We were lucky to catch up with Michael Fish Herring recently and have shared our conversation below.
Michael FISH, thanks for taking the time to share your stories with us today Can you talk to us about a project that’s meant a lot to you?
I’ve been extremely fortunate throughout my career to have been involved in so many cool projects. On the live performance side, one of the largest and most impactful to me was performing at Nelson Mandela’s 80th birthday celebrations in Durban and Johannesburg, South Africa with Dru Hill. It was a huge honor to meet Mandela and his family and play in those stadiums filled with so much love and respect for such an impactful and inspiring world leader. Spending time at Mandela’s house with him after the shows was mind-blowing, I don’t think anything could ever top that in my career.
As far as studio productions, I’ve worked on some really incredible project’s like Elton John and Tim Rice’s AIDA record, records for Celine Dion, Mariah Carey, LeAnn Rimes, Mary J. Blige and some posthumous Tupac records (which I got to co-write and produce the acoustic “Thugz Mansion” and appear in the music video.
Among the most meaningful projects for me have been songs I’ve written and produced with Siedah Garrett. We did a song called “Carry On” which raised money for a foundation called Race to Erase MS, and in 2020 Siedah released a song called “The New Frontier (Say their names)” which addressed the unnecessary and abhorrent violence and murders of innocent black people by the police. I feel that it’s important for artists to speak out and bring more awareness about issues that are happening around the world. That’s definitely something that’s been missing in popular music lately.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
I’ve been studying, performing, creating and recording music my entire life. I can’t remember a time when I wasn’t immersed in it. Starting with violin lessons from my grandfather when I was 5 years old to learning Beatles songs on guitar when I was 7 or 8, I moved on to formal classical guitar lessons at Settlement Music School in Philadelphia where I learned discipline and work ethic. I met some amazing young jazz musicians through the school as well, and eventually played in some master classes with Stanley Clarke and Grover Washington, Jr., who had both been students at Settlement.
I began playing in bands before I was a teenager and learned what it was like to interact and create and most importantly, LISTEN to what other players were doing. Listening is the key to being part of the conversation, and I wanted in!
After years of studying and playing in bands in high school, I went on the road with a band during my senior year and started looking at music as a career as well as being the creative expression that I loved so much. I learned to navigate life on the road at a young age and after years of playing in dive bars, lounges, clubs and theaters, I was back in Philly performing with local bands and hanging and working in recording studios. I was always fascinated with studios and the recording process, so I soaked up as much knowledge as possible. As the technology advanced, I started recording on my own with multitrack cassette machines at home and tried my best to perfect my playing and recording techniques, as well as my creative process.
I wrote and recorded music non-stop and worked with so many talented musicians. I was playing in a club in Philly with a friend who got a deal with a major label, so I worked on his record which eventually led to recording sessions in New York. Through that work, I was asked to join a new R&B act on tour and that led to several years on the road with Dru Hill, along with a ton of TV appearances as popularity grew. That exposure led to one gig after another, and then I got a call from Kirk Johnson (Prince’s right-hand man and awesome drummer) saying that they were putting a new band together. Shortly after I was on my way to Minneapolis and working at Paisley Park. We spent several years writing and recording and finding the direction for the band, workshopping and jamming with Prince onstage at Paisley Park. That band, Fonky Baldheads, eventually toured with Prince, opening for his Hit and Run tour and joining him onstage. A life-changing experience. I learned a ton from Prince, especially his work ethic and outlook on the music business. Even years later when I was touring with different artists, I’d be invited to his parties in LA, jamming and hanging with so many of my musical heroes and who’s who of superstars. So many “pinch me’ moments and the internal question of “How the hell did I get here?”. I’ll never take for granted the opportunities that music has brought to me.
Due to all of the high exposure and experience I was getting, I developed relationships with several companies, including Yamaha Guitars (which is coming up on a 25 year mark) and Rivera Amplification (which I’ve been associated with even longer). I really enjoy working on R&D with those and other manufacturers and love the product development process. Yamaha in particular really relies on their artist’s feedback on prototypes before a product or instrument goes into production and out to the marketplace. That kind of collaboration results in a more intuitive and natural feeling instrument. I love that whole process. I’ve also helped develop and design products with D&A Guitar Gear, which is a guitar accessory company that manufactures stands and wall hangers, as well as products that solve physical issues that guitar players run into.
Throughout the years of touring and sessions, I began producing artists in many different genres. I’ve worked on everything from pop, rock and hip-hop to country, jazz, latin and folk music. Thanks to the exposure of a wide range in music when I was growing up, I love it all and continue to study everything I hear. I think that diversity helps me guide an artist to see their vision through a song or an album, and draw from an endless palette. I’ve also had to draw from that stylistic collage in performance situations, especially with Christina Aguilera, who I’ve been performing with for 22 years. Yes, Christina is a legendary pop star, but she encompasses all kinds of music in her shows. We’ll seamlessly flow from pop to rock to latin to jazz and funk within a 60 or 90 minute show.
Another draw from the versatility factor came when I started scoring films and TV, which is something I’m focusing more on at the moment. I recently completed a score for the film “The Keepers of the 5 Kingdoms”, where I had to compose, arrange and produce music that covered everything from Chinese opera, surf-rock, orchestral cues and a fusion of Mexican, Cuban and Spanish vibes. It was a big undertaking, but I loved every minute of that process and learned so much along the way.
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
Unfortunately. there is an entire generation that views music consumption as a free platform. And it’s not their fault.
As technology advanced and streaming became the standard, the music business did not look out for artists, writers and producers. As creatives, we’re notoriously NOT business-minded so the tech companies and record labels take full advantage. Also, anyone can record on a laptop in their bedroom and have that music streaming to the universe in a relatively short time with no oversight or quality control. Due to those advances, the artistic bar has lowered and the market has been flooded with lower quality recordings and substandard art. Yes, there IS an advantage to artists being able to release their own music, but it’s so difficult to cut through all the noise without the support of a major label and the marketing and advertising they could provide to push an artist to the top. It’s virtually impossible for an artist to support their craft without the correct funding, which used to come from the record labels. There are alternatives for independent artists, like private investors, brand sponsorships and endorsements, but you have to start with a fan base and big social media numbers. Once your numbers are rising, THEN the labels want in.
I feel like another big part of the downfall of truly great art is in education. Most schools districts across the US have cut funding for music and art programs. Those programs have degraded over time and kids don’t get that knowledge, understanding and respect for what it takes to be a creative. It has to start there, in schools. Federal and local funding for the arts in education could change the future quality of young creatives.
Music, art and dance improves lives, evokes emotion and makes people happy. Why not support it from the beginning of a child’s life? We, as a society, should be pushing for that so future generations of artists can develop and properly learn their craft and actually make a living entertaining the world.
What do you think is the goal or mission that drives your creative journey?
My mission has always been to collaborate with artists and give them the support it takes to bring out the best of what’s inside them. I love helping artists find their direction, whether it’s in a song, their overall vibe or their career. Helping artists develop their craft is paramount and despite where the industry is at, I’ll always support the growth and nurturing of artists.
For my own personal growth as a creative, I’ll continue to study and learn. Scoring films and TV series is definitely a focus, as well as producing and recording artists right here at my Fish Tank Studios! We spent several years building a studio space where not only I can work comfortably and efficiently, but a place where artists can relax and feel safe and free to be themselves.
Contact Info:
- Website: https://www.colorblindfish.com
- Instagram: @colorblindfish
- Facebook: https://www.facebook.com/michael.f.herring
- Linkedin: https://www.linkedin.com/in/michael-fish-herring-3166518/
- Twitter: @colorblindfish
