 |
 |
 |
 |
 |
 |
 |
|
|
I was born in Middletown, Ohio, the second son of two public-school teachers. My father was an artist and taught drama and speech; my mother loved research and taught science. These educators observed talent in their sons at an early age. So when I was five years old, my musical education began. I joined the town cathedral's Oxford-type men-and-boys choir as a boy soprano. At the same time, I began studying cello. Classical music became my life. By the time I was a teen living in Indianapolis, I won "firsts" in state competition every year. And I was fortunate enough to participate in top-level orchestras, chorales, clinics and camps. Pop music was a distant interest. I owned two 45 RPM records: The Beatles' "Paperback Writer" and The Stones' "Mother's Little Helper." I didn't own an LP until eighth grade, when a girlfriend gave me Chicago's Silver Album for my birthday. Everything changed when I joined my first band. I became a lead singer, learning tunes by Grand Funk, James Gang, Deep Purple, Uriah Heep, Chicago -- all the '70s-midwestern-garage-band standards. When the bass player quit, I picked up a bass guitar. My interest in cello waned while my obsession with bass waxed hot. I learned every lick Chris Squire of Yes played. And I donned bell bottoms, clogs and polyester shirts while growing my hair into a long shag. I had found my destiny. After high school, I had a choice between studying classical voice at Butler University or playing bass professionally with a traveling show band. I packed my bags, strapped on my bass and started playing for a living. Atlanta, Whiteface A couple of years and a few bands later, I moved to Atlanta to help form a new, originals-only outfit slated to be the house band at a hip, downtown club. Whiteface became a local blue-eyed soul phenom. The group featured the funky sounds of Doug Bare's amazing New Orleans voice and my thumb-thumping bass playing. Within a year or so, Whiteface landed a contract with Mercury Records. We recorded our first-and-only album at the famous Muscle Shoals studios. Bob Dylan was the studio's next scheduled client. I felt invincible. The Producers With the '80s approaching and Whiteface disappearing, I became restless. I feared that the band had run its course both creatively and professionally. So I searched for new musical partners. I found them in an Atlanta club band with a guitarist/singer who wailed soulfully in the tradition of Paul Rodgers, Rod Stewart and John Waite. On New Year's Day of 1980, I joined with Van Temple, Bryan Holmes and Wayne Famous to become The Producers. A new decade and a new era had begun. This period in my life was creative magic. Van and I sat on a couch hours a day smoking cigarettes, drinking sodas, coffee or beer and writing. Within months, The Producers accumulated a catalog of about 30 fresh, fun and musically interesting pop songs. Our manager arranged a New York showcase with Tom Werman, who had produced Cheap Trick, Mother's Finest, Ted Nugent and others. We piled into a van, drove to New York and played 10-or-so songs for Tom, whose head bobbed wildly from the first note. During the third song, Tom leaned to our manager and said, "We'll do the album in November." And so, in November 1980, The Producers were in Los Angeles at The Record Plant recording our first album for Portrait Records with Tom at the helm. Four years, two albums, countless MTV appearances and nearly 1,000 live performances later, I was burned out. I left the band and moved to Los Angeles to form a band with Neil Geraldo and Myron Grombacher of Pat Benatar and to build a solo career. Contemporary Christian music Then came transition. I was weary beyond description of the business of music. And I had found a new inspiration -- a growing faith. So in L.A., I changed my focus to contemporary Christian music, recording one album with associates of Kerry Livgren, the guitarist/songwriter of Kansas fame. The experience was disheartening and disillusioning. I was utterly exhausted. And so, for the first time since buying my original pair of clogs, I found myself uncertain of who I was and what I was meant to be. Seeking another vision of a life lived well, I turned away from music and embarked on a journey through unfamiliar territory -- the normal world. Let's have a go at normalcy Over the next several years, I worked hard on the journey. I put myself through school, graduating magna cum laude. I learned the world of print, working as a journalist, editor, graphic designer and ad writer. I learned the world of technology, earning certifications from Microsoft and Lotus and spending several years developing Web sites and other computer applications with a multi-billion-dollar corporation. This journey had many happy moments. Children born, successes achieved, friends made. But to many who knew me, this journey seemed strange. As one old high school friend put it, "If anyone had told me during high school that Kyle would have ended up in computers, I would have laughed." Divorce, awakening Eventually, the journey looked pretty strange to me too. During a divorce, I blew the dust off an acoustic guitar and began to hum and pick. The more I did so, the more a part of me I had silenced regained its voice. Melodies appeared. Thoughts became rhyme. Feelings bore rhythm. Once again, songs formed and grew, nourished by pain and nurtured by a resurrected creative self. And so, when the dotcom bust happened and I was laid off with many others, I wasn't unhappy when the headhunter didn't quickly find an equivalent position for me. Because in my heart of hearts, I was ready to live again, according to my own vision of human goodness rather than somebody else's. I was ready to build a world again, using rather than squelching my strongest assets. I was ready to sing again, embracing rather than rejecting who I am and what I was meant to do. The result? A new CD: "Songs in the Key of Love." These 10 songs reflect my new-found passion for life and love. I recorded them with Orlando-based engineer/programmer Michael Crain, who has worked extensively with Transcon groups Natural and The Backstreet Boys. Michael brilliantly transformed my vintage-pop sensibilities into a Hot Adult Contemporary musical experience that perfectly communicates where I am, how I feel and what matters to me. I'm thrilled with the outcome. I hope you will be as well. Enjoy! Kyle. Check out the artist's website: http://www.kylehenderson.com Track List: 1. Feel Like No. 1 Again 2. No One Can Take Your Place 3. Shine Your Light on Me 4. I Can Give You Love 5. I Will Never Lose You 6. Hold On 7. She's Everything 8. Everything Is Beautiful 9. I Believe 10. Till There Was You Suggested CDs:Other Genres:
|