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Author: Subject: Michael Shrieve: Where is he now?

Sublime Peach





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  posted on 5/27/2011 at 10:56 AM
The post below was sent to me from a friend. It's to Bob Lefsetz, author of an on-line music newsletter, from drummer Michael Shrieve, formerly of Santana. As you will see, very sad where Shrieve's career has taken him.



From: Michael Shrieve
Subject: Re: Rattlesnake Shake

Well F*ck, God Bless you for caring enough about the music to really seek it out.

Peter was a friend of mine back in the 70's. Sometimes, when I was on tour with Santana, which was always, and Peter was in the Bay Area, I'd loan him my house in Mill Valley. Of course you could stay there, Peter. I'd call him from the road and check in. Is everything OK? "Everything's great, mate".

So tonight, right now, I'm back from my weekly gig, which I've been doing for four years in Seattle, with my band, Michael Shrieve's Spellbinder. It's an instrumental band, but cool as sh*t, and we get the whole range of age groups at every show. Here's the truth. I make $60.00 every Monday night; $30 of which I pay to a friend to set up and take down my drums. I don't enjoy that part of it, so it's worth it to me. So I make $30.00. The people love the music, and I know why. It's real musicians, playing passionate, beautiful music right in front of there eyes. Exceptional musicians, truly.

You want to know my reality? This year alone I have been voted one of the top 50 drummers of All Time in Drum Magazine, and been voted in the Top Ten in a Reader's Poll in Rolling Stone Magazine two months ago of Best Drummers of All Time. Of course, you should know, no real musician considers these accolades as something serious, because the real players know that there there is always someone better than you. But that is not to say that we are not grateful for the recognition. But that and a buck fifty will get you on the bus.

If I told you how many Booking Agents I have contacted all around the world to consider booking my band you would be shocked. If I told you how many of them have had the decency to even reply to my emails, you would be even more shocked.

I ask myself, WTF? Why do I bother with this sh*t? I love music, like the heart that beats inside me, but is this worth it? And I have come to the conclusion that no, it is not worth it. I must find another way to make a living. I should build on what I have, and I have ideas, but it is so completely different than what I had imagined.

I didn't mean to rant, but it here I go. I love the vibe of that music that you posted, like I used to love Michael Bloomfield with Paul Butterfield and those extended jams like "East West". I still love that sh*t. But I insist with my band that we are not a jam band, that we play tighter arrangements than other bands. Everybody jams now, but it better be f*cking great because frankly I'm tired of hearing 10 minute guitar solos.

Back to Peter. Part of our connection, aside from the fact that with Santana, I recorded his song "Black Magic Woman" and made it more famous than he would ever imagine, we shared that Black Magic Woman, and her name was Annie, and she was truly remarkable, and mystical, and nurturing, as were a few very special ladies in that time and place. It was a very special time.

Years later, when Santana was being inducted into the Rock and Roll Hall of Fame, along with Fleetwood Mac on the same evening, Carlos was gracious enough to invite Peter Green to play "Black Magic Woman" with us, as it became obvious that Fleetwood Mac was not going to have Peter Green be a part of their ceremony. Shame on them. Peter was a shadow of himself then, and barely remembered me. It was sad, for sure, but he was there with us on the stage playing his song that we made famous. And that night The Eagles were also inducted, as was Fleetwood Mac, and I saw the road kill of what was the leftovers of that fiasco as well. The tears in the eyes of the wives of the members of the band that left or were kicked out, and finally seeing their embittered husbands getting a shred of recognition for the work they put into the band that became so famous, the few that survived shined and the rest are road kill. It's not a pretty picture.

God Bless the musician that has his own, I always thought.

But now, even I'm not so sure of that. I always told myself when I younger, watching older musicians becoming embittered, don't ever become bitter, that serves no one. I remember telling Mitch Mitchell, who was so bitter because truly, he got so screwed financially with all the Hendrix stuff, "Mitch, forget about it. What you've done, no one can ever take that away from you. Your contribution is so enormous, anyone would trade places with you. Forget about the money, forget about the lawyers, I said. Go back to that place where you first loved music, go play in a club every week like I do, and forget about everything else, and trust me, the music will set you free, like it did in the beginning.

But man......

With Respect,

Michael Shrieve






[Edited on 5/28/2011 by robslob]

 

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Sublime Peach



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  posted on 5/27/2011 at 11:39 AM
Anyone who's interested in getting "The Lefsetz Letter" can do so right here:

http://www.lefsetz.com/lists/?p=subscribe&id=1

 

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  posted on 5/27/2011 at 11:45 AM
One of my favorite drummers.....

And I like the recorded songs with the band when he was in the band than all of the other Santana band versions....

 

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  posted on 5/27/2011 at 11:59 AM
quote:
One of my favorite drummers.....

And I like the recorded songs with the band when he was in the band than all of the other Santana band versions....


agreed.

 

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  posted on 5/27/2011 at 12:05 PM
Thanks for posting this.

i found it so sad.

the great music of that time & what happened to so many of the musicians,how many of them were royally screwed or just got lost in the mix of things over time....

people very easily forget quality & art in our money is everything society.

they pay it homage with awards & legends recognitions while denying the very same people a chance to work.

i did enjoy his reference to Fleetwood Mac,The Eagles & roadkill

also,very kind of Santana to remember Peter Green....so many talented folks in a world that gobbles up crap while having the gall to call it music....

wishin' only good for this very great drummer....

 

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  posted on 5/27/2011 at 12:54 PM
There is a truism - if you get into music for the money, you're barking up the wrong tree.

Okay, I just made that up. But from what I have seen in my life, the happiest musicians are the ones who just play to play. I don't mean to vilify success, but all too often when the money starts coming - things get complicated and a lot of the fun goes away.

Michael Shrieve should follow the advice that he gave to Mitch Mitchell. Nobody can take his contribution away from him. Ever.

 

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  posted on 5/27/2011 at 01:19 PM
According to wikipedia, after the Lotus record (1974), "Shrieve left the original Santana band to pursue solo projects." Notable among those were a fusion outfit called "Go" which included Steve Winwood and Al DiMeola. Go released three records; honestly, I had NEVER heard of them until I read Shrieve's wikipedia page just now.

With a full eye on the fact that hindsight is 20/20, Shrieve's decision to leave Santana was most likely a foolish one. It's hard to knock a serious musician for following their muse. Then again, how many drummers have you ever heard of who had a successful solo career? Ringo Starr? He's living on the Beatles fame, not his talent. Sheila E.? How many others? Here's a clip of Shrieve's current band, Michael Shrieve's Spellbinder. It's interesting, but let's face it, it's not commercial, in any way, shape or form.

http://www.youtube.com/watch?v=gGwxBHEnzPw

 

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  posted on 5/27/2011 at 01:26 PM
I think he's on the cover of the new Classic Drummer mag. ...will have to ck. my fb again,saw it yesterday

 

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  posted on 5/27/2011 at 09:40 PM
What a great drummer. I am motivated to track down more of his stuff. He was a KID at Woodstock!
 

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  posted on 5/27/2011 at 09:54 PM
I wish I caught the original santana band reunion tour in 1989. I know and played with a few famous sidemen [one of them in the RNRHOF] who have nothing but memorys left from the "glory days".

 

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  posted on 5/27/2011 at 10:08 PM
Thanks for sharing that. I got to know Roger Glover several years back when he lived in our community. One day we were chatting, and music (as one would expect) came up and some of the difficuties that would arise on and off with DP. He basically said the same thing that Michael said to Mitch. What he said was that in the end, it's all about the music, because no matter what, the music you make will be there forever.

 

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  posted on 5/27/2011 at 10:26 PM
It was 1986 that Rollie toured with them and Schon joined in, right?

Shrieve made a strong hard rock album with HSAS - Hagar, Schon, Aaronson, and Schrieve in 1984 with a short tour. This was straight ahead rock drumming as opposed to what he did in Santana:

Missing You:
http://www.youtube.com/watch?v=fBiRl6-0_EE

Top of the Rock:
http://www.youtube.com/watch?v=XDnxgfneZoE

Whiter Shade of Pale:
http://www.youtube.com/watch?v=fBiRl6-0_EE

HSAS blows away Chickenfoot.

 

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  posted on 5/28/2011 at 11:44 AM
I have the live Go cd. You should here it. I think very cool. I loved the song that Winwood sang with Al playing guitar leads. Al was very good playing a rock lead. After hearing that tune I wish he would do more of that. I also have Shrieve's return to Abraxis (I think it is called that) not bad. Get the Go live from Paris it is good.
 

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  posted on 5/28/2011 at 12:55 PM
If memory serves me, the 1986 gig was a one off. It had all the original members plus a few others from thier history. In 1988 or 89 Santana toured with Shrieve, Rolie, Chepito with Peraza, Alfonso & Chester T as the reunion band. That was the only time I've seen Shrieve. I also think Shrieve was the very best drummer Santana had.
 

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  posted on 5/28/2011 at 10:42 PM
Amazon has a number of Shrieve solo CDs, including a live one from the band/Monday night gig mentioned in his letter.
 

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  posted on 5/29/2011 at 01:31 AM
Shrieve will always be that shining kid playing an amazing drum solo, in front of thousands at Woodstock. That is a legacy and will always be remembered. The Woodstock movie had a huge impact on me as one of the most beautiful festivals I have ever seen, and the Santana part was probably my favorite.
How sad is it that a guy like that only makes 60.00 in a night? Thats totally crazy. The guy is a beyond legend to me. Is there any hope for musicains anymore?
Word to the wise, learn a trade or something before going to music school, or trying to make it at music.

 

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  posted on 5/29/2011 at 06:07 AM
Saw Mike twice with Santana at the Fillmore East and always loved his work.I never dug the band Santana as much after he left.I admire that he's staying true to his devotion to music but I for one love "10 minute guitar solos"
 

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  posted on 5/29/2011 at 11:17 AM
Mike also played on a CD with Jonas Helborg and Shawn Lane. Mike played one side and another drummer played the other. Great record! I'm a huge Shawn Lane fan. As for the 10 minute guitar solo comment ... if you aren't Shawn Lane ... why? I can see Mike POV. It is sad situation that Mike as well as countless other way lesser known or unknown musicians find themselves ... in the end we are responsible for our own actions. But the way things have changed as far as music goes is truely sad for the most part.

 

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  posted on 5/29/2011 at 11:46 AM
quote:
According to wikipedia, after the Lotus record (1974), "Shrieve left the original Santana band to pursue solo projects." Notable among those were a fusion outfit called "Go" which included Steve Winwood and Al DiMeola. Go released three records; honestly, I had NEVER heard of them until I read Shrieve's wikipedia page just now.

With a full eye on the fact that hindsight is 20/20, Shrieve's decision to leave Santana was most likely a foolish one. It's hard to knock a serious musician for following their muse. Then again, how many drummers have you ever heard of who had a successful solo career? Ringo Starr? He's living on the Beatles fame, not his talent. Sheila E.? How many others? Here's a clip of Shrieve's current band, Michael Shrieve's Spellbinder. It's interesting, but let's face it, it's not commercial, in any way, shape or form.

http://www.youtube.com/watch?v=gGwxBHEnzPw


That is a band.......!!!!!!!....amazing....The guitar player sounds a lot like Carlos....not that that's bad thing....In fact the opening of the tune sounds a lot like "Singing winds crying beasts"

 

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  posted on 5/29/2011 at 07:46 PM
the two doors album with Lane and Hellborg is effin amazing.



[Edited on 5/31/2011 by spacemonkey]

 

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  posted on 5/30/2011 at 12:18 PM
Spellbinder Live At Tost is available on Itunes. I grabbed it after reading this thread. Sounds great! Thanks for posting.
 
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  posted on 5/30/2011 at 08:40 PM
thanks for posting.
Shrieve's a monster on drums. always was, always will be.

I like that vid - it does remind me of Santana. Latin, rock, jazz, all rolled into one.

I'll never understand why some great bands can't make it, and tons of really s**t music gets commercial success

 

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  posted on 5/1/2014 at 03:23 PM
Here is the true latest on Michael Shrieve
http://www.beathollow.com/product/trilon

BHRVN1202
Format: 150 gram White Vinyl Ltd. Ed. 500
Released: 22 Apr 2014
Genre: Future Jazz

It was carved out of a rare day of relaxed but rigorous jamming at Stone Gossard’s Studio Litho studio in Seattle, and hatched from a band organically searching for a modern, electro-fied application of the improvisatory principles behind bands like Miles Davis’ late­‘60s ensembles and Bill Laswell’s eclectic early ‘90s collectives. But it is neither of those groups.

It is the culmination of a chemistry honed by a group of comrades at late­night, free­form gigs at Seattle clubs, where the city’s friskiest and riskiest players convene—casually, ready to laugh, wig out, whatever—to explore dangerous and beautiful terrain, from the comfortable seat of a big fat groove. And it is the sound of those musical adventures refracted through the prism of a remixer with a composer’s ear and a photographer’s eye.

Trilon is Skerik, the saxophone maestro known for his work with Critters Buggin, Garage A Trois, Les Claypool, Marco Benevento, and his own Bandelabra. It is keyboard and loop-guru Reggie Watts, the globally recognized comedian/musician who GQ calls “a comic genius.” It is Michael Shrieve, one of rock’s pioneering drummers, early Santana’s engine room, and the leader of Seattle supergroup Spellbinder. It is Brad Houser, bassist for David Garza, Edie Brickell and Critters Buggin. It is Mike Dillon, percussion radical and indie-jazz icon behind the Mike Dillon Band. It is James “Roto” Rotondi, guitarist/synthesist for Mr. Bungle and The
Grassy Knoll. It is Brian Siskind aka Good Rester aka Fognode, mixer, remixer, composer and stereo sculptor. And it is neither Skerik, Watts, Shrieve, Houser, Dillon, Roto, or Siskind.

Trilon is about the Space between them,
and the time between its creation
and its eventual unfolding.

Produced by Michael Shrieve
Co-Produced, Remixed by Brian Siskind

"If you think mind and body are one, that is not correct thinking. If you think they are two, that is also not correct. They are neither one nor two; that is correct understanding..." - Shunryu Suzuki

150 gram white vinyl
33 1/3 RPM

 

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  posted on 5/1/2014 at 04:58 PM
quote:
That is a band.......!!!!!!!....amazing....The guitar player sounds a lot like Carlos....not that that's bad thing....In fact the opening of the tune sounds a lot like "Singing winds crying beasts"



You do know this is a Santana number, from Caravanserai?




 

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  posted on 5/1/2014 at 05:27 PM
quote:
Shrieve will always be that shining kid playing an amazing drum solo, in front of thousands at Woodstock. That is a legacy and will always be remembered. The Woodstock movie had a huge impact on me as one of the most beautiful festivals I have ever seen, and the Santana part was probably my favorite.
How sad is it that a guy like that only makes 60.00 in a night? Thats totally crazy. The guy is a beyond legend to me. Is there any hope for musicains anymore?
Word to the wise, learn a trade or something before going to music school, or trying to make it at music.


If we want musicians like Michael Shrieve to make more than 60.00 a night. Then all the crappy bands that will play for nothing and drag their friends to the club give no reason for the club to pay. So the club owner has no stake in bring people into his club and the pay will never change.

See all the people who put a ear ring in their ear who are actually accountants or whatever put a band together and call themselves musicians they take away the opportunity for quality musicians to make money. Why would bar pay Michale Shrieve when he can get a local $H!+ band to play for tips and the door and everyone that comes down is a friend of the band. That's not a fan base that's a friend base...It's also why people like him make nothing

[Edited on 5/1/2014 by goldtop]

 

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