blues Stardom

By day, Michele Lundeen runs a graphic arts business. By night, she’s a gravelly-throated blues singer, strutting her stuff at Southern California clubs.

Lundeen’s goal is to become a top blues singer. She’d like to get signed by a record company and perform at festivals like the Chicago Blues Festival, which can draw audiences of 500,000.

She’s been singing professionally for two decades. At first, she specialized in big band standards. But 10 years ago, she got a bad case of the blues. Her gutsy delivery and power has earned her the nickname “Da Queen of Steam.”

Though Lundeen, who has owned her San Diego-based graphic arts company for 15 years, performs regularly, only a fourth of her estimated $35,000 annual income comes from singing. She knows she needs to cut a demo CD, but estimates she will have to raise about $15,000 to do it right. She’s also aware that, to advance her career, she will have to devote even more time to her singing. And there’s little guarantee of success.

The road to blues stardom is much tougher than the path to pop and country fame, because only about 1.5% of all American record sales are blues-oriented, said Bruce Iglauer, founder of Alligator Records, a Chicago-based blues label.

For help in planning her career, Lundeen turned to Grammy-winning producer Jim Gaines, who has worked with a number of blues artists, including the late Stevie Ray Vaughan. Other blues experts also offered advice.

Before their conference, Gaines listened to a cassette of Lundeen’s singing.

“I think your vocals are very strong,” Gaines said, adding that Lundeen had a singing voice that could adapt to musical styles other than blues.

He said her delivery was reminiscent of big band chanteuses of the 1940s, and she had a Janis Joplin sound. Those qualities might prove attractive to record company executives who are searching for versatile artists, he said.

Today, many blues singers are infusing elements of hip-hop, rock, jazz, and African music into their songs, said Howard Stovall, executive director of the Blues Foundation (https://www.blues.org) in Memphis, Tenn.

“[The music industry] has changed a lot in the last four or five years,” Gaines said. “The doors are wide open for artists like you. You’re in a good position because you have a voice that can cross over.”

Gaines agreed that Lundeen should cut a demo CD as soon as she can. He gave her a few tips for the endeavor. First, her demo must exude professionalism. This means her backup band must be top notch and her CD well-engineered.

“The problem with most record companies is, you have to hit them over the head,” Gaines said. “You can’t come in to them with just guitar and vocals and say, ‘This is what I sound like.’ ”

Professionally produced demo CDs can cost $15,000 to $35,000, Gaines said. He suggested that Lundeen consider approaching investors who might be willing to pitch in $2,000 or $3,000 apiece for the undertaking. He warned her to carefully evaluate any backers who offer to exclusively front the entire fee; in return, they might want to control her career.

“Once you have done it, you can owe your soul to them,” he said.

Lundeen’s next task would be to find original songs that are attention-grabbing.

“The best thing you can do is get your hands on as many good songs as you can,” Gaines said. He discouraged her from “covering” songs already performed by blues legends such as Etta James.

“It’s hard to beat Etta James at it,” he said.

Lundeen also should steer clear of well-worn standards like “Mustang Sally,”’ (recorded on more than 63 albums); “Sweet Home Chicago” (recorded on more than 105 albums); and “Stormy Monday” (recorded on more than 137 albums), said Dave Bartlett, vice president of Tone-Cool, a blues label in Wellesley Hills, Mass.

For the demo, she should record four to six songs, and demonstrate power and energy in her singing--the two vaunted qualities for blues singers. Her first song should be strongest; her last song, the weakest of the set, Gaines said. She also should make sure she’s selected numbers that demonstrate her cross-over potential.

After Lundeen has cut her demo CD, she can approach several blues labels, including Alligator Records, Blind Pig, Tone-Cool and Rounder Record Group’s blues division.

But merely sending out a demo CD to these labels isn’t likely to land her a recording contract, said industry experts.

Most record company executives insist on seeing blues artists perform live and won’t consider signing them until they’ve generated a “buzz” among blues aficionados, Iglauer said.

Bartlett agreed. “Cutting a four-song CD and sending it to us is probably not going to do anything.”

Because technological developments have brought down the costs of cutting demo CDs (particularly unprofessionally produced ones), record executives are being flooded with submissions from hopefuls.

Many of these aspiring singers make the mistake of imitating the labels’ top vocalists.

For example, Iglauer said he receives many tapes and CDs from blues enthusiasts trying to sound like Grammy-winning legend Koko Taylor, who’s known as “The Queen of the Blues.” Record company executives are on the hunt for artists with fresh sounds, who also demonstrate a mastery of the blues tradition, he said.

Lundeen told Gaines that she doesn’t want to tour heavily; she’d like to make a name for herself via record sales and performances at festivals and concerts. But Gaines said that touring would be essential for her career.

Unlike pop and country stars, who often can live well from their recording royalties, blues singers must hit the road to even generate a subsistence income, Iglauer said.

Hot blues albums may sell 50,000 to 100,000 units, Bartlett said, whereas pop and country smashes frequently exceed sales of 500,000 units. Typically, however, blues records sell between 5,000 and 10,000 units, industry experts said.

Touring schedules for blues singers can be grueling. Most are expected to play gigs across the United States and in Europe, where the blues is also popular.

Grammy nominee Shemekia Copeland, 21, who’s receiving raves from industry critics, is on the road 200 days a year. Even Taylor, who’s been belting out blues for nearly 40 years, does at least 100 out-of-town performances.

“I’ve been out here a lot of years,” Taylor said. “I’m not rich yet, but still I enjoy doing it.”

Through touring (coupled with self-promotion efforts), Lundeen may be able to build a fan base that’s eager for her albums. Great blues singers gain followings by interacting heavily with their audiences, Iglauer said. Their goal is to stir listeners through their song interpretations.

“They’ll even change their set lists or how they perform a song, based on the emotional needs of an audience,” Iglauer said.

Shortly after Lundeen’s conference with Gaines, she and her Blues Streak band entered a competition sponsored by Blues Lovers United of San Diego (she’s an editor for the organization). She won first prize.

This means that in a few weeks, she will fly to Memphis, where she will compete in the 17th Annual International Blues Challenge on Feb. 2.

The winner of the prestigious competition will receive $20,000 in goods and services, including an opportunity to cut a demo CD and appear at top U.S. clubs.

Gaines encouraged Lundeen to send him her demo CD. If he’s impressed with it, he said, he will pass it on to influential acquaintances.

Taylor said she tells aspiring hopefuls like Lundeen that a career in the blues requires a heart-and-soul commitment.

“A lot of young people walk up and ask me, ‘What can I expect? Is this going to be easy?’ ” Taylor said. “And I tell them, ‘If this is something you want to do--you got to do--then hang with it for better or worse. Because it’s like a marriage--it don’t happen overnight.”

(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

Time for a Change

Name: Michele Lundeen

Occupation: Graphic design company owner and blues singer

Desired occupation: Top blues singer

Quote: “It’s time for me to make my step. I know I’ve got it.”

Meet the Coach

Jim Gaines has produced seven Grammy-winning albums and five Grammy-nominated albums. He has executive- produced, produced and engineered recordings for artists such as Stevie Ray Vaughan, Steve Miller, Huey Lewis, Bruce Hornsby, Journey and Carlos Santana. He is based in Memphis, Tenn.