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Special To You

In parenting, as in life, creative solutions are at our fingertips if the vision is strong and the goal important. Job sharing, part-time or free-lance employment, may be part of that vision. Children are a worthwhile incentive. In addition, reinventing our careers can introduce us to worlds we might otherwise have missed.      

In 1975, I became pregnant with my eldest as I finished writing songs to complete my first album. My career ambitions seemed clear -- until I held Gabriel in my arms for the first time. I was surprised at how easily the clarity blurred, the strong desire to be successful in the music business overpowered by a new passion: to create a secure, nurturing environment for my baby. I did not tour to promote my album and chose, instead, to stay close to home and become a voice-for-hire studio singer. My album tanked. My baby and I thrived. After the fact, I was able to put my LP to good use: as an over-sized, over-priced business card and, because the first pressing was on clear vinyl, a reflective mobile for the baby's room.

When Gabe was two, I was twenty-nine (which is over-the-hill in pop singer years) and experiencing an inner stirring to spread my musical wings a bit further than session work. So, when the call came from the late Bill Graham's office ('60s rock promoter extraordinaire) to audition as a back-up singer for Carlos Santana's up-coming tour, I accepted, though under slightly false pretenses. I had no expectation of being chosen, so I didn't belabor the thought that I was not prepared to leave my toddler for a day, let alone the duration of a tour. What I really longed for was a moment of challenge and an afternoon to step out of mommy shoes and into high heel boots.

Winterland Ballroom, a vacuous rehearsal/concert space close to the Fillmore Auditorium in San Francisco, was drafty and cold; we dozen-or-more singers huddled around space heaters to keep warm. Carlos Santana was not in attendance, but his band and lead singer, Greg Walker, were immersed in rehearsal for the tour. As I scoped the room, I felt old; I was, indeed, the elder singer. We were randomly selected to sing in threes and after a few rotations, I was nervously aware that I remained center mic and the other voices were being contoured to my sound. Just as I was beginning to panic, not knowing quite how to admit I couldn't go on tour, there was a commotion in the back corner of the auditorium. Carlos Santana and Bill Graham were in a heated argument. Apparently, the back-up singer idea was not Santana's, because all I could distinguish through the din was, "I am not taking chicks on the road!" So, we were all dismissed. Whew!

On a different note, Van Morrison was recording his album, "Beautiful Vision," at the Record Plant in Sausalito when his assistant called in need of someone who could participate in the early, creative stages of the album and work with Van to construct vocal arrangements for his back-up singers. Three of us sang the reference vocals over two evenings; the tracks were hypnotic. This time, there was no tour conflict. Van's three amazing "chicks" were waiting in the wings, ready to record the album and take it on the road to Europe.