Musician’s Notebook

Okay … let’s say your new band or act has gotten a pretty good following in your area, and more than a few good gigs.  You’ve even gotten a CD recorded under an indie-label name.  You wanna move the band forward, and possibly get it some attention beyond the hometown scene.

The best way to start this is to network. Now, there are at least three excellent social networks where you can pick up some loyal fans … but they’re gonna want to hear your music first!

And to do that successfully, you might wanna consider using a widget to build a playlist of samples that people can listen to online. You can make your own by clicking sites like www.last.fm/widgets.

Next up: Get a good MySpace® site. Now, this’ll take just a little time to build, so be sure to have your band’s info at hand (including: “influences”, who the band “sounds like”, a brief biography, etc.).
When you’ve completed (and, listen — when you’re applying, be sure to register the spot under your band’s name), then send an intro letter to all your friends and fans and give them your new MySpace address.

Now, along with that, why not add to the PR by getting a Facebook® page?  On this one, you can share even more information, give quick updates and even find new “friends” who can follow the band!
You can also leave notes, participate in charities, contests and more!

Twitter® is sort of a smaller, no-frills version of Facebook, and you can update it from your PC or text from your cell phone! It’s great for on-the-spot concert coverage, since you don’t have to be at an actual computer to do it!

The best way, however, is to get the word out to all your friends that your band is alive, well and growing! Do it through your regular e-mail, word-of-mouth, business cards handed out to your fans when you’ve played.

Now, tomorrow, whaddya say we go over some talent scouts who are willing to help? But, right now, I’m gettin’ just a bit sleepy, havin’ pulled only eight hours of slumber in two-and-a-half days.

So, until later this evening, I’ll see ya on the flip side …

Former Metallica bassist Jason Newsted has confirmed that he will be performing with the band for the first time in nearly a decade when they are inducted to the Rock N’ Roll Hall Of Fame on 4 April!

“There’s three bass players getting inducted, and James, Lars and Kirk.” he’s stated.
Newsted went on to reveal that it was drummer Lars Ulrich who made the call, saying: “I talked to Lars, and it’s all good - I was happy to hear from him.”
“I hadn’t talked to him for a long time, so it was nice to hear his voice.”

Now, in case you’re wonderin’ , Dave Mustaine won’t be included since he never played on a Metallica record.
“It’s not my decision,” Jason says. “I have nothing to do with that.
It was decided by the band, and I think it was just a hard-and-fast rule… anyone who has recorded on any Metallica recordings that have been released to the public as an official release were invited to the induction. So, that’s kind of that.”

Metallica also recently announced that their new single will feature b-sides from recent UK shows.

Speaking of their induction into the R&RHoF, it’s been announced that Flea from the Red Hot Chili Peppers will be the one who’s gonna induct the band.

Okay … short and sweet (well, it is 5 AM here, and I gotta get these peepers to close for about 300 or so!).  But stay tuned … there’s more later today (hopefully[YAWN!] a little earlier!).

See ya on the flip side!

Hey … do we have the future of music right now, on our computers?

There’s a little computer application called Spotify. It pops up on my screen as a sleek box. You can install it in seconds.
And it’s easy to use. In fact, one day soon, Spotify (or something very much like it) will provide all your music needs, anywhere, anytime, at the click of a button. For free.

Spotify is an unlimited music “streaming” service, so you don’t download the music, you listen to it in real time. But it is fast, accessible, you can make up your own, and it has deals with all major labels, giving it a vast (and ever expanding) catalogue to rival iTunes. It is paid for with
15-second commercials every half hour, but unlimited music without commercials is available for a £9.99 per month subscription.

Spotify’s major flaw is that it is purely computer based, so you can’t listen anywhere you want: on your Mp3 player or in your car, for example.
But when mobile phone and Wi-Fi computer broadband technology converge (as they inevitably will) then it really will be ‘game over’ for CDs, records and even downloads (paid for or pirated). There will be no point to iTunes, no function for record stores. There will be nothing but music, sweet music everywhere, a big digital jukebox on the web!

That is, if anybody can afford to make music any more. Whether advertising revenues and subscriptions can support the music business is open to question.
Yet record companies are embracing Spotify in the hope that it will bring an end to rampant illegal downloading.
When the U2 album first leaked online, it was downloaded over 100,000 times in the first 10 hours. But now you can listen to it on Spotify, faster and easier, without breaking the law.

Did I mention it was free?

The year was 1963. President John F. Kennedy had been assassinated. Rock-n-Roll needed someone to seriously scratch a saddened and lackluster itch. With that in mind, The Rock Relic presents … 

The Rock Revolution Pt. 9 THE INVASION BEGINS!!

By mid-1963, while Rock America was teetering on the brink of superblahdom, the new British groups were picking up steam (and extra bookings) at places like the Star Club and Kaiserkeller in Germany and, of course, the famous Cavern Club in Liverpool. Their records were becoming as big as their live performances.

While the blues sets in London (Animals, Pretty Things, Rolling Stones, Pirates) were pretty independent and comfortable playing the clubs ala stateside blues artists, the rock-n-roll groups were honing their acts, readying for the next big step in the rock process … The Invasion Of America!

THE BIRTH OF MODERN ROCK BEGINS HERE … The day the Beatles landed at New York’s La Guardia Airport signalled the exact birthdate of today’s rock:
Friday, February 7, 1964, 1 PM
Before that moment, our music was pretty much just glossy, post-Presley pop and light, tinny soul. We’d just lost our President to an assassin’s bullet three months earlier.
But when Pan American Flight 101 landed and the four Lads from Liverpool descended those steps from the plane, they brought the needed shot-in-the-arm that our music — our world — needed!

Two nights later, on CBS Television, Ed Sullivan introduced The Beatles to America. Now, for those who think their appearance was such a terrible influence, consider this: While the “really big shew” was on (from 7 to 8 PM EST), not even one major teenage crime was reported anywhere in this country!

Before long, other acts crossed the drink in an Invasion of sound and attitude that signalled a total rebirth of rock-n-roll! Future performers started taking notice, and established American acts started scrapping their sheet music for something more upbeat to keep up with this new wave of good vibrations!

AND DID WE EVER RESPOND TO THIS FOREIGN ATTACK!

Of course, every kid in America wanted a part of the action that was unfolding! While groups like The Searchers, The Kinks and The Dave Clark Five started appearing on our television screens, many statesiders started forming groups that copied these performers as closely as possible.

The first, and most popular, group to actually succeed was The Beau Brummels. By mid-year — toward the tail-end of the initial Invasion — the blues groups (Stones, Yardbirds, etc.) made their appearance, adding to an explosive mix of sound, sight, action and emotion.
New stateside groups drowned out the solo artists, and, soon, youngsters with names like Bruce Springsteen, Tom Petty and Bob Seger were influenced to take up the rock banner themselves.

While the Beatles are readin’, lemme sneak in here (q-u-i-e-t-l-y!) and give ya a quick peek at why these (and other) groups hit so big in America: First, the acts were simple in their set-ups. No big “pyros,” giant orchestras, turntables and DJs; just guitars, drumkit and (often) piano. Thus, it was easier for the individual personalities to shine through.
Secondly, they knew how to attack a song. They had the confidence to start it strongly, rather than just strum a few notes and hope the other blokes would feel their way into it.

There were exceptions, as in ‘Til The End of The Day by the Kinks and Gonna Make You by the Troggs. But these openers were done as a parody. The kids needed acts that were confident of themselves.
Thirdly, they had harmony. No individual “hogged the mic” all the time. The other instrumentalists would add their tenor voices to the fills, and gave the whole performance more body.

No one did this better than The Searchers. In fact, other folk-rock groups like The Nightcrawlers, The Critters and, of course, The Byrds, picked up on this and capitalized like wildfire!

Another factor was stage presence. Did ya ever notice how many of the “minor” groups just played and stared around like “Duh, whadda I do NOW?” You had to “liven it up” a bit … give it some substance!

There were a few other reasons that we’ll get into as we progress into the next chapter … so stay tuned …

QUIZTIME: After 1965, the original Kinks (Ray Davies and his brother Dave, Pete Quaife and Mick Avory) disappeared from American tours. Why??

Now, we’ll get back to the Revolution in just a few clicks. Until then, 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 …

Y’know, over the past month or so, we’ve talked about how to start a good rock band — and how to get it onstage with good results!
One of the best examples of “how to do it right” comes from the great UK band, THE FORE.

On Sunday, the lads (Spencer Hannabuss, bass/vox; Andrew McCulloch, rhythm; Matt Hardy, lead/vox and new drummer Nathan Persad, also on vocals) played in Market Square in Bromley, Kent. The results were fabulous!

Now, a marketplace isn’t exactly the O2 Arena (though the guys play some large venues as well …), but they remember the first rule of any band:  Play wherever you’ll find an audience. These lads don’t let “ego” rule, or say “Naaaah … it’s too small” when a gig opportunity comes open.
You see, anywhere you play brings two necessary benefits to your band:  Exposure and fan contact! These are gonna be vital to your growth — and it’s something you should always strive for!

Another point:  Stay focused when you’re onstage!  When you’re playing, listen to your instrument! Don’t get so caught up in the fact that you’re onstage that you don’t keep in control of your music.

Matt Hardy is one of the most prolific and studied young guitarists in the UK.  He’s constantly in touch with his guitar licks, all the while providing a vital part of the band’s onstage excitement!
Yes, both can be done at the same time!  It takes two words:  confidence and control. Showing both of those, while being enthused about your music, will take you much farther than you think!

Now, the gig also served as the debut of their new drummer, Nathan Persad. While, on occasion, you might have a new member, it’s always good to intro him or her to the audience before ya play.
But there’s no need to showcase the newbie unless a specific song calls for it.  Better to let that person “blend into” the sound, because, again, you’re promoting your act as a whole.

One more point: Always … always … be “fan-friendly”.  In the pic to your left, you see The Fore posing with some French fans who came to enjoy the show.
There’s an old saying that goes:  Remember who brought you to the dance. These are the people who come to your shows, who buy your CDs, recommend you to others, and otherwise give you some performing “clout”, as it were.
Don’t ever let them down!

Okay … we’re gonna continue this a bit later down the road.  In less than 24, we’re goin’ on an … Invasion! So stay tuned, and …

I’ll see ya on the flip side!

… over in England, the big music of the day was trad — sort of a watered-down Dixieland sound. Sure, it was okay to listen to Mr. Acker Bilk and Kenny Ball, etc., if ya just wanted mood music

… but, to the kids,  the stuff just generally sucked! They wanted music with some kick to it … kinda like what they had in America!

Y’see, the hits of the great R&B legends were starting to make their appearance, thanks to sailors who’d dock in places like Liverpool and Bootle. Some of these records were overlooked in the states, thanks in part to the big Elvis boom.

But kids throughout those seaport towns wanted to play that deep, dirty music like John Lee Hooker played it! And, when they finally picked up on Elvis, the fever hit bigtime, as they saw a chance to combine the two sounds!
The concept spread across teenaged England like wildfire — they just had to play that wild American music themselves!

Unh-unh: Their parents and the BBC said “No WAY!” But (as good parents and radio stations often do), they realized the kids had a “thirst” that needed to be “quenched”; it just had to be done their way.

So what they did was go back into their vaults and dust off an old vaudeville sound called “skiffle.” Now, its concept was simple: take an acoustic guitar, build a stand-up bass out of a … tea chest, borrow grandma’s washboard, and they could play whatever they wanted, whenever they wanted! Because it wasn’t amplified, it wouldn’t bother anyone, and besides: it’d give the kids something productive to do.  Geez … skiffle: how could that cause any ruckus?

But putting skiffle in the hands of rock-hungry kids was like giving a pacifier to a crying baby; the kids began to love it. And leading the skiffle charge was a young singer named Lonnie Donegan with My Old Man’s A Dustman and Rock Island Line.  That was followed by the country-skiffle of a youngster named Tommy Hicks (soon known as Tommy Steele) and a group known (at the time) as The Drifters.

Oh … I forgot to define a term used earlier, so let me do that now: “rock-hungry … creative, innovative kids”. That meant … the skiffle scene wasn’t gonna stay acoustic — or quiet — for long! Especially if your group’s called … The Quarrymen ...

Well, that’s it for this stop in our Musical History Tour.  Until tomorrow, remember to 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.

We can’t really move ahead to the Great Rock Explosion without mentioning the Hoy Hoy era. The phrase, itself, was coined by Cab Calloway (”Minnie The Moocher”) back in 1937, and was used through the Forties and early Fifties by R&B musicians who played their music faster, stronger and (occasionally) a bit sexier.

It also defined the music of R&B artists from the poorer neighborhoods — guys who had to work harder and play louder in order to be accepted by the mainstream rhythm-and-blues artists. In this case, “hoy hoy” meant “insignificant”. But some of these artists, like Chuck Berry and Little Richard, went on to become true pioneers and influences in the world of rock-and-roll!

Since most of the Hoy Hoy artists were pushed back into obscurity by radio stations and record companies alike, the field was opened for groups like The Crows, Orioles, etc. (mentioned in the last post) to take the stage. It was at that point that rock radio momentarily “surrendered” itself to the schmaltzy, slow-dance romance of the crooner groups.

It wasn’t until the record-buying audiences flipped … the … records … over that rock really began to catch on to the mainstream white listener. But there was one fellow who was able to bridge the gap between black R&B and restless white teenagers … and set the stage for an eventual INVASION!

Now, I mentioned the Hoy, Hoy era of R&B back at the first of the ’50s decade — and especially the way the term was used to describe “insignificant” acts. Well, this next line is important:
If it hadn’t been for the “insignificant” acts like Chuck Berry, there wouldn’t be rock-n-roll as we came to know it!
The reason’s simple: The Southern acts couldn’t really afford the fancy horns, etc., for their shows … so they relied on heavier guitar and drums to fill in. So, in reality (and despite whatever you read in these fancy “rock history” things), there’s the start of MODERN rock-n-roll!

One of the acts to start “small” and build his way up by using the Hoy Hoy R&B along with the louder elements we mentioned earlier was the legendary Little Richard.
His flamboyant style, coupled with his lively gestures, revved up the rock engine across-the-board. But he was held back from reaching the white audiences.

That was all changed when a young truck driver from Memphis, who’d already patterned his crooning style after the great Dean Martin, tuned into Berry and Richard’s R&B Hoy Hoy and, by using the simplest of instruments and what he’d picked up from the new rockabilly movement, became the superstar who bridged the gap between “black” R&B and “white” audiences — turning it into solid ROCK!

Okay, Rockaholics, that’s it for this edition of the Notebook! Until later this evening, remember to 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 …

Hey … what’s rock-and-roll — any music, for that matter — without the GUITAR?? It’s like sayin’ “What’s my wardrobe without pants?” (but not as embarrassing)
And, especially in the crazy world of retro-rock, you’ve got a load of Fender-benders, Martin-maulers, risky Rickenbackers and Gibsonites makin’ great sounds from their axes. They could make the instrument set the mood, while the singers sang the lyrics. But, of alllllll the songs on times-past’s Top 100 charts, which had the greatest guitar riffs, bridges and fills?

Alright … here’s where you guys get involved: Total Guitar Magazine listed their faves for the nod, and the Relic wants to get a little action from readers (I mean … er, mine, not … not theirs!) on this.
After ya read the following list, how about writing in and lemme know your faves? I’ll tally ‘em up and put ‘em on a new post, okay?
Now … here’s what they came up with:

Top 10 Guitar Solos

1. Led Zeppelin - Stairway to Heaven
2. Van Halen - Eruption
3. Guns N’ Roses - Paradise City
4. The Eagles - Hotel California
5. Metallica - Enter Sandman
6. Cream - Crossroads
7. Jimi Hendrix - Voodoo Child (Slight Return)
8. Ozzy Osbourne - Crazy Train
9. Free - All Right Now
10. Queen - Bohemian Rhapsody

So, whatcha think? Any comments/ideas/additions/coffee?(I-could-use-some)/thoughts/whatever?
Now, remember, we’re talkin’ rock here, not blues or country (though those genres have excellent axemasters, too!). 

Lemme know … and, ’til we return with more this evening,

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 …

It’s been called the ultimate ‘cheat-board” … a ‘proprietary audio processor’ created by Antares Audio Technologies that corrects pitch in vocal and instrumental performances and disguises inaccuracies and mistakes to produce more precisely tuned recordings. In fact, sometimes it’s used as an effect to deliberately distort the human voice!

Probably best-known for Cher’s use of it in her 1998 hit, Believe, it’s been panned by most rock artists as a “cheap way out” for performers who don’t want to take time to rehearse their vocals — or are basically “tone deaf” anyway.
At the same time, it’s been praised for its economical side — cutting down on studio time, mixing and more.

Performers as diverse as T-Pain, Reba McIntyre, Faith Hill and Cher have used these to save re-takes and give their songs the “perfect pitch” it calls for. They don’t have to worry about missing notes or whatever, because this program can make even the worst singers sound heavenly!

Here’s what it says on the Antares Tech page:

“Auto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, to save that otherwise once-in-a-lifetime performance, or to create striking special effects, Auto-Tune Evo is the tool of choice.”

Now, I’ve been in the business for thirty-plus years, and, quite frankly, I see this thing as a poor substitute for adequate vocal/instrumental rehearsal. If you’re good, you’re good. If not, keep on rehearsing until ya get it right! Don’t depend on a machine to correct your mistakes, because, onstage, you might not have it to rely on!

If the greats from all genres didn’t have to use it (Beatles, Stones, James Brown, Johnny Cash, etc), why do acts need it now?

Heck … all they did was rehearse until they got it right. And, if they had a vocal or instrumental “glitch” onstage, it gave the gig even more substance, because the fans knew they were seeing it all live and raw … they loved the fact that their musical heroes were human and not fed through some machine that did their work for them!

‘Course, that’s just my opinion. I’d like to get yours. Just give me a shout-out by comment or email and let me know what you think.
I’ll be happy to print your feedback here …

I’ve always been a fan of Mark Knopfler (Dire Straits’ frontman) and his music — in fact, some critics put his axe-wielding second only to Slowhand (Eric Clapton) in effectiveness.
One of my faves is their first hit, Sultans of Swing (1978). It recently came in at #22 in Classic Rock mag’s Top 100 guitar solos … but, more importantly, Mark had some great advice for new bands as he described the song:

“ ‘Sultans of Swing’ was originally written on a National Steel guitar in an open tuning, though I never performed it that way,” he said. “I thought it was dull, but as soon as I bought my first Strat in 1977, the whole thing changed, though the lyrics remained the same.

It just came alive as soon as I played it on that ’61 Strat—which remained my main guitar for many years and was basically the only thing I played on the first album—and the new chord changes just presented themselves and fell into place.

It’s really a good example of how the music you make is shaped by what you play it on, and is a lesson for young players. If you feel that you’re not getting enough out of a song, change the instrument—go from an acoustic to an electric or vice versa, or try an open tuning. Do something to shake it up!

As for the actual solo, it was just more or less what I played every night. It’s just a Fender Twin and the Strat, with its three-way selector switch jammed into a middle position. That gives the song its sound, and I think there were quite a few five-way switches installed as a result of that song.”

SO WHAT DOES IT SOUND LIKE?? HERE YA GO:

Okay … it’s 6 AM here, 11 AM there and 5:00 somewhere, so I’m gonna get outta here and catch some zzzz’s for about 300! But stay tuned … there’s more to come in 24 or less! ‘Til then …
see ya on the flip side!

HOW LEGENDS BOOST YOUR BAND

As you work toward local stardom, it’s a good idea to listen to some of the older, more established acts that have a similar sound and presence as your band.

Whether it be The Beatles, Rolling Stones — even Weezer 0r Green Day — you can get a lot of insight on what makes a rock band popular!

And, of course, these bands obviously have “staying power”. While Weezer is coming back to the charts again, Green Day never left … and do I really need to go into The Beatles?  Though John and George are gone from this world, Paul McCartney is still one of the most in-demand artists on the market!

They — as many of the legends — are going strong because (1) they have the rhythm, hooks and (with maybe Billy Joe’s band) harmony, have (2) great rapport with the audience, know (3) how to attack a song — getting the fans to perk up and listen, and (4) have supreme confidence in what they’re doing (and playing)!

They also make eye contact with the audience — even if they’ve gotta use the “trick” I toldja about before (remember?  Lookin’ between their eyebrows if they’re too skittish to make eyeball-to-eyeball contact?).
Then, they know how to move with the music … excitement shows in their on-stage demeanor.

Now, if ya look at the bands that were popular back during the days of the British Invasion and then the hard rock era (admittedly, the “disco” and “bubblegum” era didn’t provide a lot of lifers), you’ll find quite a few that are still going strong (and pulling in packed houses) even today.
It’s because they learned, from the outset, to incorporate the items I mentioned in past posts … and added their own personalities to create a very sellable, in-demand product.  And, though musical styles may change over the years, the lively rhythm-based sounds of the no-nonsense rockers will always be the most desired of these!

Here are a vid that’ll show ya what I’m talkin’ about. THE SEARCHERS was one of the prime bands of the British Invasion (in fact, this Liverpool foursome was second only to The Beatles in popularity).  But this video was taken in 2007! Looks like the fans are still diggin’ their sound:

Well, that’s all for this edition, but stay tuned, ’cause there’s more in less than 24! Soooooo …
I’ll see ya on the flip side …

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!

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:

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?

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!

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!

 

 

 

Stone Temple Pilots have just recently reunited for a 4-month summer tour and before all that takes place on May 17th, they will start off their first performance at the ABC-TV’s “Jimmy Kimmel Live!” tonight  (which is actually tomorrow early morning Friday at Midnight!).  It should be exciting to see the long await reunion take place. I don’t know about all of you but a Stone Temple Pilots reunion is something I always predicted would happen. Now before you go off to see them live in person you should take the time to see them on screen. The performance will bring great fuzzy feelings to every hardcore 90s music enthusiast . To bring back that refreshing sound of Stone Temple Pilots should be something of wonders to all our ears! 

 

 

In the side note of all this related news, I would also like to inform that they will be working on a new album and Scott Weiland actually said that there might be a DVD included with this upcoming album. Another part of this to mention is Scott Weiland’s second solo album will be coming out along with his autobiography later towards the end of the year. 

 

For those of you that haven’t kept taps on the recent news from Stone Temple Pilots, they have also announced their tour dates starting May 17th (or should we say Tonight at “Jimmy Kimmel Live!”) 

 

 

For those of you completely oblivious to the tour dates here they are! 

 

 

Columbus, OH

Rock On The Range Festival 

(May 17)

 

Camden, NJ 

Tweeter Center The Waterfront 

(May 18)

 

Cleveland, OH 

State Theatre Playhouse Square 

(May 20)

 

Chicago, IL 

Charter One Pavillion 

(May22)

 

Indianapolis, IN 

Indianapolis Motor Speedway 

(May 23)

 

Uncasville, CT 

Mohegan Sun Casino 

(May 26)

 

 

Holmdel, NJ 

PNC Bank Arts Center 

(May 31)

 

Mansfield, MA 

Tweeter Center For The Performing Arts 

(June 1)

 

Detroit, MI 

Fillmore Detroit 

(June 3)

 

St. Paul, MN 

Roy Wilkens Auditorium 

(June 6)

 

Kansas City, KS 

Rock Fest Liberty Memorial Park 

(June 7)

 

Maryland Heights, MO 

Verizon Wireless Amphitheatre 

(June 8)

 

West Valley City, UT 

E Center 

(June 11)

 

Las Vegas, NV 

The Pearl

(June 12, 14)

 

Calgary V Festival 

(June 21)

 

Los Angeles, CA 

Hollywood Bowl (June 24)

 

Tucson, AZ 

Anselmo Valencia Amphitheatre 

(June 25)

 

San Antonio, TX 

AT&T Center

(June 27)

 

The Woodlands, TX 

Cynthia Woods Mitchell Pavilion 

(June 28)

 

Grand Prairie, TX 

Nokia Theatre Grand Prairie 

(June 29)

 

Morrison, CO 

Red Rocks Amphitheatre 

(July 2)

 

Milwaukee, WI 

Summerfest Marcus Amphitheatre 

(July 4)

 

Quebec City, Quebec 

Summer Festival Planes |Of Abraham 

(June 10)

 

North York, ONT 

Edge Fest Downsview Park 

(June 12)

 

Canandaigua, NY 

Constellation Performing Arts Center 

(July 15)

 

Green Bay, WI

Oneida Casino 

(July 17)

 

Mt Pleasant, MI 

Soaring Eagle Casino 

(July 18)

 

Cadott, WI 

Chippewa Valley Music Festival 

(July 19)

 

Berkeley, CA 

Greek Theatre 

(July 25)

 

Paso Robles, CA 

Mid California State Fair 

(July 26)

 

San Diego, CA 

Concerts on the Green Qualcomm Stadium 

(July 27)

 

Bethlehem, PA 

Muzikfest 

(August 8)

 

Atlantic City, NJ 

The Borgata 

(August 9)

 

Baltimore, MD 

V Festival Pimlico Race Track 

(August 10)

 

Charlotte, SC 

Verizon Wireless Amphitheatre 

(August 17)

 

Orlando, FL 

UCF Arena 

(August 19)

 

Hollywood, FL 

Hard Rock Live Seminole Hard Rock Casino 

(August 20)

 

Tampa, FL 

Ford Amphitheatre 

(August 22)

 

Alpharetta, GA 

Verizon Wireless Amphitheatre Encore Park 

(August 23)

 

Vancouver 

GM Place 

(August 30)

 

Seattle, WA 

Bumbershoot Festival Memorial Stadium 

(August 31)