The Chrysalis

Post 4 of 8 :: Mixing Metaphors: One Artist’s Passage from Humming Child to Singer-Songwriter Recording Artist

The Praise Band

One part of my story as a musician and singer is the time I spent in a church praise band and the unfortunate way that it ended. I thought long and hard about whether to include this piece in my story, but I could not leave it out; it is too central to my musical journey. It is a tender story, and not just to me, so I will do my best to tell it with honesty while staying firmly in my own lane.

I loved singing in the praise band. There were times during those two years that I experienced some of the greatest joy making music in my life. It brought together my faith and my need to do music in a way that met me more deeply than I can express. I am intensely grateful for my time there and what it taught me. I learned that I am most alive when performing music, particularly when singing. I learned that I am a good musician. I learned that even though I did not yet have the skills, I definitely wanted to be in the front singing lead, not in the back singing backup. I also learned that my scope needed to be much larger musically, culturally, and spiritually than most Christian music allows, particularly if you are a woman.

Getting kicked out of a praise band raises ugly questions, and it’s safe to say that it was devastating in my small world, both personally and musically, not to mention spiritually. To be fair, I was invited to stay on as an instrumentalist, but I was uninvited to continue as a vocalist. Given where my heart was, this felt like being thrown out, and I was so crushed that I left and decided never to sing again. Fortunately, God had other plans for me, including a wedding gig singing for friends a few weeks later from which I could not back out (thank you, Richard & Maria!), and another persistent friend (who appears in the next blog post) who dragged me out of a very dark place to be a lead singer for a cover band he was pulling together.

Happily, I now consider this moment as a colorful and essential part of my story. I am intensely grateful that I was kicked out because I am not sure I could have left on my own. This rejection propelled me into a much broader, richer musical world and ultimately led to my pursuit of songwriting. It also provided immense motivation to work tirelessly and steadfastly to improve and develop as a vocalist. I was not so much trying to prove them wrong as I was simply insisting on giving myself a faithful chance to become the singer I wanted to be.

Probably the most important thing I learned is that if someone thinks I suck, I can carry on despite this opinion even though at the time it felt like dying. I also learned later that even if I maybe do suck now and then, it’s forgivable, and it doesn’t mean I will suck forever if I work hard enough. And I work harder than almost anyone I know. This is one of the best gifts I have received in my musical journey.


My new album, THESE HANDS, is available wherever you like to buy and listen to music. Click the button below to listen to the album, and please consider a purchase if you like what you hear. Thank you!


The Seed

Post 3 of 8 :: Mixing Metaphors: One Artist’s Passage from Humming Child to Singer-Songwriter Recording Artist

Bev Barnett & Greg Newlon

Singing with Bev & Greg, Roudon Smith Winery, October 27, 2007

Bev & Greg spotted me at a church talent show when, having finally bought myself a guitar for my 40th birthday, I played and sang one of a handful of songs I had learned around the campfire – John Prine’s “Paradise.” They knew me already as a classical cellist with composing and recording experience. Not long afterwards, Greg called me and asked if I’d like to play a cello line on a song for their upcoming album.

Of course I said yes, and I made my non-classical recording debut on cello in their gorgeous and bittersweet (i.e. perfect for cello) song, “Eloise” from Any Doorway Will Do. It was during that recording session that Greg gave me a morsel I have pondered since and later became the subject of a blog post. The gist of it is that in order to do music well … anything really … you have to get over the fact that it’s you doing it. This is probably the most valuable thing I learned in my 2 years singing and playing with Bev & Greg over many shows, including several out of state.

There were so many firsts in my time with them: first time singing into a microphone, first time writing a cello part for a non-classical recording, first time singing backup, first time performing percussion, first time singing and playing percussion at the same time, first time getting paid to sing, first time traveling to perform music. I also learned how to write vocal harmonies, both in terms of proper pitching and proper musical arrangement, by listening to Greg’s painstaking work to write high harmony parts for me. This was the first time realizing that simply “pulling a harmony” on the fly is fun, but not always musically accurate or even advisable.

With this bucket of knowledge to draw from, I also became (and learned actually to believe that I was) a great backup singer. I learned how to blend, how to be present without upstaging the leads, and how to love every moment of being on stage and making beautiful music that moved people to grateful tears. Their music is that good, and the harmonies, so carefully crafted, are that sweet. You can see a selection of my favorite videos singing with them here.

I also learned from watching Bev sing. I had and to some degree still have insecurities about my singing, which are probably shared by other women who have the audacity to sing lead. My young female self ingested deep directives not to take up space, and singing lead is nothing but. Yet I watched Bev sing anyway, and beautifully. I asked her once when she realized she had a great voice. She laughed, then said she didn’t believe she could sing well until she was in her 40s. I took that to heart, and I credit watching Bev with planting a seed to try to write and sing my own music.

Later, after MapleDream (an original girl band I co-founded, the subject of an upcoming blog post) ended, and long after I sang my last show with Bev & Greg, Greg became a musical mentor to me. Over the course of about a year, he taught me about songwriting and chording, and he put several of my songs on solo guitar and thereby taught me how to do it myself, another subject about which I’ve blogged. In other words, he taught me how to be a solo singer-songwriter. Still later, it was Greg who, when I asked his advice about how to record an EP, steered me to Kenny Schick, my producer. Greg’s mentoring is tough and unvarnished, but full of a steady, encouraging love, and I am grateful to him and to Bev for everything they gave me.

To say that I owe Bev & Greg a lot is a massive understatement. I think it’s fair to say I positively would not be where I am today if not for them. Thank you, Bev & Greg … very, very much. And let’s sing again together sometime … I still remember my parts ❤️.


To learn more about Bev Barnett & Greg Newlon, please visit their website bevandgreg.com


My new album, THESE HANDS, is available wherever you like to buy and listen to music. Click the button below to listen to the album, and please consider a purchase if you like what you hear. Thank you!

The Question

Post 2 of 8 :: Mixing Metaphors: One Artist’s Passage from Humming Child to Singer-Songwriter Recording Artist

Michèle Sharik

Michèle Sharik is an insanely talented handbell soloist, which is pretty much just as amazing as it sounds. I once played (and recorded!) with her a piece that was commissioned for her called Relentless, which in the classical music world we affectionately call a “pan-banger.” In this piece, she plays two full 8-foot tables of instruments (handbells, chimes, percussion), while I simply play … my cello, but in highly unusual ways. You can find a recording of it … done playing together in one full take … here. You can also hear another recording I did with Michèle that I love love love, Gounoud’s Ave Maria, here. And just one more little gem I did with her on that album … La Paix by Handel here.

Playing Gounoud’s Ave Maria in concert with Michèle Sharik, 2007

I remember the first time she asked me to play with her in a concert … and offered to pay me. It reminded me of New Years 1984, when a highly attractive Canadian chatted me up in a bar in Brussels, Belgium. He was so good looking I was sure he was talking to someone behind me. In my defense, it *was* dark ….

That’s how it felt when Michèle asked me to be her cellist. I had never considered myself good enough at any type of music to be paid, much less featured. I remember the first time we performed Relentless together in concert … I laughed after the last note because I was so delighted that we had ended exactly together (it’s a tricky ending). I *think* she found that endearing since she asked me to play another concert with her shortly thereafter …

Michèle and I played several concerts together, and I was the featured cellist on the three tracks of her Chimera CD I mention above. My work with her opened the door to playing with Bev Barnett & Greg Newlon (the subject of my next blog post) and recording on their CD Any Doorway Will Do as well as other cello recording projects.

It may have gone no where with the handsome Canadian, but if it were not for Michèle’s surprising and life-altering question, I would not be where I am today. I am intensely grateful to her for asking.


To learn more about Michèle and her work, please visit her website thegoldendance.com.


To listen to and purchase Martha’s new album THESE HANDS, please visit her page on Bandcamp.com or click the button below. Thank you for visiting and reading!

The Call

Post 1 of 8 :: Mixing Metaphors: One Artist’s Passage from Humming Child to Singer-Songwriter Recording Artist

Classical Origins

I asked my then 10-year-old daughter what she thought after seeing me perform as a lead singer in an over-the-top costume cover band (the subject of an upcoming blog post). She was old enough to be able to process her mother’s doing something that outlandish, but fortunately not yet old enough to be mortified by it. She answered with the direct, clear-eyed honesty of her age: “You were doing exactly what I think you are supposed to be doing.”

Just like every girl growing up in the 70s (or so I imagine), I wanted to be a folk singer. My parents listened mostly to classical music, but also to Simon & Garfunkel and the Kingston Trio, and I knew every song in detail – melodies, harmonies, and lyrics. I also grew up around campfires where angsty college students with guitars – almost all of them young men – poured out Neil Young, Eagles, and America like water, and every girl in the fire’s glow lapped it up. That felt like the closest thing to real life.

Ballard High School Orchestra Rehearsal, Louisville, KY, 1981

At my house, however, music lessons were classical, and they started with the neighborhood piano teacher. By high school, I was playing piano concerti by Mozart and Beethoven. I also took up the cello in the sixth grade, and I was always the kid in choir that got the solos, so I started classical voice lessons in high school, with plenty of Caro Mio Ben and Sebben Crudele to feed the agony in my pubescent psyche.

My classical training was not what I had in mind back when I was singing wistfully around the campfire, but I am grateful for it because my it allows me to understand music and musicianship in ways that I would not otherwise. I even considered auditioning for music conservatory instead of applying to college, and for many years, I regretted not trying. Now that I am writing, recording, and performing my own music, however, I realize that this is where my heart was all along, and I wonder if conservatory might have steered me so far from this path that I may never have found it.

My daughter’s vision into my heart, even though my performance that day was far from perfect, reminds me that I am on the right track. Thank God I asked.


To listen to and purchase my new album THESE HANDS, please visit my page on Bandcamp.com or click the button below. Thank you for visiting and reading!

CD! Move! Gig! I’m Baaaack!

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I’m back! I have been pretty quiet for nearly two years, but as promised, I have been working steadily on my first full-length CD, which, as predicted, is on track for an early 2020 release. It will have a nice, even dozen songs, and it even allowed me to dip into my cello on a track or two!

Things in my personal life have been busy as well. We sold our family home of nearly 18 years in Silicon Valley and indulged a longtime wish to live in the city by moving to a condo in North Beach in the heart of San Francisco. Releasing the home where my children grew up as well as many of the things it contained (not to mention our communities), has been transformative and productively disorienting. I now have the seeds of many new songs, so there is plenty of fodder for another CD … or two …

As much as I love the recording process (LOVE it), playing out is as good … or better. I’m happy to report that I have a gig on Tuesday, September 24, 2019 in response to a booking request from my friends at Davenport Roadhouse (thank you, Helmut!), where I played in April & November 2017. Can’t wait to get there to share my new songs and the best of the old!

I plan to book many other shows in the upcoming months, including a CD release show that I will schedule as soon as I have a better idea of when mixing, mastering, and artwork for the CD will be complete. I look forward to returning to venues where I’ve played before while also looking a little further afield (maybe even a small tour?) to bring my music to an even wider audience. Please let me know if you have a favorite venue that you think would enjoy a great singer-songwriter show.

Please also always feel free to drop me a note on my Facebook page here or on my website here; I’d love to hear from you … It also always helps when folks follow me on Facebook, Instagram or Twitter, so please consider tossing a follow my way if you’re so inclined.

In the meantime, please stay tuned, and know that I deeply appreciate your support and encouragement!

In the Studio

I’m back in the studio. My goal in 2017 was to play out and write a new song once a month. I overshot the first goal with 14 gigs last year and came up only 1 short on the second goal with 11 new songs.

2017 taught me or reminded me of several things:

  1. Everything gets better with practice.
  2. I can learn, memorize, and perform three hours of music, no problem, most of it mine.
  3. It’s fun to play out a lot, meet people, watch them dance to your music, and watch the list of people who care about your music grow little by little.
  4. Songwriting is still an arduous process for me, but my songs get better the more I write.
  5. I need to do this.

Much as I hated the idea of not playing out for a while, once I got back into the process of recording, which I’ve talked about before in my blog, I remembered how much I like it. It’s so painstaking, so slow, so meticulous (or at least the way I do it), that it kind of drives me nuts, but I am also loving it.

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First Street Cafe, Benicia. Photo by Greg Plant

I recently accepted a promotion to a demanding, interim position in my day job, and I played with the idea of putting music to the side for a while and postponing starting my CD. I tried that on for a few weeks in December and quickly realized what a mistake it was. This worries me, because I hate the idea that my music is nothing more than a vanity project to keep a working stiff from losing her mind. Then I remember the faces of the folks I didn’t know who happened to be there when I was performing and who closed their laptop to listen, put down their fork to dance, or moved closer to make sure they caught every word. I remember these faces because they encourage me when I wonder if the time I spend practicing instead of being with my family in the evenings is worth it. Yes, I could do music just for myself, but if there is no one else who wants to listen or cares, it is so much harder to justify the effort. Maybe that’s codependent or whatever, but it’s true for me.

I am really looking forward to bringing this new CD to you, probably in about 18 months if I’m realistic. I did my first recording session a few weeks ago, and recently received the initial mix of the first song … Cheers for Tears, which I used to close my sold-out EP release show a year ago November. Even my teenaged daughter says it sounds good. Now I’ve sent off two more songs to Kenny (my producer) to sketch for another session in a few months. Stay tuned, and thanks for the support.

Getting to 110 with 11 Free Downloads …

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My Facebook music page has 99 likes. I’m frankly a little startled that there are that many, and I’m grateful for every person behind each one. Coming to a show, buying my music, or letting me know on social media and in person that you enjoy what I do helps me to carry on in this solitary and sometimes seemingly ridiculous venture. Even taking a moment to read a post and care about what I’m up to is immense support, and I thank you very much.

While no like is more significant than another, it’s fun to watch the odometer roll over to a nice round number, so I will send the next 11 people who like my Facebook music page a free download code for my 4-song EP Something Good. Heck, if you’ve already liked my page and want a free download code, let me know, and I’ll happily oblige. I am grateful for the encouragement, and want to acknowledge that it helps. A lot. For your free download, please FB message me your email address (I can’t message anyone from my Facebook music page) or email me at martha@marthagrovesperry.com. And don’t worry: I won’t add your email to my list unless you specifically ask me to, and I’ll never share it with anyone else.

I started this year wondering if anyone would book me, but I booked out 2017 by mid year, with several invitations to come play again. I also made the goal of writing one new song a month, and still have plans to start recording a full-length CD in 2018. If you want to come along for the ride and get a free download, please click “Like” and join me! (You can also follow me on Instagram & Twitter).

In the meantime, I’m playing at East Village Coffee Lounge in Monterey, California on Friday 10/20 – just under 3 weeks from today – at 4-7 pm, No Cover. Details at marthagrovesperry.com.

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Also plan to stick around afterwards to hear Mike Beck perform “Wooden Music,” his tribute to Stephen Stills & Neil Young at 7:30 – 10:00 pm, $10 cover.

Please consider coming and enjoy great food and java in one of the finest venues in the Monterey area, and thanks for everything!