Musician’s Notebook

Over the past weeks, we’ve talked a lot about what it takes to become a successful rock band.  What we’ve discussed are from notes I made while talking with some of the greatest names of the Sixties, along with personal and professional experience.

That being said, Let’s Review Your Set:

First of all, be sure that your members are all committed to the act.  They’ve gotta know their instruments and have a strong desire to play the style of music that you (as founder/leader) have envisioned.

Next, remember the important roles of each one; the drummer should keep a good, steady backbeat and only use “fills” if the songs call for them.  The rhythm guitarist puts down a solid foundation  for the song to bring it some body.
The lead guitar colours the song and comes in with “solo” during breaks.  Obviously, the bass adds depth to the track and should be reliable.

Now, when you’re ready to show yer stuff to an audience at your first gig, you’ll want to start your song with a solid, confident “attack”.  Your goal is to shake the crowd up to where they know you mean business!
But remember that you’ve just got about thirty seconds to get the fans’ attention with that first song.
It takes confidence and a definite feel for the music and the audience!

Now … for the song itself:

If at all possible, make it no more than about three-and-a-half minutes long.  Sure, other successful bands have longer individual songs, but they’re more established, have a few albums under their belts, and have a lot of experience with audiences.  Your job at this point is to gain fans with your brand of rock, while, at the same time, remembering that fans of any active entertainment (rock, sports, etc.) wanna see that action progress within about three to four minutes.  Otherwise, they start to get bored …

Harmony can catch the attention of fans and, if done right, they’ll love it!
If any/most of the songs in your set require it, be sure to practice a lot before going into play!  Find one or more of your bandmates who can harmonize with you (usually, a “tenor” over your “lead”).  When you’re rehearsing this, record it and play it back to go over rough edges (if any).

Remember, also, that mic(rophone) technique is important.  Whether you’re using one, two or three mics, singers should have their faces just far enough from them to create an even blend of vocals, and not one louder than the other. (Generally, the “six-inch rule” applies here: The mouth should be at least that far from the mic.  From there, you can modulate [get louder of softer] a lot better.)

Finally, remember to get a solid hook (or repeated phrase, lyric or guitar lick) that can stick in the fan’s minds!  From the Beatles’ She Loves You to Metallica’s Enter Sandman, bands have used those successfully.

Okay … we’re gonna take a break here, but I’ll be back with more shortly …

See ya on the flip side!

standard press kit

THE VALUE OF A PRESS KIT

We’re continuing the topic on “building your band”.
Now, the most important tool you’ll need, outside demo CDs (those that have samples of your music), is the press kit or press pack. It’s important because you’re gonna need this to show (or mail to) prospective agents, radio stations, venue managers and A&R reps (those who can get you a record contract!).

WHAT YOU’LL NEED

Actually, the first order of business is to be sure at least 75% of your lineup is permanent. The prospects will need to see your roster as stable.
The second is to have a number of successful gigs (or venues; places you’ve performed) under your belt. Y’see, whoever you mail your press kit to will wanna see your onstage experience. With that, you’ll increase your chances of being hired, played or signed!

Now … that being accomplished, get someone to write up a professional-looking biography of members and band.  Adding a small photo beside each member’s profile will allow the recipient to “see” the person it’s written about.
Don’t go into elaborate detail; basically, list name, age, hometown, which instrument(s), if any, he/she plays, when that member joined the band, and influences.
About the band:  Be sure to include formation date and a brief history of the band up to the date you’re sending the kit. Make at least a dozen copies of each, plus one for your file and further copies.

Next, get as many reviews of your performances as you can.  If you can get some professionals (such as owners/managers of the venues you’ve played) to write one, all the better!  Again, make a dozen copies (plus the one you’re saving for your file and further copies).

Then, have someone take some good photos of your band in performance, and good atmosphere shots (taken at good locations, posed).  You’ll wanna make copies (not computer printouts) to include with each kit.  Remember: these must be real photos — not computer printouts! Places like Wal-Mart can do these for you. Initially, get at least a dozen of your favorite two shots printed.

Now … if you’ve recorded any of your songs onto a CD (and they have a good sound quality), burn at least twelve of these. The songs must be in .mp3 format.
Place these in clean, scratch-free CD cases. On the front of the case, place a sticker with the band’s name and date originally recorded. Include the “playlist” of the CD, along with each song’s length.

Okay … we’re gonna continue this within 24 hours, so stay tuned!  

Of all the classics coming from the vault we call “Rock-n-Roll”, ya can’t get any more genuine than Bob Dylan’s Like A Rolling Stone.

The song was crowned by (of all places) Rolling Stone magazine as being the #1 rock song in history. (ahem … were you asked to vote? Naaah … me neither) But, hey — there’s good reason for the glory.

Y’see, not only does the Freewheeler put a little bit of soul into the soundtrack to his first non-acoustic hit, but includes the most ingenious wording of any folk-rock hit, before or after.

In the song itself, Dylan is addressing a young woman who, probably a “silver-spooner,” finally finds herself scrounging and street bound. It’s an exhibit in contrast, obviously meant to show the high muck-a-mucks that, in fact, it’s the everyday people — those who have to hang on to every dime, every crumb of bread, every drop of gas in order to survive — who makes them the so-called “superstars”. The jet-set’s a drag, and, more often than not, just wants to use you.

OUCH!! That kinda sounds like a sermon for a certain blonde youngster who’s just can’t keep her life straight (clue: her name’s a combo of a big city and a hotel). But it applies to anybody who follows suit, right?

My fave part of the lyrics? Remember the line, When you ain’t got nothin’, you got nothin’ to lose? That’s it. Been there, know the feeling. But everybody can take at least a few dozen lines  of the song (and its equally-effective followup, Positively 4th Street), and apply the lessons they hold, right?

If ya can’t, you better go back and listen to it again …but open yer mind to it this time!

It’s QUIZTIME, Rockers!: (Awww, you’ll find one of these little tidbits in every box … er, post! t’s your chance to make a little noize!)

Okay … we all know that Bob Dylan idolized the late, great Woody Guthrie. But what mistake did Dylan make in trying to copy Guthrie’s style (hint:  it really ticked off Guthrie’s wife!)?

Send in your answer, and you’ll be introed here on-post if you’re right. Otherwise, gimme about a week, and I’ll give ya the answer myself, okay?

Well, that’s it from this side. Until next time, remember: Keep your eyes on the skies, your feet on the ground, your heart with the music … and I’ll see ya on the flip side!

27 Jan. 09 4:30 AM Man, if there’s a band that is gaining fans quicker than THE FORE, I dunno who it’d be! These lads are definitely on their way to superstardom. And the “new kid on the block,” rhythm guitarist Andrew McCulloch, adds so much to the band’s personality!
Mark my words … it’s not gonna be long before ya hear or see them everywhere! If ya get a chance, pick up their new CD, Run and Hide. You’re in for an amazing magical, musical tour …

Geez … I wish they’d make up their minds:
The New Musical Express (NME) is sayin’ that, with gf Nancy Shevell finally divorced, former Wings frontman (Oh … you expected me to say ex-Beatle, huh? Shoot … everybody calls him that!) Paul McCartney and she are gettin’ hitched.
Then I learned that Paul and Nancy are not getting married (this from an Aussie source, who quotes Macca on that one!).
Gotta admit that it’s just a tad bit early for the two lovebirds to swap rings. Ya think Paul oughtta have a pre-nup ready this time? Lemme know, okay?

And if you believe the tabloids, you’ll be eager to see David Bowie resurrect his Ziggy Stardust character (he retired it in ‘73).

Well, sorry to burst yer little fantasy, but David himself has said he has no plans to bring the flashy side of him outta retirement!
Y’see, he had reasons for retiring ZS, and, at 62 (his birthday was a coupla weeks ago!), he wants to move on with his career.
Not a bad choice. I mean, after all, that’s what it’s all about, anyway, right? Keep moving … don’t look back!

Well, that’s aboutWHOA!! It’s 5 AM here?? Guess that will be it for the night … but stay tuned, ’cause there’ll be more in less than 24 (hopefully, a lot less!).

See ya on the flip side!

As we talked about in earlier posts, your new band is likely to start off with cover songs — meaning, tunes that’ve been recorded by other, established, bands.

Now, you can learn any already-recorded song ya like, as long as your ensemble has a sound that’s similar to the hitmakers you choose — and you stick with the arrangement of the original song.
And there’s one thing to remember (this is important!): If you perform the song during a paid gig here in the states, be sure you’ve got permission to use it! CD sleeves or lyric sheets usually carry the name and address of the publishers.
The reason? Something called copyright infringement, which can cost ya megabux if you’re usin’ the song to sweeten a large venue set (songs you’ll play at the venue) without permission!

THE MOST POPULAR “COVERS” FOR BEGINNING BANDS

Now, this list only covers a few of them (due to allotted space here):

Louie, Louie (The Kingsmen) — This oldies classic never wears thin. Its three-chord progression — along with the “mystery” concerning its lyrics — makes it an easy song to learn … and even easier to play!

Sweet Home Alabama (Lynyrd Skynyrd) — Though this tune is dramatically out-of-date lyrically, its famous lead guitar and basic-chord pattern continues to be a top rehearsal number for many starting bands. And, like “Louie,” it doesn’t strain the vocal chords!

Basket Case (Green Day) — Now, this one’s a fabulous piece to work with because, basically, you’re concentrating on rhythm rather than lead. The key to covering this song, outside the vocals, is to have a drummer who can do some heavy fills (meaning, tearing through the snare/mount tom/bass and cymbals) at appropriate times.

Iron Man (Black Sabbath) — First, a history lesson: Remember the legend of frontman Ozzy Osbourne biting off the head of a bat? Well, the truth of the matter is that, when someone threw it onstage, he thought it was a rubber one, and, when he bit its head off, realized it was real!
After the show, he not only washed the hell out of his mouth, but immediately went to be checked for rabies!

The song has a slow, mysterious start, but comes in with some heavy chords, followed by the four-beat of the drums. The song’s gotta sound loud, have some experienced guitars behind it during the bridges (points between verses) … but will definitely get the crowd moving!

Now, there are a lot of others, but (and after working with bands for a lonnnnnng time!) I’ve found these seem to be the favorites!

What do you think? Are there others that oughtta be added to the list? Gimme a shout-out and lemme know, okay? I’ll print ‘em here in an expanded list soon!

Okay … you know there’s gonna be more in 24, so stay tuned …

Okay … now you’ve applied to every spot you can think of that might need a band. You’ve sent out demos, press kits (those are the bios, pics, etc., neatly organized with your demo recording) — perhaps even had a few auditions.
But no one’s hired you … yet.

Listen … don’t give up! Keep promoting yourself wherever and whenever you get the chance! Here are some ideas:

blog sample

First, why not start a blog about your band? One of the best places to start with this is Blogspot. It’s free, and you can popularize it by using some great keywords including: Whatever type of rock music you play, “indie band”, let the people know where you’re from by adding your hometown, like “Atlanta indie band” and so on. That’ll get it found on search engines when people begin to type in those words!

Second, consider a MySpace page, filled with info, pics — even samples of your music. Again, submit it to search engines using good keywords (the best way to submit, by the way, is going to Add Me and click the free offer).

Now, ya saw the pic of an early newspaper I was working on. You might wanna create a free newsletter to let people know what you’re up to.

And don’t forget civic things you can do around your area! That way, they’ll see you as a group and build an appreciation for you! Listen … the more favorable publicity you get, the better!

Oh … here’s an extra help: Go to Unsigned.com and list your band! Be sure to tell your friends (including those in your email address book!) about your band being in there.

Now, we’ll go further with this in the next post (in fact, probably cap it off there, and then come back in a week or so to see how things are goin’). ‘Til then, if ya need more help, just give me a shout-out here, okay?

Normally, we’re workin’ on getting a band together in these first posts; but, today, I’ve gotta pre-empt because, yesterday …
A DREAM BEGAN TO COME TRUE!!

Y’know, when ya think about all the bands and other acts that protested the injustices of racial hatred and generational hatred — when ya think of all the songs from back-in-the-day (and these include rock, folk, soul — even a few country tunes), you’ve gotta know we’ve reached an historic milestone in our quest for equality!

The late Robert F. Kennedy predicted that we could have an African-American President within forty years (this, in 1968!);
Superstars like Bob Dylan, James Brown, John Lennon, Marvin Gaye and hundreds of others advocated racial equality;
Young people mounted protests around the nation, voicing against the indignities — while, at the same time, trying to gain a voice for themselves.

And, on January 20, 2009, we saw the results of that effort — and, as the old saying goes, “it’s onnnnly the beginning, folks … onnnnly the beginning!”

IT’LL MAKE YA “THINK!”

One of the greatest of all soul voices from that era also voiced her opinions in the almost-anthemic song Think!

And it was Aretha Franklin who belted out a stirring rendition of My Country, ‘Tis of Thee during President Obama’s inaugural!  It brought the crowd to tears because, as only Aretha can do, she painted a beautiful picture of America with her voice!

I mentioned “tears” — and nowhere were they flowing more than at the first Inaugural Ball, where the lovely singer Beyoncé serenaded the President and First Lady’s first dance with the song she did in Cadillac Records: the Etta James classic, At Last.
Not only were those in attendance tearing up, but she was shedding tears of happiness for the First Couple as well!

The dream has just started to come true for millions of Americans of all races, ages and economic classes. May it continue to unfold into a permanent reality!

Now, we’ll get back to the regular program in less than 24. But, for now, let’s savor the victory …

See ya on the flip side …

Now, before we move on to the next session, maybe you’d like to find out how your forefathers of rock — the ones from the legendary British Invasion — “made it”:

Y’see, it wasn’t easy to start a rock act back in the late Fifties in England. While the BBC frowned on America’s new “rock-n-roll” and promoted what they called trad music (sort of a traditional Dixieland jazz), parents had pulled out an old vaudeville style that kids could afford to play — something called skiffle.

So young people started getting acoustic guitars, washboards and tea-chest basses and, after learning some rudimentary chords, set up on street corners and wherever they could find an audience to play old standards and “covers” of some stateside favorites.
Finally, one of the bands (known first as The Drifters and then The Shadows) traded in their primitive set-up for electric guitars and drums! Other skifflers (who’d moved up to parties, dances and other small venues) began to follow suit.

But it wasn’t easy; the electric guitars were costly — and hard to handle!  Here’s what Ron Ryan — singer/songwriter (he wrote hits for the Dave Clark Five), founder of London’s Riot Squad (in which he introduced Mitch Mitchell, who later became the drummer of the Jimi Hendrix Experience, to the stage) — says:

“First gear, the Yanks were spoilt!! They could walk into any music shop and buy a Fender or a Gibson guitar right off the wall.
In the late 50s (when most of the Bands who made up the Invasion started) to the early Sixties, we could not get them here. You would not believe the crappy guitars we had to learn on!!! The strings were so far away from the fretboard our fingers used to bleed after every practice session. Also, the strings we could get were so heavy!! Where you could get 10-46 in the USA, the lightest we could get were ‘Black Diamond’ 12-52, put them on a crappy guitar and, boy, you had to work so hard to play it!!!

We developed playing styles akin to the old Black Blues Players, where they played cheap guitars and heavy strings. Also most of the ‘Invasion’ Bands were ‘Blues Bands’ before they turned to Rock. So we listened to the Blues, and (learned to) play Rock in that style. That meant with plenty of attack, and ‘get in quick and grab the crowds attention from the first few notes of a song.”

And, with upwards of 1,200 young people in bands in Liverpool alone, you can imagine the rush to find gigs before the other ones got ‘em!
Remember: they didn’t have YouTubes, iPods, cell phones, etc.  They had to do it with live auditions and a lot of footwork!  Sometimes they’d get the gig, sometimes they wouldn’t.

Soon, the bands learned the value of having managers promoting them to different potential venues.  If they went over well, then they could pick up more appearances at the clubs, or, if they were really good, they might even be chosen as a support act for visiting U. S. acts who’d already made it big in the states.

As their fan bases grew, they’d also cut demos — largely, reel-to-reel tapes of their music — and their managers would hand-deliver these to record companies, give them a big pitch, and hope for the best.  Meanwhile, they’d perform long hours at dingy bars, pubs, or clubs — sometimes, the noise made by drunken patrons would drown them out, so they had to become louder … even improvise tunes in order to be heard.

Now, I could go on and on with this, but I think you’re seein’ how easy it is today as compared to the British bands that really started it all 45 years ago.  The main thing ya need to learn from all this is: never, ever give up!  Play wherever you can, build a good fan base, get good management … and, combined with what we’ve talked about in past posts, you stand a great chance of making it on the scene.  Maybe you’ll only glean a regional following … or maybe you’ll go international … but one thing’s for sure:  You’ll definitely be on your way as an established, popular act that’ll become the favorite of many!!

Okay … let’s get back to findin’ ya some places for your band to play (aka “gig”, “venue”).
The band you see on yer left, UK’s popular THE FORE, is playin’ in front of thousands at the UK’s Scoutabout. They’ve also gotten gigs as support bands, rockin’ in front of as many as 30,000.
But they’ll also play gigs on London’s High Street, where only 100 or so show up (mostly shoppers in the district).

Now, I brought them up to tell ya this: As Spencer and the band have learned, you play wherever you find the opportunity! Whether it’s a birthday party, a get-together, picnic, or bar-mitsvah — if they’re looking for entertainment, put your name in for the gig!

Here are some ideas that can help:
The business card on your right was sent out by a successful band in Huntington, W. Va., in the mid-1960s. Today, it’s still important to get your name into as many hands as possible, so the b.c.’s are essential! And you can download programs on your PC that’ll let you make ‘em yourself (bypassing the expensive printers. All ya need is the paper designed to print ‘em on!).
Pass them out to every place that might want a good band of your calibre: Check phone books for associations like Elks, American Legions, VFWs, places that normally have bands playing on weekends, etc. Be sure to look presentable, and, if possible, have a CD with your band’s music (called a demo).

It’s also a good idea to have a portfolio of your work handy. Here, you’ll wanna include reviews (at each gig you play, have a friend write a brief bit about the band’s performance), photos (have someone make good-quality pics of the band, with and without instruments!), brief biographies of the members, and venues you’ve played before (whether there are 5 or 500 in the audience!).
Now, the manager (or person in charge of the entertainment) probably won’t give you an answer immediately, but don’t let that get you down! Keep rehearsing, and go for other venues while you’re waiting! Be sure to keep accurate and up-to-date records on whom you talked with, what you presented, his/her reaction, and when to check back. More about portfolios in the next blog.

Once you get the gig, be sure you have every piece of equipment working perfectly! That means sound equipment, amps, PAs and microphones as well as your instruments!!

Now, we’ll continue this in the next post, so stay tuned … there’s more in 24!

We’ll be back to buildin’ the rock bands in the next post. For now, we’re continuing our classic rock highlights of 2008 in AUGUST, where …

we lost Soul Man Extraordinaire, the “Black Moses” Isaac Hayes — and, somehow, we all felt Shafted.

AC/DC revealed they’d make their triumphant return aboard a Rock N’ Roll Train, announcing a Wal-Mart-only release and massive tour for Black Ice.

SEPTEMBER found us mourning the passing of Pink Floyd keyboardist Rick Wright, and Metallica riding the lightning back to the charts with their album, Death Magnetic.

OCTOBER was a tremendously sad time for both this writer and thousands of other “Mouse-Cliquers” as we lost our mentor, idol and (for me) close personal friend, Lloyd Thaxton (of the famed Sixties weekday teen program, The Lloyd Thaxton Show). His blog (on Blogspot) reflected the humor, warmth and knowledge of the man who was a true legend in TV teendom. And it’s interesting to note that, shortly after “Uncle Lloyd” left us, a number of H’wood stars got together for a fundraiser to find a cure for that which took him from us: multiple myeloma.
He’s still missed tremendously by all of us who knew him, whether in blog, on television, or in person.

Also this month, The Grateful Dead, Bruce Springsteen, Billy Joel and many more were among the artists lining up to play benefit shows for Barack Obama.
And the makers of Rock Band secured the rights to produce the first-ever Beatles music video game.

In NOVEMBER, Bruce Springsteen revealed his new album, Working on a Dream, would be released in January. The album’s title track also hit radio.
And Mitch Mitchell, drummer for the Jimi Hendrix Experience, passed away (he was introduced to the rock world, incidentally, by my friend Ron Ryan as part of Ron’s band, The Riot Squad, back in 1964).

DECEMBER brought one of the biggest goofs in fundraisers and videos by having John Lennon — who was murdered in 1980 — “pitch” the concept for One Laptop Per Child organization. Actually, his voice was taken from sound clips of the former Beatle and digitally spliced together to make it sound as if he was promoting the cause. Anyone who ever knew John can tell you that, with the hunger and illnesses of children around the world, a “laptop” computer isn’t important. Rather sell the bloody things and use the money to get them food and good medical care!

And that’s it for the quick rundown of 2008.  Tomorrow night, we get “back to the program” and talk about how new bands can line up some good gigs!

So I’ll see ya in 24 or less!

Okay … I know 2008’s one for the history books (well, for the most part. I mean, how many of ya are still writin’ 2008 on yer letters and checks, huh?).
But it had some of the greatest names in rock adorning the calendar …
For example:

JANUARY had talks of the original Kinks reuniting … at least until Dave Davies (original lead guitarist) took to the I’net to share his feelings: “It would be like a poor remake of Night of the Living Dead.”

FEBRUARY saw Amy Winehouse win Grammys for for Record and Song of the Year, as well as Best New Artist. Seemed her fame lasted about fifteen minutes or so (btw, latest word is that her hubby’s leaving her ’cause he feels he’s to blame for her drug troubles and he thinks she’d be better of without him!).
Sadly, we also lost one of the best rock/soul singers and shouters in music history when former Dave Clark Five keyboardist/singer Mike Smith died of pneumonia (actually, complications from the tetraplegia he suffered after the tragic fall he had in 2003).
We also lost legendary drummer Buddy Miles (who’d played with Jimi Hendrix’ Band of Gypsies).

MARCH featured the new Rock-and-Roll Hall of Fame inductees, including The Ventures as well as The DC5. We also got a look at an obviously-botoxified Dave Clark — and had a good laugh.

APRIL brought the sad news that Bruce Springsteen’s longtime keyboardist Danny Federici passed away.
But the Martin Scorsese-directed Rolling Stones film Shine A Light hit theatres to rave reviews from both fans and critics.

MAY brought a bit of comic relief as Pink Floyd’s Roger Waters let his giant inflatable pig escape, roam the countryside and then (as with Waters’ ego) deflate.

JUNE saw the passing of another legend as Bo Diddley left us. His tremendous, African-influenced beat was copied by acts as diverse as The Rolling Stones, Buddy Holly and George Thorogood and the Destroyers.

JULY: VH1’s Rock Honors paid tribute to The Who. Roger Daltrey talked about Pearl Jam, the Flaming Lips and retirement, while Wayne Coyne and Eddie Vedder weighed in on the Who’s impact.
And Billy Joel said good-bye to Shea Stadium with a pair of star-studded concerts. Joining him onstage at the last was Sir Paul McCartney (as it was his former band that played the biggest concert at Shea years before, it was only fitting that he was present for the very last performance there).
Y’know, if anybody can shoot down Robert Plant’s (Led Zeppelin) belief that he’s (Robert’s) too old to rock anymore, he oughtta take a page outta Macca’s book. Y’see, rock is attitude …

We’ll continue this musical history tour of 2008 in the next post. But, for now …

See ya on the flip side!

C’mon … we’ve all gotten it at one time or another! And, as a new band, somebody in your lineup is gonna feel a little skittish about appearing before an audience.

Natch, this is something you wanna discuss with yer tribe while you’re in rehearsals: Is anybody a little worried about performing in front of a crowd?
If the answer’s “yes”, then here are some ways you can counter that and put on one dynamite show:

First, be sure you’re all ready. Lack of confidence is the #1 reason most performers get stage fright. If you know your material (songs), all your instruments are in good shape and tuned*, and your stage outfits look good, you’re gonna do fine!
(* contrary to what you’ll hear, don’t put brand-new strings on your guitars before a gig. You’ll need to break them in — give ‘em some play — so they won’t stretch onstage and sound either off-key or ring). And, if you can, bring an extra guitar or two — just in case …

Now, before ya go onstage, try to get a good look at the audience from a different angle; if you’re just playin’ for a party or some local function, ya might wanna mingle with the crowd a bit (but only if you have time before you haveta set up!). If you’re a “support” band (playing on a bill with other acts), take a look at ‘em from backstage. The reason is to familiarize yourself with the faces and attitudes in the crowd!

Once you’re onstage — and if you’re still a little n-n-nervous, just start your first number as you would in rehearsal (if you’ve got someone to introduce your act). Normally, you’ll wanna do a 4-count to get everybody started at the same time.
Now, here’s a tip to help your eye-contact with the audience: Instead of lookin’ at the faces or making direct eye-contact (if that worries ya), gaze just between their eyebrows, at the point where the forehead ends and the nose begins! That way, you won’t be skittish, and the audience will think you’re lookin’ directly at them!

After your first two or three gigs — especially if you’ve learned to (a) have a strong start to your songs, (b) perform each one with confidence and liveliness and (b) end the song just as strongly — you oughtta get the hang of it!

Now, we’ve got more to cover in the next episode — this time, dealin’ with gettin’ the gigs — so stay tuned; there’s more in 24! Until then …

see ya on the flip side!

Okay … so you’ve got your band together, you’re practicing, everything looks good …

but what’s it gonna take to get you “on the charts” with audiences? See, you can come off as “just another band” …
or you can rock their socks off so that they’ll wanna hear you again and again!

What’s it gonna take?  Here are a few pointers for ya:
First of all, you’ve gotta have a good attack. Now, what that means is that, when you start your first tune (and, by the way, the “song list” you’re gonna be doing in your first gig [venue, place you're playing] is called a set), you wanna make it strong! Within the first few seconds, the audience oughtta sit up and know you mean business!
Listen to some of the early material of The Beatles or Rolling Stones, or some of the stuff by the new UK band THE FORE. The first songs oughtta sound alive and confident!

Next up:  Your songs should have a strong rhythm. It lays down the tracks for your rock train to travel on … gives it substance! And remember not to make it louder than the rest of the instruments — in fact, it oughtta be at the same volume level as the drums, since they pretty much go hand-in-hand to handle the tempo (and, as sortuva footnote:  Try to make it sound more “acoustic” than “electric” at times).

Now … let’s look at vocals for a minute:

A lotta singers think “louder is better” — they’d rather growl or shout than sing. But is that gonna get you over with the audience (whom you’re tryin’ to get as fans)? Or are ya gonna just sound like cat #1 in the pic (does he look like he’s havin’ fun)?
Nope … Sure, if the song calls for a bit of power, do it. Just make sure it fits the song, though … and be sure your aud can understand the words! You can sing I love you, girl, but, if you’re too loud or too close to the mic(rophone), it can come out mmphdrzn rfgnzdpt. Let the volume match the song to the letter. And, whenever ya do let it rip, move away from the mic a bit to keep it from blowin’ their ears off!

Next up: harmony. Try to get it in there in either backing vocals! That adds some good flavor to the song and adds even more life to it! Besides, it spotlights the others behind the instruments and shows you’re all active and alive!
So, if the original song calls for it, go for it! Just make sure it sounds good, and not like a bunch of drunk frat boys singin’ to a record!

Now, I’m gonna take a break here (owin’ to the fact that I (ahem!) fell asleep at the keyboard last night while workin’ on this and other music business.  It’s a 10 AM-5 AM workload here at the first of the week!), but we’ll continue this later this evening.  So stay tuned!

See ya on the flip side … (now, if I can just … get this … F1 key … pried outta my forehead … )

Y’know, I’ve been in the music biz for almost half my life now, and have seen loads of acts come and go — from AC/DC to ZZ Top, Animals to Zombies, great acts and musical laxatives both.
But what makes a rock band big? I mean, what makes ‘em popular? Here are a few pointers I’ve gotten from two important sources: Observation and Interviews … both of fans and with some of the rock legends:

If you wanna start a band, be sure you’re into it all the way! If you’re not ready (note: I didn’t say just “willing”) to put 100% into it, don’t do it. Stick with your regular job.
It’s very important to get members who not only know their instruments, but are on the same page as you concerning the type of music you wanna play. Equally as important is that you all must get along well with each other.
Before your first rehearsal, be sure you know your area’s “noise laws” perfectly. Otherwise, find a place to rehearse that’ll mask most of your rehearsing.
Also, have a short list of songs you can start with. Make ‘em easy and ones that the others would know, whether it’s Sweet Home Alabama, Iron Man or the classic Johnny B. Goode.
Be sure everyone shows up at the rehearsal on time and with equipment.

Okay … now that you’re all together, go over the first song with everything unplugged at first. That way, you’ll get a feel for how you’ll mesh: Will the rhythm be stronger than the lead? Is the tempo right? Are you all in the same key and in tune?
Once that’s all evened out, plug in and try the song a few times to see what you’ve gotta workon (yeah, add the drummer this time!). Now, it’s important to be patient during your rehearsals, ’cause, chances are, the song’s not gonna sound right until after the first four or five tries.
If you’re adding vocals and have your mic hooked up, be sure you’re not too close to it. Sure, the singer should be over the instruments, but he/she shouldn’t hog the mic. Rule of thumb: For high or loud notes, move away from the microphone by about six inches, with the mic just to the left of right of your mouth. Then, for lower or soft note, lean into the microphone … but just long enough to get the right note out!

Once you’ve gotten the song down to at least a workable style, go back and try another one, using the same techniques as ya did the first time.

Now, tonight, we’ll continue this … and get into the sound itself. Sooo …

I’ll see ya on the flip side!

HEY!! (Just wanted to see if you were payin’ attention …)

Beginning this Monday, we’re gonna be runnin’ something a new and (IhopeIhopeIhope …) exciting here on Notebook:

Naturally, we’ll be goin’ over the business end for anyone who really wants to rock (or do Country-Western, or other genres), talk A&R, labels, and stuff that you cats can use.
But we’re not gonna drag here; if ya want totally serious, there are loads of news sites that’ll sourpuss ya to death! Yep, there’s a lot to cover here, but we don’t haveta be so serious in talkin’ about it, right? I mean, the readin’ oughtta be an enjoyable experience!

First, we’re gonna take a look at what really makes a successful rock band tick! You’re gonna get the 411 from one of the fastest-growin’ and most popular bands in the UK, The Fore — and a coupla vids to boot!But you’ll also be gettin’ upclose with gigs and venues from some of your favorite artists, old (yep … quite a few still around) and new!
Natch, you’ll be readin’ my chicken-scratchin’ here, too — I’ve been in the music biz for thirty-years-and-change, and got a lotta good, up-to-the-minute stuff to share with ya!

So stay tuned on Monday evenin’ for the first episode of the NEW Musician’s Notebook! ‘Til then …
I’ll see ya on the flip side!