[00:00:00] Welcome back, friends, to our podcast, Unlocking Your World of Creativity. And today we're going to talk about a band and music writing and a journey that takes us into the composition and the performing and the recording of music. And we're going to delve into that with our guest, Amy Brookes.

Amy, welcome to the show.

Thank you.

Thanks. Amy is a drummer, vocalist, keyboardist, percussionist, in a band called Low Tide Levy. And Amy, I love the name of this band, first of all, and your roots in Berkeley and the sound that you've got. Tell us a little bit about the genesis of the band. Sure.

It started actually a while ago.

So I think maybe around 2012 and it was a reformation of something, a musical project that I had with my husband, who's the bass player, Sasha. [00:01:00] And then our friend, Chris, who was playing guitar. And when we played together before I was just the drummer. Then I started writing songs right around then we got back together to jam and I said Hey, I have these songs.

And it was really new for me to be writing songs that weren't just instrumental. So that was a big shift for me and really exciting. And I also, I had done singing, but this was like also an awakening of my voice of finding more power in my voice than I knew that I had. And so I felt so strongly connected to these songs that I felt that I can't be.

I have to be the singer. I can't find someone else to be the singer, but I love being the drummer. So what did I do? I learned to do both at the same time, which was a brand new thing and really fun, really exciting and fulfilling. And so I think I can't remember exactly when low tide came to me, but it just I wanted something that.

Like our [00:02:00] sound is definitely inspired by the sixties, seventies kind of Renaissance of rock music and music in general, like popular American music. And so I wanted something that gave a seventies feel. And and I also wanted something like I'm formerly in marine ecology. I don't know if I mentioned that, but I was, I have a master's in marine ecology.

And, um, this is a long story, but now I'm a piano teacher and a musician, but I've been a musician my whole life. So it wasn't like something big. I wasn't hit by lightning and could suddenly do music like I've been doing my whole life. But I feel very connected to the ocean and very passionate about Doing what we can to be stewards of the ocean and just all the life in it is fascinating to me.

And I also always felt connected to low tide in particular, like I go on a lot of bike rides and I go along the bay in, SSF Bay area, I'm in Berkeley, and I [00:03:00] just always am fascinated by the weird stuff that's left behind, by the tide. And I felt there was a parallel between that and my songwriting.

oF just uncovering, going through a process of like personal growth and healing and uncovering a lot of stuff,

the outcome of all this is terrific. I love when I read it combines blues, psychedelic rock, funk and definitely that 70 sound a real driving base, underneath it all it's got a great sound and, but also I guess underneath that.

Production, if you will, is the song itself, and you've been writing music and composing music. You said, even since a child, I love this kind of it came to me in a shower moment that, song.

Yeah.

Yes. Where do you feel the song begins? You're writing. Are you hearing the song in your head in this psychedelic rock format?

Or are you saying I [00:04:00] just want to get my story out first?

I would say what I hear like in my head, cause I do hear things and then they're born that way. I'll hear a melody. Sometimes it's with a word. It's often with a few words, like a phrase. It's like a phrase with a melody.

It's often the seed of how that song starts. And really the way I feel about the, as the subsequent creation is that I'm opening myself to it as if it's already there and I'm just finding it. Does that

make sense? Yes. The essence of the sort of phrase or the message that you want to get out.

Yeah. Yeah. And it's not necessarily that I have a sort of a part of my mind that's like this message is important. I need to get it out. It's more of a feeling that's being transmitted through words and I'm realizing it and I'm like, wow, this is powerful. How do I [00:05:00] crystallize this? expression in a phrase and words in a way that just lands.

Yes.

And then when you get together with Sasha and Chris and start jamming on the song again, let us into the room a minute, give us a glimpse of how that's working.

So this, this started a while ago, so I'm like dusting off the cobwebs of my mind, but I still remember it really well because it was just such an exciting time for me.

I brought, I would bring the songs and say, Hey guys, what do you think? And we just exactly what you said, we're jamming on it, and they're doing things that are adding to the creation, the bass, the guitar in ways that to me just seemed when it happened, my God, this is exactly what it was, what my vision was, I, although I didn't quite know it, it filled it in and I knew it was right.

And that's how things got started. And then we've had several guitar players, like it's been a little hard to find somebody that's, going to stick with it for various reasons. And so we've had to [00:06:00] reinvent and then. I've had times where I really needed to create a lot of things without a guitarist.

So I'm hearing it in my head. I'm asking Sasha to try to play it because he plays guitar, but not quite the, to the extent of like being the guitarist. And plus we need a bass player and he's a great bass player. But we worked together a lot, fleshing out things so he can, I'll say Oh, what if we did it with this kind of texture?

And he might say let's add this in. Here's a sus. Core. That's probably not a thing anyone knows because listening, I don't know, but it's, just little tweaks harmonically that express the song and it's, so it's collaborative in that way, and that, which is one of my favorite things, like to collaborate creatively is the best.

Work to me the best

thing. And like you say, when you bring other people in that have maybe new styles or ideas Harold, contributed in a different way in a different sound, [00:07:00] didn't he?

Yeah, he did. Yeah, for sure. He. He's you'll hear him on rules of the game.

So he has this really cool solo on rules of the game. And we have now have a different guitarist though, because for Harold, like it was just like he just works a lot and he just didn't really have time, to do it and we wanted to get. More serious. And so we found we've been playing with Dustin Dustin Newman for about a year and it's just taken a while for everything to gel, but it's finally feeling wow, we can really kick some ass.

And so like I'm hoping really soon, like after the wedding that we can start gigging because I'm, I think it's going to be awesome. Awesome.

That's cool. Now, so between the jam sessions and actually releasing the music are you playing the music live first? Are you going straight into the studio trying to get it recorded?

How's it developing

for you? Yeah. When we were playing with Harold, [00:08:00] we did some gigging then they're all like small little gigs, like wine at this winery on treasure Island. We had a kind of a regular gig there. That was interesting. I don't know if you know where Treasure Island is.

Yes. Okay. anD he, that's where Harold lives, actually. So he had some good connections and we had quite a few gigs through his connections. And then I think what happened was, yes we had a gig at this pizzeria and Chris, the original guitarist, he's also does producing. Not professionally at this point because he, like it's a long story, but he does it more on the side now.

And he came to our gig and I was really, flattered cause he had to go, an hour and he's got two, he's got kids and I just thought, Oh, he's not going to come, but he came and he really loved it. And he said, wow, you guys have come so far. I want to produce your album. And I had been wanting to do it and had been seeking out some producers, but I had really had a bad experience.

Like one of the people that I reached out to [00:09:00] was so negative. He hadn't even heard the music at all. But he said, Oh, you're going to need to get rid of most of your songs. They're probably not good. And it's going to cost you this much to even get something that's decent with this huge amount, like 15 grand or something, which I mean, that's probably true to some extent, but we don't have

Yeah, that's not where we're at right now,

right?

Yeah. So this was like a dream come true when he said, I want to produce your album. And so we did that like he we worked together. It was a long project. It was a lot of work. But really exciting work because I could, I could see the trajectory and I had also the opportunity to really hone in on exactly what like guitar tone that I wanted, because I never felt like it was quite rocking enough.

Yeah. I wanted it to be like, more like hard rock. And so it got more of that punch and that grit, through the production to the point where now with Dustin, we're, we've got that sound. So it was, it [00:10:00] even influenced the, the songs just going through the production influence how the songs.

That's how the songs, ended up the way they are now.

Yeah. While keeping the vision. Yeah. This is the sometimes challenge we hear from artists and bands. It's as we go and the more people contribute and the more quote unquote help that we get sometimes we drift off purpose or off vision.

Were you able to maintain and keep it a steady keel?

Yeah, I was. And that was a big reason why I was so excited to work with Chris because he's he was in the beginning of the band. He understood my vision, and he wanted to make that happen. So like a lot of producers, at least from what I hear. May have, a big ego about like their sound and they want to like, make it sound like them.

And I didn't want that at all because I want it to sound like I want it to sound, I know how it's supposed to sound. There's no question. I know exactly how it's [00:11:00] supposed to if I hear it and it's not right. I'm like, I know there's no question. And then when it's like there, I'm like, that's it.

That's how it's supposed to sound.

I know for all of us, whether we're authors, painters, sculptors or any kind of creative, sometimes we get to the end and we go it's still not right. And, the bit of perfectionism comes in. When did you know, we're going to hit the send button, so to speak, that this is it.

We're closing it.

I think, I went through everything in an initial sort of scan, and I wrote lots of notes on this point, like at 27 seconds or three minutes, here and all of these things. I'm very detail oriented. So we went through all of those. And it was hard because we weren't working.

We were working just distant at distance. And it would have been a lot easier, I think, if we were together in the room, but it just wasn't going to work out that way, especially because at the end, it was during the pandemic [00:12:00] quarantine period. So we were actually doing this thing using Sonobus, which is the software that allows you to hear, like a complex mix through.

You have to have good speakers. We got actually special monitors to hear through it. So we could say, Oh, we're listening together. And we say, I say, wait a minute, like the sound here isn't right. We need to fix that. And then he could do something and then play it back and I could approve it.

So that's how we ended up, ultimately, Finally, Zeroing in, narrowing in on what the final product wasn't at some point, there, there's still maybe just a few little things that I still hear and I'm like, yeah, but I just realized, like I need this needs to be done and it's close enough and no one's going to know except me and that's okay.

It's just small little things and I, that's okay. Like I've made my piece. Yes. I love

that. And we often think about artists, especially singer songwriters, they have their vision. You said you could hear the songs and you were looking for a [00:13:00] certain sound, but you also have these creative collaborators and contributors and partners that must have their own ideas as well.

How did the synergy start to come together?

I would say that their ideas generally, like it's been something where we're on the same page. So generally we agree on things. Of how if I'm presented with something, I think it should sound this way. Usually it's coming from that person's contribution rather than something like I'm doing, which is good, because if someone tells me oh, that fill isn't right I'm probably going to say, okay I might think about it for a minute, but if I disagree, I'm going to, I'm going to hold to it, so things were pretty compatible in that way. So there generally weren't really conflicts about it, but I would say also that this is ultimately my vision and I'm the band leader and this wouldn't exist if it weren't for me. So there are things where I am calling the shots and that. was not always easy, especially because I'm a woman and I'm working with [00:14:00] men and that's just tricky sometimes.

So

we're going to get the music out.

Yeah. Yeah. Yes. Ultimately it wasn't like I was being a dictator or something, it was just, there were, a few times where I said this, it's gotta be this way, and generally it was. We all came to an agreement. It wasn't like there was a big disagreement that I had to, go against.

As their particular, way they thought it should be generally we would just came to the same place through maybe a little, discussion, healthy, fun, little

negotiation, but mainly persuasion. I love that, the other part of the process, then, the music's done.

It's recorded. It's ready. It's released. How are you building a connection then with the audience and really getting the work out there. The album was released earlier this year. How are you reaching out and [00:15:00] gaining more listeners?

So that, that is, has been a tough process and I am, I'm doing my best, but it's it takes a while to build.

I'm realizing that I just really. ultimately need to keep doing a small amount of effort that's sustainable and be really patient and not expect like some big, thing to happen. Cause it's just so unrealistic. Some people want to go viral, and then through social media and that could be great.

It also sometimes doesn't work because sometimes it's viral for a reason that doesn't really represent the music. And so people might. And then it doesn't mean they're going to be a fan, and what I really want is to build like fan base. So my approach has been like, I worked with a PR company to roll out the release, like one song at a time and and then the album, so we had three singles.

Release a month apart and then the album and during that time That's when I started just a little bit before all the social media. So I [00:16:00] didn't even have that before it was all like brand new we had a professional photo shoot, which was really helpful because We had things to give, you know the pr company and to use for the website social media that look You know, like a band like professional that looks also reflects our vibe, the way like the kind of music that you might expect to hear.

And I worked really hard doing this calendar for social media that was given to me by the PR firm. And I first I thought. Oh, wow. They're doing it for me. This is great. But then it was, it turned out it's just a lot of work for me to create a lot of posts on Instagram, Facebook, Tik TOK, which I never thought I would do.

But Tik TOK and YouTube. In addition, creating an email list and the ultimate thing with the social media is to it's like casting a net and you hope that a few people are going to be joining your email list from that, from [00:17:00] that, harvest and then the people on the email list, that's really where you have the chance to, create a fan base.

And so I've been doing that, but I there's so much, only so much I can do. And it's a tremendous amount of time and work. And I also end up pouring a lot of my creative energy into these posts and. They, it's not necessarily bringing in the benefit that is, makes it worth all of that time and energy.

So I'm changing my approach a little bit so because I want to spend that creative time and energy on my music rather than I

was going to ask, there's only so much creative gas in the tank. Yeah. And how are you finding that balance?

It got a little out of balance for a bit, I would say, with the rollout of the album.

And in particularly, I think after my, I stopped the calendar and reduced my social media posting, I was working really hard on the artwork for, cause I also did the art. I'm also a visual artist [00:18:00] and I did the art and design for the CD which is creating, the CD wallet, all of the art for that and a booklet that has all of the lyrics with artwork.

And It was a crazy amount of work. Like the creative part is easy and fun for me, but it's more the technical part that was hard because I was required to use a new software that I had never used by the company that's doing the reproduction. And it was really unintuitive to learn

for me. You had a learning curve on that.

Yeah. Yeah. And I also had to learn how to work with their templates and that's some, a whole process that I've never done. And I didn't really have much help. So it was a lot of like guessing and doing tutorials and all these things and wondering, can I really do this? Is this going to work?

And I eventually finished, it's almost done. Like I have one little color correction. I got, I just got the printed proofs. And so with that, I'm going to have the CDs [00:19:00] made and, for sale. Which is exciting. Yeah,

I appreciate you giving us that backdrop because sometimes again, we imagine, hey, I wrote some songs, I recorded them, I launched the album and everything was, the yellow brick road.

But you've given us a glimpse of some of the obstacles and potholes along the way, or I must ask you, Amy, sometimes we creatives have. Writer's block is a different thing than what I'm thinking about. Maybe it's the doubt. Maybe it's the, yeah, is this all worth it? Or am I worthy enough? Why aren't the sales coming in or whatever?

We start questioning ourselves. How do you manage these thoughts?

tHat's a tough one. Yeah,

I would sound like you're a therapist for a second there. How are you managing this negativity, but it's more learning from you, you

know, yeah. Yeah. I would say that, in the process of like just making the songs not having put it out yet.

I don't really get those [00:20:00] negative voices saying this isn't good enough, which is great. I know some people do and I don't, I feel actually that they're really cool songs and I'm really excited about it. But then I would say when I'm putting it out there, of course, there's like just this question, like, how are other people going to receive this?

Is this something only I think is cool, or do other people also respond? And, The truth is that if I respond, there's value to it, and that's good enough, but I do want it to land with other people. Otherwise, I'm not going to put all the effort to get it out there. So that is important.

And it's not something that, I can think, Oh yeah, of course it will. But really when push comes to shove I don't know until I do it if that's going to happen. And the, at first in the process, it was hard because I was trying to find a guitarist and I was doing band mix, which is like a dating site, but for like band finding band members.

And it was, it's very awkward dating. And [00:21:00] uncomfortable to have some stranger come into your space and you're playing your music and seeing if they, if you jive together, if you work well together and I had really just a bunch of, a few people, just the first people that I showed, the music to, and this was before I was mastered.

Maybe it, that was part of it, but they just like. ghosted me. And I just thought, oh wow, it must just be really bad, but I, I just kept going. I was like I'm still going to try. I'm not going to give up, that would be crazy after all of this work. And I still believe in it.

And then when I did the PR company that I worked with, they're, they don't just accept anyone. They hear your music and they've got to think this has value for us to invest this time in this client. And so that right there was just a great affirmation. And then beyond that they submit my work to the media outlets for getting, little articles of, about the singles.

And I got lots of great feedback like from those outlets [00:22:00] like lots of accolades. So I just thought okay, you know There are enough people that this lands with that this is definitely worth doing, there's, I'm getting a bite, you put your fishing line, I'm getting a bite.

So I'm going to keep going and that gave me just more confidence, to be strong about because it takes a lot of strength, I think, to keep putting yourself out there. Because this process I have to continually every social media post really, I'm playing our music on it.

I have to put myself out there and say, I have something of value to share with the world. Will you listen,

Yes. So it's great to get those external validations, but to have that self confidence to know that your music is good is also foundational. Yeah,

I think you need both.

Like you need some support from the world and then you need your own internal kind of rudder and flame. That's just knows to keep going and yes.

Thanks for sharing that and we're happy to do our little part to [00:23:00] get your music out there because it's great. I enjoyed it. And the more people can listen to it, the better.

I think. Yeah,

awesome. I think so, too. That's good.

We'll put all that you listed all your social media. We'll put all those in the show notes so people can find you on everything from Instagram to Tick Tock. Like you said, Awesome. Yeah, it all points in between.

Get on our mailing list. And get

on that mailing list.

Amy, as we close, just to wrap up our discussion on even our topic, unlocking the world of creativity, when you really were thinking about, I've got to unlock my creative juices here and get these songs up and out all the way through the production, what insights or lessons would you share with our listeners about that process and how that worked for you?

One one insider just maybe guidance piece of advice is to treat these creations like your Children. You take care of them. You believe in them and [00:24:00] you do whatever it takes to make sure that they thrive. So that's one thing. You believe in it. You have to believe in your creation.

I, I feel and in a way that's almost like faith, you just keep going no matter what. And then I would say another thing is, as you're going to keep refilling your creative well, so to speak. So that's something that as a phrase that Julia Cameron came up with, I don't know if you're familiar with the artist way, which was something I did a long time ago.

It was very helpful to me. And so I think of that often and I know exactly what she means. There's. There's something about, for me, it's going out in nature, but, you have to discover, I think, for yourself what fills your creative well, but to keep doing that through the process, because that's what keeps that flame of inspiration, I think, lit, so that you can, and you can keep receiving more creative ideas of how you can learning.

Birth your creation, so to speak. Yes.

Yeah. Great description. Great [00:25:00] imagery. So thanks for those insights from your experience. Listeners, my guest has been Amy Brooks. Her band is Low Tide Levy based out of Berkeley, California. It's been a great conversation, Amy, about music and creativity and your whole process.

Can't thank you enough for being on the show.

All right. Wonderful. It's been really fun.

Yeah. All the best on the future work too. Look forward to seeing you out on the road and hearing more new music from you. And listeners, come back again. We've stamped our creative passport in Berkeley today. But we're going to continue our around the world travels, talking with creative practitioners as we have today about how we get inspired, but also then how we organize those ideas, and then how we gain the confidence in some of the connections we need to launch our work out into the world.

And that's what it's all about. So until next time I'm Mark Stinson, and we'll be unlocking your world of creativity. We'll see you next time.[00:26:00]